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Volume 24

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Volume 24 (2016) Next

Publication date: 30.06.2017

Licence: None

Editorial team

Editor-in-Chief Krzysztof Stopka

Issue content

Zbigniew Bela

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 9 - 13

https://doi.org/10.4467/20843852.OM.16.001.7434
In the article, a 19th c. device for manufacturing candles, exhibited in the Kraków Museum of Pharmacy, is described. The article discusses also the tradition of producing candles and wax for seals by European apothecaries in the period from 13th to 19th century. 
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Alejandra Gómez Martín

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 15 - 23

https://doi.org/10.4467/20843852.OM.16.002.7435
The Museum of Spanish Pharmacy is a university museum with more than sixty-five years of history located in the Faculty of Pharmacy at the Complutense University of Madrid. It forms part of the university’s extensive historic-artistic and scientific technical heritage, and is one of the most important museums in terms of age, history and quality of collections housed. Although it was primarily created for teaching purposes, it now also offers guided tours to a diverse public searching for cultural enrichment. It receives more than four thousand visitors a year, who learn about the history of the pharmaceutical profession, the preparation of medicines, and the decorative arts, an area that has always gone hand in hand with the pharmaceutical trade. In spite of the limitations imposed by a low budget and a small staff, it is an active museum which continues to enlarge, conserve and restore its collection, while becoming ever more widely known through an ongoing participation in temporary exhibitions. 
The museum is approximately seven hundred square meters in size and is housed on two floors, as well as having an additional space in two other buildings that make up the present faculty. The five original pharmacies, two dating back to the 18th century and three from the 19th century, are without a doubt the most striking exhibits, and are also supplemented by recreations of an Arabic pharmacy, an iatrochemistry laboratory, and a replica of a 17th century hospital pharmacy. The rest of the collection is made up of exhibits representing very different techniques and uses: paintings, sculptures and numerous display cabinets with 18th century medical material, pharmaceutical advertising, amulets, scientific instruments, mortars, apothecarial tools for preparing pharmaceutical compounds, ceramic and porcelain pharmaceutical jars, flasks and other glass utensils, wooden boxes, medicines, medicine chests and travel pharmacies, and much more, all totalling more than nine thousand objects that illustrate how medicines have been prepared, stored and dispensed throughout history.
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Magdalena Grossmann

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 25 - 32

https://doi.org/ 10.4467/20843852.OM.16.003.7436
Collecting has always entailed the passion on the part of the collector of particular artefacts. However, the exhibits gathered in the Museum of the History of Medicine and Pharmacy of the Medical University of Bialystok appeal to visitors mainly through the stories of their owners. They reflect the life’s passions of the medical environment and form part of the huge cultural heritage of the region as well as of the Polish science.
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Ryszard W. Gryglewski

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 33 - 52

https://doi.org/10.4467/20843852.OM.16.004.7437
The Jagiellonian University’s Faculty of Medicine Museum was founded in 1900, and its origin is closely connected with Prof. Walery Jaworski. In the favourable atmosphere around the jubilee celebrations to commemorate the foundation of the Jagiellonian Krakow Academy [now the Jagiellonian University], by decision of the University Senate and with the support of the authorities of the Faculty of Medicine, the first Polish museum was founded primarily to secure and describe the objects and archival collections that evidenced the history of Krakow medicine, which was subsequently extended by collecting reminders of the tradition of Polish medicine. Both the specificity of the collections, and the way they were acquired made the undertaking complicated from the very beginning. The museum did not own any storage or exhibition spaces, neither did it have any methodology in place to manage the collections. Therefore to a large extent and for many decades the museum limited its activities to cataloguing and storing its exhibits. Additionally, it needs to be emphasised that the undertaking had from the very beginning been implemented by individuals without any formal education in respect of museum management. Despite the efforts made by Prof. Jaworski’s successors, in particular Władysław Szumowski and Mieczysław Skulimowski, due to financial as well as administrative and political reasons the projects could not be implemented for a long time even though some of them were very advanced. It was only as late as at the turn of 1980s and 1990s that the Jagiellonian University’s Faculty of Medicine Museum could finally be established.
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Flavio Häner

