Museums

This book provides, for the first time, a visual documentation of the wave of 'starchitect' designed museums under construction in certain Arabian Peninsula states, in China, and emerging economies, such as Azerbaijan and India. It offers a sustained architectural critique of the style of these new museums and suggests they represent a new dynamic in the production of cultural spaces. Karen Exell argues projects and finished buildings by the likes of Jean Nouvel, Frank Gehry and Norman Foster+Associates are less connected to regional cultural production than to globalized capitalist modernity, and contrasts this globalised aesthetic with the architecture of smaller museums that responds to more traditional regional materials and construction methods. These projects are less well known, but no less striking in their thoughtful and richly contextualised architectural approach, and reveal a nuanced interpretation of the role and function of contemporary museums. For anyone seeking to understand the profusion of grand architectural projects within the cultural sector of emerging economies, The Global Spectacular provides invaluable insight into the varying socio-economic contexts driving their development and poses vital questions about their likely impact.

This article traces a century of efforts to create a National Museum in Guatemala City. Political instability and natural disasters thwarted these efforts, which nevertheless, formed a significant chapter in the country’s museum history. The contents of the laws and decrees that ordered the formation of museums provide indications about their political context and aims, while travelers’ reports and museum publications provide a hint at the collections and exhibitions of the first and second national museums, which functioned at the Sociedad Económica de Amigos del País (1866-1881) and the Palacio de La Reforma (1898-1917). In addition to local politics, the country’s participation in international expositions, and foreign involvement in archaeological research and collecting played a role in museum formation and demise. Special attention is given to the laws and initiatives of the 1920’s, which led to the opening of a National Museum in 1930, with a critique of previous work on this critical period of Guatemalan museum history.

The research illustrates multiple experiences and strategies adopted in museums and in the world of cultural heritage in the field of digital storytelling to guide the future design of narrative digital solutions. Its aim is to provide as complete a picture as possible of the different solutions set in this specific sector of the field of cultural communication, their uses, and the accessibility of culture. It identifies and analyzes 14 types of digital storytelling: oral, written, video, visual, animated, interactive, Immersive, Social Media Storytelling, Participative, Generative, Geo–Storytelling, Multimedia Mobile Storytelling, Crossmedia and Transmedial storytelling. Finally, a new vision of the museum is proposed in which, beginning with the antiquarian and nineteenth–century vision of museum collections, develops into what should be defined as a connected museum or museum of connected narration.

This paper reflects on the changing role of the guardian or keeper in museums and art collections from the seventeenth
century to the present. Starting from the lexical meaning of the Italian word ‘custode’, thanks to archival documentation, the research
reconstructs the use of this word in the historical lexicon of museums and their professions, in different geographical and cultural
contexts. Comparing the historical regulations of museums and art collections in different Italian regions, the paper argues that the
profound changes associated with the functions and the professional profile of the keepers transformed them from curators of collections
to mere guardians of rooms.

On February 12-13, 2020, the International Research Conference on Holocaust Remembrance and Representation was held in Stockholm, Sweden, arranged by the Inquiry on a Museum abou the Holocaust (Ku 2019:01). There, researchers from around the world met and discussed how to establish a museum about the Holocaust in Sweden, per the Swedish government's mandate in January 2019. This paper is an abstract of the first of two panel discussions held during the conference: "What is a Holocaust Museum?" As the title of the paper indicates, an overwhelming theme of this panel discussion was that a Holocaust museum should not only be a site of conservation, but also of conversation.

