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Unicornucopia: The Unicorn as Collected Object Deirdre Pontbriand Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts and Design Masters Program in the History of Decorative Arts and Design Cooper-Hewitt, National Design Museum, Smithsonian Institution; and Parsons The New School for Design 2008 © 2008 Deirdre Pontbriand All Rights Reserved Table of Contents List of Illustrations……………….……………………………….………….……………ii Acknowledgements……….………………………………………………………….….xvi Introduction…………………….……………………………………………….…………1 Chapter One: Collecting in Early Modern Europe (1500-1700): Wunderkammern and the Horn of the Unicorn….……….....……………12 Chapter Two: Collecting Since the Late Nineteenth Century: ―A Culture of Abundance‖………….……………………………………33 Chapter Three: Unicorns in Popular Culture: Updated Myths…………………………50 Chapter Four: The Unicorn as Collectible Object and Its Modern-day Collectors……..74 Chapter Five: Transformations and Continuities in Collecting and Collectors: The Unicorn Object Reconfigured……………………………………….94 Conclusion……………………………………………………………………………...112 Bibliography………………………………………………………………………...….124 Appendix I: Interview Questionnaire…………………………….…………………….135 Illustrations……………………………………………………………………….….…136 ii List of Illustrations Figure 1: Unicorn model in the ―Mythic Creatures: Dragons, Unicorns and Mermaids‖ exhibition at the American Museum of Natural History in New York City, May 26, 2007- January 6, 2008. Taken from the American Museum of Natural History official Web site, http://www.amnh.org/exhibitions/mythiccreatures/. Figure 2: Proposed Unicorn Museum billboard. Taken from the Unicorn Museum official Web site, http://www.unicornmuseum.org/wp/submissions. Figure 3: The character Kathy Geiss in her unicorn-themed office from 30 Rock, Season 2, Episode ―Cooter,‖ May 2008. NBC.com official Web site, http://www.nbc.com/30_Rock/video/episodes.shtml. Photographed by author. Figure 4: Kathy among her unicorns from 30 Rock, Season 2, Episode ―Cooter,‖ May 2008. NBC.com official Web site, http://www.nbc.com/30_Rock/video/episodes.shtml. Photographed by author. Figure 5: More unicorn décor from 30 Rock, Season 2, Episode ―Sandwich Day,‖ May 2008. NBC.com official Web site, http://www.nbc.com/30_Rock/video/episodes.shtml. Photographed by author. Figure 6: The Sense of Sight, painted by Jan Brueghel and Peter Paul Rubens (1617-18) from the Museo del Prado in Madrid, depicts an imaginary yet typical princely collection. Found at the Web Gallery of Art official Web site, http://www.wga.hu/art/b/bruegel/jan_e/2/5sense2.jpg. Figure 7: Cabinet of apothecary Francesco Calzolari from his Musaeum Francisci Calceolari lunioris Veronensis, published in Verona (1622). Lorraine Daston and Katharine Park, Wonders and the Order of Nature: 1150-1750 (New York: Zone Books, 1998), 153. Figure 8: Unicorn tankard with enameled gold and diamonds, rubies, and an agate cameo made by Jan Vermeyen (ca. 1600) in the Wunderkammer of Rudolf II. Kunsthistorisches Museum Wien, Prag um 1600: Kunst und Kultur am Hofe Kaiser Rudolfs II (Freren : Luca Verlag, 1988), 448. Figure 9: Coconut cup with silver gilt made by Hans van Amsterdam (ca. 1533–34). Taken from the Metropolitan Museum of Art official Web site, http://www.metmuseum.org/toah/images/hb/hb_17.190.622ab.jpg. Figure 10: Ostrich egg cup with silver gilt and coral made by Clement Kicklinger (ca. 1570-75). Patrick Mauries, Cabinets of Curiosities (London: Thames and Hudson Limited, 2002), 89. iii Figure 11: Nautilus cup with silver-gilt possibly made in Antwerp (late 16th c.) from the Staatliche Kunstammlungen in Kassel. Oliver Impey and Arthur MacGregor, eds., The Origins of Museums: The Cabinet of Curiosities in Sixteenth- and Seventeenth-Century Europe (Oxford: Clarendon Press, 1985), figure 39. Figure 12: Sword with panels of unicorn horn