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 53 - 60

https://doi.org/10.4467/20843852.OM.16.005.7438
Founded in 1925, the Pharmacy Museum of the University of Basel is the only museum in Switzerland dedicated to the History of Pharmacy. It houses a unique and extensive collection, with a focus on historical pharmaceuticals, pharmacy furniture, laboratory utensils, ceramics, instruments, books, art- and craftwork. It is located in the old-town of the city of Basel in a building which dates back to the late medieval times. It used to even be visited by the famous Swiss physician and alchemist Paracelsus in the 1520’s. Today, the city of Basel and its region are an international hub for the pharmaceutical industry. The history of the museum is connected to the developments of the pharmaceutical practices, sciences and industry in the 20th century, when they experienced fundamental changes. The Pharmacy Museum itself underwent major changes in the past two decades but has kept its historical exhibition mode, dating back to the first half of the 20th century, making it a historical object on its own. By placing the Museum into a framework of cultural, social and technological development, and treating the museum itself as a museological object of study, this article reflects the historical and contemporary position, function and structure of the Pharmacy Museum at the University of Basel. 
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Dominika Pluta, Miron Tokarski, Jędrzej Siuta, Anna Karpiewska, Tadeusz Dobosz

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 61 - 68

https://doi.org/10.4467/20843852.OM.16.006.7439
History might be presented to visitors in a variety of ways, people usually associate the term “museum” with archeology, painting or sculpture exhibitions. One of the few medical museums, solely devoted to human is located at the Wrocław Medical University in the Department of Forensic Medicine. A large collection of exhibits is in a bigger part a remnant of the pre-war German Institut für Gerichtliche Medizin und Naturwissenschaftliche Kriminalistik. To convey to the younger generations valuable knowledge about museology the Chief of Institute of Molecular Techniques, which is a unit under the Chair of Department of Forensic Medicine, decided to set up a faculty of medical museum education. During classes students were introduced to the legal basis of medical museums, classification of museum preparations, methods of their conservation, and very innovative methods of non-destructive DNA extraction. Students were also acquainted with modern research processes, such as the next-generation DNA sequencing methods. During the course lecturers introduced novel approach to teaching by utilizing audiovisual methods for performing exercises.
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Dominika Pluta, Jędrzej Siuta, Robert Susło, Tadeusz Dobosz

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 69 - 75

https://doi.org/10.4467/20843852.OM.16.007.7440
Human tissues have been used as didactic preparations for many centuries. Due to a lack of bioethical rules in the past, it was possible to present a large collection of unique exhibits, which are still today presented at the Museum of Forensic Medicine Department in Wroclaw. Unfortunately, the bad housing conditions of the museum and character of some of the exhibits prevents the museum from showing its pieces to a wide audience.
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Andrzej Syroka

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 77 - 83

https://doi.org/10.4467/20843852.OM.16.008.7441
In autumn 2011, the historic pharmacist house became the seat of the Museum of Pharmacy ran by the Faculty of Pharmacy with Division of Laboratory Diagnostics at the Wroclaw Medical University. No furnishings have remained in this tenement house which has been restored mainly in the Renaissance style. Because of the collections gathered so far and the provenience of the house, it has been given the name of the Silesian Pharmacist House. The museum has taken on a natural science profile involving in particular medicine and pharmacy. With due emphasis on the job of a pharmacist and on the role of pharmacies as places of professional training, drug preparation and distribution, as well as drug research, the museum exhibition has been organized around the evolution and development of pharmaceutical sciences in the context of past medical disciplines and realities. Additionally, the exhibition refers to the scientific traditions of the Lower Silesia and Wroclaw circles after the II World War. 
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Monika Urbanik

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 85 - 91

https://doi.org/10.4467/20843852.OM.16.009.7442
At the end of the nineteenth century, there appeared a new trend called Art Nouveau, which dominated all areas of fine arts, and was most fully expressed in architecture and crafts. The sites that were under the influence of Art Nouveau ornamentation, for understandable reasons, included also pharmacies. Pharmacy windows, emblems, furniture, pharmaceutical utensils, packaging for medicines, advertising and advertising catalogues were performed in accordance to this trend. Today, many of them can be seen in the Museum of Pharmacy of the Jagiellonian University.
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Pamela Będkowska, Alicja Zemanek

