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Journal articles on the topic 'Cast Museum'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Bagapova, Nadezhda V. "COLLECTIONS OF ART CAST IRON KUSA IN THE MUSEUMS OF THE URALS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 55 (2024): 249–59. https://doi.org/10.17223/22220836/55/20.

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The paper examines the decorative and applied arts cultural heritage of the Urals – Kusa cast iron art, which existed in the 1860s–2004. The art’s stylistic features and the range were defined in its high period in pre-revolution time. The fact that Kusa plant presented fine art products at major national and international science and art exhibitions promoted the recognition of Kusa cast iron art. This study is aimed at identifying art products in Ural museum collections, presenting Kusa cast iron art as a unique artistic phenomenon, and demonstrating the variety of styles, themes, stylistic a

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Semenova, Valentina I., and Nadezhda V. Bagapova. "Western European samples in the artistical cast-iron of Kusa." Vestnik of Saint Petersburg State University of Culture, no. 3 (60) (2024): 108–12. http://dx.doi.org/10.30725/2619-0303-2024-3-108-112.

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Attribution and establishment of authorship of artistical cast-iron is one of the important tasks in Russian museums that store valuable collections of this kind. The work carried out the attribution of six sculptures from the Yekaterinburg Museum of Fine Arts, the State Historical Museum of the Southern Urals, the State Historical Museum-Reserve «Gorki Leninskie», the Zlatoust City Museum of Local Lore, the All-Russian Museum of Decorative and Folk Arts and the private museum of V. Y. Orlova in Yaroslavl. The authors were able to establish the authorship and original name of the sculptural pr

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Semenova, Valentina I., and Nadezhda V. Bagapova. "Collections of art cast iron Kusa in museums of Central Russia." Vestnik of Saint Petersburg State University of Culture, no. 4 (61) (2024): 60–64. https://doi.org/10.30725/2619-0303-2024-4-60-64.

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The article examines the cultural heritage of the decorative and applied arts of the Urals – the artistical castiron of Kusa (1860s – 2004). This study is aimed at characterizing 6 identified collections of Kusa the artistical cast-iron in the museums of the Central Federal District of Russia: the State Historical Museum, the State Historical Museum-Reserve "Gorki Leninskie", the State Central Museum of Contemporary History of Russia, the All-Russian Museum of Decorative and Folk Arts, Sergiev Posad State Historical and Art Museum-Reserve, V. Yu. Orlov Museum. The pre-revolutionary period is r

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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 fo

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Kubala, Agata. "Copying after masterworks of ancient art: The plaster cast collection of the Museum of the University of Wrocław and its ideological and academic context." Quart, no. 3(61) (September 1, 2021): 120–39. http://dx.doi.org/10.19195/quart.2021.3.84933.

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Plaster cast collections of antique art, considered to be ideal form, constituted a significant part of public expositions in the European museums of the 19th c. The Museum of the University of Wroclaw was then holding one of the biggest such collections among university museums in Europe. This paper presents the collection of plaster cast copies of antique art objects held at the University of Wroclaw and contextualizes it within the tradition and purpose of academic art collections in Europe. To define the idea underpinning the creation and gradual expansion of Wroclaw-based collection, and

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Timberlake, Simon. "Lost & Found: 210. Iguanodon claw bone and the former Ely Museums." Geological Curator 5, no. 4 (1989): 161. http://dx.doi.org/10.55468/gc649.

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Simon Timberlake (AMSSEE Travelling Geology Curator, Geological Museum, Exhibition Road, London SET 2DE) is looking for a purported Fig.5. Plaster cast of Iguanodon claw bone at Wisbech and Fenland Museum from an original in a collection at Ely. Photograph by S. Timberlake. claw bone of the dinosaur Iguanodon. He found the only existing record of this specimen, a cast now at the Wisbech and Fenland Museum with an accompanying label 'Wealden in Drift' and a note reading 'The original now in the museum at Ely was found in a brick field about a mile west of Ely Cathedral* (Fig.5). Whether or not

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Taylor, Michael, Steven Sroka, and Kenneth Carpenter. "The concrete Diplodocus of Vernal—a cultural icon of Utah." Geology of the Intermountain West 10 (February 20, 2023): 65–91. http://dx.doi.org/10.31711/giw.v10.pp65-91.

