Journal articles: 'South kensington'

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Dutta, A. "The South Kensington Juggernaut." Oxford Art Journal 27, no. 2 (January 1, 2004): 241–45. http://dx.doi.org/10.1093/oaj/27.2.241.

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Pizzigoni, Francesca Davida. "Italy also had its South Kensington Museum." Revista Brasileira de História da Educação 23, no. 1 (June 30, 2023): e267. http://dx.doi.org/10.4025/rbhe.v23.2023.e267.

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The article aims to bring to light a recent discovery with respect to the history of Italian pedagogical museums: 12 years before the official opening of what is recognized as the first. Since 1862, in Turin, a section of the Royal Industrial Museum has been dedicated to the collection of books and teaching materials to the primary and secondary schools. This collection was a direct expression of the London Universal Exhibition of 1861, from which the Royal Commissioners returned with the idea of copying the South Kensington Museum. The article reconstructs the history of the collection and its exposure, following its evolution until its disappearance. The aim of this article is to offer a significant piece of the history of the historical-educational heritage in Italy and its musealization.

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Xia, Beini. "Creativity in Urban Tourism District: A Case Study of South Kensington and Knightsbridge." Social Science, Humanities and Sustainability Research 4, no. 5 (September 13, 2023): p59. http://dx.doi.org/10.22158/sshsr.v4n5p59.

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This study is to explore creative tourism activities in urban districts. Through the analysis of several chosen places in South Kensington and Knightsbridge, in London, the creative tourism experience provided in these places was identified and their roles or specific features in attracting tourists were also discussed. The result of this study shows that South Kensington is a cultural and historic district, it offers tourists creative cultural and historical experiences. The Knightsbridge area is an entertainment and tourist shopping village district, the creative experience in this area has the main function of satisfying tourists’ state of mind. This study also highlighted the significance of integrating creative activities into tourist attractions and according to tourists’ demands to design the creative experience.

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Jeffrey L. Spear. "A South Kensington Gateway from Gwalior to Nowhere." SEL Studies in English Literature 1500-1900 48, no. 4 (2008): 911–21. http://dx.doi.org/10.1353/sel.0.0037.

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Burton, A. "The uses of the South Kensington art collections." Journal of the History of Collections 14, no. 1 (May 1, 2002): 79–95. http://dx.doi.org/10.1093/jhc/14.1.79.

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Hussain, Parisah, and Sarah Marriott. "How Satisfied Are Local General Practitioners, Who Are Part of the Brompton and South Kensington Primary Care Networks, With Communications About Patients Referred to the Mental Health Triage and Assessment Team?" BJPsych Open 9, S1 (July 2023): S161—S162. http://dx.doi.org/10.1192/bjo.2023.430.

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AimsThe Triage and Assessment Team (T&AT) at South Kensington and Chelsea Mental Health Centre have conducted a research project to assess our written communication with General Practitioners (GPs) in primary care. We are responsible for screening and assessing new patients referred by GPs to the South Kensington and Chelsea Mental Health Centre community mental health team (CMHT) department.The aim is to ensure all patients referred from primary care, receive care from the most appropriate health professional(s) in the timeliest way and that we communicate with their referrer in a timely and helpful manner. We aim to deliver a service that is safe, effective and helpful to patients, carers and their referrers. The purpose of this study is to understand the referrers’ experience of our communications with them when they refer to the T&AT.MethodsA pre-intervention survey was sent out in November 2022 to GPs who work and are part of the Brompton and South Kensington primary care networks (PCNs).We received an equal number of responses from Brompton and South Kensington GPs respectively. Quantitative and qualitative data were both collected. We had a cross section of respondents including trainees, salaried GPs and partners.ResultsFrom the quantitative data, the majority of respondents reported they were reasonably satisfied with our communication with respect to timeliness, clarity and clinical relevance of our communication.Respondents were less satisfied with the balance struck between clinical detail on the one hand and recommendations for the mental health shared care plan.A qualitative analysis of respondents all free text comments and identified three main themes: the local referral pathway, the use of SystmOne computer software programme, and recommendations for improving communications between GPs and the T&AT at CMHT.ConclusionWe have acknowledged concerns about the complex mental health referral pathway together with suggestions about improving the functionality of SystmOne across the GP and CMHT interface into the regular discussions we have with our respective PCNs.The Triage and Assessment Team are designing improvements to the consistency, timeliness and relevance of our GP communications.Once these improvements have been implemented, we will send out a post-intervention survey to GPs and reassess their satisfaction levels with our new mode of communication.

