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The Cult of the Museum

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The Cult of the Museum The Cult of the a ii'ipiiiiitf/iffir" Museum L Joseph Rykwert r i gs& s$g • a "The Met," drawing by Red Grooms, 1978, ' 'The Cult of the Museum'' is s I looked, not long ago, through acceptable, because if every object that housed in temples and bath buildings, adapted from a presentation made the usual series of books on one dealt with required a personal although there were rare special museums and exhibitions, il response - if every knife and fork, every buildings, of which we know little, called as part of the 14th Ruth Short I e occurred to me that museums piece of jewelry, every bit of clothing pittakoihekae. for which special paintings Symposium, ' 'Vie Museum: Art did not. until very recently, have claimed an emotional response from the were sometimes commissioned. That and Architecture,'' held at the anAy recognizable exteriors - a phenomenon viewer - it could reduce the viewer to a kind of collecting lapsed at the end of that Pontus Hultcn even seeks to extend in nervous breakdown within a look or two. antiquity, and the whole notion of Museum of Fine Arts, Houston, remarking on the relative unimportance collecting works of art as works of art 25-26 March 1988. of the museum exterior. I further recalled In fact, a visit to any museum is also a lapsed with it. The best known of the a book I had chanced on in my late teens, visit to a series of objects displayed so as great collectors of antiquity was probably and which had shocked the assiduous to demand emotional and individual Gaius Verres. whose misgovernment and museum visitor in me at the time I read it responses. However friendly the spoiliation of Sicily was so effectively - Wliy Exhibit Works of An? by Ananda environment, however bland and denounced by Cicero. Coomaraswamy. He never gave a conclusive refreshing it may be. that experience answer to his conundrum and I think that always must be exhausting. It is therefore Greed for works of art revived with the he was never quite convinced that works useful to consider first what seems to me Holy Roman Empire. For many centuries of art should be exhibited, nor am I. the archetypic image of the viewer's collecting concentrated on curiosities. However, he ended his life as curator of response to a work of art: suggested by Mammoth bones, for instance, were Oriental Art at the Boston Museum so the portrait of the collector Andrea Odoni thought to be the bones of a human giant that inevitably he, like me. was very by Lorenzo Lotto, now at Hampton and were admired in St. Stephen's ambiguous about it all. Indeed, I think Court. He is holding a statuette, probably Cathedral in Vienna. Paintings and everyone must be more or less ambiguous Hellenistic, of Ephesian Diana in one sculptures returned to everyday use: to about museums. For despite whatever hand while the other is on his breast in a devotion or propaganda. At the same time goodwill and ingenuity can be brought to gesture signifying reflection. All around relics, particularly the members and bear, I am resigned, regretfully, to the him fragments of antique sculpture litter bones of saints, were collected and trudge which a visit to a museum will the room pell-mell: it is an image from displayed in elaborate jeweled holders. So always involve. The best-designed museum, the beginning of modern collecting and were the bones of great men, especially the most user-friendly museum, inevitably dated 1527. the period when surrounding of kings. In the chapel of the Escorial the makes for a trudge. And that is because yourself with fragments of antiquity bodies of the Spanish kings are coffined of the very nature of works of art. became the practice of a social and on shelves, one above the other. One intellectual elite. But their collections etagcre. for instance, houses those of At the beginning of the century, a were still not museums. Charles V. Philip II, Philip III. and German thinker, Georg Simmel, writing Philip IV. The whole underground chapel at the height of the art nouveau The word "museum" is itself antique. Its is surrounded by these shelves. It is not a movement, when hairpins and doorknobs true meaning comes out in James Joyce's collection or museum in our sense, even were being made into "works of art," deformation of it into "museyroom:" the if each coffin is itself a splendid object or pointed to an essential distinction room of the muses, the room in which even a work of art. between works of art (Kunstwerke) and you can receive or confront inspiration, what I propose to call "works of style" the room into which the muses descend All sorts of curiosities and exotica of non- {KtmstgewerbUche Gegenstttade: literally, to take hold of the victim or minion they human provenance were also collected: "products of art-craftwork;" my rather have chosen as their vehicle. That is a ostrich eggs, nautilus