Museum Of London Research Articles

'Disciples of Aesclepius': Glimpses into lives of the 'Gentlemen of the Faculty' of medicine in Brighton, England 1800-1809.

Here we present newspaper accounts from the Sussex Advertiser to consider hitherto largely unknown Brighton doctors active between 1800 and 1809. This body of physicians, surgeons and apothecaries comprised Brighton's 'Gentlemen of the [medical] Faculty', whom the newspaper also dubbed the 'Disciples of Aesclepius'. Members are considered under three broad categories. First, are Brighton-based clinicians (Mr Barratt, Mr Bond, Charles Bankhead, Thomas Guy, John Hall, John Newton, Benjamin Scutt and Sir Matthew Tierney). Second are London clinicians, probably in attendance to the Prince of Wales (John Hunter and Thomas Keate), More widely, two dentists (Dr Durlacher and Mr Bew) and two Royal Navy surgeons (Robert Chambers and Thomas Thong) also recorded at Brighton are considered. Other aspects of medical life are described: recruiting an apprentice, anatomy training at Joshua Brooke's London museum, midwifery, a description of a surgeon's bag and the last reference to the Royal Sussex Jennerian Society (which disappears from the newspaper record in 1807). Clinical cases described include: resuscitation from near-drowning, post-mortem examinations, death from the 'gravel and stone' and accounts of suicide. The primary sources presented in this paper offer rare glimpses into medical life in Brighton at the very start of the nineteenth century.

Critical revision of Trichiales (Myxomycetes) at the Natural History Museum London (BM)

Light and scanning electron microscopy were applied to re-assess diagnostic characters of type specimens and critical specimens of twelve species in the order Trichiales (Myxomycetes) from the collections of the Natural History Museum in London (BM). The results were used to discuss published data and the type status for specimens of Arcyria imperialis, Hemitrichia chrysospora, H. intorta, H. karstenii, H. leiotricha, Perichaena cornuvioides, Prototrichia metallica, Trichia affinis, T. intermedia, T. munda and T. scabra. We conclude that Hemitrichia karstenii and Trichia contorta are autonomous species, and we confirm the synonymy of Trichia intermedia with Trichia contorta. The transfer of Perichaena cornuvioides to the genera Trichia or Hemitrichia is rejected.

World War II Art Restitution Exhibitions


 
 
 Art history is about more than just the works of art that are currently on display in art galleries and museums. It is also about all the works that have been lost, stolen, or destroyed due to tumultuous chapters in human history. One of the largest chapters in human history to affect art history were the events of World War II. In order to help heal the wounds caused by this war, art historians and museum professionals across Europe and North America have dedicated their time to provenance research in order to begin processes of restitution. Two museums that have allocated time and money for provenance research and art restitution are the Nelson-Atkins Museum of Art in Kansas City, Missouri, USA, and the Victoria and Albert Museum in London, England. This paper will examine these two museums and the exhibitions that resulted from their provenance research, as well as their restitution and repatriation work. By exploring the efforts made by the Nelson-Atkins Museum of Art and the Victoria and Albert Museum, one is given a glimpse into how art historians and museum professionals can help make amends with those affected by tragedy.
 
 

‘We want to know more than that’: lessons learnt from the public workshop on collections data at the V&A

ABSTRACT This study challenges institutionalised collection and documentation practices at museums, providing a space for the reconfiguration of concepts and boundaries of collections data with respect to digital objects in particular. While various technology-driven approaches have been introduced for the management of collections data, little attention has been given to the nature of collections data and how museums can gather them to improve plurality. As part of the experimental project titled Content/Data/Object at the Victoria and Albert Museum (V&A) in London, this research analyses the public workshop wherein participants discussed a digital object at the museum (i.e., Minecraft) as a case study and proposes a conceptual framework with expanded concepts of collections data and possible documentation methods. It provides museums with a dynamic model to diversify collections data that is able to reflect the various needs of the public and allow the interpretation of our heritage to flourish.

