===MODELS OF THE KUNST- UND WUNDERKAMMER===

At almost the same time artists created pocket editions of the Kunst- und Wunderkammer: gallery paintings and special cabinets, called Kunstkammer-Schrank. Such a cabinet was not for hiding away belongings, for example, although it had numerous drawers, secret boxes, etc. The Kunstkammer-Schrank was dedicated to keep and to display a supreme composition of rare and meaningful man-made objects and natural specimen, a selection of "naturalia" and "arteficialia."

Such a Kunstkammer-Schrank had been specially made for one of those nobles and was designed for only one reason: for looking, reflecting, and absorbing the spirit of the whole conception. As this was not too easy even for a nobleman, he could get some help: if you were King Gustav Adolf II of Sweden, for example, Mr. Hainhofer, the famous producer, craftsman, and artist from Munich, would give you a guided tour through this cabinet. He would show you one specimen after another and tell you how to read it, how their singularity is interpreted, how the scope of the universe is represented, and how their references reflect universality—indeed, this was the aim of the Kunstkammer-Schrank: to indicate and transmit the universal consciousness of being a part, and of being an explorer, and designer, and wheel of the world—Vanitas included.

Such a cabinet was understood as a model of a model of that which was housed in smaller or bigger spaces in residences: A Kunst- und Wunderkammer en miniature.

Gallery paintings referred directly to given Kunstkammers. These depicted Kunstkammers had developed in the meantime and presented a more specific collection, although all categories of exhibits might be on display. But you can easily recognize the change: art pieces play the major role, as in the collection of the Dutch businessman, van der Geest. The Kunstkammer is on stage now: besides numerous exhibits, the painting introduces different social circles as aspects of van der Geest's activity as collector: high social ranking guests like the Archduke and Archduchess of the Nether-lands, the Burgomaster of Antwerp, the King of Poland, the Master of the Mint, the famous artists, Rubens and van Dyck—and van der Geest as a link to the next group of important collectors and consultants. Furthermore, on the right side are groups of painters and sculptors, all of them deeply involved in seeing and talking.

The picture reveals a more complex structure and meaning than appears at first sight. Thus, the painting of van der Geest's gallery can neither be regarded as the rendering

of a specific historical event nor as a faithful record of the contents or the arrangement of the collection at a given moment. lt seems rather to be a condensation into one picture of van der Geest's role in society and as friend of the arts. This theme reaches its climax in the inscription above the door: Vive lEsprit.

Being aware of the possibilities of artificial images, they tried out almost everything to visualize their concept: they shifted times, places, occasions, meetings, persons, exhibits, even the architecture, to follow their idea of weaving a special context by visual means.

They are set up as nets of interrelations and presenting contexts of understanding and representation.

Instead of just recording reality, the invention and design of a gallery painting is using reality: congruence of time, space, and action is not binding anymore; the anticipation of seemingly limitless manipulations of the visual world allows the visualization of references, interests and life style—but, you have to be able to read the code, know about the location, neighbourhood, space, environment, communication, social interaction, politics—and people. If this knowledge is not at hand any longer, the painting will be misunderstood, its invention will be lost.

===YEARS LATER: CONCEPTS OF REMODELLING THE KUNST- UND WUNDERKAMMER===