Many social theorists have suggested that we are currently living in a period in which the identities of the past are becoming increasingly irrelevant and in which new identities, and new identity formations, are being created. The major identity colossus forged in the nineteenth century, and subsequently spread over much of the globe - nation-state identity - has been the subject of particular debate; and theorists have attempted to identify alternative, post-national (in the sense of post-nation-statist) identity constructions. The proliferation of museums in the nineteenth century was undoubtedly closely bound up with the formation and solidification of nation-states in, and subsequently beyond, Western Europe. A crucial question for museums today concerns their role in a world in which nation- statist identities are being challenged. Are they too inextricably entangled in ‘old’ forms of identity to be able to express ‘new’ ones?
How and why museums are able to act as manifestations of identity or sites for the contestation of identities requires a ‘denaturalizing’ of the concept of ‘identity’. That is, we need to be able to see our notions of particular identities, including ‘national identity’, not as universal but as historically and culturally specific. What is entailed in even ‘thinking’ and ‘doing’ ‘the nation’ or ‘the public’? And what role have museums played in such ‘thinking’ and ‘doing’? What is it about museums that makes them suitable - and sometimes not so suitable - for certain identity ‘work’?
The article proceeds as follows. I begin with a brief outline of the identity work of the nineteenth-century museum and with a focus on the articulation of ‘the nation-state’ and ‘the public’. My concern here is with the relationship between the museum as a cultural form with particular technologies of representation, and with the kinds of identities that this form helped not only to express but also to constitute. The second part of the article turns to arguments by social theorists that many former identities are in the process of radical transformation, of fragmentation and disembedding and considers their implications for museums. If the nation-state and the kind of ‘public’ with which it was associated are on the brink of obsolescence, then what future is there for museums? Are museums perhaps too intimately linked up with material- and place- rooted, homogeneous and bounded, conceptions of identity to be able to address some of the emerging identity dilemmas of the ‘second modern age’ or ‘late modernity’? Of course, this account of identity transformation may be wrong or exaggerated, and there are social theorists who would argue thus. Rather than address this problem directly, however, what I suggest here is that museums - because of their longstanding and central roles in the articulation of identity - are significant sites in which to examine such claims. In the third part of the article I discuss one example of an attempt to articulate a post- national, trans-cultural identity complex. The final part of the article draws upon this to reconsider the potential of museums for articulating new, postnational and transcultural identities in late modernity or the second modern age.

The representation of Mexico in France through three exhibitions since 2014, is the subject of
this memory. The exhibitions studied are: "Maya: revelation of an endless time", (Museum
Quai Branly, October 2014-February 2015); "Mexico: Living it to believe it" (La Villette,
July 2015) and "Mexico (1900-1950): Diego Rivera, Frida Kahlo, Jose Clemente Orozco
and the avant-gardes "(Grand Palais, October 2016-January 2017).
The body of this memoir is a comparison between three exhibitions, three commissioners, three
different exhibition venues, three scenographers, different target audiences, and three visions
different from the same country. Similarly, the thesis focuses on understanding interculturality
between Mexico and France, and the strategy of each commissioner to show a Mexico
real.
The result of this thesis is to highlight the different challenges for the professionals of the
museum, specifically, the scenographers, for the creation of an exhibition that represents the
Mexico in France, through stereotypes or prejudices.

This essay offers a case study about the Wildwalk museum in Bristol, UK. Wildwalk, originally called Wildscreen, was the brainchild of the internationally renowned wildlife documentary producer Christopher Parsons. Parsons conceived of the attraction as a peripatetic version of wildlife TV; Wildwalk was, in effect, to bring together the best of wildlife films and natural history museums – but also zoos and even botanic gardens – in order to promote a better understanding of biodiversity. Despite some initial success, the museum, which opened in time for Britain's Millennium celebrations, was forced to close less than seven years after it opened. The chapter develops a genealogical inquiry, and employs social semiotic analyses to describe the museum's remarkable innovations, but also to explain its failure to bring to fruition a truly new genre of exhibition.

Das Badische Landesmuseum verfolgt seit einigen Jahren die Umsetzung eines neuen Museumskonzepts, in dessen Zentrum die Neudefinition der Besucher*innen als aktive Nutzer*innen des Museums steht. Sind in den aktuellen Sammlungsausstellungen rund 13.000 Exponate zu sehen, wird durch die Öffnung der Depots Schritt für Schritt der Gesamtbestand von etwa500.000 Objekten erschlossen und zugänglich gemacht. Wie in einem „Archiv der Sachkultur“ erhalten die Nutzer*innen Zugang zu ihrem kulturellen Erbe.

