Journal articles on the topic 'Commemorative medal'

The article studies the commemorative medal for the centenary of the Imperial St. Petersburg Academy of Sciences as a part of the Academy’s jubilee. Preserving memory of significant events is one of key aspects of culture. Jubilees and jubilee-related artifacts, i.e. commemorative medals, have their place among so called commemorative practices. Scientific community uses such practices make appeals to the authorities, to enhance its prestige, and to consolidate itself. The 1826 commemorative medal appeared to be a part of the jubilee events. The large-scale celebrations seemed to be a landmark in the history of the Academy of Sciences. Its President, Sergey Uvarov, used the opportunity to appeal to the Emperor and to show the Academy in all its glory. Medallionist Fyodor Tolstoy created for the occasion a jubilee commemorative medal, which was presented to the members of the Imperial family and other notable guests. That event was the climax of the celebration. The medal was authorized by the Emperor. Its creation therefore proved that the authorities recognized the import of the Academy of Sciences, the worth of science for state, its military power and its political reputation. The 1826 commemorative medal symbolized Imperial favor towards the Academy of Sciences; it bears the names of three monarchs: Peter I, its founder, Alexander I, its protector at the close of its first hundred years, and Nicholas I, its hope for the new era. Several drafts of the medal prove that academician experts in numismatics participated in its creation. The authors consider the commemorative medal an important historical source and a set of symbols to be explained. The article analyses art media and studies the evolution of medal inscriptions (they were first made in Latin, but later re-written in Russian on the Emperor’s orders).

The paper demonstrates the significance of commemorative and anniversary philosophical medals that are seen as a special visual aid for problematic issues in the history of philosophy specification. The author puts forward the thesis that such medals can clarify the perception of philosophical doctrine and the context of philosophical doctrine consideration at a particular time. So, they greatly assist as an additional historical and philosophical source, but they can hardly be helpful with the interpretation of either various aspects of a philosophical doctrine or a particular statement of a particular philosopher. The rationale for the thesis presents the analysis of four philosophical medals: the medal commemorating the foundation of the alethophile society (1740), A. Abramsonʼs medal in honor of I. Kantʼs sixtieth anniversary (1784), A. Abramsonʼs medal for the death of I. Kant (1804), A.L. Heldʼs medals in honor of the sixtieth anniversary of G.W.F. Hegel (1830). If the first three medals contribute to a better understanding of the philosophical traits of the German Enlightenment, the reasons for appealing to Horace's words “sapere aude”, Kant's peculiarity as an Enlightenmentist, philosophical meaning of the Kantian Copernican Revolution and the transformation of the perception of the “Critique of Pure Reason” in the late 18th century, expectations regarding the fourth medal has proved misplaced. It cannot clarify the Hegelian phrase about reason as a rose on the cross of modernity and reconciliation with reality. In addition, in the course of clarifying the meaning of the four aforementioned medals, the author also turns to the commemorative medal of Chr. Wolff by J. Dassier (c. 1733), the medal for the return of Chr. Wolff to Halle by J.Chr. Koch (1740) and the medal for Kantʼs death by F.W. Loos (1804).

The branch of historical science of numismatics (from the Latin "numisma" - coin) originated in the 19th century and became closely connected with economics, politics, culture and law, it includes a thematic study of coins, medals and plaque. Best of all, the history of uronephrology is illustrated by various forms of the medalist educational art (exonum or paranumismatics), and the medal became the prototype of the memorial coin. This work presents a catalog of more than 400 numismatic materials (including some unique, first cited), reflects the stages of development of the study of the structure and function of the kidneys, methods for diagnosing and treating diseases, there are links to significant historical events, brief biographies of physicians who have made an invaluable contribution are mentioned into the formation of this scientific discipline. The development of urology over 520 years of historical epochs of the New and Modern times were presented, portraits on 60 numismatic materials of well-known specialists-urologists and kidney transplantologists were presented, scientific forums of urologists were reflected on commemorative medals.

The main goal was to analyze the history of neurology of Ukraine using exonumia materials. Exonumia (a form of medallic educational art) is a branch of historical science numismatics (from the Latin numisma — coin), which originated in the 19th century and became closely related to economics, politics, culture and law; it includes the thematic study of medals and plaques. The medal became the prototype of a commemorative (memorial) coin. This work presents a catalogue of 43 numismatic materials (me­dals), including some unique ones, presented for the first time, brief biographies of physicians (21 persons) who have made an invaluable contribution to the formation of this scientific discipline. Unfortunately, for now the memory of famous doctors of the past has not been sufficiently marked by the release of numismatic (exonumia) products, so in the future we hope for a systematic approach to this matter, for the purposeful promotion of the achievements of neurology by meaning of numismatics, which provides an illustrative example for studying the history of medicine, contributes to an increase in the level of education of doctors. The authors expect the appearance of new interesting materials of such small forms of art.