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Banks, Rex E. R. "The Natural History Museum." African Research & Documentation 55 (1991): 33–38. http://dx.doi.org/10.1017/s0305862x00015831.

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The Natural History Museum has been at South Kensington, London in the romanesque style building of Alfred Waterhouse since 1881. Before that it existed as the Natural History Department of the British Museum, when that institution was established in 1759, with the collections of Sir Hans Sloane, offered to the nation on his death in 1753. The separation of the natural history collections to a new building at South Kensington was forced on the Trustees as a result of the rapid growth of those collections since the Museum's foundation, but especially during the late 18th and early 19th centuries. This growth of collections and libraries has, of course, continued right down to the present time, and has compelled the Trustees to transfer some parts of the Natural History Museum to out-stations, such as, for example, the Zoological Museum, Tring, where the ornithological collections are now housed.

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Banks, Rex E. R. "The Natural History Museum." African Research & Documentation 55 (1991): 33–38. http://dx.doi.org/10.1017/s0305862x00015831.

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The Natural History Museum has been at South Kensington, London in the romanesque style building of Alfred Waterhouse since 1881. Before that it existed as the Natural History Department of the British Museum, when that institution was established in 1759, with the collections of Sir Hans Sloane, offered to the nation on his death in 1753. The separation of the natural history collections to a new building at South Kensington was forced on the Trustees as a result of the rapid growth of those collections since the Museum's foundation, but especially during the late 18th and early 19th centuries. This growth of collections and libraries has, of course, continued right down to the present time, and has compelled the Trustees to transfer some parts of the Natural History Museum to out-stations, such as, for example, the Zoological Museum, Tring, where the ornithological collections are now housed.

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Whitehead, Christopher. "Henry Cole’s European Travels and the Building of the South Kensington Museum in the 1850s." Architectural History 48 (2005): 207–34. http://dx.doi.org/10.1017/s0066622x00003786.

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In January 1859, Henry Cole, the first Director of the South Kensington Museum (from 1899 known as the Victoria and Albert Museum) was in Rome, commissioning the photographer Pietro Dovizielli to produce photographs of buildings in the capital which Cole considered ‘suggestive’ and ‘picturesque’.

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Tucker, P. "'Responsible outsider': Charles Fairfax Murray and the South Kensington Museum." Journal of the History of Collections 14, no. 1 (May 1, 2002): 115–37. http://dx.doi.org/10.1093/jhc/14.1.115.

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Wainwright, C. "The making of the South Kensington Museum III: Collecting abroad." Journal of the History of Collections 14, no. 1 (May 1, 2002): 45–61. http://dx.doi.org/10.1093/jhc/14.1.45.

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Barringer, Tim. "Re-presenting the Imperial Archive: South Kensington and its Museums." Journal of Victorian Culture 3, no. 2 (March 1998): 357–73. http://dx.doi.org/10.1080/13555509809505971.

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Marchand, Marie-Ève. "A Parisian Boudoir in London: The South Kensington Museum Sérilly Room." Journal of Design History 31, no. 2 (February 26, 2018): 167–83. http://dx.doi.org/10.1093/jdh/epy002.

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Banks, R. E. R. "Resources for the History of Science in the Libraries of the British Museum (Natural History)." British Journal for the History of Science 21, no. 1 (March 1988): 91–97. http://dx.doi.org/10.1017/s0007087400024407.