Negli ultimi anni il videogioco ha raggiunto una maturità che viene oggi riconosciuta sempre più anche a livello istituzionale e che gli ha permesso di entrare nelle scuole e nei musei. La musealizzazione del videogioco propone una serie di opportunità di analisi. Il saggio intende analizzare il tema da due punti di vista per suggerire alcune considerazioni: in primo luogo verrà affrontato il ruolo del museo nel videogioco e cioè come esso è stato rappresentato, analizzando casi studio di particolare interesse tra cui Tomb Raider: Legend (2006), GTA 4 (2007), Uncharted 2 e 3 (2009, 2011), Bioshock 2 e Bioshock Infinite (2010, 2013) o The Last of Us (2013). In secondo luogo sarà affrontato il tema della presenza del videogioco nel museo, da intendersi su tre livelli: il suo ingresso è infatti attestato in un primo momento grazie all’utilizzo che ne hanno fatto gli artisti a partire dagli anni ’90 e fino a oggi in esperienze raccolte sotto diverse etichette (tra cui quella di “game art”); un secondo livello è rappresentato dall'allestimento di mostre dedicate e dall'acquisizione di videogiochi nelle collezioni dei musei; infine l’utilizzo del videogioco come tool didattico e strumento di marketing da parte del museo stesso. Il contributo proverà a evidenziare alcuni aspetti che videogiochi e musei inaspettatamente condividono in quanto dispositivi, come il tema della costruzione di percorsi e narrazioni, il collezionismo e la costruzione dell’esperienza.

Su AMAZON: https://www.amazon.it/musei-forme-dello-Storytelling-digitale/dp/8825533691/ref=zg_bs_508769031_14?_encoding=UTF8&psc=1&refRID=68JRVFPG2WMTFC3FTXX1

Questa ricerca intende illustrare le diverse e molteplici esperienze adottate fino ad oggi nei musei e nel mondo culturale nel campo dello storytelling digitale, per orientare la futura progettazione di soluzioni digitali narrative, che siano calibrate sulle specifiche esigenze di valorizzazione delle singole realtà e dei diversi contesti culturali, con lo scopo primario di trovare la migliore soluzione di accessibilità digitale al racconto della cultura, sviluppando così adeguate politiche di audience engagement e di user experience, nell’ottica delle più recenti indicazioni ministeriali in materia. Ovviamente, non si ha la pretesa di aver analizzato tutte le best practices in ogni campo, ma si è voluta fornire una traccia, il più possibile completa, del percorso che lo storytelling digitale ha avviato e delle differenti soluzioni messe in campo in questo specifico settore della comunicazione culturale.
Nello specifico sono individuate e analizzate 14 tipologie in tutto:

1) Lo storytelling orale
2) Lo storytelling scritto
3) Il videostorytelling
4) Lo storytelling visuale
5) Lo storytelling animato
6) Lo storytelling interattivo
7) Lo storytelling immersivo
8) Il social media storytelling
9) Lo storytelling partecipativo
10) Lo storytelling generativo
11) Il geo-storytelling
12) Il multimedia mobile storytelling
13) Lo storytelling crossmediale
14) Lo storytelling transmediale

All’interno di queste macrocategorie nei casi dello storytelling visuale, animato, interattivo e immersivo saranno distinte delle sottocategorie, cercando di restituire un quadro il più possibile completo di come queste forme di storytelling digitale si siano sviluppate e si stiano tuttora sviluppando in molteplici varianti ed espressioni, sulla base dell’evoluzione e della differente applicazione delle nuove tecnologie digitali nella creazione, nella comunicazione, nella visualizzazione e nella fruizione di tali contenuti.
Come avremo modo di discutere nelle conclusioni a questo volume, intitolate “È tempo che..”, si vuole proporre in questa sede una nuova visione di museo, un nuovo modello che, partendo dalla visione antiquaria e francamente ottocentesca del museo di collezione e oltrepassando la trasformazione già in parte in corso di museo di narrazione, giunga a quello che si è voluto definire un museo di connessione o di narrazione connessa.

This document provides the full text, there are only very few  image changes to the printed version. 

Contributions by

KONSTANTINOS CHATZIANTONIOU
JOACHIM GIERLICHS
FRANAK HILLOOWALA
KATHRYN KALEMKERIAN
SABA AL KUWARI
LISA MALCOM
JULES MCDEVITT
SHEIKHA AL NASSER
SUSAN REES
MICHELLE WALTON

