Museum

Vol V, n 3, 1952
Miscellaneous articles
Articles divers
MUSEUM, successor to AIoiueion, is published by the
United Nations Educational, Scient& and Cultural
Organization in Paris. Lfussm serves as a quarterly
sui i reg of activities and means of research in the field
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hkeEwhf, qui sucdde k hfoukw, est publit5 & Paris
pu lOrganisation des Nations Unies pour ldu-
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EDITORIAL ADVISORY BOARD / C O M ~ DE W~ACTI ON
Selim Abdul-Hak, Damas. - Naji al Azil, Baghdad.
Torsten Althin, Stockholm. - Leigh Ashton,
London. - Martin Baldwin, Toronto. - Luan Boribal
Buribhand, Bangkok. - J ulien Cain, Paris.
Maurice Chehab, Beyrouth. - Cheng Te-Kun,
Chen@. - Laurence Vail Coleman, Washington.
Harold S. Colton, Flagst&. - Daniel Defenbacher,
hfinneapolis. - Nicolas Delgado, Quito.
P. Deraniyagala, Colombo. - JO& IQsteli62
Ljubljana. - Gottfried W. Locher, Leiden.
August Loehr, Wen. - H. O. hfcCurrya Ottawa.
Kasimir Michalowski, Warszawa. - J iri Neustupnya
Praha. - Frans Olbrechts, Tervuren.
Tahrin Uz, Istanbul. -Albert E. Par, New York.
A. R. Pdol d, Sydney. -Nicolas Platon, Herakleion.
Eduardo Quisumbing, Manila. -Daniel Catton Rich,
Chicago. - Paul Rivet, Paris. - D. C. R&,
Amsterdam. - Daniel F. Rubin de la Borboh,
Mexico, D.F. - Georges Salles, Paris.
W. J. H. B. Sandberg, Amsterdam.
Malik Shams, Lahore. - Hamid Sirry, Giza.
Philippe Stern, Paris. - Georges Stout, Worcester.
Bengt Thordeman, Stockholm.
Achille Urbain, Paris. - Luis E. Valcarcel, Lima.
J ase Valladares, Bahia. - Yukio Yashiro, Tokyo.
Femanda Wittgens, Milano.
BOARD OF EDITORS / COMITB BE REDACTION
Honorary Member 1 Rdactrict bonoraire :
President / Prtfsident : And6 Lbeillri
Tb8 Hmd of the hfus~~nzs and Historic Monme&
Ditision1 Unesco I Le chEf ds la Diviski des mufe$ et
tnonmmnts bisforiqttes de 1Unesco: J.K. van der Haagen
Tb8 Director of the Ititernatonal CoMNcjl of jlfttsetm 1
Le &rectwr du Coml international des mustkr :
Georges Henri Rivikre
Cwre@ondeme t o : Raymonde Frin, Edtor, Pro-
Eramme Specialist, Bfrrsewns and Historic Monunaents
Divison, Unesco
Adressm la correspondame d : Raymonde Fria, md-
t oke de rbdacfion, @tialiste du programme, Dirision
des mttsies et mommentr bistorquef, Unesto
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REN OVATI ON OF MUSEUMS
HE museums in the German Federal Republic lost approximately five per cent of
T their total collections as a result of the war. This purely quantitative estimate,
which should be regarded as too high rather than too low, does not however give
any idea of the value of the individual and frequently irreplaceable works of art
that were lost. Considering the tremendous war damage suffered by the country in
general, such a low figure is evidence of the successful measures taken to protect
cultural property. Nevertheless, experience has shown that such measures must be r
supplemented by international agreements, especially in order to prevent encroach-
ments on national rights after the end of hostilities.
The greatest losses are those suffered by the museums in the Eastern Zone, not
only as a result of military operations. The Dresden museums today possess practi-
cally nothing but the remnants of former collections ; the Gotha Museum has all but
vanished; and Leipzig has lost all its most precious works of art. The Berlin museums
and storehouses have also lost almost everything; generally speaking, only the
objects which were stored in the West have been saved.
After the dtbcle, the major concern was to preserve what had been saved. The
shelters were under the direct control of the occupying forces. German museums are
greatly indebted to the American, British and French officers in charge of cultural
matters for the help they received from them. But it was for the Germans themselves
to take up this work actively-all the more imperative since it offered a rare oppor-
tunity of restoring or renewing human and spiritual standards. Despite a chaotic
situation, mutual mistrust, uncertainty, hunger, great material and spiritual want,
and lack of communications, the first cultural activities were organized as early
as 1945-a small concert, a modest exhibition of modern paintings, etc. It was lar-
gely owing to French initiative that these activities were developed. Fruitful co-
operation was soon established; it resulted, for instance, in a series of 28 exhibitions
in Baden-Baden and Freiburg between 1946 and 1948; many of these were of defi-
nitely international standard, and not a few were shown in several other towns as
well.1 The German museums co-operated in these activities and lent a number of
exhibits; at the same time, they themselves exhibited in improvised premises modern
art or, alternatively, works of art which had been sheltered in churches and restored
before being returned to their original settings. Only very rarely was museum space
available, as almost all the museums in the Federal Republic had been more or less
destroyed or put to other uses.
Reconstruction was hampered by very great difficulties. Prior to the currency
reform in 1948, it was almost impossible to procure even small quantities of building
material, as the contracting authorities could not, materially or morally, pay black
market prices. Artisans and workers preferred to work in country districts or some-
where else where they could obtain food or other supplies in addition to their wages.
Public buildings essential to the nations life-hospitals, schools, universities, admi-
nistrative offices, etc.-were urgently needed and had to be given priority, and houses
and flats were the first requirement of all, since approximately ten million people
were at that time living in cellars and huts. Prior to 1948, therefore, very few mu-
seums were rebuilt, and it was only after the currency reform and the resulting stabili-
zation of living conditions that it was possible to develop their reconstruction on
a larger scale. Today, most museums once more possess a number of exhibition
rooms; and many of the institutions, including some that were very seriously
damaged, are, or will be before the end of the present year, functioning normally.
In certain cases, temporary solutions have been adopted. The Museum fr Kunst
und Iiulturgeschichte, of Dortmund (jg.2 displays its main works and exhibitions
in Schloss Kappenberg ; the Schleswig-Holsteinisches Landesmuseum has been trans-
ferred from IGel to Schloss Gottorf; the Mainfrnkisches Museum in Wrzburg
(fig. 3) has been housed in the Feste Marienberg; and the Folkwang Museum in
Essen is exhibiting its collection of French and German masters in Schloss Hugen-
I N GERMANY
by ]CURT MARTI N
I. Despite the dificulries in obtaining paper and
stereotype blocks, catalogues were issued fur all
these exhibitions; most of theni were highly illus-
trated and of a high scientific standard.
M U S E U M
V OL . V I NO 3 1 9 5 2
poet. Although all these castles are situated outside the towns, the museums attract
more visitors than they did when they were in the towns themselves. For this reason
Feste Marienberg and the Schloss Gottorf will be used as permanent museum build-
ings. As a home for the famous Kasseler Galerie, Schloss Wilhelmshhe is being
considered, although considerable restoration work will first have to be done.
I n regard to the less seriously damaged museums, the question whether they
should be restored or entirely rebuilt presented no di%culty; but even in the case
of seriously damaged buildings, it soon became clear that, where the foundations
had not been destroyed, it would be much cheaper to make use of the ruins than to
construct entirely new edifices. Moreover, there was the factor of tradition, making
for the retention of museums in their generally good posiuon within the towns. It
would have been impossible, at least without enormous expenditure, to acquire new
building-land possessing the same advantages. Consequently, no completely new
museum building has yet been constructed in Germany.