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Alfred Waterhouse's ornate Romanesque building at South Kensington, London, has contained the natural history collections of the British Museum since 1881. First opened to the public on Easter Monday, 18 April, in that year, the British Museum (Natural History) (BM(NH)) has become well-known for the excellence of its exhibition galleries, particularly for its dinosaurs, blue whale, and, more recently, for its revolutionary Hall of Human Biology.

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Chalmers, F. Graeme. "South Kensington and the Colonies: David Blair of New Zealand and Canada." Studies in Art Education 26, no. 2 (1985): 69. http://dx.doi.org/10.2307/1320561.

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Hamber, Anthony. "Building Nineteenth‐century Photographic Resources: The South Kensington Museum and William Blackmore." Visual Resources 26, no. 3 (September 2010): 254–73. http://dx.doi.org/10.1080/01973762.2010.499648.

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Wainwright, C. "Shopping for South Kensington. Fortnum and Henry Cole in Florence 1858-1859." Journal of the History of Collections 11, no. 2 (February 1, 1999): 171–85. http://dx.doi.org/10.1093/jhc/11.2.171.

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Owens, Bernard. "Fossils on the move." Geological Curator 4, no. 5 (February 1986): 290–91. http://dx.doi.org/10.55468/gc798.

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By the end of March 1986 the British Geological Survey's Type and Stratigraphical Collections of British Fossils will have been transferred from its former home in the Geological Museum in South Kensington to its new accommodation on the Survey's campus at Keyworth near Nottingham. Almost a year of intensive work has gone into the preparation for this move which has involved the packing of more than 150 large cabinets containing 6000 drawers and in excess of 250,000 specimens.

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Adal, Raja. "Aesthetics and the End of the Mimetic Moment: The Introduction of Art Education in Modern Japanese and Egyptian Schools." Comparative Studies in Society and History 58, no. 4 (September 27, 2016): 982–1003. http://dx.doi.org/10.1017/s0010417516000505.

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AbstractLike most modern institutions in nineteenth-century non-Western states, modern school systems in 1870s Japan and Egypt were initially mimetic of the West. Modeled on the British South Kensington method and on its French equivalent, drawing education in Japanese and Egyptian schools was taught not as an art but as a functional technique that prepared children for modern professions like industrial design. By the beginning of the twentieth century, the South Kensington method of drawing education had lost its popularity in Europe, but more than a decade before its decline Japanese and Egyptian educators began teaching children genres of drawing that did not exist in European schools. In 1888 drawing education in Japan saw the replacement of the pencil with the brush, which was recast from the standard instrument of writing and painting of early modern East Asia to an instrument that came to represent Japanese art. In 1894 drawing education in Egypt saw the introduction of “Arabesque designs” as the Egyptian national art. This transformation of drawing education from a functional method that undergirded industrial capitalism into an art that inscribed national difference marked the end of the mimetic moment. On one hand, a national art served to make the nation into an autonomous subject that could claim a national culture in what was becoming a world of cultural nations. On the other, a national art helped to make the nation into an aesthetically seductive core whose magnetic appeal could bring together the national community.

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Sheehy, Jeanne. "The Flight from South Kensington: British artists at the Antwerp Academy 1877–1885." Art History 20, no. 1 (March 1997): 124–53. http://dx.doi.org/10.1111/1467-8365.00048.

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CHALMERS, GRAEME. "Who is to do this Great Work for Canada? South Kensington in Ontario." Journal of Art & Design Education 12, no. 2 (June 1993): 161–78. http://dx.doi.org/10.1111/j.1476-8070.1993.tb00584.x.

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Forgan, Sophie, and Graeme Gooday. "Constructing South Kensington: the buildings and politics of T. H. Huxley's working environments." British Journal for the History of Science 29, no. 4 (December 1996): 435–68. http://dx.doi.org/10.1017/s0007087400034737.

