توثیق الغزال من خلال لوحتین جداریّتین محفوظتین فی المتحف البریطانیّ(عصر سرجون الثانی وآشوربانیبال) The realism in portraying deer through two murals preserved in the British Museum (the era of Sargon II and Ashurbanipal)

Gordon John Howes 1938-2013 (Fish Systematist)

The ancient origins of prosthetic medicine

Voyage of Ben Cao, Part II: Development of Chinese Medicinal Specimens in the British Museum

This article explores some of the ways in which contemporary poets are tracing the roots and routes via which objects have come to, and continue to, reside within the walls of the museum. Focusing on poetic mediations of British Museums — on the Museum of London, the Manchester Museum, and the British Museum — the article analyses the works of Bernardine Evaristo, Inua Ellams, and Daljit Nagra. These poetic mediations can be read as literary archaeologies — as the concept is used by Evaristo — which speak to the histories, movements, and contemporaneous moments of colonial encounter that take place within the institution of the museum. The article moves to consider the way in which literary archaeologies might chart both a history of migration — looking at Bernardine Evaristo’s The Emperor’s Babe — and the migration of objects which are displayed in museums in Britain — with a focus on Inua Ellams’s poem Tusk — before going on to examine the museum as institution, as it is presented in Daljit Nagra’s collection British Museum. Setting these distinct, but complementary poetic interventions alongside one another, the article asks: how do these literary archaeologies respond to the histories and present-day stories told by — and about — British museums in the twenty-first century?

The Parthenon Sculptures and Cultural Justice

Humans seem to have a predilection for fake quartz-crystal Aztec skulls. Since the 1860s, dozens of skull sculptures have appeared on the art market purporting to be pre-Columbian artifacts from Mesoamerica, that is, created by the indigenous peoples of Mexico and Central America prior to Spanish exploration and conquest in the 16th century. Three such skulls have graced the collections of major museums on both sides of the Atlantic: the Smithsonian Institution in Washington, D.C., the British Museum in London, and the Quai Branly Museum in Paris. As early as the 1930s, some experts began to have doubts about the authenticity of the skulls, says Margaret Sax, a conservation scientist at the British Museum. But for a long time researchers “didn’t have the scientific means to follow up” on their hunches, she adds. Over the past two decades researchers at all three museums have capitalized on analytical science innovations to ...

