Barometers Realm

At the top appears a swan with outstretched wings serving as a heraldic crest. In European symbolism the swan traditionally represented nobility, purity, fidelity, and elevated refinement, though within the context of a meteorological instrument the image acquires an additional meaning associated with water, humid air, and the atmosphere itself. Particularly remarkable is the fact that the designer deliberately avoided aggressive symbols such as eagles or lions, choosing instead a calm and almost contemplative figure.

Beneath the swan descends a rich drapery or heraldic mantle enveloping a late medieval tournament or ceremonial helmet with an open barred visor. The helmet is rendered not as a practical military object but as romanticized ceremonial armor in the spirit of nineteenth-century historicism. Such helmets in European heraldry symbolized noble rank, martial honor, and the right to bear arms. The baroque curves of the drapery, the deep folds of the fabric, and the heavy silhouette of the helmet create the impression of theatrical knightly stage property.

Below appears a broad scale-like mantle or gorget resembling a ceremonial armored collar. Suspended upon a chain rests a small medal or order badge reinforcing the sense of ceremony and heraldic identity. This element is compositionally important, as it creates the impression that one is observing not an industrial instrument of the late nineteenth century but an ancient knightly relic or regalia.

The principal shield possesses a complex pseudo-heraldic form combining Renaissance symmetry with heavy Neo-Gothic plasticity. The outer perimeter is decorated with a repeating ornament of stylized flowers or rosettes forming a continuous decorative border around the entire contour of the case. The interior of the shield is richly worked: near the outer edge the surface is covered with vertical striations and texture, while deeper inward, toward the bezel of the barometer, scrolling vegetal ornament and fine engraved decoration emerge, producing a striking sense of depth and layered complexity.

Precisely at the center of the shield stands the barometer itself, occupying the position where a family coat of arms or dynastic emblem would traditionally appear in heraldry. This constitutes the central artistic idea of the entire composition. Instead of a dynastic symbol, the measurement of atmospheric pressure is placed at the heart of the object — the scientific instrument becomes the new heraldry of the industrial age. Such an idea is profoundly characteristic of the second half of the nineteenth century, when science, engineering, and technological progress increasingly came to symbolize cultural and social status.

Ceremonial weapons flank the shield on either side. To the left appears a richly ornamented halberd axe combining Renaissance and late medieval forms. Its shape symbolizes strength, protection, and martial dignity, though its decorative execution clearly indicates a ceremonial heraldic weapon rather than a genuine instrument of war. To the right stands a staff with a chained morgenstern — a spiked ball weapon already perceived in the nineteenth century as a romantic symbol of the German Middle Ages rather than an actual battlefield weapon. This element contributes additional theatricality to the composition and evokes armories, knightly halls, and pseudo-medieval interiors characteristic of the historicist era.

The body rests upon two turned front feet, while a metal support at the rear transforms the instrument into an exclusively tabletop object. This detail is important, as the barometer was conceived as a cabinet sculpture intended for placement upon a desk, mantelpiece, or library table.

The entire composition was designed to be perceived as part of an ancient knightly relic. Yet despite its medieval appearance, the instrument remains a highly characteristic product of the German Gründerzeit. The French language of the dial may indicate manufacture for the French market, though it is equally likely that the instrument was designed simply “in the French taste”. During the nineteenth century France remained the principal “language of elegance” for scientific and decorative instruments, and even German manufacturers frequently employed French scales, weather terminology, and inscriptions in order to lend their products an air of refinement and international prestige.

The Gründerzeit era, beginning after the unification of Germany in 1871, was marked by rapid industrial expansion, the emergence of new factories and engineering enterprises, and the rise of a wealthy bourgeoisie. Yet aesthetically the society of the period was deeply obsessed with the historical past. Germany effectively reinvented its own Middle Ages through architecture, furniture, decorative arts, and interior objects. Unlike the lighter French historicist tradition, the German version favored heavy heraldic forms, weapons, armor, massive shields, dark metallic surfaces, and the atmosphere of ancient knightly halls. It is precisely for this reason that the present barometer produces such a distinctly “Teutonic” impression.

