Founded in 1698 by Lutheran theologian and educator August Herman Francke (1663-1727), the Foundation was first and foremost an orphanage and secondly a progressive school for all social classes. Thus Francke formed the wunderkammer as a teaching tool. Francke was obviously an effective fundraiser for not only did he raise the money to build the substantial Foundation but also induced people worldwide to provide as gifts most of the almost 5000 items of the collection.

A decade after this kindly-looking gentleman’s death, a local artist and naturalist, Gottfried August Grundler (1710-1775), began to reorganize the jumble systematically and create a group of 16 individual cabinets, one for each category, and each one beautifully painted to communicate the theme. The result is a second period systematically organized wunderkammer presented behind the very glass cabinets created for them in the 1730’3 and 1740’s.

Surviving the wars in tact , the wunderkammer was then threatened for a while in the East German era by leaky roofs and other deferred maintenance, thus some restoration was done in the early 1990’s. This was done closely referring to Grundler’s original documents, placing all cabinets in their original position in the orphanage attic. Thus today we have an excellently preserved example of a well-sponsored, middle-class baroque wunderkammer, which one author calls “perhaps the most complete survivor of a cabinet of curiosities” (Mauries,p 25-7) The natural history is concentrated at one end, and the man-made artificialia at the other.

Here the minerals and petrifactions (fossils) are presented in a case the crest of which is painted with a garland of rocks and crystals. This collection was donated in part by an influential father of a student (Bahlke, p4). Other components were sent by fellow Pietists, believers in that form of Lutheranism Francke preached. Nearby (not shown) is a similar cabinet of sea shells.

The plants case, painted with floral garlands and a face composed of plant parts (after Giuseppe Arcimboldo, 1527-1593) houses exotic seed pods, nuts, dried fruits, branches, roots and leaves.

The animal kingdom cabinet is painted with a garland of frogs, bats and butterflies all of which is surmounted with a grinning leopard.

The animal cabinet houses a number of specimens preserved in spirits such as the eerie group of fetuses, reminiscent of the presentation in Waldenburg (Chapter 5).

There is also an egg collection, some of which was donated by the elector of Brandenburg, straight from his wunderkanmmer.

The artificialia end of the large room contains a case with artifacts from India, painted with a native from that subcontinent, and another case for Borneo. The contents were provided by fellow Pietist missionaries stationed in those remote areas.

Another cabinet was reserved for manuscripts and writing instruments of the world, its crest painted with 25 specimens of different alphabets and scripts. The written word was particularly important to Pietists as the one pure form of communication, versus pictures, paintings, theatre, and music, all of which were a tad too worldly and decadent for their tastes (Bahlke, p19).

Another section is dedicated to a collection of conception models or mechanical models. A nearby cabinet (not shown) holds holy items from other religions, another, fine art, another, clothing of the world, and another, a collection of masks and coins.

The middle of the room contains oversized specimens, including at the natural history end the obligatory crocodile (see photo at the start of this chapter), huge whale bones, python skins, etc, and at the man-made end, an Eskimo kayak, exotic and medieval armor, etc.

Finally the center of the room is dominated by globes, models of the planetary system and universe.

While the classification of this collection feels somewhat modern (after all, its designer Grundler paid for translating Linneus’s Systema Natura into German), the scope of the collection is universal or encyclopedic, consistent with a wunderkammer goal of creating a microcosm of God’s entire universe in one room.

One of the more authentic and untouched wunderkammern, the Halle wonder chamber is definitely worth a visit. Bring a flashlight because the contents of the cases are sometimes shaded by the glass doors. We were lucky enough to receive a fascinating guided tour by Dr. Claus Veltman, the curator. The booklet published by the Francke Foundation noted as a reference below as translated into English also provides a great guide…be sure to ask for one if not available in the bookstore.

An hour and a half is sufficient to see the wunderkammer and I’d also recommend viewing Francke’s nearby library of 35,000 books as well as the Foundation grounds which also serves the local university. The address is Francenplatz 1, 06110 Halle and the web site www.francke-halle.de.

