Cabinet of curiosities
Cabinets of curiosities, also known as wonder-rooms, were encyclopedic collections of objects whose categorical boundaries were, in Renaissance Europe, yet to be defined. Although more rudimentary collections had preceded them, the classic cabinets of curiosities emerged in the sixteenth century. The term cabinet originally described a room rather than a piece of furniture. Modern terminology would categorize the objects included as belonging to natural history, geology, ethnography, archaeology, religious or historical relics, works of art, and antiquities. In addition to the most famous and best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe formed collections that were precursors to museums.
Image:Frans Francken d. J. 009.jpg|thumb|A corner of a cabinet, painted by Frans II Francken in 1636, reveals the range of connoisseurship of a Baroque-era virtuoso.
Cabinets of curiosities served not only as collections to reflect the particular interests of their curators but also as social devices to establish and uphold rank in society. There are said to be two main types of cabinets. As R. J. W. Evans notes, there could be "the princely cabinet, serving a largely representational function, and dominated by aesthetic concerns and a marked predilection for the exotic," or the less grandiose, "the more modest collection of the humanist scholar or virtuoso, which served more practical and scientific purposes." Evans goes on to explain that "no clear distinction existed between the two categories: all collecting was marked by curiosity, shading into credulity, and by some sort of universal underlying design".
In addition to cabinets of curiosity serving as an establisher of socioeconomic status for its curator, these cabinets served as entertainment, as particularly illustrated by the proceedings of the Royal Society, whose early meetings were often a sort of open floor to any Fellow to exhibit the findings his curiosities led him to. However purely educational or investigative these exhibitions may sound, the Fellows in this period supported the idea of "learned entertainment," or the alignment of learning with entertainment. This was not unusual, as the Royal Society had an earlier history of a love of the marvellous. This love was often exploited by eighteenth-century natural philosophers to secure the attention of their audience during their exhibitions.
History
To c. 1600
The earliest pictorial record of a natural history cabinet is the engraving in Ferrante Imperato's Dell'Historia Naturale . It serves to authenticate its author's credibility as a source of natural history information, by showing his open bookcases, in which many volumes are stored lying down and stacked, in the medieval fashion, or with their spines upward, to protect the pages from dust. Some of the volumes doubtless represent his herbarium. Every surface of the vaulted ceiling is occupied with preserved fishes, stuffed mammals and curious shells, with a stuffed crocodile suspended in the centre. Examples of corals stand on the bookcases. At the left, the room is fitted out like a studiolo with a range of built-in cabinets whose fronts can be unlocked and let down to reveal intricately fitted nests of pigeonholes forming architectural units, filled with small mineral specimens. Above them, stuffed birds stand against panels inlaid with square polished stone samples, doubtless marbles and jaspers or fitted with pigeonhole compartments for specimens. Below them, a range of cupboards contain specimen boxes and covered jars.Image:Vista del Studiolo de Francisco I.jpg|thumb|The richly decorated vault of the Studiolo of Francesco I in Palazzo Vecchio, Florence
In 1587 Gabriel Kaltemarckt advised Christian I of Saxony that three types of items were indispensable in forming a "Kunstkammer" or art collection: firstly sculptures and paintings; secondly "curious items from home or abroad"; and thirdly "antlers, horns, claws, feathers and other things belonging to strange and curious animals". When Albrecht Dürer visited the Netherlands in 1521, apart from artworks he sent back to Nuremberg various animal horns, a piece of coral, some large fish fins and a wooden weapon from the East Indies.
The highly characteristic range of interests represented in Frans II Francken's painting of 1636 shows paintings on the wall that range from landscapes, including a moonlit scene—a genre in itself—to a portrait and a religious picture intermixed with preserved tropical marine fish and a string of carved beads, most likely amber, which is both precious and a natural curiosity. Sculptures both classical and secular on the one hand and modern and religious are represented, while on the table are ranged, among the exotic shells : portrait miniatures, gem-stones mounted with pearls in a curious quatrefoil box, a set of sepia chiaroscuro woodcuts or drawings, and a small still-life painting leaning against a flower-piece, coins and medals—presumably Greek and Roman—and Roman terracotta oil-lamps, a Chinese-style brass lock, curious flasks, and a blue-and-white Ming porcelain bowl.
The Kunstkammer of Rudolf II, Holy Roman Emperor, housed in the Hradschin at Prague, was unrivalled north of the Alps; it provided solace and retreat for contemplation that also served to demonstrate his imperial magnificence and power in the symbolic arrangement of their display, ceremoniously presented to visiting diplomats and magnates.