Only Cologne has definite plans for the erection of an entirely new building-for
the Wallraf-Richartz Museum (jgx. J a, t?, . Five architects were invited to compete,
and their respective plans were exhibited and discussed publicly. The plan submitted
by Rudolf Schwarz and J osef Bernard was considered by experts to be the best.lThe
new building, which is to be erected on the museums original site, will contain
only the picture-gallery and the print-room. The important Roman-German section,
which is of special local interest, will be made into a separate, independent museum.
It is also planned later on to house the collections of modern art in a separate build-
ing. Thus the idea of a general museum for this town has been discarded for that
of several smaller institutions, each of limited scope and displaying not too exten-
sive collections. The building programme contemplates, in addition to large and
small exhibition-rooms, a study gallery, rooms for engravings and the library,
an auditorium, a visitors resting room which will also be used for the display of
new acquisitions and smaller exhibitions, a refreshment room, administrative offices,
and workshops. What was sought was modern, but not modernistic, architecture
which would serve as a suitable, unobtrusive background for the works of art
themselves. Accordng to modern theories the plans for new buildings should pro-
vide for continuous circuit as well as for the inspection of groups of rooms ; but what
is remarkable from the standpoint of museum technique is the attempt to ensure a
constant and striking contrast between rooms of different height (3 to 7 metres), size
and lighting. There is a desire to avoid a monotonous succession of rooms of like
character, and to provide lighting similar to that for which the pictures were origin-
ally intended. The question whether there should be &ed or changeable room-
space, which could be adapted to any future increases in collections, and the problem
whether uniform lighting should not be preferred to contrasting light, will probably
be examined more closely before the plan is carried into effect.
While innovations were thus being considered in Cologne, an exact reconstruc-
tion of the house in which Goethe was born was erected in Frankfurt (j~. 4). This
provoked some sharp criticism, especially from architects of the modern school,
who described it as theatrical and a lie as to the present time. The museum authorities
were able to reply that only a faithful reproduction could properly recreate the atmos-
phere in which Goethe lived. Moreover, it was possible to vouch or the fidelity of
the reconstruction, as every movable object and everything which could be dis-
mantled had been placed in security and saved; and a careful copy had been taken o
everything it was impossible to remove to safety. I n reconstructing the building, the
techniques used by the xvmth-century artisans were faithfully followed; thus the
window-panes were blown according to ancient methods, and the slates for the roof
were all fashioned by hand. But the main point was the original furniture of such a
house could never of itself have satisfied the requirements of a museum. It would
have had no significance apart from the domestic environment, which Goethe des-
cribed, in addition to the reconstruction of the house, in Dirhtmg zmd Wahrheit just
as vividly as the impressions which he received from that environment. As not one
of the old patrician houses of Frankfurt survived the war, there was a natural desire
to record for posterity at least one example of the home-life of a well-to-do
patrician family.
The Goethe museum proper, which is to house the various collections and the
2. Plans were published i n Baue,2
Ravensburg, 7, No. 3, 1952, p. 121.
lvohflef2,
146
extensive library and will be ready before the end of the present year, will be attached
to the Goethehaus, as in the past. Visitors follow a continuous circuit, and the
museum is built round an open courtyard in which they can rest. The costs of recon-
struction were covered by voluntary contributions, and the Federal Postal Depart-
ment, for its part, issued a special Goethe stamp.
The question whether the Alte Pinakothek in hiunich should be demolished and
I. LVRTTE~~BERGISCHES L ~NDEShf USEUm Stuttgart,
Altes Schloss. A room in the Roman section.
r. Salle de la section romaine.
replaced by a modern building, or simply reconstructed in its original style, has been
the subject of keen discussion in Germany. The Xlte Pinakothek built in 1830 by
Klenze was certainly one of the best museum buildings of the xIxth century. The
architectural appearance of the ruins themselves is so noble that they have rightly
been described as one of the most important monuments of their time. Moreover,
this building is almost a symbol of Munich's tremendous cultural development of
that city in the first half of the last century. The outer walls still remain, but the
stone of the ornamentation had even before the war so crumbled away. that consi-
deration will have to be given not merely to restoring isolated pieces of it, but to
reconstructing the entire southern fasade, over 90 metres long. Consequently, some
maintain that such a superb piece of architecture should be preserved, and regard
any other view as sacrilegious; while others consider that the old gallery, fine as
it was, has, with the damage suffered, reached the end of its term. Though it is
recognized that solutions to problems of exhibition had been found which might
be. improved by slight alterations, there is a general feeling that a break must be
made with museum plans dating from 1830, since these correspond neither to
present nor to future needs. It is claimed that Munich should show, through a mo-
dern museum building meeting present-day requirements, that it can lay down
fresh cultural foundations. It is generally agreed that the Neue Pinakothek, which
was completely demolished, should be rebuilt in modern style. However, as this will
not be undertaken for some considerable time, no plans have yet been prepared for it.
I47
New buildings for museums will have
to be erected in other German towns
within the next few years, as soon as
economic and social conditions permit.
Up to the present,' new experiments in
museum technique have been made only
on avery small scale-in so far as technical
and financial resources have enabled them
to be applied to the reconstruction of
ruined buildings. They have been limited
to improvements in day-lighting, the
occasional installation of air-condition
equipment, artificial lighting, dressing of
walls, safety and repair equipment, and
equipment in general.
Technical factors, however, are less
important than the ideas that, once
adopted, enable a museum to play a real
part in the life of a community. The
desire to indicate the present-day signi-
ficance of the various collections is almost
everywhere perceptible in the more or less successful attempt to avoid historical
emphasis. Lack of room-space has favoured this tendency of museums to being no
longe; purely scientific, but general and educational. This does not obviate the need
for scientific work and research, or for the preservation and increase of collections.
The obvious function of a museum is however no longer simply to conserve
objects, but to exhibit them, make them effective, and indicate the present-day
significance of the originals (jgs. r, 6, 7, I o, II).
Social changes have made private collections increasingly a thing of the past. The
museum, therefore, is for the overwhelming majority of people the only opportunity
of acquainting themselves with works of art at first hand. A careful selection of the
exhibits and the various ways of displaying them is instrumental in setting standards
that guide visitors and enable them to form their own judgment. The responsibility
to the public that the museum must assume in making such a selection should
not, therefore, be taken lightly, particularly as the establishing of a relationship
between the present and the past-a past whose virtue is understood in a clearer
light-enables a practical and active balance to be struck. In view of the spiritual
crisis through which we are now passing, all efforts in that direction are justified
in advance.
I n all German museums, quality has been preferred to quantity. The rooms are
very simply arranged; fabrics, however desirable, are scarcely ever used for covering
walls; and use has been made of wall paper, paint or varnish, or finely granulated
plaster, which unobtrusively brightens up surfaces and, when glazed with lightly-
tinted whitewash, provides good backgrounds, particularly for mediaeval works.
The policy of uniformly light-coloured walls has been abandoned in favour of dis-
creet shadings ; occasionally there is a tendency to use more pronounced colouring.
Efforts have been made to arrange each room as a unit in which individual objects
are set off to their best advantage. Pictures and other exhibits are well spaced out.
Homogeneous pictures, altar-paintings, for instance, are exhibited together and not,
as is often th6 tendency with pictures of the same shape, broken up. Thus in German
museums a free rhythmical presentation is often preferred to the strictly symmetrical
one that finds favour, for instance, in France.