The paper considers the present time status of the Russian advocacy, the progress in digitalization of the legal profession and plans for the future development, as well as advocacy’s challenging issues and solu- tions. The article reviews criteria for division of advocacy’s challenging issues. The paper refers to the creation of a commemorative medal in honor of the 30th anniversary of the FSAR (Russian Federal Lawyers Union).The role in the integration of the legal profession of the famous attorney and the former head of the department of advocacy of the Kutafi n Moscow State Law University (MSAL) A. V. Kligman, in whose honor the medal was created, is described. Also, the article highlights the “Pashayev eff ect” as the legal profession antihero and shows the negative consequences to which his behavior led. Moreover, attention is paid to the Concept of the development of the legal aid market and the tasks of the legal profession. Besides topics discovered, the Author analyzes the problems of protecting the professional rights of attorneys, the example of violation of the rights is provided by the case of attorney Diana Tsipinova in 2020 and the advocacy’s attempts to achieve a positive result. The problem of creating a specialized advocacy is revealed. The question of the mandatory internship for the purpose to acquire the status of an attorney is discussed. Defenсe standards and Standards of proof are observed. An example of the successful practice in the fi eld of people’s mental health of attorney Y. L. Ershov and his role in changing the law enforcement in mentioned area is given. The role of professional development of advocacy is shown.

Arthur Ferguson MacCallan was an ophthalmic surgeon who undertook his pioneering work in Egypt between 1903 and 1923. He established the Egyptian ophthalmic infrastructure which, on his departure, consisted of 23 operational hospital units, treating 134,000 new patients, having trained some 100 ophthalmic surgeons. He also established the Memorial Ophthalmic Laboratory at Giza which is still operational today. MacCallan became a world authority on trachoma. He pioneered the ‘MacCallan Classification’ which was the first grading system to standardise the stages of trachoma. He used this grading internally from 1905, continuing his research into trachoma over the ensuing years. In 1952, the WHO adopted the ‘MacCallan Classification’ as its standard. There has recently been a revival of interest in MacCallan’s work. First, the International Coalition for Trachoma Control (ICTC) inaugurated the ‘ICTC MacCallan Medal’ in 2014 as a contribution towards achieving the WHO’s target date for the Global Elimination of Blinding Trachoma (‘GET 2020’). Second, MacCallan’s work with the military hospitals has been recognised by Moorfields Eye Hospital on their World War I Commemorative History Board. Thus, MacCallan’s pioneering spirit, his humanitarian campaign for the relief of suffering and his accomplishments of over a century ago continue to resonate with the profession today.

Two commemorative medals in the Numismatic Department of the National Museum are recently connected with foundation of the Loretto Chapel in Hájek by the Žďárský family of Žďár in 1623. The presented article documents changes in attribution in favor of the St. Florian Chapel in Kladno (1630), based on studies in written sources. Although it is not possible to specify the exact date for both of these commemorative medals, it is undoubted that they represent very rare pieces. The dies for them were produced around 1751 very likely, in time of reconstruction of the original chapel in Kladno on the basis of plans by K. I. Dientzenhofer.

The most enduring archive of medical biography is that composed of coins and medals. More than 20,000 commemorative and tribute medals comprise the domain of medical numismatics. Several thousand of these portray individual doctors whose lives and work are thus recorded in gold, silver, bronze and the alloys of medallic art. Such enduring records range from the names and images of the most famous and significant of doctors in international perspective, to those held in local or parochial esteem by their peers. The medical numismatic archive includes medals and coins which portray the gods of medicine; founders of the profession such as Hippocrates and Galen; and those who have been held in local esteem, all such that the record of their service to medicine might not be forgotten.

A discussion of how EPR spectroscopy has contributed to the understanding of the electronic structure of paddlewheel compounds with multiple bonds between metal atoms is presented while commemorating the 50th anniversary of the paper describing the quadruple bond and the identification of the delta bond in the Re₂Cl₈²⁻ anion.