Absente des envois fondateurs de la circulaire Chaptal de 1801, il faut attendre 1839 pour que la ville de Metz se dote d’un musée. Il est alors créé sous l’impulsion des sociétés savantes locales et des artistes de l’École de Metz. Malgré un budget limité, le développement des collections et de l’institution suit un modèle traditionnel dans l’histoire des musées français jusqu’à la chute du Second Empire. Mais, entre 1871 et 1918 avec l’annexion de l’Alsace-Moselle au Reich allemand, l’établissement va connaître de profondes transformations dans un contexte politique inédit. Le musée profite des avancées de la science allemande, notamment dans le domaine de l’archéologie. Les Musées de Metz connaissent alors un premier âge d’or avec la construction de nouveaux bâtiments et un accroissement constant des collections archéologiques. L’établissement n’est plus seulement un musée des Beaux-arts mais aussi un important musée archéologique qui devient même un musée de site avec la découverte dans ses sous-sols des anciens thermes gallo-romains de Metz en 1932. Durant la Seconde Guerre mondiale, le musée devient un outil de propagande au service de l’occupant et sert de centre de collecte aux objets spoliés par les nazis. Il faut attendre la nomination de Gérald Collot en 1957 pour que les Musées de Metz connaissent un nouvel âge d’or. De 1964 à 1980, ce conservateur, attentif aux projets de rénovation urbaine, intègre dans les collections du musée de multiples témoignages patrimoniaux qu’il réussit ainsi à sauvegarder. Étendant les collections, il transforme la présentation des œuvres des musées de La Cour d’Or et crée un des premiers musées d’architecture médiévale en Europe. Le lancement du programme de rénovation architecturale du musée a encouragé la rédaction de cet ouvrage où la période la plus récente est présente grâce à une série d’entretiens réalisés avec les personnalités liées à l’histoire du lieu ces quarante dernières années. Issu d’une fondation classique, les musées de Metz par de leur inscription dans un territoire marqué par l’Histoire et deux guerres mondiales sont un exemple peu ordinaire dans le paysage muséal français. Véritable institution transnationale ou les visions muséales française et allemande cohabitent, musée confronté à la création d’une annexe du Centre Pompidou, un ouvrage relatant l’histoire du musée mais également les enjeux politiques, culturels et sociaux à l’œuvre, s’avérait plus que nécessaire.

This work explores the Internet of Cultural Things (IoCTs) and applications in the context of smart cities and learning cities. Ambient culture is advanced as an emergent form of the IoCTs and applications in the context of 21st century everyday urban spaces. Using the constructs of awareness, learning, openness, and engagement enables formulation and operationalization of a framework for ambient culture in support of this study of the Internet of Cultural Things (IoCTs) and applications in smart cities. A case study approach is used in the gathering of qualitative data through interviews conducted with diverse individuals across several cities in Canada and Europe. In parallel with this study anecdotal evidence is gathered from individuals and groups about smart cities, enabling further analysis and triangulation of data. This work contributes to the research literature across several domains including the IoCTs and applications in relation to smart cities and learning cities. Future research and practice directions are identified for ambient culture going forward.

Helen Graham, Rhiannon Mason, Nigel Nayling

Abstract
Copyright is a means of managing the interests of individual authors and those
of the ‘public interest’. In a museum context, copyright is a technical practice which illuminates how museums imagine and manage their own organizational legitimacy – a settlement which has often operated through a ‘public interest argument’ (‘we need you to hand over control of your object/story for the benefit of all’). Drawing on interviews with people who work in museums and those who
have taken part in a museum participation project, we focus on a digital storytelling project to show how copyright was deployed to make an in-practice argument for the how museums might legitimately relate personal story telling with the ‘
public
interest’. The project did this through three processes:
coming
into the public
via managing informed consent through evoking future audiences,
making an author
through creating intentional decisions and ‘responsibilization’
and
making an object
by transforming a digital story into a ‘finished’ object which
is, in turn, transferred into the museum collections. While those involved in the project recognized they had signed over the rights to their story and were, in most cases, broadly happy with this – ‘that’s what the form was for’, as one put it – the personal nature of the story itself (linked to personal memories, friends and family) and the sociality of the process of making it (in a group; through interactions with museum staff) was also emphasized. This sociality was
expressed in the sense that participants would like to be told when a story is going to be re-displayed, be sent drafts of interpretation and be invited to the opening of the exhibition – a mode of relationship with the museum consistently described as ‘courtesy’. The article concludes by suggesting that the expectation of courtesy – though it might seem like a very modest claim – does something to
museums and makes way for more nuanced asymmetries within the public interest argument. Rather than assuming that ‘the public interest’ lies in treating people (slightly coldly) in the same way, the lens of courtesy might suggest ways of both respecting the importance of the public ethos (for institutions to address
themselves to ideas of fairness, inclusion and equality) yet might also work to socialize this impulse and reimagine a responsive
public museum from the bottom up.

