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Konstruktionen Europas in Der Frühen Neuzeit

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Konstruktionen Europas in Der Frühen Neuzeit Charlotte Colding Smith Turcica in North and Central European Libraries and Kunstkammers Abstract This paper aims to explore the collection and recognition of Otto- man objects together with those created by European artists and writers descri- bing and depicting the Ottoman Turk within sixteenth-century collections, par- ticularly in the German-speaking areas of the Holy Roman Empire. Specifically, it investigates the inclusion of these books and prints, as compared to decorative arts, costume and weaponry within the traditions and structures of early coll- ections, especially libraries and associated Kunstkammers. Within this frame, the Hapsburg collections in Vienna, Innsbruck, and Prague are directly compa- red with Kunstkammer and library collections in Dresden, Munich, Wolfenbüt- tel and Copenhagen. The focus is on whether these were collected to provide military intelligence in defence against the Ottoman armies and the Sultan, knowledge about an enemy culture, and theological background to the infidel Muslims? Or were they also objects of curiosity about a far-away society within an expanding world view, as early ideas of the ‘Oriental’ and ‘Orientalism’ were being established? Ottoman objects made their way into Central European Early Modern libraries and Kunstkammers (art cabinets), or curiosity cabinets in many ways, including as manuscripts, armour and costumes. The aim of this paper is to contribute to an overview of the types of works collected and how they were categorised and catalogued within a group of important court collections from Central and Northern Europe. I will consider objects from collections in Vienna, Innsbruck, and Prague, and offer comparisons between these and Kunstkammer and library collections in Munich, Dresden, Wolfenbüttel, and Copenhagen. These highlight several of the ways the Ottoman Empire was perceived in the sixteenth and seventeenth centuries. It is part of an ongoing project, which focusses on lib- rary catalogues and Kunstkammer inventories in order to find the connections between theological, intellectual, military and scientific discourse in Europe and perceptions of the Ottoman Empire. These collections have been studied, espe- cially in the context of individual museums or museum exhibitions, though little comparison has been made on books and manuscripts alongside the costumes, 159 160 — Charlotte Colding Smith military regalia, and other material objects in the collections.¹ I aim to establish how these inventories, catalogues, and lists serve to forge new connections, the- mes, and conceptions of the Ottoman Empire through the medium of Central and Northern European courts and court networks.² The display and fascination with the Ottoman Empire also appears in many images and figures created by European artists. Presented here is a mysteri- ous world completely unknown to the artist and often to the viewer. Inspired by material brought back from the Ottoman Empire itself, robed sultans, or powerful warriors, often take centre stage. The standing figure clock from the Hapsburg Kunstkammer collections, produced in Augsburg around the period 1580 to 1590, now in the Kunsthistorisches Museum, Vienna, is a case in point (fig. 1).³ 1 Veronika Sandbichler, Türkische Kostbarkeiten aus dem Kunsthistorischen Museum (Vienna: Kunsthistorisches Museum, 1997), 113–114; Claudia Schnitzer and Alf- red Auer, eds., Im Lichte des Halbmonds: das Abendland und der türkische Orient (Dresden: Staatliche Kunstsammlungen Dresden, 1995); Barbara Karl, Treasury, Kunstkammer, Museum: Objects from the Islamic World in the Museum Collec- tions of Vienna (Vienna: Verlag der Österreichsche Akadamie der Wissenschaften, 2011); Holger Schuckelt, Die Türckische Cammer: Sammlung orientalischer Kunst in der kurfürstlich-sächsischen Rüstkammer Dresden (Dresden: Sandstein, 2010); Robert Born, The Sultan’s World: the Ottoman Orient in Renaissance Art (Ostfildern: Hatje Cantz, 2015); Elisabeth Scheicher, “The Collection of Archduke Ferdinand II at Schloss Ambras: Its Purpose, Composition and Evolution,” in The Origins of Muse- ums, the Cabinet of Curiosities in Sixteenth and Seventeenth-Century Europe, ed. Oli- ver Impey and Arthur MacGregor (Oxford: Clarendon Press, 1985), 35–50; Eliška Fučíková, “The Collection of Rudolf II at Prague: Cabinet of Curiosities or Scientific museum?” in The Origins of Museums, the Cabinet of Curiosities in Sixteenth and Seventeenth-Century Europe, ed. Oliver Impey and Arthur MacGregor (Oxford: Clar- endon Press, 1985), 47–53. I would like to thank Dr. Paola Molino for her help with the catalogues of Hugo Blo- tius at the Austrian National Library in Vienna. 