Pub Date : 2022-06-15DOI: 10.4467/20843852.om.21.006.15507
Marta Szaszkiewicz, Joanna Ślaga
University museums and collections – aims, assumptions, examples The aim of this article is to introduce the activities of museums and collections located in the structure of Polish higher education institutions. The analysis is based on concrete examples of academic units operating today. The authors distinguish several categories of museums according to their location, among them university and departmental museums. The second criterion is the organisational formula, in which the authors indicate, apart from museums, also centres and history interpretation units. Using archaeological, medical and natural history collections as examples, they describe similarities and differences in the way they work with resources. The article is also an attempt to start a discourse aimed at drawing attention to the potential lying in such units, the mission and duty of which is to preserve, secure, develop and make available for scientific and didactic purposes the heritage of the university and the history of science. The authors also refer to the legal situation of the university museum units and regulations, which the organisers may use when creating and conducting activities related to the collection and processing of tangible and intangible academic heritage, which is part of the world’s scientific heritage.
{"title":"Muzea uczelniane i kolekcje – cele, założenia, przykłady","authors":"Marta Szaszkiewicz, Joanna Ślaga","doi":"10.4467/20843852.om.21.006.15507","DOIUrl":"https://doi.org/10.4467/20843852.om.21.006.15507","url":null,"abstract":"University museums and collections – aims, assumptions, examples\u0000\u0000The aim of this article is to introduce the activities of museums and collections located in the structure of Polish higher education institutions. The analysis is based on concrete examples of academic units operating today. The authors distinguish several categories of museums according to their location, among them university and departmental museums. The second criterion is the organisational formula, in which the authors indicate, apart from museums, also centres and history interpretation units. Using archaeological, medical and natural history collections as examples, they describe similarities and differences in the way they work with resources. The article is also an attempt to start a discourse aimed at drawing attention to the potential lying in such units, the mission and duty of which is to preserve, secure, develop and make available for scientific and didactic purposes the heritage of the university and the history of science. The authors also refer to the legal situation of the university museum units and regulations, which the organisers may use when creating and conducting activities related to the collection and processing of tangible and intangible academic heritage, which is part of the world’s scientific heritage.","PeriodicalId":315605,"journal":{"name":"Opuscula Musealia","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130848660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.4467/20843852.om.21.003.15504
Veronika Kolaříková
Museums have been closely linked to national identity since the 19th century. Currently, museums have to cope with the ways they present themselves to visitors properly. Therefore, national identity in a museum has become the centre of research attention. Children are a large group of visitors who come into contact with the national narrative in museums. Involving children in the research of the concept of national identity constructed in the museum can bring many interesting findings. However, research with children is difficult. Especially for beginning researchers or museum staff, who do not have in-depth experience with qualitative research. Thus, the aim of the study is to present possible ways of researching national identity with children. Attention will be drawn to the discussion of which variables and which data collection techniques are possible to examine national identity and it’s concept with children.
{"title":"How to research the concept of national identity with child respondents in museum research","authors":"Veronika Kolaříková","doi":"10.4467/20843852.om.21.003.15504","DOIUrl":"https://doi.org/10.4467/20843852.om.21.003.15504","url":null,"abstract":"Museums have been closely linked to national identity since the 19th century. Currently, museums have to cope with the ways they present themselves to visitors properly. Therefore, national identity in a museum has become the centre of research attention. Children are a large group of visitors who come into contact with the national narrative in museums. Involving children in the research of the concept of national identity constructed in the museum can bring many interesting findings. However, research with children is difficult. Especially for beginning researchers or museum staff, who do not have in-depth experience with qualitative research. Thus, the aim of the study is to present possible ways of researching national identity with children. Attention will be drawn to the discussion of which variables and which data collection techniques are possible to examine national identity and it’s concept with children.","PeriodicalId":315605,"journal":{"name":"Opuscula Musealia","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114891238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.4467/20843852.om.21.004.15505
Olivia Rybak-Karkosz
Types of copies in artistic prints in the context of dishonest behaviour of art market participants The study analyses dishonest activities related to the types of copies of artistic prints, which are undertaken by participants of the art market. In the introduction, legal regulations concerning counterfeiting of artistic prints were discussed. Appropriate legal qualification of an act is important in the context of assigning criminal responsibility and the level of threat of punishment. As a rule, if an object is a historical monument within the meaning of the Act on the protection of historical monuments, the provisions of art. 109a are applied, which penalises counterfeiting or falsifying the historical monument in order to use it in the trade of historical monuments. Other cases are governed by art. 286 §1 of the Penal Code, which penalises fraud. However, not all actions undertaken by dishonest bidders and concerning the disposal of a plate or interference with the composition placed on it constitute forgery. Some of them constitute fraud, others, for example, deliberate lowering of the print run in order to artificially increase the demand for a given object. The article then lists the types of copies and briefly describes them. These include: copies made by the printmaker or a printmaking workshop working with the printmaker, copies with an original purpose other than commercial, posthumous copies, and copies from retouched plates, corrected or altered to some extent. The type of the copy is one of the factors determining the collector’s value of artistic prints. The last part of the study was devoted to state alteration, which is one of the ways of counterfeiting artistic prints. Condition alteration may be the effect of interference in the original plate or the copy itself. The final effect of the procedure is the change of the copy or the plate, which results in the adoption of a different state. Final conclusions are included at the end.
