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These essays turn on a shift in Romantic studies from viewing wholeness as an absolute value to critiquing it as a limiting construction. Wholeness, and its concomitant sense of harmony, is a construct that was assembled and disassembled, theorized and criticized, by diverse authors and artists and instrumentalized for diverse purposes.This collection of essays turns on a shift in Romantic studies from viewing wholeness as an absolute value to critiquing it as a limiting construction. Wholeness and its concomitant sense of harmony, rather than a natural given, is a construct that was assembled and disassembled, theorized and criticized, by diverse authors and artists in a wide variety of disciplines and socio-historical contexts, and instrumentalized for diverse purposes. The plurality of these constructions - that Goethe's Urpflanze, for example, is not synonymous with Friedrich Schlegel's universal progressive poetry - is but one manifestation of how assembly strives but fails to be absolute. The other of assembly referenced in the title suggests two divergent but inseparable tendencies: firstly, how a construction can take on the appearance of a natural given; and secondly, how assemblages of wholeness harbor within themselves their own principle of disarticulation. These two tendencies underlie the inexhaustible character of Romantic gatherings . As a construction passes itself off as nature, the natural fails to account for itself as a whole. The scope of this volume encompasses the establishment, mapping, and interrogation of assembly and its other in German Romanticism through interdisciplinary studies on literature, aesthetics, philosophy, drama, music, synaesthesia, mathematics, science, and exploration.Part I. Romantic Assembly Across the Thresholds of Theory and Discipline Chapter 1: From the Fluid to the Crystal: Goethe's Metamorphosis and Fichte's Science of Knowing Beate Allert Chapter 2: Alexander von Humboldt, the Naturgemalde, and Anl€