Seite - 404 - in Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums - Europäische Museumskultur um 1800, Band 2

404 Meijers From an International Perspective those purchased in London in 1806 on the instructions of the Emperor Franz I from the museums of Ashton Lever and James Parkinson, and the James Cook collection. According to Fischer/Moschner/Schönmann 1976 (note 23), p. 6–7 these objects were in fact removed from the Unteres Belvedere in 1836, to be housed together with the ethnographic part of the Brasilianische Museum in the Kaiserhaus in the Ungargasse. 27 This free version of the ancient Theseion in Athens was built in 1820–22/23 by Peter von Nobile to accommodate Antonio Canova’s sculpture group of Theseus slaying the Centaur, originally ordered by Napoleon for the Corso in Milan but bought by Franz I after his defeat (since 1890 the sculpture adorns the stairwell of the Kunsthistorisches Museum). According to Lhotsky, the installing of a goodly number of Roman finds on Austrian soil in this temple in 1822 meant the creation of the first römische Provinzialmuseum in Austria. In 1840/41 the sculptures were moved to the Unteres Belvedere. Lhotsky 1941–45 (note 1), vol. II 2, p. 499 and 543. Lhotsky 1941, vol. I, p. 23–24. 28 Aurenhammer 1969 (note 8), p. 78, notes 232–234; and 1971 (note 8), p. 28; Lhotsky 1941–45 (note 1), vol. II 2, p. 556. 29 Stangl s.d. (note 24). According to Leopold J. Fitzinger, Geschichte des k. k. Hof-Naturaliencabinets zu Wien. V. Abtlg.: Periode unter Kaiser Ferdinand I. von Österreich von 1842 bis zum Rücktritte des Kaisers von der Regierung Anfangs December 1848, in: Sitzungsberichte der math.-naturwissenschaftl. Klasse der kaiserl. Akademie der Wissenschaften, LXXXII. Band, I. Abtlg., Jahrgang 1880, p. 298–299 the immediate reason was the appointment in 1840 of Stephan Endlicher as professor and director of the botanic gardens. Endlicher, who had up till then been the keeper of the Hof Naturalien Cabinet, also wanted to be certain of the future availability of his familiar research material and had thus persuaded the Emperor to agree to the transfer of the botanic collection and the relevant part of the library. 30 Lhotsky 1941–45 (note 1), vol. I, 37. Walter Wagner, Die frühen Museumsgründungen in der Donaumonarchie, in: Bernward Deneke/Rainer Kahsnitz (eds.), Das Kunst- und kulturgeschichtliche Museum im 19. Jahrhundert. Vorträge des Symposions im Germanischen Nationalmuseum, Nürnberg, München 1977, p. 19 names as examples Budapest 1802, Graz 1811, Prague 1818/20, Innsbruck 1823, Laibach (Ljubljana) 1821/31, Linz 1833, Salzburg 1834, Klagenfurt 1846. 31 Unlike Lhotsky 1941 (note 1) and Wagner 1977 (note 30), Georg J. Kugler, Das Nationalmuseum im österreichischen Vielvölkerstaat, in: Hadwig Kräutler/Gerbert Frodl (eds.), Das Museum – Spiegel und Motor kulturpolitischer Visionen: 1903–2003; 100 Jahre Österreichische Galerie Belvedere; Konferenzband zum gleichnamigen Symposium, anlässlich des 100-jährigen Bestandes des Museums, Wien, 16. bis 19. Oktober 2003: The museum – mirror and motivator of cultural-political visions, Österreichische Galerie Belvedere, Vienna 2004, p. 89–92 draws a distinction between National- museen and Landesmuseen and elucidates the discussion about their aims and character: “War ein Nationalmuseum jene Institution, die das historische Interesse eines Teiles der Bevölkerung eines Kronlandes wecken und fördern wollte, so stellten sich die Landesmuseen die Aufgabe, das gesamte Kronland zu repräsentieren, alle Volks- und Sprachgruppen eines Landes einzubeziehen.” The latter was the case for instance with the Tyrolean Landesmuseum Ferdinandeum (1823; new building, Innsbruck 1843–45), the Johanneum in Styria (Graz 1811) and the Landesmuseen of Moravia (Brünn 1817). In Bohemia on the other hand the purpose was to encourage the national (Czech) feelings of a particular people in the midst of a bilingual monarchy dominated by German-speaking Bohemians; the Böhmisches Nationalmuseum was thus founded in Prague in 1818. The Ungarisches Nationalmuseum (Budapest 1802) was also the product of patriotism and a sense of the identity of one’s own people. Kugler 2004 (note 31), p. 90–91. 32 For instance the considerable finds of coins and gold objects in Szilagy-Somlyö (1779) and Nagy-Szent-Miklos (1799). The impoverished discoverer of the latter hoard appears to have travelled on foot from the Banat region to Vienna, where she was given a reward of a thousand guilders by the keeper of the antiquities cabinet. The bronze helmets which were discovered in 1812 in Negau (Untersteiermark), were divided between the Landesmuseum Johanneum in Graz (five pieces) and the imperial cabinet in Vienna (twelve pieces). Lhotsky 1941–45 (note 1), vol. II 2, p. 477, 502–504; and 547 about the increasing claims made on such finds by the provincial museums. See also Lhotsky p. 500 (minerals) and p. 510 (paintings). 33 On the Böhmisches Nationalmuseum in Prague, see Wagner 1977 (note 30), p. 24 and Jan Bažant, Czech myths in the National Museum in Prag, in: Ernö Marosi /Gábor Klaniczay (eds.), The Nineteenth-Century Process of “Musealization” in Hungary and Europe (Collegium Budapest Workshop Series, 17), Budapest 2006. 34 Gábor Ébli, What made a museum ‘national’ in the nineteenth century? The evolution of public collections in Hungary, in: Ernö Marosi/Gábor Klaniczay (eds.), The Nineteenth-Century Process of “Musealization” in Hungary and Europe (Collegium Budapest Workshop Series, 17), Budapest 2006, 86; József Korek, Der Museumsgedanke und die Sammlungsmethoden in Ungarn. Die ersten fünfzig Jahre des Ungarischen Nationalmuseums (1802–1852), in: Bernward Deneke/Rainer Kahsnitz (eds.), Das Kunst- und kulturgeschichtliche Museum im 19. Jahrhundert. Vorträge des Symposions im Germanischen Nationalmuseum, Nürnberg, Munich 1977, p. 32. 35 Lhotsky 1941–45 (note 1), vol. II 2, p. 551–52. Lhotsky, vol. II 2, p. 526 describes Aloys Primisser’s idea for a Nationalmuseum in Schloss Ambras (1818) as a first step en route to the Tyrolean Landesmuseum Ferdinandeum, founded in Innsbruck in 1823. Primisser’s proposal included the return of a selection of the paintings from the Ambras collection that had been moved to Vienna, preferably to be followed by other parts. This romantic idea of restoring the old unity in a Schloss to be restored in the ‘sixteenth-century manner’ popped up again for a short while in 1855 but was never realized. 36 See Wagner 1977 (note 30), p. 20, 23–25. 37 Wagner 1977 (note 30), p. 19–22. 38 Debora J. Meijers, Kunst als Natur. Die Habsburger Gemäldegalerie in Wien um 1780 (Schriften des Kunsthistorischen Museums 2), Vienna 1995, p. 33. 39 Kugler 2004 (note 31), p. 90: “die großen, öffentlich zugänglichen, kaiserlichen Sammlungen waren kein National-