The central barometric unit is fitted with a brass bezel holding a thick mineral glass crystal with a pronounced beveled edge. Particularly unusual is the dial itself: instead of the traditional white cardboard dial, a black-painted card disc is employed, allowing the gilded scale markings to appear especially dramatic and contrasting. The dial is of open-work construction, permitting direct observation of the mechanism through the front of the instrument. The barometric scale is calibrated in centimeters of mercury over the range of 67–80 cm and bears detailed French weather indications.

The operation of the instrument is provided by one of the rarest and visually most spectacular forms of aneroid mechanism. At the heart of the construction lies a brass aneroid capsule, though for decorative effect the front is covered by a silver-colored corrugated German silver plate imitating the upper membrane of the capsule itself. The true working membrane lies beneath. Mounted upon it is a small pushrod passing through an opening in the decorative diaphragm.

This pushrod transfers the vertical movement of the membrane onto a brass plate mounted upon pivots and functioning as the principal rotating element of the mechanism. Rigidly fixed to this plate is a toothed rack whose teeth, unlike those of conventional straight rack-and-pinion mechanisms, are bent at approximately ninety degrees and engage laterally with the gear of the pointer arbor.

The mechanism is extraordinarily simple and visually transparent. The membrane pushrod acts upon the brass plate not at its center but closer to the edge. As atmospheric pressure decreases, the upper membrane of the capsule rises, the pushrod presses against the left side of the rotating plate, causing the rack to shift to the right and rotate the pointer gear to the left — the pointer moves toward lower pressure. The reverse process occurs when pressure increases. Thus the vertical motion of the membrane is transformed almost directly into rotational movement of the pointer with a remarkably small number of components. The photographs make especially clear how mechanically transparent and understandable the operation of the system truly is.

Inside the aneroid capsule there is most likely a helical spring preventing the upper and lower membranes from collapsing under atmospheric pressure. Calibration is achieved through an adjusting screw positioned on one side of the brass bridge where it joins the iron main frame. By altering the position of this screw, the entire mechanism may be raised or lowered relative to the capsule — a solution characteristic specifically of Brauckmann constructions.

This Teutonic Barometer represents far more than a meteorological instrument. It is a characteristic artifact of an age in which industrial revolution, engineering art, and romantic nationalism coexisted simultaneously. It was during the Gründerzeit period that Germany effectively recreated its own imagined Middle Ages — no longer through actual castles and armor, but through industrial artistic production. This barometer perfectly embodies that era: a modern scientific instrument concealed within a fantasy of heraldry, armor, and the knightly Europe of the past.

Ferdinand Killmer was a well-known Hanau metal caster, sculptor, and court jeweler active during the second half of the nineteenth century. He studied at the Hanau Academy of Arts, one of the most important centers of German decorative metalwork and jewelry production of the period. Killmer specialized in artistic casting, cabinet sculpture, and decorative metal objects distinguished by exceptionally refined surface treatment and an almost jewel-like level of execution.

By the late nineteenth century Killmer’s workshop collaborated with the famous Hanau firm E.G. Zimmermann, which produced decorative housings for scientific and interior instruments, including desk barometers. It is highly probable that Killmer’s workshop was responsible for the sculptural modeling and casting of the most elaborate cases, while Zimmermann handled industrial production and distribution.

The Ferdinand Killmer maker’s mark appearing on the reverse side of his instruments consists of a circular emblem bearing the inscription “FERD: KILLMER” around the perimeter. At the center appears a spoked wheel resembling a ship’s helm, accompanied by elements suggestive of flames. Above the wheel are crossed anvil and hammer symbols representing manual craftsmanship and creative labor. Below appears a drapery containing the Latin motto “Carpe Diem” (“Seize the Moment”), while the lower section of the emblem contains Masonic compasses and square. Beneath the mark appears the serial number of the instrument.

The works of Ferdinand Killmer are especially characteristic of the German Gründerzeit and reflect the historicist aesthetics of the second half of the nineteenth century, combining Neo-Renaissance, Neo-Gothic, and Baroque Revival elements. His creations frequently transformed scientific instruments into complete artistic objects inspired by heraldry, knightly symbolism, and romanticized visions of medieval Europe. Following his death, the workshop continued under successors, preserving the artistic traditions of the Hanau school of decorative metalwork.