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Journal articles on the topic 'National Archaeological Museum of Naples'

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Published: 5 June 2025
Last updated: 24 June 2025

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1

Rocconi, Eleonora, and Marco Malagodi. "The Pompeian Musical Instruments at the National Archaeological Museum of Naples (MANN): An Interdisciplinary Project." Greek and Roman Musical Studies 13, no. 1 (2025): 96–118. https://doi.org/10.1163/22129758-bja10098.

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Abstract This paper gives a general overview and presents some preliminary results of an interdisciplinary project started in 2022, whose purpose is to document, study, preserve, and promote the Pompeian musical instruments kept in the National Archaeological Museum of Naples (Italy). Specific attention is paid to the origin of this collection on the basis of archival investigations, which help shed light on the pathways of musical artefacts from excavation sites to museum acquisition, as well as to scientific analyses of the material components of some Roman tibiae, which can contribute to explain their construction techniques.
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2

wissman, fronia e. "Renoir's Onions." Gastronomica 9, no. 2 (2009): 7–9. http://dx.doi.org/10.1525/gfc.2009.9.2.7.

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Pierre-Auguste Renoir's painting Onions, at the Clark Art Institute in Williamstown, Massachusetts, was painted in Naples in 1881. Renoir went to Italy in part to see the art of the Renaissance, especially the frescoes of Raphael. Onions is his response to frescoes, but not Raphael's. Instead, he was energized by seeing frescoes from Pompeii and Herculaneum that he saw installed in the National Archaeological Museum in Naples. Renoir's painting also is testimony to his difficulty in finding suitable models from whom to paint. A comparison is made with John Singer Sargent's contemporaneous paintings of onion sellers.
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Altobelli, Annarita, Paola Cennamo, Giorgio Trojsi, Maria Rosaria Barone Lumaga, Andrea Carpentieri, and Giancarlo Fatigati. "Experimentation of a PVA-Borax hydrogel for the removal of Paraloid B72® from artifacts of archaeological interest from the National Archaeological Museum in Naples, Italy." Acta IMEKO 12, no. 3 (2023): 1–8. http://dx.doi.org/10.21014/actaimeko.v12i3.1501.

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This paper shows the results of an experimentation aimed at the removal of a polymeric film of aged Paraloid B72® originally placed to protect some wooden artifacts belonging to the Egyptian collection of the National Archaeological Museum of Naples (MANN). The study was conducted on two shabtis dated to the 19th Dynasty and a sculpture of Ptah-Sokar-Osiris dating to the late period. Thanks to the collaboration between the National Archaeological Museum of Naples and the Laboratory of Restoration of Wooden Artifacts of the University of Naples Suor Orsola Benincasa, it was possible to conduct an in-depth study of the artifacts, from both an archaeological-historical point of view and from a conservation point of view. This led to the development of the above-mentioned experimentation and to the planning of a proper restoration intervention. The study and experimentation were supported by several diagnostic techniques. In a first stage, non-invasive investigations were carried out to study the execution technique and the state of conservation of the artifacts. This allowed the recognition of the wood species that constituted the three sculptures through optical microscopy, whereas IR reflectography, UV induced fluorescence and X-ray radiation (XRF) were conducted to identify the type and the chemical nature of the pigments. Based on the above analysis, different restoration strategies, based on the removal of Paraloid B72® through a methodology that would act in full respect of the wooden support of the artifacts, were considered. Pros and cons of the different methodologies applied in the recent past for the removal of aged Paraloid from artifact surfaces were analysed. A removal technique based on the use PVA-Borax hydrogel loaded with a solvent mixture was selected. Experiments were conducted to validate the effectiveness of the selected method.
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4

Masseti, Marco. "Gazelles (Gazella spp.) depicted in frescoes and sculpture from Herculaneum and Pompeii." Archives of Natural History 49, no. 2 (2022): 259–68. http://dx.doi.org/10.3366/anh.2022.0789.

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Paintings and sculptures depicting gazelles ( Gazella spp.) are frequent in Ancient Roman art. Images of gazelles have been discovered during the archaeological explorations of Herculaneum and Pompeii, devastated by the eruption of Mount Vesuvius in ad 79. Two bronze statues of ungulates from the Villa of the Papyri, Herculaneum, now on display at the Museo Archeologico Nazionale di Napoli (National Archaeological Museum of Naples), have not been correctly identified, consequently causing erroneous speculation about their cultural significance. The aim of this paper is to suggest which gazelle species inspired these artefacts, and to also discuss the wider context of the artistic representations of gazelles from Herculaneum and Pompeii and their surroundings.
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5

Salazar, Christine F., and Lawrence J. Bliquez. "Roman Surgical Instruments and Other Minor Objects in the National Archaeological Museum of Naples." American Journal of Archaeology 100, no. 2 (1996): 432. http://dx.doi.org/10.2307/506924.

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6

Oranges, C. M., B. Mijuskovic, and D. J. Schaefer. "Hermaphroditism in a Roman fresco from Herculaneum (first century A.D.), National Archaeological Museum, Naples, Italy." Journal of Endocrinological Investigation 40, no. 1 (2016): 103–4. http://dx.doi.org/10.1007/s40618-016-0512-y.

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7

Gabellone, Francesco. "Development of An Immersive VR Experience Using Integrated Survey Technologies and Hybrid Scenarios." Heritage 6, no. 2 (2023): 1169–86. http://dx.doi.org/10.3390/heritage6020065.

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The paper was aimed to promoting and improving the knowledge of the Naples city’s monuments through an immersive visit experience, according to the paradigms of new digital languages. Thanks to the use of integrated technologies, some monuments of the city are presented in virtual way, with unusual viewpoints, that reveal previously unseen details, many of them not directly visible to tourists. A journey created by the use of integrated technologies, to discover historical facades and museums to be explored in total freedom, without physical constraints, without cognitive barriers. The technological basis supporting the visit consists of integrated solutions including digital photogrammetry, 3D modelling, virtual restoration and persuasive storytelling, all organised to provide a product for the general public, to be enjoyed with VR headsets. The available contents are organised on different reading levels, in according to three paths that include: a visit to the MANN (National Archaeological Museum of Naples), a visit within the virtual room dedicated to the most important museums of the city and a virtual walk through the decumani, the heart of historical centre. The virtual enjoyment of contexts no longer visible in original state or not accessible by tourists is resolved by the virtual reconstruction and re-location of artefacts in a virtual space, here called Virtual Room.
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8

Barandoni, Cristiana. "Researching Ancient Colours in Museums Collections: Best Possible Practices and Prospects." Actual Problems of Theory and History of Art 14 (October 11, 2024): 621–33. https://doi.org/10.18688/aa2414-9-52.

