Preserving for the Future

Preserving for the future

How the Leibniz research museums deal with our cultural heritage CONTENT

INVITATION Research for preservation 04

INTRODUCTION Preserving our cultural heritage 05

LEIBNIZ Deutsches Bergbau-Museum Bochum 06 RESEARCH MUSEUMS Deutsches Museum Munich 07

German Maritime Museum Bremerhaven 08

Germanisches Nationalmuseum Nuremberg 09

Museum für Naturkunde Berlin 10

Römisch-Germanisches Zentralmuseum Mainz 11

Senckenberg Gesellschaft 12

Zoological Research Museum

Alexander Koenig Bonn 13

VIDEOS A look behind the scenes 15 Infrared reflectography is used at the Germanisches Nationalmuseum in Nuremberg to reveal the underdrawing beneath the paint layers of a late- medieval painting.

03 Research for preservation

Many of the everyday objects which surround us today will one day fea- ture in a museum collection. The Osborne 1 from 1981, for instance, which is one of the ﬁrst portable computers is now stored in the Deutsches Museum in Munich. Many people are aware of the importance of research in interpreting our museum collections. The research and expertise required to preserve this heritage is less well known. In the case of Osborne 1, this relates to its function but also to changes in the plastic of the casing and interior, being analysed in order to minimise the deterioration processes. The research museums of the Leibniz Association cover the thematic 04 range from natural history and cultural history to technology. Conduct- ing research with their collections is one of their key objectives. Such collections form the foundation for research of changes and developments in the past and present as well as for communicating and explaining their meaning and possible conclusions. Experts in restoration, conservation and preparation are thus continuously developing new methods for preserving the more than 100 million objects in the Leibniz research museums for use in research and education. It therefore pleases me greatly that the Leibniz research museums are providing deeper insights into this topic with a wide-ranging programme during the European Year of Cultural Heritage. I cordially invite you to engage with our “experts in preservation” at the various events and exhibitions hosted by the Leibniz research museums.

MATTHIAS KLEINER President of the Leibniz Association Preserving our cultural heritage — a challenge for the science of conservation

The intention of the European Year of Cultural Heritage is to This may sound like typical materials science. However, the make Europe a little more tangible to Europeans. The aim is conservation experts must also be well-versed in art history, already revealed in the title: “Shared Heritage”. Our own cultural history and natural history in order to be able to history and that of our neighbours is told through objects. assess the objects in their specifi c form and conduct the These objects frequently highlight our eventful relations — stabilising and protective measures in line with the objects’ our exchanges of technology, our trade links, our wars. Some historic importance and signifi cance to natural history. of the objects are centuries, even millennia, old. And yet we This places high demands on those performing the still expect even fragile pieces to be made accessible to us work. They are always working with unique objects and can- in museums. However, this is by no means an easy task. not afford to “experiment”. There is also always an inherent Instead, it is the result of the great scientifi c skill and arti- tension between traditional and modern techniques. The tried- sanship with which restorers, conservators and preparators and-tested methods are predictable in terms of the likely treat the objects, which are composed of a huge range of effects that protective substances will have on the objects. materials. This is because the objects are highly sensitive High-tech procedures, which are the subject of intensive 05 to physical, chemical and biological infl uences. Decay is a research, take account of new or previously unsolved threat natural process inherent to all materials. Delaying this pro- scenarios such as climate change. cess and therefore preserving the objects in the long term This fi eld of work is broad, topical and exciting. It is the task of the experts in conservation science. ranges from preserving the earliest products of Earth’s ge- The scientists in this fi eld take an interdisciplinary ological formation, to stabilising the pharaoh’s mask of Tut- approach to their work. They use methods from the natural ankhamon, through to handling modern plastic products cre- sciences and technology in order to understand material ated to have only a limited useful life. structures, manufacturing processes and biological geneses. The following contributions show how broad the spec- How do natural factors such as temperature, moisture, vi- trum of activities is that restorers, preparators, chemists brations and light affect a material? What are the effects of and conservation scientists so passionately dedicate them- chemical infl uences such as pollutants in the surrounding air selves to at the Leibniz research museums. For the purposes or released by covering storage media, and how do compos- of research as well as teaching, they allow us to look back ite objects mutually affect one another? All these processes into our past and thereby give our history a future. need to be understood and evaluated. The next stage is about damage limitation. The aim is to identify methods for reduc- ing harmful infl uences and stabilising the object after it has incurred damage.