Cloud AI: A comparison of specimen image data extraction processes

The Natural History Museum (NHM) of London has embarked on an ambitious programme to digitise the 80 million specimens in its collection, releasing them through the NHM data portal and the global biodiversity research community. As part of the digitisation process, data is transcribed from specimen labels to capture the vital taxonomic and collection event data. Accurate human transcription is slow and the NHM, like many institutions, has been exploring machine learning (ML) for automated specimen analysis and label data capture. This process requires many different models, chained in series: semantic segmentation to identify specimen and label regions of interest; optical character recognition to identify text on labels; natural language processing to extract entities from the text. As part of SYNTHESYS+, the NHM has been building the Specimen Data Refinery (SDR) (Smith et al. 2019) - a workflow engine for chaining ML models, each performing one atomic task in the data extraction process. The SDR is now in public beta, and we present evaluation metrics from our initial testing. Alongside the SDR project, the NHM has been exploring cloud-based artificial intelligence tools for specimen digitisation, using Google and Amazon technologies. We present an analysis of these different approaches, comparing the results from third-party AI services with models developed specifically for the biodiversity and natural history collection domains. With large corporates providing comparatively low-cost access to AI compute resources and models transferrable to many specimen image digitisation tasks, is developing bespoke solutions still required?

Transforming Photographs into a Digital Catalogue

In this article I focus on three aspects of the digitisation of photographic collections which I have had the opportunity to deal with professionally in two museums, in the UK and Poland. In 2014, the Imperial War Museum in London (IMW) implemented an online project of the portal/monument, Lives of the First World War, commemorating all citizens of the British Commonwealth who took part in the First World War (WWI), both in uniform and in civil services. Users registered on the portal could attach documents, photographs, reports to each commemorated soldier-keyword, thus expanding the database. One of the key elements of the project was a collection of portrait photographs bearing the title Bond of Sacrifice. These comprised over 16,000 photographs of soldiers of the British Commonwealth, handed over to the Museum by their families in the years 1917–1919. After nearly a hundred years, the Museum decided to comprehensively develop, digitize, and make the collection available in the form of an online catalogue. In the meantime, the Museum digitised a huge collection of WWI photographs, the so-called Q Series (ca. 115,000), the most important part of which was British official photography. By 2016, the entire collection was scanned and made available in an external catalogue of the Museum on the basis of a non-commercial license. Since then, the photographs have taken on a life of their own: they are used in academic works, press articles, TV productions, and in social medias. The second project includes numerous photographs of the Polish Armed Forces. This phenomenon is dealt with in the second part of this paper, which discusses the online photographic collection of the Silesian Museum in Katowice. The third and final part of this article is devoted to the impact of digitization and on-line accessibility on the making of temporary exhibitions. This is explained using the example of the author’s last exhibition at the museum about women in industry; based entirely on digital reproductions of photographs from the collections of many museums from Europe and the U.S., amongst others the US National Archives and the IWM. This is due to the fact that the author selected the entire material with the use of online catalogues of these very institutions.

Objects and stories in cancer science.

How can developments in cancer science and treatment be shared with the wider public, especially with such a complex and delicate topic? The Cancer Revolution exhibition, which opened in the autumn of 2021 at the Science and Industry Museum in Manchester, and which has now moved to the Science Museum in London, is the first major museum exhibition in the UK to share cutting-edge cancer science with a wide-ranging audience that includes families, school children, and people with cancer. The result is a beautifully designed, object-rich exhibition that strikes a balance by putting people at the front and centre of the science.

Edmund Jarzembowski at 70: An appreciation

Edmund Aleksander Jarzembowski (BSc PhD FGS FRES) is currently a Leverhulme Emeritus Fellow; Scientific Associate (researcher) at The Natural History Museum London (NHMUK); and Professor at the Nanjing Institute of Geology and Palaeontology, Chinese Academy of Sciences (NIGPAS), Nanjing, specializing in the study of fossil insects (palaeoentomology).

Perspectives on biotechnology: Public and corporate narratives in the GM archives