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With this contribution, we intend to retrace all the salient phases adopted by the writer and the research groups involved starting from 2014 to date regarding the experimentation and search for an ideal method to be able to communicate the ancient colours in Greek and Roman sculptures. The cognitive path, which began in 2014 at the Uffizi Galleries, thanks to the following two and a half years, has ensured the structuring of a method of cognitive approach to ancient polychromy. Considering the activities at the Galleries definitively concluded, it was decided to set up a new working group that would put into practice the results obtained from the analysis of the experimentation with a stable and continuous museum method. In 2018, a new chapter of the project was launched at the National Archaeological Museum of Naples whose conceptual, theoretical, and practical structure retraces in its entirety the guidelines adopted previously: for this reason, this contribution, ample space will be given to the Florentine three-year period in favour of a greater understanding of the cognitive processes currently adopted in Naples, without whose preliminary discussions they would not be clear or understandable.
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9

Dedo, Herbert H. "Book Review: Roman Surgical Instruments and Other Minor Objects in the National Archaeological Museum of Naples." Bulletin of the History of Medicine 72, no. 1 (1998): 105. http://dx.doi.org/10.1353/bhm.1998.0007.

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10

Schiattone, Sofia, Carla Martini, Marco Malagodi, et al. "Metal Fragments of Roman Pipes from Pompeii: Investigations on Copper-Based Alloys, Corrosion Products, and Surface Treatments." Heritage 7, no. 5 (2024): 2538–51. http://dx.doi.org/10.3390/heritage7050121.

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This work reports the study of metal fragments from Roman pipes excavated from the archaeological site of Pompeii and currently preserved in the deposits of the National Archaeological Museum of Naples (MANN). The Roman pipe, called the tibia, is a reed wind musical instrument similar to the Greek aulos. It can be made of wood, bone, and/or metal. Materials consisting of metal Cu-based alloys were excavated from archaeological burial environments. This research aims to identify the composition of the alloys, characterize the corrosion patinas, and identify any ancient surface treatments on the fragments. Non-invasive and micro-invasive techniques were used to achieve this aim, i.e., optical microscopy, Raman spectroscopy, attenuated total reflectance Fourier-transform infrared spectrophotometry, scanning electron microscopy, and energy dispersive spectrometry. This research contributes to a deeper understanding of the materials and manufacturing techniques used for these instruments, as well as the degradation processes occurring over the centuries.
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11

DI PASQUALE, GIOVANNI. "STUDIO SU UN GRUPPO DI COMPASSI ROMANI PROVENIENTI DA POMPEI*." Nuncius 9, no. 2 (1994): 635–44. http://dx.doi.org/10.1163/182539184x00982.

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Abstract<title> SUMMARY </title>The Pompei excavations have given us a good number of bronze compasses from the Roman period. Today these are conserved in the National Archaeological Museum of Naples. The paucity of findings of this instrument, apart from these found in the area around Vesuvius, should not mislead us; in the Roman world the compass was well known and diffused in various types according to the needs of different applications. They were used by mathematicians, architects, surveyors, ceramicists and sculptors. The particular archaeological context from which these derive, they illustrate a clear connection between precision instruments and the historical circumstances of Pompei in the first century A.D.: the eruption of 79 A.D. caught the city be surprise just as it was being rebuilt after the severe earthquake damage of 62 A.D.
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12

Balassone, Giuseppina, Piergiulio Cappelletti, Alberto De Bonis, et al. "From tiny to immense: Geological spotlight on the Alexander Mosaic (National Archaeological Museum of Naples, Italy) using non-invasive in situ analyses." PLOS ONE 20, no. 1 (2025): e0315188. https://doi.org/10.1371/journal.pone.0315188.

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A key challenge in the art and archaeological field is the instrumental analysis of objects and materials while preserving their integrity. In this study, the world-renowned artwork Alexander Mosaic (The Issus Battle, collection of the National Archaeological Museum of Naples, IT), the most iconic representation of the face of the Macedonian king Alexander the Great coming from a Pompeii domus, was thoroughly analyzed with mobile and non-invasive methods, within a great project of restoration started in 2020. Representative areas of the Mosaic, overall consisting of ca. two million of tesserae, was studied by in situ videomicroscopy, infrared thermography (IRT), multispectral imaging, portable X-ray fluorescence (pXRF), Fourier transform infrared (FTIR) and Raman spectroscopy. Ten tesserae colors were discriminated, and hypotheses on their geological provenances are proposed. Plasters, mineral components and other substances of old protective materials were characterized. The information obtained with this approach paved the way to knowledgeable restoration.
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13

Wysłucha, Kamila, and Stefan Hagel. "Music from Pompeii: Understanding the Aulos Fondo Prisco A+B." Greek and Roman Musical Studies 13, no. 1 (2025): 119–64. https://doi.org/10.1163/22129758-12341397.

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Abstract Most of the doublepipe (aulos/tibia) remains that were unearthed in the Vesuvian region and are kept in the National Archaeological Museum of Naples (MANN) are still awaiting publication. Addressing this need, a joint project of the University of Pavia and the Austrian Academy of Sciences is documenting the fragments, aiming at a restoration of their original order and a musical interpretation, where feasible. Here we focus on two especially short and therefore high-pitched pipes from the ‘Nine from Fondo Prisco’. We present the individual fragments, try to establish their order on the basis of an old photograph and probable physical joints, discuss the likely design of the instrument, establish the notes it probably played, and propose a harmonic and socio-musical context.
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14

D’Auria, Alessia, Maurizio Teobaldelli, and Gaetano Di Pasquale. "The late Holocene history of cypress (Cupressus sempervirens L.) in the Italian peninsula: New perspectives from archaeobotanical data." Holocene 30, no. 2 (2019): 210–17. http://dx.doi.org/10.1177/0959683619875812.

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The objective of this research is to reconstruct the recent Holocene history of Cupressus sempervirens from the Bronze to the Roman Age in Italy. Our work consisted both in a review of published data and in the identification of novel archaeobotanical remains stored in the deposits of the National Archaeological Museum of Naples and of the Archaeological Park of Pompeii. The literature permitted to collect information linked to different plant remain typologies of the Italian cypress; 362 botanical remains were counted, of which 292 were from the Vesuvian area and 70 from other archaeological sites of the central and western Mediterranean. Data chronology spans from the second century BC to the AD fifth century for the archaeological area of ancient Campania and from the 14th century BC to the AD fourth century for the sites located in different regions. It is clear that the ‘cypress culture’ is confirmed by the archaeobotanical data found in the Roman world. Romans especially appreciated its timber but cypress was also used for many other purposes. Furthermore, the employment of timber for wells was documented in pre-Roman sites and the presence of fruits/seeds in central Italy confirms its importance also in the Bronze Age.
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15

Amitrano, Cristina Caterina, Roberta Gargiulo, and Francesco Bifulco. "Creating Value through Social Media: Fresh Evidence from Cultural Organizations." Journal of Creating Value 4, no. 2 (2018): 243–54. http://dx.doi.org/10.1177/2394964318805616.