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Biography and geography do not always sit easily together in historical narrative. With a few notable exceptions, due weight is rarely given to the significance of territorial features in tales of talented individuals. Biographers perhaps play down the untidy contingencies of civic, institutional and domestic spaces in order to present a historiographically coherent portrait of their subject. However, once the vicissitudes of environment and everyday life are taken into account, the identity and accomplishments of the ‘great individual’ begin to merge inextricably with the vagaries of local politics and fluid socio-cultural alliances. For a figure with as formidable a posthumous reputation as T. H. Huxley, such a deconstruction might, at first, seem mundane and of little scholarly value. Yet there is considerable evidence that Huxley was not always successful in his efforts to gain power and influence within the many and varied sites of his working environments. Careful scrutiny of such evidence will show new perspectives on Huxley's complex career in Victorian London. It will also document problems in the construction of the South Kensington suburb as a credible site and fruitful resource for Huxley's remarkably diverse activities in education and science.

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Leslie, Fiona. "Inside Outside: Changing Attitudes Towards Architectural Models in the Museums at South Kensington." Architectural History 47 (2004): 159–200. http://dx.doi.org/10.1017/s0066622x0000174x.

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The union of these collections and the addition of the models of St. Paul’s and various classical buildings, betoken what an Architectural Museum may become, if the individuals and the State will act together. Every foreigner who has seen this commencement sees in it the germ of the finest Architectural Museum in Europe, if the public support the attempt.From the first years of its establishment in June 1857, to the end of the nineteenth century, the South Kensington Museum had amongst its collections over a hundred architectural models. First they were acquired through a policy of encouraged loans and gifts, followed by pro-actively commissioning model makers; other models, however, were at South Kensington through default, having remained on site where they had been made by ‘sappers’. The models, which included examples of Western, Asian and Far Eastern buildings and monuments, were first shown in displays under the headings of Ornamental, Architectural, Economics, and Educational. To give an indication of their initial importance to the museum, the early guidebooks feature architectural models amongst the ‘principle objects in the gallery’. Twenty years later most models had been transferred from what were essentially style galleries to the more utilitarian displays concerned with architectural and engineering practices, and within them they were merely included as part of the broader contextual themes. By the turn of the century, with the exception of the 1901 handbook to the models of Italian Renaissance painted interiors, they were rarely referred to at all in museum publications. By 1912 (soon after the Science and Art collections had been divided on either side of the Exhibition Road) most of the models were no longer on display and were thought by senior keepers to be of little use to museum collections. Many had been de-accessioned by the 1970s, when their position in the doldrums was reversed and models were once again included in the museum displays and exhibitions. This article explores the changes in attitude towards architectural models during the first 120 years of the V&A, focusing on the models of Western buildings.

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Drew, Charlotte. "Luca della Robbia: South Kensington and the Victorian revival of a Florentine sculptor." Sculpture Journal 23, no. 2 (January 2014): 171–83. http://dx.doi.org/10.3828/sj.2014.17.

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DODDS, DOUGLAS. "A Sentimental Journey through South Kensington: Laurence Sterne and the V&A." Shandean 29, no. 1 (November 2018): 157–63. http://dx.doi.org/10.3828/shandean.2018.29.13.

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The Victoria and Albert Museum has a large number of prints, drawings, paintings, and artefacts that are of interest to Sterne scholars. A selection of these are here described, with their often intriguing histories.

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Carey, Moya. "‘In the Absence of Originals’: Replicating the Tilework of Safavid Isfahan for South Kensington." International Journal of Islamic Architecture 3, no. 2 (July 1, 2014): 397–436. http://dx.doi.org/10.1386/ijia.3.2.397_1.

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Ogden, Daryl. "The Architecture of Empire: “Oriental” Gothic and the Problem of British Identity in Ruskin's Venice." Victorian Literature and Culture 25, no. 1 (1997): 109–20. http://dx.doi.org/10.1017/s1060150300004654.