Abstract Ever since antiquity, medals that were often also remarkable works of art were used to mark the achievements and testify to the glory of a person or his bravery on the battlefield, or to celebrate or commemorate a particular event. Sovereigns and nobles wore medals as symbols of their power, wealth and achievements or distributed them as exceptional gifts in order to maintain or garner support. In the 19th century the use of medals increased dramatically. In fact, with the machine age a new class of heroes was born. These were the engineers, the technicians and the manufacturers who were industrializing the Western world. And these pioneers of technological progress became the new recipients of a tide of medals, diplomas and awards which were primarily distributed at the national, international and universal exhibitions and fairs which abounded during the last decades of the 19th and the first decades of the 20th centuries. This essay will focus on instrument makers, whose activities bridged science and industry. Their products represented the high technology of their day in the sector of precision instruments, and the most outstanding ones, judged to be deserving of an award, were selected following examination by a jury composed of specialists. But what were the criteria adopted by the jurors? Did political considerations influence their judgments? What were the importance and the significance of these awards? Did they have an impact on the instrument maker’s trade or were they just attractive souvenirs to be taken home from the exhibitions? Based on an analysis of many documents (reports, lists of medallists, catalogues, specialized articles, etc.) relating to industrial exhibitions held in Europe and the United States during the 19th century, the present essay provides an answer to these questions.

This talk is to commemorate Kubo’s pioneering theoretical paper in 1962 on the electronic properties of very small metal particles. We discuss mainly the NMR properties of the particles. Emphasis is placed on factors such as the level quantization, the level statistics, the finiteness of systems, and the single electron charging energy, which are current topics in the field of mesoscopic systems.

This research focuses on the ‘plaited horse dance’ Abadi Performing Arts in Tanjung Morawa A, Medan City North Sumatra, which is still alive, although it has been too long and too far from the origin. The horse dance has passed down by the descant of Javanese which have lived in North Sumatra for several generations. As common sense that the performing art has spread widely to several region out of Indonesia brought by Javanese people as migrant such as in Malaysia, Suriname, Hongkong, Japan, and United States of America. It is considered as one of Javanese arts which brought by Javanese wherever we live in line with their migration purposes area. Javanese community overseas, usually still hold the horse dance performing art for event related to the human cycle of life, including as part of their ritual ceremony or merely such entertainment for the people. In 1st suro (muharram, the first month in islamic calendar) commemoration, the horse dance performing art usually also staged.

Background. The cavalry was the primary armed force of Poles and their legendary ancestors from ancient times, especially in historical formations. It also functions as an element of national history in culture in its various areas. Problem. How this fragment of the old Polish military culture manifests itself in high and mass culture, in the world of film, in the city space, in pictures and numismatic values, and how is it displayed in the field of martial arts cultivated today? Method. The answers will be formulated based on an analysis of 30 selected works of art, value or cultural artefacts and illustrated with examples. Examples include films of Polish cinematography (Teutonic Knights, The Deluge, Hubal and others), a series of commemorative medals and paintings by outstanding Polish painters that inspired the authors of these medals. Therefore, both great paintings by outstanding artists (Jan Matejko, Wojciech Kossak etc.), monuments and films, and small graphic forms (coins, medals). Results and conclusions. This Polish tradition of military culture manifests itself even today in high culture (painting, literature) and mass culture (films, songs), in urban space (monuments), and the artistic qualities of medals. It is also cultivated in the Polish martial art practised today – in teaching one of the schools. It is about horse fencing in Signum Polonicum.

To commemorate the centenary of Joseph Lister's death in 2012 and to recognise the significant contribution that he made to medicine and surgery, the Royal College of Surgeons of england teamed up with Johnson & Johnson last year to inaugurate the new annual RCS/J&J Lister Essay Prize. In 2013, participants were asked to submit an essay on the following subject, The Influence of Lister on Surgical Quality Outcomes in the 21st Century. The winner, alexander Sims, received a special medal and £500 paid as a bursary towards an RCS course held at the College. We reproduce his prize-winning essay here.

If a medal were to be struck in commemoration of Latin America's successful survival of the 20th century, la cava might bear a representation of democracy and el sello that of authoritarianism. These alternatives have characterized all attempts to arrive at political consensus for the past hundred years and more.The current version of the region's perpetual dichotomous nature has been called (re)democratization. In South America it has replaced professional militarism, the most recent representation of authoritarianism, and threatens to affect traditional democratic practices in countries spared the military incursions of the 1964-1989 quarter-century. To the north, (re)democratization challenges both traditional authoritarianism and Marxism-Leninism.(Re)democratization is a transitional process in which the polity shifts from one with minimal partisan and popular participation back to one based on (ever more maximized) pluralistic participation, usually characterized by meaningful elections, separation of state powers, constitutional order, rule of law, respect for human rights, and civilian regulation of armed force.

