Paul Geipel’s palaeobotanical collection – one of the largest and most important former private collections of the Petrified Forest of Chemnitz

A Biographical Portrait of Edward Hartley Angle, the First Specialist in Orthodontics, Part 2

Silas Weir Mitchell (1829-1914) is recognized as an important American neurologist. Biographers refer in brief to a tremor. The objective of this review was to characterize Mitchell's tremor using handwriting samples, to examine handwriting samples of family members to determine whether this tremor was familial, and study Mitchell's allusions to tremor in personal, scientific, and fictional writings. Primary sources were the Papers of S. Weir Mitchell, College of Physicians of Philadelphia, and Mitchell's scientific and fictional writings. Mitchell's early handwriting was tremor-free yet, by 1873, the writing was tremulous. Handwriting in the 1880s and 1890s shows clear oscillations of moderate-amplitude. By the first decade of the 20th century, his handwriting was virtually illegible. Letters written by two siblings, his mother, and maternal grandfather also reveal tremor. Tremor was not prominent in Mitchell's personal or scientific writings and Mitchell referred to tremor in only 4 of 27 fictional writings. In conclusion, Mitchell had a familial action tremor that began when he was in his early 40's and worsened considerably with age. The likely diagnosis was essential tremor. Curiously, Mitchell rarely alluded to tremor in personal writings and tremor was not prominently featured in his scientific or fictional works.

SUMMARY The formation of separate collections of Hebrew incunabula–along with their scholarly description–plays an important role on the modern stage of Hebrew book scholarship. This article is devoted to the history of the largest Russian collection of Hebrew incunabula–the collection of the Asiatic Museum (modern name: St. Petersburg Branch of the Institute of Oriental Studies, Russian Academy of Sciences). This collection comprises the earliest printed books from two private collections, those of the merchant Lev Friedland and the Orientalist Daniel Chwolson, which were incorporated into the collection of the Museum at the end of nineteenth and beginning of the twentieth centuries. The article includes a brief description of the books and fragments, along with their provenance and bibliography.