Societal Impact StatementThe contentious debate over genetically modified (GM) crops in Britain has entered a new era following Brexit and the development of gene editing. At the same time, the events of the 1980s and 1990s are now entering historical archives, including the GM Archive at the Science Museum in London. This article explores how fears of unnaturalness and arguments from historical continuity informed the British GM controversy. It also analyses the limitations of these modern archives. The concerns surrounding the naturalness and continuity of biotechnology have recently been resurrected following suggestions that gene editing will be employed in plant breeding.Summary This research examines the introduction of genetically modified (GM) crops to Britain, including the backlash from environmentalist groups and the public that led to a de facto government moratorium on their commercialisation in 1998. Harnessing archival materials from the Science Museum's GM Archive, this paper shows that GM was viewed as an alien or unnatural technology in Britain, while campaigns from Monsanto and scientific supporters of GM attempted to show how recombinant DNA technology was simply the latest step in a long history of plant breeding. By moving outside the archive, it becomes clear that the creation of this narrative from continuity was a standard industry strategy. Appeals to the history of plant breeding was a strategy adopted by Monsanto well before the British GM controversy, while twentieth‐century food scares had already undermined public trust in government and industry. Public concern over the naturalness of biotechnology remains. Meanwhile, contemporary advocates of gene editing have begun to make similar arguments to those deployed in the 1990s, highlighting the similarity of gene editing to natural variation and selection.

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

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

Introduction toVisual Arts ResearchSpecial Issue, Body Cam: The Visual Regimes of Policing

Introduction to<i>Visual Arts Research</i>Special Issue, Body Cam: The Visual Regimes of Policing

Derby Hyposaurus: a historical review and update of its whereabouts

ABSTRACT The Dyrosauridae Hyposaurus derbianus Cope was loaned by Orville A. Derby in 1880 to Edward D. Cope to be studied. After Cope’s death the specimens were not returned and toured several foreign institutions like the American Museum of Natural History in New York and the National History Museum (NHM) in London. We accessed several documents of the Memory and Archive Sector of the National Museum of Brazil (Museu Nacional/Universidade Federal do Rio de Janeiro) to elucidate the real trajectory of the H. derbianus holotype. We noticed several errors in the literature, going from the assignment of the specimen as a syntype, even though it is a holotype according to the ICZN, to registration number problems. In addition, photographs of specimen PV R 8672, previously taken at the NHM, describing it as a cast of H. derbianus in the NHM’s official website, were correlated with the original material studied by Cope and recognised through the labels of the Museu Nacional/UFRJ and the Geological Commission of the Brazilian Empire (Comissão Geológica do Império). Lastly, despite the fire at the Museu Nacional/UFRJ and the limitations imposed by the COVID-19 pandemic, we were able to locate the holotypes at the NHM and elucidate its history.

Hidden jewels of Malaysia: two new genera and species of remarkable clearwing moths (Lepidoptera: Sesiidae: Osminiini)

A stunning scarlet-coloured clearwing moth was found mud-puddling on a rainforest river bank in Malaysia and is described herein as a new genus and species, Scarlata nirvana gen. et sp. Nov.. This sesiid seems to be a rare case of a mimic of an assassin bug (Hemiptera: Reduviidae) in a family otherwise known for hymenopteran mimicry. A high-quality video of the moth’s behaviour in its habitat is provided. Studies of the collections of the Natural History Museum in London revealed another member of the new genus, S. guichardii sp. nov. A third species, S. ignisquamulata Kallies, 2018 comb. nov. is transferred to Scarlata gen. nov. from the genus Aschistophleps Hampson, 1892. The second new lineage from Malaysia described here, Malayomelittia gen. nov., includes two species, Malayomelittia pahangensis Skowron, 2015 comb. nov. and M. ruficrista Rothschild, 1912 comb. nov. Additionally, Heterosphecia bantanakai Arita & Gorbunov, 2000 is placed as a junior synonym of H. hyaloptera Hampson, 1919 syn. nov. Morphological descriptions, remarks on behaviour, conditions of occurrence and a discussion about potential mimicry models are included. All new taxa are figured, including images of male genitalia. https://urn:lsid:zoobank.org:pub:32AF6419-F859-4931-BCA7-848B636CC2EE New genus Scarlata: https://urn:lsid:zoobank.org:act:B8DC2871-DF12-49A9-A7A7-D67E60776E91 New genus Malayomelittia: https://urn:lsid:zoobank.org:act:07B2830B-7E00-4B9D-9D5A-82A7538427F9

“The Surrounding Great Work”: Memory, Erasure, and Curating the Built Environment of the West India Docks, 1802–2022

The development of London’s West India Docks, opened in 1802, made manifest the contemporary connections between culture, capitalism, and colonialism. A liminal space, the docks existed as a secure conduit for the importation of goods from the West Indies, most of which were produced by enslaved Africans. As such, they functioned as a threshold between the brutal realities of the plantation-based slave economy, and the polite world of the London merchant whose wealth derived from that economy. This collaborative article, which we wrote as two curators at the Museum of London, explores the lasting effects of that liminality, focusing on the aesthetic and spatial implications of the West India Docks’s environment, and the ways in which these persist in influencing the site and its communities today.

