By Philipp Blom

ISBN-10: 0140294805

ISBN-13: 9780140294804

From collecting sacred relics to accumulating famous person memorabilia, the impulse to hoard has gripped humankind through the centuries. yet what's it that drives humans to own items that experience no possible use?

To Have and To Hold is an enthralling journey of creditors and their treasures from medieval instances to the current, from a cupboard containing unicorn horns and a Tsar's selection of the teeth to the macabre artwork of embalmer Dr. Frederick Ruysch, the fabled citadel of William Randolph Hearst, and the actually preoccupied males who stockpile meals wrappers and plastic cups.

Blom's gripping narration and weird solid of eccentrics, visionaries, and lovers supply a desirable glimpse into how a hobby turns into an all eating ardour and an engrossing tale of the collector as bridegroom, deliriously, obsessively satisfied, wed to his possessions, until dying do us half.

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Extra resources for To Have And To Hold: An Intimate History Of Collectors and Collecting

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68 Thus the textual character of the images enabled the viewer to resort to his or her literary knowledge as a form of artistic expertise and creativity. Contemporary viewers offered neither commentary on the decoration’s style nor the artists’ names, but were nonetheless impressed by the overall theatrical effect and by the erudition displayed. Although unable to offer precise explanations, viewers cited allegorical figures and Latin mottoes as signs of wondrous learning. In short, the incomprehensibility of the program’s details was not an issue.

In short, the incomprehensibility of the program’s details was not an issue. What mattered most was to convey: the shift from a conception of art as individual expression to a conception of art as a rational discipline. In this regard the decoration was transparent. The central allegory of the funeral—the celebration of the academicians, the representation of the four arts (painting, sculpture, architecture, and poetry) as impersonal and partial aspects of Michelangelo’s “body artistic”—was also made very clear.

Polo Museale della Città di Firenze, Gabinetto Fotografico. Michelangelo’s Funeral 27 Francesco I de’ Medici Offering a Chair to Michelangelo, and Michelangelo Mourned by the Rivers of the World. The Giunti description does not indicate the significance of the paintings’ arrangement, but the criterion dividing them between nave and transept is self-evident. Episodes from Michelangelo’s life, focusing on the major honors he received, were placed in the nave. The transept, on the other hand, contained scenes representing his death and its aftermath: his passing and universal mourning, the special position he occupies in the afterworld among artists of all ages, and the continuation of his work in the world thanks to the young generation of artists, who represent the collective personification of the institution.

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To Have And To Hold: An Intimate History Of Collectors and Collecting by Philipp Blom


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