The Saint Demetrius Church, a part of the complex of The Patriarchate of Pec, was built by the Serbian Archbishop St. Nikodim (1317-24) as his mausoleum. Monumental painting originates from the time of the building of the church 1322-24, and was partially repainted in 1619/20. There are written sources, archaeological remains and iconography about St. Demetrius of Thessaloniki, including the scenes of martyrdom and miracles. Scholars know about 13 cycles so far, made between the middle of 11th and the end of 14th century, on the territory of the Byzantine and Serbian medieval state. They have been preserved to a different level, some of the scenes were presented independently. The research has greatly been made difficult due to the fact that the original cycle from the Basilica in Thessaloniki, the main centre from which the cult of the saint spread, does not exist anymore, although some information about it was provided by the frescoes, before they were destroyed in fire in 1917. One more textual source, which must be taken into consideration when researching the cycle, are epigrams, which were made by the famous Byzantine writer Manuel Files in the first half of 14the century. The cycle of patrons in the church of St. Demetrius in Pec was painted on the North and south wall of naos above the zone of standing figures. From the original 8 scenes, 5 compositions were preserved from the hagiography and one miracle scene. Those frescoes were: St. Demetrius before Maximian, St. Demetrius blesses St. Nestor, St. Nestor fighting Lyaeus, Martyrdom of St. Demetrius, Death of St. Demetrius (?), and St. Demetrius defends Thessaloniki from the attack of the enemy. The two beginning scenes were made between 1322-24, whereas the others were completely or partly repainted in 1619/20. The cycle starts with the scene St. Demetrius before Maximian (the legend has been preserved). The same theme was painted on the miniature in Menologium of Despot Demetrius Palaelogos (MS. Gr. th. f. 1, fol. 54v and fol. 55r, between 1330-35), and fresco cycles in Byzantine churches in Mistras (the St. Demetrius Church or Metropolis, around 1270-85), Thalames (the Prophet Elijah Church, the end of 13th century or around 1300) and in Serbian Marco's monastery (the St. Demetrius Church, 1376/77), as well as on the icon of St. Demetrius from Sophia (Alexander Nevsky Crypt Museum, 14th century or later). In churches in Kitti (the Sergios and Bacchos Church, around 1262-85) and in Krokees (the St. Demetrius Church, 1286), both in Greece, the identification of the scene is not certain, due to the great damage of the frescoes. All the compositions follow the same iconographic scheme: the emperor is sitting and the saint is standing above him, and they dispute with each other. The fresco in Pec shows a few peculiarities: the number of the soldiers is by far bigger than in the preserved examples and they surround Maximian, which is a unique arrangement. A sword-carrier behind the throne stands out among them. This is a motive taken from the Byzantine court ceremony, which was not painted often. The construction under which Maximian is sitting with his suite is also specific. It is a free interpretation of the box reserved for emperors and higher officials at the stadium, and not a picture of the palace as has been suggested in the science. The red velum connects this scene with the following one - St. Demetrius blesses St. Nestor (the legend has been preserved). The standard scheme of this scene includes two figures, Demetrius and Nestor. Taking into consideration the way they were presented, the preserved examples testify to the fact that there were several iconographic types in the Byzantine Medieval art. The oldest illustrations of the theme show three seals from the 10th century, perhaps inspired by the representation in the saint's Basilica in Thessaloniki: Demetrius with the spear and Nestor with or without a weapon, standing opposite each other. A similar solution is shown on the silver tile from a much later date, now in the British Museum in London (Add. Ms 28815, 14th century), where both figures are still standing, and Nestor is accepting the sword from Demetrius' hand. In other examples, Demetrius is sitting whereas Nestor is receiving the blessing, armed for a fight. This iconography can be followed on frescoes in the churches in Kitti, Krokees, and Mistras, as well as on the fresco in Pec. The representation on the Vatopedi reliquary (14th century) also belongs to the scheme. In the later version of the scene in Serbian monasteries of Decani (north parekklesion dedicated to St. Demetrius, 1335-48) and Marco's monastery, Nestor is wearing civilian clothes, following the written sources. The icon from Sofia shows the unique iconography. By including a few carefully chosen motives in the composition, the painter from Pec created a specific scene, with a number of motives which do not have analogies with the preserved compositions. One more figure is included in the composition, Demetrius' servant Lupus. As far as the representation in the upper part of the scene, with a partly preserved figure kneeling and over which the top parts of the angel's wings can be seen, it is most likely Nestor to whom the angel showed himself. The written sources do not mention the vision either before or after Nestor's fight with Lyaeus, but Passio altera describes that, taken before emperor won the victory over Lyaeus, as the answer to the question which kind of magic he used to beat the experienced gladiator, Nestor responds that he was helped by Demetrius' God who had sent an angel to lead his hand. The small icon hanging on the chain from the prison ceiling could only be seen in Pec, although the motive itself is not unknown from the scenes of this cycle. There is an interesting detail: sella curulis, on which Demetrius is sitting, which as a motive appears on the fresco in Pec can be connected with two early Christian works with representations of Demetrius. These works are preserved in Basilica in Thessaloniki from where the motive could have been accepted into the iconography. There is no scorpion on the painting as is claimed by earlier scholars.

The article is dedicated to the study of the saints depicted in the representation of the Triumph of Orthodoxy in the icon probably made in Constantinople around 1400 which is now kept at the British Museum in London. New identifications of certain figures are proposed. Questions are posed as to how the scene was shaped and which writings were the basis for its creation.

The Early Medieval relief from Malo Čajno nearby Visoko with great Nespina kaznac’s added inscription

Nature, Nurture, or Both Influenced Freud Descendent?

Purpose of the paper : This paper explores the museum image formation process, with particular focus on the case of the British Museum in London. The research aims to analyze whether, among the different variables traditionally identified by literature on this issue (motivations, expectations, satisfaction, sources of information etc.), it is possible to identify a “halo effect” of London’s image which influences British Museum visitors’ image formation. Methodology : Considering the exploratory nature of the study, a non-probabilistic sampling procedure was chosen. Data were collected through a structured questionnaire, and interviewees were selected through a non-probability sampling procedure. Data analysis involved multivariate regression, performed through SPSS software. Findings : The collected data provided a preliminary response to the main research question posed by this paper: could the halo effect of London’s image play a role in developing the image visitors have of the British Museum?. Research limits : Due to the sample size of visitors, the research has a mainly exploratory value and intends to represent a pilot study on this issue. Practical implications : The existence of a halo effect on the image of London’s British Museum is a factor to be considered for the identification of museum marketing strategies developed specifically for visitors who appear sensitive to this effect. Originality of the study : Compared to the literature so far produced on museum marketing, this paper differs in focusing on the relationship between museum image and its location Key words: halo effect; London image; British Museum image; exploratory survey

