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Journal articles on the topic 'Museum of Victoria History'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Charman, Helen. "REINVENTING THE V&A MUSEUM OF CHILDHOOD." Muzealnictwo 61 (June 30, 2020): 117–26. http://dx.doi.org/10.5604/01.3001.0014.2637.

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In 2018 the Victoria and Albert Museum launched a capital project to transform the Museum of Childhood from a museum of the social and material history of childhood to a powerhouse of creativity for the young. This paper therefore takes the reinvention of the MoC as a case study to explore the process of change and the key drivers for inculcating and realising the transformed museum. In particular, the process of co-design with and for young people is considered as a mechanism for change in creating future facing museums that speak to the needs of young people in a rapidly changing and complex world.

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2

Hakiwai, Arapata, and Paul Diamond. "Plenary: The legacy of museum ethnography for indigenous people today - case studies from Aotearoa/New Zealand." Museum and Society 13, no. 1 (January 1, 2015): 107–18. http://dx.doi.org/10.29311/mas.v13i1.320.

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The following plenary took place at the seminar ‘Reassembling the material: A research seminar on museums, fieldwork anthropology and indigenous agency’ held in November 2012 at Te Herenga Waka marae, Victoria University of Wellington, Aotearoa New Zealand. In the papers, indigenous scholars and museum professionals presented a mix of past legacies and contemporary initiatives which illustrated the evolving relations between Māori people, and museums and other cultural heritage institutions in New Zealand. Whereas most of the papers at this seminar, and the articles in this special issue, are focused on the history of ethnology, museums, and government, between about 1900 and 1940, this section brings the analysis up to the present day, and considers the legacy of the indigenous engagement with museums and fieldwork anthropology for contemporary museum practice. What do the findings, which show active and extensive indigenous engagements with museums and fieldwork, mean for indigenous museum professionals and communities today?

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3

Evelyn, Douglas E., and John Physick. "The Victoria and Albert Museum: The History of Its Building." Technology and Culture 27, no. 3 (July 1986): 627. http://dx.doi.org/10.2307/3105406.

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4

Hinson, Benjamin. "A Beaded Scarab in the Victoria and Albert Museum." Journal of Egyptian Archaeology 105, no. 2 (December 2019): 305–8. http://dx.doi.org/10.1177/0307513319899955.

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5

Gordon, Tammy S. "Exhibit Review: David Bowie Is, Victoria and Albert Museum." Public Historian 35, no. 3 (August 1, 2013): 116–19. http://dx.doi.org/10.1525/tph.2013.35.3.116.

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6

Christensen, Jørgen Riber. "Four steps in the history of museum technologies and visitors' digital participation." MedieKultur: Journal of media and communication research 27, no. 50 (June 27, 2011): 23. http://dx.doi.org/10.7146/mediekultur.v27i50.2982.

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The hypothesis of this article is that the authentic and auratic exhibited objects in museums enter into a dialogue with surrounding paratexts. The paratexts anchor and change the meaning of the exhibited object in the museum context. Recent years have indicated a tendency for museum paratexts to grow increasingly allographic, i.e., visitors generate them both in situ and online as a part of Web 2.0 participation. The verification and documentation of this hypothesis are partly empirical, partly historical. The empirical research consists of an examination of the exhibition and display technologies used today in three different museums and galleries: the Bode Museum in Berlin, the Victoria and Albert Museum and Dr. Johnson's House in London.<br />    The historical verification and documentation in this article describe four steps in the development of exhibition technologies: the Boydell Shakespeare Gallery (1789-1805), the post-photographic museum (the 1850s), audio guides, as well as a special focus on how museum paratexts have become independent today in its digital and participatory form. In this way, the article sketches the historical development of curating towards the digital and paratextual participation of visitors and audience. Here the argumentation is based on how the displayed object creates signification in its position between its autonomy and its contexts. The following display technologies are described and analysed: stipple engraving, photography, the audio guide, and the interactive, digital Anota pen and its Internet server.<br />    In conclusion, the article asks where the place of signification or meaning of the exhibited object has moved to in the face of the increased degree of visitor participation. The tentative answer is that the signification generating process has moved away from the historical context of the object and towards the contemporary world of the visitor. The article connects this change in cultural discourse with Karin Sander's archaeological imagination and in a wider sense with the concept of negotiation from new historicism.<br /><br />

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7

Haddow, Eve. "War Trophies or Curios? The War Museum Collection in Museum Victoria, 1915–1920." Journal of Pacific History 52, no. 4 (October 2, 2017): 543–45. http://dx.doi.org/10.1080/00223344.2017.1382027.

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8

Dingle, R. V., C. Giles Miller, and Clive Jones. "R. V. Dingle Ostracod Collection: Natural History Museum, London." Journal of Micropalaeontology 31, no. 2 (July 1, 2012): 189–92. http://dx.doi.org/10.1144/0262-821x12-006.