STEFAN BRÜGGERHOFF is a materials scientist and director of the Deutsches Bergbau-Museum Bochum, the Leibniz Research Museum of Georesources. He leads the joint programme of the research museums in the European Year of Cultural Heritage 2018, which aims to familiarise the public with the research and expertise on preserving the museums’ collections. » Some of my colleagues say that this work is like that of doctors working in palliative care.

Deutsches Bergbau- Museum Bochum — Leibniz Research Museum of Georesources

ESTABLISHED: 1930 / OBJECTS: From major technical I am a chemist and have specialised in the analysis of plastic- appliances and work tools to miners’ uniforms, coins, based museum objects. Some of my colleagues say that this and mining-themed postage stamps / RESEARCH FOCUS: Archaeometallurgy, mining history, materials sci- work is like that of doctors working in palliative care. That’s ence, mining archaeology, and the document centre because our enemy is time itself and — no matter what we for mining history do — everything decays in the end. The question is, what WWW.BERGBAUMUSEUM.DE 06 does “the end” mean? Tomorrow, or in a hundred years? Do we wish to accept this loss, or fight to preserve the wonders of technology for a little longer — things like the high-precision surveying gyro that was used to build the Channel Tunnel between Dover and Calais? Most people associate plastic with problems: microplastics in the ocean, plastic bags in supermarkets, etc. And yet plastics are a fantastic material. They are resistant to mechanical stress and heat and can be elastic or extremely hard. Life without plastics would now be unthink- able. If you don’t believe me now, you would certainly change your mind if you had to go to hospital. From sterile gloves through to artificial heart valves, doctors rely heavily in plastics to save lives. But even plastics decay, albeit in very different ways. Some become brittle, others turn to viscous masses. In most instances, we need to control the climatic conditions in order to preserve them. With rubber, we need to remove the oxygen; for polyester urethanes, we need to reduce the humidity. For composite objects made of several different materials, all of them requiring different conditions — such as a respirator or a suspended monorail used in mining — this work is very difficult to perform. It is thus inevitable that we will ultimately lose some objects. This makes the things we do manage to preserve all the more precious. Few visitors are aware of how much work the restorers, chemists and physicists put into the museum’s objects. Today, we digitalise everything in order to preserve it. Yet even with digitalisation, we ultimately encounter the same problem. That’s ELENA GÓMEZ SÁNCHEZ often travels to the past in her role as a because digitalisation relies on plastics. And who wants to watch a video chemist working in materials science at the about a mineshaft if they can stand in that mineshaft themselves, watch Deutsches Bergbau-Museum Bochum. During a re- the machines at work and feel their power and movements around them? cent analysis of a diving suit from the turn of the twentieth century, she encountered a development by Charles Macintosh for water- « proof textiles from 1823. » At our seven depots, we store objects in an area equivalent to six and a half football pitches.

Deutsches Museum Munich

ESTABLISHED: 1903 / OBJECTS: From the fields of sci- The entire exhibition building of the Deutsches Museum is ence and technology; from mining to atomic physics, currently being refurbished. And because this requires all the from the Cave of Altamira to the over-sized replica of a human cell / RESEARCH FOCUS: Object research exhibits to be moved out before the renovation and to be and conservation science research; the history of brought back afterwards, we are using this opportunity to up- science, technology and environmental sciences; open date our inventory. This allows us to complete partial entries research laboratories and communicating science studies and museological research and gather digitalised information on all artefacts. Once the 07 WWW.DEUTSCHES-MUSEUM.DE first part of the building is remodelled, the second part will be closed and we will access and transport the artefacts in it. How to move a museum’s collection? We decided to first survey the objects before moving them, because we wanted to understand the context of their location on the shelves before losing it due to the transport. The most important thing is to give all employees very clear instructions. Techno- logical and scientific objects can contain hazardous substances, such as mercury, asbestos and harmful engine oils. This has to be noted directly on the object’s tag. And every employee has to know how to react if something goes wrong. At our seven depots in and around Munich, we store objects in an area equivalent to six and a half football pitches. The areas are divided into squares, like in a game of battleships. This makes it easy to quickly locate objects. A museum has many requirements when it comes to its storage facilities: climate, security, floor-loading capacity and access. An aeroplane won’t fit through most doors, and we need to be able to access everything easily. Depots are also expensive; online retailers are driving up rents. Nevertheless, we have now handled three-quarters of the objects in our collections and have updated our databases by using our mobile work trolleys directly at the respective storage location. On the website “Deutsches Museum Digital”, any interested per- son can see photos of our exhibits and get information on them. It would TATJANA KESSLER is a restorer and coordinates the removal and also be great if we could give tours to visitors in our depots. Most people return of the Deutsches Museum’s collection. simply aren’t aware that a museum keeps, cares for and conducts re- If you love order, you have to remain detached search on far more objects than it can exhibit in its exhibition rooms. from things, Kessler believes. It’s just as well that this is easier for a private indi- However, the purpose of a depot is the exact inverse of this: it is there vidual than for a museum, at least from an to protect the exhibits — to keep them dark, safe and dust-free. administrative perspective. « » By restoring it, we re-imbue the ship with its original character.