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The impacts of digital technologies are gaining increasing attention in the service literature, and a growing number of cultural organizations are using online websites and social media to interact with their actual and potential customers. However, the contributions developed by service marketing scholars show little interest in examining the role of underlying technologies in a particular service experience context, namely, the cultural heritage context and the corresponding visiting experience. Therefore, the purpose of this research is to analyse how digital technologies, especially social media, can help cultural organizations stimulate customer engagement. To reach this aim, we conducted a single exploratory case study of a communication project developed by the National Archaeological Museum of Naples (MANN) to attract their actual and potential Italian and foreign visitors. The achieved results allow for us to show how digital communication tools can stimulate customer engagement in a cultural heritage context.
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Pretelli, Marco, Leila Signorelli, and Maria Antonietta De Vivo. "Digital microclimate simulation models to support innovative management and preventive conservation processes in cultural sites." VITRUVIO - International Journal of Architectural Technology and Sustainability 8, no. 2 (2023): 88–101. http://dx.doi.org/10.4995/vitruvio-ijats.2023.20536.

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Among the least investigated aspects in historical architecture, one is the microclimatic behaviour linked to the preventive conservation of cultural heritage. This aspect should be studied intensively since it is closely related to any deterioration phenomenon of materials and can have a crucial role in updating management systems of cultural sites. Today the sensors that monitor environmental parameters can transfer data in real time into a continuous monitoring logic (cloud platforms) and this, in addition to the development of software capable of modelling the thermo-hygrometric behaviour of buildings, opens up new lines of research. The authors believe that it represents one of the most promising areas of investigation and capable of offering greater results in terms of preventive and planned measures. This contribution collects an experience recently conducted, financed by the Ministry of University and Research, in one of the most prestigious Italian museums, the National Archaeological Museum of Naples (MANN). The monitoring and modelling methodologies are illustrated, as well as the objectives of the intervention, with a view to a fruition that holds the psycho-physical well-being of staff and visitors and the conservation of heritage as close as possible. The results are closely linked to the pandemic experience, with the secondary objective of risk prevention for people and cultural heritage.
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D'Auria, Alessia, and Gaetano Di Pasquale. "The unknown archaeobotany: The great “Collezione dei Commestibili e degli Avanzi Organici” of the National Archaeological Museum of Naples (southern Italy)." Quaternary International 725-726 (April 2025): 109745. https://doi.org/10.1016/j.quaint.2025.109745.

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18

Avella, Alessandra. "Vestimenta drawing in use by the Romans." Convergences - Journal of Research and Arts Education 15, no. 30 (2022): 135–45. http://dx.doi.org/10.53681/c1514225187514391s.30.163.

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The study of the Pompeii clothes, representative of the wider Roman culture, is carried out starting from the graphic analysis of the classical iconography of the MANN (National Archaeological Museum of Naples) in comparison with historiographical sources, by means of the representation of the main patterns of women's clothing in use by the Romans and their respective decorative and chromatic motifs, also in relation to the fibres of which the fabrics were made. This study, which also makes use of data obtained from the photogrammetric survey of a selected number of textile finds belonging to the "MANN Textile Collection", provides an unpublished archive of the main clothing patterns, codifying in technical drawings (paper patterns) the unconventional rules that the ancient Romans at that period used to make clothing on the basis of knowledge, practical experience and customs (dressing rituals) specific to the culture of the time. The flat development of each clothing patterns is entrusted to the geometric accuracy of the paper pattern, is proportionate to the anthropometric measurements of the woman of the Roman age (female normotype) and represented to scale.
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Valentini, Federica, Ivo Allegrini, Irene Colasanti, et al. "Preliminary Assessment of Air Pollution in the Archaeological Museum of Naples (Italy): Long Term Monitoring of Nitrogen Dioxide and Nitrous Acid." Air 3, no. 2 (2025): 12. https://doi.org/10.3390/air3020012.

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A project to assess air pollution at the National Archeological Museum in Naples was carried out. The main goal of the project was to develop and test a reliable yet simple monitoring system to be adopted at the same time in several exposition rooms. Nitrogen dioxide, hydrogen chloride, nitrous acid, and sulphur dioxide were the chemical species addressed by the technique. Monitoring was simultaneously performed in five rooms, and pollutant concentrations were determined using two passive samplers. The sampling time was approximately one month per period. In addition to passive samplers, environmental data loggers were used to obtain temperature and relative humidity data. Results show high concentrations of nitrogen dioxide inside rooms, which were consistent with those found in outdoor environments and are close to the values calculated considering the air exchange rates, estimated through time gradients of ambient temperature. The minimum values were recorded in a basement room that had a low ventilation rate. The conversion of nitrogen dioxide to real surfaces produces nitric acid and nitrous acid. Large amounts of nitrous acid, up to 15 µg/m3, were found in exposition rooms, with maximum values in the basement room, where the air exchange rate is limited, and the surface-to-volume ratio is the highest among the monitored rooms. Data analysis demonstrated that the system could discriminate between nitrous acid and nitrogen dioxide. The results show that, for the first time, passive samplers can overcome the problem of mutual interference between nitrogen-containing species. Nitrates and nitrites found in the alkaline passive sampler were generally found not to be interfered by nitrogen dioxide. Nitric acid was also found in the gas phase, likely generated by dissociation of ammonium nitrate in particulate matter. Hydrogen chloride and sulphur dioxide were present at few µg/m3. Nitrous acid is the most relevant acidic species found indoors. The presence of pollutants was discussed in terms of the reliability of the analytical procedure and its significance for indoor air pollution.
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Madariaga, Juan Manuel, Maite Maguregui, Kepa Castro, Ulla Knuutinen, and Irantzu Martínez-Arkarazo. "Portable Raman, DRIFTS, and XRF Analysis to Diagnose the Conservation State of Two Wall Painting Panels from Pompeii Deposited in the Naples National Archaeological Museum (Italy)." Applied Spectroscopy 70, no. 1 (2016): 137–46. http://dx.doi.org/10.1177/0003702815616589.

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21

Colomban, Philippe, Gulsu Simsek Franci, Jacques Burlot, Xavier Gallet, Bing Zhao, and Jean-Baptiste Clais. "Non-Invasive On-Site pXRF Analysis of Coloring Agents, Marks and Enamels of Qing Imperial and Non-Imperial Porcelain." Ceramics 6, no. 1 (2023): 447–74. http://dx.doi.org/10.3390/ceramics6010026.