{"title":"Rodzaje odbitek występujących w grafice artystycznej w kontekście nieuczciwych zachowań uczestników rynku dzieł sztuki","authors":"Olivia Rybak-Karkosz","doi":"10.4467/20843852.om.21.004.15505","DOIUrl":"https://doi.org/10.4467/20843852.om.21.004.15505","url":null,"abstract":"Types of copies in artistic prints in the context of dishonest behaviour of art market participants\u0000\u0000The study analyses dishonest activities related to the types of copies of artistic prints, which are undertaken by participants of the art market. In the introduction, legal regulations concerning counterfeiting of artistic prints were discussed. Appropriate legal qualification of an act is important in the context of assigning criminal responsibility and the level of threat of punishment. As a rule, if an object is a historical monument within the meaning of the Act on the protection of historical monuments, the provisions of art. 109a are applied, which penalises counterfeiting or falsifying the historical monument in order to use it in the trade of historical monuments. Other cases are governed by art. 286 §1 of the Penal Code, which penalises fraud. However, not all actions undertaken by dishonest bidders and concerning the disposal of a plate or interference with the composition placed on it constitute forgery. Some of them constitute fraud, others, for example, deliberate lowering of the print run in order to artificially increase the demand for a given object. The article then lists the types of copies and briefly describes them. These include: copies made by the printmaker or a printmaking workshop working with the printmaker, copies with an original purpose other than commercial, posthumous copies, and copies from retouched plates, corrected or altered to some extent. The type of the copy is one of the factors determining the collector’s value of artistic prints. The last part of the study was devoted to state alteration, which is one of the ways of counterfeiting artistic prints. Condition alteration may be the effect of interference in the original plate or the copy itself. The final effect of the procedure is the change of the copy or the plate, which results in the adoption of a different state. Final conclusions are included at the end.","PeriodicalId":315605,"journal":{"name":"Opuscula Musealia","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128127783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.4467/20843852.om.21.002.15503
Beata Frontczak
Unpublished archives concerning the Faience, Porcelain and Stone Vessels Factory in Ćmielów and vessels from the Drucki-Lubecki porcelain services in the collections of the Jagiellonian University Museum The first part of the article discusses a so far unpublished notarial deed of sale in 1845 by the Pusłowski brothers: Xawery Pusłowski (1806–1874), Wandalin Pusłowski (1814–1884), Franciszek Pusłowski (1800–1859) and Władysław Pusłowski (1801–1859), to Duchess Teresa of Drucki-Lubecki, Countess Scipio del Campo, half of the Ćmielów estate with annexes and appurtenances they inherited from their father, Wojciech Pusłowski, who died in 1833. The deed recorded in the register of documents of the Warsaw Notary Office has not survived. All the more valuable is a document held in the Manuscripts Department of the Jagiellonian Library, the second main extract of a deed of sale, drawn up in Warsaw on 29 May 1845 by Marcin Ciechanowski, scribe of the records of the Kingdom of Poland and regent of the Land Registry of the Warsaw Governorate. The first main extract, given to Teresa of the Drucki-Lubecki Dukes, Countess Scipio del Campo, was not preserved in the Szczuczynski Archives of the Drucki-Lubecki Dukes, held in the Czartoryski Library in Krakow. The second part of the article presents 39 pieces of Ćmielów porcelain vessels from five Drucki-Lubecki family services ordered in the Ćmielów factory at a time when the Drucki-Lubecki dukes were co-owners or sole proprietors of the Ćmielów estate and the faience, stoneware and porcelain factory in Ćmielów. Particularly valuable are dishes from the service dating from 1839 to 1851, bearing the monograms MD.L., Duchess Maria Drucka-Lubecka, wife of Duke Ksawery Drucki-Lubecki. The marks used on Ćmielów porcelain previously unknown in the literature were published. Basis on entries in the French press, the names of three French specialists (Auguste Teissonnière, Jules Teissonnière, Louis Delagnier) have been determined, which have so far been incorrectly reported in the literature.