Unlike the average American museum, which exhibits the most varied types of
collections, the European tradition of separating the different subject-fields has been
carried on into the postwar period. There is a preference for a number of museums
each of which is complete in itself and it is believed that this solution is more effective
than a single museum that exhibits all kinds of collections. Thus, apart from small
museums (in whose case a separation of fields would be meaningless) the Germ%
nisches niIuseum in Nrnberg alone will, after its complete restoration, still give a
general picture of evolution in all fields; in this case emphasis will be placed on
2. MUSKUM FOR KUNST UND KULTURGESCHICHTE,
Dortmund, nojv housed in Schloss Kappenberg
ber Lnen. Mediaeval Art Section. Use of an
historical building distant fiom the town.
2. Muse install actuellement au chteau de Kap-
penberg-sur-Lnen. Section de l'art du moyen ge.
Utilisation d'un difice historique CloignC de la ville.
the unity, not merely the outstanding
individual features, of the history of
culture. I n the same way, the Deutsches
Museum in Munich gives a comprehen-
sive picture of technical evolution.
The National-Socialist dictators caused
the gravest damage to the modern collec-
tions of German museums. In 1938,1,4jo
oil-paintings and plastic works, and more
than 10,700 water-colours , drawings and
engravings were expropriated from IOI
museums, and many of them were sold;
finally, more than 1,000 paintings and
over 3,800 drawings and engravings were
wantonly destroyed.
Today, extensive selected collections
of modern art have once again been
formed in Cologne, Munich, Hamburg
and Mannheim. I n all other museums
which have been entrusted with the same
task, efforts are being made to fill the
gaps and re-establish the connexion with the present day, although up to now this
has been possible only with respect to German, not foreign, modern art. Even the
most important museums receive no foreign currency for the purchase of new
exhibits; they are cut off from the international market, with the result that they
are unable to show the unity of modern Western art except by means of temporary
exhbitions. This is all the more regrettable in that the German public, especially in
present circumstances, should be kept in constant touch with the modern art of
other countries. There is no need, here, to emphasize the role of museums in the
development of international understanding.
Certain museums of applied art, while mindful of the purpose for which the$ were
originally established, have given it new significance. They were set up in order to
exhibit collections of models from which skilled artisans could, according to the
tastes of their day, make copies or draw inspiration. When the cult for history began
to wane, these collections were more or less arbitrarily limited, so as to terminate
with the late classical period. Today, emphasis is again being placed on the original
models, but in the form of simple and plastically beautiful implements, as they have
existed in all periods and civilizations. Plastic beauty alone is taken into account, and
the main object is to educate, not to offer models for mere reproduction. These special
museums, which have existed in Stuttgart and Munich for some considerable time,
exhibit not only objects from the past, but also excellent modern and even manu-
factured ones. Owing to the new tendencies, similar sections (jg. 9 ) are being
incorporated in other museums ; they are, indeed, essential to the proper discharge
of a museums social task.
In all important German museums it was always the practice to organize a succes-
sion of temporary exhibitions, lectures and conducted visits (even for schoolchildren),
but the organization and equipment necessary for regular and methodical instruction
were lacking. Such instruction has now been begun in Niirnberg, Munich and
Karlsruhe-but merely as an experiment, for no real experience has yet been acquired
in this field. The Bayerisches Nationalmuseum in Munich now has a study-room
in which visitors may, on request, be shown exhibits forming part of the reserve col-
lections; books, periodicals and other research material are also placed at their dis-
posal; and lectures and regular courses are given. The Germanisches Museum in
Nrnberg has adopted a similar policy; but teachers are first consulted as to the
subjects to be dealt with in the lectures and courses, and these visits to the museum
are included in the school programmes. The aim is the same -to convey visual expe-
rience through the presentation of original works of art. At the Staatliche ICunsthalle
in Karlsruhe @f. 8), a different method has been adopted. Here, as in American
museums, the educational section has its own rooms for exhibitions and lectures. A
collection of slides and large reproductions is being built up; and there is already a
3, MAINFRNKISCHES MusEubr, Wurzburg, now
housed in the Feste Marienberg. Wine-press hall
with wine-presses and Guild banners. Use of a his-
torical building in the vicinity of a town.
j. hiuste install& actuellement dans la Feste hla-
rienberg. Cellier avec pressoirs et bannikres des
mitiers. Utilisation dun Cdifice historique dsi n
dune ville.
.
I . Rave, Paul Ortwin : Kmsfdif~fur im drifim
Reich, Hamburg, 1949.
I49
4. GOETHEHAUS, Frankfurt-am-Main.
tion of the original building.
f. Reconstitution de la maison natale
RENOUVEAU
considerable stock of interchangeable frames. Schools and teachers can by arrange-
ment borrow any objects which they deem necessary for teaching purposes. The
museum itself organizes exhibitions in the rooms of the educational section, or offers
to send them to the schools. Smaller exhibitions are sent to the village schools
throughout the district. I n addition to these efforts to further visual education,
schoolchildren are encouraged to visit the museum itself. Every year, children who
are leaving school are invited to a fte; after a short concert, they visit the gallery and
can ask members of the staff for any information they need. On the whole, this me-
thod has proved very successful; many children and other young people no longer
shun the museum, but exercise their right to visit it free of charge. In order to increase
the number of teachers interested the teachers themselves have organized, in the mu-
seum's educational section, free and optional special courses for their colleagues. It
has been possible to transfer some of the courses for student teachers of drawing from
the lecture-room to the museum itself, where practical examination in class-teaching
are also taken. Efforts are made to exercise an influence on teaching and its methods
through exhibitions of school work and through competitions for children. Archives
for children's drawings, built up on an educational and psychological basis are desi-
gned to serve the same purpose. The extent to which the school authorities are co-
operating in all this is a matter for special satisfaction.
A museum's success is usually judged by the number of its visitors. The German
museums which have been reconstructed receive more and, in many cases, consider-
ably more visitors than they did before the war. Statistics show which museums
are particularly active, which of them are for instance visited mainly by tourists, etc.
They also show that the public does not greatly appreciate arrangements that are
merely of a temporary nature. Thus one museum has, since its complete reconstruc-
tion, received almost twice as many visitors as it received in the past, although all
its masterpieces were previously on view. The success of a museum cannot, however,
be judged from statistics alone, as no purely quantitative estimate can indicate the
impression that a museum makes on its visitors.
A good deal more might, no doubt, be said; but what we have recorded in this
article is significant, in that the reconstruction and revival of German museums here
described has taken place within a pedod of four years. The will to cultural achieve-
ment is revealed more clearly in this than in the nature of what remains to be done.
( Tradat ed f~on.2 German.)
Reconstitu-
de Gethe.
DES MUSES ALLEMAGNE
ES pertes causes par la guerre aux collections des muses de la Rpublique
L fdrale d'Allemagne sont estimes en moyenne 5 yo. Mais cette estimation
-purement quantitative et plutt trop leve -ne donne pas une ide de la valeur
des objets isols - trop souvent irremplasables - qui ont t perdus. Si l'on
considre les destructions immenses subies par le pays en gnral, cechiffre confirme
le succs des mesures qui avaient t prises pour la protection des biens culturels.
L'exprience a toutefois dmontr la ncessit de complter ces mesures par des
conventions internationales destines parer en particulier aux actes arbitraires
survenus aprs la fin des combats. Les dommages les plus graves, qui ne sont
d'ailleurs pas uniquement dus la guerre, ont t infligs aux muses situs dans la
zone est. Les colle'ctions de Dresde ne consistent plus gure qu'en quelques restes
des anciennes possessions. I1 en est de mme pour le Muse de Gotha. Leipzig a
perdu tous les objets les plus prcieux. Les muses et rserves de Berlin ont gale-
ment perdu presque tout. En gnral, seuls ont pu tre sauvs les objets qui avaient
t mi s en scurit l'ouest.
