Cabinets Of Wonder

Translation of Cabinets de curiosites, published in Paris by Martiniere in 2011.

Finalist for Pulitzer Prize for General Nonfiction Finalist for National Book Critics Circle Award for Nonfiction Pronged ants, horned humans, a landscape carved on a fruit pit--some of the displays in David Wilson's Museum of Jurassic Technology are hoaxes. But which ones? As he guides readers through an intellectual hall of mirrors, Lawrence Weschler revisits the 16th-century "wonder cabinets" that were the first museums and compels readers to examine the imaginative origins of both art and science.

Exactly the book for every young explorer who loves finding stuff in nature and bringing it home. Cabinet of Curiosities is a lavishly illustrated introduction to the wonders of natural history and the joys of being an amateur scientist and collector. Nature writer Gordon Grice, who started his first cabinet of curiosities at age six when he found a skunk’s skull, explains how scientists classify all living things through the Linnaeus system; how to tell real gold from fool’s gold; how to preserve butterflies, crab shells, feathers, a robin’s egg, spider specimens, and honeycombs; how to identify seashells; the difference between antlers and horns; how to read animal tracks. And then, what to do with your specimens, including how to build a cabinet of curiosities out of common household objects, like a desk organizer or a box for fishing tackle.

Taking its inspiration from the wonder and curiosity cabinets of the late Renaissance, David Barber's second book of poems offers itself up as an eclectic gallery of natural marvels and historical gleanings. Creation is Barber's chief subject and he often concentrates on how human nature is constantly seeking to impose definition and significance upon the natural world. These are poems that meditate on all manner of wondrous phenomena: falconry and funiculars; the knotted quipus of the Inca Empire and the tulip mania of the Dutch Golden Age; the lore and language of field guides, epitaphs, beekeeping, and seafaring; the ghostly vestiges of the La Brea tar pits and the ancient library of Alexandria. Then, in an innovative suite of "New World Sutras" composed in haiku stanzas, Barber riffs on the American genius for self-invention and epic ambition by calling up landmark figures such as Audubon, Houdini, Babe Ruth, and Buster Keaton. With a formal and verbal precision that is rife with agile music, avid wordplay, and mordant wit, Barber delves deeply into the realms of both natural history and popular culture.

Marie Rutkoski's startling debut novel, the first book in the Kronos Chronicles, about the risks we take to protect those we love, brims with magic, political intrigue, and heroism. Petra Kronos has a simple, happy life. But it's never been ordinary. She has a pet tin spider named Astrophil who likes to hide in her snarled hair and give her advice. Her best friend can trap lightning inside a glass sphere. Petra also has a father in faraway Prague who is able to move metal with his mind. He has been commissioned by the prince of Bohemia to build the world's finest astronomical clock. Petra's life is forever changed when, one day, her father returns home – blind. The prince has stolen his eyes, enchanted them, and now wears them. But why? Petra doesn't know, but she knows this: she will go to Prague, sneak into Salamander Castle, and steal her father's eyes back. Joining forces with Neel, whose fingers extend into invisible ghosts that pick locks and pockets, Petra finds that many people in the castle are not what they seem, and that her father's clock has powers capable of destroying their world. The Cabinet of Wonders is a 2009 Bank Street - Best Children's Book of the Year.

For the first time, the pioneering book that launched the study of art and curiosity cabinets is available in English. Julius von Schlosser’s Die Kunst- und Wunderkammern der Spätrenaissance (Art and Curiosity Cabinets of the Late Renaissance) is a seminal work in the history of art and collecting. Originally published in German in 1908, it was the first study to interpret sixteenth- and seventeenth-century cabinets of wonder as precursors to the modern museum, situating them within a history of collecting going back to Greco-Roman antiquity. In its comparative approach and broad geographical scope, Schlosser’s book introduced an interdisciplinary and global perspective to the study of art and material culture, laying the foundation for museum studies and the history of collections. Schlosser was an Austrian professor, curator, museum director, and leading figure of the Vienna School of art history whose work has not achieved the prominence of his contemporaries until now. This eloquent and informed translation is preceded by Thomas DaCosta Kaufmann’s substantial introduction. Tracing Schlosser’s biography and intellectual formation in Vienna at the turn of the twentieth century, it contextualizes his work among that of his contemporaries, offering a wealth of insights along the way.

In one of NPR's 100 Best Thrillers Ever, FBI agent Pendergast discovers thirty-six murdered bodies in a New York City charnel house . . . and now, more than a century later, a killer strikes again. In an ancient tunnel underneath New York City a charnel house is discovered. Inside are thirty-six bodies--all murdered and mutilated more than a century ago. While FBI agent Pendergast investigates the old crimes, identical killings start to terrorize the city. The nightmare has begun. Again.

The last few years has, within museums, witnessed nothing short of a revolution. Worried that the very institution was itself in danger of becoming a dusty, forgotten, culturally irrelevant exhibit, vigorous efforts have been made to reshape the museum mission. Fearing that history was coming to be ignored by modern society, many institutions have instead marketed a de-intellectualised heritage, overly relying on computer technology to captivate a contemporary audience. The theme of this work is that we can do much to reassess the rationale that inspires contemporary collections through a study of seventeenth century museums. England's first museums were quite literally wonderful; founded that is on the disciplined application of the faculty of wonder. The type of wonder employed was not that post-Romantic idea of disbelief, but rather an active form of curiosity developed during the Renaissance, particularly by the individuals who set about gathering objects and founding museums to further their enquiries. The argument put forward in this book is that this museological practice of using objects actually to create, as well as disseminate knowledge makes just as much sense today as it did in the seventeenth century and, further, that the best way of reinvigorating contemporary museums, is to return to that form of wonder. By taking such a comparative approach, this book works both as a scholarly historical text, and as an historically informed analysis of the key issues facing today's museums. As such, it will prove essential reading both for historians of collecting and museums, and for anyone interested in the philosophies of modern museum management.