ABSTRACT During the period Koselleck called the Sattelzeit (roughly 1750 to 1850) princely chambers of curiosities became public museums that the elites visited for educational purposes. The Louvre in Paris served as the principal model. Here, after 1800, a chronological (and canonical) collection came into being and that would be emulated by other European rulers. The plurality of territorial states meant that museums and art galleries were rebuilt or maintained in many Italian and German cities, all of which claimed to represent the respective national culture. What was exhibited in European museums from the 1840s onwards was intended to increase the fame of the rulers and the prestige of their capital cities. This contribution is a comparative analysis of how non-national affiliations and loyalties shaped the foundation of Italian and German museums before 1850 while the ideal of a ‘national’ museum drastically changed after the formation of the nation states.

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跨国声望政治？十九世纪上半叶德国和意大利各州的博物馆和艺术收藏品

摘要在科塞莱克称萨特尔采特（Sattelzeit，约1750年至1850年）的时期，出于好奇的王室成为了公共博物馆，精英们出于教育目的参观了这些博物馆。巴黎的卢浮宫为主要模特。在这里，1800年以后，出现了按时间顺序（和规范性）的收藏，其他欧洲统治者将效仿这一收藏。多个领土国家意味着在许多意大利和德国城市中重建或维护了博物馆和美术馆，所有这些都声称代表了各自的民族文化。从1840年代起在欧洲博物馆中展出的艺术品旨在增加统治者的名声和首都的声望。