‘The People’s Dinosaur’: How Dippy became British Heritage

In 2015 the Natural History Museum (NHM) in London informed the public that their most beloved exhibit, a Diplodocus replica nicknamed Dippy, was going to be dismounted and removed from the large entrance hall. Protests arose immediately: Facebook groups appeared, the hashtag #SaveDippy was trending and petitions were sent to the authorities. Paleontogists and celebrities debated the decision in the newspapers. When three years the NHM later launched a tour project that will take Dippy around the UK, the dinosaur’s popularity grew to unprecedented heights. Its significance shifted from being a London landmark to becoming a national icon. Although the original fossil was excavated in Wyoming in the late nineteenth century, Dippy has unofficially gained the status of British heritage. This article analyses this transformation by putting recent events into historical contexts, paying particular attention to the presentation of the dinosaur in the NHM in May 1905. The analysis shows how the skeleton cast was articulated with ideological intent in a confluence of museums, science, mass media, politics and popular culture. Throughout its history, Dippy has been appropriated and contested by various actors, and nationalistic ideas have been a recurrent theme in the heritageisation process.

Notes on African Rock Pipit Anthus crenatus biometrics

African Rock Pipits Anthus crenatus occur in mountainous terrain with steep slopes, and as a result are not easily captured. This is borne out by the South African Bird Ringing Unit (SAFRING) data, which lists fewer than 20 individuals of this species ever having been caught and ringed. As a result of this, there are also limited biometric data available for this species. In this paper, I collated biometric data from ringed birds (n = 12) as well as museum study skins housed in the National Museum, Bloemfontein (n = 22), Durban Natural Science Museum (n = 2) and East London Museum (n = 17). Biometric data were taken from sexes and included culmen, tarsus, hind claw, wing and tail lengths and body mass. Male African Rock Pipits were significantly longer-winged and had longer tails than females (wing: t = 5.239; df = 50; P &lt; 0.05; tail: t = 2.310; df = 50; P &lt; 0.05). Mean wing lengths were 86.5 mm for males and 82.7 mm for females, while tail lengths were 67.0 mm for males and 64.3 mm for females. Hind claw lengths also differed significantly between the sexes (t = -2.227; df = 29; P &lt; 0.05), although this metric is probably biased owing to the small female sample size. No significant differences were evident in culmen and tarsus lengths or body mass between the sexes. The only previous study that reported the morphometrics of this species used a much smaller sample size than the present study, and only reported details for culmen, wing and tail lengths and body mass. This study represents the first detailed biometric dataset for African Rock Pipits based on limited bird ringing data and supplementary biometric data obtained from museum study skins. The value of museum specimens to obtain biometric data is again highlighted.

Captain Cook, Mrs Taylor and a Mi’kmaw quillwork box: An uncorroborated inscription, an unwarranted assertion and an imagined collection

Abstract In 1963 a small box bearing an inscription stating that it had been ‘brought from Otaheite by Captn. Cook and presented by him to Mrs. Taylor Circus Bath’ was donated to the National Maritime Museum in London. That the box is actually an example of Mi’kmaw work from Nova Scotia has led previous scholars to claim that the famous navigator James Cook (1728–1779) made a collection of artefacts while he was on Royal Navy duty in Atlantic Canada in the years 1758 to 1767. An exploration of the evidence leads to two conclusions: that there is nothing to corroborate the inscription’s claim that Cook presented the box to Mrs Taylor; and that the related assertion that Cook made a collection in Atlantic Canada should be set aside.

