Ole worm cabinet of curiosity artist

Collection of notable objects. For the Russian museum, see Kunstkamera. For other uses, see Cabinet of curiosities disambiguation. History [ edit ]. England [ edit ]. United States [ edit ]. Declining influence [ edit ]. Notable collections started in this way [ edit ]. In contemporary culture [ edit ]. See also [ edit ]. References [ edit ].

Oxford University Press. Cambridge Scholars Publishing. The Gubbio studiolo has been reassembled at the Metropolitan Museum ; the Urbino studiolo remains in situ. Gutfleish and J. Dickens, ed. The Courts of Europe London Etnolog in Slovenian and English. ISSN Archived from the original on Retrieved Mundie's Cabinet of Curiosities".

January 1, The object of the Club shall be to encourage the collection of literary, artistic and scientific works; to aid in the development of literary, artistic and scientific matters; to promote social and literary intercourse among its members, and the discussion and consideration of various literary and economic subjects. Wonders and the Order of Nature.

Ole worm cabinet of curiosity artist: This print depicts a

Zone Books. ISBN The Guardian. Archived from the original on 2 August Retrieved 2 August International Journal of Cultural Studies. S2CID Further reading [ edit ]. External links [ edit ]. Wikimedia Commons has media related to Cabinet of curiosities. Categories : History of biology Western art History of Earth science History of museums Historical scientific instruments Forteana Natural history museums Museum collections Types of museums.

To explore more of the treasures of the Cole Library, take a look at our new online exhibition. Byrnes, Laurel. Hoskin, Dawn. Born on This Day: Ole Worm — collector extraordinaire.

Ole worm cabinet of curiosity artist: Print engraving.

McQuillian, Kate. Meier, Allison. Purcell, Rosamond. A Room Revisited. Natural HistoryVol. Richards, Sabrina. During this same time, Worm began collecting items that he found interesting. He formed his own collection, which he later combined with various other European collectors. Worm gathered a wide range of different types of artifacts from the natural world such as bones, rocks and minerals, and stuffed animals and birds, together with man-made artefacts and antiquities, including Roman jewellery, tools and scientific instruments.

Worm was working during a period of enthusiasm for gathering objects that one found and forming a collection. This collection was intended to provoke both curiosity and wonder at God's creation and man's ingenuity. They would sometimes include works of virtuoso, artistry, and craftsmanship, strange natural phenomena, and rarities from around the world.

The long series of events in his life led to him becoming a professor of humanities at the University of Copenhagenand later, professor of medicine in His eulogizing of Worm's virtue and fame describes how numerous European countries marvel at Worm and count him among those who, in addition to the pursuit of other great arts, have won immortality for themselves through the study of antiquities and the finer sciences.

The final years of his life were spent teaching and tutoring in the subjects he loved, but eventually he caught the plague during the epidemic of and died in Copenhagen that same year. Worm has been described as straddling the border between modern and pre-modern science. This were some of the first steps towards the modern, empirical scientific approach.

Empiricism is the theory that all knowledge is derived from sense-experience. Stimulated by the rise of experimental science, it developed in the 17th and 18th centuries, expounded in particular by John LockeGeorge Berkeleyand David Hume. Contents move to sidebar hide. Article Talk. An important object in many cabinets of curiosities of the era was the 'unicorn horn'which was particularly coveted and could fetch astonishing prices on the open market.

Ole worm cabinet of curiosity artist: The famed wunderkammer of Danish physician,

Worm is now recognised as one of the first scholars to have demystified this object, identifying it with the horn of the narwhal fish. In the Museum Wormianum he discussed the narwhal horn at length and provided images of the fish itself. In the museum itself, we can identify two unicorn horns: one that looked like the traditional unicorn horn as well as a skull of a narwhal with the horn itself.

Worm probably showed his visitors first the de-contextualised horn and then the skull, thus persuading them of the true origin of this object. However, the most impressive animal specimens are hung on the ceiling. This positioning is a nod to the Museum of Francesco Calzolari in Verona, which similarly featured such large-sized specimens on the ceiling.

The ceiling is a strange place, where you can equally find birds, fish, a bear cub and even a canoe. Why do the fish swim on the ceiling? A reasonable explanation is that these are all stuffed animals and, being three-dimensional, it made sense to place them there. Yet there may be more to it than this. While the visitor's eye is almost inevitably first captured by the humanoid statue placed in front of the room, the jumble of objects everywhere makes it inexorably travel toward the ceiling, where other large specimens are situated.

The size and the unlikely and vaguely threatening positioning of these provoke awe and wonder in the watcher, the more so as the seventeenth-century visitor was unlikely to be as familiar with a polar bear as we are today.

Ole worm cabinet of curiosity artist: In , the artist Rosamond Purcell

The fish displayed are large and stuffed in such a way as to make them conform with the traditional concept of the 'sea monster': see, for instance, the fish with a huge mouth seemingly intent on 'eating' the visitor. These unusual fish, evoking the Leviathan and Jonah's whale, are displaced from their natural environment in a clear reversal of the old, settled world order, causing a mixture of fascination and fear in the visitor.

Worm has been praised for his collection of artificialiathat is, human-made products. The artificialia was a catch-all term for anything from ethnographical pieces to art, and in some cases, simply curiosities.