The article traces the alterations of the “harmful statue” motif as it was conceptualized by Roman Jakobson. In the present research the author draws upon a number of representative verses by Russian 20 th century poets – V. Bryusov, I. Selvinsky, B. Slutsky. The theoretical juxtaposition of the metaphoric nature of a monument and strategies of overcoming this nature has been put in focus of this work. These strategies are represented in the convergence of sculpture and body (the reinforcement of iconicity), in implicating the metonymic, substitutional character in new monuments. The author shows how the practice of establishing the new “political” tombs (unknown soldiers, mausoleums) proliferating since 1920s was reflected in verses’ rhetoric and affected these texts’ genre poetics. As a first collection of examples the “Pompeian” plots of Russian “ekphrastic” poetry are studied. Here Russian poets rethink the technology invented by mid-nineteenth century Italian archaeologists who were the first to introduce the sculptural reconstruction of human bodies preserved by volcanic soil in area of 79 a.d. Vesuvius eruption. The first step on this way of rethinking the “living statue” motif was the intrinsic to modernism and openly exposed problematizing of the relationships between body and its representations in stone or metal. Having begun its “own” life, the sculpture is currently observed as a direct, “drawn on a contour” replica of an organism, unprecedented in unicity of its physical existence. This semiotic discovery has formed the receptive “niches” of expectations – prior to the emergence of the next commemorative practice, the creation in 1924 Vladimir Lenin’s “living sculpture” (A. Yurchak) or “self-icon” (J. B. Platt). However one difference here was of specific significance: the “Pompeian” plaster reconstructions were anonymous whereas the Bolshevik leader’s name was in contrast not just commonly known but also as strongly mythologized as his remains kept in mausoleum were. The semiosis taking place within a triangle body – monument – name had formed a perspective for the forthcoming of a new social commemorative practice, memory place and poetic image – the tomb of an Unknown Soldier. The author illustrates the interaction of the two political and memory cults on the level of official rhetoric and in the sphere of literary motifs.

The formation of the first state system in Europe took place from the conclusion of the Peace of Westphalia in 1648, as a result of the Thirty Years’ War (1618-1648), to the Utrecht (1713), Rastatt-Baden (1714) and Nystad Congresses (1721) which finished the end of the war of the Spanish Succession and the Northern war. The legal fixation of the Westphallian system was accompanied by its public perception and acceptance. First of all, this was demonstrated by International Congresses, which were not only a common negotiation process, but also a place of representation of the significance and culture of each state. In fact, the European Congress was a carefully designed triumph of Рeace within the continent, which required considerable funds, was widely covered in the press and glorified in celebrations, paintings, plastic art, release of commemorative medals, poetry and even fashion. The article presents the most striking examples of iconography of Peace Congresses. The author believes that their performative nature and iconography, emphasizing the European character of Peace and the protopatriotic moods that it evoked, made a significant contribution to the civilization heritage of Europe.

Abstract The practical interest driving many 20th-century theories of the public sphere led Hannah Arendt, Jürgen Habermas, and Oskar Negt/Alexander Kluge to focus upon the various practices that bring about, and keep alive, a public sphere. Looking for common ground between their accounts, this article argues that all of them rely upon the concept of “Herstellung” (fabrication/work), as distinguished from action or deliberation, for a critical analysis of these practices. While there are significant differences in the ways they deploy the concept, its theoretical function is similar in that it sheds light upon the institutional, organizational, and medial conditions for public agency to arise. The concept thus enables reflection upon the political relevance of practices such as writing books, making films, studying the past, and commemorating the dead, as well as upon the infrastructures and publics that are constitutive for them.

The funeral sermon of a deceased prince played a particular role within the system of communication of early modern courts. The Wohlverdiente Ehrenseule, printed in honour of Ernst I von Sachsen-Gotha und Altenburg, and the Personalia which it contained, carried multiple meanings. In the first instance they served to communicate an unquestioned acceptance of the new ruler as guarantor of the existing order, in the context of the state ceremony of mourning. They acquired additional meaning as part of the ostentatious printed account of the funeral, where they worked to communicate the newly created image of Duke Ernst set up by his oldest son Friedrich in the context of the latter’s conflict with his brothers. It has become clear that such ostentatious funeral publications can only be evaluated with an understanding of both their political implications and the complete medial system of the relevant court, because the commemoration of the deceased prince was not the consequence of his qualities as a ruler but rather of the message that his successor wished to communicate.