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Although many casts have been made of the Carnegie Museum’s iconic Diplodocus, initially in plaster and more recently in various plastics, one stands alone as having been cast in concrete. This skeleton, made from the original Carnegie molds starting in 1956–1957, was unveiled at the Utah Field House of Natural History in Vernal, Utah, in 1957, and stood outside the museum for three decades. The fate of the molds after this casting is uncertain. The concrete Diplodocus was the museum’s icon for 32 years until the weather damage became too great. The cast was then taken down and repaired, and f

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O., DREER, and TSELISHCHEVA M. "CAST-IRON BAS-RELIEF WITH THE IMAGE OF AKINFIY DEMIDOV FROM THE ALTAI STATE MUSEUM OF LOCAL LORE: AN EXHIBIT WITH TWO CENTURIES OF HISTORY." Preservation and study of the cultural heritage of the Altai Territory 29 (2023): 25–33. http://dx.doi.org/10.14258/2411-1503.2023.29.04.

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The cast-iron bas-relief of the mining founder in Altai, Akinfiy Nikitich Demidov, is an exhibit of Altai State Museum of Local Lore. During the study, the authors found that the original cast-iron bas-relief of A.N. Demidov is a marble bas-relief made by the outstanding Russian sculptor F.I. Shubin. The basis for the bas-relief was a portrait of A.N. Demidov by Georg Christoph Grooth. In the Nizhny Tagil Museum-Preserve “Gornozavodskoy Ural” (Metallurgical Ural), there is a bronze bas-relief cast from the marble original made by the serf sculptor T.S. Sizov. Archives showed that the cast-iron

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9

Thorsén, David, and Eva Insulander. "Skola på museum: Ernst Klein och Nordiska museets undervisningsavdelning 1929–1938." Nordic Journal of Educational History 11, no. 1 (2024): 103–31. http://dx.doi.org/10.36368/njedh.v11i1.474.

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School at the museum: Ernst Klein and the Teaching Department at Nordiska museet, 1929–1938. This article examines the dynamic relationship between schools and museums during the 1930s. It investigates how elementary school teachers and students became a prioritized audience for Nordiska museet in Stockholm by analyzing the foundation of the museum’s teaching department (“undervisningsavdelningen”) and the work of the museum’s first lecturer Ernst Klein (1887–1937). Material from the museum’s archive reveals how a mutual beneficial relationship was established between the museum and local scho

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Boon, Gaynor. "Lost & Found: 211. Juvenile ichthyosaur cast." Geological Curator 5, no. 4 (1989): 161. http://dx.doi.org/10.55468/gc648.

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Gaynor Boon (City Museum, Weston Park, Sheffield SIO 2TP) would like to know the whereabouts of the original specimen of the cast of a young ichthyosaur illustrated here (Fig.6). It is 22 inches long and has no locality or horizon information. Fig.6. Replica of a juvenile ichthyosaur, original specimen unknown, 22 inches long. Photograph from G. Boon (Sheffield City Museum)....

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Haskell, Heather R. "The Horace Smith Collection of Plaster Casts." Sculpture Review 51, no. 4 (2002): 14–17. http://dx.doi.org/10.1002/j.2632-3494.2002.tb00202.x.

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The George Walter Vincent Smith Art Museum opened to the citizens of Springfield, Massachusetts, in 1896. The museum, modeled after an Italian palazzo, houses the large decorative arts collection of George Walter Vincent Smith (1832–1923) and his wife, Belle Townsley (1845–1928). Smith served as the museum's first curator and combined his vast, diverse collection into consciously assembled still‐life arrangements. Over the years, one gallery within the museum remained devoted to a single art form—the plaster cast.

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Dunajko, Monika. "THE STATUE OF CERES FROM THE ROYAL-UNIVERSITY COLLECTION OF PLASTER CASTS." Muzealnictwo 63 (May 17, 2022): 15–24. http://dx.doi.org/10.5604/01.3001.0015.8559.

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One of the more interesting collections of plaster prototypes, as yet not thoroughly studied, is the Warsaw collection of plaster casts. In the to-date studies it has been analysed from the perspective of history and history of art as a homogenous whole, a carrier of artistic culture. However, what is still missing are analyses focusing on basic facts as perceived by a museum curator, enabling identification of the objects composing the collection. The present paper aims at discussing the issues related to the identification of the works’ models and interpretation of works which come from univ

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Morton, Joanna. "A preliminary comparison of the strength of two waxes for securing objects against earthquake damage." Tuhinga 17 (June 1, 2006): 61–68. https://doi.org/10.3897/tuhinga.17.e34161.

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Two types of wax were tested for earthquake mitigation use for an exhibition of large, heavy, cast-glass vessels by New Zealand glass artist Ann Robinson, at the Museum of New Zealand Te Papa Tongarewa (Te Papa). Informal testing was carried out using a mechanical tilt test. Consultation with an engineer enabled the tilt test to be related to earthquake conditions expected in the museum building. Results indicate that dental Utility Wax is stronger than Museum WaxTM, but greater care is needed in its use.