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On january 13, 1858 — a few months after the eruption of the Indian Mutiny — John Ruskin addressed an audience at the South Kensington Museum in London with a lecture entitled “The Deteriorative Power of Conventional Art over Nations” (published the following year as Lecture I ofThe Two Paths). Commenting on the dearth of artistic talent to be found in Scotland as opposed to the artistic abundance of India, Ruskin decrees that Indians are a “race rejoicing in art, and eminently and universally endowed with the gift of it,” whereas with Scots one is faced with “a people careless of art and apparently incapable of it” (16: 262).

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DAVIES, H. "JOHN CHARLES ROBINSON'S WORK AT THE SOUTH KENSINGTON MUSEUM, PART I: The creation of the collection of Italian Renaissance objects at the Museum of Ornamental Art and the South Kensington Museum, 1853 62." Journal of the History of Collections 10, no. 2 (January 1, 1998): 169–88. http://dx.doi.org/10.1093/jhc/10.2.169.

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Wainwright, C. "The making of the South Kensington Museum IV: Relationships with the trade: Webb and Bardini." Journal of the History of Collections 14, no. 1 (May 1, 2002): 63–78. http://dx.doi.org/10.1093/jhc/14.1.63.

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Jones, Alexandra. "Ethiopian Objects at the Victoria and Albert Museum." African Research & Documentation 135 (2019): 8–24. http://dx.doi.org/10.1017/s0305862x00023864.

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The Victoria and Albert Museum, or V&A, is a museum of art, design and performance based in South Kensington, London. It was established in 1852, following on from the 1851 “Great Exhibition of the Works of Industry of All Nations” spearheaded by Prince Albert. The museum's collections today number over 2.7 million objects, amassed over the past 150 years through active collecting. Amongst them is a small but very significant collection of Ethiopian material, which tells a story about the complex relationship between Britain and Ethiopia during the 19th century, as well as prompting much discussion about how African collections and objects associated with military expeditions are displayed and interpreted by UK museums today.

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Jones, Alexandra. "Ethiopian Objects at the Victoria and Albert Museum." African Research & Documentation 135 (2019): 8–24. http://dx.doi.org/10.1017/s0305862x00023864.

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The Victoria and Albert Museum, or V&A, is a museum of art, design and performance based in South Kensington, London. It was established in 1852, following on from the 1851 “Great Exhibition of the Works of Industry of All Nations” spearheaded by Prince Albert. The museum's collections today number over 2.7 million objects, amassed over the past 150 years through active collecting. Amongst them is a small but very significant collection of Ethiopian material, which tells a story about the complex relationship between Britain and Ethiopia during the 19th century, as well as prompting much discussion about how African collections and objects associated with military expeditions are displayed and interpreted by UK museums today.

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Jordan, Caroline. "The South Kensington Empire and the Idea of the Regional Art Gallery in Nineteenth-Century Victoria." Fabrications 20, no. 2 (December 2011): 34–59. http://dx.doi.org/10.1080/10331867.2011.10539681.

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Baker, Malcolm. "Bode and Museum Display: The Arrangement of the Kaiser-Friedrich-Museum and the South Kensington Response." Jahrbuch der Berliner Museen 38 (1996): 143. http://dx.doi.org/10.2307/4125967.

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Wainwright, C. "The making of the South Kensington Museum II: Collecting modern manufactures: 1851 and the Great Exhibition." Journal of the History of Collections 14, no. 1 (May 1, 2002): 25–43. http://dx.doi.org/10.1093/jhc/14.1.25.

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Buck, Laura T., and Christopher B. Stringer. "A rich locality in South Kensington: the fossil hominin collection of the Natural History Museum, London." Geological Journal 50, no. 3 (February 16, 2015): 321–37. http://dx.doi.org/10.1002/gj.2657.