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Abstract. The collection was donated to the Natural History Museum (NHM) between 2009 and 2011 and consists of 2534 slides. It comprises mainly marine ostracods of Jurassic to Holocene age from southern Africa (and its adjacent oceans), Antarctica and New Zealand. There is also a small collection of Quaternary non-marine ostracods from southwestern Africa, two sets of DSDP/ODP ostracods from the Southern Ocean, and one set of Cape Roberts Drilling Project (CRDP) ostracods from Victoria Land, East Antarctica. The individual slides in this collection have been computer registered. Further details of these can be found by inputting seach criteria based on information given in the paper to the NHM’s on-line catalogue at http://www.nhm.ac.uk/research-curation/collections/departmental-collections/palaeontology-collections/search/index.php.

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9

Plotkin, Howard. "The Iron Creek Meteorite: The Curious History of the Manitou Stone and the Claim for its Repatriation." Earth Sciences History 33, no. 1 (January 1, 2014): 150–75. http://dx.doi.org/10.17704/eshi.33.1.2457k54466405851.

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Canada's Iron Creek meteorite, a 320 lb (145 kg) Group IIIAB medium octahedrite iron, was long venerated by the First Nations in Alberta as their sacred Manitou Stone, but it was taken without authority from them by Methodist missionaries in 1866. That began the meteorite's long odyssey, as it was transferred first to the Methodist Mission in Victoria (now Pakan) Alberta; then to the Red River Mission in Winnipeg, Manitoba; then to the Wesleyan Methodist Church's Mission Rooms in Toronto, Ontario; then to Victoria College in Cobourg, Ontario; then to the campus of the University of Toronto in Toronto, Ontario; then to the Royal Ontario Museum in Toronto; and finally to the Provincial Museum of Alberta (now the Royal Alberta Museum) in Edmonton. In recent years, a First Nations movement to repatriate the meteorite to a place near its original find site has been initiated. As of now, the meteorite remains on display at the Royal Alberta Museum's Syncrude Gallery of Aboriginal Culture, where it is a prized showpiece. The present paper explores the curious history and cultural significance of this fabled meteorite, its long odyssey, the issues surrounding the claims for its repatriation, the Royal Alberta Museum's present policy, and a possible way forward.

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10

Turnbull, Paul. "Australian Museums, Aboriginal Skeletal Remains, and the Imagining of Human Evolutionary History, c. 1860-1914." Museum and Society 13, no. 1 (January 1, 2015): 72–87. http://dx.doi.org/10.29311/mas.v13i1.318.

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Much has been written about how progress to nationhood in British colonial settler societies was imagined to depend on safeguarding the biological integrity of an evolutionarily advanced citizenry. There is also a growing body of scholarship on how the collecting and exhibition of indigenous ethnological material and bodily remains by colonial museums underscored the evolutionary distance between indigenes and settlers. This article explores in contextual detail several Australian museums between 1860 and 1914, in particular the Australian Museum in Sydney, the Queensland Museum in Brisbane, and the Victorian Museum in Melbourne, in which the collecting, interpretation and exhibition of the Aboriginal Australian bodily dead by staff and associated scientists served to imagine human evolutionary history.

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Sokhan, Marina, Pedro Gaspar, David S. McPhail, Alan Cummings, Larrain Cornish, Derek Pullen, Frances Hartog, Charlote Hubbard, Victoria Oakley, and John F. Merkel. "Initial results on laser cleaning at the Victoria & Albert Museum, Natural History Museum and Tate Gallery." Journal of Cultural Heritage 4 (January 2003): 230–36. http://dx.doi.org/10.1016/s1296-2074(02)01219-0.

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12

Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.

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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.

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13

Watson, William. "Rose Kerr: Later Chinese bronzes. (Victoria and Albert Museum, Far Eastern Series.) 115 pp. London: Bamboo Publishing Ltd [and] the Victoria and Albert Museum, 1990. £28.95." Bulletin of the School of Oriental and African Studies 55, no. 1 (February 1992): 162–63. http://dx.doi.org/10.1017/s0041977x00003116.

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14

Fehérvári, Géza. "Haldane Duncan: Islamic bookbindings in the Victoria and Albert Museum. 205 pp. London: World of Islam Festival Trust [and] The Victoria and Albert Museum, 1983. £35." Bulletin of the School of Oriental and African Studies 49, no. 1 (February 1986): 223–24. http://dx.doi.org/10.1017/s0041977x00042762.

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15

Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.

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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.

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16

Campbell, Claire. "Modern History Gallery, Royal British Columbia Museum, Victoria B.C. Lorne Hammond Robert Griffin." Public Historian 26, no. 4 (October 2004): 108–11. http://dx.doi.org/10.2307/3378850.

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17

Farmer, Jennie. "Artists’ books in the National Art Library, Victoria and Albert Museum." Art Libraries Journal 32, no. 2 (2007): 27–31. http://dx.doi.org/10.1017/s0307472200019167.

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The National Art Library’s collection of artists’ books is described here by one of the librarians, who is herself trained as a book artist, having completed an MA in Book Arts at Camberwell College of Art. She has built upon this knowledge through working with the large numbers of artists’ books at the NAL and begins this article by discussing the terminology relating to the book arts, going on to talk about the history of the NAL’s collection and touching on its future. She finishes by highlighting a few very distinctive items available for consultation.