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Nurislaminingsih, Rizki, Heriyanto Heriyanto, Gema Nusantara Bakry, and Yanuar Yoga Prasetyawan. "Indigenous Knowledge of Javanese in the Radya Pustaka Museum Collections." Lentera Pustaka: Jurnal Kajian Ilmu Perpustakaan, Informasi dan Kearsipan 10, no. 1 (2024): 91–106. https://doi.org/10.14710/lenpust.v10i1.63940.

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Radya Pustaka Museum is a museum that represents Javanese culture. The collections in the museum are proof of the indigenous knowledge of the people in making cultural products. This research aims to identify Javanese indigenous knowledge based on the Radya Pustaka Museum collections. Therefore, qualitative research was used with a museum study approach to identify types of indigenous knowledge based on various museum collections. The results of the research show that indigenous knowledge represented in the collection at the Radya Pustaka Museum is how to make Javanese men's headgear (blangkon

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Steward, Donald I. "CING 23. Burton-upon-Trent Museum." Geological Curator 4, no. 8 (1987): 520. http://dx.doi.org/10.55468/gc847.

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When the museum was closed in 1981, the geological collections were transferred to the Burton upon Trent Technical College on a ten year loan. The material, c.700 assorted specimens, is mainly from the collection of T. Cuthbert Day (donated to Burton in February 1916) and a small collection of minerals from Miss Jackson. The mould and cast of an example of *Cheirotherium* footprints found in the local Triassic sandstones went to the Bass Museum, Burton....

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16

Megaw, J. V. S., M. Ruth Megaw, and Robert Trett. "A Late Iron Age Cast Bronze Head Probably from Chepstow." Antiquaries Journal 72 (March 1992): 54–75. http://dx.doi.org/10.1017/s0003581500071171.

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In November 1987 a bronze highly stylized animal head was shown to me in my capacity as Curator of Newport Museum (figs. 1–3). The head which appeared to be of late Iron Age date is described below. The owner agreed to lend the piece to the Museum for conservation. The investigations included two separate metal analyses, carried out independently by Dr J. P. Northover at the University of Oxford and by R. Jones at the University of Wales, Cardiff. A black bituminous substance from horn cores on the head was analysed by C. Heron also at Cardiff; these analyses are reported below (Appendices 1–3

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17

Hutt, Steve. "Lost & Found: 210. Iguanodon claw bone and the former Ely Museums." Geological Curator 5, no. 6 (1991): 231. http://dx.doi.org/10.55468/gc665.

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Steve Hutt (Museum of Isle of Wight Geology, High Street, Sandown, Isle of Wight P036 8AF) queries the identification of the purported Iguanodon claw bone, known only from the cast at Wisbech and Fenland Museum illustrated in a recent 'Lost and Found' {Geol. Curator, 5, p.l61, fig.5). Steve writes: 'Figure 5 bears a very close resemblance to the claws of sauropod dinosaurs in the Museum of Isle of Wight Geology. Therefore, it may be that this specimen has been 'lost' because it has been subsequently recatalogued! Whatever the truth of the matter, the claw in figure 5, never originated from an

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18

Smolina, Maya G. "Aesthetic Features of the Museum’s Cast Iron Collection." Observatory of Culture 22, no. 1 (2025): 53–64. https://doi.org/10.25281/2072-3156-2025-22-1-53-64.

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The Krasnoyarsk Art Museum named after V.I. Surikov has kept cast objects made at the Ural art and industrial factories of the Chelyabinsk region since the second half of the 20th century. The question about the aesthetic properties of this trend of decorative and applied arts worries today’s museum community, because even castings of the late 20th century are gradually acquiring museum value. The article considers examples of cast iron castings as an aesthetic phenomenon. Most of them were produced at the Kasli factory, and there are also examples of castings from the Ural town of Kusa. The p

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Stanton, Cathy. "Outside the Frame: Assessing Partnerships between Arts and Historical Organizations." Public Historian 27, no. 1 (2005): 19–37. http://dx.doi.org/10.1525/tph.2005.27.1.19.

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Using as a case study a 2003 exhibit created jointly by the Massachusetts Museum of Contemporary Art (MASS MoCA) and Historic New England/Society for the Preservation of New England Antiquities, this article investigates collaborations between contemporary art museums and historical institutions, focusing on the place these organizations occupy in the culture-based "new economies" of many postindustrial places. While cautioning against the ways in which such projects can cast history in a purely aesthetic light while contributing to the socioeconomic inequities that characterize postindustrial

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20

Webber, Monique. "Torchlight, Winckelmann and Early Australian Collections." Journal of Curatorial Studies 9, no. 1 (2020): 114–34. http://dx.doi.org/10.1386/jcs_00013_1.