Aprs la dbcle, le premier souci fut de prserver ce qui avait t pargn. Les
abris taient contrls par les puissances d'occupation. Les muses allemands
doivent beaucoup l'aide et l'appui des officiers amricains, anglais et fransais
chargs des services des arts. Mais la mise en valeur des biens culturels devait
cependant tre l'uvre des Allemands eux-mmes, et c'tait l une entreprise
par KURT MARTI N
d'autant plus urgente que s'offrait une
occasion exceptionnelle d'tablir ou de
renouveler des critres humains et spiri-
tuels. Malgr la situation chaotique, la
mCfianceuniverselle, l'inscurit, la f ah,
la pnurie, la disette matrielle et spiri-
tuelle, le manque de moyens de commu-
nication, les premires manifestations
culturelles furent organises ds l'anne
194j : un concert, une modeste exposi-
tion de tableaux modernes, etc. Ces
dbuts furent particulirement favoriss
par l'initiative fransaise. Bientt s'institua
une collaboration grce laquelle, de
1946 1948, non moins de 28 expositions
ont pu aroir lieu - par exemple
Baden-Baden et Fribourg. Certaines
atteignirent un niveau international, et
un grand nombre purent tre prsentes
dans plusieurs villesl. Les muses alle-
mands collaborrent ces expositions et
prtrent leurs collections. Paralllement
ils exposrent eux-mmes des uvres
d'art moderne dans des salles improvises,
ou des objets d'art mis l'abri dans les
glises et qui avaient t restaurs avant
leur retour dans leur lieu d'origine. On
ne pouvait que dans des cas trs rares
disposer de salles de muse, puisque sur
le territoire fdral tous les btiments de
muse avaient t plus ou moins dtruits
ou affects d'autres fins.
La reconstruction rencontra des di&-
cults extraordinaires. J usqu' la rforme
montaire de 1948, il tait presque impos-
sible de se procurer des matriaux de
construction mme en quantits modestes,
tant donn que les autorits contrac-
tantes ne pouvaient et ne devaient payer des prix de march noir. Artisans et ouvriers
prfraient travailler la campagne ou toucher en plus de leur salaire des vivres
ou d'autres denres. Les constructions indispensables pour la vie publique : hpitaux,
coles, universits, btiments d'administration avaient la priorit et le plan social de
construction d'habitations primait tout : approximativement dix millions d'hommes
vivaient alors dans des caves ou dans des baraques. Rares sont donc les muses
dont la reconstruction a pu commencer avant 1948. Ce n'est qu'aprs la rforme
montaire et grce la stabilisation des conditions de vie qui en rsultait que la
reconstruction des muses put tre effectue sur une plus grande chelle. Aujour-
d'hui, la plupart des muses disposent au moins de quelques salles d'exposition. Un
certain nombre, et parmi eux des muses fortement touchs, ont t remis en pleine
activit, ou le seront avant la fin de cette anne.
Quelques instituts ont adopt des solutions provisoires. Le Museum fr IQ"
und I<ulturgeschichte, Dortmund ( ' g . z) montre ses principales uvres et ses
expositions essentielles au chteau . de Kappenberg ; le Schleswig-Holsteinisches
Landesmuseum a t transfkr de Kiel au chteau de Gottorf; le Mainfrnkisches
Museum de Wurzbourg (j g. 3) a t install la forteresse de Marienberg, et le
Folkwang Museum, d'Essen, expose ses matres franais et allemands au chteau
de Hugenpoet. Tous ces chteaux sont situs en dehors des villes, ce qui n'empche
pas que le nombre des visiteurs est considrable, voire plus important qu'il n'tait
l'poque o les muses se trouvaient au milieu de la cit. C'est la raison pour
laquelle la forteresse de Marienberg et le chteau de Gottorf seront maintenus
a, b. WALLRAF-RICHARTZ MusEuhc, Kln. Plan
for the new building. Architects : Rudolf Schwarz,
J osef Bernard.
J a, b. Plan du nouveau btiment. Architectes:
Rudolf Schwarz, J osef Bernard.
I. Malgr& la dificult de s'approvisionner en
papier et de fabriquer des clichs, des catalogues
abondamment illustrks et de haute tenue scientifique
accompagnrent ces expositions.
comme institutions permanentes. En ce qui concerne la clbre ISasseler Galerie,
on envisage de labriter au chteau de Wilhelmshhe, bien que les destructions
dues la guerre y rendent ncessaires dimportants travaux de rfection.
Si un muse ntait que peu endommag, il ny avait pas se demander sil fallait
le restaurer ou procder une construction entirement nouvelle. Mme dans le cas
de btiments gravement touchs, lutilisation des ruines revenait moins cher
quune construction nouvelle condition que lquilibre statique nen ft pas
compromis. En outre, les muses taient presque toujours bien situs en ville et leur
emplacement consacr par la tradition. 11aurait t ou impossible ou trop onreux
de leur trouver un site equivalent. Pour ces raisons, il ny a pas eu jusqu prsent
de nouveaux btiments de muse en Allemagne.
Cologne a t la seule ville projeter une construction entirement nouvelle
pour le Wallraf-Richartz Museum (j g. J rr, b). Cinq architectes ont t invits
et les rsultats du concours ont t exposs et discuts publiquement. Les experts
ont donn la prfrence au projet labor par Rudolf Schwarz et J osef Bernardl. Le
nouveau muse, riger lancien emplacement, ne doit abriter que la galerie de
tableaux et les collections destampes. La section romano-germanique, collection
importante et essentielle Cologne, sera constitue en un muse autonome. Pour
plus tard, on envisage de loger les collections dart moderne dans un btiment
part. On a donc abandonn le principe du muse gnral en faveur de plusieurs
muses distribus travers la ville et ayant chacun un domaine dtermin, avec des
collections moins vastes. Le programme comporte, outre les salles dexposition, des
locaux dtudes pour les collections destampes et pour la bibliothque, un audi-
torium, une salle de repos pour les visiteurs permettant en outre de montrer les
nouvelles acquisitions et de petites expositions, un salon de th, des bureaux et des
ateliers. Larchitecture devait tre moderne, mais fonctionnelle et discrtement
subordonne aux Oeuvres dart exposes. I1 va sans dire, puisquil sagit dun projet
nouveau, que dans son organisation le plan devait prvoir un sens de la circulation
permettant aussi la visite de groupes de salles restreints. Au point de vue de la
. technique musale, le projet se distingue par lide dune srie contraste de pices
de hauteur (3,jo m 7 m), de grandeur et dclairage diffrents. On aimerait viter
une succession monotone de salles uniformes et lon voudrait montrer les tableaux
sous un clairage proche des conditions pour lesquelles ils ont t crs. On exa-
minera certainement fond, avant la mise en chantier du projet, le problme de
la grandeur fixe ou variable des salles, cette dernire pouvant sadapter la crois-
sance indterminable de la collection, de mme que la question de savoir si leffet
d un clairage uniforme nest pas prfrable limpression changeante dclairages
varis.