German Maritime Museum — Leibniz Institute for Maritime History

ESTABLISHED: 1975 / OBJECTS: From original ships, It’s easy to grow particularly fond of certain objects. That’s ship’s models, flare guns and sea charts through to what happened to me with our motorised Zeesboot (a type personal testimonies and image sources / RESEARCH of wide-hulled sailing boat) from the former GDR. This was FOCUS: The relationship between “humans and the sea”, as expressed through the invention, usage and con- left to us in 1997 as a permanent loan by our colleagues at templation of maritime technologies. the Maritime Museum in Rostock. We only have the stern WWW.DSM.MUSEUM 08 section, and that arrived at the museum in pieces. We restorers have reconstructed and restored it and re-imbued it with its very own unique character. Zeesboote were originally so-called Haffboote, a type of sailing vessel popular on the Baltic coast, which were made of oak and featured two sails. A Zeese is a net sack for fishing, which the boat drags across the bottom of the sea. Our boat dates from 1927. But it did not gain the appearance it now has in the exhibition until the 1950s/1960s. The GDR urgently needed more fish for the population, and every boat was a bonus. The Zeesboot was fitted with a motor and a small, cube-shaped wheel house. Thus equipped, the boat spent around 20 years in service as a herring-fishing vessel on the Baltic Haffs, or lagoons, and coastal waters. However, at 10 metres in length, the Zeesboote were relatively small and there were many acci- dents. The fish stocks were also rapidly overfished. This is why these small cutters were turned back into leisure vessels in the 1970s and used to sail in regattas. It is still associated with these by many people today — at least in East Germany. Some of our visitors then grow nostalgic, as the boats remind them of their identity. During restoration, we worked with some of the same materials used at the time — ochre earth, pine tar, tallow and linseed oil — but also with modern conservation oils and restoration materials. Now we are planning to turn the segment into a complete boat, but in such a way that one can distinguish between the original and the reconstruction. Directly next to our small Zees- boot, we exhibit a trawl door. Trawl doors are made of steel and guide the fishing nets of modern factory ships; they are enormous. The trawl door alone is already half

the size of the entire Zeesboot. The juxtaposition makes it clear what a THOMAS AMMERMANN crazy business industrial fishing is — it uses up our marine resources, has been restoring boats, exhibits and paint- ings at the German Maritime Museum for 25 often to a point of no return. years. He is a state-certified member of the « German Association of Conservator-Restorers. » It’s the detective work that makes my job so interesting.

Germanisches Nationalmuseum — Leibniz Research Museum of Cultural History 09

ESTABLISHED: 1852 / OBJECTS: Artefacts of the cul- Museums collect, preserve, research and teach. It’s a team ture, art and history of the German-speaking world effort. And we conservators work with our colleagues at the from the earliest days to the present / RESEARCH museum to complete these tasks. An artwork is fi rst and FOCUS: Questions relating to the objects’ manufac- ture, function and historical influence, as well as foremost an object. It is a stand-alone artefact with no in- their classification according to geography, period herent meaning — its meaning only arises from our know- and cultural history ledge of the object: who made the artwork, for whom and WWW.GNM.DE using what materials? What has it been through? This is the kind of information we want to glean from it. For instance, our painting of St. Agnes, which was created in the mid-fi fteenth century, is black on the reverse side. Just seeing it in normal light was enough to make us suspect that an older picture had been painted over. When we X-rayed it, we were then able to make out an angel of the Annunciation and painted-over coats of arms. We found evidence of hinges and were able to conclude that this had once been the wing of an altarpiece, whose form and overall design we could now deduce. Using microscopes, we managed to establish the original colours, and could better understand the materials used by determining the elements. The coats of arms reveal which family commissioned the work, and thus open another window into the past. The writing of history is an act of construction, or at best re-construction. The objects often reveal facets of a topic that are not present in the written records. OLIVER MACK With the help of technical analyses, we can take the artefacts stored at directs the Institute for Art Technology and the museum and unlock the information they contain as historical sources. Conservation at the Germanisches Nationalmu- The detective work involved in this task is what makes my job so exciting seum. According to Mack, good conservators are both curious and cautious. That’s because they and provides ever-new insights into history. must first truly understand an object before « they begin working on it. » Visitors often ask, “Why do you preserve six million beetles; isn’t it enough to just keep one specimen of each species?”

