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.

This beautiful book tells the fascinating story of the Habsburg dynasty, which ruled most of central Europe, Spain, Belgium, and parts of Italy for nearly 600 years, from the 15th through the 20th century. Charles V (1500-1558) once remarked that the sun never set on the Habsburg Empire, and for most of its history, Vienna served as its capital. The Habsburgs were acclaimed collectors and generous patrons of the arts. Franz Joseph I (1830-1916), the penultimate emperor of the dynasty, created the Kunsthistorisches Museum in Vienna to house the artistic treasures of the empire. Today, this museum possesses one of the most renowned collections in the world of Western art. An extraordinarily wide-ranging survey of the Habsburgs' collections, this volume features classical Greek and Roman works, medieval arms and armor, tapestries, early modern painting and craftwork, ceremonial gilded carriages, and opulent costumes. Together, they reveal the splendor and the spectacle of the Habsburg court. Distributed for the Museum of Fine Arts, Houston, in association with the Minneapolis Institute of Arts, the High Museum of Art, Atlanta, and the Kunsthistorisches Museum, Vienna Exhibition Schedule: Minneapolis Institute of Arts (02/15/15-05/10/15) The Museum of Fine Arts, Houston (06/14/15-09/13/15) High Museum of Art (10/18/15-01/17/16)

This book explores the various ways imperial rule constituted and shaped the cities of Eastern Europe until the First World War in the Tsarist, Habsburg, and Ottoman empires. In these three empires, the cities served as hubs of imperial rule: their institutions and infrastructures enabled the diffusion of power within the empires while they also served as the stages where the empire was displayed in monumental architecture and public rituals. To this day, many cities possess a distinctively imperial legacy in the form of material remnants, groups of inhabitants, or memories that shape the perceptions of in- and outsiders. The contributions to this volume address in detail the imperial entanglements of a dozen cities from a long-term perspective reaching back to the eighteenth century. They analyze the imperial capitals as well as smaller cities in the periphery. All of them are "imperial cities" in the sense that they possess traces of imperial rule. By comparing the three empires of Eastern Europe this volume seeks to establish commonalities in this particular geography and highlight trans-imperial exchanges and entanglements. This volume is essential reading to students and scholars alike interested in imperial and colonial history, urban history and European history.

Liberalism, Nationalism and Design Reform in the Habsburg Empire is a study of museums of design and applied arts in Austria-Hungary from 1864 to 1914. The Museum for Art and Industry (now the Museum of Applied Arts) as well as its design school occupies a prominent place in the study. The book also gives equal attention to museums of design and applied arts in cities elsewhere in the Empire, such as Budapest Prague, Cracow, Brno and Zagreb. The book is shaped by two broad concerns: the role of liberalism as a political, cultural and economic ideology motivating the museums’ foundation, and their engagement with the politics of imperial, national and regional identity of the late Habsburg Empire. This book will be of interest for scholars of art history, museum studies, design history, and European history.

Next to Rosslyn Chapel in Scotland, no other place on Earth holds as much esoteric symbolism as France's Rennes le Ch'teau. Its location and design are the subjects of countless rumors, myths, and legends. Mysteries of Templar Treasure and the Holy Grail, formerly published as The Secrets of Rennes le Chateau, delves into the reality behind the action and adventure of The Da Vinci Code. Rennes le Chateau has plenty of secrets: buried treasure, unsolved murders, supernatural powers, codes on parchments and tombstones, not to mention clues concealed in statues and paintings, enigmatic priests who controlled immense wealth, and secret societies that are still active today. The authors survey the arcane history and secrets of Rennes le Chateau, including its relationship to the Merovingian bloodline of Christ. The Chateau is a possible location of an immense treasure, such as a Templar, Cathar, or Priory of Sion hoard. The final resting place of a famous artifact like the Ark of the Covenant, the Spear of Longinus, the Emerald Tablets of Hermes Trismegistus- or even the Holy Grail. The authors also examine Rennes le Chateau's proximity to Cathar and Templar fortresses, its mystical layout, and its location on the same Paris meridian as so many other esoteric mysteries. Extensive appendices in the book offer possible solutions to secret cryptograms, point out odd connections and commonalities between Rennes le Chateau and J.R.R. Tolkien's Lord of the Rings, and suggest the possibility of fourth-dimension/tesseract implications.

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.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.