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Inventory of Rudolf's museum (Kunstkammer)

Dear all,

the German text of the reference to the handwritten, contemporary
catalogue of Rudolf's museum may be found at:

I then offered it to Babelfish. The result is interesting
enough to be forwarded unmodified, as attached.

Cheers, René


Augsburg 1573 - Prague 1613 

Inventory of the art chamber emperor Rudolfs II. 
1607 - 1611 

Cover: Perkament over cardboard; 
19.5 x 34 cm 
Blind pressing: three-way line iron lines and ornamentation strips,
pressed in with the rolerole role 
Paper block: 415 paper sheets. The former binding pages torn off 
On the inside of the Vordeckels: Ex libris Liechtensteinianis 
Literature: Neumann 1966, 262-265; Farmer head 1976 (edition) 

The inventory has the title: > of Anno 1607. Verzaichnus, which contains
Nachtraege of the
Roem:Kay:May:Kunstkammer into found worden.< it into the year 1611. As
an author the painter Daniel Froeschl was
determined, which was since 1 May 1607 successors Ottavio Stradas as
imperial Antiquarius. The inventory was
verschollen, to it Gustav William, who former director of the art
collections of the governing prince of Liechtenstein, after
which discovered the Second World War. It made a Transkription to 1947
and transferred Erwin Neumann 1956 the
edition. Numerous object identifications arrive to this, but died he all
too-early. The publication took place finally 1976. 

The inventory changed the old conceptions over Rudolf II. as collecting
tank thoroughly. If one had predominantly limited
beforehand Rudofs interests on Mirabilia (miracle things), Rara and
strange things - which he naturally also had - and him
only as painting collecting tank estimated, then now the picture of the
universalists and Aestheten stepped into the
foreground. Fitter had judged its collections still as a multicolored
and adventurous mixture without any methodical
tendency (fitters 1908, 76 - 80). The inventory shows the universal
requirement of a enzyklopaedischen art chamber on
highest level now. It contains Spezimina from the most diverse areas of
nature (Naturalia), the art and technical skill
(Artefacta) and the science (Scientifica) and is essentially arranged
according to these classes. The art chamber was thus a
mirror of the universe, a mikrokosmos, whose center of the emperors was.
>From the elitaeren position of the Kaisertums
Rudolf derived the requirement on the noblest and rarest gifts of nature
as well as on the most admirable ones and most
precious bringing out of human abilities. Behind the interest in that
variety of the things and appearances was a
pansophische longing after a universal system, which connects everything
in one > concordia discors< (harmony in
apparent discord) - like the universal emperor idea link of the realm

The inventory contains only the art chamber in the closer sense. Are
missing rudolfinische inventories of the paintings, the
splendor weapons, the Regalia and pieces of treasure, the Gemmen and
Antiken, the tapisserien and pieces of configuration
of the premises.