Museum für Naturkunde Berlin — Leibniz Institute for Evolution and Biodiversity Science

ESTABLISHED: 1810 / OBJECTS: From the fields of It’s a moment of revelation for our visitors when I tell them zoology, palaeontology, geology and mineralogy / about my work as Head of the Science Programme Collection RESEARCH FOCUS: From the beginnings of the solar system and Earth’s development to evolutionary mech- Development and Biodiversity Discovery: “Wow, I am only anisms and diversity of life seeing the tip of the iceberg in the exhibition!” That’s when WWW.MUSEUMFUERNATURKUNDE.BERLIN people ask: “Why do you preserve six million beetles, why 10 100 zebra furs and skulls? Isn’t it enough to just keep one of each?” I then explain that every animal is an individual and, as such, unique, with different characteristics — just like with us humans. It’s precisely these subtle differences that we need for our studies. It’s like with art: nobody would dream of sorting through Monet’s water lilies and throwing away the 48th painting because it looks so similar to the 47th. We have great problems with our collection of furs. Foxes, badgers, zebras, cats — we have the furs of every animal you could think of. And yet they are crumbling away — the skin simply decays. This is the result of the tanning process, which has turned the furs acidic. Unfortunately, conservation is only slowly being adopted as a science within natural history collections; there still is a lack of knowledge there. The acid problem is also a familiar one with books, which can be saved by immersing them in a deacidification solution. We initially tried this with the furs; however, collagen, which is the key protein in skin, behaves differently from parchment. We have been working on alternative conservation methods for some time now in collaboration with a leather institute in Freiberg and a deacidification company in Leipzig. Even when we have found a solution, we will have to perform a triage in catastrophic cases in order to decide which of our 30,000 furs we will save, and which not. Another challenge is the fact that nobody knows what the natural history collections of the future should look like. Perhaps one day my successors will say: “Why didn’t you collect air and dust samples, and more water and soil samples? Microorganisms tell us CHRISTIANE QUAISSER a lot more than a blackbird.” All we know is this: whatever we don’t pre- holds a PhD in biology. At the Museum für serve today will be lost forever. This is as true of the museum as it is of Naturkunde in Berlin, she helps to continue nature itself. the development of its collection and inspires « visitors with her enthusiasm for biodiversity and snail slime. That’s because the latter is very useful in determining the animals’ DNA. » Research findings are the result of the teamwork performed by conservators, natural scientists and archaeologists.

Römisch-Germanisches Zentralmuseum — Leibniz Research Institute for Archaeology

ESTABLISHED: 1852 / OBJECTS: From Europe, Africa and “You will be working on objects in a very poor state of pres- East Asia, dating from the Stone Age to the early ervation.” This is what we tell the prospective students dur- 11 Middle Ages / RESEARCH FOCUS: Using archaeological finds, researchers study patterns of human beha ing their interview for the dual Bachelor course — and some viour all the way back to the beginnings of human of them are taken by surprise. Particularly if they expect existence. that the work of a conservator should be artistically or fo- WWW.RGZM.DE cused only on “beautiful objects”. This is not what conservation really is about. Above all it is our aim to get an archaeological object to reveal its history to us as an historic source, not only to prepare it for an exhibition cabinet. How and for what purpose did people create things in the past? We use the individual object to study the major contexts: how did we become human, how have societies changed, and what do past cultural practices mean to us today? Therefore it requires infinite patience at the beginning, for instance when putting tiny fragments together like a jigsaw puzzle or removing dirt and the crust of corrosion. With this we prepare the objects for any kind of further examination. Research findings are the result of the teamwork performed by conservators, natural scientists and archaeologists. The results of this collaboration are revealed in joint publications. The students learn the necessary practical skills in our workshops. The majority of the theoretical teaching is provided by the Johannes Gutenberg University in Mainz. At the beginning of their training, students are often hesitant ULRIKE LEHNERT & UWE HERZ and almost fearful in their respect for the objects. This uncertainty then are two of twelve conservators at the Römisch- Germanisches Zentralmuseum. Like many of their vanishes as they gain practical experience in handling them. Accompa- students, they had learned a trade before start- nying the students along this journey is a challenge for us as teaching ing their education as conservators: Lehnert and instructing conservators; but it is also fun and rewarding. as a watchmaker, Herz as a dental technician. « But they are sure that none of these profes- sions were as interesting as the detective work involved in conservation now.

