The University Exhibition of the University of Pécs, Hungary opened to the public in 2010. The exhibition spans the higher education of the city from the Middle Ages to our days with references to Hungarian and European history of education. In this article the creators of the exhibition describe the circumstances of the birth of the exhibition and the conditions which influenced the way in which it was planned and executed.

Science objects need a permanent theatre in the University?
In a multidisciplinary and multicampus university is it a good solution to think the development of collections by the creation of a Museum? An alternative would be access to the collections of successive, partial and temporary manner, in other words the choice of Nomadism - the concept of Nomadism involving small movements that renew the interest of the place. We will study the conditions to attract diverse audiences and to keep a character of event for these temporary exhibitions in various premises. Thus, we will try to define a concept of academic, neither virtual nor permanent but Nomadic Museum.

Galleria Academica, owned by University of Helsinki, is the largest portrait collection in Finland containing ca 1000 pieces of works. The history of the collection dates from 1650s, when the first portrait was donated to the Royal Academy of Turku, the predecessor of the University of Helsinki. In the collection is represented all types of portrayal art in Finland as well as large number of famous Finnish artists. Modern approaches have slowly broken through for portrayal art, because of their representational status.

Problem of animal representations in applied art on the example of an inkwell from the Jagellonian University Museum’s Collection
A 19th-century inkwell in the form of a cross spider which can be found in the Jagiellonian University collection represents a large group of Viennese bronze figurines. It was probably manufactured at Franz Bergmann’s shop in Vienna in 1894. In the same year it was bought by Zygmunt Pusłowski in Kraków, most likely at Wilhelm Fenz’s shop (Skład Towarów Galanteryjnych). The inkwell was cast, then chasing and painting were applied, faithfully rendering the specimen’s morphology detail. Despite some anatomic inaccuracies, one can identify the species, sex and age of the original specimen. It can be assumed that the workshop marketed a series of inkwells in the form of spiders. A similar inkwell which has survived in a private collection, features a naturalistically rendered spider with the inkwell container hidden in its abdomen – in this case it is a Theridiidae (tangle-web) spider. The same anatomical errors may be found in both items, but in both cases a similar care for detail, also in taxonomic terms, is shown. Interestingly, the artist has chosen both specimens belonging to synanthropic species which people can see around. While the garden spider was modelled after a live spider during its everyday occupations, the representative of the Steatoda was dead. It was probably found somewhere in the cellar or a cubbyhole.
The figurines were made using the lost-wax casting technique, using a plaster mould, thanks to which precision in rendering detail was possible. The manufacturer faithfully rendered tiny details of the model, but its size was enlarged nearly 1000 times. The items are of interest in the cultural context as well – the spider motif has a symbolic meaning which may be retraced back to the ancient era and which was evolving until the late-19th-century symbolism.

The Collegium Maius has a rich collection of painting, consisting of 1423 paintings. Both Polish and foreign paintings on diverse themes are represented. Among them there are 832 portraits, while the remaining 591 paintings represent religious themes, genre painting and landscape. There are portraits of various personages connected with the history the Kraków Alma Mater: Polish rulers, Chancellors of the Kraków Academy, professors, their families and other persons connected with the university in some ways. The aim of this article is to present the Academy Gallery – in this case exclusively portraits of professors.
There are 307 portraits of outstanding professors of the Jagiellonian University – from the earliest works dating from the 16th century to contemporary paintings. Neither in Poland nor abroad portraits of academics have been subject of more comprehensive studies so far. It is only for two decades that interest in academic portrait has been growing. Catalogues of university collections containing portraits of university professors have been published in the UK, the Netherlands, Germany, Finland and other countries. Among the earliest such catalogues is the one representing the collection of the University of Helsinki. This paper refers to the article by Pia Vuorikoski, tiled Galleria Academica: a Portrait Collection of the University of Helsinki, which appeared in the same issue of Opuscula Musealia (20).
The most recent publication on academic portraits is the book which saw print in Kraków in 2010, presenting a study on a group of portraits of the Kraków Academy professors. The term: “phenomeon of academic portrait” was used for the first time in that publication.
The surviving portraits of professors in the Jagiellonian University collection testify to the long-established tradition of creating portrait galleries. The tradition is still continued. Regardless of their artistic value, they are unique pieces of historical evidence which, through the history of persons portrayed, document the history of the earliest Polish university - the Kraków Alma Mater.

The theme of the representation of university professors by the painter Leon Wyczółkowski goes well with the recent wave of publications focused on academic portraits. We have today twenty seven of them, the present study allows us to underline their salient features like: the realism and detailed image of the head, the setting within a characteristic space stressed by the play of colourful shades and lights, roughly designed silhouette contrasting with well studied face, little deformations of elements on the bottom egde of the portrait, richly coloured backround usually without any representation of objects.
The portraits can be devided into three groups, most interesting is the one with the scientists with their attributs, where the specific instruments or the backround spaces indicate the corresponding fields of sciences and the achievements of the models. Another group, which most completely illustrates this study shows professors clad with university traditional costumes like gowns, where the model represents the institution. Wyczółkowski has painted nine of such portraits, including three of the rectors. The third group represents the classic image of a man in a casual dress, in white shirt, with tie, waistcoat and jacket viewed from the waist up or only a bust, the backround is in neutral colour without nothing or only a tissue. The official university dress was not always shown on every portrait of a professor in 19 c. becasue not all portrats were ordered by the academy.
From the time of his instalation in Kraków, the artist painted the portraits of professors at a rate of one, at least, every seven years. The portraits painted at the turn of the 19th and 20th centures are the best, their quality grew with quantity, in one decade he executed over ten portraits of great Polish scientists. When we compare them we see that he never made them the same way, never followed one rigid pattern, each portrait is unique by a specific trait or a feature like, for example a pose.
All respresentations of professors have in common a monumental character made of the pose, the face`s traits or a dress (exapt of Rydygier in surgeon`s attire). This way of putting a person on stage aims to enhance his prestige, to glorify his memory because these were professors ranking also high in the society and because also the portraits were ordered for it. We can hardly tell what was the contribution of the model, his autocreation from the artist`s contibution, his creation, nevertheless each image shows a noble, proud, wise person, this was the goal of the artist, to male us believe that we contemplate honourable people.