未发表的关于Ćmielów的陶瓷和石头器皿厂的档案，以及雅盖隆大学博物馆收藏的Drucki-Lubecki瓷器服务的器皿。文章的第一部分讨论了Pusłowski兄弟在1845年迄今未发表的公证契据:Xawery Pusłowski (1806-1874)， Wandalin Pusłowski (1814-1884)， Franciszek Pusłowski(1800-1859)和Władysław Pusłowski(1801-1859)，以及Drucki-Lubecki公爵夫人Teresa of Drucki-Lubecki，女伯爵cipio del Campo，他们从1833年去世的父亲Wojciech Pusłowski那里继承了一半的Ćmielów庄园及其附属设施和附属设施。华沙公证处文件登记册中记录的契约已不复存在。更有价值的是一份保存在雅盖隆图书馆手稿部的文件，这是一份买卖契约的第二份主要摘录，于1845年5月29日在华沙起草，由波兰王国记录的抄写员和华沙省土地注册处的摄政王Marcin Ciechanowski起草。第一个主要的摘录，是给德鲁基-吕贝克公爵的特蕾莎，西皮奥·德尔·坎波伯爵夫人的，并没有保存在克拉科夫恰尔托里斯基图书馆的德鲁基-吕贝克公爵的什丘琴斯基档案中。文章的第二部分介绍了Ćmielów工厂订购的39件Ćmielów瓷器，这些瓷器来自五个Drucki-Lubecki家族服务，当时Drucki-Lubecki公爵是Ćmielów庄园和Ćmielów的陶器、石器和瓷器工厂的共同所有者或独资经营者。特别有价值的是1839年至1851年间的餐具，上面刻有MD.L的字母组合。公爵夫人Maria Drucka-Lubecka，公爵Ksawery Drucki-Lubecki的妻子。以前在文献中未知的Ćmielów瓷器上使用的标记已被发表。根据法国报刊上的条目，已经确定了三位法国专家(奥古斯特·泰松尼、儒勒·泰松尼、路易斯·德拉尼耶)的名字，这些名字迄今为止在文献中都是错误的报道。
{"title":"Niepublikowane archiwalia dotyczące Fabryki Fajansu, Porcelany i Naczyń Kamiennych w Ćmielowie oraz naczynia z ćmielowskich serwisów porcelanowych Druckich-Lubeckich w zbiorach Muzeum Uniwersytetu Jagiellońskiego","authors":"Beata Frontczak","doi":"10.4467/20843852.om.21.002.15503","DOIUrl":"https://doi.org/10.4467/20843852.om.21.002.15503","url":null,"abstract":"Unpublished archives concerning the Faience, Porcelain and Stone Vessels Factory in Ćmielów and vessels from the Drucki-Lubecki porcelain services in the collections of the Jagiellonian University Museum\u0000\u0000The first part of the article discusses a so far unpublished notarial deed of sale in 1845 by the Pusłowski brothers: Xawery Pusłowski (1806–1874), Wandalin Pusłowski (1814–1884), Franciszek Pusłowski (1800–1859) and Władysław Pusłowski (1801–1859), to Duchess Teresa of Drucki-Lubecki, Countess Scipio del Campo, half of the Ćmielów estate with annexes and appurtenances they inherited from their father, Wojciech Pusłowski, who died in 1833. The deed recorded in the register of documents of the Warsaw Notary Office has not survived. All the more valuable is a document held in the Manuscripts Department of the Jagiellonian Library, the second main extract of a deed of sale, drawn up in Warsaw on 29 May 1845 by Marcin Ciechanowski, scribe of the records of the Kingdom of Poland and regent of the Land Registry of the Warsaw Governorate. The first main extract, given to Teresa of the Drucki-Lubecki Dukes, Countess Scipio del Campo, was not preserved in the Szczuczynski Archives of the Drucki-Lubecki Dukes, held in the Czartoryski Library in Krakow. The second part of the article presents 39 pieces of Ćmielów porcelain vessels from five Drucki-Lubecki family services ordered in the Ćmielów factory at a time when the Drucki-Lubecki dukes were co-owners or sole proprietors of the Ćmielów estate and the faience, stoneware and porcelain factory in Ćmielów. Particularly valuable are dishes from the service dating from 1839 to 1851, bearing the monograms MD.L., Duchess Maria Drucka-Lubecka, wife of Duke Ksawery Drucki-Lubecki. The marks used on Ćmielów porcelain previously unknown in the literature were published. Basis on entries in the French press, the names of three French specialists (Auguste Teissonnière, Jules Teissonnière, Louis Delagnier) have been determined, which have so far been incorrectly reported in the literature.","PeriodicalId":315605,"journal":{"name":"Opuscula Musealia","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131656874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.4467/20843852.om.21.005.15506
M. Taborska