The art collection of István Marczibányi (1752–1810), remembered as the benefactor of the Hungarian nation, who devoted a great part of his fortune to religious, educational, scientific and social goals, is generally known as a collection of ‘national Antiquities’ of Hungary. This opinion was already widespread in Hungarian publicity at the beginning of the 19th century, when Marczibányi pledged that he would enrich the collection of the prospective Hungarian national Museum with his artworks. But the description of his collection in Pál Wallaszky’s book Conspectus reipublicae litterariae in Hungaria published in 1808 testifies to the diversity and international character of the collection. In the Marczibányi “treasury”, divided into fourteen units, in addition to a rich cabinet for coins and medals there were mosaics, sculptures, drinking vessels, filigree-adorned goldsmiths’ works, weapons, Chinese art objects, gemstones and objects carved from them (buttons, cameos, caskets and vases), diverse marble monuments and copper engravings. Picking, for example, the set of sculptures, we find ancient Egyptian, Greek and Ro man pieces as well as mediaeval and modern masterpieces arranged by materials.After the collector’s death, his younger brother Imre Marczibányi (1755–1826) and his nephews Márton (1784–1834), János (1786–1830), and Antal (1793–1872) jointly inherited the collection housed in a palace in dísz tér (Parade Square) in Buda. In 1811, acting on the promise of the deceased, the family donated a selection of artworks to the national Museum: 276 cut gems, 9 Roman and Byzantine imperial gold coins, 35 silver coins and more than fifty antiquities and rarities including 17th and 18th-century goldsmiths’ works, Chinese soap-stone statuettes, ivory carvings, weapons and a South Italian red-figure vase, too. However, this donation did not remain intact as one entity. With the emergence of various specialized museums in the last third of the 19th century, a lot of artworks had been transferred to the new institutions, where the original provenance fell mostly into oblivion.In the research more than a third of the artworks now in the Hungarian national Museum, the Museum of Applied Arts and the Museum of Fine Arts, Budapest could be identified, relying on the first printed catalogue of the Hungarian national Museum (1825) titled Cimeliotheca Musei Nationalis Hungarici, and the handwritten acquisition registers. The entries have revealed that fictitious provenances were attached to several items, since the alleged or real association with prominent historical figures played an important role in the acquisition strategies of private collectors and museums alike at the time. For example, an ivory carving interpreted in the Cimeliotheca as the reliquary of St Margaret of Hungary could be identified with an object in the Metalwork Collection of the Museum of Applied Arts (inv. no. 18843), whose stylistic analogies and parallels invalidate the legendary origin: the bone plates subsequently assembled as a front of a casket were presumably made in a Venetian workshop at the end of the 14th century.There are merely sporadic data about the network of István Marczibányi’s connections as a collector, and about the history of his former collection remaining in the possession of his heirs. It is known that collector Miklós Jankovich (1772–1846) purchased painted and carved marble portraits around 1816 from the Marczi bányi collection, together with goldsmiths’ works including a coconut cup newly identified in the Metalwork Collection of the Museum of Applied Arts (inv. no. 19041). The group of exquisite Italian Cinquecento bronze statuettes published by art historian Géza Entz (1913–1993), was last owned as a whole by Antal Marczibányi (nephew of István) who died in 1872. These collection of small bronzes could have also been collected by István Marczibányi, then it got scattered through inheritance, and certain pieces of it landed in north American and European museums as of the second third of the 20th century. Although according to Entz’s hypothesis the small bronzes were purchased by István’s brother Imre through the mediation of sculptor and art collector István Ferenczy (1792–1956) studying in Rome, there is no written data to verify it. By contrast, it is known that the posthumous estate of István Marczibányi included a large but not detailed collection of classical Roman statues in 1811, which the heirs did not donate to the national Museum. It may be presumed that some of the renaissance small bronzes of mythological themes following classical prototypes were believed to be classical antiquities at the beginning of the 19th century. Further research will hopefully reveal more information about the circumstances of their acquisition.

The article is devoted to the determination of the state of scientific elaboration of the problem of forming the system of metrological support in Ukraine during the 20th century - the beginning of the XXI century. The system of metrological support is scientific and organizational bases in combination with technical means, norms and rules is an effective means of achieving the necessary accuracy and quality of measurements in all spheres. During the ХХ century a network of research institutes in the field of metrology has been formed in Ukraine and a number of standards have been created. The most fruitful for the development of the reference base was the period of 1991 – the beginning of the XXI century. Despite a certain amount of scientific literature on metrology and metrological support, the process of deploying research and development of metrology in Ukraine during the ХХ century – beginning of the XXI century not received proper coverage in the historical literature. A classification of the main directions of research problems by subject-thematic basis. It is proved that the first chronological stage of historiography of the selected problem (1900 – the beginning of the twentieth century) was characterized by a small amount of scientific literature on the history of the formation and development of metrological support in Ukraine. The second stage, which began at the turn of 1917 – 1991, was observed a revival of interest in publications on the history of metrology, but the overwhelming majority of them are developments of an anniversary character. At three at the stage (after 1991), scientific works appeared directly devoted to the development of metrological support and the formation of a technical regulation system and the creation of standards in Ukraine. The initial bases of the problem under study are analyzed, the classification of attracted sources is carried out, their information potential is determined. As a result of processing a number of sources from the central and regional archives of Ukraine, a historical reconstruction of the formation of the system of the metrological service of Ukraine during 1901 – 1991 was carried out. As a result of the analysis of the well-known and little-known works of metrologists, museum collections, the article highlights the problem of creating a unique national reference Base Ukraine at the end of the ХХ – beginning of ХХІ centuries. The involvement of the current paperwork of the scientific departments of the NSC “Institute of Metrology”, educational institutions, patent statistical information made it possible to more accurately clarify the reorganization processes that occurred in the context of globalization of the world economy in the sphere of standardization and conformity assessment and integration of Ukraine into the world economy. A number of personal documents are brought to the source base, namely: autobiography, memoirs, correspondence, interview materials.

