The princely treasures examined in this book survive from the Renaissance tradition of hoarding wealth not merely for reasons of war and defense but also for the love of collecting beautiful, "marvelous," or rare things. In this all-color book the reader will encounter some of the most fascinating personalities of medieval-Renaissance/Baroque Europe, as well as some of the brightest stars of the European decorative arts: the sculptors Benvenuto Cellini, Adriaen de Vries, and Balthasar Permoser, the silversmiths Wenzel Jamnitzer and Johann Melchior Dinglinger, the Saracchi and Miseroni lapidarists of Milan, the painter Pol and Jean de Limbourg, Jan Vermeyen, and Guiseppe Arcimboldo, the enamalist Pierre Courteys, and the ceramist Bernard Palissy, among scores of others.

The House of Habsburg was one of the wealthiest dynasties in Europe, and many of its members were also great collectors and patrons of the arts. Their love of magnificence is reflected in the quality and diversity of the objects in Viennas Kunstkammer, one of the most important collections of decorative arts in the world. This book features around 150 of the masterpieces from the Habsburg collections, ranging from sublime works of sculpture and fine metalwork to exotic objects fashioned from ostrich eggs, nautilus shells, rhinoceros horns and sharks teeth. Alongside the Saliera, Benvenuto Cellinis famous golden salt cellar, and the High Gothic sculpture known as the Krumau Madonna, are extraordinarily delicate works carved from ivory, gorgeous tapestries and mechanical marvels. The emperors, princes and archdukes who shaped these collections wanted not only to create a sense of wonder in all who gazed upon them but also to symbolize their own dominion over the world. Filled with lavish photographs and fascinating insights, this is a worthy tribute to the Habsburgs and their lasting artistic legacy.

Ten years after the tragic theft of Benvenuto Cellini’s masterpiece, a gold and enamel saltcellar, Vienna’s Kunstkammer (Art Room) at the Kunsthistorisches Museum has reopened. Completely renovated, the gallery is once again showcasing the Habsburg dynasty’s exceptional collection of art and wonders. Here is a trove of sculptures and bronzes by such giants as Donatello and Giambologna, the world’s greatest collection of Baroque carved-ivory figures, and glorious Baroque silver goblets and vessels, as well as magically endowed natural wonders, such as ostrich eggs mounted in jewels, gold, and silver gilt. Pride of place is held by the Cellini saltcellar, which was found nearly 3 years after its disappearance in the woods 55 miles north of Vienna, as were the thieves. It had been buried underground and survived in perfect condition. With text by the museum’s director, Sabine Haag, and the curator of the Kunstkammer, Franz Kirchweger, alongside specially commissioned photography, this book celebrates a marvelous collection, at last reunited.

The Habsburgs rank among the most celebrated ruling dynasties in history. At one point, their territories stretched not only across Europe but across the globe, into Asia, Africa and the Americas. By virtue of their long pre-eminence, the family made an indelible mark on European affairs, shaping the course of international politics and diplomacy, and knitting together the diverse peoples of Central Europe. The story of the Habsburgs is theatrical and compelling, but it is also vital for understanding how kings ruled, nations rose, and societies changed as modern Europe came into being. In this book, Benjamin Curtis explores both the Spanish and Austrian branches of the dynasty, providing a concise, comprehensive picture of the dynasty's development. This study clearly demonstrates why the Habsburgs are considered the most consistently accomplished practitioners of European dynasticism.

Signs of Power in Habsburg Spain and the New World explores the representation of political, economic, military, religious, and juridical power in texts and artifacts from early modern Spain and her American viceroyalties. In addition to analyzing the dynamics of power in written texts, chapters also examine pieces of material culture including coats of arms, coins, paintings and engravings. As the essays demonstrate, many of these objects work to transform the amorphous concept of power into a material reality with considerable symbolic dimensions subject to, and dependent on, interpretation. With its broad approach to the discourses of power, Signs of Power brings together studies of both canonical literary works as well as more obscure texts and objects. The position of the works studied with respect to the official center of power also varies. Whereas certain essays focus on the ways in which portrayals of power champion the aspirations of the Spanish Crown, other essays attend to voices of dissent that effectively call into question that authority.

The works of Carl Faberge are among the world's outstanding artistic treasures. Imperial Jeweller to the Russian court, Faberge enjoyed acclaim across Europe: a status epitomized by his creation of a miniature replica of the Russian crown jewels for the 1900 Paris Exposition: from 4,000 diamonds.

"The relationship between artists and their patrons has always been a complex and fascinating one. In the case of the Habsburg rules of the sixteenth and seventh centuries, this is especially true, not only because those rulers are themselves of intrinsic interest, but because the artists whom they encouraged or employed - Durer, Titian, El Grego, Rubens - were among the greatest of all times. In Princes and Artists Professor Trevor-Roper explores the relationship between art and patronage through the careers of the Emperor Charles V (1500-58), his son Philip II of Spain (1527-98), the Emperor Rudolf II (1552-1612) and 'the arch-dukes" - Albert and Isabella - who ruled the southern Netherlands from 1598 to 1633. In the context of their personal lives, their several courts, their political activities, and the ideological conflicts of the era, art played an immensely important role - partly as propaganda, partly for the sheer aesthetic pleasure it gave. The author argues that the distinctive characteristics of patronage in this period, which spanned the transition from the High Renaissance to the Baroque in art, from the Reformation to the Counter-Reformation in ideology, are to be explained by the 'world picture' of the age: "Art symbolised a whole view of life, of which politics were a part, and which the court had a duty to advertise and sustain." -- Book jacket.

Following conflicting desires for an Aztec crown, this book explores the possibilities of repatriation. In The Contested Crown, Khadija von Zinnenburg Carroll meditates on the case of a spectacular feather headdress believed to have belonged to Montezuma, emperor of the Aztecs. This crown has long been the center of political and cultural power struggles, and it is one of the most contested museum claims between Europe and the Americas. Taken to Europe during the conquest of Mexico, it was placed at Ambras Castle, the Habsburg residence of the author’s ancestors, and is now in Vienna’s Welt Museum. Mexico has long requested to have it back, but the Welt Museum uses science to insist it is too fragile to travel. Both the biography of a cultural object and a history of collecting and colonizing, this book offers an artist’s perspective on the creative potentials of repatriation. Carroll compares Holocaust and colonial ethical claims, and she considers relationships between indigenous people, international law and the museums that amass global treasures, the significance of copies, and how conservation science shapes collections. Illustrated with diagrams and rare archival material, this book brings together global history, European history, and material culture around this fascinating object and the debates about repatriation.

The creation and dissolution of empires has been a constant feature of human history from ancient times through the present day. Establishing new identities and new power relationships, empires also irrevocably altered social structures and the material culture on which those social structures were partly based. The political activities of empires are materially reflected in the movement of objects from periphery to center (and vice versa) and in the formation and display of collections which represent the potential for the production and the dissemination of knowledge. Imperial collecting practices tell stories that are complementary to and go beyond the classical sources of official history, the statistics of social history and even the narratives of collective or individual oral history. Building on previous work on European and Colonial object histories, this collection of essays--for the first time--approaches the subject of collecting and empires from a global and inclusive comparative perspective by addressing selection of the greatest empires the world has known from Han China to Hellenistic Greece to Aztec Mexico to the Third Reich. The comparative historical investigation of imperialism through the lens of collecting practices, museum archetypes and museums proper, helps shape our understanding of contemporary aesthetics and diversity management as well as helps identify what is imperial about our own approaches to material culture.