Polish-language globes of the New Poland era and their domestic publishers Polish-language globes are didactic aids, but also valuable cartographic monuments and documents of the Polish language. They have been manufactured since the mid-19th century, initially in Bavaria’s Nuremberg and in Prague in the Czech Republic, and since the 1920s in our country. The production of globes is multi-stage and can be financed partially or entirely by sponsors and patrons. In addition to the products of the company C. Abel-Klinger Kunsthandlung, the first copies were financed by patriot booksellers: Jabłoński, Milikowski, Idzik and Hoesick. After the First World War, copies were financed by publishing companies: Zakłady Główczewskiego, Pomoc Szkolna, Nasz Sklep–Urania, Wydawnictwo Polskie, publishing companies from Katowice, and the mysterious Deutsher Verlag publishing house based in Warsaw and Poznań. Changes in printing technology significantly reduced their price, demand for them by schools and children and young people popularised them as teaching aids. Companies financing and popularising these Polish-language publications played an important role in the publishing of globes. To a large extent, these were companies associated with the production and distribution of teaching materials. In general, all companies discussed can be gathered in three groups: booksellers financing or co-financing the publication of Polish-language globes; publishers responsible for financing and publishing globes; publishers responsible for making maps.
{"title":"Polskojęzyczne globusy doby nowopolskiej i ich krajowi wydawcy","authors":"M. Taborska","doi":"10.4467/20843852.om.21.005.15506","DOIUrl":"https://doi.org/10.4467/20843852.om.21.005.15506","url":null,"abstract":"Polish-language globes of the New Poland era and their domestic publishers\u0000\u0000Polish-language globes are didactic aids, but also valuable cartographic monuments and documents of the Polish language. They have been manufactured since the mid-19th century, initially in Bavaria’s Nuremberg and in Prague in the Czech Republic, and since the 1920s in our country. The production of globes is multi-stage and can be financed partially or entirely by sponsors and patrons. In addition to the products of the company C. Abel-Klinger Kunsthandlung, the first copies were financed by patriot booksellers: Jabłoński, Milikowski, Idzik and Hoesick. After the First World War, copies were financed by publishing companies: Zakłady Główczewskiego, Pomoc Szkolna, Nasz Sklep–Urania, Wydawnictwo Polskie, publishing companies from Katowice, and the mysterious Deutsher Verlag publishing house based in Warsaw and Poznań. Changes in printing technology significantly reduced their price, demand for them by schools and children and young people popularised them as teaching aids. Companies financing and popularising these Polish-language publications played an important role in the publishing of globes. To a large extent, these were companies associated with the production and distribution of teaching materials. In general, all companies discussed can be gathered in three groups: booksellers financing or co-financing the publication of Polish-language globes; publishers responsible for financing and publishing globes; publishers responsible for making maps.","PeriodicalId":315605,"journal":{"name":"Opuscula Musealia","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125652592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.4467/20843852.om.21.001.15502
Krzysztof Koniewicz
Medicinal and cosmetic uses of rose water according to 19th century pharmaceutical and medical literature Floral water, also called hydrolate, is a secondary product of the distillation process of aromatic plants. In the Middle Ages, rose hydrolate, according to medical advice of the time, protected against plague spread by ‘miasma’. In nineteenth-century medical and cosmetic applications, rose water was often used as an aromatic and soothing ingredient, forming a base while giving the product the right consistency. It was also the main ingredient in eye medications (in Latin: Collyrium), anti-inflammatory ointments and cosmetic products, including perfumes, aromatic waters, nourishing creams, lubricating pomades and numerous fragrances. In the 19th century medical and pharmaceutical literature, rose water was seen as a mainly aromatic substance which added a pleasant fragrance to medicines and cosmetics. The aim of this article is to compare the recipes for medicines and cosmetics containing rose water from 19th-century apothecary’s manuscripts in the library of the Pharmacy Museum of the Jagiellonian University Medical College with the medical and pharmaceutical literature of the period.