References:

Cabinets of Curiosities, Patrick Mauries, (London,2002)

The Cabinet of Artefacts and Curiosities in the Francke Foundation in Halle, Dr.Thomas Muller-Bahlke, Halle,2004) as translated by Helen Louise Tate

Despite being firebombed to rubble by the Allies during World War II, Dresden has arisen from the ashes miraculously to its former baroque glory and today houses two, not one, over-the-top wunderkammern. The Historic Green Vaults were designed by Augustus II and opened (very selectively) to the public in 1730. The New Green Vaults contain other princely assets originally housed elsewhere, plus items added after Augustus’s death in 1733. Together they represent Europe’s most magnificent treasury museum, and to the American mind, an embarrassment of riches.

As suggested in chapter 2, these wunderkammern were a tool of state craft. Consider Augustus II, who was christened Augustus the Strong by historians a hundred years after his death possibly due in part to his physical strength but mostly due to his womanizing … he reportedly sired over 300 illegitimate children. He had visited Louis XIV of France a few years before becoming the Duke of Saxony in 1694. He craved the absolute kingship enjoyed by Louis and desired the same for Saxony and later for Poland which he got himself elected king of in 1697. Louis spent huge quantities of funds to validate and reinforce his absolute monarch status and Augustus did likewise.

It was extraordinary that such a vast collection was ever assembled. Begun in 1560 by Augustus I as a more conventional wunderkammer with items of natural history and scientific instruments, it became more art and jewel oriented in subsequent generations, and then enjoyed spending like never before under Augustus the Strong, and his (only legitimate) son, Augustus III, again as reported in chapter 2. The natural history and scientific items were relegated to nearby collections to make room for the jewels.

That almost all of this princely collection survived is even more extraordinary. One component of it, August the Strong’s silver service –including many 6-foot-high sterling urns and candlesticks and 3000 pieces in all—was melted down in 1772 and turned into thalers during a Saxon economic crisis (Syndram, Gems, p.10). But the rest survived, several times being boxed up and stored in the palace basement or in a remote mountain fortress, including during the firebombing of World War II. It was then taken to Russia in 1945 and then returned by the Russians to their East German allies in 1958. And then the historic Green Vaults building, badly damaged in the firebombing was totally refurbished and reopened in 2006 in its baroque glory as envisioned by Augustus the Strong.

Unfortunately, photography is discouraged so many of the photos here are extracted from the Green Vault’s website or publications.

The New green Vaults

These wonderful and opulent items were not included in the vaults assembled by Augustus II, either because they were included in other state collections, e.g. the royal kunstkammer or the treasury, or they were acquired after he died. They are presented in a modern museum setting. Here are some examples:

These small figurines are each in the form suggested by a huge, naturally-occurring and strangely-shaped pearl that make up the bulk of each sculpture.

These and other items here illustrate several principles held dear by princely baroque wunderkammernists. The use of exotic materials in their natural state suggests collaboration between man and nature to form art. Virtuosic, practically impossible craftsmanship is utilized, and the skill level inspires wonder. The objects have no practical purpose. For instance, the bowl of Diana’s bath can’t hold liquids; it would leak where the base is attached. Objects instead were created to delight the beholder…and remind him of the status and power of the owner.

This Bath of Diana bowl is made of chalcedony (semi-precious quartz) with a carved ivory Diana over a figural base cast in gold and silver. The entire work is encrusted in jewels. Augustus II purchased this 15-inch sculpture in 1704 from jeweler G. F. Dinglinger for 8000 thalers (Syndram, Art Treasury, p.17).

The 41 ct Dresden Green Diamond, bought by Augustus III for 400000 thalers in 1742, was later incorporated into a hat brim ornament.

Even the boxes built to store the precious objects are themselves precious. Here are several leather-bound boxes, each built to house a unique shaped item.