Resumen:Desde el momento de su creación a mediados del siglo XIX, la invención fotográfica representó un cambio profundo en la mentalidad de la sociedad decimonónica en lo relativo a su impacto en la reproducción y diseminación de las imágenes visuales. Durante las primeras décadas siguientes a su invención, los entusiastas de la fotografía propulsaron un discurso de superioridad mimética de la misma por sobre las artes visuales tradicionales, sobre la base de la supuesta objetividad absoluta de su registro óptico-químico. La fuerza de esta mentalidad discursiva del nuevo paradigma visual se reflejó en la literatura y demás expresiones culturales, incluyendo las propias artes plásticas. A través de un análisis iconográfico de un conjunto de medallas del período se pueden identificar los signos, códigos y discursos relativos a la fotografía como reflejo de las mentalidades positivistas imperantes de la época.Abstract:Since its invention in the first half of the nineteenth century, photography represented a profound change in the mentality of European society regarding its impact in the reproduction and dissemination of visual images. During its initial developmental stage, fanatics of the new medium gave impulse to a discourse of mimetic superiority of photography over traditional visual arts, based upon the alleged absolute objectivity of its optical-chemical registry. This discursive mentality reflected its influence in literature, as well as in other cultural expressions, including the visual arts. Through the implementation of an iconographic analysis of a sample of award and commemorative medals of this period, this article looks to identify those signs, codes and discourses related to photography as symbol of progress and absolute truth within the positivism paradigm.Keywords: Photography; iconography; medallic art; visual images; mentalities

In March 1985 the Pacific Coast Conference on British Studies devoted its annual meeting to honoring George Dangerfield upon the occasion of the fiftieth anniversary of the publication of his book, The Strange Death of Liberal England. Scholars from various parts of the United States and from several British Universities came together to pay their respects to Dangerfield, and to talk about his famous history.The principal organizers of the meeting were Professor Peter Stansky of Stanford University; Professor R. J. Q. Adams of Texas A&M University; and Professor Dan Krieger, California Polytechnic State University. These organizers made two requests of me. They invited me to deliver an oral comment upon a paper about Dangerfield which was presented to the conference by Professor Carolyn White of the University of Alabama; and they also asked that I write this essay about “Dangerfield—the man and historian.” The idea was to make his personality known to a wider audience by recalling certain experiences and by relating certain anecdotes which illustrate the character of this remarkable scholar and man of letters.The celebration of the anniversary of The Strange Death of Liberal England actually began a few months earlier when the Chancellor of the University of California, Santa Barbara, Dr. R. A. Huttenback, presented Dangerfield with a University Medal in commemoration of the book. At this ceremony at U.C.S.B. Dangerfield casually remarked that The Strange Death of Liberal England had appeared in nineteen editions and he thought, but was not entirely certain, that a twentieth edition was about to be produced.

ResumenPeruko Ccopacatty es un escultor egresado de la Escuela Nacional Superior Autónoma de Bellas Artes del Perú (Ensabap) a principios de la década de 1980 emigró a los Estados Unidos, donde ha realizado una incansable labor de producción escultórica y mural especialmente en espacios públicos. Reconocida por instituciones públicas y privadas de su país de residencia, e incluso por la misma Organización de las Naciones Unidas, su obra ha pasado injustamente inadvertida en el Perú. Este artículo describe su proceso a la luz de las escasas fuentes disponibles y a partir de la exposición homenaje, realizada en mayo y junio del 2019 en el Centro Cultural de Bellas Artes como parte de las actividades de conmemoración del Centenario de la Ensabap. Se revisan su estilo, su simbolismo y su trayectoria, y se proponen líneas de investigación hacia el rescate de un corpus disperso y el reconocimiento de su sorprendente trayectoria.Palabras clave: tradición aymara, arte en espacios públicos, Ensabap, escultura en metal, multiculturalidad, muralismo, Pedro Peruko Ccopacatty. AbstractPeruko Ccopacatty is a sculptor who graduated from the Ensabap, who emigrated to the United States in the early '80s, where he has carried out a tireless work of sculptural and mural production, especially in public spaces. Recognized by public and private institutions in his country of residence, and even by the United Nations itself, his work has gone unjustly unnoticed in Peru. This article describes his process in light of the scarce sources available and the homage exhibition held in May and June 2019 at the Centro Cultural de Bellas Artes as part of the activities to commemorate the Centennial of Ensabap. Its style, symbolism, and trajectory are reviewed, and lines of investigation are proposed towards the rescue of a dispersed corpus and the recognition of its amazing trajectory.Keywords: art in public spaces, aymara tradition, Ensabap, metal sculpture, monumental art, multiculturality, mural painting, Pedro Peruko Ccopacatty.