{"title":"Zastosowanie lecznicze i kosmetyczne wody różanej według dziewiętnastowiecznej literatury farmaceutycznej oraz medycznej","authors":"Krzysztof Koniewicz","doi":"10.4467/20843852.om.21.001.15502","DOIUrl":"https://doi.org/10.4467/20843852.om.21.001.15502","url":null,"abstract":"Medicinal and cosmetic uses of rose water according to 19th century pharmaceutical and medical literature\u0000\u0000Floral water, also called hydrolate, is a secondary product of the distillation process of aromatic plants. In the Middle Ages, rose hydrolate, according to medical advice of the time, protected against plague spread by ‘miasma’. In nineteenth-century medical and cosmetic applications, rose water was often used as an aromatic and soothing ingredient, forming a base while giving the product the right consistency. It was also the main ingredient in eye medications (in Latin: Collyrium), anti-inflammatory ointments and cosmetic products, including perfumes, aromatic waters, nourishing creams, lubricating pomades and numerous fragrances. In the 19th century medical and pharmaceutical literature, rose water was seen as a mainly aromatic substance which added a pleasant fragrance to medicines and cosmetics. The aim of this article is to compare the recipes for medicines and cosmetics containing rose water from 19th-century apothecary’s manuscripts in the library of the Pharmacy Museum of the Jagiellonian University Medical College with the medical and pharmaceutical literature of the period.","PeriodicalId":315605,"journal":{"name":"Opuscula Musealia","volume":"74 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131874757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-18DOI: 10.4467/20843852.OM.18.013.11006
D. Pluta, Jędrzej Siuta, Mikołaj Jan Czerbak, T. Dobosz
Wet museum exhibits – conservation and recipes Due to the uniqueness of wet museum exhibits, there is often a shortage of adequately trained people to carry out conservation work in museum units. Unfortunately, in many cases, the museum exhibits require immediate work. There is usually a visible loss of preservative fluid, or no fluid at all if it has evaporated. Moreover, chipped lids and damaged jars frequently occur. Some exhibit labels are damaged or torn off. Some items have been exhibited incorrectly, but when they are transferred to a new vessel or the fluid is replaced, they gain added value. Although there is a great need for conservation work, many museologists fail to carry it out. A significant problem is the absence of unified conservation procedures or guidelines which could be applied for these types of cases. This paper includes conservation formulas and recipes used at the Molecular Techniques Unit. The authors of this paper hope that it will be helpful to all those who deal with preserving wet museum exhibits.