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On-site pXRF analysis in various French collections (Musée du Louvre, Musée national des Arts asiatiques-Guimet, Paris) of porcelains decorated with painted enamels from the Qing Dynasty, in particular porcelains bearing an imperial mark, identifies the types of enamels/glazes, the ions and coloring phases or the opacifier. The study of the elements associated with cobalt (nickel, manganese, arsenic, etc.) and of the impurities of the silicate matrix (yttrium, rubidium and strontium) differentiates the use of ‘Chinese/Asian’ raw materials from ones imported from Europe by the initiative of the European missionaries (chiefly Jesuits) present at the Court (Beijing). Particular attention is paid to the analysis of the blue color of the marks and to the elements associated with the use of gold or copper nanoparticles as well as to the compositions of the pyrochlore phases (tin yellow, Naples yellow). The comparison is extended to pXRF and Raman microspectroscopy measurements previously made on other Qing imperial porcelains as well as on Cantonese productions (on porcelain or metal) from different Swiss and French museums and blue-and-white wares of the Ming and Yuan Dynasties (archaeological and private collections).
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Apenko, Mikhail. "The Sais Inscription. Translation and Commentary." ISTORIYA 14, no. 2 (124) (2023): 0. http://dx.doi.org/10.18254/s207987840024924-5.

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The article presents a Russian translation of an important epigraphic evidence of the Hellenistic Egypt, the so-called Sais Inscription. The Sais Inscription was compiled in the Late Middle Egyptian language during the reign of Ptolemy II Philadelphus (285—246 BCE) in late 260s but was later transported to Rome. Only three fragments of an inscription exist to this date: A). Codex Ursinianus, fol. 6 ro — redrawing of a part of the inscription made in 16th century, B). a fragment of a stela at the National Archaeological Museum of Naples (No. 1034) and C). a large fragment of a stela at the Musée du Louvre (No C 123). The available fragments make it possible to reconstruct the first eleven columns of the text which was probably longer. These fragments allowed Chr. Thiers to publish the reconstructed inscription in 2001. The present publication is largely based on this reconstruction and aims to clarify some disputed passages of the text and to provide its new commentary. It is necessary to note the importance of the text for the researchers of Hellenistic Egypt. It provides the information on the nature and the peculiarities of interaction between Ptolemy II Philadelphus and the Egyptian elite. The text describes the gathering of its members at Sais organized by the king in order to bring the statue of Arsinoe II to Sais. According to a number of researchers, this might be an early case or a prototype of a synod, a special gathering of the Egyptian priesthood intended to discuss and to decide important issues in the development of the Ptolemaic dynastic cult.
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Cozzolino, Marilena, Antonio De Simone, Vincenzo Gentile, Paolo Mauriello, and Amanda Piezzo. "GPR and Digital Survey for the Diagnosis and the 3D Representation of the Battle of Issus Mosaic from the House of the Faun, Pompeii (Naples, Italy)." Applied Sciences 12, no. 14 (2022): 6965. http://dx.doi.org/10.3390/app12146965.

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The application of non-invasive geophysical techniques and digital surveys to explore cultural heritage is becoming a very important research field. The capability to detect inner and superficial changes in the inspected surfaces allows for imaging spatial inhomogeneity and material features and planning targeted conservation and restoration interventions. In this work, the results of a research project carried out on the famous Battle of Issus Mosaic, also known as the “Alexander Mosaic”, are presented. It is a masterpiece of ancient art that was found in 1831 in the House of Faun, the most luxurious and spacious house in Pompeii. It is notable for its size (3.41 × 5.82 m), the quality of workmanship and the subject that represents the culminating phase of the battle between Alexander Magno’s army and the Persian one of Darius. In 1916, it was moved inside the National Archaeological Museum of Naples, where the original horizontal location was changed with a vertical arrangement supported by an inner wooden structure, whose exact manufacture is unclear. Today, the mosaic is affected by important instability phenomena highlighted by the appearance of the significant detachment of tiles, superficial lesions and swelling of the surface. Given the important need to preserve it, a high-detail diagnostic study was realized through a digital survey and non-invasive geophysical surveys using ground-penetrating radar (GPR). The investigation was repeated after two years, in 2018 and 2020, with the aim of verifying the evolution of degradation. The work provided a high-resolution estimate of the state of the health of the mosaic and allowed for obtaining a three-dimensional reconstruction of the internal mosaic structure, including the formulation of hypotheses on the engineering supporting works of the twentieth century; this provides an essential tool for the imminent conservation project, which also implies restoring the original horizontal position.
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Carrero, Jose Antonio. "Multispectroscopic and isotopic ratio analysis to characterize the inorganic binder used on Pompeian pink and purple lake pigments." Analytical Chemistry 88, no. 12 (2025): 6395–402. https://doi.org/10.5281/zenodo.14766764.

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Because of the fact that pigments are not ubiquitous in the archeological record, the application of noninvasive analytical methods is a necessity. In this work, pink and purple lake pigments recovered from the excavations of the ancient city of Pompeii (Campania, Italy) and preserved in their original bowls at the Naples National Archaeological Museum (Italy) were analyzed to characterize the composition of their inorganic binders (mordants). In situ preliminary analyses using a hand-held energy dispersive X-ray fluorescence spectrometer (HH-ED-XRF) allowed us to determine the use of an aluminosilicate enriched in Cu and Pb. Scanning electron microscopy coupled to energy dispersive X-ray spectrometry (SEM-EDS) and benchtop ED-XRF analyses confirmed these results, while inductively coupled plasma mass spectrometry (ICPMS) allowed one to determine the concentration of major, minor, and trace elements. The use of other techniques such as X-ray diffraction (XRD), and micro-Raman and infrared spectroscopies allowed one to characterize the pigments at the molecular level. The high concentration of Cu detected in the pigments (1228&ndash;12937 &mu;g g<sup>&ndash;1</sup>) could be related to the addition of Cu salts to obtain the desired final hue. The concentrations of Pb (987&ndash;2083 &mu;g g<sup>&ndash;1</sup>) was also remarkable. Lead isotopic ratio analysis (<sup>206</sup>Pb/<sup>207</sup>Pb) suggested a possible origin related to the leaching of the ancient lead pipes from Pompeii and the subsequent transfer to the buried pigments or to the inorganic binder. Molecular analysis also showed that the binder is composed of an allophane-like clay. Moreover, it was possible to determine that to obtain the final purple hue of a specific pigment, Pompeian blue pigment was also mixed into the dyed clay.
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Manning, W. H. "Roman Surgical Instruments and Other Minor Objects in the National Archaeological Museum of Naples. By Lawrence J. Bliquez. Philipp von Zabern, Mainz, 1994. Pp. xvi + 238, with 1 chart, 27 plates, and 231 figures. DM. 135." Greece and Rome 43, no. 2 (1996): 222–23. http://dx.doi.org/10.1017/s0017383500025468.

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Kekeev, Erdni. "Archaeological Finds at Palmov National Museum of Kalmykia, 1961–1991." Бюллетень Калмыцкого научного центра Российской академии наук 4, no. 20 (2021): 141–54. http://dx.doi.org/10.22162/2587-6503-2021-4-20-141-154.