The manuscript tradition of the Zaydi branch of Shiʿism, which since the 9th century has been preserved primarily in Yemen, is nowadays dispersed over countless libraries in Yemen and the Middle East, Turkey, Europe, and the United States, of which only a fraction has been digitized and is available for open access. Its treasures came to the attention of scholars outside Yemen at a relatively late stage. Whereas the bulk of Arabic manuscripts nowadays housed in the libraries of Europe were acquired between the 17th and 19th centuries in centrally located cities and regions such as the Ottoman capital Istanbul, Syria and Palestine, and Egypt—all strongholds of Sunnism—the collections of Zaydi/Yemeni manuscripts were established only at the end of the 19th and first decades of the 20th century. Among the European explorers and merchants who collected manuscripts in South Arabia and later sold them to libraries in Europe was Eduard Glaser, who visited Yemen on four occasions between 1882 and 1894. After Glaser sold the manuscripts purchased during his first and second journey to the Königliche Bibliothek zu Berlin in 1884 and 1887, Wilhelm Ahlwardt made them the last acquisition to be included in hisCatalogue of Arabic Manuscripts, published between 1887 and 1899. The third Glaser collection was purchased in 1889 by the British Museum in London—with the exception of the Lane collection that was purchased in 1891 and 1893, it was the last acquisition to be included in Charles Rieu'sSupplement to the Catalogue of Arabic Manuscriptspublished in 1894. The fourth Glaser collection was sold in 1894 to the Kaiserlich-Königliche Hofbibliothek in Vienna, constituting the most important acquisition of Arabic manuscripts by the library at the time—unlike the Berlin and London Glaser collections, the Vienna Glaser manuscripts were never described in a published catalogue. An even larger collection of Zaydi/Yemeni manuscripts was brought together by the Italian merchant Giuseppe Caprotti during his sojourn in South Arabia from 1885 to 1919. Portions of the Caprotti collection now belong to the Bavarian State Library in Munich and the Biblioteca Apostolica Vaticana, while the majority of the collection is owned by the Biblioteca Ambrosiana in Milan. European libraries and increasingly US libraries have continuously purchased manuscripts of Yemeni provenance during the 20th and 21st centuries.

Arctic Clothing of North America: Alaska, Canada, Greenland by J.C.H. King, Birgit Pauksztat, and Robert Storrie

This research paper aims to discuss the nature of change in the functional purpose of some archaeological and historical buildings in Cairo during the 19th and 20th centuries along with a comparative study of some of the most important heritage constructions and evidences in the world, such as the British Museum in London, as well as the Historical Railway Station of Orsay in Paris. There are some practical attempts and technical procedures that have been carried out to achieve some functional purposes, differ from the original purposes of the archaeological and historical buildings in Cairo in particular. In a similar way, this has been applied to historical and heritage buildings around the world in general. The methodology of this study will be addressed through analytical and comparative study of the original idea or the original functional purpose of these archaeological and historical buildings.The outlines and features of change in the functional purpose of these archaeological and historical buildings are represented in some technical procedures like the technique of adaptive rehabilitation or rehabilitation in terms of adaptation, so there is a necessity for conformity and harmony between heritage buildings and modern functional purpose, and this should be done without any disagreement and repulsion with the original functional purpose. There is also a necessity to protect the original functional purpose, which should be adapted to the modern functional purpose in order to achieve compatibility between old and new integration processes.

The main objective of the study is to highlight the role of pendants in the general context of the jewelry art of the Northern Renaissance and Mannerism, the reasons for the popularization of this type of jewelry and offer a version of their classification. The methodological basis of the study is the application of iconological method of art history analysis to characterize the array of jewelry in the general context of artistic culture of the Renaissance and Mannerism of the countries, located north of the Alps; the historical method — to characterize the jewelry works in a certain chronological sequence, mainly — created in the secondhalf of 16thand beginning of 17thcenturies; comparative method — to compare the stylistic features of jewelry of different countries of Europe and track their transformation over time. The scientific novelty of the study is in the fact that pendants of Northern Renaissance and Mannerism as the most popular type of personal jewelry have never been considered as an object of serious scientific interest, they were characterized previously in general context of arts and crafts of this period. Therefore, this essay attempts to show pendants as an independent phenomenon, a segment of jewelry fashion of the 16thand early 17th centuries in the Ukrainian science of art. The article makes an excursion into the European jewelry of the 16th century, outlines the types of jewelry in demand during this period, shows their main stylistic features. The materials and techniques preferred by the experts of Northern Europe in the 16th and early 17th centuries, the main subjects and ornamental motifs which existed in the decoration of jewelry, the reasons for their popularization are highlighted. A variant of the classification of pendants of this epoch is proposed, in which the dominant motif of the decor is chosen as the main criterion. The characteristics of individual pendants created during the Renaissance and Mannerism in Spain, the Netherlands, England, Germany, France. Data is collected from the collections of the State Hermitage in St. Petersburg, the Art Institute of Chicago, Victoria and Albert Museum and British Museum in London.