The purpose of the study is to determine the importance of private collecting in Russia for creating a museum network, to identify the features of collecting in the province and the associated formation of collections of museums and galleries from the seventeenth to the first decades of the twentieth century. The author focuses on the problem of understanding the experience of preserving artistic (historical) heritage in private collections of people. The relevance of the study is caused by the lack of systematic data on the principles of acquisition of provincial museums, the importance of private collections in this process. Special attention is paid to the history of the emergence of art collections on the example of the Orel museums. Tracing the direct relationship between the activities of collectors and the emergence of museums became possible through the use of the historical and phenomenological method, which allowed us to reveal the connection between the processes of collecting personal collections of works of art and the formation of art galleries based on them. Chronological and diachronic analysis helped to identify the prerequisites that led to the study of the main directions of the development of private collecting. The historical and comparative method, based on comparing the features of private collecting with the formation of museum collections, allowed us to identify the specifics of the system of replenishment and acquisition of museum collections of works of art and private collecting at different historical stages. The authors have identified key trends and directions of private collecting in Russia from the seventeenth to the first decades of the twentieth century. Based on the results of the historiographical analysis, the regional specifics of the organization of the preservation of artistic heritage are shown. With the emergence of new directions of training specialists in the museum field by educational institutions, the topic of private collecting becomes a format of textbooks, but the issues of private collecting in the Russian province, especially the formation of collections of provincial museums, are still waiting for their research. The results obtained in the course of the study will become the basis for further analysis of the prospects for replenishing the collections of museums and galleries. Generalizations and conclusions can be applied in the development of models for improving the acquisition of provincial museums, where private collections are of particular importance in this process. The result of the study was an analysis of the activities of private collectors of the late XIX – early XX centuries, which allows us to talk about the identity of the process of the emergence of most provincial museums, caused by increased public attention to the need to create such institutions locally, as well as the spread of the trend of patronage. The studied history of the formation of the Orel art gallery (later Orel Museum of Fine Arts, OMFA), typical for the Central Museums of Russia, simultaneously reveals new names of collectors and their collections.

A characteristic feature of the artistic life of Russia at the turn of the 19th—20th centuries was the growth in the number of private art collections and the expansion of the social composition of collectors due to the addition of industrialists, merchants and intellectuals. After the Russian Revolution of 1917, these collections became one of the important sources in the formation of art collections of metropolitan and provincial museums of Russia. The article is devoted to one of the most interesting private collections of the Kazan province — the collection of A.F. Mantel, formed at the beginning of the 20th century from paintings and graphics by the leading masters of the World of Art association: A.N. Benois, I.Ya. Bilibin, A.F. Gaush, B.M. Kustodiev, D.I. Mitrokhin, G.I. Narbut, N.K. Roerich and others. The article reveals the fates of once famous works of the artists from the World of Art association, which were shown at the association’s exhibitions and published in well-known books, magazines and almanacs such as Apollo, Libra, Rosehip, At Dawn and others. A.F. Mantel’s collection played an important role in the formation of museums in several cities of the Volga region — Kazan, Tetyushi, Kozmodemyansk — becoming one of the sources of contemporary national art collections. Due to various reasons, the most of the collection, including the part received by museums, was lost in the late 1910s — 1930s. Relying on archival and literary sources and museum collections, the author, for the first time, managed to restore, with a high degree of accuracy, the composition of the part of A.F. Mantel’s collection that was purchased for museums of Tetyushi and Kozmodemyansk, and to clarify the composition of the Kazan Museum’s collection.