with gold and silver gilt and jewels belonging to Charles the Bold (15th c.). Margaret B. Freeman, The Unicorn Tapestries (New York: The Metropolitan Museum of New York, 1983), 31. Figure 13: Scepter made from unicorn horn and diamonds, emeralds, rubies, and sapphires by Andreas Osenbruck for Holy Roman Emperor Matthias (1612). Fred Bruemmer, The Narwhal: Unicorn of the Sea (Toronto: Key Porter Books, 1993), 12. Figure 14: Throne incorporating pillars of unicorn horn made for King Frederick III of Denmark (ca. 1670). Lise Gotfredsen, The Unicorn, translated by Anne Born (New York: Abbeville Press, 1999), 166. Figure 15: Group of narwhals. Fred Bruemmer, The Narwhal: Unicorn of the Sea (Toronto: Key Porter Books, 1993), title page. Figure 16: Tusk protruding from the left side of the jaw of a male narwhal. Fred Bruemmer, The Narwhal: Unicorn of the Sea (Toronto: Key Porter Books, 1993), 28. Figure 17: Detail of narwhal tusks showing distinctive spiral at the New Bedford Whaling Museum. Photographed by author. Figure 18: Detail of narwhal tusks showing hollow interior at the New Bedford Whaling Museum. Photographed by author. Figure 19: A sense of scale. Found at Netcapades official Web site, http://www.netscapades.com/franklintrail/1995.htm. Figure 20: The rare occurrence of a double-tusk. Found at Fur Harvesters official Web site, http://www.furharvesters.com/narwhal.htm. Figure 21: Detail of unicorn imagery in Marco Polo‘s travel book Livre des Merveilles (1375). Lise Gotfredsen, The Unicorn, translated by Anne Born (New York: Abbeville Press, 1999), 146. Figure 22: Eleventh-century copy of a manuscript illustrating a unicorn originally written by Cosmas Indicopleustos (ca. 546). Lise Gotfredsen, The Unicorn, translated by Anne Born (New York: Abbeville Press, 1999), 23. Figure 23: English miniature showing a unicorn whose horn clearly resembles the tusk of a narwhal (ca. 1300). Lise Gotfredsen, The Unicorn, translated by Anne Born (New York: Abbeville Press, 1999), 61. iv Figure 24: Panel from ―The Unicorn Tapestries,‖ South Netherlandish (ca. 1500). Margaret B. Freeman, The Unicorn Tapestries (New York: The Metropolitan Museum of New York, 1983), 28. Figure 25: Panel from ―The Lady with the Unicorn Tapestries,‖ Flemish (ca. 1500). Margaret B. Freeman, The Unicorn Tapestries (New York: The Metropolitan Museum of New York, 1983), 63. Figure 26: German bestiary depicting two unicorns (early 16th c.). Lise Gotfredsen, The Unicorn, translated by Anne Born (New York: Abbeville Press, 1999), 42. Figure 27: St. Justina of Antioch with a Donor, Moretta da Brescia (ca. 1530). Lise Gotfredsen, The Unicorn, translated by Anne Born (New York: Abbeville Press, 1999), 128. Figure 28: Amulet fashioned from unicorn horn and gold shows evidence of being scraped presumably for medicinal use (ca. 1600). Rüdiger Robert Beer, Unicorn: Myth and Reality, translated by Charles M. Stern (New York: James J. Kery, Inc., 1977), 173. Figure 29: Doctor‘s poster advertising unicorn horn (17th c.). Rüdiger Robert Beer, Unicorn: Myth and Reality, translated by Charles M. Stern (New York: James J. Kery, Inc., 1977), 184. Figure 30: Mortar with heraldic unicorns from Frankfurt (17th c.). Rüdiger Robert Beer, Unicorn: Myth and Reality, translated by Charles M. Stern (New York: James J. Kery, Inc., 1977), 173. Figure 31: Signboard made of carved wood and narwhal tusk from Rottenbuch (ca. 1750). Rüdiger Robert Beer, Unicorn: Myth and Reality, translated by Charles M. Stern (New York: James J. Kery, Inc., 1977), 173. Figure 32: Einhorn-Apotheke in Germany. Found at Apotheken.de official Web site, http://www.apotheken.de/clubarea/index.php?idc=14987. Figure 33: Unicorn goblet with silver-gilt mounted by Nicholaus Kempf and possibly carved by Justus Klessger from Frankfurt (ca. 1654-1666) from the collection of Mr. and Mrs. A. B. Martin. Guido