Conservation materials applied in former Painting and Sculpture Conservation Workshop at the Kraków Town Hall
The article discusses the history of the former Painting and Sculpture Conservation Workshop at the Kraków Town Hall and results of research concerning historical materials from the beginning of its operation. The substances in labelled factory packaging were examined using gas chromatography–mass spectrometry (GC-MS), Raman spectroscopy (RS) and Fourier transform infrared spectroscopy (FTIR). The results of conservation studies were then compared with available sources concerning manufacturers of the materials, as well as their product range and literature concerning technology used. An average time of the material production, their content and purpose were estimated on the basis of the analysis. It enabled the verification of substances identified in artefacts, which is of utmost importance for the conservation process.
Surviving documents and reagents allow for the assessment of the "wealth" of media once used by the workshop and enrich the knowledge about art conservation in Poland.

The paper discusses the preparation of an exhibition devoted to paediatric surgery at the Medical University. It is relatively young medical specialisation, practiced by a rather limited group of medical professionals. The knowledge on this subject is also limited, even among health care specialists.
The paper provides the most important information on paediatric surgery and attempts at identifying target visitor groups and issues which may be of interest for them. The various expectations and areas of particular interest have been indicated, depending on age, education and reasons for visiting the museum. The paper is an introduction to further discussion on the development and on how to display of the collection at the museum of the Medical University.

“Berliner Lackvasen” – Lacquered Berlin earthenware vases
Lacquered Berlin vases are a small group made using unique manufacturing technology and technique., consisting of faience vessels of different size and form , white-glazed on the inside and at the bottom, with marks in the form a Chinese coin or artemisia leaf, on the outside adorned using a European lacquer technique. Black-, red- (in the shades ranging from vermilion to claret), navy-blue- and green-ground, as well as red-and-black vases are known. The vases are richly adorned. Basically, they feature two types of decorations: nature scenes and more or less elaborate Chinoiserie landscapes with architecture and human figures. The scenes depicted on the bodies form the main ornamental motifs on the vases. The decoration includes friezes, various ornamental motifs, and sometimes also small scenes featuring nature and landscapes. Decorations are identical only within a given set of vases. It is possible that original Chinese porcelain vases dating from the K’ang-hsi era can also be considered to belong to the group of lacquered Berlin vases, as in Europe they were redecorated using European lacquer similar to the decoration on the Berlin vases.
Lacquered Berlin vases are still poorly discussed. The question of dating of their provenance is still indecisive. On the basis of stylistic analyses their origin was dated to the end of the 18th century (Otto von Falke, Walter Stengel) or to the years 1720-25 (Max Sauerlandt, Konrad Hüseler, Walter Holzhausen) . In 2003, Samuel Wittwer went beyond widely-held opinions, formulating the thesis that lacquered Berlin vases might have been forgery or at least imitations dating from the 2nd quarter of the 19th century,” and that it is possible that “the exclusive circle of buyers was aware of the true provenance of these “Chinese porcelain” objects and purchased them as ‘imitations’ of works which were not available to a wider public.”
Wittwer estimates that around seventy vessels belonging to the group of lacquered Berlin vases are currently known. However, twenty one exhibits from the Polish collections have not been included in this number (Tables 2-9). The Jagiellonian University in Kraków has six green vases adorned with nature scenes (Table 2) – three baluster vases with covers surmounted by knobs in the form of figurines of the sitting Pagoda (Budai, Putai) and three beaker vases, of which one incomplete. In the collection of the Wawel Royal Castle there is a pair of red baluster vases with covers having knobs in the form of very large cockerels. Another pair of vases similar in form and size to those in the Wawel collection may be found in the National Museum in Kielce. The largest collection of lacquered Berlin vases in Poland is kept by the National Museum in Warsaw. The collection consists of a pair of baluster vases with covers surmounted by cockerels (Table 3), a pair of hexagonal vases (Table 5), a pair of four-sided vases (Table 6) and two odd baluster vases without covers (Table 4). The National Museum in Wrocław has a red beaker vase. In addition, a pair of finely adorned navy-blue beaker vases is on loan at the National Museum in Kraków. Most of these vases are not on display and thus are not widely known.
The article discusses historical, formal and stylistic aspects of the group of lacquered Berlin vases, with special stress on artefacts in Polish collections. The discussion of items in foreign collections and the historical analysis are generally based on information contained in Samuel Wittwer’s article Die »Berliner Lackvasen« Eine These. The present article is an introduction to the work presenting the results of a technology study of the group of six lacquered Berlin vases from the collection of the Jagiellonian University Museum in Kraków. the study was started in 2009 under the preparation of the author’s Master’s thesis . Technological studies of the group of lacquered Berlin vases are currently continued and encompass almost all known items from Polish collections .