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Introduction. Archaeological collections to have resulted from excavations in the territory of Kalmykia are currently stored at different museums of Russia, namely: Saratov Oblast Museum of Local History and Lore (Saratov), State Historical Museum (Moscow), Palmov National Museum of Kalmykia (Elista), and several other public museums of the region. The National Museum of Kalmykia houses all 1961 to present finds from archaeological surveys in the territory of the republic. Goals. The article describes results of the analysis of archaeological collections at Kalmykia’s National Museum to have been compiled after excavations of 1961–1991. The work provides a complete inventory of finds from the examined period, the latter divided into groups – by field seasons. In addition, it calculates and shapes a list of sites distinguished by largest numbers of finds. Results. A total of 117 mound groups were examined during field works in 1961–1991, including 1,143 mounds and 3,570 burials. The National Museum of Kalmykia houses 4,096 items from archaeological excavations of the mentioned period. Extension of excavation volumes resulted in an increased accumulation of archaeological objects: 46 items after the field season of 1961 — to 200–400 items per each subsequent year. The paper identifies archaeological sites to have yielded most numerous finds currently stored at the Museum: 1) East Manych mound group (559 items), 2) mound groups excavated along VolgaDon Canal route (423 items), 3) mound groups of Tsagan Usn burial ground (337 items). Other remarkable sites include as follows: settlement of Dzhangar (256 items), burial grounds of Dzhangar (235 items), Kuptsyn Tolga (195 items), Evdyk (189 items), Dyuker (180 items).
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Inzerillo, L. "SMART SfM: SALINAS ARCHAEOLOGICAL MUSEUM." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 369–74. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-369-2017.

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In these last years, there has been an increasing use of the Structure from Motion (SfM) techniques applied to Cultural Heritage. The accessibility of SfM software can be especially advantageous to users in non-technical fields or to those with limited resources. Thanks to SfM using, everyone can make with a digital camera a 3D model applied to an object of both Cultural Heritage, and physically Environment, and work arts, etc. One very interesting and useful application can be envisioned into museum collection digitalization.&lt;br&gt;&lt;br&gt; In the last years, a social experiment has been conducted involving young generation to live a social museum using their own camera to take pictures and videos. Students of university of Catania and Palermo were involved into a national event #digitalinvasion (2015-2016 editions) offering their personal contribution: they realized 3D models of the museums collection through the SfM techniques. In particular at the National Archaeological Museum Salinas in Palermo, it has been conducted an organized survey to recognize the most important part of the archaeological collection. It was a success: in both #digitalinvasion National Event 2015 and 2016 the young students of Engineering classes carried out, with Photoscan Agisoft, more than one hundred 3D models some of which realized by phone camera and some other by reflex camera and some other with compact camera too. The director of the museum has been very impressed from these results and now we are going to collaborate at a National project to use the young generation crowdsourcing to realize a semi-automated monitoring system at Salinas Archaeological Museum.
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Sorokina, Svitlana, Olga Puklina, Yulia Bezkorovajna, and Oksana Zavalna. "Inventory of archaeological collections in Shevchenko Central Historical Museum (1937–1941)." Materials and studies on archaeology of Sub-Carpathian and Volhynian area 23 (November 26, 2019): 257–78. http://dx.doi.org/10.33402/mdapv.2019-23-257-278.

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The inventory of archaeological collections, that later became the part of the National Museum of Ukrainian History, began in 1897. Keeping this inventory had been prolonged with breaks until 1938. The first museum catalogue was filled by famous archaeologists V. Chvoika and V. Kozlovska. This catalogue is a valuable resource that researchers still use to find out the provenance of valuable archaeological finds. The inventory books and cards of the Shevchenko Central Historical Museum still remain less famous. In 1937 in the Central Historical Museum, a new inventory of museum objects, including archaeological collections started. Inventory cards were compiled for museum items, information from which was recorded in inventory books. New inventory numbers were applied to items. Some famous archaeologists and museum workers joined this process: V. Hrinchenko, I. Fabricius, I. Bondar, N. Linka-Geppener, S. Korshenko. So, after the records in inventory books and cards stayed living people (from well-known scientists to simple lab technicians) with their own complex destinies. Some documentation now is lost, making it difficult to investigate. In order to restore the whole picture of the inventory process, the considerable work was done to identify, consolidate and compare the remains of the fund's documentation of the Central Historical Museum, which required the involvement of specialists from different areas of archaeological funds work. The study of this documentation allows recovering the history of the origin of valuable archaeological exhibits that lost their registration information. Key words: the All-Ukrainian Historical Museum, the National Museum of Ukrainian History, the Central Historical Museum, archaeological collections, inventory.
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Cvjetićanin, Tatjana. "Objects or Narratives. Archaeological Exhibitions in Serbia: Foundations of Museum Archaeology." Issues in Ethnology and Anthropology 9, no. 3 (2016): 575. http://dx.doi.org/10.21301/eap.v9i3.2.

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Although every local museum or parts of national museums keep archaeological finds, museums in general play a very limited role on the archaeological scene, often being passive and marginalized. Well-grounded investigation into the archaeological objects kept in museum collections and, above all, the public domain of museums, the nature of collections and exhibitions, both permanent and occasional, have not been adequately recognized, discussed or considered. In spite of the fact that museum exhibitions legitimize the dominant social and political norms of the present, museums remain marginalized, separated from the currents of various pertinent disciplines, and not prepared for the necessary changes. Archaeological theory, shaping the archaeological practice of museums as well, is not understood as its constituent part, and the interpretive context in which exhibitions are created, contents and nature of interpretation are not considered. The analysis of the exhibitions of the National Museum in Belgrade, being the paradigm of museum archaeology in Serbia up to the middle of the 20th century, has shown that the culture-historical approach, the idea of continuity and dynamic artistic presentations of alienated past have marked this public presence of museums. The Museum has developed from the storage space and knowledge presentation, over exhibition space to an ideal museum, dominated by estheticized expositions, establishing various official representations of the past. The changes in the theory of museology, somewhat coinciding with the changes in archaeological theory, have posed a new challenge to museum archaeology, that may be defined in short as the need for the new interpretation of the past.
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30

Ryan, Michael. "Irish archaeological legislation." Antiquity 62, no. 235 (1988): 284–85. http://dx.doi.org/10.1017/s0003598x00074032.

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Apparent deficiencies in Irish legislation for the protection of archaeology have been much commented on (e.g. ANTIQUITY 62: 4–5); here, the Keeper of Irish Antiquities at the National Museum points also to some of its strengths – for example, in protecting artefacts and non-artefactual material as well as sites and monuments – and explains the vigorous measures now taken to bring the law and the penalties up to date.
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Santos Pereira, Elisabete J., Maria Margaret Lopes, and Maria de Fátima Nunes. "‘Collective wisdom’ at the National Archaeological Museum in Portugal." Museum History Journal 12, no. 2 (2019): 171–91. http://dx.doi.org/10.1080/19369816.2019.1731148.