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18

Upchurch, Michael. "Hinemihi o te Ao Tawhito." Museum Worlds 8, no. 1 (July 1, 2020): 188–203. http://dx.doi.org/10.3167/armw.2020.080113.

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This report discusses the overriding significance of cross-cultural relationships in heritage management and conservation with regard to Hinemihi o te Ao Tawhito, the whare whakairo (“carved meeting house”) “displaced” in the late nineteenth century from Te Wairoa in Aotearoa New Zealand to Clandon Park in England. Looking at the history and meanings of the meeting house through the relationships of those who interacted with her, it demonstrates how listening, learning, and understanding are at the heart of improving professional practice in museums and heritage practice globally. This article is derived from and expands upon an assignment written for the course MHST507 “Museums and Māori” taught by Awhina Tamarapa as part of the PG-Dip in Museum and Heritage Practice at Te Herenga Waka Victoria University of Wellington in May 2020.

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19

Darragh, Thomas A. "William Blandowski: A frustrated life." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 11. http://dx.doi.org/10.1071/rs09011.

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When Johann Wilhelm Theodor Ludwig von Blandowski (1822-1878), was appointed Government Zoologist on 1 March 1854, Victoria gained a scientist, who had attended Tarnowitz Mining School and science lectures at Berlin University. He had been an assistant manager in part of the Koenigsgrube coal mine at Koenigshütte, but as a consequence of some kind of misdemeanour, resigned from the Prussian Mining Service and joined the Schleswig-Holstein Army in March 1848. After resigning his Lieutenant’s commission and trying unsuccessfully to obtain another appointment in the Prussian Mining Service, he left for Adelaide in May 1849 as a collector of natural history specimens. After some collecting expeditions and earning a living as a surveyor he moved to the Victorian goldfields. He undertook official expeditions in Central Victoria, Mornington Peninsula and Western Port and in December 1856 he was leader of the Murray-Darling Expedition, but control of the Museum passed to Frederick McCoy with Blandowski relegated to the position of Museum Collector. Feted on his return from the Expedition, he fell out with some members of the Royal Society of Victoria over somewhat puerile descriptions of new species of fishes and he also refused to recognise McCoy’s jurisdiction over him. After acrimonious arguments about collections and ownership of drawings made whilst he was a government officer, Blandowski resigned and left for Germany, where he set up as a photographer in Gleiwitz in 1861, but some kind of mental instability saw him committed to the mental asylum at Bunzlau (now Boleslawiec, Poland) in September 1873, where he died on 18 December 1878. Assessments of Blandowki’s scientific and artistic career in Australia have been mixed. The biographical details presented provide the opportunity to judge assessments of Blandowski in Australia against his actions both before and after his arrival there.

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20

Manuwald, Henrike, and Nick Humphrey. "A Painted Casket in the Victoria and Albert Museum, London." Antiquaries Journal 90 (September 2010): 235–60. http://dx.doi.org/10.1017/s0003581510000144.

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AbstractThis paper seeks to reassess the iconography and the physical condition of a fourteenth-century carved and painted casket in order to review its geographic origins and to consider its function. The intriguing, but under-researched casket (now in the Victoria and Albert Museum) has been discussed mainly in terms of the Tristan iconography of its lid, apparently derived from a German version of the Tristan story. Yet the casket has been generally described as English or French. In order to review these conflicting assumptions, and to exclude the possibility of a nineteenth-century forgery, the casket was reassessed technically, and the well-preserved polychromy was found to be consistent with a fourteenth-century date. Using stylistic and iconographic analyses, a Netherlandish origin of the casket (around 1350–70) is tentatively proposed. Within the context of the controversial discussion of Minnekästchen, the casket is finally interpreted both as a practical object and as the bearer of a coded language of love.

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Rutherford-Morrison, Lara. "Playing Victorian." Public Historian 37, no. 3 (August 1, 2015): 76–101. http://dx.doi.org/10.1525/tph.2015.37.3.76.

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The British heritage industry has long been a subject for debate in the UK, with critics arguing that heritage invests history with a nostalgic idealism that sanitizes and simplifies the nation’s past. This article examines Blists Hill Victorian Town, a British living history museum that purports to re-create everyday industrial life of the 1890s, within the context of these debates, arguing that Blists Hill portrays the late-Victorian period with more complexity than many critics would allow. Shifting the lens of how such sites have typically been evaluated—away from questions of authenticity, to instead focus on how living history museums engage visitors in meaningful play—I consider the ways that Blists Hill promotes creative learning through an imaginative, visceral engagement with history.

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Gannon, Anna. "The Double Life of Aufret – Revealed." Antiquaries Journal 92 (July 10, 2012): 115–27. http://dx.doi.org/10.1017/s0003581512000133.