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Mid-nineteenth-century Melbourne wanted to be more than a British outpost in southern Australia. Before its second decade, in 1854, the city founded an impressive museum-library-gallery complex. As European museums developed cast collections, Redmond Barry – Melbourne’s chief patron – filled Melbourne’s halls with a considerable selection. With time, these casts were discarded. The now lost collection seldom receives more than a passing remark in scholarship. However, these early displays in (what would become) the National Gallery of Victoria reimagined European Winckelmann-inspired curatoria

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Fowler, Richard, Donald Kitt, Tannis Kowalchuck, Stephen Lawson, Karen Randoja, and Ker Wells. "Far Away Home." Canadian Theatre Review 88 (September 1996): 56–68. http://dx.doi.org/10.3138/ctr.88.012.

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The first production by primus Theatre created specifically for children, Far Away Home premiered in Winnipeg in October, 1995 as a co-production of primus Theatre and the Winnipeg Children’s Museum, directed by Richard Fowler, with the following cast (in order of appearance):

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22

S., Makhortykh, Grömer K., and Tiefengraber G. "About one of the unique finds of the late pre-Scythian period from the Koban necropolis." Bulletin of the Karaganda university History.Philosophy series 115, no. 3 (2024): 118–28. http://dx.doi.org/10.31489/2024hph3/118-128.

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The Koban сulture is one of the most prominent cultural phenomena in the Caucasus region. Its materials are kept in many European museums and are the subject of interest of a wide scientific community. The Koban assemblages stored in the Vienna Natural History Museum are among the most significant museum collec-tions of the Caucasian antiquities in Europe. This collection was acquired in the 19th century by Franz Heger, director of the anthropological and ethnographical department of the Museum, and includes more than 30 representative burial complexes with highly informative artefacts of the

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Karnezou, Maria, and Petros Kariotoglou. "Inquiry in a Science Museum: Science Museum Educators’ Views and Practices." Education Sciences 12, no. 12 (2022): 865. http://dx.doi.org/10.3390/educsci12120865.

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Our study looks into science museum educators’ views and their practices about inquiry in non-formal venues, such as NOESIS, Greece. On this ground, we developed an interview protocol to use as a basis in the semi-structured interviews conducted with four science museum educators to cast light on their views about inquiry. In addition, an observation protocol was modified in order to observe their practices when implementing educational programs for school groups. Data analysis showed that in regard to the museum educators’ views, they all expressed a slightly different view about inquiry, whi

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Demian, Nicoleta. "Fier şi “amintire”. Medalii de Anina din colecţia Muzeului Naţional al Banatului din Timişoara (sfârşitul sec. al XIX‑lea – începutul sec. al XX‑lea)." Banatica 1, no. 34 (2024): 469–93. https://doi.org/10.56177/banatica.34.2024.art.25.

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The items presented are four medals cast from an alloy in which iron predominates, with a diameter between 80 and 104 mm and a weight between 200 and 400 grams, preserved in the collection of medals at the National Museum of Banat in Timişoara (MNaB). These medal items suggest an interesting story being produced in Banat, at the Iron Works, Anina, which belonged to the Railroad Company, StEG (K. K. privilegierte Österreichische Staats Eisenbahn Gesellschaft). At Anina they used to make cast items intended for commercialization; at this foundry, they produced from the finest decorative items, d

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Müller, Ulrike, Hélène Verreyke, and Tine D’haeyere. "Between Art Historical Representation and Didactic Functionality: The Cast Collection of the Royal Academy of Fine Arts of Antwerp." Artium Quaestiones, no. 34 (December 27, 2023): 221–52. http://dx.doi.org/10.14746/aq.2023.34.8.

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During the long nineteenth century, the Royal Academy of Fine Arts of Antwerp – just like many other art schools in this period – assembled a collection of some 500 plaster casts after ancient and modern sculptures, which played an essential role in the education of young art students. The creation of such collections went in parallel with the blossoming of cast museums all over Europe, as well as the emergence of a large-scale exchange network set up to facilitate the international dissemination of plaster casts. However, in contrast to cast museums, which brought together masterpieces of cla

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Nakai, Izumi, Kriengkamol Tantrakarn, Yoshinari Abe, and Sachihiro Omura. "Study on Western Asiatic cast ribbed rectangular beads from Kaman-Kalehöyük, Turkey, by using portable X-ray fluorescence." Open Journal of Archaeometry 1, no. 1 (2013): 23. http://dx.doi.org/10.4081/arc.2013.e23.