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 93 - 106

https://doi.org/10.4467/20843852.OM.16.010.7443
Interdisciplinary studies on the border of botany and art devoted to the artistic representation of plants, are relatively rare, both in the world and on the Polish scale. That is why the artworks of Cracow are hardly examined from a botanical point of view. This paper presents the results of the ‘floristical’ investigations in the architecture of six churches in Cracow. Most of them were built at the end of the 19th and at the beginning of the 20th centuries, when the ideas of Art Nouveau were particularly popular. The artists of that period were interested in Nature, which inspired them to create many realistic or stylized plant pictures in architecture, painting, sculpture, and so on. Cracow churches can serve as an example, in which the identification of over 70 taxa including ca. 30 species, almost 40 genera and 3 families was possible. The representations of some old useful plants native to the Mediterranean, and West Asia, e.g. Madonna lily (Lilium candidum L.), and grape-vine (Vitis vinifera L.), considered as sacred in antiquity, and having abundant symbolic meanings in Christianity, were found. Apart from this. many wild species of Poland, e.g. white water-lily (Nymphaea alba L.), and also plants cultivated in Polish gardens, such as crown imperial (Fritillaria imperialis L.), and many others, were noticed as well. The richest from a botanical point of view appeared to be the Jesuits Church (Basilica of the Sacred Heart of Jesus), where ca 50 taxa, as well as ‘the gallery of plants portraits’ in the carvings of the pulpit, the pews, and the confessionals were noticed. Additionally, magnificent floral ornaments were found in the Church of St. Francis of Assisi – ca. 30 taxa, with famous polichromies, and stained-glass windows made by Stanisław Wyspiański. This article is a contribution to the preparation of the list of plants important to the Polish culture, and a part of the natural history basis of cultural heritage. Such species should be protected both in the natural landscape, and in cultivation.
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Katarzyna Bocheńska

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 107 - 125

https://doi.org/10.4467/20843852.OM.16.011.7444
The paper aims at tracing and ordering the knowledge of the collection of artworks held by the Pusłowski family till mid-19th century. The historic objects were gathered in three major residences: in Pieski Wielkie in Polesie, in Albertyn near Słonim, and in Czarkowy in the Kielce region. The collection gathered by several generations, which is now presented at the Jagiellonian University Museum in Krakow, was not originally treated as a deliberate collection of works of art. Rather, it formed part of furnishings in the family’s assets and contributed to the its splendour. Its final nature was shaped essentially only by Zygmunt Pusłowski – a man of great passion for collecting. 
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Karolina Cynk

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 127 - 141

https://doi.org/10.4467/20843852.OM.16.012.7445
 
The paper presents the findings of the sociological research that was carried out by the author in February 2017. The objective of the project was to find about the role and significance of environmental protection in the activities of Polish natural history museums. The first part of the paper contains theoretical introduction into the condition of natural environment in Poland, defines the term of a “museum”, and provides descriptions of the operating principles of natural history museums. The second part, on the other hand, presents the techniques employed in the research, i.e. a web-based survey addressed to the employees of museums, as well as the available material in the form of information contained on museum websites. Given the premises of the grounded theory, the collected material was subjected to qualitative analysis. As a result, the author rejected the proposed working hypothesis which assumed that the employees of museums more frequently admitted that there were some obstacles in the performance of nature-friendly activities than that there were none. Additionally, in cases where barriers were indeed found, the analysis showed that their sources originated in deeper structures, and to overcome them would require multilateral cooperation of institutions that deal with environmental protection.
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Anna Lenart-Boroń, Magdalena Więckowska, Jolanta Pollesch

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 143 - 149

https://doi.org/10.4467/20843852.OM.16.013.7446
Changes in the concentration of microbial aerosol were examined in the selected premises of the Jagiellonian University Museum in Kraków, made available to visitors during the Night of Museums, i.e. Hall, Libraria and Treasury. The samples were collected four times using the collision method with MAS-100 air sampler. The concentration of mesophilic and heamolytic bacteria, molds, staphylococci and actinomycetes was examined and an attempt was made to find the correlation between the number of museum visitors and the concentration of microbial aerosol. The smallest number of visitors (600 persons) was recorded in Libraria, while the greatest (900 persons) in the Hall. The prevalence of microorganisms varied significantly between the hours of sampling, from the smallest number in the morning, after opening, to the greatest recorded while there were most visitors (9 p.m.). The largest number of molds was observed after the museum was closed (0:30). A strong positive correlation was found between the concentration of airborne mesophilic bacteria and actinomycetes with the number of visitors, the concentration of fungi was negatively correlated and there was a weak positive correlation in the case of staphylococci. On average, the greatest concentration of mesophilic bacteria (860 CFU/m3), actinomycetes (60 CFU/m3) and staphylococci (26 CFU/m3) was recorded in the Hall at 9 p.m. The largest concentration of molds (1,290 CFU/m3) was found in the Hall and Treasury at 0:30. The observed concentrations of airborne microorganisms do not exceed acceptable levels for public utility premises, therefore they do not pose a threat to the health of the Museum employees, tourists and to the condition of the Museum collections. 
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Anna Lenart-Boroń, Jolanta Pollesch, Magdalena Więckowska