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Gustav Delly, John. "Nobel Metal Microscopes - and Other Extravagances." Microscopy Today 7, no. 2 (March 1999): 16–18. http://dx.doi.org/10.1017/s1551929500063872.

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Now you would probably think that I was joking if I were to tell you that there are microscopes made of precious metals, such as silver, rather than brass, and objectives made with diamonds and rubies, rather than glass. But yes, Virginia, prodigal items such as these do actually exist - and not at the end of the rainbow. All right, suppose they do exist, who could afford one? Well, kings for one, Figure 1 shows what is perhaps the most elaborately decorated microscope ever constructed. It was made in 1761 by the wellknown instrument maker George Adams for King George III. George III placed great value on science throughout his long reign, as reflected in his collection of scientific instruments, which can be seen today in the Science Museum at South Kensington in London.

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DE CLERCQ, PETER. "THE PAPERS OF THE INSTRUMENT DEALER, COLLECTOR AND RESEARCHER THOMAS HENRY COURT (1868-1951)." Nuncius 16, no. 2 (2001): 723–31. http://dx.doi.org/10.1163/182539101x00640.

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Abstracttitle SUMMARY /title Thomas Henry Court (1868-1951) played an important role in the growth of the collection of scientific instruments in the Science Museum in South Kensington. This led to the formation of a file in the museum's official registry ('The Court file'). Of Court's own documentation and papers on instruments, the bulk was passed on to the microscope collector Harold Heywood, but some came into the museum's possession, probably together with his instruments. In 1979 and 1992, respectively, these two groups of documents were deposited in the Science Museum Library ('The Court archive'). This article discusses Court's activities and assesses the value of these documents as a source of information on the growth of interest in antique scientific instruments and their makers during the first half of the twentieth century.

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Hofman, P. J., L. G. Smith, G. F. Meiburg, and J. E. Giles. "Production locality affects mango fruit quality." Australian Journal of Experimental Agriculture 37, no. 7 (1997): 801. http://dx.doi.org/10.1071/ea97058.

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Summary. Differences in mango (cv. Kensington Pride) fruit quality under commercial and research conditions have been frequently noted. To assess the potential for production conditions to influence fruit quality, "Kensington Pride" mango fruit were obtained from 2 adjacent sites on an orchard on shallow nodular yellow podsolic soil in tropical North Queensland, 1 block of trees growing on soil with river gravel (site 1) and another without gravel (site 2). Fruit were also obtained from trees on a gleyed podsolic soil (site 3) in subtropical south-east Queensland. Fruit were harvested weekly for 4 weeks, with quality determined after ripening at 22°C and after storage at 10°C for 4 weeks. Eating quality and percentage dry matter increased, while days to eating soft decreased with later harvests. Fruit from site 3 (cooler growing conditions, rain during the harvest period) had acceptable eating quality at a lower dry matter than fruit from sites 1 and 2. The percentage of green colour on the skin (GS) at ripe was higher at harvest 2 in fruit from sites 1 and 2, but was lower at harvest 4 in fruit from all sites. Disease severity in fruit ripened without storage was higher in site 3 fruit, while body rots (caused mainly by Colletotrichum spp.) increased (site 3 only) and stem end rots (caused mainly by Dothiorella spp.) decreased with later harvests. Fruit firmness and GS decreased during storage at 10°C, but fruit from site 3 were generally softer, with higher GS, than those from the other sites. Chilling injury was also higher in fruit from site 3.

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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 for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.

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Wright, David. "The South Kensington Music Schools and the Development of the British Conservatoire in the Late Nineteenth Century." Journal of the Royal Musical Association 130, no. 2 (2005): 236–82. http://dx.doi.org/10.1093/jrma/fki012.

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In 1876, the National Training School for Music was established by the Society of Arts as a model of advanced music education after the pattern of leading European conservatoires. But, despite having Arthur Sullivan as Principal, the School failed amidst the rumblings of an academic scandal that dogged George Grove's attempt to establish the new Royal College of Music. The article sets this failure against the successful start of the Royal College and explains how conservatoires, after being in all practical senses virtually an irrelevance to professional concert life, managed to reinvent themselves as vital incubators of British musical talent.

