MUSEUMS OF See also:

• ART

ART  .1 The later 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century was remarkable for the growth and development of museums, both in See also:

• GREAT

Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain and abroad . This growth, as See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor See also:

• STANLEY (FAMILY)
• STANLEY, ARTHUR PENRHYN (18x5–1881)
• STANLEY, EDWARD (1779-1849)
• STANLEY, SIR HENRY MORTON (184o-1904)
• STANLEY, SIR WILLIAM (1548-163o)
• STANLEY, THOMAS (1625-1678)

Stanley See also:

• JEVONS, WILLIAM STANLEY (1835-1882)

Jevons predicted, synchronizes with the See also:

• ADVANCEMENT

advancement of See also:

• EDUCATION

education . Public museums are now universally required; old institutions have been greatly improved, and many new ones have been founded . The See also:

• BRITISH

British See also:

• PARLIAMENT (Anglo-Lat. parliamentum, Fr. parlement, from parler, to speak)

parliament has passed statutes conferring upon See also:

• LOCAL

local authorities the See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power to See also:

• LEVY (Fr. levee, from lever, Lat. levare, to lift, raise)
• LEVY, AMY (1861–1889)
• LEVY, AUGUSTE MICHEL (1844– )

levy rates for library and museum purposes, while on the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent of See also:

• EUROPE

Europe the collection and See also:

• EXHIBITION

exhibition of See also:

• OBJECTS

objects of antiquity and See also:

• ART

art has become a recognized See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty of the See also:

• STATE
• STATE, GREAT OFFICERS OF

state and See also:

• MUNICIPALITY

municipality alike . A See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch of the See also:

• HISTORY

history of museums in See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general is given below, under MUSEUMS OF See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

SCIENCE . The See also:

• MODERN

modern museum of art differs essentially from its earlier prototypes . The aimless collection of curiosities and bric-a-brac, brought together without method ' Under the See also:

• TERM

term " museum " (Gr . µoue&Yov, See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

temple of the See also:

• MUSES, THE (Gr. Mo6o-at, the thinkers)

muses) we accept the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary distinction, by which it covers a collection of all sorts of art objects, while an art See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery (q.v.) confines itself 'emetically to pictures.or See also:

• SYSTEM

system, was the feature of certain famous collections in by-gone days, of which the Tradescant Museum, formed in the 17th century, was a See also:

• GOOD, JOHN MASON (1764-1827)

good example . This museum was a See also:

• MISCELLANY

miscellany without didactic value; it contributed nothing to the advancement of art; its arrangement was unscientific, and the public gained little or no See also:

• ADVANTAGE

advantage from its existence . The modern museum, on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, should be organized for the public good, and should be a fruitful source of amusement and instruction to the whole community . Even when Dr See also:

• WAAGEN, GUSTAV FRIEDRICH (1794-1868)
• WAAGEN, WILHELM HEINRICH (1841–1900)

Waagen described the collections of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, about 184o, private individuals figured chiefly among the owners of art treasures . Nowadays in making a See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of this nature the collections belonging to the public would attract most See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention .

This fact is becoming more obvious every See also:

• YEAR

year . Not only are acquisitions of great value constantly made, but the principles of museum See also:

• ADMINISTRATION (Lat. administrare, to serve)

administration and development are being more closely defined . What See also:

• SIR

Sir See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• FLOWER (Lat. flos, floris; Fr. fleur)
• FLOWER, SIB

Flower, an eminent authority, called the " new museum See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea " (Essays on Museums, p . 37) is pervading the treatment of all the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief museums of the See also:

• WORLD

world . Briefly stated, the new principle of museum development—first enunciated in 187o, but now beginning to receive general support—is that the first aim of public collections shall be education, and their second recreation . To be of teaching value, museum arrangement and See also:

• CLASSIFICATION (Lat. classis, a class, probably from the root cal-, cla-, as in Gr. icaMce, clamor)

classification must be carefully studied . Acquisitions must be added to their proper sections; See also:

• RANDOM (older forms randon, randrun; from the French, cf. randir, to run quickly, impetuously; generally taken to be of Teutonic origin and connected with Ger. Rand, edge, brim, the idea being possibly of a brimming river)

random See also:

• PURCHASE

purchase of " curios " must be avoided . Attention must be given to the proper display and cataloguing of the exhibits, to their See also:

• HOUSING

housing and preservation, to the See also:

• LIGHTING

lighting, comfort and See also:

• VENTILATION (Lat. ventilare, from ventus, wind)

ventilation of the galleries . Furthermore, facilities must be allowed to those who wish to make See also:

• SPECIAL

special study of the objects on view . " A museum is like a living organism: it requires continual and See also:

• TENDER

tender care; it must grow, or it will perish " (Flower, p . 13) . Great progress has been made in the classification of objects, a highly important See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of museum See also:

• WORK

work .

There are three possible systems—namely, by date, by material and Classifies . by See also:

• NATIONALITY

nationality . It has been found possible to See also:

• DON
• DON (anc. Tanais)

don. combine the systems to some extent; for instance, in the See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department of the See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum, See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington, See also:

• LONDON

London, where the broad classification is by material, the objects being further subdivided according to their See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, and in a See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor degree according to their nationality . But as yet there is no general preference of one system to another . Moreover, the principles of classification are not easily laid down; e.g. musical See also:

• INSTRUMENTS

instruments: should they be included in art exhibits or in the ethnographical See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section to which they also pertain ? Broadly speaking, objects must be classified according to the quality (apart from their nature) for which they are most remark-able . Thus a See also:

• MUSKET (Fr. mousquet, Ger. Muskete, &c.)

musket or See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass See also:

• VIOL

viol of the 16th century, inlaid with ivory and highly decorated, would be properly included in the art section, whereas a See also:

• COMMON

common See also:

• FLUTE

flute or weapon, noteworthy for nothing but its See also:

• INTEREST

interest as an See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument of See also:

• MUSIC

music or destruction, would be suitably classified as ethnographic . In England, at any See also:

• RATE

rate, there is no uniformity of practice in this respect, and though it is to be hoped that the ruling See also:

• DESIRE

desire to classify according to strict scientific rules may not become too prevalent, it would nevertheless be a distinct advantage if, in one or more of the British museums, some See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt were made to illustrate the growth of domestic arts and crafts according to classification by date . Examples of this classification in See also:

• MUNICH (Ger. Munchen)

Munich, See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, See also:

• BASEL (Fr. Bale)
• BASEL (Fr. Belle, but Basle is a wholly erroneous form; Ital. Basilea)
• BASEL, CONFESSION OF
• BASEL, COUNCIL OF

Basel, See also:

• ZURICH
• ZURICH (Fr. Zurich; Ital. Zurigo)

Zurich and elsewhere afford excellent lessons of history and art, a See also:

• SERIES (a Latin word from serere, to join)

series of rooms being fitted up to show in See also:

• CHRONOLOGICAL

chronological See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order the See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home See also:

• LIFE

life of our ancestors . In the See also:

• NATIONAL

National Museum of See also:

• BAVARIA (Ger. Bayern)

Bavaria (Munich) there is a superb See also:

• SUITE (Suite de pieces; Ordre; Partita)

suite of rooms illustrating the progress of art from Merovingian times down to the 19th century . Thus classification, though studied, must not check the See also:

• ELASTICITY

elasticity of art museums; it should not be allowed to interfere with the mobility of the exhibits—that is to say, it should always be possible to withdraw specimens for the closer inspection of students, and also to send examples on See also:

• LOAN (adapted from the Scandinavian form of a word common to Teutonic languages, cf. Swed. Mn, Icel. lan, Dut. leen; the O.E. laen appears in " lend," the ultimate source is seen in the root of Gr. Xeiaecv and Lat. linquere, to leave)

loan to other museums and See also:

• SCHOOLS

schools of art—an invaluable system See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long in See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue at the Victoria and Albert Museum, and one which should be still more widely adopted . An See also:

• AXIOM (Gr. &iwµa)

axiom of museum See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law is that the exhibits shall be properly shown .