Abstract The Katowice conurbation comprises of towns which have developed because of the mining of metal ores, coal and raw rock materials. The development of mining and industry which have lasted for centuries has resulted in the specific character of the landscape of the area with its typical indicators such as housing estates built for the working class, winding towers, chimneys of steelworks, coking plants, power stations, drifts, quarries, etc. The residents of mining communities, and local governments within the conurbation, which have developed owing to mining, are aware of the impending economic slowdown after liquidation of coal mines. Therefore, development of the service sector, including tourism, based on postindustrial facilities can become an important factor in restructuring the economy. This article presents a classification of post-industrial cultural heritage sites prepared for the purpose of geotourism. Several categories of such sites have been distinguished: 1) historic mining landscapes, 2) places adapted for recreation, 3) places documenting changes in the groundwater environment, 4) characteristic Silesian landscapes, places commemorating stages of development of the mining industry, 5) post-mining sites adapted for service, commercial or residential purposes, 6) mining museums and open-air museums. The described post-mining sites occur in different parts of the Katowice conurbation; therefore, linking them by a system of tourist trails and surrounding them by zones of protected landscape will be an important task for the future. Material remains of the industrial culture preserved within the Katowice conurbation, despite their diversity, form complexes of monuments complementary to those that can be found in the entire industrialized Europe. Therefore, the industrial heritage in the area of the Katowice conurbation is an important part of the European, supranational heritage.