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In this article we report a comparative study on excavated objects and artifact from museums to reveal an aspect of ancient trade. The target artifact is Western Asiatic cast ribbed rectangular beads excavated from an architectural remain at Kaman-Kalehöyük, Turkey. Blue glass beads of this type have been excavated in Western Asia from north Iran and Iraq to the Syro-Palestinian coast from second half of 16th to 14th century BC. The analysis of the samples was carried out by using a portable Xray fluorescence (XRF) spectrometer developed by us. The instrument was brought to the excavation site

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Ferraro, José Luís Schifino, Adam Goldwater, Caroline McDonald, et al. "Connecting Museums: a case study in leadership, innovation and education in university science museums leading internationalisation projects." Educação 42, no. 1 (2019): 77. http://dx.doi.org/10.15448/1981-2582.2019.1.29526.

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This article reports on Connecting Museums: leadership, innovation and education in Science Museums, an international conference involving three university museums: Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), the Great North Museum: Hancock (GNM), at Newcastle University (NU), and the Oxford University Museum of Natural History (OUMNH). The partnership started with a project to develop a joint exhibition on the theme of evolution organised by MCT-PUCRS and GNM, supported by the British Council’s Newton Fund (Institutional Skills 2016). T

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Isaac, Gwyneira, Kate Clark, Kelsey Adams, et al. "Anthropology, Museums and the Body: Lessons From an Experimental Teaching Environment." Museum and Society 17, no. 3 (2019): 472–93. http://dx.doi.org/10.29311/mas.v17i3.3413.

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With increased interests in solving complex problems through interdisciplinary research—how best can museums use this approach to address critical social issues? In order to answer this question, an interdisciplinary group of curators, artists and students worked together at the Smithsonian Institution to create an experimental teaching environment to rethink the disciplinary boundaries around the study of the human body. Our aim was to use a range of anthropological, art and science collections and readings to undertake the issues of race, gender, genetics, and disability, and the historic in

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Isaac, Gwyneira, Kate Clark, Kelsey Adams, et al. "Anthropology, Museums and the Body: Lessons from an Experimental Teaching Environment." Museum and Society 17, no. 3 (2020): 472–93. http://dx.doi.org/10.29311/mas.v17i3.2874.

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With increased interests in solving complex problems through interdisciplinary research—how best can museums engage with and benefit from such an approach? At the same time, how can we address critical questions, methods, and ethics surrounding the study of humans within museums? In order to engage with these questions, an interdisciplinary group of curators, artists and students worked together at the Smithsonian Institution to create an experimental teaching environment to rethink the disciplinary boundaries around the study of the human body. Our aim was to use a range of anthropological, a

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Warren, Martin. "Making latex peels of soils and soft sediments." Geological Curator 4, no. 4 (1985): 209–10. http://dx.doi.org/10.55468/gc776.

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The making of replicas by shallow surface impregnation has been used by soil scientists and sedimentologists for almost 50 years. It overcomes the problem of preservation of cores, trench-cuts, or quarry exposures in unconsolidated sediments, and allows samples to be removed for study in the laboratory. This technique could be more widely used by museums for preservation and display of suitable sections. After all, where soft sediments are involved a museum display usually resorts to a photograph, which is a poor substitute for the real thing. Supplement this with a replica or peel and one can

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Pallas, L., R. Tenschert, and P. Bellendorf. "COPY AND PASTE? A CASE STUDY ON A PAIR OF JAMB FIGURES OF THE FÜRSTENPORTAL BAMBERG AND THEIR CASTS." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (June 23, 2023): 229–35. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-229-2023.

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Abstract. The focus of this paper is to determine whether it is possible to detect historical casting techniques on figural copies and distinguish differences due to these techniques from those caused by environmental influences after exposure to the weather. The figures from the Fürstenportal of Bamberg Cathedral of St. Peter and St. George, part of a UNESCO World Heritage site, have experienced much deterioration since the portal was erected in the early 13th century. For this reason, the jamb figures were moulded at the beginning of the 19th century and plaster copies made. These copies rem

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Carpenter, Kenneth, and Wayne Itano. "Taxonomic validity of Petalodus ohioensis (Chondrichthyes, Petalodontidae) based on a cast of the lost holotype." Geology of the Intermountain West 6 (February 12, 2019): 55–60. http://dx.doi.org/10.31711/giw.v6.pp55-60.

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Only a crude line drawing of the holotype tooth of the shark Petalodus ohioensis Safford, 1853 has ever been published, and the location of that specimen has long been unknown. The discovery of a cast of the holotype in the collections of the Yale Peabody Museum of Natural History demonstrates that P. alleghaniensis Leidy, 1856, is a junior subjective synonym of P. ohioensis, thus resolving a long-standing dispute.