Different Vlachs katuns were located in the area of Bileća and its neighbouring area of Rudine in the Middle Ages. One of the most prominent katun clan was Maleševci and its brethren, with many branches, which is the main subject of the paper. We will begin with this clan's first written records in the 14th century and continue until the beginning of the 16th century. Numerous documents about Vlachs Maleševci are preserved in Dubrovnik Archive, but some parts are either published or scattered in scientific writings and until now, they have never been systematised.

In the article by "Development of the public movement of physical culture and sports orientation in the Romanian lands: "Tourist Society of Romania" (beginning of the 20th century)" the peculiarities of the formation of the public movement of physical culture and sports orientation in the Romanian lands of the beginning of 20th century The role of the "Tourist Society of Romania" in popularizing and spreading hiking tourism among all segments of the population is highlighted. The society's achievements in attracting school youth to systematic physical education, tourism, local history, etc. have been identified. The authors of the article proved that the slogan of the club "Through tourism to knowledge and love for Romania" synthesized the ideas of the predecessors regarding the educational and educational potential of tourism. The article analyzes the features of the tourist work of that time, one of the most striking ones is the formation of the theory and methodology of tourist activity: the appearance of recommendations for the organization of trips of various levels, for example, the identification of the principles "from a simple to a complex route", "from a short to a long-term movement", as well as an understanding of importance careful preparation - planning, using the results of "working on mistakes" made after the previous event. The activities of the thematic magazines published in the Romanian lands during the research period are analyzed, the main topics and issues relevant for that time are highlighted. According to the authors, the "Tourist Society of Romania" published 13 issues of its yearbook - "Anuarul S.T.R.", which, according to modern researchers, was a valuable guide for those who wanted to participate in mountain trips, as well as a source for researching the activities of this society now. After all, the final part of each edition presented a list of members of the headquarters and sections, quantitative changes in members, as well as the names and titles of organizations or enterprises that provided assistance to the society. It was concluded that historically formed traditions and favorable geographical conditions on the one hand, and traditional to begin with 20th century a developed social movement and a clear understanding of the educational and educational potential of tourism, in particular for school youth, on the other hand, caused the development of its methodological basis and practical implementation on the territory of Romania.

Digital images in museums: Digital desires: What are museums up to?

19th century written Estonian – from interlanguage to amalgam While in Western Europe the period from the French Revolution to World War I is regarded as the long 19th century − the time of the development of nationalism and the modernization of society, in the countries forming the western part of Czarist Russia similar developments emerged a bit later, from the beginning of the 19th century. Estonia entered the 19th century as a class society, in which the upper class was formed by Baltic Germans and the lower class by Estonians. Germans were also the developers and primary users of the Estonian written language. In the 19th century, the Enlightenment reached the Baltics, societal reforms took place, and the economic situation and educational opportunities of the native population improved. In the second half of the 19th century, the Estonian national awakening began, and the status of Estonians and Estonian in society gradually rose. Beginning from the mid-19th century, Estonian-language texts were written primarily by native Estonian speakers, although their language of education and culture was German. As in neighboring countries, the linguistic situation in Estonia was characterized by double diglossia (cf. Nordlund 2007). Both German and Estonian were in use, and there were different varieties of Estonian, standard written Estonian and spoken vernacular Estonian – the former bearing high status (H-variety), the latter lower status (L-variety) (see Rutten 2016). The article examines the variation in usage of three morphosyntactic indicator features in 19th-century Estonian texts written by influential authors (J.W.L. von Luce, F.R. Kreutzwald, C.R. Jakobson, E. Vilde) in different decades, exploring the reflection of sociolinguistic conditions in the dynamics of language usage. The research material comes from the University of Tartu Corpus of Old Written Estonian. The three indicator features examined are 1) the partial vs. total object opposition, which exists in Estonian but not in German, 2) the complexity of verbal structures, which is generally higher in German, and 3) the saama ‘get, become’ future construction, which was introduced into written Estonian by 17th-century Germans as a calque of the German werden future. Our previous research results have shown that the form of written Estonian developed by German scholars (for whom Estonian was an L2) in the 16th – 18th centuries can be considered a sort of collective interlanguage. It is characterized by the excessive preference for the total object form, overuse of complex verbal structures and the use of a future construction foreign to Estonian. The first of these we regard as a qualitative feature of interlanguage, the second and third we regard as quantitative features. Our research shows that the overuse of the total object form declines over the course of the 19th century, but the opposite extreme can also be observed, overuse of the partial object. By contrast, the quantitative features are preserved and even broadened in texts by Estonian authors (in comparison to the texts of the German author Luce from the beginning of the century). Therefore, the written language of the transition period beginning in the mid-19th century can be regarded as an amalgam (L3), wherein native speakers partially adopt the interlanguage of L2 speakers (see Thomason 2001).The authors’ linguistic choices reflect different strategies and their changes over time. Kreutzwald, writing in the middle of the century, shows many interlanguage characteristics, and some amalgam features even become more pronounced in his writing over time (complexity of verbal structure, saama future). Jakobson also frequently uses interlanguage-like verbal structures, but shows a strong preference for the partial (partitive) object. In the texts of Vilde, from the end of the century, the overuse of these complex verbal structures is reduced, but saama future constructions are very common. He too is somewhat inconsistent in object case usage, which indicates that a stable system for object case had not yet developed in the written language by the end of the 19th century.The amalgam phase in the history of the development of written Estonian continued beyond the beginning of the 20th century. In further studies, we plan to analyze the rest of the long 19th century until World War I and Estonian independence.