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 151 - 158

https://doi.org/10.4467/20843852.OM.16.014.7447
This study was aimed to assess the seasonal variability of microbial aerosol concentrations in the Jagiellonian University Museum and the fungal contamination of the selected exhibits shown or stored in the JUM. The air contamination analysis was conducted four times per year by air collision method. The concentrations of mesophilic bacteria, mold fungi, actinomycetes and staphylococci were examined in the magazine of exhibits in the attic, at the Olszewski Hall (exposure), in the wooden frames magazine in the basement and the Museum cafe. External background was the Professors’ Garden. In the study sites air temperature was measured during each sampling. The surface contamination of the Museum exhibits was examined by the collection of swabs. Seasonal differences in the concentration of the analyzed microorganisms were observed: the concentration of all microbial groups – except fungi – was the highest in summer, when the temperature in all tested sites was the highest. On the other hand, the highest concentrations of fungi in the tested premises were observed in autumn and spring. The smallest levels of mesophilic bacteria and staphylococci were observed in winter, while the smallest amounts of actinomycetes were found in spring and autumn. The smallest concentrations of fungi in all examined sites occurred in spring. The concentrations of the analyzed microorganisms did not exceed the limit values, except in one case – i.e. actinomycetes in the Museum cafe in summer. The surfaces of the exhibits were colonized by fungal strains that can be potentially dangerous to human health or cause biodeterioration, but only one object (the Wyspiański painting) was damaged by a harmful strain of Penicillium italicum. Other objects showed no losses due to microbial degradation, which proves effective conservation and lack of optimum conditions for fungal colonization. We also found a relationship between the concentration of microbial aerosol and the conditions in the studied sites, and therefore the season of the year. Also the type and utility character of the premises determined the bioaerosol concentrations. However, the observed concentrations of airborne microorganisms do not pose a direct threat to the Museum employees or its visitors. 
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Monika Stobiecka

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 159 - 172

https://doi.org/10.4467/20843852.OM.16.015.7448
 
The text aims at presenting the reflections in respect of the perception of archaeological objects on the Polish land in the 19th century by selected collectors, using the methodological tools typical for the “return to things”. Several approaches to archaeological objects occurred in the times of the classicist cult of antiquity and romanticist passion for a “fragment” or “ruins”. One referred to the aforesaid toposes connected with the idea of “antiquity” as to artefacts that accumulated the past, and formed objects of nostalgic longing for the ancient times. At the same time, the 19th century was a time of intense acquisition of historic objects originating from excavations, and forming of archaeology as a science with its particular research methodology. Expansive penetration of Italy, Greece, Egypt, and Middle East, or the development of national archaeologies in European countries in the era of romanticism resulted in the creation of huge and impressive collections presented in museums. The establishment of archaeology as an academic discipline contributed to the birth of another model of perception of artefacts – a scientific approach to objects that were explored during research. In the modern era, as well as at its very threshold, monuments started to grow in economic value, which is hardly appreciated while analysing collections. The present text is an attempt at providing an explanation of the marginalised issues in respect of perception of archaeological objects before the “era of museums” on the Polish land, and provides a reflection on how the 19th-century foundations of museums management contributed to the way archaeological objects are presented in contemporary museums.
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Andrzej Urbanik, Ewa Wyka, Monika Urbanik

Opuscula Musealia, Volume 24, Volume 24 (2016), pp. 173 - 186

https://doi.org/10.4467/20843852.OM.16.015.7448
 
In January 1896, a few days after the announcement of the discovery of X-rays, experiments with X-ray photography began in Cracow, giving the beginnings of Polish radiology. 
To this day, radiographs of various objects, like high-quality medical x-ray photographs, X- ray apparatuses, and lamps have survived from this period. A description of early X-ray photographs and scientific publications by professors of the Jagiellonian University are kept as a valuable source of information on the level of conducted experiments. The Polish pioneers of this field were Karol Olszewski (first Polish X-ray photographs) and the doctors of medicine Alfred Obaliński, Mieczysław Nartowski, Walery Jaworski, and Karol Mayer.
The authors describe the publications and objects stored in the units of the Jagiellonian University documenting the beginnings of Polish radiology.
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