Here are several items made by Johann Frederick Bottger. This alchemist had two goals: convert lead to gold and convert various ground earths into porcelain. Using trickery he could appear to accomplish the first goal, but never of course did. He did in fact accomplish the second goal. His unsubstantiated claims and promises regarding the first goal caused him to become the dungeon-bound prisoner of August II. His success in achieving the second goal caused Augustus to make him a baron…though he remained a prisoner (Gleason, p119).

Chinese porcelain, highly prized by Europeans, had eluded reproduction in Europe for 200 years, and the search for the formula in the late 17th/ early 18th centuries was on. In 1708, after hundreds of high-heat experiments, including many using the Burning Glass discussed in the last chapter, and with the vital collaboration of a scholarly nobleman, E. W. von Tschirnhaus, Bottger succeeded in creating both red (shown here) and white porcelain for his captor, Augustus II (Gleeson, pp68-9). As a result the famous and lucrative Meissen porcelain factory was soon begun, yielding Augustus II over 900000 thalers of benefit during his reign (Gleeson, p194).

The Historic Green Vaults

Here over 4000 items are presented very much as they were in 1730 by Augustus the Strong, in 8 highly decorated rooms on shelves and tables generally with no museum glass separating you from the objects. These rooms are sequenced in a theatrical manner, gradually increasing in dramatic opulence.

We start in the Amber Room. This highly valued Baltic fossil resin is a stone that both burns like coal and floats in water, and perhaps for these reasons is considered magical. This cabinet on stand, almost entirely built of amber, was a gift of the Duke of Prussia in 1728. There are a number of other beautiful amber goblets and caskets and lesser objects as well.

You next enter the Ivory Room filled with turned and carved ivory sculptures. From time to time the spectacular ivory frigate pictured at the beginning of this chapter has been on display in the Ivory Room, although now, probably for conservation reasons, is in the New Vaults. This 50-inch sculpture made in 1620 demonstrates what a great carver’s medium ivory is…the sails are each carved so thin as to be translucent.

Then you enter the White Silver Room where the silver service of Augustus II once was and which is now filled with objects made of silver, wood, ivory, coconuts and other exotic materials, all presented against red walls.

Then the Silver Gilt Room house silver articles with gold wash presented against green walls.

Then there is the Hall of Precious Objects with hundreds of sculptures of precious and semiprecious stones.

Then you enter a rather plain room, the Coat of Arms Room, ornamented only by a series of brass plaques on the walls. There is no furniture and no valuable objects. This is the dramatic hesitation to heighten the climax.

Then you enter the Jewel Room, where a pair of nearly 3-foot-tall, bejeweled “Moors” (one shown) greet you with their offerings of emeralds, etc, served on a platter. And then you are treated to a number of cases loaded with jewels. Here, unlike the rest of the Historic Vaults, glass cases are used, understandably separating you from the goods.

This case is dedicated to rubies, the so-called ruby garniture. Other cases are dedicated to diamond, carnelian, tortoise-shell, sapphire and emerald garnitures.

The cases have all been restored to their 1730 appearance as have all the appointments of the room.

Finally you enter the last room, the Bronze Room, a smaller room with a display of fine bronzes, the muted tone of which provide sharp contrast to the glitter you just left.

Conclusion

A tour through the Green Vaults was given the Duke of Prussia, a sometimes ally and sometimes enemy of Augustus II. This duke then wrote a certain Prince Leopold, “My father’s jewels are nothing compared to this” (Syndram et al, P18). No wunderkammer creator was as motivated by the need to inspire respect and fear. Mission accomplished, Augustus!

I’d recommend at least half a day to see these two wunderkammern. You must buy tickets in advance for the Historic Green Vaults which reserve a specific time slot. No refunds will be given if you change times. You can buy these tickets on line at their website, www.skd-dresden.de. and select Grunes Gewolbe. The physical address is Residenzschloss, Taschenberg 2, D01067 Dresden.