AbstractTwo things long stood in the way of the erection of statues in public in the Northern Netherlands, on the one hand the lack of a strong central government and on the other the wrongly interpreted - Calvinist interdict on them (Note 1). The first statue of this kind, that of Erasmus in Rotterdam by De Keyser (1622), was attacked by strict Calvinists, but noted throughout Europe as an early paradigm (Note 3). Not until the 19th century did the Netherlands join in the nationalistic 'statue craze', which was just breaking out then, with two monuments to the supposed Dutch inventor of printing, Laurens Janszoon Coster. These statues of a private citizen had a predecessor in the 18th century, while a statue had already been demanded in the 17th-century eulogies of Coster. Cities had long honoured their famous inventors as important contributors to civilization and praise of the inventor was also a fundampental ingredient of the history of learning (e.g. in Pliny). In the Renaissance scientific inventions acquired a special emphasis, modern inventors being held up as evidence that the model of Antiquity could be not only equalled, but also surpassed, while both Christian civilization and the northern countries could also gain credit here (cf. Johannes Stradanus, Figs. 2, 3, Note 9, and Francis Bacon, Note 10). The significance of the invention of printing for Christianity was soon recognized, so that it was lauded above other inventions as 'divine', an attitude that was certainly also strengthened by its decisive role in the Reformation. In the Netherlands in particular, where religious and political developments were so closely interwoven, printing was regarded as an important aid to both (Notes 14, 15), while the young Dutch Republic, in which printing played such an important part, could claim the honour of counting the inventor of this important art among its citizens. This 'pious fraud' (Hellinga) is fundamental to the discussion of the history of the statues. The Coster tradition can only be traced back to about a century after the supposed invention, acquiring its definitive form at the end of the 16th century in Hadrianus Junius' Batavia Illustrata of 1598. The further enlargement on the merits of Coster also necessitated a portrait of him which, in de fault of an authentic one, had to be fabricated for the purpose, the features of the statue of Erasmus being taken over for a full-length portrait (Fig. 5), which served as a 'graphic monument'. A fictitious bust of Coster was also cited in the 17th century (Fig. 7) and this, like the early sculptural marks of honour to him (Fig. 16), belongs to the iconography of printing, the practitioners of the craft evoking their inventor. Such representations - a more or less life-size statue of Coster is still to be seen on the house of the Haarlem printer Enschedé - were not yet very public in character. The statue of Coster projected from the end of the 17th century for the garden of the Hortus Medicus in Haarlem did acquire greater publicity, however. This humanist garden of a bourgeois learned society (Note 28), reflected not only nature, but also the world of learning, as a microcosm of the arts, with sixteen busts of connoisseurs and scholars under the leadership of a full-length statue of Coster, since it was he who by his art had made the dissemination of learning possible, although he owed his place here largely to his Haarlem origins, of course. The designs made by Romeyn de Hooghe for this statue (Note 29) were only realized in 1722 in a statue by Gerrit van Heerstal, which tried to unite historical and classical features (Figs. 8-13). In the years thereafter, up to the tercentenary of the invention, the poems, medals and a weighty commemorative publication (Fig. 14, Note 35) celebrating the Haarlem inventor of printing all referred to this statue in his birthplace. Meanwhile Germany too had honoured her inventors of printing - Fust in addition to Gutenberg, initially - in 1640 and 1710 by centenary festivities often of a Protestant cast. Privileges relating to public statues may have been one of the reasons why no monuments were erected on these occasions. These privileges were, however, annulled by the French Revolution, just as the Enlightenment and political renewal furthered the cult of honouring leading civic 'geniuses'. Two Gutenberg cities under French rule took pride of pace here, but only in 1840 did Strasbourg acquire a statue of Gutenberg by David d'Angers, which illustrated his role as the enlightener of all mankind (Figs. 15-18, Note 39). In Mainz a private initiative of 1794 came to nothing (Note 40), as did a Napoleonic rebuilding plan centred on a Gutenberg Square with a statue. Not until 1829 was a semi-public statue by Joseph Stok set up there (Note 41), while in 1837 the Gutenberg monument designed by Bartel Thorwaldsen was unveiled with great ceremony (Fig. 19). The two last-mentioned statues in Mainz, like the many others erected after 1814, were the products of the nationalistic pride in the country's past history that flared up after the defeat of Napoleon. This pride in the past generally took on a nostalgic cast and served to compensate for the failure of current political ambitions: The unity of Germany long a dream, while the hoped-for great changes in the Kingdom of the Netherlands were dealt a bitter blow by the breakaway of the 'southern provinces' in 1831 (Note 44). This last event marked the start for the Northern Netherlands of a long-lasting rivalry with their Belgian neighbours, which was pursued by means of monumental art, from the statue of Rembrandt (1852) as an answer to that of Rubens (1840) to the Rijksmuseum (1885). The great importance attached to Coster in the 19th century was already manifested in 1801 by the removal of the statue in Haarlem from the Hortus Medicus to the marketplace (Note 45). National pride is abundantly evident in the prizewinning treatise published in 1816 by Jacobus Koning, who is a weighty investigation confirmed Coster's right to the invention and with it that of the Netherlands to a leading place among the civilized nations. The quatercentenary, fixed surprisingly early, in 1823, comprised every imaginable type of public entertainment and demonstration of scholarship. It is, however, striking that these expressions of national pride were still balanced by references to the elevating effect of the invention (Note 56). The most lasting mark of honour of the celebration of 1823, the abstract monument by the Haarlem sculptor D. Douglas, also looked back to the sensibilities of the 18th century in its placing on the spot where the invention had come into being in the Haarlem Wood (Fig. 23, Note 59). After this Haarlem monument of 1823 had been adduced in the discussions about the statue in Mainz before 1829, Thorwaldsen's statue, which attracted great international attention, became a greater source of annoyance to the Dutch adversaries of Gutenberg after 1829 than the statue to the Belgian inventor Dirck Martens in Aalst (Note 63) or the projected monument to William Caxton in England. Jan Jacob Frederik. Noordziek summed up this dissatisfaction in his call in 1847 to 'uphold the honour of the fatherland', in which he pleaded for a monument that would surpass the Gutenberg statue and thus serve as an argument that would establish the Dutch claim for good (Note 64). The erection of this statue was further expressly intended to be an exclusively national affair: the citizens of the Netherlands must raise the money and only Dutch artists be charged with the execution. The general discussion about the statues appears to have been less virulent than was usually the case in the preliminaries to other monuments (Note 66), Coster's merits evidently being little contested within the country itself. There were two notable critical voices, however (see Appendix). Professor M. Siegenbeek rang the changes on an old Calvinist argument in refusing a seat on the preparatory committee: in addition to the fact that there were certainly more people who deserved statues, he pointed out that the great expense involved merely evinced ostentation and that the money would be better spent on social ends. The Neo-Classicist Humbert de Superville, on the other hand, did express doubts as to Coster's right to the title, repeating aesthetic arguments which had been adduced before: statues ought, in his view, to be made in the form of durable stone herms, but he thought there was as little chance of that in this 'age of modish lay-figures' in the bronze of melted-down coins, as that the statue would be made by a Dutchman (Note 67). A typical Romantic historical controversy threw the organizers into turmoil, namely the authenticity of the representations of Coster. In particular Westreenen van Tielland unmasked the idealizing and forged portraits, arguing against the erection of a historicizing representational statue. But the defenders of Coster's honour opted for the usual historical realism (Note 68). The tenor of these polemics is found again in the conflict over the 'historical or allegorical' nature of the composition, which can be seen in the designs. Louis Royer, to whom the commission was given in 1848, wanted to show Coster walking with a winged letter A in his hand, as if on his way to show people his discovery, which was soon to wing its way round the world (cf. Fig. 22). However, this allegorical element disappeared completely in the final version, in which the choice fell on a realistic portrait, albeit Coster was still shown walking like a classical predecessor, Archimedes, who could not keep his discovery to himself (Fig. 23, Note 69). The architect H. M. Tetar van Elven was commissioned to make a base in the style of 'the last era of the Middle Ages'. The inscriptions also presented problems, but were finally agreed on in September 1855. The ceremonies, which after all manner of altercation between Royer and the main committee (Note 70) and various financial problems, were finally able to be staged from 15 to 17 July) 1856, included, in addition to the actual unveiling of the statue on the marketplace ( Van Heerstal's statue being returned to the garden again) , pageants, meetings, an exhibition and all sorts of popular entertainments. Everything was on a grander and more extensive scale than 33 years before and little remained of the motif of enlightenment through printing which had been so important then. Nalionalistic merry-making now predominated, along with expressions of devotion to the House of Orange. Less emphasis was also given to the 'darkness' of the Middle Ages, which were now beginning to be valued as part of the nation's history. The most monumental homage to this monument was a 360-page account of the events by the indefatigable Noordziek. His dream of the recognition of Coster and the nation as a whole seemed to have become a reality. But it was not to be so for long. Only fifteen years after the unveiling A. van de Linde unmasked the' 'Haarlem Coster legend' and called for the demolition of the statue, again in the interests of the nation (Note 81).