shells, outsize free translation is justified by his later very exalted idea of course, and indeed horns. They were mounted in gold or essay, "On the Picture Frame"). Works of the first public, institutional "museum," silver, sometimes very elaborately, to be art, he suggested, arc objects which the Muscion at Alexandria, was not like used as church ornaments, reliquaries, or demand a unique, emotional response at that at all. Il was an institution which, for objects of domestic display. Many every confrontation with one of them; its day, was exceptionally well equipped. treasuries were filled with them, even if that is why they have to be withdrawn But its collections and grants served a the one in Vienna has remained among from everyday life - and the withdrawal is rather menial purpose - to house the the most curious and perhaps the most represented by the frame of the picture. main propaganda or public-relations interesting since the edifying catalogue of "Style objects," on the other hand, are machine for the Ptolomaic kings of relics proper (or supposed), the part of a scries which are shaped by their Egypt. Its scholars, poets, and painters Heiltumsbuch (the special gate where the user's physical needs, require a user's were there as pensioners to glorify the relics were exhibited being popularly habit-formed, nonchalant response and Dynasty. known as the He'thumsiuhl), was actually the viewer's neglect. They demand that published in 1502! All such curia were lapse in attention which makes the fact The great private collections were built, collected much as people nowadays gather that they indeed may be valuable and have as they are now. by greed. robbery, and grand manuscripts, celebrated paintings, intrinsic merit beyond their price sometimes generous purchase. They were or sculptures. And indeed, old pictures Cite Fall 1988 17 rv •-. --. ••"V* ^•5* • 7P i ¥#r CK ? - ' • fiS \ • •a**?** -r» * • J rf-"- . Cpsts • ? i* • i • *• i i »»HUMt i < • • o P • » — ~ * . H • •" * * f \ ^ . * * . ft & «.-» \ U «u. ' '• < • .<••-••: - • '-' i • m -f t» ••*•*»***••*• ( > ', ' 1 ' . ' \ • i i i : - M ' !' I or •• •*•*****.-li* ** ' \ i-- 34 • V - v * . ' * **V*rV ^ T I J L , • ;l l .-.*. ...». : r ».- - • fc. i —-...••-• • ; X'* • -, •*#• ^ N • / <"%. •' *i>»* >•»- U » <•• • *-^* \ > >-*»"" i - * .*•» .»»—• •- f • !U \ • y a I .' .\ HZCLS i • ••••• -{ TE •^v»* J I t * ' • ks were already a matter for collectors in the museums in the ancient sense. possessed what may have been the coins and miniatures. 16th century. Nor were they simply greatest collection of drawings since amassed, but closeted in special cases In the middle of the 18th century it Vasari's. When the daughter of one of his Appropriately, about the most elaborate and ireasuries. even displayed on grand became increasingly common to give very particular lady friends was to marry, Kun.stschmnk ever made was for the occasions. One such display, organized antiquities the sort of framing which they he provided her dowry by selling the bulk Emperor Rudolph II, who even surpassed by Queen Mary of Hungary, widow of were thought to inspire, a "classical" of them to George III, in a transaction for his father Maximilian II as the most King Louis II and sister of the Emperor setting. The original Belvedere courtyard which James Adam acted as intermediary refined collector of his time. Not only did Charles V. comprised a whole buffet-altar built to an enigmatic design by the and which form the basis of the Windsor it house shells and rocks, but it also was of a feast, entirely arranged to display enigmatic Jacopo (or Giacomo) da collections. It is not quite clear how some crowned with a composition made up of precious and elaborate objects, recorded Pietrasanta was done over in 1773 by of them found their way into the Adam such "natural" specimens, The emperor's by an anonymous painting. This mania, Michelangelo Simonctti. A few years brothers' own collection. uncle, the Archduke Ferdinand II, put which Andrea Odoni's portrait succinctly later he also designed the Sala dellc together a vast number of such objects in represents, led to the formation of Muse, where the nine muses (Roman A nephew of the Pope who befriended his castle at Ambras outside Innsbruck. collections so large they required special copies of Hellenistic sculptures from Queen Christina of Sweden, Cardinal But he was also a great collector of buildings to house them. Hadrian's villa) and a modern Apollo Albani was one of the greatest, if not the pictures and of armor, as well as a great Musagctes (specially commissioned to most admirable, men of his time. His horse fancier: stables, antiquities, and In the Belvedere on the Vatican Hill a complete the group) constitute a true librarian was Johann Joachim pictures were housed in similar quarters succession of popes so housed their "museyroom." Simonetti's octagon was Winckelmann, the father of art history.
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