Nearby are a host of other museums, including the famous Zwinger which house an art museum, a porcelain museum, a museum of mathematical and scientific instruments and one of armor and minerals. I imagine a full day could be spent here. The Green Vaults are unique for being open on Mondays when most other museums are closed. Thus we scheduled our visit for Monday, glad to be making such a good use of an off day. But alas the Zwinger museums were all closed.

References :

Renaissance and Baroque Treasury Art The Green Vault in Dresden, Dirk Syndram, translated by Daniel Kletke, (Berlin, 2005).

The Historic Grunes Gewolbe at Dreden The Baroque Treasury, Dirk Syndram, Jutta Kappel, and Ulrike Weinhold, translated by Ulrich Boltz and Dr. Richard Gary Hooton, (Berlin, 2008).

The Arcanum, Janet Gleeson, (NY,1998).

About 3 hours by car northeast of Landshut (our last stopover) and say 4 to 5 hours from Munich is the little town of Waldenburg, Germany (formally, East Germany) which houses an appealing wunderkammer, the Cabinet of Natural Sciences. The wunderkammern discussed in the last two chapters in Munich and Landshut were both first-period (pre-1650) and princely. At the other end of the spectrum is this one. Began in the second period (post-1650), this systematically-presented collection was founded by commoners and focused almost exclusively on natural history.

The wunderkammer was founded about 1670 by pharmacist Heinrich Linck (1638-1717) of Leipzig and added to by his son, Johann (1674-1734) also a pharmacist, and in turn by Johann’s son, Johann the Younger (1734-1807). Otto Victor I (1785-1859) prince of Schonburg-Waldenburg, purchased the Linck collection in 1841, moved it to its current location, and significantly added to it. It retains a Victorian character today and occupies over 9 rooms in a sea of glass cabinets.

Freaks of nature were certainly of interest to the Lincks. Here some stillborn babies with significant deformities are preserved in spirits, giving the term curiosity cabinet a new meaning. Similar samples as dry mounted specimens are also included.

In addition to a large herbarium (2500 pages) of pressed leaves and flowers there is a cabinet filled with over 800 samples of woods of the world, showing the second-period systematic collector’s penchant for imposing order on nature.

The scatter-shot approach of the first-period wunderkammer is not totally eliminated, however. One cabinet cheerfully exhibits a medieval chastity belt (left) next to specimens in spirits of snakes and reptiles, in turn next to a Roman lamp.

The scientific instrument collection of the Lincks’ includes an armillary c 1650 driven by a clock motor.

Two devices for producing extreme heat each work on the principal of focusing the sun’s rays, a burning mirror and a large magnifying glass. The parabola shaped burning mirror (left) has its surface gold plated and was used in experiments including the treatment of rheumatism and gout. The magnifying glass (right) could generate heat of 1500 degrees Celsius, hotter than any fire. Its builder cooperated with J F Bottger, the alchemist who invented Europeans porcelain, first produced at Meissen in 1708. (More on this in the next chapter.)

There is an entire room of minerals and fossils.

This collection includes a group of Baltic amber specimens, including, in turn, a collector’s ultimate nightmare: a fake. One piece of amber has a frog locked inside it, presumably one caught in the sticky pine sap which got fossilized along with the sap to make amber. Research now shows no frogs ever live in the Baltic during the amber-producing era, so we now know this to be a fake produced in the 18th century. (More on fakes and how to avoid them in a later chapter.) The fake is barely visible in the bottom center.

There is a large collection of stuffed birds, and here some are shown with some narwhale tusks.

There is a large collection of crustasians, beetles and butterflies.

The products of ancient and exotic cultures were included, for instance an Egyptian mummy was added in 1845 by Prince Otto Victor I, as was a Chinese fancifully-carved ivory palace.

The mineral collection includes beautiful pietra dura (stone inlay in stone slabs).

And in case you didn’t know wunderkammerists had a sense of humor, the mineral collection includes a concretion which has been quartered like a boiled egg.

This off-the-beaten-path wunderkammer feels as if it’s been undisturbed for the last 150 years. You feel you’re watching the early classifier and the early scientific mind at work, puzzling out what the relationships are that bind the world together.