The President (Mr M.H. Field, C.B.E.): Tonight we have a double event and so commemorate the names of two distinguished actuaries: John Finlaison, our first President from 1848 to 1860; and Sir Alfred Watson, the first Government Actuary and our President from 1920 to 1922.In 1985 the Council reviewed the procedures for awarding medals and decided to widen the eligibility of the old Silver Medal and to change its designation to a renamed Finlaison Medal. The Finlaison Medal may be awarded “in recognition of service to the Actuarial Profession in furtherance of one or more of the various objects as set out in the Royal Charter”.

Adam Politzer (1835–1920) was one of the greatest otologists of all time. On the 100th Anniversary of his death, this paper pays tribute to his legacy to our specialty and examines various memorabilia made during those hundred years in his honour. Items as diverse as book plates, postage stamps and postcards stand alongside commemorative medals, busts and plaques, all bearing witness to his legendary status and contribution to our specialty.

This first part of a two-part commemoration of the life and work of Robert D. Gillard begins with a biographical outline which provides a context for his chemical achievements. He was awarded a State Scholarship and after his National Service in the Royal Air Force he went up to St Edmund Hall, Oxford, to read Chemistry. There follows a chronological account of his career in Chemistry starting with his undergraduate days in Oxford, where a Part II project with Dr Harry Irving on alkaline earth and cobalt complexes proved seminal. His PhD research at Imperial College, London in the Geoffrey Wilkinson group broadened his experience into the then poorly developed chemistry of rhodium and other platinum group metal complexes. Gillard next went to Sheffield University as a Lecturer where he developed independent research while continuing to work on earlier topics. There followed a move to Canterbury as a Reader at the University of Kent. In his particularly productive seven years there with a large research group he widened his experience further, expanding his interests in such areas as the optical properties of transition metal complexes, considering biological and medical relevance, and increasing the range of metals and ligands he investigated. His subsequent time at Cardiff and then into retirement will be covered in the second part of this commemoration.

Abstract Anne Hull Grundy and her husband, John, were prolific antique collectors, remembered for their generous donations of fine and decorative arts to several major museums. Less well known is their collection of over 200 items broadly related to medical topics and donated to the University of Manchester Museum of Medicine and Health (mmh) between 1978 and 1983. The donation includes items of equipment in silver, a collection of commemorative medals and a set of framed prints, all linked to medicine and medical history. This paper describes the Hull Grundy collection and its place in the history of the museum. Short biographical sketches of Anne and John Hull Grundy and a brief history of the mmh, are followed by an account of the artefacts in the collection. The role of donors and donations in defining the nature of a ‘medical history museum’, and its potential use for social history and the medical humanities are also discussed.