Tandis qu Cologne on cherche des solutions nouvelles, la reconstruction de la
maison natale de Gthe Francfort (jg. 4) a t une copie fidle jusquau moindre
dtail. Solution vivement attaque, surtout de la part darchitectes modernes qui
ont qualifi une telle copie de thtrale et de mensonge envers le prsent. La
direction du muse rplique en disant que seule une copie fidle tait apte rendre
sensible et prsente latmosphre qui fut celle o GOethevcut. La fidlit de la
copie tait assure par le fait que tous les meubles et toute la dcoration intrieure
avaient t mis en lieu sr et sauvs. Tout ce qui tait inamovible avait t inventori
avec le plus grand soin. Pour la reconstitution, on a fait appel aux techniques
artisanales du XVI I I ~ sicle. On a fait souffler les vitres lancienne fason, et chacune
des ardoises du toit a t fasonne la main. Argument principal: le mobilier
bourgeois dune telle maison na pas la qualit que devait exiger un muse. II ne
signifierait rien sil ntait plac dans lambiance intime que dcrit Gthe dans
Dichtwg .wzd Wahhi t , en y parlant galement et de manire aussi vivante de la
reconstruction de cette mme maison et de linfluence que ce milieu a exerce sur
lui. etant donn quaucune des vieilles maisons bourgeoises de Francfort na
-
survcu la guerre, on a tenu transmettre la postrit au moins un exemple -
et prcisment celui-ci - de lhabitation dun bourgeois ais. Le Gthemuseum
proprement dit, qui sera destin aux collections et la grande bibliothque, et qui
devra tre termin avant la finde cette anne, sera, comme auparavant, contigu la
maison de Gthe. Cest un muse circulation dtermine, construit autour dune
cour non couverte o les visiteurs peuvent se dtendre. La reconstruction a dail-
I. Les pub&s dans Bal,cfi I,tzd
Fohtzeiz, Ravensburg, 7, no 3, 1912, p. 121.
I l 2
leurs t finance par souscription volontaire et la Poste fdrale avait mis cette
occasion un timbre spcial leffigie de Gthe.
Une vive discussion se poursuit en Allemagne quant la question de savoir
si lAlte Pinakothek Munich doit tre dmolie et remplace par un btiment
moderne ou reconstruite dans le mme style. LAlte Pinakothek construite en 1830
par Klenze a certainement t un des meilleurs btiments de muse du XI X~ sicle.
LJaspect architectural des ruines mmes est dune dignit telle quon a pu les dcrire
juste titre comme un des monuments essentiels de leur temps. En plus, ce btiment
symbolise pour Munich le grand panouissement culturel de cette ville pendant
la premire moiti du sicle pass. Les murs extrieurs demeurent, mais la pierre
de lornementation stait effrite dj avant la guerre, de sorte quon devrait
envisager non seulement des rparations fragmentaires, mais une totale rfection
de la fapde sud, longue de plus de 90 mtres. Deux opinions saffrontent. Lune
tendrait maintenir cette architecture de haute valeur artistique et considrer
toute autre conception comme irrvrencieuse, lautre reprsenter la destruction
de ce beau musCecomme un fait dfinitif; tout en reconnaissant la valeur de lancien
btiment, quune reconstruction pourrait perfectionner, on ne veut pas ttre li par
le programme musographique de 1830, qui nest ni lactuel, ni celui de lavenir.
Par la construction dun mus6e moderne, correspondant aux besoins daujourdhui,
on pourrait prouver que Munich est capable de poser de nouvelles bases culturelles.
Dailleurs on est daccord pour reconstruire comme muse moderne la Neue Pina-
kothek, dont le btiment a t dmoli. Mais, tant donn que ce projet prendra encore
du temps, on ne sest pas proccup de llaboration des plans.
Aussitt que les conditions tconomiques et sociales le permettront au cours des
prochaines annes, il deviendra ncessaire de btir des muses nouveaux dans
dautres villes allemandes. Les rcentes expriences faites dans le domaine de la
technique musale nont donc encore pu tre appliques et vrifies que dans peu
de cas, et pour autant que la remise en tat des ruines utilisables le permettait.
Dans tous ces cas, il ne sagissait que dune amlioration de lclairage, parfois de
climatisation, dclairage artificiel, de revtement des murs, dinstallations de scurit
et de conservation, enfin de lamnagement en gnral.
Cequi est dcisif, cene sont cependant pas les faits techniques mais les facteurs
spirituels qui font quun muse peut remplir un rle essentiel dans la socit.
Presque partout on note une tendance donner plus dclat aux collections en cher-
chant de manire plus ou moins visible se librer de loptique historique. Le manque
de locaux disponibles favorise cette tendance ne plus orienter le muse vers un but
purement scientifique niais vers des fins gnrales et ducatives. Cette nouvelle
orientation ne dcharge pas le muse des travaux et de la recherche scientifiques,
ni non plus de lobligation de prserver et daccrotre les collections. Mais la fonction
manifeste du muse nest plus autant de conserver que de prsenter les collections,
de les rendre eficaces et den faire comprendre la signification actuelle aux visiteurs
Les modifications survenues dans la structure sociale ont entran la disparition
progressive des collections prives. Pour la plupart des hommes le muse constitue
presque le seul lieu de rencontre avec luvre dart. Par le fait du choix des objets
exposs et par la manire de les prsenter, on tablit un critre daprs lequel le
public soriente et forme ses propres jugements. La responsabilit que le muse
assume envers le public du fait de ce choix ne peut tre assez prise au srieux.
Autant que possible il doit tablir un moyen de mdiation entre ce qui est le prsent
et cequi est lhistoire - dont la valeur et la force peuvent tre saisies avec une signi-
fication nouvelle - et atteindre ainsi un quilibre vivant et actif. La crise de
conscience historique par laquelle nous passons aujourdhui justifie tout effort en
cedomaine.
Dans tous les muses allemands on a prfr la qualit la quantit. Les salles
sont simples. Les tentures, pour souhaitables quelles puissent tre, ont presque
totalement disparu. On se contente de papiers, de peinture ou dun enduit grain
fin qui anime discrtement la surface et qui, pass au lait de chaux lgrement teint,
forme de bons fonds surtout pour des uvres du moyen ge. Aux tons unifor-
mment clairs on prfre pour les murs des nuances discrtes. Dans certains cas
on constate une tendance utiliser des couleurs plus vives. Chaque salle est considre
(A<. 1, ci,?, 10, 11).
6. HEWSCHES LANDEShl UbEUhI , I<LlSSel. Sectitin Of
Ancient Art. Original room. New presentation :
ancient sculptures with tapestries and engravings.
6. Section des antiquitis. Salk restite intacte. PrC-
sentation nouvelle : combinaison de sculptures
antiques, tapisseries et gravures.
7. BAY EKI SCHE5 NATI ONALhfUSEUhl, Miinich. Roma-
nesque section. Restored room. New presentation.
7. Section romane. Salle rL-pari.e. Prisentation nou-
velle.
8. STAATLICHE KUNSTHALLE, Karlsruhe. Educa-
tional section. Restoration of slightly damaged
rooms. School exhibition : Greece.
8. Section educative. Restauration de salles peu
detruites. Exposition pidagogique : la Grce.
7. MUSEUM FUR KUNST UND GEWERBE, Hamburg.
Contemporary section. Re-arranged room : the
modern home.
y. Section contemporaine. Salle transforme.
Thkme de l'exposition : l'habitation moderne.
I. Rave, Paul Ortwin. Kmstdiktatrrr im drittetz
Reid, Hambourg, 1949.
I54
comme un ensemble, et 1,011 cherche assurer chaque objet son propre effet. La
prsentation dans la salle ou sur les murs est partout espace, are. Des tableaux de
commune origine, par exemple les volets d'un retable, ne sont pas spars pour des
raisons d'quilibre dcoratif, bien que l'galit des formats puisse y inciter. Les
muses allemands prfrent aujourd'hui une prsentation libre et rythmique la
symtrie svre favorise en France.
A l'encontre des muses amricains, qui runissent les collections des domaines
les plus diffrents, la tradition europenne de la sparation des domaines s'est main-
tenue ici aprs la guerre. On prfre plusieurs muses traitant chacun un domaine
un seul muse les embrassant tous. On croit que l'action des premiers est plus
profonde. Abstraction faite de petits muses o une telle sparation n'aurait pas
de sens, une fois reconstruit, le Germanisches Museum Nuremberg sera le seul
qui donnera encore une vue d'ensemble de l'volution dans tous les domaines.