» The digitised stacked images allow us to study the animals in minute detail even decades later.

Senckenberg Gesellschaft für Naturforschung

ESTABLISHED: 1817 / OBJECTS: At eleven locations, the As our museum’s director, I primarily serve as a manager. collections represent the evolution of the earth and But my passion is working with tiny animals. Our area of life in space and time / RESEARCH FOCUS: The role of biodiversity in the Earth system expertise is soil zoology: millipedes, nematodes, earthworms, WWW.SENCKENBERG.DE mites, spiders, ground beetles, ants, and slugs. Twenty scientists study the composition of these animal communities 12 and how they are affected by humans. My favorites among the animals are the flatworms. We fill our soil samples in a pouch resembling a tea bag and place it in a water jar. The lack of oxygen forces the flatworms through the bag’s fabric into the water. We then extract the worms for a closer examination. There are countless species of soil animals, which are often very difficult to identify. This is tedious work, which limits the number of specialists. Yet, soil animals play an extremely important role since they maintain the nutrient cycles by processing dead leaves, dead wood, cadavers, and fecal matter. Our work always documents a specific point in time. This is the only way we can detect changes. Here is an example from the realm of snails: after the fall of the Berlin Wall, West German growers of cultivated shrubs developed the East German market. In newly opened garden centers they sold their plants — and with them the eggs of snails. Poof — two years later, a new species of snail crawled through the gardens in Görlitz. Many of the soil animals are stored in our collections as fixed specimens on microscope slides, embedded in special media. Some of these media can crystallise over time, damaging the prepared specimens. For this reason, we developed VIRMISCO, the Virtual Microscope Slide Collection. Microscopic images taken at different focal WILLI XYLANDER is the director of the Senckenberg Museum in levels are combined in a digital film that captures all details of the speci Görlitz and a professor of Special Zoology at mens, allowing us to compare minute traits of the animals even decades the Technical University Dresden. For those later. This is essential for our work, since nature’s diversity reveals itself who would like to understand the exciting world of soil animals he recommends a visit to in the detail — a fact already known to Goethe. the Senckenberg exhibition “The Earth’s Thin « Skin” and the associated Virtual Reality in- stallation, where visitors are shrunken down to the size of a woodlouse and encounter other denizens of the underground on their journey through the soil’s pores. » When I go netting insects in the museum’s garden, I catch gnats that have never been described before.

Zoological Research Museum Alexander Koenig — Leibniz Institute for Animal Biodiversity

ESTABLISHED: 1934 / OBJECTS: Scientific collections I am a taxonomist. We identify, classify and name types of primarily comprising terrestrial vertebrates and animals, plants and fungi. My specialism is in fungus gnats. insects / RESEARCH FOCUS: Innovative research on assessing and preserving biodiversity The Swedish natural historian Carl von Linné began taxono- WWW.ZFMK.DE mising species 250 years ago. Yet to this day, we still don’t know what goes on out there. In Germany alone, we have 13 approximately 48,000 species of animals, of which around 33,000 belong to the insects. The num- bers are continuously amended upward. When I go netting here in the museum’s garden, I catch species of gnats that have never been described before. Diversity is therefore exceptional. Yet at the same time, there are some scary things happening: in the past 30 years, we have lost 75 per cent of our insect biomass. No one knows why, and almost nobody cares. And yet we are greatly dependent on the services performed by these creatures. We can only protect what we know. This is why we scientists are working so hard to better understand biodiversity. It is a huge relief now to have databases with the genetic fingerprints of tens of thousands of species. The German database is being built within the German Barcode of Life project. The aim is to extract from the whole DNA of every species its unique DNA barcode. The specimen from which the DNA is extracted is also preserved — for example, the skull of a wild boar or an entire beetle. The more species we genetically store, the more straightforward it is to determine new and unknown material. We can now automatically determine the species composition in a mixed sample bottle by just sequencing the DNA barcodes in it. A process that used to take years can now be completed in a few weeks. Linné would have been thrilled. At the same time, he would probably be shocked by how we live today. In China, human pollinators run through the orchards with paintbrush- es so that food producers can harvest apples and cherries. If insects