Ludic Heritage: Supplementary School Plays, Museum Collaborations, and the Futurity of Histories in Migration

This article introduces the term "ludic heritage" to describe how people relocate histories in migration through play. In a collaboration between the Museum of London, an Albanian supplementary school, and the researcher, play became a point of intersection between adults' and children's worlds, the museum and minority communities, and imagination, memory, and reality. UK supplementary schools set up by migrant communities teach children their cultural heritages not taught in mainstream schools or represented at the museum. Despite an estimation of 3,000-5,000 supplementary schools in London alone, they exist on the periphery of public life. In school plays performed in museum festivals children embodied the past whilst improvising cultural representations on stage, redirecting the future of heritage in migration. Framing time as technique (Bear 2016) and as an embodied mental capacity (Da Silva Sinha 2019), I observe how people construct the temporalities they inhabit through a praxis (Munn 1992) in which play—as an adaptable and malleable form of cultural heritage—reconfigures cultural identities and mobilizes a new community in diaspora. I draw attention to how different partners approached play, as research method, embodied memory, pedagogy, or museum engagement or through transient cultural artifacts that open temporal possibilities.

Photographic Enlargements and Ethical Looking: Fingerprints from Hooghly

Photographic Enlargements and Ethical Looking:Fingerprints from Hooghly Mira Rai Waits (bio) The "hooghly Fingerprint Copies" are photographic enlargements of the fingerprints of Indian subjects developed on bromide paper, a popular commercial photography paper invented in the 1880s.1 Made by Francis Galton (the so-called father of eugenics2) from fingerprint specimens sent to him by William Herschel (a British colonial administrator stationed in India), they are a noteworthy feature of the digital collections of University College London. In his anthropometric laboratory at the South Kensington Museum in London, Galton enlarged fingerprints of the same people, prints taken first in 1878 and then again in 1892. During development, he placed the two prints side by side to show how fingerprints did not change over time. To access digital copies of these prints today, one need only click on [End Page 36] the PDF icon on the UCL "Hooghly Fingerprint Copies" reference web page and a document with pages of black and white photographic enlargements is generated. While the sheer volume of prints in the PDF can be visually overwhelming, the digitization of these prints also masks the colonial history of the prints' production by transforming bodies into easily accessible files. These enlarged prints appear more beautiful to me the longer I stare at them. Galton also admired the beauty captured by bodily prints, although his reasons for admiration had little to do with their aesthetic value and more to do with what they could potentially prove about human heredity. In his 1888 lecture at the Royal Institution of Great Britain, he noted that "Perhaps the most beautiful and characteristic of all superficial marks are the small furrows with the intervening ridges and their pores that are disposed in a singularly complex yet even order on the under surfaces of the hands and the feet" ("Personal Identification" 187). Galton's interest in the "complex yet even order" of fingerprints was spurred by his hypothesis that there were observable hereditary commonalities within the human population. He took a special interest in research subjects that would enable him to prove the existence of criminal and racial "types," speculating that the discovery of commonalities would ultimately contribute to the human population's improvement. To facilitate the visualization of the "type," Galton experimented with a variety of mediums. Prior to fingerprinting, he developed composite photography, a practice wherein exposures of different people were combined on a single photographic plate. He also drew contour lines based on facial profiles and explored Bertillonage, a classification system developed by French police officer Alphonse Bertillon in 1882 (Gillham ch. 17).3 While Galton ultimately failed to put fingerprinting to use as a tool for "improving" the human population, he was able to demonstrate that fingerprints were unique markers of identity that did not substantially change over time. He also developed a classificatory system that continues to form the basis for biometric classification within criminal justice systems around the world (Cole 99–100). To develop his fingerprinting system, Galton returned to photography, praising the medium for its accuracy and the ease of enlarging prints, which he argued facilitated the deciphering of fingerprint patterns (Galton, Finger Prints 111). When I look at the prints, I too am moved to praise by the patterns one can observe in the abstract loops and whorls, which, through photographic enlargement, look less like parts of the human body and more like the aerial photographs of Robert Smithson's earthwork Spiral Jetty (1970). Such visual ambiguity is demonstrative of photography's power to distort the scale of its subjects, but it also underlies a disturbing feature of biometrics that has conditioned our engagement with its imagery since the science was first cultivated. In translating the body into an abstraction, the enlarged photograph prompts us to lose sight of the people whose bodily traces are recorded on the photograph's surface. [End Page 37] I have spent several years pondering if it is possible to acknowledge the people fingerprinted in India who were the subjects of Galton's research and whether we can adequately address the historical circumstances that engendered the fingerprints' making. The notes on the reverse side of Galton's photographic enlargements are...