Dans ce cas, l'accent porte sur l'unit de l'histoire culturelle et non sur la signi-
fication individuelle de l'uvre d'art. C'est de la mme f apn que le Deutsches
Museum Munich prsente l'volution de la technique.
L'action de la dictature nationale-socialiste a appauvri les collections d'art moderne
des galeries allemandes. En 1938, dans IOI muses, on a confisqu et expropri
1.450 tableaux et sculptures et plus de 10.700 aquarelles, dessins et gravures. Une
partie de ces suvres a t vendue, et finalement plus de 1.000 tableaux et sculptures,
3.800 dessins et gravures ont t anantis dans un acte d'autodestruction culturelle'.
Aujourd'hui, Cologne, Munich, Hambourg et Mannheim des collections impor-
tantes et choisies d'art moderne ont t reconstitues. Dans tous les autres muses.
auxquels une telle tche incombait on a tout au moins commenc combler les
vides et rtablir le contact avec le prsent. I1est vrai que cela n'a t possible
jUSqu'ici que pour l'art moderne allemand, non pour celui de l'tranger. Les muses
Importants eux-mmes n'ont pas obtenu d'allocation de devises pour des acqui-
sitions. Ils sont retranchs du march international et, rsultat regrettable de cette
coupure, l'unit de l'art moderne occidental n'a pu tre prsente que dans le cadre
d'expositions temporaires. Pour le public allemand et dans la situation prsente, il
serait pourtant important de connatre l'art moderne des autres pays. I1 est inutile
d'insister ici sur le rle du muse comme moyen de comprhension mutuelle.
Certains muses d'art industriel se sont souvenus de leur destination originale, en
lui donnant un nouveau sens. Ils avaient ti fonds pour prsenter des collections
de modles que l'artisan, suivant le got de son temps, devait copier, ou par lesquels
il devait se laisser guider, en s'inspirant de l'histoire. Quand le culte de l'histoire
commensa dcliner, on Limitaces collections plus ou moins arbitrairement en les
arrtant par exemple au classicisme tardif. Aujourd'hui on cherche de nouveau
le modle d'origine, mais on le cherche dans le simple ustensile de belle forme,
come il s'en trouve toutes les Cpoques et dans toutes les civilisations. On ne
reconnat que la beaut de la forme non pour la faire copier, mais pour encourager
tout effort de cration. h ct des objets anciens on prsente, et depuis longtemps
dans des muses spcialiss comme ceux de Stuttgart et Munich, d'excellents modles
contemporains et mtme des crations de srie industrielle. L'volution rcente a
conduit d'autres muses s'adjoindre de telles sections (j g. 9 ) , importantes pour
la fonction sociale du muse.
Des expositions temporaires, des confrences et des visites accompagnes pour
adultes et coliers ont toujours eu lieu dans les muses allemands de quelque impor-
tance, mais il leur manquait une organisation et des installations permettant un
travail ducatif permanent et mthodique. Cetravail d'enseignement vient de com-
mencer Nuremberg, Munich et Karlsruhe, mais simplement titre d'essai, car on
manque encore d'exprience dans cedomaine. Au Bayerisches Nationalmuseum de
Munich, on a install une salle d'tudes o l'on montre sur demande des objets se
trouvant habituellement dans les rserves, et o le visiteur peut consulter des livres,
revues et autres instruments de travail. On y organise des confrences et des cours
d'coliers. Le Germanisches Museum Nuremberg applique la mme mthode, en
organisant les cours aprs consultation avec les professeurs et instituteurs, les
visites au muse tant intgres au programme scolaire. Le but est le mme : donner
l'enseignement direct devant l'objet original. La Staatliche Kunsthalle Karlsruhe
(jg. 81, applique une autre mthode : la section de l'ducation possde comme les
muses amricains des salles spciales pour des expositions et confxences. On y
prsente une collection de diapositifs et de grandes reproductions, Un certain
nombre de cadres interchangeables sont la disposition des visiteurs. Chaque cole
ou pTofesseur peut, en vertu d'arrangements, emprunter cequi lui parat utile pour
son enseignement. De son ct, le muse prpare des expositions qu'il montre dans
la section ducative ou qu'il offre aux coles. De petites expositions sont envoyes
dans toutes les coles de village de la rgion. L'intention de donner un enseignement
direct et de parfaire l'ducation visuelle est toujours souligne par l'invitation
visiter le muse. Chaque anne les lves sortants sont invits une fte o aprs
un bref concert ils visitent le muse, et des spcialistes sont leur disposition pour
rpondre leurs questions. En gnral le succs de ce travailest satisfaisant. Nombre
d'enfants et de jeunes gens ont cess de craindre le muse et profitent de leur droit
d'entre libre. En vue d'largir le cercle des matres intresss, les professeurs eux-
mmes ont organis la section d'ducation du muse des cours de perfectionnement
gratuits et libres pour leurs collgues. La prparation l'enseignement de l'art pour
les jeunes matres de dessin a pu, au moins en partie, tre transfre de l'amphithtre
au muse, o les examens d'aptitude se droulent galement. A l'aide d'expositions
d'uvres d'coliers et de concours d'enfants on essaie d'exercer une influence sur
l'enseignement et sur ses mthodes. Des archives de dessins d'enfants, organises
selon des principes pdagogiques et psychologiques, rpondent au mme but. Ce
travail trouve auprs des autorits de l'enseignement suprieur un soutien et un
encouragement particulirement satisfaisants.
On a l'habitude de mesurer le succs d'un muse au nombre de ses visiteurs.
Pour les muses allemands reconstruits, ce nombre est suprieur, parfois de trs
loin, celui d'avant guerre.
Ceque l'on a expos ci-dessus ne peut tre tenu pour trs considrable, si ce n'est
par le court laps de quatre ans sur lequel portent la reconstruction et le renouveau
des muses en Allemagne. Une volont de ralisations culturelles s'exprime plus
clairement en cela que dans la contemplation de ce qui reste faire.
( Traahit de 1 'dleriiuzzd.)
IO. BAYERISCHES N.4TIONALMUSEUhC, hlnich. Rie-
menschneider room. Restored room. New presen-
tation.
IO. Salle Riemenschneider. Salle rpare. Prsen-
tation nouvelle.
II. EHEMALS STAATLICHE MUSEEN, Gem8degderie
Dahlem, Berlin. New presentation and display.
II. Installation et prsentation nouvelles.
RENOVATI ON OF MUSEUMS I N ITALY
by G. C. ARGAN HE damage suffered by Italian museums works of art as a result of the war was
T fortunately very slight; but the organization of the museums was completely
dislocated. Many of the buildings housing the museums were seriously damaged;
and, for several years, works of art had to be kept in cases and in storerooms which,
owing to dampness or unsuitability of temperature, were oTten ill-adapted to the
lengthy storage of old and delicate paintings. Moreover, military operations often
necessitated the rapid transfer of art collections from one locality to another where
there was less chance of their being damaged or destroyed; such transfers were
effected by motor vehicles, often of an unsuitable type, along air-bombed roads and
amid every other kind of danger. The whole of the Uftiti Gallerys collection of
paintings was carried off by the German troops and recovered, not far from the
frontier, at the time of the armistice.