continue to die out at these rates, we will soon be drowning in cadavers BJÖRN RULIK and faeces and will only have wind-pollinated grain to eat, i.e. cornflakes inventorises all animal species in Germany and white bread. It’s a bleak outlook, though I strongly hope that my four within the German Barcode of Life database. Within six years, he and his colleagues have children will still be able to count on the fantastic services of insects. recorded almost half of the known animal spe- « cies from Germany. Schwerpunktthema

14 2:07 MINUTES 9:10 MINUTES

A look behind LEIBNIZ RESEARCH MUSEUMS MUSEUM FÜR NATURKUNDE · BERLIN the scenes — Preserving for the future How did Giraffatitan shake How the Leibniz research museums its tail? in sounds and deal with our cultural heritage. Non-invasive techniques for images reconstructing dinosaur tail 7:40 MINUTES muscles. DEUTSCHES BERGBAU-MUSEUM BOCHUM Safety shoes in mining and their The experts behind the museum 11:51 MINUTES · RÖMISCH-GERMANISCHES future in a museum scenes of the eight Leibniz ZENTRALMUSEUM · MAINZ research museums present their Material science research at the One hand washes the other often hidden work in the fields Deutsches Bergbau-Museum Bochum. Examining a 2nd-century Roman of conservation and restoration. handwashing set. The films were realised as part 8:26 MINUTES DEUTSCHES MUSEUM · MUNICH of the European Cultural Heritage 9:29 MINUTES Cipher machine 41 Year by Libellulafilm Mair & Jahn SENCKENBERG GESELLSCHAFT FÜR NATUR- Object and materials research at FORSCHUNG · FRANKFURT AM MAIN and the Italian artist Cosimo the Deutsches Museum. Scrutinising the spotted Miorelli. nutcracker WATCH THE ENTIRE SERIES AT: 10:47 MINUTES Co-evolution of a bird and the WWW.YOUTUBE.COM/LEIBNIZVIDEO GERMAN MARITIME MUSEUM · BREMERHAVEN plant it feeds on. RAU IX The films are licensed under Investigating and preserving a 8:51 MINUTES a Creative Commons Attribution- historical whaler. ZOOLOGICAL RESEARCH MUSEUM ALEXANDER NonCommercial-NoDerivs 3.0 KOENIG · BONN Germany License. 9:33 MINUTES · Flower seeks hoverfly? GERMANISCHES NATIONALMUSEUM · NUREMBERG How DNA is helping to solve Dismantled — Painted Over — pollination ecology puzzle. Rediscovered! Investigating an almost 600 year-old painting. PUBLISHER Leibniz Association, Chausseestr. 111, D-10115 Berlin, info@leibniz-gemeinschaft.de, www.leibniz-gemeinschaft.de PRESIDENT Matthias Kleiner EDITORIAL BOARD Stefan Brüggerhoff (Deutsches Bergbau-Museum Bochum — Leibniz Research Museum of Georesources), Sophie Plagemann, David Schelp, Marlen Sommer (Leibniz Headquarters) PHOTOS Cover (bottom): CC BY-SA 4.0 GBOL/ZFMK · Cover (left), p.08: DSM · Cover (right): RGZM/Photo: Rene Müller · Cover (back), pp.02/04/05: DBM © Helena Grebe · Cover (back), pp.03/09/14: Germanisches Nationalmuseum, Nuremberg · pp.02/12: Senckenberg/Photos: Diana Goernert & Dr Axel Christian · p.06: DBM © Petra Eisenach · p.07: Deutsches Museum Munich · p.10: Museum für Naturkunde Berlin/Photo: Hwa Ja Götz · p.11: RGZM/Photo: Sabine Steidl · p.13: ZFMK/Photo: Björn Rulik · p.15: Images: Cosimo Miorelli DESIGN Novamondo Berlin VERSION 03·2018 (German) · 10·2018 (English)