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The Aufret ring, acquired by the Victoria and Albert Museum in 1871, has long been considered an Anglo-Saxon artefact, its inscription counted as part of the Anglo-Saxon heritage. Because of the similarity between the names Aufret and Alfred, it became associated with this king and with a ‘lost’ ninth-century coin hoard allegedly found with the ring. On the continent, however, the ring sits comfortably in a well-attested corpus of Lombard seal rings of the seventh century. Thanks to some archive archaeology and the identification of a drawing of the ring in a publication of Ludovico Muratori, an eighteenth-century antiquary, the story of the ring can be traced from its retrieval amongst the ruins of a tomb in Bagnoregio in 1726, to its acquisition by an Italian collector, the Marquis Capponi, until his death in 1746. In 1857 the ring was presented to Edmund Waterton, FSA, who eventually sold it to the Victoria and Albert Museum. By tracing the historical background, and demolishing a few misattributions, this paper restores the Aufret ring to its Lombard context.

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23

Dodds, Douglas. "From analogue to digital: preserving early computer-generated art in the V&A’s collections." Art Libraries Journal 35, no. 3 (2010): 10–16. http://dx.doi.org/10.1017/s0307472200016485.

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The Victoria and Albert Museum holds the UK’s emerging national collection of early computer-generated art and design. Many of the earliest works only survive on paper, but the V&A also holds some born-digital material. The Museum is currently involved in a project to digitise the computer art collections and to make the information available online. Artworks, books and ephemera from the Patric Prince Collection and the archives of the Computer Arts Society are included in a V&A display on the history of computer-generated art, entitled Digital pioneers. In addition, the project is contributing to the development of the Museum’s procedures for dealing with time-based media.

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BUXTON, HILARY. "Health by design: teaching cleanliness and assembling hygiene at the nineteenth-century sanitation museum." British Journal for the History of Science 51, no. 3 (September 2018): 457–85. http://dx.doi.org/10.1017/s0007087418000493.

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AbstractIn 1878, amid a rapidly proliferating social interest in public health and cleanliness, a group of sanitary scientists and reformers founded the Parkes Museum of Hygiene in central London. Dirt and contagion knew no social boundaries, and the Parkes's founders conceived of the museum as a dynamic space for all classes to better themselves and their environments. They promoted sanitary science through a variety of initiatives: exhibits of scientific, medical and architectural paraphernalia; product endorsements; and lectures and certificated courses in practical sanitation, food inspection and tropical hygiene. While the Parkes's programmes reified the era's hierarchies of class and gender, it also pursued a public-health mission that cut across these divisions. Set apart from the great cultural and scientific popular museums that dominated Victorian London, it exhibited a collection with little intrinsic value, and offered an education in hygiene designed to be imported into visitors’ homes and into urban spaces in the metropole and beyond. This essay explores the unique contributions of the Parkes Museum to late nineteenth-century sanitary science and to museum development, even as the growth of public-health policy rendered the museum obsolete.

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Thomas, Nicholas. "Colonial Conversions: Difference, Hierarchy, and History in Early Twentieth-Century Evangelical Propaganda." Comparative Studies in Society and History 34, no. 2 (April 1992): 366–89. http://dx.doi.org/10.1017/s0010417500017722.

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Colonial discourse, sometimes referred to in the singular, seems unmanageably vast and heterogeneous, for it must encompass not only the broad field of colonialism's relations and representations which constitutes or arises from the business of official rule, including administrative reports and censuses, but also the works of metropolitan literature and other forms of high culture which deploy images of the exotic or the primitive, paintings of unfamiliar landscapes, tourist guides, anthropological studies, and Oriental fabric designs. Colonial discourse includes chinoiserie, Kim, the Victoria and Albert Museum, Camus' Algerian stories, Frans Post, and Indiana Jones, as well as the Vital Statistics of the Native Population for the Year 1887 and the annual reports from wherever.

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Pomeroy, Jordana. "A Grand Design: The Art of the Victoria and Albert Museum, and: Photography, An Independent Art: Photographs from the Victoria and Albert Museum 1839-1996 (review)." Victorian Studies 42, no. 3 (2000): 562–64. http://dx.doi.org/10.1353/vic.2000.0077.

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Ghosh, Pika. "A BengaliRamayanaScroll in the Victoria and Albert Museum Collection: A Reappraisal of Content." South Asian Studies 19, no. 1 (January 2003): 157–67. http://dx.doi.org/10.1080/02666030.2003.9628627.

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Scott, Rosemary E. "Wilson Verity: Chinese dress. (Far Eastern Series.) 135 pp. London: Victoria and Albert Museum, 1986." Bulletin of the School of Oriental and African Studies 52, no. 1 (February 1989): 181. http://dx.doi.org/10.1017/s0041977x00023697.

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ALLSOPP, PETER G., and PETER J. HUDSON. "Novapus bifidus Carne, 1957, a primary homonym and synonym of Novapus bifidus Lea, 1910 (Coleoptera: Scarabaeidae: Dynastinae)." Zootaxa 4560, no. 3 (February 26, 2019): 576. http://dx.doi.org/10.11646/zootaxa.4560.3.9.