This article begins by presenting and discussing the distinction between record-oriented and pattern-oriented search. Examples of record-oriented (or item-oriented) questions include: “What (or how many, etc.) glass items made prior to 100 A.D. do we have in our collection?” and “How many paintings featuring dogs do we have that were painted during the 19th century, and who painted them?” Standard database systems are well suited to answering such questions, based on the data in, for example, a collections management system. Examples of pattern-oriented questions include: “How does the (apparent) production of glass objects vary over time between 400 B.C. and 100 A.D.?” and “What other animals are present in paintings with dogs (painted during the 19th century and in our collection)?” Standard database systems are not well suited to answering these sorts of questions (and pattern-oriented questions in general), even though the basic data is properly stored in them. To answer pattern-oriented questions it is the accepted solution to transform the underlying (relational) data to what is called the data cube or cross tabulation form (there are other forms as well). We discuss how this can be done for non-numeric data, such as are found widely in museum collections and archives. Further we discuss and demonstrate two distinct, but related, approaches to exploring for patterns in such cross tabulated museum data. The two approaches have been implemented as the prototype systems Homer and MOTC. We conclude by discussing initial experimental evidence indicating that these approaches are indeed effective in helping people find answers to their pattern-oriented questions of museum and archive collections. Two Kinds of Questions One’s purpose, when approaching an archive or museum collection for information, might be characterized as seeking an answer to one or more questions. Thus, if an information system is to be helpful in answering one’s questions of archives and collections, it would seem that categorizing the questions to be asked can only be helpful in designing an information system to assist in answering them. What kinds of questions are there that are pertinent to archives and museum collections? This is a large and difficult issue, and we do not expect to resolve it here. Our aim in this article is more modest: we wish to distinguish two kinds of questions, and to explore their relevance to museum and archive informatics. We devote the remainder of the present section to making and exploring our basic distinction. The sections that follow explore the distinction in the context of a particular information system, the Core of Discovery system, installed at The Historic New Orleans Collection. The distinction we wish to make here, and to exploit in designing museum and archive information systems, is deeply embedded in folklore and ordinary language. “You cannot see the wood for the trees” is perhaps the earliest recorded embodiment of the distinction in English. [The quotation is from John Heywood’s Proverbs, itself the earliest published (1546) collection of English folk sayings.] Proverbially, there is a distinction to be made between seeing (or asking about) the trees and seeing (or asking about) the forest. But how can we characterize the distinction and what can we do to provide computerized support for these two kinds of questions? One question at a time. First a characterization of the distinction. The distinction is best seen through a series of examples. Let us compare some tree questions with some forest questions. Here are some questions about trees in a forest.