This contribution draws on ethnography conducted in Istanbul to
analyse the Museum of Shame, an amateur exhibition dedicated
to the memory of leftist militants who were victims of state
violence following the 1980–1983 military coup in Turkey. This
museification is the work of a group of ex-revolutionaries and can
be considered a cultural practice that challenges statist
historiography and creates a mnemonic community. By exhibiting
the possessions of murdered militants, it inscribes their personal
experiences into collective frames and fosters intergenerational
transmission. Its temporality reflects the ethos of the revolutionary
fighter, turning mourning into a political statement. However,
though this museum practice allows the community to become
an agent of history, it is unable to encompass the varying
experiences of ex-militants. Its aestheticization of violence and its
moral injunctions limit the extent of social solidarity and advance
essentialisms that contribute to the construction of marginality
from the inside.

The Anglo-Saxon Staffordshire Hoard contains, alongside the well-publicised gold and silver objects, a large collection of over 1000 fragments of die-impressed silver sheet or foil. The majority of these fragments probably decorated one high-status helmet, but were removed from it before burial. These fragments constitute a significant element of the collection, and their conservation, analysis and reassembly forms a major strand of the wider Staffordshire Hoard research project. This paper provides a background to the die-impressed sheets as a class of object within the hoard, and examines the multidisciplinary approach taken by the archaeological conservation team to this challenging but interesting body of material. It explores how this approach has contributed significantly to the results that are being delivered, particularly by the recognition of the dies used to create the impressed sheets, and from this, the development of their overall interpretation.

Introductory guest editor essay for a special issue Museums and Social Issues journal. We argue that current museum professionals’ concerns with the efficacy and best practices for producing bi/multilingual written resources, their foci are quite narrow and can unintentionally limit the ways in which we understand and consider the needs of multilingual audiences.

This essay calls for us to consider the complexity of g complexity of linguistic practices within groups, including the social and cultural dimensions of language.  We outline the range of ways in which articles in this special issue help us consider power dynamics and unspoken assumptions and theoretical frames influence our decision making.  We provide suggestions for step  museum professionals can consider in order to further conversations on multilingual audiences within their organizations.

Worldwide organisations are continually searching for new sources of competitive advantage. At the same time, they are under increasing pressure to carry out their activities so as not to harm the environment in addition to having a positive impact on society. Given these facts, our paper analyses whether, and under what conditions, sustainable development could be an opportunity rather than a threat for organisations. In particular, the research focuses on investigating a possible link between sustainable development and museums' competitiveness. In order to achieve this goal, after an in-depth study of the literature, we distributed and collected surveys from 87 museums of different sizes, types, and importance from all Romanian development regions. Subsequently, we used Spearman's correlation coefficient to test the statistical hypotheses. The findings indicate that both social and environmental pillars of sustainability have positive links with the economic performance o...

El Museo Municipal Vicús se encuentra en un momento clave para su renovación como equipamiento cultural pospandemia. Con una serie de fortalezas estratégicas, la proyección de visitantes futuros y un proceso de reforma organizativa municipal, este espacio emblemático debe asumir nuevas temáticas, discursos y programas, que lo invitan a convertirse en un museo metropolitano. El presente artículo recoge los principales hallazgos y reflexiones mirando este derrotero, a partir de una consultoría llevada a cabo entre 2019 y 2020, enfatizando la importancia de la planeación estratégica y las nuevas miradas hacia los museos del siglo XXI.

As a researcher and archivist, I often experience prejudices and misunderstandings between the two professions. Different expectations divide the profession and the understanding of each other.
In this essay, I collect some thoughts on the challenges of the respective roles - as curator and as researcher.