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BENNETT, SUSAN. "POKING ITS NOSE INTO EVERYTHING—THE SOCIETY FOR THE ENCOURAGEMENT OF ARTS, MANUFACTURES AND COMMERCE." Earth Sciences History 37, no. 2 (January 1, 2018): 229–46. http://dx.doi.org/10.17704/1944-6178-37.2.229.

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The Society was said ‘to poke its nose into everything’ and this can be seen from the awards it made across a wide spectrum of activities, including the discovery of cobalt in the United Kingdom, mapping of English counties, improved methods of extracting the ore, assaying, reclaiming land, mining equipment, improving crucibles and portable furnaces. The Society also laid the groundwork for the Great Exhibition of 1851 and organized the second exhibition at South Kensington in 1862. From the mid-nineteenth century the Society's lecture program represented the wide range of its activities, including mineralogy and geology. This paper provides a brief overview on the work of the Society, its influence worldwide, and also highlights some individuals with a particular interest in mineralogy and geology, connected with the Society, including one of the founding members of the Geological Society of London, Arthur Aikin.

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Mariz, Vera. "From Portugal to England." Journal of the History of Collections 32, no. 1 (December 13, 2018): 91–102. http://dx.doi.org/10.1093/jhc/fhy057.

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Abstract In 1865 John Charles Robinson travelled to Portugal in the service of the South Kensington Museum and plunged into the art market with the intention of acquiring works for that institution’s collections that were representative of Portuguese artistic production. This article provides a broad and contextualized approach to this connoisseur’s experience on the Portuguese market, framing it within a hitherto undervalued phenomenon: the persistent presence of English agents in this system. An original identification of all the works acquired in Portugal by Robinson and of all those so-far neglected dealers involved in such transactions allows us to assess the real extent and impact of such mission. We shall also show that the acquisitions made were decisive not only for diversifying the museum’s collections but also for art historiography, both being inseparable from the invention of the term Indo-Portuguese.

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43

Self, S., and R. S. J. Sparks. "George Patrick Leonard Walker. 2 March 1926 — 17 January 2005." Biographical Memoirs of Fellows of the Royal Society 52 (January 2006): 423–36. http://dx.doi.org/10.1098/rsbm.2006.0029.

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George Walker was one of the most creative, inspirational and influential volcanologists of the twentieth century. Born in Harlesden, London, on 2 March 1926 in a respectable working–class neighbourhood, he was the first member of his family to take an interest in science and to attend university. His father, Leonard Walker, an insurance salesman, was badly wounded at Passchendaele in World War I as a sergeant bomber and never fully recovered. He died in 1932, when George was six years old. His mother, Evelyn Frances ( née McConkey), was a nurse. George had no siblings. He attended Acton Lane Elementary School and recollected a lesson on the making of iron as being memorable. Other influences included natural history, adventure books and visits to the South Kensington Museum and London Zoo. He did well at school and in 1937 won a scholarship to Willesden Secondary School.

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44

Alexander, John A. "The Second Scientific Meeting in Optometry: SCHOOL OF OPTOMETRY THE UNIVERSITY OF NEW SOUTH WALES KENSINGTON, N.S.W. AUSTRALIA." Clinical and Experimental Optometry 71, no. 1 (January 1988): 2–9. http://dx.doi.org/10.1111/j.1444-0938.1988.tb03741.x.

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Davies, H. "John Charles Robinson's work at the South Kensington Museum, Part II. From 1863 to 1867: consolidation and conflict." Journal of the History of Collections 11, no. 1 (January 1, 1999): 95–115. http://dx.doi.org/10.1093/jhc/11.1.95.