I recommend two hours or so to absorb this plus another hour to review the first floor exhibits on the history of the area. Be sure to ask for the guide written in English.

Installed in the 13th century Trausnitz Castle, overlooking the town of Landshut, about 50 miles northeast of Munich is the wunderkammer begun by the Bavarian Duke Wilhelm V (1548-1626), Duke Albrecht V’s son. When Wilhelm assumed the title of duke in 1579, he moved his whole household including his collection to Munich, joining his wunderkammer with his father’s (see prior chapter). Interestingly in 1597 at the age of 47, Wilhelm turned over the government to his son, Maximillian, and thereafter until his death in 1626 led a life devoted to piety, asceticism, chastity, and the placid enjoyment of his collections of works of art and curiosities (Catholic Encyclopedia on line).

The present collection has been rebuilt based upon archival records. The exhibits are split into 4 sections, naturalia, artificialia, the expected two plus two others, exotica, marvels from foreign lands, and scientifica, scientific tools and instruments.

Naturalia

The naturalia room includes the iconic alligator hung upside-down from the ceiling, a huge elephant skull, etc, and also an attractive cabinet, the many drawers and compartments of which are presumably stuffed with natural wonders.

A few words about these cabinets. One expert writes that multidrawer cabinets were first used as traveling writing desks in the 1500’s with a fall front which served as a writing surface. The Spanish called these “escretoio” and the many drawers carried tools for writing, pens, papers, sanders, etc. They were portable and communicated a crucial message about their owner: I am literate; I can write…a rare thing in those days. (Laue, p24.)

So it is fitting that as these learned men turned to collecting they would use multidrawer cabinets, now fitted with doors vs. a fall front, to house their finds…while continuing to advertise subliminally their literary prowess. The Italian word for wunderkammer, studiolo, also congers up this literary reference. These collections existed, after all as Samuel Quiccheburg wrote, “so that through frequent perusal, you can rapidly, easily, and securely acquire new knowledge and great wisdom” (Trausnitz website).

The author goes on to note (Laue, p27) that the cabinets permitted their owner to supply his visitor a guided tour where objects were removed from the cabinet and handed to the visitors. This “recovery from concealment” ritual enhanced the visitor’s sense of surprise and wonder. It also provided the owner a chance to exhibit his erudition.

Artificialia

The artificialia section contains elaborate man-made turnings in ivory (below), demonstrating the artisan’s skill as does the ivory cabinet in the form of a building at the beginning of this chapter.

Similarly beautiful cabinets were built of amber and were often placed before a window to transfuse the light.

Exotica

The exotic elements include sea shells and items made from mother of pearl. In this photo, a magnificent mother of pearl charger (large serving plate) is shown amid a shell collection.

And here is a charger executed in coral and ivory:

Scientifica

Finally, the scientifica section shows late 16th century triumphs in engineering, the helix staircase, an elaborate lock, and various measuring instruments:

“Everything measurable should be measured,” was the renaissance refrain. (Trausnitz web site.) So clocks, astrolabes, compasses, etc, were all valuable to measure time, distance, the positions of the stars, etc. Measurement was how educated man could impose order over nature, and perhaps a reminder of the prince’s mandate to impose order over his subjects.

While the collection was totally rebuilt from records in 2004, it is well done and worth a visit. An hour or so would be sufficient. (Web site www.schloesser.bayern.de. Then select Landshut from a list of museums; then select www.berg-trausnitz.de. Select English and finally Chamber of Art & Curiosities. Alternatively search for Trausnitz and you’ll get here.) The castle has been badly damaged and has also been thoroughly rebuilt. It too is worth a tour if one can be arranged in English. The town of Landshut is an attractive baroque one built around a charming river and boasts the tallest gothic tower built of brick in the world which is an amazing 421 feet (42 stories) tall.

References:
Furniture for European Kunstkammer, Georg Laue (Munich, 2008).