O presente artigo aborda o ensino da química e geografia sob a ótica dos espaços não formais de ensino refletindo sobre o processo de ensino e de aprendizagem da química e geografia no contexto da educação não formal na perspectiva de relacionar teoria com prática no Museu de solos de Roraima. O objetivo do trabalho é analisar o Museu de solos em Roraima como um espaço não formal de educação para o ensino de geografia e química. Dessa forma, a pesquisa faz uma abordagem sobre a terminologia da educação formal e não formal, refletindo sobre o uso do Museu de Solos em Roraima no desenvolvimento de aulas alternativas de Química e Geografia. A metodologia parte de uma revisão bibliográfica caracterizada como descritiva, e qualitativa, sob uma abordagem metodológica sistêmica, de caráter exploratório, pois busca analisar a aula de campo para o ensino de geografia, tendo como foco Museu de solos de Roraima. A mensuração dos resultados parte do método qualitativo e análise de conteúdo. Sendo assim a pesquisa mostra a importância de valorização pelo ensino no sentido de promover novas metodologias e material didático que auxilie o docente no desenvolvimento da prática do ensino da química e da geografia. Dessa forma, a pesquisa propõe o desafio de trabalhar de maneira alternativa associando teoria e prática com uma proposta de intercalar a sala de aula com os espaços não formais como o Museu de solo de Roraima.

Ideas and expectations about professions and about the process of becoming a professional are changing. Once defined largely by licenses or certificates, many fields of work are looking for more decentralized ways to determine what is a profession, and who is a professional. Many are turning to more decentralized ideas about professions and self-directed processes for lifelong professional learning. An increasing number of fields are using competency frameworks as one mechanism to guide professionalization without standardizing the preparation of those who work in the field. Research is needed to assess the viability and the impact of these frameworks on the individuals, institutions, the field, and ultimately on the public audiences they serve. The field of Informal STEM Learning (ISL) is uniquely poised to benefit from and contribute to the conversations and practices that are moving professional learning towards more self-directed paths.

In the spring of 1976, the World of Islam Festival opened in London, celebrated by royalty and diplomats from around the world. For three months, the city of London was filled with different exhibitions, performances, and lectures about the historical Islamic past in order to inspire Muslim-Christian unity in then present-day Britain. Archival documents, which have not yet been examined or cited in the existing literature, reveal that the authority to present Islam was held in the hands of former diplomats, and other private interests. The event was funded by what organizers called "Moslim governments" in conjunction with the British government, and other private investors. Although the festival had educational intentions, it was met with mixed reception, including intense criticism from Christian Evangelicals who saw the event as proselytizing Islam, and from British Muslims, who felt unrepresented. An event that was designed to promote unity ultimately created more divisions.
Utilizing the decolonial methodologies of Walter Mignolo and archival documents from the festival organizers, this paper examines how representations of a timeless, historic Middle East were crafted at the World of Islam Festival. This paper has several interrelated aims. First, utilizing archival material, it highlights what sorts of representations the organizers crafted and how, specifically using history and religion for contemporary goals. Specifically, what was the relationship between the organizers and Islam, and from where did they attempt to derive their authority? Second, this paper highlights how the World of Islam Festival was received by the public. Third, it considers how smaller galleries at this time, such as the Mathaf Gallery and the Long Gallery, both in London, presented contemporary art from the Arab World, a topic notably absent from the World of Islam Festival. This paper promotes further questions about how historical Islamic objects are currently used to "represent" the Middle East and for what purpose.

Exposition de 12 moulages d’œuvres grecques antiques, issus de la collection de l’Institut d’Archéologie Classique de l'Université de Strasbourg conservée au Musée Adolf Michaelis - Aula Marc Bloch du Palais Universitaire, 67 000 Strasbourg du 15 avril au 9 mai 2014.

Commissaires et organisateurs de l’exposition « Via la Grèce » : Anatole Boule & Jonas Parétias

Scénographie : Alexandre Früh, scénographe et enseignant à la Haute École des Arts du Rhin
Maxime Chudeau, Mathilde Melero, Ikhyeon Park, Nastassia Szymczak
Graphisme : Marisol Godard, Elsa Varin - Atelier Terrains Vagues
Son : Stéphane Clore, Rumiko, Lourdes

Comité scientifique :

Jean-Yves Marc, conservateur du Musée des Moulages et professeur d’Archéologie classique
Daniela Lefèvre, maître de conférences en Archéologie grecque
Gwendy Pavicich, doctorante en Archéologie romaine

На архивных материалах рассказывается о подготовке в Челябинском областном краеведческом музее выставки, посвящённой столетней годовщине битвы на Чудском озере. Подготовка проводилась в 1942 году в условиях полного отсутствия средневековых артефактов в музейных запасниках.