A Study on Personal Color and Costumes in the Portrait of Elizabeth I

이 연구에서는 지난 1천년간 최고의 지도자이자 자기이미지를 철저하게 관리한 엘리자베스 1세 초상화를 국립중앙박물관 “시대의 얼굴”의 초상화를 중심으로 그녀의 퍼스널 컬러를 살펴보고자 한다. 아울러 엘리자베스 1세의이미지 연출 방안을 고찰해 보고자 한다. 엘리자베스 1세의 초상화에 대한 선행연구는 다른 주제에 비해 부족한실정이며 실질적으로 그녀의 초상화를 관람하고 퍼스널 컬러를 분석한 연구는 미비한 실정이다. 이 연구를 통해 엘리자베스 1세는 영국의 르네상스를 확립한 여왕이며 여왕은 초상화를 활용해 자기 이미지를통제하기 위해 궁정화가를 중심으로 원형초상화를 제작하여 따르도록 하였다. 이 초상화 원형에 대한 의견은 연구자마다 견해가 달랐으며 소장지 자료를 검토한 결과 제작년도와 제작자에 대한 오류도 발견되었다. 런던 박물관들의 엘리자베스 1세 관련 소장품 현황을 파악한 결과, 런던 대영박물관에 1,954점, 국립초상화미술관에 135점, 로얄 컬렉션에 451점, 빅토리아 앤 앨버트 박물관에 247점의 소장품을 확인할 수 있었다. 엘리자베스 1세 초상화를 연도별로 살펴보는 과정에서 선행 연구의 제작연도나 제작자 및 소장지에 대한 오류를 발견할 수 있었다. “시대의 얼굴” 특별전 엘리자베스 1세의 ‘불사조 초상화’는 특별전의 전시 상설 포스터와 도록의 표지가 될 정도로 중요한 초상화이었다. 엘리자베스 1세 초상화를 통해 퍼스널 컬러를 어도브의 포토샵을 통해 비교해 보니 피부색도흰색보다는 푸른 빛이 되는 경우가 많았으며 헤어, 눈동자, 입술의 색도 조금씩 차이가 있음을 확인할 수 있었다. 이 연구를 통해 초상화 원형에 대한 견해 차이와 엘리자베스 1세의 퍼스널 컬러를 확인한 것은 의의가 있다고본다. 또한, 국외 연구대상을 연구할 때는 좀 더 국외 자료의 포괄적인 조사가 필요함을 인식하게 되었다. 부족한연구이지만 앞으로 퍼스널 컬러 연구의 기초자료가 되기를 희망한다.In this study, the portrait of Queen Elizabeth I, who was the best leader and thoroughly managed her self-image for the past 1,000 years, is to examine her personal color, focusing on the portrait of “Icons and Identities” at the National Museum of Korea. In addition, I would like to consider the method of directing the image of Queen Elizabeth I. Prior research on the portrait of Queen Elizabeth I is insufficient compared to other subjects, and studies that actually look at her portrait and analyze her personal color are insufficient. Through this study, Elizabeth I was the queen who established the Renaissance of England, and the queen made a prototype portrait mainly from a court painter to control her self-image using portraits. Opinions on the prototype of this portrait differed from one researcher to another, and as a result of examining the materials in the collection, errors regarding the year of manufacture and the creator were also found. As a result of examining the current status of Elizabeth I-related collections in London museums, 1,954 pieces were found in the British Museum, 135 pieces in the National Portrait Gallery, 451 pieces in the Royal Collection, and 247 pieces in the Victoria and Albert Museum. In the process of examining her portrait of Elizabeth I by year, it was possible to find errors in the year of production or the creator and collection of previous studies. The “Face of the Ages” special exhibition “Portrait of the Phoenix” of Queen Elizabeth I was so important that it became the cover of permanent posters and catalogs for the special exhibition. When comparing personal colors through Adobe’s Photoshop through her portrait of Queen Elizabeth I, her skin color was often blue rather than white, and it was confirmed that there were slight differences in the colors of her hair, eyes, and lips. Through this study, I think it is meaningful to check the differences of opinion on the prototype of the portrait and the personal color of Elizabeth I. In addition, it was recognized that a more comprehensive study of foreign data was necessary when researching foreign subjects. Although insufficient research, I hope that it will serve as a basis for personal color research in the future.