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46

Wainwright, C. "The making of the South Kensington Museum I: The Government Schools of Design and founding collection, 1837-51." Journal of the History of Collections 14, no. 1 (May 1, 2002): 3–23. http://dx.doi.org/10.1093/jhc/14.1.3.

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47

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

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

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48

Hanseman, Dennis J. "The New Urban Frontier. By Lionel Frost. Kensington, Australia: New South Wales University Press, 1991. Pp. xvii, 226. $24.95." Journal of Economic History 52, no. 3 (September 1992): 755–56. http://dx.doi.org/10.1017/s0022050700011864.

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COOPER, BARRY J., and JAMES B. JAGO. "ROBERT BEDFORD (1874–1951), THE KYANCUTTA MUSEUM, AND A UNIQUE CONTRIBUTION TO INTERNATIONAL GEOLOGY." Earth Sciences History 37, no. 2 (January 1, 2018): 416–43. http://dx.doi.org/10.17704/1944-6178-37.2.416.

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Robert Bedford (1874–1951), based in the isolated community of Kyancutta in South Australia, was a unique contributor to world geology, specifically in the field of meteorites and fossil archaeocyatha. Born Robert Arthur Buddicom in Shropshire, UK, he was an Oxford graduate who worked as a scientist in Freiberg, Naples, Birmingham and Shrewsbury as well as with the Natural History Museum, Kensington and the Plymouth Museum in the United Kingdom. He was a Fellow of the Geological Society of London, 1899–1910. In 1915, Buddicom changed his surname to Bedford and relocated to South Australia. During the 1920s, Bedford expanded his geological interests with the establishment of a public museum in Kyancutta in 1929. This included material previously collected and stored in the United Kingdom before being sent to Australia. Bedford was very successful in collecting material from the distant Henbury meteorite craters in Australia's Northern Territory, during three separate trips in 1931–1933. He became an authority on meteorites with much Henbury material being sent to the British Museum in London. However, Bedford's work on, and collecting of, meteorites resulted in a serious rift with the South Australian scientific establishment. Bedford is best known amongst geologists for his five taxonomic papers on the superbly preserved lower Cambrian archaeocyath fossils from the Ajax Mine near Beltana in South Australia's Flinders Ranges with field work commencing in about 1932 and extending until World War II. This research, describing thirty new genera and ninety-nine new species, was published in the Memoirs of the Kyancutta Museum, a journal that Bedford personally established and financed in 1934. These papers are regularly referenced today in international research dealing with archaeocyaths.

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Afonso, André Das Neves. "“EXCELLENTES REPRODUCÇÕES DE TRABALHOS ANTIGOS EM MARFIM”. OS FICTILE IVORIES DO MUSEU NACIONAL DE ARTE ANTIGA." ARTis ON, no. 9 (December 26, 2019): 57–73. http://dx.doi.org/10.37935/aion.v0i9.239.

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As reproduções de objetos artísticos em gesso, galvanoplastia ou fotografi a assumiram-se como instrumentos fundamentais no quadro da museologia da segunda metade do século XIX, mais especifi camente no contexto das práticas colecionísticas, expositivas e pedagógicas dos museus de artes ornamentais, industriais ou decorativas. A Academia Real de Belas-Artes de Lisboa (ARBAL) formará coleções desta natureza, seja para fins de ensino académico ou fins museológicos. No presente texto debruçar-nos-emos em torno de uma coleção inédita de trinta e duas peças em gesso que reproduzem placas de marfim esculpido – os designados fictile ivories –, atualmente no acervo do Museu Nacional de Arte Antiga (MNAA), e que resultam de uma importante oferta do South Kensington Museum de Londres, em 1866, à Academia Real de Belas-Artes de Lisboa. Analisaremos o fenómeno da importância internacional das reproduções, a oferta realizada pelo museu londrino, a especifi cidade dos fictile ivories neste âmbito e, considerando as limitações de uma investigação ainda em curso, apresentaremos alguns dados de caraterização desta coleção.

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Journal articles on the topic 'South kensington'

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