Rudolf's uncle, Ferdinand II, Archduke of Austria, also had a collection, organized by his treasurer, Leopold Heyperger, which put special emphasis on paintings of people with interesting deformities, which remains largely intact as the Chamber of Art and Curiosities at Ambras Castle in Austria. "The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction." Of Charles I of England's collection, Peter Thomas states succinctly, "The Kunstkabinett itself was a form of propaganda."
17th century
Two of the most famously described seventeenth-century cabinets were those of Ole Worm, known as Olaus Wormius , and Athanasius Kircher. These seventeenth-century cabinets were filled with preserved animals, horns, tusks, skeletons, minerals, as well as other interesting man-made objects: sculptures wondrously old, wondrously fine or wondrously small; clockwork automata; ethnographic specimens from exotic locations. Often they would contain a mix of fact and fiction, including apparently mythical creatures. Worm's collection contained, for example, what he thought was a Scythian Lamb, a woolly fern thought to be a plant/sheep fabulous creature. However he was also responsible for identifying the narwhal's tusk as coming from a whale rather than a unicorn, as most owners of these believed. The specimens displayed were often collected during exploring expeditions and trading voyages.Cabinets of curiosities would often serve scientific advancement when images of their contents were published. The catalog of Worm's collection, published as the Museum Wormianum, used the collection of artifacts as a starting point for Worm's speculations on philosophy, science, natural history, and more.
Cabinets of curiosities were limited to those who could afford to create and maintain them. Many monarchs, in particular, developed large collections. A rather under-used example, stronger in art than other areas, was the Studiolo of Francesco I, the first Medici Grand-Duke of Tuscany. Frederick III of Denmark, who added Worm's collection to his own after Worm's death, was another such monarch. A third example is the Kunstkamera founded by Peter the Great in Saint Petersburg in 1714. Many items were bought in Amsterdam from Albertus Seba and Frederik Ruysch. The fabulous Habsburg Imperial collection included important Aztec artifacts, including the feather head-dress or crown of Montezuma now in the Museum of Ethnology, Vienna.
Similar collections on a smaller scale were the complex Kunstschränke produced in the early seventeenth century by the Augsburg merchant, diplomat and collector Philipp Hainhofer. These were cabinets in the sense of pieces of furniture, made from all imaginable exotic and expensive materials and filled with contents and ornamental details intended to reflect the entire cosmos on a miniature scale. The best preserved example is the one given by the city of Augsburg to King Gustavus Adolphus of Sweden in 1632, which is kept in the Museum Gustavianum in Uppsala. The curio cabinet, as a modern single piece of furniture, is a version of the grander historical examples.
The juxtaposition of such disparate objects, according to Horst Bredekamp's analysis, encouraged comparisons, finding analogies and parallels and favoured the cultural change from a world viewed as static to a dynamic view of endlessly transforming natural history and a historical perspective that led in the seventeenth century to the germs of a scientific view of reality.
18th century and after
In seventeenth-century parlance, both French and English, a cabinet came to signify a collection of works of art, which might still also include an assembly of objects of virtù or curiosities, such as a virtuoso would find intellectually stimulating. In 1714, Michael Bernhard Valentini published an early museological work, Museum Museorum, an account of the cabinets known to him with catalogues of their contents.In the second half of the eighteenth century, Belsazar Hacquet operated in Ljubljana, then the capital of Carniola, a natural history cabinet that was appreciated throughout Europe and was visited by the highest nobility, including the Holy Roman Emperor, Joseph II, the Russian grand duke Paul and Pope Pius VI, as well as by famous naturalists, such as and. It included a number of minerals, including specimens of mercury from the Idrija mine, a herbarium vivum with over 4,000 specimens of Carniolan and foreign plants, a smaller number of animal specimens, a natural history and medical library, and an anatomical theatre.
A late example of the juxtaposition of natural materials with richly worked artifice is provided by the "Green Vaults" formed by Augustus the Strong in Dresden to display his chamber of wonders. The "Enlightenment Gallery" in the British Museum, installed in the former "Kings Library" room in 2003 to celebrate the 250th anniversary of the museum, aims to recreate the abundance and diversity that still characterized museums in the mid-eighteenth century, mixing shells, rock samples and botanical specimens with a great variety of artworks and other man-made objects from all over the world.
Some strands of the early universal collections, the bizarre or freakish biological specimens, whether genuine or fake, and the more exotic historical objects, could find a home in commercial freak shows and sideshows.