Teyler’s Foundation in Haarlem and Its ‘Book and Art Room’ of 1779

Ellinoor Bergvelt is Associate Professor Emeritus of Cultural History of Europe, University of Amsterdam, and Guest Researcher at that same university. She is also Research Fellow of Dulwich Picture Gallery (London), and Associate Researcher of the RKD (Netherlands Institute for Art History, The Hague). Among the publications she co-edited is De wereld binnen handbereik (‘Distant Worlds made Tangible’; Amsterdam Historical Museum, 1992).Debora Meijers is Associate Professor Emeritus of Art History, University of Amsterdam, and Guest Researcher at that same university. Since 2006 she has been a member of the Royal Netherlands Academy of Arts and Sciences. Her publications deal with the interface between art and science; among them is The Paper Museum of the Academy of Sciences in St Petersburg, c. 1725–60 (2005).

• PrefaceList of IllustrationsAbbreviationsNotes on ContributorsPART 1Introduction and Background1 Purpose and Structure of the BookDebora J. Meijers and Ellinoor S. Bergvelt2 Teyler’s Foundation and the Two Societies: Emergence and Development up to c. 1800Debora J. Meijers3 A Museum within the Foundation, 1779–2020Debora J. MeijersPART 2Teyler’s as a Case in a Re-reading of the History of Science4 ‘The World We Have Lost’: In Praise of a Comprehensive Ideal of Science and ScholarshipWijnand W. Mijnhardt5 The First Museum in the Netherlands? The Establishment of Teyler’s Oval Room in Historical Perspective (c. 1600–1800)Eric Jorink6 How to Collect Minerals, Rocks and Fossils for a Museum: The International Networks of Martinus van Marum (1750–1837)Bert SliggersPART 3Teyler’s between the Natural Sciences and the Visual Arts7 ‘Truth-to-Nature’ in the Museum? Wybrand Hendriks, Martinus van Marum and the ‘Reasoned Image’Koenraad Vos8 An Asset to Art. The Purchase of Italian Old Master Drawings from the Odescalchi Collection in Rome by Teyler’s Foundation in 1790: Motivation, Function, and the Context of Art Theory in the NetherlandsPaul Knolle9 Collecting and Displaying Art in Teyler’s Museum, 1778–1885: The Usefulness of Drawings, Prints and Contemporary Paintings, and the Development of Public AccessTerry van DrutenPART 4Teyler’s in an International Perspective10 Visiting Haarlem: August Hermann Niemeyer, the Cabinet of Artefacts and Natural Curiosities at the Halle Orphanage, and Teyler’s MuseumHolger Zaunstöck11 The Rise of the Modern Romantic Concept of Art and the Art MuseumArnold HeumakersBibliographyPhoto CreditsIndex