{"title":"Mokre preparaty muzealne – konserwacja i receptury","authors":"D. Pluta, Jędrzej Siuta, Mikołaj Jan Czerbak, T. Dobosz","doi":"10.4467/20843852.OM.18.013.11006","DOIUrl":"https://doi.org/10.4467/20843852.OM.18.013.11006","url":null,"abstract":"Wet museum exhibits – conservation and recipes Due to the uniqueness of wet museum exhibits, there is often a shortage of adequately trained people to carry out conservation work in museum units. Unfortunately, in many cases, the museum exhibits require immediate work. There is usually a visible loss of preservative fluid, or no fluid at all if it has evaporated. Moreover, chipped lids and damaged jars frequently occur. Some exhibit labels are damaged or torn off. Some items have been exhibited incorrectly, but when they are transferred to a new vessel or the fluid is replaced, they gain added value. Although there is a great need for conservation work, many museologists fail to carry it out. A significant problem is the absence of unified conservation procedures or guidelines which could be applied for these types of cases. This paper includes conservation formulas and recipes used at the Molecular Techniques Unit. The authors of this paper hope that it will be helpful to all those who deal with preserving wet museum exhibits.","PeriodicalId":315605,"journal":{"name":"Opuscula Musealia","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130670979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-18DOI: 10.4467/20843852.OM.18.010.11003
Fanny Marcon, G. Peruzzi, S. Talas
At the beginning of the eighteenth century, new lectures in natural philosophy based on direct and immediate demonstrations began to spread through Europe. Within this context, a chair of experimental philosophy was created at the University of Padua in 1738, and the new professor, Giovanni Poleni, established a Cabinet of Physics, which became very well known in eighteenth-century Europe. In the following two centuries, Poleni’s successors continued to acquire thousands of instruments used for teaching and research, which today are held at the Museum of the History of Physics of the University of Padua. The present paper describes the main peculiarities of the collection, comprising instruments from the Renaissance to the twentieth century. We also discuss the current acquisition policy of the museum, aimed at collecting material evidence of the research and teaching activities in physics that are carried out in Padua today. We will outline both the local peculiarities of the collection and its international dimension, based on the contacts that have been established throughout the centuries between Padua and the international scientific community. Some aspects of the circulation of scientific knowledge in Europe and beyond will thus also emerge.
{"title":"The Physics Cabinet of the University of Padua. At the crossroads between Veneto and Europe","authors":"Fanny Marcon, G. Peruzzi, S. Talas","doi":"10.4467/20843852.OM.18.010.11003","DOIUrl":"https://doi.org/10.4467/20843852.OM.18.010.11003","url":null,"abstract":"At the beginning of the eighteenth century, new lectures in natural philosophy based on direct and immediate demonstrations began to spread through Europe. Within this context, a chair of experimental philosophy was created at the University of Padua in 1738, and the new professor, Giovanni Poleni, established a Cabinet of Physics, which became very well known in eighteenth-century Europe. In the following two centuries, Poleni’s successors continued to acquire thousands of instruments used for teaching and research, which today are held at the Museum of the History of Physics of the University of Padua. The present paper describes the main peculiarities of the collection, comprising instruments from the Renaissance to the twentieth century. We also discuss the current acquisition policy of the museum, aimed at collecting material evidence of the research and teaching activities in physics that are carried out in Padua today. We will outline both the local peculiarities of the collection and its international dimension, based on the contacts that have been established throughout the centuries between Padua and the international scientific community. Some aspects of the circulation of scientific knowledge in Europe and beyond will thus also emerge.","PeriodicalId":315605,"journal":{"name":"Opuscula Musealia","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126617566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4467/20843852.om.20.001.13740
Jarosław Bodzek, Włodzimierz Kisza
A cast bronze coin belonging to the 2nd series of the Olbian “asses,” dated to the second half of the 5th century BC, is included in the collections of the Jagiellonian University Museum. The coin was probably added to the university collection in 1871, as a gift of Baron Edward Rastawiecki (1805–1874) for the archaeological unit. According to the donor, the “as” was found during the excavation of a barrow in the village of Ostrohladovich in Minsk province – currently Astrahlady/Astrahliady/Ostrogliade (Belarusian Астрагля́ды, Russian Острогляды) in Belarus in the Gomel region, in the Brahin district. In the first millennium BC this area was occupied by the Miłograd culture. Finds of coins produced in Olbia, in particular the Olbian “asses,” have not been recorded outside the Black Sea region until recently. In recent years, however, finds of early Olbian coins (known as “dolphins” and “asses”) have been recorded in the forest-steppe zone. These new discoveries give credence to the finding of the “as” from Ostrohladovich. The coin arrived in the area of the Miłograd culture probably via the Scythians.
