Floral water, also called hydrolate, is a secondary product of the distillation process of aromatic plants. In the Middle Ages, rose hydrolate, according to medical advice of the time, protected against plague spread by ‘miasma’. In nineteenth-century medical and cosmetic applications, rose water was often used as an aromatic and soothing ingredient, forming a base while giving the product the right consistency. It was also the main ingredient in eye medications (in Latin: Collyrium), anti-inflammatory ointments and cosmetic products, including perfumes, aromatic waters, nourishing creams, lubricating pomades and numerous fragrances. In the 19th century medical and pharmaceutical literature, rose water was seen as a mainly aromatic substance which added a pleasant fragrance to medicines and cosmetics. The aim of this article is to compare the recipes for medicines and cosmetics containing rose water from 19th-century apothecary’s manuscripts in the library of the Pharmacy Museum of the Jagiellonian University Medical College with the medical and pharmaceutical literature of the period.

The first part of the article discusses a so far unpublished notarial deed of sale in 1845 by the Pusłowski brothers: Xawery Pusłowski (1806–1874), Wandalin Pusłowski (1814–1884), Franciszek Pusłowski (1800–1859) and Władysław Pusłowski (1801–1859), to Duchess Teresa of Drucki-Lubecki, Countess Scipio del Campo, half of the Ćmielów estate with annexes and appurtenances they inherited from their father, Wojciech Pusłowski, who died in 1833. The deed recorded in the register of documents of the Warsaw Notary Office has not survived. All the more valuable is a document held in the Manuscripts Department of the Jagiellonian Library, the second main extract of a deed of sale, drawn up in Warsaw on 29 May 1845 by Marcin Ciechanowski, scribe of the records of the Kingdom of Poland and regent of the Land Registry of the Warsaw Governorate. The first main extract, given to Teresa of the Drucki-Lubecki Dukes, Countess Scipio del Campo, was not preserved in the Szczuczynski Archives of the Drucki-Lubecki Dukes, held in the Czartoryski Library in Krakow. The second part of the article presents 39 pieces of Ćmielów porcelain vessels from five Drucki-Lubecki family services ordered in the Ćmielów factory at a time when the Drucki-Lubecki dukes were co-owners or sole proprietors of the Ćmielów estate and the faience, stoneware and porcelain factory in Ćmielów. Particularly valuable are dishes from the service dating from 1839 to 1851, bearing the monograms MD.L., Duchess Maria Drucka-Lubecka, wife of Duke Ksawery Drucki-Lubecki. The marks used on Ćmielów porcelain previously unknown in the literature were published. Basis on entries in the French press, the names of three French specialists (Auguste Teissonnière, Jules Teissonnière, Louis Delagnier) have been determined, which have so far been incorrectly reported in the literature.

Museums have been closely linked to national identity since the 19th century. Currently, museums have to cope with the ways they present themselves to visitors properly. Therefore, national identity in a museum has become the centre of research attention. Children are a large group of visitors who come into contact with the national narrative in museums. Involving children in the research of the concept of national identity constructed in the museum can bring many interesting findings. However, research with children is difficult. Especially for beginning researchers or museum staff, who do not have in-depth experience with qualitative research. Thus, the aim of the study is to present possible ways of researching national identity with children. Attention will be drawn to the discussion of which variables and which data collection techniques are possible to examine national identity and it’s concept with children.

The study analyses dishonest activities related to the types of copies of artistic prints, which are undertaken by participants of the art market. In the introduction, legal regulations concerning counterfeiting of artistic prints were discussed. Appropriate legal qualification of an act is important in the context of assigning criminal responsibility and the level of threat of punishment. As a rule, if an object is a historical monument within the meaning of the Act on the protection of historical monuments, the provisions of art. 109a are applied, which penalises counterfeiting or falsifying the historical monument in order to use it in the trade of historical monuments. Other cases are governed by art. 286 §1 of the Penal Code, which penalises fraud. However, not all actions undertaken by dishonest bidders and concerning the disposal of a plate or interference with the composition placed on it constitute forgery. Some of them constitute fraud, others, for example, deliberate lowering of the print run in order to artificially increase the demand for a given object. The article then lists the types of copies and briefly describes them. These include: copies made by the printmaker or a printmaking workshop working with the printmaker, copies with an original purpose other than commercial, posthumous copies, and copies from retouched plates, corrected or altered to some extent. The type of the copy is one of the factors determining the collector’s value of artistic prints. The last part of the study was devoted to state alteration, which is one of the ways of counterfeiting artistic prints. Condition alteration may be the effect of interference in the original plate or the copy itself. The final effect of the procedure is the change of the copy or the plate, which results in the adoption of a different state. Final conclusions are included at the end.

Polish-language globes are didactic aids, but also valuable cartographic monuments and documents of the Polish language. They have been manufactured since the mid-19th century, initially in Bavaria’s Nuremberg and in Prague in the Czech Republic, and since the 1920s in our country. The production of globes is multi-stage and can be financed partially or entirely by sponsors and patrons. In addition to the products of the company C. Abel-Klinger Kunsthandlung, the first copies were financed by patriot booksellers: Jabłoński, Milikowski, Idzik and Hoesick. After the First World War, copies were financed by publishing companies: Zakłady Główczewskiego, Pomoc Szkolna, Nasz Sklep–Urania, Wydawnictwo Polskie, publishing companies from Katowice, and the mysterious Deutsher Verlag publishing house based in Warsaw and Poznań. Changes in printing technology significantly reduced their price, demand for them by schools and children and young people popularised them as teaching aids. Companies financing and popularising these Polish-language publications played an important role in the publishing of globes. To a large extent, these were companies associated with the production and distribution of teaching materials. In general, all companies discussed can be gathered in three groups: booksellers financing or co-financing the publication of Polish-language globes; publishers responsible for financing and publishing globes; publishers responsible for making maps.

The aim of this article is to introduce the activities of museums and collections located in the structure of Polish higher education institutions. The analysis is based on concrete examples of academic units operating today. The authors distinguish several categories of museums according to their location, among them university and departmental museums. The second criterion is the organisational formula, in which the authors indicate, apart from museums, also centres and history interpretation units. Using archaeological, medical and natural history collections as examples, they describe similarities and differences in the way they work with resources. The article is also an attempt to start a discourse aimed at drawing attention to the potential lying in such units, the mission and duty of which is to preserve, secure, develop and make available for scientific and didactic purposes the heritage of the university and the history of science. The authors also refer to the legal situation of the university museum units and regulations, which the organisers may use when creating and conducting activities related to the collection and processing of tangible and intangible academic heritage, which is part of the world’s scientific heritage.