Seite - 403 - in Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums - Europäische Museumskultur um 1800, Band 2

403 Meijers From an International Perspective 11 The layout of the collection was altered for instance in the 1830s by director Johann Peter Krafft who, among other things, introduced a separate department for modern and contemporary Austrian painting. His predecessor Josef Rebell still hung the paintings in question between works by artists of other schools, including older paintings. See Grabner in this volume and Sabine Grabner, Die kaiserliche Gemäldegalerie von den Napoleonischen Kriegen bis zum Revolutionsjahr 1848, in: Agnes Husslein-Arco/Katharina Schoeller (eds.), Das Belvedere. Genese eines Museums, Weitra 2011, p. 106. Furthermore the initially fairly free admission policy was revoked. In 1813 the director at the time, Friedrich Heinrich Füger, had complained about an undesirable public: while in the department of Antiquities and in the Naturalienkabinet, “Anstand und Ordnung” prevailed, the unconditional free access, which had been introduced in 1780 with the best and most humane intentions had for a long time led to exactly the opposite in the painting gallery, according to Füger. He then launches into a diatribe about the plebs who with their rowdiness and lack of cleanliness prevented the “gebildeten Stände” from enjoying the pleasures of the gallery, which required silent contemplation. To restore order, Füger had asked the Oberstkämmerer for permission to introduce a system of tickets and to reduce admission from three to two days a week. His request was granted in the same year, 1813, and the new ruling was announced in the Wiener Zeitung. Lhotsky 1941–45 (note 1), vol. II 2, p. 488. 12 Christian von Mechel, Verzeichniss der Gemälde der Kaiserlich Königlichen Bilder Gallerie in Wien, Basel 1783, Vorbericht VIII: “Jedes Fenster dieses prächtigen Gebäudes entdeckt dem Auge eine herrliche Gegend, ein neues Naturgemälde.” 13 Resp. by Duke Anton Ulrich of Braunschweig-Wolfenbüttel, Elector Max Emanuel of Bavaria and King Frederik II of Prussia. 14 This public presentation in the Unteres Belvedere replaced the Hapsburg family portraits and paintings of the heroic deeds of Archduke Leopold Wilhelm and Prince Eugene of Savoy that had hung there since 1766 and c. 1780 respectively and to which access was limited. Aurenhammer 1969 (note 8), p. 50–51 and 61; Mechel 1783 (note 12), p. X and 315. 15 At that time there were seven paintings by Ignace Parocel in the Unteres Belvedere depicting Prince Eugene’s battles. Aurenhammer 1969 (note 8), p. 61. He was renowned especially for his victory over the Ottomans at the battle of Zenta in 1697. 16 Aurenhammer1969 (note 8), p. 85–86 and 1971, p. 28. Grabner 2011 (note 11), p. 107. 17 In 1815, during the Congress of Vienna that was held in the Belvedere, the participating rulers and statesmen eagerly visited the former Ambras Kunstkammer, thus spreading the fame of this collection internationally (Lhotsky 1941–45 (note 1), II 2, p. 490–91, 511–14). What the negotiators would have seen there had the character of a “Ruhmestempel des Hauses Habsburg”, according to Aurenhammer 1971 (note 8), p. 25. Lhotsky, II 2, p. 492 also mentions that after its removal to Vienna the Ambras collection was viewed through romantically-tinted spectacles, especially by Aloys Primisser, who was keeper of the cabinet from 1816 to 1827. According to Lhotsky he and his spouse Julie Mihes formed the hub of an eccentric circle who waxed lyrical about the German past. 18 Lhotsky 1941–45 (note 1), vol. II 2, p. 555. 19 The 1858 edition of Bergmann’s guide (see note 9) mentions the opening times of the collection as being ‘the summer months up to November, Tuesday and Friday from 9 to 12 and 3 to 6’. In the winter the museum remained closed as there was no heating. Carl Goebel the Younger’s watercolours give a good idea of the composition of the public in the years from 1875 to 1889; it is striking how often children are depicted. The process of ‘museumification’ was not unique to Vienna. The Kunstkammer in Dresden was also converted in the 1820s into a sort of historical museum, under the influence of Johann Kranz (oral account by Tristan Weddigen, 26 November 2011). 20 Recently by Georg Lechner, Die Anfänge der kaiserlichen Galerie im Belvedere 1776−1805, in: Agnes Husslein-Arco/ Katharina Schoeller (eds.), Das Belvedere. Genese eines Museums, Weitra 2011, p. 125. 21 Aurenhammer 1969 (note 8), p. 71 and note 179, refers to a floor plan by the court architect Johann Aman (HBA, Nr. 1033 ex 1816), indicating where an area was reserved for the classical sculptures, coins and bronzes, the library and the Etruscan collection in the building, which was already largely occupied by the Ambras collection. 22 Lhotsky 1941–45 (note 1), vol. I, p. 36–37 does not mention the source of this plan of 1833. In 1842 Arneth again came up with a design, providing a sort of museum quarter abutting on the library of the Hof. His combination of collections was even more encyclopedic; he linked the proposed museum centre (minus the painting gallery) to a proposal for founding an Academy of Sciences (implemented in 1847). Lhotsky 1941–45, vol. II 2, p. 547 and I, p. 36–37, again without naming the source. Lhotsky 1941–45, vol. I, moreover refers in note 4 to a plan for a museum building by Joseph Ziegler of 1827 (at that time: Städtische Sammlungen, Inv.no. 54309, Mappe Großformate), the background to which he has not succeeded in explaining. 23 In Vienna the ethnological collections were only removed from the Naturhistorische Museum in 1927, in order to continue their existence as the Museum für Völkerkunde in the Neue Hofburg. Max Fischer/Irmgard Moschner/Rudolf Schönmann, Das Naturhistorische Museum in Wien und seine Geschichte, in: Annalen des Naturhistorischen Museums in Wien, 80, November 1976, p. 1–24: http://www.landesmuseum.at/pdf_frei_remote/ANNA_80_0001-0024.pdf , 15. 24 Aurenhammer 1969 (note 8), p. 72, note 184 and p. 78, note 234, refers to a floor plan by Johann Aman (Pl A, C IV 1, Nr. 8). See also Lhotsky 1941–45 (note 1), vol. II 2, 496–7; Christa Riedl-Dorn, Die grüne Welt der Habsburger. Zur Ausstellung auf Schloss Artstetten, 1. April bis 2. November 1989 (Veröffentlichungen aus dem Naturhistorischen Museum Wien, Neue Folge 23), Vienna 1989, p. 44; Robert Stangl, Eine mysteriöse Sammlung brasilianischer Hölzer in der Fachbereichsbibliothek Botanik: http://bibliothek.univie.ac.at/sammlungen/objekt_des_monats/files/XylothekText.pdf, consulted on 13 Nov. 2011: In 1822 the Emperor Franz I founded the Brasilianische Museum, with its premises in the Johannesgasse, presently no. 7, for the consignments from his daughter Maria Leopoldine and the scholars and scientists who travelled with her to Brazil. This museum was closed down however in 1836 after which the collection was split over various court cabinets according to the kind of object. Those of ethnographic interest for instance went to the so called Kaiserhaus in the Ungargasse while botanic items were rehoused in the Naturalienkabinett and later on in 1844 in a newly built museum in the university botanic gardens. See also note 26. 25 Lhotsky 1941–45 (note 1), vol. II 2, p. 493, note 151. Steinbüchel says this in 1828. 26 Lhotsky 1941–45 (note 1), vol. II 2, p. 496–7. What was involved here was not the Brazilian ethnographic objects, but