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Moreno, María Antonia. "Restauración y conservación de un conjunto de estelas de falsa puerta hallado en Heracleópolis Magna (Ehnasya el-Medina. Beni Suef)." Trabajos de Egiptología. Papers on Ancient Egypt, no. 10 (2019): 257–82. http://dx.doi.org/10.25145/j.tde.2019.10.15.

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An important set of false door stelae with polychrome and hieroglyphic inscriptions have been found, throughout several excavation campaigns, in the necropolis of the First Intermediate Period/Early Middle Kingdom at Herakleopolis Magna. A part of this set is preserved in the National Archaeological Museum (Madrid), while other stelae are stored in the Cairo Museum and in the warehouses of the Ministry of Antiquities located at Ehnasya el-Medina. The conservation and restoration of these objects was undertaken following the criteria recommended by national and international regulations and institutions. The works have been carried out in the National Archaeological Museum and the workshop of the Spanish Archaeological Mission in Ehnasya el-Medina. The stelae presented a heterogeneous and different state of conservation; while some were complete, others were in a fragmentary state. With the purpose of returning the stelae to their original morphology and identity, the treatments applied have essentially consisted of: cleaning, consolidation, material reintegration and volumetric recovery. After restoration, new interesting aspects about the necropolis and the people buried there have come to light.
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Bulyk, Natalia, and Roman Berest. "The Lviv Archaeological Milieu During World War." Archaeologia Polona 61 (December 31, 2023): 75–104. http://dx.doi.org/10.23858/apa61.2023.3299.

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The article deals with the scientific and museological activities of Lviv archaeologists during World War I. The focus is on the fate of archaeologists who were forced to serve in the army (Y. Pasternak, V. Hrebeniak); the state of scientific institutions of Lviv, and the living and working conditions of professors and teaching staff of the University of Lviv, as well as museum workers of the city, were analyzed. In addition, it is about stocking and inventorying the museum collections with archaeological finds, and attempts to restore the activities of museum institutions regardless of conditions (National Museum of Jan III Sobieski, Dzieduszycki Museum). The issue of the loss of human lives is not the least. During these years, Lviv archaeology lost a Polish professor of archaeology Karol Hadaczek and his student, the talented Ukrainian archaeologist Volodymyr Hrebeniak. It was found that the War stopped the development of archaeological science in Lviv and pushed it back for some time. Only in the post-War years, was it possible to restore field research, and publishing activities, replenish museum collections, and educate new personnel.
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Вайтович, Александра Владимировна. "Wandalin Szukiewicz’s ideas about the social role of the archaeology." Journal of the Belarusian State University. History, no. 3 (August 2, 2022): 15–23. http://dx.doi.org/10.33581/2520-6338-2022-3-15-23.

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The article is devoted to the reconstruction of W. Szukiewicz’s views on the issue of the role of the archaeology in the society. The scholar didn’t leave the systematic explanation of the thoughts. Nevertheless, the study of his scientific works, newspaper notes and epistolary heritage allows to understand his main theses and ideas. He realised the value of the archaeological sites and artifacts and cared about drawing the attention of the compatriots to the local antiquities. According to W. Szukiewicz the priority should be given to the creation of the archaeological maps. The scholar urged the public to protect the archaeological heritage. He supported the idea of the organisation of the national museum. Moreover, he understood the importance of the scientific approaches to the formation of the museum collections. He kept in mind the popularisation of the archaeological and historical knowledge. W. Szukiewicz interpreted archaeological objects as key factor of the formation of national identity and called the specialists for participation in public life.
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Cvjetićanin, Tatjana. "Predmeti ili narativi. Arheološke postavke u Srbiji: doba artefakata." Issues in Ethnology and Anthropology 10, no. 3 (2016): 557. http://dx.doi.org/10.21301/eap.v10i3.2.

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There are over 60 museums and collections in Serbia today holding archaeological material and archaeological displays, offering an ever-present, public image of the results of the development of archaeological discipline in our country, its theoretical framework, and above all, present the official interpretation of the past. In spite of the fact that displays and exhibitions represent the most visible museum forum and the basic medium of museums, presenting official representations of the past, constructing memories, forming values and attitudes, these are rarely the object of consideration from the theoretically informed perspective. The aim here is to consider the characteristics of the archaeological displays and thematic exhibitions in Serbia, and especially of the National Museum in Belgrade after the World War II, since this institution is still the paradigm of museum archaeology in the country. The questions are raised whether the changes in the archaeological theory, and especially in museology, have induced the changes in the custodians’ practice; whether the deeply rooted dominant archaeological concepts have been transformed; finally, and perhaps more importantly, whether the mission of museums has changed. The interpretive context is still completely based upon the culture-historical approach and the idea of continuity, and the past is presented by rarities and utmost achievements, mainly estheticized. Museums and museum archaeology have travelled along the road from research institutions, whose expertise is not challenged, temples of knowledge and sanctuaries of the past in which the national idea slowly enters the focus, to the marginalized cultural institutions trying to become relevant to the community.
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Hamit, AITKUL, and ZIKIRIYA Dosım. "EAST KAZAKHSTAN IN THE BRONZE AGE (Based on the collections of the Bronze Age of the Fund of the State Central Museum of the Republic of Kazakhstan)." NEW ERA INTERNATIONAL JOURNAL OF INTERDISCIPLINARY SOCIAL RESEARCHES 7, no. 16 (2022): 194–205. https://doi.org/10.5281/zenodo.7443544.

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State Central Museum of the Republic of Kazakhstan further (SCM RK) &ndash; the collection of the Bronze Age of East Kazakhstan in the archaeological fund of the Ministry of foreign affairs of the Republic of Kazakhstan from 1940 to 1947-1949. the East Kazakhstan archaeological expedition, conducted in 1955 (S. S. Chernikov), 1980-1983. The desert of the Kazakh SSR began to form from the archaeological expedition (A. G. Maksimova, S. M. Akhinzhanov), the archaeological expedition of the Kazakh National University (kaznu) in 1985 (a.m. Orazbayev) and random finds. Also, the archaeological expedition of the Central Museum of Kazakhstan as part of the East Kazakhstan archaeological expedition with the participation of the Institute of history, archeology and ethnography at the Kaz SSR Academy of Sciences and the Institute of material culture and history took part in the collection of East Kazakhstan collections.
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Künzl, Ernst. "L. J. Bliquez und die medizinischen Instrumente aus Pompeji: Die medizinische Versorgung einer römischen Stadt im 1. Jh. n.Chr. - L. J. BLIQUEZ, ROMAN SURGICAL INSTRUMENTS AND OTHER MINOR OBJECTS IN THE NATIONAL ARCHAEOLOGICAL MUSEUM OF NAPLES, with a catalogue of the surgical instruments in the “Antiquarium” at Pompeji by Ralph Jackson (von Zabern, Mainz 1994). 238 pp., 27 pls. ISBN 3-8053-1677-1 [Im folgenden: B]." Journal of Roman Archaeology 12 (1999): 575–92. http://dx.doi.org/10.1017/s1047759400018390.