2 Rotraud Bauer and Herbert Haupt, eds., “Das Kunstkammerinventar Kaiser Rudolfs II. 1607–1611,” Jahrbuch der kunsthistorischen Sammlungen in Wien 72 (1976); Jahrbuch der kunsthistorischen Sammlungen in Wien 7/2 (1888), ccxxvi–cccxi; Dirk Syndram, Martina Minning and Jochen Vötsch, eds., Die kurfürstlich-sächsi- sche Kunstkammer in Dresden (1587, 1619, 1640, 1741) (Dresden: Sandstein-Verlag, 2010); Bente Gundestrup, ed., Det kongelige danske Kunstkammer 1737 = The Royal Danish Kunstkammer 1737 (Copenhagen: Kongelige Danske Kunstkammer, 1991); Registratur der bucher in des Churfursten zu Saxen liberey zur Annaburg 1574 – SLUB Dresden: Bibl.Arch.I.Ba,Vol.20: der erste Katalog der Bibliothek des Kurfürsten August; Faksimile und Transkription (Dresden: SLUB, 2010); Hugo Blotius, Librorum et ora- tionum de Turcis et contra Turcas scriptorium (Österreichische Nationalbibliothek, Cod. 15303 Han). 3 Kunsthistorisches Museum INV. NR. 6873 Turcica in North and Central European Libraries and Kunstkammers — 161 Fig. 1: Standing figure clock, produced in Augsburg around the period 1580 to 1590, Kunsthistorisches Museum, Wien. Inv. Nr. 6873 (Copyright KHM-Museumsverband). 162 — Charlotte Colding Smith This is an example of the late sixteenth-century tradition of automated clocks with delicate goldsmith work and it encapsulates many of the ideas about the Ottoman Empire present in Central Europe at this time.4 It showcases the opu- lent, upright figure of the Sultan, standing in the middle of a boat, guarded by a soldier with a scimitar and rowed by a turbaned man. A monkey sits mischie- vously at the golden prow, contributing to the idea of distant lands and the many riches within them. Manuscripts and objects related to Islam and the Ottoman Empire also pre- sented such opulence and display. This material had been in court and monastery libraries in Central and Northern Europe from the times of the Crusades, and later from the time of the Fall or Capture of Constantinople in 1453.5 It was from the late sixteenth century that texts by scholars and theologians directly ana- lysing the Ottoman Empire began to figure strongly in court libraries in Central and Northern Europe. This was a direct result of the wars between Hapsburg and Ottoman armies over Hungarian territory, in the 1520s, 1540s and 1556 together with the so-called long Ottoman wars of the 1590s into the seventeenth century, which culminated in the 1683 Battle of Vienna.6 In addition, direct diplomacy from the 1530s onwards, together with trade networks and the growing impor- tance of book and art agents, who worked for the courts such as the Augsburg agent Philip Hainofer (1578–1624), resulted in an influx of Ottoman material.7 4 Born, The Sultan’s World, 243–244. 5 Karl, Kunstkammer, 13–15; Julian Raby, “Exotica from Islam,” in The Origins of Muse- ums, the Cabinet of Curiosities in Sixteenth and Seventeenth-Century Europe, ed. Oliver Impey and Arthur MacGregor (Oxford: Clarendon Press, 1985), 251–258. 6 John Bohnstedt, “The Infidel Scourge of God: The Turkish Menace as seen by German Pamphleteers of the Reformation Era,” American Philosophical Society 58/9 (1968): 14–15; Stephen Turnbull, The Art of Renaissance Warfare, From the Fall of Constanti- nople to the Thirty Years War (London: Greenhill Books, 2006), 107–116; Karl Göllner, Turcica: die europäischen Türkendrucke des XVI. Jahrhunderts (Baden-Baden: Koerner GmbH, 1978), vol. 3, 87–88, 90–91; Thomas Kaufmann, Türckenbüchlein: Zur christ- lichen Wahrnehmung türkischer Religion in Spätmittelalter und Reformation (Göttin- gen: Vandenhoeck & Ruprecht, 2008), 66–75; John Roger Paas, The German Politi- cal Broadsheet, 1600–1700 (Wiesbaden: O. Harrassowitz, 2012), vol. 11, 21–30; Karl Vocelka, Die Politische Propaganda Kaiser Rudolfs II. (1576–1612) (Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 1981), 220–299. 7 Hans-Olof Boström, “Philipp Hainhofer and Gustavus Adolphus’s Kunstschrank in Uppsala,” in The Origins of Museums, the Cabinet of Curiosities in Sixteenth and Seven- teenth-Century Europe, ed. Oliver Impey and Arthur MacGregor (Oxford: Clarendon Press, 1985), 90–94.; Gerhard Seibold, Hainhofers „Freunde“: das geschäftliche und pri- vate Beziehungsnetzwerk eines Augsburger Kunsthändlers und politischen Agenten in der Zeit vom Ende des 16. Jahrhunderts bis zum Ausgang des Dreißigjährigen Krieges im Spiegel seiner Stammbücher (Regensburg: Schnell & Steiner, 2014). Turcica in North and Central European Libraries and Kunstkammers — 163 The Holy Roman Emperor Ferdinand I, was amongst the earliest to incor- porate Ottoman objects into a central European court collection. His collec- tion largely originated from his role as leader of the Hapsburg armies in the wars against the Ottoman Empire. Ferdinand had been made King of Bohemia and Hungary in 1526, after the death of King Louis of Hungary at the Battle
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