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Hernández-Muñoz, Óscar, David Aranda Gabrielli, Amaya Maruri Palacín, Emanuel Sterp Moga, and Alicia Sánchez-Ortiz. "3D Digital Technologies for the Elaboration of a Replica of a Dermatological Didactic Model Belonging to the Olavide Museum from the Original Mould." Heritage 5, no. 2 (2022): 702–15. http://dx.doi.org/10.3390/heritage5020039.

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The Olavide Museum in Madrid, which was founded in the 19th century, preserves one of the most important collections in the world of three-dimensional dermatological models made of polychrome beeswax. These models have been used for the training of numerous generations of dermatologists in Spain. Unfortunately, many of the figures were preserved in precarious conditions during the time that the museum was closed in the middle of the 20th century, and some could not be found after its reopening. In this paper, we show a method for the recovery of a missing model of which only the original plast

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Fraser, Dr Nicholas. "Lost & Found: 206. Cambridge Greensand vertebrate fossils." Geological Curator 5, no. 4 (1989): 160. http://dx.doi.org/10.55468/gc646.

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Dr Nicholas Fraser (University Museum of Zoology, Downing Street, Cambridge CB2 3EJ) is anxious to locate any fossil vertebrates from the Cretaceous Cambridge Greensand. During the late nineteenth century the so-called 'coprolite' mining in Cambridgeshire provided the basic material for the world's first chemical fertiliser. A vertebrate fauna recovered through the operations of this open-cast phosphate mining was described by Prof. Harry Govier Seeley in the 1860s. This remarkable fauna includes several pterosaurs, the earliest recorded hadrosaurian remains, an unusual armoured dinosaur, chel

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S., PILIPENKO, and GOLOVCHENKO N. "CAST-IRON TOMBSTONES OF THE 18TH - THE FIRST HALF OF THE 19TH CENTRURIES FROM THE MUSEUM COLLECTIONS OF THE ALTAI TERRITORY AND THE NOVOSIBIRSK REGION (ON THE QUESTIONS OF THE MUSEUMIFICATION OF TOMBSTONES AND THE REPLENISHMENT OF THE RUSSIAN PALEOGRAPHY)." Preservation and study of the cultural heritage of the Altai Territory 29 (2023): 47–55. http://dx.doi.org/10.14258/2411-1503.2023.29.08.

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Information about unique cast-iron tombstones of the 18th-19th centuries is introduced into scientific circulation. Daria Timofeevna Sutupova from the collections of the Museum of Local Lore of Altai State Pedagogical University and Andrey Mikhailovich Zalesov from the Kolyvan Museum of Local Lore. The epitaphs presented on the plates have been analyzed. The attention of the scientific community is drawn to the underestimation of tombstones as significant objects of Russian archaeology at the turn of the 18th-19th centuries, as well as to the need to study Russian paleography from material sou

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Jašarević, Aleksandar. "Triangle from the Past: A Late Ottoman measuring instrument." Godišnjak Centra za balkanološka ispitivanja 52 (December 27, 2023): 181–89. http://dx.doi.org/10.5644/godisnjak.cbi.anubih.52-180.

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In this study, we present an unusual instrument that is rarely seen in museum collections. This richly decorated brass triangle belongs to a group of objects used by Ottoman architects and engineers. The level or havāyī terāzū is an instrument that has a wide application in geometry, architecture, military engineering, hydraulic works, and topography. With its rich decoration, it can certainly be seen as a work of applied art and an artifact that – alongside its functional role – also has a symbolic value. Dating of the level is possible based on comparisons with other finds, especially those

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Buffetaut, Eric. "The Missing Late Pleistocene Ostrich Femur from Zhoukoudian (China): New Information Provided by a Rediscovered Old Cast." Diversity 15, no. 2 (2023): 265. http://dx.doi.org/10.3390/d15020265.

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A complete ostrich femur from the Late Pleistocene deposits of the Upper Cave at Zhoukoudian (China) was referred by Shaw to Struthio anderssoni in the 1930s, but its present whereabouts are unknown. A good quality plaster cast of the missing specimen has been found in the collections of the Natural History Museum (London). This cast provides interesting information about the morphology of this large ostrich femur, which had previously been only summarily described and not illustrated. Although smaller than the femora of the Early Pleistocene giant ostrich Pachystruthio, the robust femur from

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Pásztor, Judit, Krisztina Szőcs, Ferenc-József Csegedi, and Botond Márton. "Study of a Cast Iron Stove Designed by Farkas Bolyai." Műszaki Tudományos Közlemények, no. 20 (2024): 59–64. http://dx.doi.org/10.33894/mtk-2024.20.11.