{"title":"Znalezisko olbijskiego „asa” w Ostroladowiczach na Białorusi","authors":"Jarosław Bodzek, Włodzimierz Kisza","doi":"10.4467/20843852.om.20.001.13740","DOIUrl":"https://doi.org/10.4467/20843852.om.20.001.13740","url":null,"abstract":"A cast bronze coin belonging to the 2nd series of the Olbian “asses,” dated to the second half of the 5th century BC, is included in the collections of the Jagiellonian University Museum. The coin was probably added to the university collection in 1871, as a gift of Baron Edward Rastawiecki (1805–1874) for the archaeological unit. According to the donor, the “as” was found during the excavation of a barrow in the village of Ostrohladovich in Minsk province – currently Astrahlady/Astrahliady/Ostrogliade (Belarusian Астрагля́ды, Russian Острогляды) in Belarus in the Gomel region, in the Brahin district. In the first millennium BC this area was occupied by the Miłograd culture. Finds of coins produced in Olbia, in particular the Olbian “asses,” have not been recorded outside the Black Sea region until recently. In recent years, however, finds of early Olbian coins (known as “dolphins” and “asses”) have been recorded in the forest-steppe zone. These new discoveries give credence to the finding of the “as” from Ostrohladovich. The coin arrived in the area of the Miłograd culture probably via the Scythians.","PeriodicalId":315605,"journal":{"name":"Opuscula Musealia","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129616619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.4467/20843852.om.20.002.13741
Katarzyna Kolendo-Korczak
Pictorial documentation of the Royal Sarcophagi from the Wawel Cathedral in the Jagiellonian University Museum Collection and its use during conservation work In the 1870s, during renovation works in the crypts under the Wawel Cathedral, which were carried out in order to adapt them for visitors, a detailed inventory was created of the sarcophagi from the Royal Tombs. This documentation, which is now stored in the collections of the Jagiellonian University Museum, was initiated by Prof. Józef Łepkowski, a researcher of exceptional merit in the inventory and documentation of historical objects. Pencil drawings, watercolors and pencil frottages were made by Kraków painters and students of the School of Fine Arts. Each of the renovated coffins was meticulously documented in every detail and it also includes reproductions and frottages of memorial plaques. These materials constitute an invaluable base, both as an iconographic source for the art historian and for the conservator during conservation activities. They were used during the recent restoration and conservation of the metal royal sarcophagi carried out by the monument conservation workshop of Agnieszka and Tomasz Trzos. Analysis of the preserved iconographic sources collected by an art historian and of the material research performed by restorers permitted not only the reconstruction of the original color scheme of the royal sarcophagi, but also allowed the restoration of Sigismund II Augustus’ coffin to its primary form. The effects of this conservation work attest to the crucial role of a meticulously prepared documentation.
{"title":"Dokumentacja rysunkowa sarkofagów królewskich z katedry na Wawelu ze zbiorów Muzeum Uniwersytetu Jagiellońskiego i jej wykorzystanie podczas prac konserwatorskich","authors":"Katarzyna Kolendo-Korczak","doi":"10.4467/20843852.om.20.002.13741","DOIUrl":"https://doi.org/10.4467/20843852.om.20.002.13741","url":null,"abstract":"Pictorial documentation of the Royal Sarcophagi from the Wawel Cathedral in the Jagiellonian University Museum Collection and its use during conservation work\u0000\u0000In the 1870s, during renovation works in the crypts under the Wawel Cathedral, which were carried out in order to adapt them for visitors, a detailed inventory was created of the sarcophagi from the Royal Tombs. This documentation, which is now stored in the collections of the Jagiellonian University Museum, was initiated by Prof. Józef Łepkowski, a researcher of exceptional merit in the inventory and documentation of historical objects. Pencil drawings, watercolors and pencil frottages were made by Kraków painters and students of the School of Fine Arts. Each of the renovated coffins was meticulously documented in every detail and it also includes reproductions and frottages of memorial plaques. These materials constitute an invaluable base, both as an iconographic source for the art historian and for the conservator during conservation activities. They were used during the recent restoration and conservation of the metal royal sarcophagi carried out by the monument conservation workshop of Agnieszka and Tomasz Trzos. Analysis of the preserved iconographic sources collected by an art historian and of the material research performed by restorers permitted not only the reconstruction of the original color scheme of the royal sarcophagi, but also allowed the restoration of Sigismund II Augustus’ coffin to its primary form. The effects of this conservation work attest to the crucial role of a meticulously prepared documentation.","PeriodicalId":315605,"journal":{"name":"Opuscula Musealia","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128794491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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