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In his landmark revision of the Australian Dynastinae (Coleoptera: Scarabaeidae) Phil Carne (1957) described Novapus bifidus Carne, 1957 from males and females collected at Cape York and Thursday Island. The type series is in the Australian National Insect Collection, Canberra, Australia (ANIC); the Natural History Museum, London, United Kingdom; the South Australian Museum, Adelaide, Australia (SAM); and the Museum of Victoria, Melbourne, Australia. He noted “In the collections of the South Australian Museum there are specimens designated as types of bifidus Lea. No description of this species has been published, and it is now described under the same specific name”. One of his paratypes is a female in SAM identified as “Lea’s unpublished ♀ type” and two other paratypes are males in SAM. Cassis & Weir (1992) noted that one of the SAM specimens has the registration number I4268, although they knew of only two paratypes (one male, one female) in that collection. The name has been attributed to Carne by most subsequent authors (Endrődi 1974, 1985; Carne & Allsopp 1987; Cassis & Weir 1992; Dechambre 2005; Atlas of Living Australia 2018.). Krajcik (2005, 2012) listed it in his scarab checklists but as “bifidus? Carne 1957”.

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Marie, Caroline. "Virginia Woolf's Imaginary Museum of the Medieval in ‘The Journal of Mistress Joan Martyn’." Victoriographies 11, no. 2 (July 2021): 165–84. http://dx.doi.org/10.3366/vic.2021.0421.

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This article shows that the Middle Ages Virginia Woolf imagines in her 1906 short story ‘The Journal of Mistress Joan Martyn’ are influenced by the staging of the medieval in late-Victorian museums and reflects late-Victorian medievalism. From the perspective of material culture studies, Woolf's tale reflects the representation and fabrication of the medieval by the British Museum and the South Kensington Museum and shapes a similar narrative of the Middle Ages. Relying on Michel Foucault's definitions of ‘heterotopia’ as well as on Tony Bennett's analysis of Victorian museums, this article argues that Woolf's fictionalisation of the medieval evidences a new, complex temporality of knowledge and consciousness of the past which also defines late-Victorian curatorial philosophy and practices. It analyses each regime of that new temporality: first, the archaeological gaze and its contribution to the grand national narrative via the literary canon and, second, the theatrical gaze, with its focus on spectacularly displayed artefacts, that partakes of an image's mystique. In temporal terms, this results in a tension between the tangible remains of a past clearly separated from the present and the mystical fusion of past and present reinscribing Woolf's poetics of the moment within a sense of history.

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Rowley, Chris, and Joanne Taylor. "Implementing 'Museum Victoria Wireless Input System for EMu (MVWISE)' Barcoding for Location Management of a Wet Type Collection." Biodiversity Information Science and Standards 2 (June 13, 2018): e26178. http://dx.doi.org/10.3897/biss.2.26178.

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The Non-Arthropod Wet Type Collection consists of approximately 1660 lots of specimens spread across 13 phyla. The collection covers a range of taxa including Annelida (earthworms, leeches, bristle worms); Echinodermata (sea stars, brittle stars, sea cucumbers); Mollusca (snails, octopus, squid, cuttlefish); Porifera (sponges); Cnidaria (anemones, hydroids). The majority of specimens in the collection are preserved in 70% ethanol or 10% formalin. Being a collection of zoological type specimens, this collection is considered to be of high scientific value and is irreplaceable. Concerns over possible deterioration and a lack of documented history of preservation, led the Museums Victoria Marine Invertebrate Section and Conservation Department to undertake an audit to assess and document the current state of the collection. The aim of the assessment was to: establish baseline data covering the physical condition of specimens, jars and seals. assess the chemical properties of the preservation fluid. where required, undertake appropriate preventative and remedial treatment. data gathered from the audit will be loaded onto the museum’s database (EMu). As part of the audit, implementation of a storage location management system using Museums Victoria Wireless Input System for EMu (MVWISE) was incorporated into the project. Storage location management using MVWISE ensures that object and container records have their current Location updated in EMu when they are physically moved. Implementing object barcoding in a collection that is preserved in fluid where specimens are tiny and stored in vials is problematic. We report on the strategy used to overcome these issues without compromising the best practice for fluid preserved specimens. Advantages of barcoding the fluid preserved specimens of the Invertebrate Type Collection at Museums Victoria include the ability to easily audit the collection even when the taxonomic nomenclature has changed.

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Pharaoh, Mark. "A Museum for the People: A History of Museum Victoria and its Predecessor Institutions, 1854-2000 by Carolyn Rasmussen (together with 46 specialist contributors)." Historical Records of Australian Science 14, no. 1 (2002): 106. http://dx.doi.org/10.1071/hr02901d_br.

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Syperek, Pandora. "Hope in the Archive: Indexing the Natural History Museum’s Ecologies of Display." Journal of Curatorial Studies 9, no. 2 (October 1, 2020): 206–29. http://dx.doi.org/10.1386/jcs_00021_1.

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In 2017, a 25-metre-long blue whale skeleton was installed in the Central Hall of the Natural History Museum, London. ‘Hope’ became a symbol of the urgency of marine conservation, and of institutional relevance in the face of ecological devastation. However, the whale is but the latest in a series of dramatic installations of formidable specimens since the museum first opened in 1881. Originally intended as an encyclopaedia of nature, or ‘Index Museum’, the Central Hall’s history charts the intersection of exhibitionary aura and concepts of ecology. This article argues that the original Victorian framework, both institutional and ideological, continues to shape the museum’s ecological aesthetics, and therefore requires self-critical reassessment to be truly transformative.