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Stirn, Matthew, and Rebecca Sgouros. "The Teton Archaeological Project: Report From the 2014 Inaugural Field Season." UW National Parks Service Research Station Annual Reports 37 (January 1, 2014): 99–107. http://dx.doi.org/10.13001/uwnpsrc.2014.4057.

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In August and September, 2014, two eight- day archaeological surveys were conducted by the Jackson Hole Historical Society and Museum in Caribou-Targhee National Forest and Grand Teton National Park. This project, the inaugural season of the Teton Archaeological Project, investigated high-altitude passes, basins, and ice patches for prehistoric archaeological sites. In total, during the 2014 season 28 archaeological sites were recorded ranging from Paleoindian (9,000 BP) to Late-Prehistoric (1,000 BP) in age. The results of this field season investigation provide an enlightened understanding of prehistoric life in the high Tetons and will offer a solid foundation for future archaeological surveys and research questions.
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Peacock, Becky J. "Westgate Oxford Pop Up Museum." Advances in Archaeological Practice 6, no. 3 (2018): 248–58. http://dx.doi.org/10.1017/aap.2018.17.

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ABSTRACTWestgate Oxford is a commercial redevelopment of a large shopping complex in the center of Oxford, with clients Westgate Oxford Alliance and principal contractor Laing O'Rourke. The excavations, carried out by Oxford Archaeology, between 2014 and 2016, were required as part of UK Planning Guidelines and were the largest ever undertaken in the city and principally focused on a large medieval suburban friary. The project won Best Archaeological Project 2016 at the prestigious national British Archaeological Awards, and the outreach program, which included an evolving pop-up museum, was a significant contributing factor. This essay will demonstrate how to set up a pop-up museum in eight steps. The essay will look at how to work with different partners of a project. It will discuss choosing a story to tell and how to deal with a changing narrative on an archaeological site in “real time.” It will show how the Pop Up museum became the principal location for dissemination for the Westgate Oxford project. The essay will conclude with how to keep the story alive and plans for the future of the Westgate Oxford Pop Up Museum.
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Claudio, MILANESI, VIGNANI Rita, SCALI Monica, et al. "A comparison of aleurone cells in centenarian African and contemporary barley seeds to identify the geographic origin." Comptes Rendus Palevol 20, no. 43 (2021): 887–96. https://doi.org/10.5852/cr-palevol2021v20a43.

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Barley (<em>Hordeum vulgare </em>L.) is one of the main domesticated cereals. For this reason, barley seeds have been found in numerous archaeological sites, and since the mid-19th century have been available in numerous natural museum collections. About a hundred years ago samples were collected in the African countries of Eritrea and Cyrenaica (now Libya), and have been preserved as ex-situ in the museum collection &ldquo;L&rsquo;Orientale&rdquo; of the University of Naples. The varieties of contemporary barley selected for comparative analysis were grown in Tuscany and are used in the production of craft beer. To ascertain their vitality, the ancient and contemporary seeds were placed in Petri dishes to hydrate under a sterile hood at room temperature after a sterilization procedure. Morphological and ultrastructural observations performed on the aleurone cells of the ancient samples presented vital cells. The extraction and purification of DNA from seeds produced results while the genotype comparison of ancient and contemporary barley varieties enabled the construction of a dendrogram of similarity, useful in describing barley from museum genetic heritage collections and in providing a&nbsp;molecular imprint of extant varieties.
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41

Cravinho, Graça. "Roman Engraved Gems in the National Archaeological Museum in Lisbon." Studies in Ancient Art and Civilisation 21 (July 27, 2018): 173–245. http://dx.doi.org/10.12797/saac.21.2017.21.09.

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The article presents the collection of Roman engraved gems in the National Museum of Archaeology, in Lisbon. Although a small cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
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Stefanović, Danijela. "Four Middle Kingdom stelae from the National Archaeological Museum, Athens*." Journal of Egyptian Archaeology 96, no. 1 (2010): 207–15. http://dx.doi.org/10.1177/030751331009600112.

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Muhit, Md Abdul Muhit, and Abul Hasanat Md Fazle Rabbi. "Abbasid gold coins preserved in the Bangladesh National Museum." International journal of humanities, literature and arts 7, no. 1 (2024): 9–22. http://dx.doi.org/10.21744/ijhla.v7n1.2335.

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This study aims to provide meticulous identification of eight valuable, unpublished gold coins from Abbasid dynasty preserved in the collection of the Bangladesh National Museum and analyze their inscriptions, ultimately exploring their historical significance within the context of early Arab-Bengal trade relations. Discovered in the Chandpur and Brahmanbaria districts near the Samatata archaeological site in 1996 and 2002, these coins are not detailed in the museum’s inventory beyond their discovery and acquisition history. This study reveals key details such as their issuing authority, year of issuance, mint name, metal composition, measurements, and inscriptions that promote Islamic monotheism and praise the Prophet Muhammad. Analyzing the inscriptions on these coins, the study briefly highlights the distinctive features of Abbasid gold coins. These coins represent as essential artefacts in the history of early Arabs and ancient Bengal, prominently featuring commercial symbols. Indirect references in the historical texts from Arab-Persian geographers suggest that Bengal was a flourishing commercial hub in ancient time and well-integrated into maritime trade networks with early Arab merchants. The archaeological evidence of their trading interactions is substantiated by these gold coins, illustrating the extent of this relation spanning from the eighth to the tenth centuries.
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S., KIREEV. "V.D. KUBAREV IN THE ARCHAEOLOGICAL COLLECTION OF ANOKHIN NATIONAL MUSEUM OF THE ALTAI REPUBLIC." Preservation and study of the cultural heritage of the Altai Territory 27 (2021): 371–77. http://dx.doi.org/10.14258/2411-1503.2021.27.56.

