IN THE AUTUMN OF 1599, Thomas Platter of Basle visited the London apartments of Walter Cope-gentleman, adventurer, and member of Elizabeth's Society of Antiquaries-to view Cope's collection of curiosities gathered from around the world. No catalogue of the objects displayed in the room could presume to be complete. Platter himself records only a selection, but he does take an evident pleasure in compiling his list a plaisir de conter akin to that which Jean Ceard has found at work in contemporaneous accounts of nature's oddities and marvels, such as the anonymous Histoire prodigieuses published in 1598.1 It is a pleasure in the recollection, literally, of such wonders as an African charm made of teeth, a felt cloak from Arabia, and shoes from many strange lands. An Indian stone axe, a thunderbolt. A stringed instrument with but one string. The twisted horn of a bull seal. An embalmed child, or Mumia. The bauble and bells of Henry VIII's fool. A unicorn's tail. Inscribed paper made of bark, and an artful Chinese box. A flying rhinoceros (unremarked), a remora (explicated at some length), and flies of a kind that glow at night in Virginia instead of lights, since there is often no day there for over a month. There are the Queen of England's seal, a number of crowns made of claws, a Madonna made of Indian feathers, an Indian charm made of monkey teeth. A mirror, which both reflects and multiplies objects. A sea-halcyon's nest. A sea mouse (mus marinus), reed pipes like those played by Pan, and a long narrow Indian canoe, with oars and sliding planks, hanging from the ceiling. They are all strange things, frembden Sachen.2 The canoe lodged on the ceiling may have been a convention of sorts, judging from its promiscuity of appearance in other and better-known collections of the same variety (Fig. 1). Cope's room is a Kunst or Wunderkammer, a wonder-cabinet: a form of collection peculiar to the late Renaissance, characterized primarily by its encyclopedic appetite for the marvellous or the strange and by an exceptionally brief historical career.3 The first Wunderkammer was established in Vienna in 1550; for perhaps one hundred years such collections flourished, but by the middle of the seventeenth century they were rapidly vanishing. As early as The Advancement of Learning (1605), where Bacon calls for the substantial and severe collection of the Heteroclites or Irregulars of nature, wonder-cabinets were derided as frivolous impostures for
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