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Smith, Nicholas. "The Garrick Papers: Provenance, Publication, and Reception." Library 21, no. 3 (September 1, 2020): 293–327. http://dx.doi.org/10.1093/library/21.3.293.

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Abstract The Garrick Papers are among the brightest literary jewels in the Forster Collection at the Victoria and Albert Museum. This article reconstructs their provenance, along with that of significant deposits of Garrick’s correspondence held elsewhere, and examines the circumstances that led to their publication in 1831–1832. It uses unpublished manuscripts, Chancery records, and annotated sale catalogues to identify the chain of ownership between 1822, when the executors of Eva Maria Garrick (1724–1822), the actor’s widow, found them in two cabinets at her Thames-side villa at Hampton, and 1876, when they were bequeathed to the South Kensington Museum. It reveals the original order of Garrick’s epistolary archive, and his and others’ involvement in its appraisal and arrangement, the various depredations and augmentations that occurred during the fifty years that followed Eva Maria Garrick’s death, and the early critical reception and publishing history of the printed editions of Garrick’s correspondence.

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Scott, Rosemary E. "Larson John and Kerr Rose: Guanyin: a masterpiece revealed. 73 pp. London: Victoria and Albert Museum, 1985." Bulletin of the School of Oriental and African Studies 52, no. 1 (February 1989): 186. http://dx.doi.org/10.1017/s0041977x00023752.

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Savi, Lucia. "‘Undressed: A Brief History of Underwear,’ Victoria and Albert Museum, London, UK, 16 April 2016-12 March 2017." Textile History 48, no. 1 (January 2, 2017): 140–44. http://dx.doi.org/10.1080/00404969.2017.1295672.

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Tregenza, Liz. "‘Mary Quant’, Victoria and Albert Museum, London, UK, 6 April 2019–16 February 2020." Textile History 50, no. 2 (July 3, 2019): 253–55. http://dx.doi.org/10.1080/00404969.2019.1654231.

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Ivaniuk, Oleg. "Museumification of the military historical heritage in the Dnieper Ukraine and the Crimea in the 19th and early 20th centuries." Kyiv Historical Studies, no. 2 (2018): 81–88. http://dx.doi.org/10.28925/2524-0757.2018.2.8188.

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The article focuses on the beginning of the process of formation of museum collections relevant to the military past of the Dnieper Ukraine in the 19th — first decade of the 20th century. It is determined, in the research scope, that the process of creating museum exhibits, which consisted of monuments of military historical heritage, was influenced by the following: the development of archaeological research, which was stimulated by the domination of classicism, which induced interest in the ancient past, the imperial power ideologizing the historical process, the Ukrainian nobility (descendants of the Cossacks elders) preserving historical memory of the victorious past of their people, and so on. It is found, that during the 19th century, museumification of the 19th and early 20th centuries military heritage had several trends: the creation of “propaganda” exposition, which would remind of the key, from the tsarist regime point of view, imperial army victories, foster respect for the imperial family and the royal power institution self, commemorate imperial myths, the formation of the Cossacks antiquities collections, initiated by Ukrainian intellectuals and scholars; expositions formed by the military according to purely professional interest. During the 19th and early 20th centuries, a number of museums, which had monuments of military history as a part of their collections, were founded. Some of the aforementioned museums are the following: the Museum of Ukrainian Antiquities in Chernihiv, the Museum of Heroic Defense and the Liberation of the City of Sevastopol, the Museum of Poltava Battle, etc. Museumification of the military heritage has stimulated the development of various areas of special military-historical research.

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Robertson, Bruce. "Grand Designs: Labor, Empire and the Museum in Victorian Culture." Social History 34, no. 3 (August 2009): 360–62. http://dx.doi.org/10.1080/03071020902982012.

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Becker, Barbara J. "Richard Gillespie. The Great Melbourne Telescope. 188 pp., illus., bibl., index. Melbourne: Museum Victoria Publishing, 2011. $29.95 (paper)." Isis 103, no. 4 (December 2012): 797–98. http://dx.doi.org/10.1086/670106.

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Mahadevan, Iravatham. "Persian-Tamil inscription from āmbūr Fort." Bulletin of the School of Oriental and African Studies 51, no. 3 (October 1988): 540–41. http://dx.doi.org/10.1017/s0041977x00116544.

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I read with interest the brief report on the Persian–Tamil inscription on a stone tablet recording the reconstruction of the Āmbūr Fort in Tamilnadu, and now preserved in the Victoria and Albert Museum (BSOAS, XLIX, 3, 1986, 553–7). As a Tamil epigraphist, I was particularly interested in the Tamil text edited by J. R. Marr (ibid., 553, n. 3). Unfortunately, he has misread two words (each occurring twice), made wrong segmentations of two other words and omitted the last word in the text. These happen to be crucial words and consequently his translation has suffered. The Tamil characters of the epigraph are almost modern and they can be made out quite clearly from the excellent reproduction (ibid., pi. I). Without more ado, I proceed to furnish a revised transliteration and translation of the Tamil record with brief notes on some of the interesting expressions occurring in it.