At the end of the war, Italian art collections were in an appalling state of disorder;
requirements were enormous ; only very small technical and financial resources were
available; and the difficulties due to the general situation of the country were tre-
mendous. The most urgent tasks were to return the works of art to their various
places of origin, to remove them from the packing in which they had been kept for
years, to inspect their condition, to undertake the necessary restoration work, and to
exhibit them again to the public. For that purpose, however, it was essential to make
the museums fit to accommodate them again; and much of the small amount of
money available was already being used to restore war-damaged monuments which
were often in danger of falling into ruin. The most economical way of reorganizing
the Italian museums would have been to restore them to their pre-war state. But even
before the war their condition in general was far from satisfactory, and if we had
simply restored them to what they were in 1940 we should soon have had to destroy
the work done and undertake a radical reform in order to adapt the museums whole
arrangement to modern museographical methods. Yet to plan and execute a thorough-
going reform at that juncture would have required more time and money than we
had at our disposal.
I t was at that time, and it still is, reasonable to raise the question of the feasibility
of such a reform. All who are interested in Italian art know and admire what has
been done in many countries in the way of museum design and display; and if they
had to create and organize an ideal museum of their own, they would make a very
careful selection of works representing every school and period, arrange them in
accordance with clear and thoroughly-studied principles, and exhibit them in such
a way as to do full justice to their aesthetic value and historical interest. But all Italian
museums have a history behind them, which is reflected in the manner in which the
various collections have been formed and increased; the structure of an old collec-
tion is an important element in the history of aesthetic taste. The history of collec-
tions formation, however, is only one aspect of the matter; there is also the history
of their disintegration; museums now possess no more than fragments of the original
structure of Italian art collections. And, while the records showing the aesthetic
tastes of the collectors and amateurs of the xvIth and xvmh centuries must not be
lost, the aesthetic tastes and ideas of our own time must be reflected and handed
down in the way in which we arrange our museums.
All this further complicated the already difficult problem facing us, and impelled
us towards a solution that lay half-way between complete preservation and complete
renovation. But this compromise solution, although it was the most reasonable, was
also the most difficult; for it involved the drawing of a very careful distinction
between what was to be preserved and what was to be renewed. Furthermore, it
meant that curators must show a keen sense of proportion and prevent too glaring
a contrast between the old and the new, such as might disconcert the public and
destroy the museums unity. Consequently, even works which it seemed desirable to
preserve or restore were very carefully examined withaview to increasing their life time,
achieving a better arrangement of them, lending them to interesting and instructive
comparisons, drawing the public's attention to the more important of them and, by
special display procedures, bringing out their salient artjstic qualities. Almost all
museums had to (I) reconsider the distribution of the rooms and the arrangement
of the works; (2) improve the natural lighting arrangements and install artificial
lighting; (3) reduce the degrees of dfference between extreme summer and winter
temperatures in the premises ; (4) eliminate or reduce the risk of fire, always a serious
factor in old buildings; and (5j improve conditions of visits and install heating
systems.
Since 194j, nearly all Italian towns, even the smallest, have considerably improved
their museums and art galleries, whether these be owned by the State, the Munici-
pality, or religious and private bodies. Many new rooms have been added to the
old ones, and systematic rearrangement, often involving radical alterations, has been
carried out-we need only mention the Gallerie deIl' Accademia at Venice, the Pina-
coteca at Parma and Modena, the Galleria Nazionale delle Marche at Urbino, the
Museo di Antichit at Turin, the Museo di San Martino at Naples, and so forth. It
is not, however, this type of rearrangement and alteration that we wish to speak of
in this article, although it is just such work, frequently accomplished with only
slender resources and despite many dificulties, that has made the remarkable im-
provement of Italian museums in general possible ; what we want to describe is the
nature of the most serious problems that have been tackled and successfully solved.
Of all the Italian cities, Milan is that whose museums and galleries suffered the
gravest war damage. One museum, the Poldi-Pezzoli, was completely razed to the
ground: while the Pinacoteca di Brera and the Museo del Castello Sforzesco suffered
severely from air raids. The restoration of Museo del CastelIo Sforzesco,,a municipal
museum, is still no more than a project, but a very fine project which, if completely
carried out, would make the old museum a model of a museum planned according
to modern museographical techniques. The Pinacoteca di Brera* and the Museo
Poldi-Pezaoli, on the other hand, have already been restored, reorganized and re-
opened to the public. The former was of quite a special nature, being as it was the
typical Napoleonic museum; though as a whole it reflected the neo-classical taste of
the period in which it was established, the structure of the collections showed the
tastes of those scholars of the first part of the xxth century who began to take an
interest in the historical side of works of art and their classification according to
schools. The curator, Professor Fernanda Wittgens", adopted the principle of main-
taining the original aspect of the great Napoleonic rooms, harmonizing the architec-
tural features of the other rooms with the historical background of the works of art
(though without converting an entire room to the style of the period concerned), and
arranging other less formal parts of the museum in accordance with modern con-
ceptions, while co-ordinating the proportions and colour-schemes of the several
parts, and devising special ways of displaying certain famous works like Raphael's
i Umi ~g~ ofthe 17irgi%. In the case of the Museo Poldi-Pezzoli, the same curator had
to solve a smaller but more complex problem. The exhibits in this museum were
assembled in the xrxth century by a private collector who, though he had remarkable
taste, was not entirely free from the romantic and antiquarian leanings of his time.
I n addition to superb paintings, there were pieces of sculpture, small works in bronze,
arms, fabrics, carpets, furniture and furnishings, all of which went to make up a
distinguished but at the same time somewhat disordered interior. The museum
building had been completely destroyed by bombs; the problem was, therefore,
whether to restore the original atmosphere, with its romantic anachronism of the
so-called Dante Cabinet or whether to eliminate all trace of the donor's tastes and
intentions and transform the former private collection into a public (but necessarily
uncoordinated and fragmentary) museum. Here, too, a compromise solution was
adopted; it was decided that the reconstruction should take the form of an aristo-
cratic house rather than of a museum, attention being paid not to overcrowd the
rooms, improving the general display and endeavouring to arrange the exhibits
more systematically.
I n Genoa, on the other hand, the Municipality seconded the curator of the Museo
di Palazzo Bianco, Professor Caterina Marcenaro, in her bold venture of converting
the old Gallery into a highly modern one. The curator secured the co-operation of
* See : Musauhi, Vol. IV, No. 3, p. 148-154.
=57
the architect Franco Albini, one of the
most brilliant exponents of the movement
for advanced architecture in Italy. The
works of art were carefully divided into
those of primary and those of secondary
importance, the latter being then assem-
bled and arranged in storerooms, excel-
lently lighted and equipped and perm-
anently open to the public (g. 12). The
works were arranged methodically and
according to the general distribution
of the rooms. A very careful study was
made ofthe rooms lighting, and the new
scheme as a whole was inspired by the
principles of clarity and simplicity. The
paintings were hung without frames, .
except where the frames were original
12. GALLERIA DI P*Lmm BIAo, G~nova. Works
of minor importance hax-ebeen arranged on the top
storey of the museum in room<devoted to study
collections. These rooms are always open to the
public.
12. Les DeuvreS dintbr*t secondaire ont t installes
collections #tude. ouverteS
au public.
ones (j g. 13). Simple, suitable supports were devised for paintings exhibited
near the windows or away from the walls ( g. 14). A careful study was made
of background colouring, and sometimes natural materials (such as roughed
slate) were used in order to obtain ground tones rather than tints. Here, too, special
ways of displaying certain works were studied, not so much in order to stimulate
visitors admiration as to bring them to contemplate such works more easily and
meditatively (fig. IJ). Thus a fragment of a sculpture by Giovanni Pisano has been
mounted on a very simple mechanical support which can be worked electrically;
when set in motion, it rises and revolves so as to permit the visitor to view the
exhibit in all its aspects and so appreciate its every feature; the byzantine pallium is
also remarkably exhibited, in a glass case.
