Mechanical world theater

19th century caricature and entertainment industry A group of nine main characters forms a grotesque music band. The figures are characterized as representatives of the nations that were determined at the time: & Ouml; SterDie mit SchwegelDie; Frenchman bl. Klarinette; Engl; nerin plays the violin; American on the double bass; in the middle of the & ldquo; german Michel & ldquo; - a kind of host figure with zipper as a duky-poster playing devil In the form of two dragons, an owl sitting on a vase, a barking and dancing dog, a nix and a basket with bottle and bread. Chin shop, pots, legs and partly the arms are mobile. The whole rests on a wooden box open in the back, in which mechanical rod connections and a bellows are visible. The key to the game is no longer available. There is the opinion that the whole is a parody of the Congress of Vienna in 1814/15, with the French Metternich in the middle. A billboard comments on the European Concert: The Best Capell “n is” gwiß dö da all “an” Es san a da da I’ Schönsten G 'frießer!Dö Leut “hab” n halt everyone at his own Schan 'And the Michel, the funniest is he!History/Museum: The exact origin of the object is not known, but it was inventoried as a mechanical orchestra, later as a mechanical world theater and as a showpiece and playwork in the milieu of showmen in the Viennese Prater. Until now, the caricate work has been exhibited in the context of grotesque folk art or in connection with testimonies of folk music. At the moment, it serves as an illustration of the spread of national stereotypes in the form of popular amusement. History/Life/Context: The wood carving plant was bought in 1932 from private ownership. The inventory does not contain any information about origin and use. The object probably originates from the environment of a mostly anonymous showpiece art, which took place in the vicinity of the professional puppetry on markets, places, or places like the Wiener Wurstelprater. Whether someone has moved around with this mechanical orchestra and commented on the play of caricature figures with corresponding texts or explanations is unknown. It is to be assumed that the manufacturer of the work or his client wanted to make a clear political statement by means of a drastic time caricature. Until now, no such comparison is known in other collections. Margot Schindler