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Esteve-Coll, Elizabeth. "Image and Reality: the National Art Library." Art Libraries Journal 11, no. 2 (1986): 33–39. http://dx.doi.org/10.1017/s0307472200004624.

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The Library of the Victoria and Albert Museum originated in the mid-19th century as the library of a School of Design, and adopted the title ‘The National Art Library’ later in the century following publication of the Universal Catalogue of Books on Art. Decades of steady growth and of low usage ended in the late 1960s, when sudden growth of art publishing, and of interest in art history, generated demands the Library was not equipped to meet. The Library possesses one of the world’s outstanding collections of art publications but is still funded, staffed, and administered as if its role was merely that of a Department of the Museum. Currently all aspects of the Library’s procedures and policies are under review; government funding is to be sought for a programme of computerisation, and it is hoped to redefine the Library’s role in national and international contexts and to re-establish it as the ‘heart and core’ of art library provision in the U.K., as an active participant in cooperative schemes and projects, and as a training centre for art librarianship, or in other words, as an active and truly national art library.

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Gesztelyi, Tamás. "Gems in the Ustinow Collection, Museum of Cultural History, University of Oslo." Acta Classica Universitatis Scientiarum Debreceniensis 58 (September 1, 2022): 101–41. http://dx.doi.org/10.22315/acd/2022/6.

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Scientifically, the collection’s primary importance is its Middle-Eastern origin; collections of gemstones from the Middle East have rarely been published unlike those from European archaeological sites. Thus the possibility opens up to compare finds from the eastern and western parts of the Roman Empire with a focus on similarities and differences. While in the western provinces the gemstones typically spread during the era of the Roman Empire, in the eastern provinces the use of seals and gemstones goes back several thousand years. It follows that in the western regions, representations of the official themes of the age of the emperors, including the characteristic figures of gods of the state religion (Jupiter, Minerva, Mars, Venus Victrix), are the most common. In contrast, the eastern provinces saw the spread of representations of local gods (Zeus Ammon, Zeus Heliopolitanos, Sarapis) or the Hellenistic types of the Greek gods (Apollo Musagetes, Aphrodite Anadyomene, Hermes Psychopompos). However, there were figures of gods that were equally popular in both regions, such as Tyche–Fortuna, Nike–Victoria, Eros–Amor, Dionysos–Bacchus, Heracles–Hercules. Each of these became rather popular in the Hellenistic World, spreading basically spontaneously throughout the entire Roman Empire. There was a similar unity in the popularity of represenations of animals, too.The eastern region was, however, characterised by the relatively large number of magic gemstones. There is a piece among these which has no exact analogy (Cat. 69) and its analysis sheds new light on the previous interpretation of similar pieces. The popularity of magic gemstones is highlighted by the fact that some of their motifs became distorted beyond recognition in the popularisation process. Understandably, Sasanian gemstones and seals, which revived the Romans’ dying custom of sealing for some time, were also typical of the eastern regions. What is conspicuous is that the stone cameos (agate, sardonyx) so common in the western regions are completely missing from the collection, while there is a fair number of glass cameo pendants made in the eastern regions.From an educational and community cultural aspect, the significance of the Ustinow collection lies in the fact that it represents several historical and cultural eras between the fourth century B.C. and the fifth century A.D. for the benefit of the interested public, private collectors, and students of archaeology and the antiquities. The gemstones may be small, but the representations on them can be extraordinarily rich in meaning. With adequate enlargement and due professional expertise, which this catalogue aims to promote, all this information can come to life in front of us, allowing us a glimpse into the lives and thoughts of the citizens of a Mediterranean world two thousand years back.

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Van Keuren, David K. "Cabinets and culture: Victorian anthropology and the museum context." Journal of the History of the Behavioral Sciences 25, no. 1 (January 1989): 26–39. http://dx.doi.org/10.1002/1520-6696(198901)25:1<26::aid-jhbs2300250103>3.0.co;2-j.

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Topsfield, Andrew. "John Guy and Deborah Swallow (ed.): Arts of India: 1550–1900. 240 pp. London: Victoria and Albert Museum, 1990. £19.95." Bulletin of the School of Oriental and African Studies 55, no. 1 (February 1992): 149. http://dx.doi.org/10.1017/s0041977x00002998.

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Bullen, J. B. "Alfred Waterhouse’s Romanesque ‘Temple of Nature’: The Natural History Museum, London." Architectural History 49 (2006): 257–85. http://dx.doi.org/10.1017/s0066622x00002781.