" The value of a museum is to be tested by the treatment of its contents " (Flower, p . 24) . But in many museums the chief hindrance to study and enjoyment is overcrowding of exhibits . Although a truism, it is necessary to state that each See also:

• OBJECT

object should be properly seen, deaned and safeguarded; but all over the world this See also:

• RULE

rule is forgotten . The rapid acquisition of objects is one cause of overcrowding, but a faulty appreciation of the didactic purpose of the collection is more frequently responsible . in Great Britain, museum progress is satisfactory . Visitors are numbered by millions, See also:

• ACCESS (Lat. accessus)

access is now permitted on Sundays and See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

week-days alike, and entrance fees are being See also:

• CON

con- eh and si Prorogrgress. stentlY reduced; ; in this the contrast between Great Britain and some See also:

• FOREIGN

foreign countries is singular . A See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation or so ago the national collections of See also:

• ITALY
• ITALY (Italia)

Italy used to be always open to the public . Pay-days, however, were gradually established, with the result that the chief collections are now only visible without See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment on Sundays . In See also:

• DRESDEN

Dresden payment is obligatory five days a week . The British Museum never charges for See also:

• ADMISSION

admission . On the other hand, the increase in See also:

• CONTINENTAL

continental collections is more rapid than in Great Britain, where acquisitions are only made by See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift, purchase or See also:

• BEQUEST (from 0. Eng. becwethan, to declare or express in words; cf. " quoth ")

bequest .

In other See also:

• EUROPEAN

European countries enormous collections have been obtained by revolutions and See also:

• CONQUEST

conquest, by dynastic changes, and by secularizing religious See also:

• FOUNDATIONS

foundations . Some of the chief treasures of provincial museums in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France were spoils of the See also:

• NAPOLEONIC

Napoleonic armies, though the great bulk of this See also:

• LOOT

loot was returned in 1815 to the See also:

• ORIGINAL

original owners . In Italy the See also:

• CONVERSION (Lat. conversio, from convertere, to turn or ,change)

conversion of a monastery into a museum is a See also:

• SIMPLE

simple See also:

• PROCESS

process, the Dominican See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of See also:

• SAN

San Marco in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence offering a typical example . A further stimulus to the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation of museums on the continent is the See also:

• COMPARATIVE

comparative ease with which old buildings are obtained and adapted for the collections . Thus the Germanisches Museum of See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg is a secularized See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church and See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent; the enormous collections belonging to the See also:

• TOWN

town of See also:

• RAVENNA
• RAVENNA, EXARCHATE OF

Ravenna are housed in an old Camaldulensian monastery . At See also:

• LOUVAIN (Flem. Leuven)

Louvain and Florence municipal palaces of great beauty are used; at See also:

• NIMES
• NIMES, COUNCILS OF (Concilia Nemausensia)

Nimes a famous See also:

• ROMAN

Roman temple; at See also:

• URBINO (anc. Urvinum Mataurense)

Urbino the See also:

• GRAND

grand ducal See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace, and so on . There are, however, certain disadvantages in securing both See also:

• BUILDING

building and collection ready-made, and the special care devoted to museums in Great Britain can be traced to the fact that their cost to the community is considerable . Immense sums have been spent on the buildings alone, nearly a million See also:

• STERLING
• STERLING, ANTOINETTE (d. 1904)
• STERLING, JOHN (1806-1844)

sterling being devoted to the new buildings for the Victoria and Albert Museum in London . Had it been possible to secure them without such an outlay the collections themselves would have been much increased, though in this increase itself there would have been a danger, prevalent but not yet fully realized in other countries, of crowding the vacant space with specimens of inferior quality . The result is that See also:

• FINE

fine things are badly seen owing to the masses of second-rate examples; moreover, the ample space available induces the authorities to remove See also:

• WORKS

works of art from their original places, in order to add them to the museums . Thus the statue of St See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George by See also:

• DONATELLO (diminutive of Donato) (c. 1386-1466)

Donatello has been taken from the church of Or San Michele at Florence (on the plea of danger from exposure), and is now placed in a museum where, being dwarfed and under See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover, its chief See also:

• ARTISTIC

artistic value is lost . The desire to make See also:

• FINANCIAL

financial profit from works of art is a See also:

• DIRECT

direct cause of the modern museum See also:

• MOVEMENT

movement in Italy .