Schoenberger, ―A Goblet of Unicorn Horn‖ The Metropolitan Museum of Art Bulletin New Series 9, no. 10 (June 1951), 285. Figure 34: Unicorn goblet mounted by Nicholaus Birkenholz and possibly carved by Klessger (17th c.) from the collection of the Grand Duke of Hesse at Darmstadt. Guido Schoenberger, ―A Goblet of Unicorn Horn‖ The Metropolitan Museum of Art Bulletin New Series 9, no. 10 (June 1951), 286. v Figure 35: Unicorn goblet possibly carved by Klessger (17th c.) from the Ducal Museum at Gotha. Guido Schoenberger, ―A Goblet of Unicorn Horn‖ The Metropolitan Museum of Art Bulletin New Series 9, no. 10 (June 1951), 286. Figure 36: Unicorn goblet suggestive of Kempf (17th c.) from the collection of the Grand Duke of Hesse at Darmstadt. Guido Schoenberger, ―A Goblet of Unicorn Horn‖ The Metropolitan Museum of Art Bulletin New Series 9, no. 10 (June 1951), 286. Figure 37: Unicorn goblet suggestive of Kempf (1666) in the Historical Museum at Frankfurt. Guido Schoenberger, ―A Goblet of Unicorn Horn‖ The Metropolitan Museum of Art Bulletin New Series 9, no. 10 (June 1951), 286. Figure 38: Unicorn tankard mounted by Kempf with gilding, enameling, and garnets (17th c.) from the Esterhazy collection at Fraknó. Guido Schoenberger, ―A Goblet of Unicorn Horn‖ The Metropolitan Museum of Art Bulletin New Series 9, no. 10 (June 1951), 287. Figure 39: Flagon with unicorn imagery (15th c.). Rüdiger Robert Beer, Unicorn: Myth and Reality, translated by Charles M. Stern (New York: James J. Kery, Inc., 1977), 172. Figure 40: German cup in the shape of a unicorn with silver, gilding, enamel, and shell made by Elias Geyer (ca. 1600). Taken from the Gilbert Collection official Web site, http://www.gilbert-collection.org.uk/previous_exhibitions/dresden/index.html. Figure 41: ―The Start of the Hunt,‖ South Netherlandish (ca.
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  • The Emoji Factor: Humanizing the Emerging Law of Digital Speech

    The Emoji Factor: Humanizing the Emerging Law of Digital Speech

    The Emoji Factor: Humanizing the Emerging Law of Digital Speech 1 Elizabeth A. Kirley and Marilyn M. McMahon Emoji are widely perceived as a whimsical, humorous or affectionate adjunct to online communications. We are discovering, however, that they are much more: they hold a complex socio-cultural history and perform a role in social media analogous to non-verbal behaviour in offline speech. This paper suggests emoji are the seminal workings of a nuanced, rebus-type language, one serving to inject emotion, creativity, ambiguity – in other words ‘humanity’ - into computer mediated communications. That perspective challenges doctrinal and procedural requirements of our legal systems, particularly as they relate to such requisites for establishing guilt or fault as intent, foreseeability, consensus, and liability when things go awry. This paper asks: are we prepared as a society to expand constitutional protections to the casual, unmediated ‘low value’ speech of emoji? It identifies four interpretative challenges posed by emoji for the judiciary or other conflict resolution specialists, characterizing them as technical, contextual, graphic, and personal. Through a qualitative review of a sampling of cases from American and European jurisdictions, we examine emoji in criminal, tort and contract law contexts and find they are progressively recognized, not as joke or ornament, but as the first step in non-verbal digital literacy with potential evidentiary legitimacy to humanize and give contour to interpersonal communications. The paper proposes a separate space in which to shape law reform using low speech theory to identify how we envision their legal status and constitutional protection. 1 Dr. Kirley is Barrister & Solicitor in Canada and Seniour Lecturer and Chair of Technology Law at Deakin University, MelBourne Australia; Dr.