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Farkas Bolyai is known among mathematicians. However, he was also interested in the design and construction of stoves and ovens. In our paper we study a cast iron stove designed by Farkas Bolyai, based on a specimen found in the Museum Teleki Téka on Târgu-Mureș. Although the technical real-ization is nearly two hundred years old, the problem of inspiration is still a concern of our society today. We believe that, looking back, we can find answers, perhaps partial or complete solutions to the problem of the economical stove.

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Froneman, Willemien. "Subjunctive pleasure: the odd hour in the boeremusiek museum." Popular Music 33, no. 1 (2014): 1–17. http://dx.doi.org/10.1017/s0261143013000500.

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AbstractThis paper introduces the subjunctive as a modality of engaging in musical life, in this instance the contemporary white folk music scene of boeremusiek in South Africa. The genre has repeatedly been portrayed as forever vanishing – a discourse that still characterises contemporary events put up by the largest boeremusiek organisation in South Africa, the Boeremusiekgilde (Boeremusiek Guild). The aim of the paper is to analyse the effects of discourses of nostalgia and salvage on participants' experiences of liveness in the present. It is shown how a deep dissatisfaction for live perfo

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Zana, Brigitte. "History of the museums, the mediators and scientific education." Journal of Science Communication 04, no. 04 (2005): C02. http://dx.doi.org/10.22323/2.04040302.

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Before analysing the role of the mediators in relation to scientific education, I deem it important to provide a short overview on how scientific museums evolved from the early curiosity cabinets to the modern web cast. Although the term “museum” is no longer adapted to the new structures employed for the diffusion of scientific and technical culture, the evolution of the means of presentation has indeed led to several forms of human mediation. This is of course the main topic we are going to take into consideration today, as it is an important element for the impact our exhibitions may have o

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Huang, Xuanming, Ruwei Wang, Xiaogu Zhang, Guanghua Huang, Dongyu Teng, and Xinjiang Zhang. "Damage Inspection and Seismic Assessment of Lingzhao Xuan in the Palace Museum: A Case Study." Buildings 14, no. 10 (2024): 3311. http://dx.doi.org/10.3390/buildings14103311.

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Lingzhao Xuan, located in the Palace Museum, has significant historical, artistic and scientific values. To investigate the safety status and seismic performance of the Lingzhao Xuan structure, the material composition and performance of the main load-bearing members of the Lingzhao Xuan were examined, and a finite element seismic simulation was performed on the model. The results show that under different seismic intensities, the deformation of the central pavilion is more evident than that of the four metal pavilions in the corner. Under the 8-degree frequent seismic intensities, the tensile

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Gileva, Kseniya A. "FERDINAND BARBEDIENNE’S BRONZE FOUNDRY PRODUCTS AND URAL MEAL CASTING ART. ON THE ATRIBUTION OF URAL CAST-IRON ARTWORKS." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 22. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-22.

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The study discusses the attribution of several Ural cast-iron artworks. The authors of the model range of metal castings from Kasli and Kusa factories are still the least researched in Russian art history and, thus, the study appears to be very timely. The article considers connections between the model range of the Urals plants and the famous French bronze foundry of Ferdinand Barbedienne. Castings available on the antiques market and in Russian museum collections are analyzed comparatively. New names of authors of Ural metal casting models are introduced into scholarship.

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Babo, Sara, Joana Lia Ferreira, Ana Maria Ramos, et al. "Characterization and Long-Term Stability of Historical PMMA: Impact of Additives and Acrylic Sheet Industrial Production Processes." Polymers 12, no. 10 (2020): 2198. http://dx.doi.org/10.3390/polym12102198.

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This work aims at understanding the influence of the production processes and materials in the properties and long term behavior of acrylic sheet, i.e., poly(methyl methacrylate) (PMMA), a material generally considered very stable in museum collections. A comparative study was conducted in samples from cast acrylic sheets produced in the early 2000s, from which manufacturing details were known, and samples provided by the artist Lourdes Castro from acrylic sheets she had bought in the 1960s. Transparent and red opaque cast acrylic samples, containing cadmium red pigment, were used. All samples

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Zotova, Elena Ya. "Subscription copper-cast plastic from the collection of the Museum of Russian Icon. New discoveries." Russian Journal of Church History 3, no. 1S (2022): 130–44. http://dx.doi.org/10.15829/2686-973x-2022-92.