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In 2021, we celebrate the 75th anniversary of the birth of Doctor of Historical Sciences, employee of the Institute of Archaeology and Ethnography, V.D. Kubarev. The article notes a great contribution of the scientist to the study of the archaeological cultures of Altai and Mongolia, the discovery of more than a thousand new sites of antiquity. Anokhin National Museum of the Altai Republic has a large collection of materials consisting of 747 units of almost all historical periods, transferred to scientists in different years. Among them are several deer stones and ancient Turkic statues, materials from the Bike-I, Ulandryk-I, Jolin-III, Talduair-I, III, Kuyakhtanar, Burata burial grounds. The collections feature weapons and household items, jewelry and clothing items, horse equipment. Many exhibits from the collection of V.D. Kubarevs occupy a worthy place in the exhibition halls of the museum of the Scythian-Saka, Xiongnu--Sarmatian and ancient Turkic times of Altai, were demonstrated at thematic exhibitions. The library of the museum constantly received all the scientific publications of the scientist as a gift. A number of museum employees constantly participated in the scientist’s expeditions and became professional archaeologists. Keywords: Gorny Altai, archaeology, V.D. Kubarev, Anokhin National Museum of the Altai Republic, museum collections
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Gorshkova, K. G., and O. A. Masalova. "The History of Formation and Development of the National Museum of Roman Art in Mérida (Spain)." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 163, no. 6 (2021): 157–67. http://dx.doi.org/10.26907/2541-7738.2021.6.157-167.

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The article is devoted to the history of preservation of the archaeological monuments of the city of Mérida that keep the memory of the former greatness of the capital of the Roman province of Lusitania. The Archaeological Museum of Merida was founded under the Royal Decree of 1836. Subsequently, it transformed from a small collection of local artworks into the National Museum of Roman Art, i.e., it was recognized and declared as being of national importance. On July 10, 1975, the Royal Decree was adopted to open the National Museum of Roman Art in Mérida. The latter became the first museum to receive the national status outside the Spanish capital of Madrid. Its collections and activities revolve around the Roman period, to which a permanent exhibition in a new specially designed building is dedicated. The Visigothic collection is housed in a separate building of the Santa Clara Church, for which a new exhibition space is currently being planned. The history of the museum’s collections is inseparable from the work of people who made a great contribution both to the replenishment of the funds and to the evolution of the exposition discourse. The museum has embarked on a rich research program to study and popularize Roman history and culture. By continuing as the National Center for the Study of the Roman World, it remains true to the original research task. Therefore, the National Museum of Roman Art in Mérida can be defined as the largest cultural center of all aspects of the daily life of Augusta Emerita, one of the main cities on the western border of the Roman Empire.
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Zinaida, Alekseevna Zraziuk. "FROM THE HISTORY OF THE NUMISMATIC COLLECTION OF THE CHURCH-ARCHAEOLOGICAL MUSEUM AT THE KYIV THEOLOGICAL ACADEMY." Ukrainian Numismatic Annual, no. 1 (December 21, 2017): 132–42. https://doi.org/10.5281/zenodo.1291746.

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The article is devoted to the numismatic collection of the Church Archaeological Museum at the Kyiv Theological Academy. During its existence (1872-1920) the museum collected a beautiful collection of numismatics, which was widely known far beyond the Russian Empire. On January 31, 1873, the decree of the Holy Synod approved the charter of the Kyiv Church-Archaeological Society and the museum with it. The first and only secretary of the Society became a young teacher who worked at the academy for only two years, &ndash; Nikolai Ivanovich Petrov (Ріс. 1), who in the future became a famous historian, honored by the ordinary professor, academician. Along with the church&#39;s antiquities, the museum collected a numismatic collection. One of the first significant donations to the newly created museum was a collection of antiquities and coins, donated by Archimandrite Antonin (A.I.Kapustinim). In different years, the museum donated coins Mp. Chernev, and AF Novytsky, M.O. Leopardov and many others. At the end of the nineteenth century, the collection of coins amounted to about 17 thousand units. After the revolution of 1917, the activities of the Society were almost stopped. In 1920 the Kyiv Theological Academy was liquidated, and all collections were transferred to the Lavra Museum of Cults and Life. In the 30&#39;s The XX-th century numismatic collection of the Church Archaeological Museum was transferred to the Historical Museum. During the Revolution, the Civil War, World War II, the collection suffered significant losses &ndash; its number has decreased by more than twice, and today items originating from the Church Archaeological Museum are an ornament of the numismatic collection of the National Museum of Ukrainian History. The article follows the history of its creation, mentioned people who have made a significant contribution to its creation.
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Vasiljević, Ljubiša, and Sanja Rutić. "Archaeological Researches and Archaeological Exhibitions Implemented by the National Museum Kruševac Between 2009 and 2012." Arheologija i prirodne nauke 9 (2013): 75–86. http://dx.doi.org/10.18485/arhe_apn.2013.9.6.

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Stevanović, Vladimir. "FRAGMENTOVANI ŽRTVENICI SA LOKALITETA KUĆIŠTE U SELU ČEKMIN." Leskovački zbornik LXII (2022): 7–21. http://dx.doi.org/10.46793/lz-lxii.007s.

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National museum of Leskovac received as a present a certain ammount of archaeological material, which is of great value. The material was found and given as a present to the museum by the museum’s cooperative Vladimir Aranđelović, and the archaeological site where he has found the cult tables is Kućište, in the village of Čekmin, 15 km away from Leskovac. Fragmented cult tables were presented in the paper, characteristic for the Early Neolithic period, and this type of cult items follows the Neolithic way of life. There are seven different fragments of cult tables that include recipients, legs and basis, as well as their ornaments. Beside the new ones, there is one more published fragmented cult table from the same site kept in the Prehistoric exhibition of the National museum of Leskovac, dated to the Late Neolithic period, too. The cult tables presented here from Čekmin, Kućište are dated to Vinča cultural group, Late Neolithic period, 5700/5500-4700/4500 BC.
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Aksenova, Anastasia Anatolievna. "Formation of the Egyptian collection of the National Museum of the Republic of Tatarstan: a contribution to the development of Russian Egyptology." RUDN Journal of World History 13, no. 2 (2021): 211–29. http://dx.doi.org/10.22363/2312-8127-2021-13-2-211-229.

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The article analyzes the history of the formation of the Egyptian collection of the National Museum of the Republic of Tatarstan during the 19th and 20th centuries. Based on the materials of the archives of the city of Kazan, the national museum, as well as with the involvement of other scientific publications in the context of the museology in Kazan and the development of Russian Egyptology as a science, the four main stages of the formation of the archaeological fund, as well as the current state of the collection of the ancient Egyptian heritage, are examined and analyzed. An analysis of each stage allows the reconstruction of the evolution of Egyptology as a science, and oriental studies in general, in the regions of Russia. This collection of the National Museum of the Republic of Tatarstan is one of the largest domestic collections of Egyptian culture, which has not been exhibited since the beginning of the 20th century. In this context, cataloging and studying the formation of a collection is necessary for its preservation as a unique heritage. The author of the article came to the conclusion about the importance of Kazan University in the development of the archaeological foundation of the National Museum of the Republic of Tatarstan, the role of the collected Egyptian materials in the development of Russian Egyptology and Oriental studies in the 19th century.
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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, et al. "Exhibitions." Museum Worlds 6, no. 1 (2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.

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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm
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