One result is to displace and thus depreciate many works of art, beautiful in their original places, but quite insignificant when put into a museum . Another result is that, owing to high entrance fees, the humbler class of Italians can rarely see the art treasures of their own See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . There are other collections, akin to art museums, which would best be called See also:

• BIOGRAPHICAL

biographical museums . They illustrate the life and work of great artists or authors . Of these the most notable are the museums commemorating Diirer at Nuremberg, See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven at See also:

• BONN

Bonn, See also:

• THORWALDSEN, BERTEL (1770.1844)

Thorwaldsen at See also:

• COPENHAGEN (Danish Kjobenhavn)

Copenhagen, See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare at See also:

• STRATFORD
• STRATFORD, JOHN DE (d. 1348)

Stratford and See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo at Florence . The sacristies of cathedrals often contain ecclesiastical objects of great value, and are shown to the public as museums . See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne, Aachen, See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, See also:

• MONZA (locally Monscia)

Monza and See also:

• REIMS
• REIMS (RHEIMS)

Reims have famous treasuries . Many See also:

• ITALIAN

Italian cathedrals havesmall museums attached to them, usually known as " See also:

• OPERA (Italian for " work ")

Opera del Duomo." See also:

• UNITED

United See also:

• KINGDOM

Kingdom.—The See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence and reputation of the British Museum are so great that its original purpose, as stated in the See also:

• PREAMBLE (Med. Lat. praeambulum, from praeambulare, to walk before)

preamble of the See also:

• ACT (Lat. actus, actum)

act by which it was founded (1753, c . 22), may be quoted: " Whereas all arts and sciences British have a connexion with each other, and discoveries in natural See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy and other branches of speculative know-ledge, for the advancement and improvement whereof the said museum or collection was intended, do, or may in many instances give help and success to the most useful experiments and under-takings . . ." The "said museum " above mentioned referred to the collection of Sir Hans See also:

• SLOANE, SIR HANS (1660-1753)

Sloane, to be See also:

• PURCHASED

purchased under the act just quoted . Sir Hans Sloane is therein stated, " through the course of many years, with great labour and expense, to have gathered together whatever could be procured, either in our own or foreign countries, that was rare and curious." In order to buy his collections and found the museum a lottery of £300,000 was authorized, divided into 5o,000 tickets, the prizes varying from £10 to £1o,000 . See also:

• PROVISION (Lat. provisio)

Provision was made for the adequate housing of Sir See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• COTTON
• COTTON (Fr. coton; from Arab. qutun)
• COTTON, CHARLES (163o–1687)
• COTTON, GEORGE EDWARD LYNCH (1813–1866)
• COTTON, JOHN (1585–1652)
• COTTON, SIR ROBERT BRUCE

Cotton's books, already bought in 1700 (12 and 13 Will .

III. c . 7) . This act secured for the nation the famous Cottonian See also:

• MANUSCRIPTS

manuscripts, "of great use and service for the knowledge and preservation of our constitution, both in church and state." Sir Robert's See also:

• GRANDSON (Ger. Grandsee)

grandson had preserved the collection with great care, and was willing that it should not be " disposed of or embeziled," and that it should be preserved for public use and advantage . This act also sets forth the See also:

• OATH (0. Eng. ddh)

oath to be sworn by the keeper, and deals with the See also:

• APPOINTMENT, POWER OF

appointment of trustees . This is still the method of See also:

• INTERNAL

internal See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government at the British Museum, and additions to the See also:

• BOARD (O. Eng. bord)

Board of Trustees are made by See also:

• STATUTE

statute, as in 1824, in See also:

• ACKNOWLEDGMENT (from the old acknow, a compound of on- and know, to know by the senses, which passed through the forms oknow, aknow and acknow; acknowledge is formed on analogy of " knowledge ")

acknowledgment of a bequest . The trustees are of three classes: (a) three See also:

• PRINCIPAL

principal trustees, namely the See also:

• PRIMATE (from Low Lat. primas=one who held the first place, primas partes)

Primate, the See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• CHANCELLOR (M. Eng. and Anglo-Fr. canceler, chanceler, Fr. chancelier, Lat. cancellarius)

Chancellor and the See also:

• SPEAKER

Speaker; (b) general trustees, entitled ex officio to the position in virtue of ministerial See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office; (c) See also:

• FAMILY

family, bequest and nominated trustees . A See also:

• STANDING

standing See also:

• COMMITTEE (from commute, an Anglo-Fr. past participle of commettre, Lat. committere, to entrust; the modern Fr. equivalent comite is derived from the Eng.)

committee of the trustees meets regularly at the museum for the transaction of business . The great departments of the museum (apart from the scientific and zoological collections, now placed in the museum in See also:

• CROMWELL, HENRY (1628-1674)
• CROMWELL, OLIVER (1599-1658)
• CROMWELL, RICHARD (1626–1712)
• CROMWELL, THOMAS, EARL OF

Cromwell Road, South Kensington) are of printed books, See also:

• MSS

MSS., See also:

• ORIENTAL

Oriental books, prints and drawings, See also:

• EGYPTIAN

Egyptian and See also:

• ASSYRIAN

Assyrian antiquities, British and See also:

• MEDIEVAL

medieval antiquities, coins and medals . Each of these eight departments is under a keeper, with an See also:

• EXPERT (Lat. expertus, from experiri, to try)

expert See also:

• STAFF (O. Eng. staef, cf. Du. staf, Ger. Stab, &c.; Icel. stafr meant also a written letter, and O. Eng. stafas, the letters of the alphabet; " stave," one of the thin pieces of wood of which a cask is made, is a doublet)

staff of subordinates, the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head executive officer of the whole museum being styled director and chief librarian . The museum has been enriched by bequests of great importance, especially in the library . See also:

• RECENT

Recent legacies have included the See also:

• PORCELAIN

porcelain bequeathed by Sir See also:

• WOLLASTON, WILLIAM (1659--1724)
• WOLLASTON, WILLIAM HYDE (1766-1828)

Wollaston See also:

• FRANKS
• FRANKS, SIR AUGUSTUS WOLLASTON (1826-1897)

Franks, and the valuable collection of works of art (chiefly enamels and See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold-smithery) known as the Waddesdon bequest—a See also:

• LEGACY (Lat. legatum)

legacy of See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron F. de See also:

• ROTHSCHILD

Rothschild . The most important See also:

• GROUP

group of acquisition by purchase in the history of the museum is the series of See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek sculptures known as the See also:

• ELGIN

Elgin See also:

• MARBLES

Marbles, bought by act of parliament (56 Geo .

III. c . 99) . There are four national museums controlled by the Board of Education, until recently styled the Department of Science and Art . The chief of these is the Victoria and Albert Museums of Museum at South Kensington . This museum has a the Board of dependency at Bethnal See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

Green, the See also:

• DUBLIN

Dublin and Bducauoa . See also:

• EDINBURGH

Edinburgh museums having been now removed from its direct See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge . There is also a museum of See also:

• PRACTICAL

practical See also:

• GEOLOGY (from Gr. yp7, the earth, and Abyor, science)

geology in Jermyn See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street, containing valuable specimens of pottery and See also:

• MAJOLICA

majolica . The Victoria and Albert Museum owed its inception to the Exhibition of 1851, from the surplus funds of which 12 acres of See also:

• LAND

land were bought in South Kensington . First known as the Department of Practical Art, the museum rapidly established itself on a broad basis . Acquisitions of whole collections and unique specimens were accumulated . In 1857 the See also:

• SHEEPSHANKS, JOHN (1787–1863)

Sheepshanks gallery of pictures was presented; in 1879 the See also:

• INDIA
• INDIA, FRENCH

India Office transferred to the department the collection of Oriental art formerly belonging to the See also:

• EAST
• EAST, ALFRED (1849- )

East India See also:

• COMPANY

Company; in 1882 the See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones bequest of See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• FURNITURE (from " furnish," Fr. fournir)

furniture and decorative art (1740-1810) was received; in 1884 the Patent Museum was handed over to the department . Books, prints, MSS. and drawings were bequeathed by the Rev .

A . See also:

• DYCE, ALEXANDER (1798–1869)
• DYCE, WILLIAM (1806–1864)

Dyce and Mr See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• FORSTER, FRANCOIS (179o-,872)
• FORSTER, FRIEDRICH CHRISTOPH (1791-1868)
• FORSTER, JOHANN GEORG ADAM (1754-1794)
• FORSTER, JOHN (1812-1876)
• FORSTER, JOHN COOPER (1823-1886)
• FORSTER, WILLIAM EDWARD (1818-1886)

Forster . Meanwhile, gifts and purchases had combined to make the collection one of the most important in Europe . The chief features may be summarized as consisting of pictures, including the See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael cartoons See also:

• LENT (0. Eng. lenclen, " spring," M. Eng. lenten, lente, lent; cf. Dut. lente, Ger. Lenz, " spring," 0. H. Ger. lenzin, lengizin, lenzo, probably from the same root as " long " and referring to " the lengthening days ")

lent by the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king; textiles, silks and See also:

• TAPESTRY

tapestry; See also:

• CERAMICS, or KERAMICS (Gr. KEpapos, earthenware)

ceramics and enamels; ivory and plastic art, See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal, furniture and Oriental collections . The guiding principle of the museum is the See also:

• ILLUSTRATION

illustration of art applied to • See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry . Beauty and decorative attraction is perhaps the chief characteristic of the exhibits here, whereas the British Museum is largely archaeological . With this object in view, the museum possesses numerous reproductions of famous art treasures: casts, facsimiles and electrotypes, some of them so well contrived as to be almost indistinguishable from the originals . An art library with 75,000 Volumes and 25,000 prints and photographs is at the disposal of students, and an art school is also attached to the museum . The museum does considerable work among provincial schools of art and museums, " circulation " being its See also:

• FUNCTION

function in this connexion . Works of art are sent on temporary loan to local museums, where they are exhibited for certain periods and on being withdrawn are replaced by fresh examples . The subordinate museum of the See also:

• BEARD (A.S. beard, O. H. and Mod. Ger. Bart, Dan. beard, Icel. bar, rim, edge, beak of a ship, &c., O. Slay. barda, Russ. barodd. Cf. Welsh barf, Lat.. barba, though, according to the New English Dictionary, the connexion is for phonetic reasons doubtful)
• BEARD, WILLIAM HOLBROOK (1825-1900)

Beard of Education at Bethnal Green. and that at Edinburgh See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call for no comment, their contents being of slender value . The Dublin Museum, though now controlled by the Irish Department, may be mentioned here as having been founded and worked by the Board of Education .

Apart from the fact that it is one of the most suitably housed and organized museums in the British Isles, it is remarkable for its priceless collection of See also:

• CELTIC

Celtic antiquities, belonging to the Royal Irish See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, and transferred to the See also:

• KILDARE

Kildare Street Museum in 1890 . Among its most famous specimens of See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Irish art may be mentioned the See also:

• SHRINE (Lat. scrinium, a case or chest for books, hence a casket; from scribere, to write, Fr. ecrin, Ital. scrigno)

shrine and See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell of St See also:

• PATRICK, SIMON (1626–1707)
• PATRICK, ST

Patrick, the See also:

• TARA
• TARA, VISCOUNTS AND BARONS

Tara See also:

• BROOCH, or BROACH (from the Fr. broths, originally an awl or bodkin; a spit is sometimes called a broach, and hence the phrase " to broach a barrel "; see BROKER)

brooch, the See also:

• CROSS

cross of Cong and the Ardagh See also:

• CHALICE (through a central O. Fr. form of the Lat. calix, calicis, cup)

chalice . The series of See also:

• BRONZE

bronze and See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

stone implements is most perfect, while the jewels, gold ornaments, torques, fibulae, diadems, and so forth are such that, were it possible again to extend the galleries (thus allowing further classification and exhibition space), the collection would surpass the Danish National Museum at Copenhagen, its chief See also:

• RIVAL

rival in Europe . The famous collections of Sir See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace (d . 189o) having been bequeathed to the British nation by his widow, the public has acquired a magnificent gallery of pictures, together with a quantity of works of art, so important as to make it necessary to include See also:

• HERTFORD
• HERTFORD, EARLS AND MARQUESSES OF

Hertford House among national museums . French art predominates, and the examples of bronze, furniture, and porcelain are as fine as those to be seen in the Louvre . Hertford House, however, also contains a most remarkable collection of See also:

• ARMOUR, PHILIP DANFORTH (1832-1901)

armour, and the examples of Italian See also:

• FAIENCE

faience, enamels, bijouterie, &c., are of first-rate interest . The See also:

• UNIVERSITIES

universities of See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge and See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford have, museums, the latter including the Ashmolean collections, a valuable bequest of majolica from D . Fortnum, and some important classical statuary, now in the Taylorian Gallery . See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ Church has a small museum and picture gallery . Trinity See also:

• COLLEGE (Collegium)

College, Dublin, has a See also:

• MINIATURE

miniature archaeological collection, containing some fine examples of early Irish art . The National Museum of Antiquities of See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland, controlled by the Board of Manufactures, was formed by the Scottish Society of Antiquaries, and has a comprehensive collection of Scottish objects, See also:

• LAY

lay and religious .

The See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

Tower of London contains armour of historic and artistic interest, and the Royal College of Music has an invaluable collection of musical instruments, presented by Mr George See also:

• DONALDSON, JOHN WILLIAM (1811-1861)
• DONALDSON, SIR JAMES (183x- )

Donaldson . Art museums are also to be found in several public schools in the United Kingdom . The Museums Act of 1845 enabled town See also:

• COUNCILS

councils to found and maintain museums . This act was superseded by another passed in 185o, by Mr William See also:

• EWART, WILLIAM (1798-1869)

Ewart, which in its turn has been replaced by amending statutes passed in 1855, 1866, 1868 and 1885 . The Museums and Gymna- siums Act of 18g1 sanctioned the provision and See also:

• MAINTENANCE (Fr. maintenance, from maintenir, to maintain, support, Lat. manu tenere, to hold in the hand)

maintenance of museums for the reception of local antiquities and other objects of interest, and allows a ad. rate, irrespective of other acts . Boroughs have also the right to levy special rates under private municipal acts, See also:

• OLDHAM
• OLDHAM, JOHN (1653–1683)
• OLDHAM, THOMAS (1816–1878)

Oldham affording a See also:

• CASE
• CASE, JOHN (d. 1600)

case in point . Civic museums must still be considered to be in their See also:

• INFANCY

infancy . Although the movement is now firmly established in municipal enterprise, the collections, taken as a whole, are still somewhat nondescript . In many cases collections have been handed over by local See also:

• SOCIETIES, LEARNED

societies, particularly in geology, See also:

• ZOOLOGY (from Gr. Nov, a living thing, and ?byos, theory)

zoology and other scientific departments . There are about twelve museums in which Roman antiquities are noticeable, among them being See also:

• LEICESTER
• LEICESTER, EARLS OF
• LEICESTER, ROBERT DUDLEY, EARL
• LEICESTER, ROBERT SIDNEY, EARL OF (1563-1626)
• LEICESTER, THOMAS WILLIAM COKE, EARL OF (1754-1842)

Leicester, and the Civic Museum of London, at the See also:

• GUILDHALL

Guildhall . British and Anglo-Saxon See also:

• RELICS (Lat, reliquiae, the equivalent of the English " remains " in the sense of a dead body)

relics are important features at See also:

• SHEFFIELD
• SHEFFIELD, JOHN BAKER HOLROYD, 1ST EARL

Sheffield and See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool; in the former case owing to the See also:

• BATEMAN, HEZEKIAH LINTHICUM (1812–1875)

Bateman collection acquired in 1876; while the See also:

• MAYER, JOHANN TOBIAS (1723-1762)
• MAYER, JULIUS ROBERT (1814-1878)

Mayer collection presented to the latter See also:

• CITY (through Fr. cite, from Lat. civitas)

city contains a highly important series of carved ivories . At See also:

• SALFORD

Salford, See also:

• GLASGOW

Glasgow and See also:

• MANCHESTER
• MANCHESTER (popularly Manchester-by-the-Sea)
• MANCHESTER, EARLS AND DUKES OF

Manchester See also:

• INDUSTRIAL

industrial art is the chief feature of the collections ..

See also:

• BIRMINGHAM

Birmingham, with perhaps the finest provincial collection of industrial art, is supported by the rates to the extent of £4200 a year . Its collections (including here, as in the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of great towns,, an important gallery of paintings) are entirely derived from gifts and bequests . Birmingham has made a reputation for special exhibitions of works of art lent for a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to the See also:

• CORPORATION (from Lat. corporare, to form into a body, corpus, corporis)

corporation . These loan exhibitions, about which occasional lectures are given, and of which cheap illustrated catalogues are issued, have largely contributed to the great popularity and efficiency of the museum . Liverpool, See also:

• PRESTON
• PRESTON, JOHN (1587-1628)

Preston, See also:

• DERBY
• DERBY, EARLS OF

Derby and Sheffield owe their fine museum buildings to private generosity . Other towns have museums which are chiefly supported by subscriptions, e.g . See also:

• CHESTER
• CHESTER, EARLS OF

Chester and See also:

• NEWCASTLE
• NEWCASTLE, DUKES OF

Newcastle, where there is a fine collection of work by See also:

• BEWICK, THOMAS (1753-1828)

Bewick the engraver . At See also:

• EXETER
• EXETER, EARL, MARQUESS AND DUKE OF

Exeter the library, museum, and art gallery, together with schools of science and art, are combined in one building . Other towns may be noted as having art museums: See also:

• STOCKPORT

Stockport, Notting-See also:

• HAM

ham (See also:

• WEDGWOOD, JOSIAH (1730-1795)

Wedgwood collection), See also:

• LEEDS
• LEEDS, THOMAS OSBORNE

Leeds, See also:

• BOOTLE

Bootle, See also:

• SWANSEA

Swansea, See also:

• BRADFORD
• BRADFORD, JOHN (1510?—1555)
• BRADFORD, WILLIAM (1590—1657)
• BRADFORD, WILLIAM (1663—1752)
• BRADFORD, WILLIAM (1827—1892)

Bradford, See also:

• NORTHAMPTON
• NORTHAMPTON, ASSIZE OF
• NORTHAMPTON, EARLS AND MARQUESSES OF

Northampton (British See also:

• ARCHAEOLOGY (from Gr. &pxa1a, ancient things, and Xoyos, theory or science)

archaeology), and See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor . There are museums at See also:

• BELFAST

Belfast, Larne, See also:

• KILKENNY
• KILKENNY, STATUTE OF

Kilkenny and See also:

• ARMAGH

Armagh . The cost of the civic museum, being generally computed with the maintenance of the See also:

• FREE

free library, is not easily obtained . In many cases the librarian is also See also:

• CURATOR (Lat. for " one who takes care," curare, to take care of)

curator of the museum; elsewhere no curator at all is appointed, his work being done by a caretaker .

In some museums there is no classification or cataloguing and the value of existing collections is impaired both by careless treatment and by the too ready See also:

• ACCEPTANCE (Lat. acceptare, frequentative form of accipere, to receive)