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At the exhibition dedicated to the history and culture of the Old Believers in the Museum of Russian Icon, a number of objects of copper artistic casting expanding our understanding of the development of this type of applied art were presented. During the pre-exhibition research three signed and dated objects were identified as a part of the complex of Moscow Old Believers plastics. Among them one can find a rare triptych “Deesis, with selected saints” of 1798/1799. The date (from the creation of the world) was engraved on the lower end.The image of the “Mother of God and Child” (“Kazansksya”)

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Msallamová, Šárka, and Jiří Kmošek. "Determination of Causes of Corrosion Damage of a Roman Vessel from an Early Tiberian Period." Materials Science Forum 782 (April 2014): 645–48. http://dx.doi.org/10.4028/www.scientific.net/msf.782.645.

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The study deals with a material survey and determination of the corrosion character of a Roman bronze vessel from an early Tiberian period. The ancient technology of the bronze vessel production was determined based on the evaluation of structural properties of the material using the prepared metallographic sections. The vessel was produced by combining the technologies of beating and metal embossing in a pre-cast bronze piece, side ornaments were cast from bronze. Chloride anions were identified along the material grains. It was identified that the mixture of corrosion products covering the s

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Liston, J. J., and L. F. Noè. "The tail of the Jurassic fish Leedsichthys problematicus (Osteichthyes: Actinopterygii) collected by Alfred Nicholson Leeds - an example of the importance of historical records in palaeontology." Archives of Natural History 31, no. 2 (2004): 236–52. http://dx.doi.org/10.3366/anh.2004.31.2.236.

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The specimen of the tail of Leedsichthys problematicus, now in The Natural History Museum, London, was one of the most spectacular fossil vertebrates from the Oxford Clay Formation of Peterborough, but as an isolated find it shares no bones in common with the holotype of the genus and species. However, a letter from Alfred Nicholson Leeds and related documents cast valuable new light on the excavation of the tail, indicating that it was discovered with cranial bones, gill-rakers, and two pectoral fins, thereby including elements that can potentially be compared with those of the holotype. The

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Peltier, Florence. "Plaster – An artistic production in the Museum of Marble in Rance – Belgium." Ge-conservacion 23, no. 1 (2023): 156–62. http://dx.doi.org/10.37558/gec.v23i1.1212.

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The origin of the stone industry in Belgium goes back as far as the Roman occupation. The marble industry, with the oldest pieces of testimony, goes back to the 16th century. The marble workshops were located in the South of Belgium and even at this period the main customers were abroad: France, Britain and its Empire, in the States… The realization of a sculpture in natural stone, as the marble, asks rigor and method in direct link with the material because each small modification on the marble is permanent. The plaster cast is used as a reference point during the work and allows the transfer

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hellman, mimi. "Elusive Temptations." Gastronomica 11, no. 2 (2011): 7–11. http://dx.doi.org/10.1525/gfc.2011.11.2.7.

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This essay discusses the aesthetic, culinary, and social resonances of an eighteenth-century silver tureen in the collections of the J. Paul Getty Museum. Produced in the Paris workshop of Thomas Germain and probably owned by a Portuguese archbishop, the tureen is embellished with crustaceans and vegetables cast in part from nature. By linking the manipulation of silver to the transformative treatment of ingredients in eighteenth-century cuisine, and by reimagining the tureen’s visual effects and conversational potential in the context of a lavish, candle-lit banquet, the essay explores how th

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Lajer-Burcharth, Ewa. "Drawing Time." October 151 (January 2015): 3–42. http://dx.doi.org/10.1162/octo_a_00210.

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Four female heads—and a phantom of a profile lurking underneath its fully fleshed version in the lower right—emerge from the void of the page. The drawing, Five Studies of a Woman's Head, now in the British Museum, was produced in a single sitting with the model assuming different poses while the artist drew her. He, too, must have changed his position in order to cast a precipitously downward glance at his model's head, as the two radically foreshortened views of it at the top of the page, and three similar, if less abbreviated, ones on another sheet executed during the same posing session, s

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Beard, Mary. "Casts and cast-offs: the origins of the Museum of Classical Archaeology." Proceedings of the Cambridge Philological Society 39 (1994): 1–29. http://dx.doi.org/10.1017/s006867350000170x.

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‘It's my PARTY…;’The Cambridge Museum of Classical and General Archaeology opened on 6 May 1884 with – what else? – a PARTY. Distinguished guests turned out, the University meeting the Aristocracy, Arts and Politics: H.R.H. Prince Albert Victor of Wales (the Queen's son, then an undergraduate), Sir Frederick Leighton (President of the Royal Academy), the painters Lawrence Alma-Tadema and Edward Poynter, the American Ambassador, Sir Frederick Burton (Director of the National Gallery), George Scharf (Director of the National Portrait Gallery), and other assorted dignitaries rubbing shoulders and

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