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The Natural History Museum in London is a spectacular building in many senses (Fig. 1). As one of the outstanding landmarks of high Victorian architecture, it was designed to draw attention both to itself and to its contents. No other museum building in Britain adopted a Romanesque style on this scale; no other building had used terracotta in such a rich and decorative manner, and no other building (other than, perhaps, the University Museum, Oxford) so curiously employed external decoration to illustrate its internal function. It was calculated to appeal to a wide public and its animal sculpture was selfconsciously didactic in the way in which a number of contemporary museum buildings were created to a programme. Planned as a showcase for the nation’s imperial scientific achievements, its appearance was strongly ecclesiastical. When it opened in 1881, The Times leader called it a ‘true Temple of Nature’, which, the writer said, demonstrated ‘the Beauty of Holiness’. But for many visitors in 1881 Nature had abandoned the temple for wilder places; she had bloodied her claws, and the beauty of holiness had been replaced by the more severe, mechanistic principles formulated by Charles Darwin.The concept of a large museum of natural history was the inspiration of the great naturalist Richard Owen. It was also the crowning achievement of his lifetime in science. The ‘Temple of Nature’ that Alfred Waterhouse built for him embodied Owen’s belief that the history of the natural world was not a matter of randomness and chance but the creation of a transcendent presence. In other words, the Natural History Museum is the expression of an ideology, and its shape, size, position, style and decoration are charged with legible meanings. Some of those meanings are readily interpreted, others less so, and although the building history of the museum has been well documented, many questions remain. Why, for example, was Waterhouse chosen as its architect? What spurred him on to use terracotta in such an original way? And above all why did he risk the unusual Romanesque style? The choice of Romanesque for such a building, although it was later imitated elsewhere, was highly original. But that choice was conditioned by a substantial web of aesthetic, social, and political factors. The Natural History Museum was not just Waterhouse’s creation; it was very much the product of its time. It was born of national and local politics; it was shaped by Owen’s unusual position in the scientific world, and it was an expression of Waterhouse’s passion for early medieval architecture.

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PRESS, BOB. "CAROLYN RASMUSSEN, A Museum for the People: A History of Museum Victoria and its Predecessors, 1854–2000. Melbourne: Scribe Publications, 2001. Pp. xvi+423. ISBN 0-908011-69-5. AU$49.95 (hardback)." British Journal for the History of Science 36, no. 2 (June 2003): 235–36. http://dx.doi.org/10.1017/s0007087403235044.

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48

Padilha Vieira Júnior, Rivadávia. "MAIORA TIBI TRIUNFO DINÁSTICO DE FELIPE II NA ALEGORIA DA BATALHA DE LEPANTO (C. 1573-1575), DE TICIANO VECELLIO * MAIORA TIBI DYNASTIC TRIUMPH OF PHILIP II IN THE ALLEGORY OF THE BATTLE OF LEPANTO (C. 1573-1575), BY TITIAN VECELLIO." História e Cultura 5, no. 1 (March 29, 2016): 253. http://dx.doi.org/10.18223/hiscult.v5i1.1477.

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Resumo: Este estudo propõe uma análise centrada na pintura Felipe II, después de la victoria de Lepanto, ofrece al cielo al príncipe don Fernando (Madri, Museu do Prado), de Ticiano Vecellio. Produzida em resposta à encomenda do rei espanhol Felipe II, teve por intenção celebrar dois momentos marcantes de seu reinado no ano de 1571: a vitória sobre a frota turca na batalha de Lepanto e o nascimento de seu herdeiro, o infante Dom Fernando. Com o objetivo de compreender os sentidos e funções do objeto imagético nesse contexto, a linguagem simbólica da pintura é interpretada em conexão com os acontecimentos contemporâneos à sua produção. Apesar de ser reconhecida como a “alegoria da batalha de Lepanto”, de facto, esta é representada em último plano, eclipsada por uma série de elementos carregados de simbolismo dinástico e religioso. Palavras-chave: Felipe II de Espanha; Ticiano Vecellio; Batalha de Lepanto; Iconografia; História e Imagem. Abstract: This study proposes an analysis focused on the painting Felipe II , después de la victoria de Lepanto, ofrece al cielo al prince don Fernando (Madrid, Museum of Prado), by Titian Vecellio. It was produced in response to the request of the Spanish King Philip II, with the intention to celebrate two key moments of his reign in the year 1571: the victory over the turkish fleet at the Battle of Lepanto and the birth of his heir, the infante Don Fernando. In order to understand the meanings and functions of imagery object in this context, the symbolic language of painting is interpreted in connection with contemporary events to its production. Despite being recognized as the "Allegory of the Battle of Lepanto", in fact, this is represented in the last level, eclipsed by a series of loaded elements of dynastic and religious symbolism. Keywords: Philip II ofSpain; Titian Vecellio;Battle of Lepanto; Iconography; History and Image.

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Rogers, Janine, and John Holmes. "Monkey Business: The Victorian Natural History Museum, Evolution, and the Medieval Manuscript." Romanticism on the Net: An open access journal devoted to British Romantic literature, no. 70 (2018): 1. http://dx.doi.org/10.7202/1074444ar.

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Bide, Bethan. "‘Christian Dior: Designer of Dreams’, Victoria and Albert Museum, London, UK, 2 February–1 September 2019." Textile History 50, no. 2 (July 3, 2019): 249–52. http://dx.doi.org/10.1080/00404969.2019.1654227.

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