Retirement can be a significant period in modern academic careers, and emeritus professors have shaped the fates of collections in departments and disciplines. This is evidenced by reconstructing the meanings of Alfred Benninghoff's remarkable memoir of Ferdinand Count Spee, sometime director of the anatomical institute in the University of Kiel. Thematizing the 'tragedy' of the emeritus, Benninghoff's 1944 article recalls his predecessor's possessive interactions with his collections as these approached assorted endings. With nostalgia and humour, it places the old aristocrat physically, intellectually and emotionally in a building that bombing would soon destroy. Benninghoff's Spee retained control over the microscope slides with which he engaged colleagues in conversations about research in embryology and physiological anatomy. He lost authority over the teaching charts and wet preparations, but still said a long farewell to these things; he tried, like a conductor alone after a concert, to recapture an experience he had once shared. The elegy is interpreted as apologetic about anatomy under National Socialism, and as offering a model of collegiality. It illustrates how collections have mediated relations between scientific generations at the end of a career. Alfred Benninghoff's long-forgotten reminiscences of Ferdinand Count Spee, his predecessor as director of the anatomical institute in the University of Kiel, are no standard obituary. Instead of the usual biography, Benninghoff focused on the tragic role that Spee played between his retirement in 1923 and death in 1937: he embodied the emeritus professor as a type. 1 Unconventional in the rich German culture of deference towards senior academics, the artfully constructed text highlights the end of Spee's life with his collections: how, through his research materials, mostly microscope slides, he tried to