The purpose of the article is to review portrait miniatures in museum collections as a refined art of the 16th – 19th centuries, which is closely related to the history of monarchs and aristocracy. It also reflects the aesthetic preferences of customers of portrait miniatures, artistic trends in the outlined period and scientific and technological possibilities of miniatures production. The research methodology consists in applying a number of approaches. The method of source analysis was used to analyze the literature on the topic of the article. An interdisciplinary analysis, in particular biographical and cultural research methods, came in handy when studying actual material. The historical approach and theoretical generalization made it possible to formulate conclusions and highlight the prospects for further development of the topic. The scientific novelty consists in the examination of portrait miniatures of museum collections as a component of cultural heritage and an important pictorial document of the cultural history of Europe in the 16th-19th centuries. Conclusions. As a separate form of art, portrait miniature in European countries, primarily in England, began to take shape in the 16th century, reaching its apogee in the 18th century. and, unable to withstand competition with photography, became part of the historical and cultural heritage. At the beginning of the 19th century, we observe the popularity of portrait miniatures in America, where this form of art has become quite a profitable business. The article focuses on the fact that initially portrait miniatures became parts of the collections of the customers themselves. Subsequent generations of collectors formed more extensive collections of works of art, among which portrait miniatures served as part of a large artistic complex. Such collections include the collection of Rosalind and Arthur Gilbert the Victoria and Albert Museum in London, the collection of portrait miniatures of the Vinnytsia Regional Art Museum. It is also important from the point of view of the connections between the cultural history of Ukraine and the European context.

Since the beginning of the XXI century, the amount of available for the researchers numismatic material has increased significantly, so introducing a new types of coins into the scientific circulation has become an especially relevant in modern numismatics, even when the archaeological context of most of these finds is almost lost. The study of ancient numismatics of Olbia is rapidly gaining in modern Ukraine. At the beginning of the XX century, ancient numismatics already had some significant achievements, but the accumulated material required urgent cataloging and systematization. During last 10 years since the publication of the most important and thorough catalog of ancient coins by Vladlen Opanasovich Anokhin, as well as the results of cataloging Olbia coins by other researchers - Valery Nechitaylo and Grigory Makandarov, numismatics has been enriched by new previously unknown coin types.
 The aim of the study. The main purpose of the article is to introduce into the scientific circulation new varieties of Olbia coins and to compile the most complete classification of Olbia coins of the IV century BC. Research methodology. In the process of scientific elaboration of the topic general scientific methods were used: analytical, chronological, and topographical, as well as source methods: critical, metrological and iconographic. A systematic approach to the processing of modern finds from private collections and access to the collections of foreign museums was the impetus for writing an expanded classification work. The scientific novelty. The value of the processed materials is that they not only complement this group of coins, but also refine previously published types in unsatisfactory condition, where incorrect reading of the names and trinkets has led to inaccuracies.
 The Conclusions. The so-called «obol series» covers the period of the Olbia minting around 350-330 BC. The monetary system consists of four denominations: obol (on the coin field depicts Demeter and the eagle on the dolphin), dikhalk (on the coin field depicts Demeter and the eagle on the dolphin), hulk (on the coin field depicts Demeter and the ear, dolphin) and hemihalk (depicts Demeter and dolphin). The die analysis allowed to divide the coins of Olbia of the IV century BC senior denomination for two stylistic groups. According to the results of our own research, we were able to determine the following number of varieties of each of these denominations: obols – 24 types, dikhalks - 6 types, hulks - 6 types, hemihalks - 2 types.
 We see the prospect of further research in the introduction into scientific circulation of new previously undiscovered varieties of Olbian coins from little-studied sources - materials of museum collections in Ukraine and abroad, among numismatic rarities sold at numismatic auctions and private collections.

В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.