The Galleria degli UEizi* in Florence presented an extremely complex problem
owing to the premises themselves, the wealth and variety of the exhibits, the exis-
tence of still fairly homogeneous nuclei of the old Medici collections, and the neces-
sity of respecting certain old and systematic arrangements. Very difficult technical
issues had to be settled as regards both security and lighting of the exhibits. The last
curator, Professor Guglielmo Pacchioni, worked out a non-apparent but very effec-
tive scheme to eliminate all risks of fire, by removing wooden beams and by making
it easier for firemen to penetrate through the roof of the museum. Like many other
Italian art galleries using skylights for lighting purposes, the UfFiti Gallery was
subject to very sudden and drastic variations in temperature, and this was not only
detrimental to paintings on wood but (a
by no means negligible factor) disagree-
able for visitors. Accordingly, a central
heating system was installed-a veritable
feat in this ancient building of Vasaris-
as well as a system for cooling the sky-
lights by means of a constant spray of
cold water. The ventilation of the rooms
was also improved. Moreover, a careful
study was made of a system of adjustable
slats for regulating, inside the rooms, the
light from the skylights ; this light, wher-
ever possible, is combined with that from
the side windows, so as to avoid over-
uniformity and permit every painting to
be given the amount and incidence of
light that display it to best effect.
Another fundamental reform was car-
ried out in the presentation of the various
collections, which were formerly arran-
ged according to the correct but too
rigid and mechanical principle of
Itage suprieur dans des salles consacres aux
* SCC : MWEUM, voiutTle II, 1949, N ~. 2, p. 28.
13. GALLERIA DI PiLAzzo BIANCo, Genova. Ge-
noese room. The paintings are hung without frames
except where the frames are original. Light is derived
from fluorescent tubes placed in metal gutters sus-
pended from the ceiling.
II. Salle @noise. Les tableaux Sont exPosCs Sans
cadres sauf lorsque ceux-ci sont originaux. Ils sont
clairs par des tubes fluorescence placGs dans des
gouttires de mtal, suspendues au plafond.
schools; it was preferred to draw attention to cultural similarities and contrasts,
and thus emphasize contemporaneity rather than chronological succession. How-
ever, even this criterion was not applied mechanically, as the curators rightly
decided that the Tribamn, if it could not be restored to its original appearance,
should at least have the noble aspect with which it was invested at the end
of the xvrth century by Buontalenti and Poccetti, and that the Niobe room
should retain the neo-classical form given it by Paoletti and Albertolli. The corridors,
they decided, should not lose their original architectural and ornamental features ;
the terrace overlooking the Loggia dell'orcagna should preserve some semblance of
the hanging garden designed by Buontalenti; and certain collections, such as the
self-portraits, should not be dispersed.
Another vast undertaking was the reorganization of the Museo di San Martino
in Naples (fis. 16, IS), under the direction of Professor Bruno Molajoli. This mu-
seum contains an extensive and varied collection of furniture, ceramics, and various
objects illustrating the history of Neapolitan life and customs. I n such a museum it
was almost impossible to set of f the qual-
ities of individual works or groups of
works, except by avoiding all attempts to
recreate the historical and artistic atmo-
sphere and by endeavouring to establish
by means of outline and colour harmony
between the collections themselves and
the rooms of the old Certosa. Ths has
in fact been done, through modern
museographical planning which upheld
a sustained note of elegance.
Again, in Naples, the art collection of
an important banking institution ('g. r7)
has been reorganized on completely ,
modern lines; it is one of the rare ,
examples in Italy of a museum arrange-
ment entirely uninfluenced by historical ,
or monumental considerations.
The Pisa museum, which was form-
erly owned by the Municipality, has now
become State property and has been
reorganized in the premises of an old
convent once upon a time converted into
a prison. It is interesting to note how
cleverly the curator-architect, Piero Sam-
paolesi, made use of the plan of the old building when adapting,it to its new
function; and how, without using completely modern museum methods, he has
succeeded in creating an austere atmosphere harmonizing with the nature of the
collections, which consist largely of xnth and srvth century paintings.
The necessity of preserving the historical character of museums and in some cases
their internal structure, considerably complicates the development of their educa-
tional function, which is now rightly regarded as all-important. Ths state of affairs
has been and still is being remedied, by means of rooms which are specially equipped
and reserved for educational exhibitions ; such rooms are now in service at the Gal-
leria Nazionale d'&te Moderna in Rome, the Museo Nazionale at Pisa and the
Galleria di Palazzo Bianco in Genoa. These rooms are also used for research and
experiment in special types of museum display.
Although it is necessary in Italy, for various reasons, to maintain existing museums
in their original buildings or, whenever a transfer is necessary, to install them in old
palaces (as, for example, in the case of the Galleria Nazionale d'Arte Antica in Rome,
which will be transferred in the nest few months from the Palazzo Corsini to the
Palazzo Barberini), a few new edifices for museums are now being constructed. Of
these there is one at Paestum, which is interesting because it will assemble around
a systematic reconstitution of the temple, discovered at the mouth of the Sele, the
fragments and materials found as a result of excavations in the region (architect:
14. GALLERIA DI PALAZZO BIANCO, Genova. bla-
gnasco room: simple and suitable supports mounted
on romanesque and gothic ~-oere devised for
paintings exhibited near the uTindows or away from
the walls. At the n-indnws venetian blinds cif curved
aluminiumslats adjustable to the light.
z,t. Salle Magnasco. Les tableaux prbs des fenZtres
ou loin des SOnt exposes des supports
simples et rationnels montCs sur des chapiteaux
romans ou gothiques. Aux fenitres, des stores
lames d'aluminium concaves et articules permettent
de rCg,er yeclairage.
M. De Vita); another in Milan, for the Galleria dArte Moderna, will be very modern
as regards plan, architecture and display of exhibits (architect: I. Gardella); and a
third, also a Galleria #Arte Moderna, will shortly be erected in Turin in accordance
with plans to be chosen by means of a public competition.
As we indicated at the outset, the present short article describes no more than the
most important museum problems that have been resolved, and makes no mention
of the improvements effected in almost all museums and art galleries in Italy. More-
over, we have expressly confined ourselves to that part of the vast plan for the reor-
ganization of museums which has already actually been carried out; the plan cannot
be fulfilled in its entirety for some years yet; it cannot, indeed, be described as ful-
filled until the organization of Italian museums as a whole attains to the standards
of functionalism required by the stage reached in the study of the history of art.
( Trunslrrted from Italim.)
RENOUVEAU DES MUSES EN I TAL I E
par G. C. ARGAN
I 60
ES dommages causs directement aux uvres dart des muses italiens par la
sest trouv entirement dsorganis. De nombreux btiments de muse avaient
t gravement endommags et les uvres dart taient restes pendant des annes
dans des caisses et dans des locaux o les conditions de temprature et dhumidit
ntaient pas toujours favorables la conservation de fragiles peintures anciennes.
En outre, les oprations militaires avaient souvent ncessit le transport htif des
collections dans un lieu moins expos, dans des vhicules de fortune, sur des routes
pilonnes par laviation, travers mille dangers. Toute la collection de tableaux du
Muse des Offices fut enleve par les troupes allemandes et rcupre lors de lar-
mistice non loin de la frontire.
A la fin de la guerre, les collections dart italiennes se trouvaient dans une confu-
sion et un dsordre extrmes ; les besoins taient immenses, les ressources techniques
et financires drisoires, et les difficults - tant donn la situation gnrale du pays
- pouvantables. I1fallait de toute urgence rapatrier les uvres dart, les extraire
des caisses o elles avaient pass des annes, examiner leur tat de conservation,
procder aux restaurations indispensables, enfin les rinstaller. Mais il fallait aupa-
ravant remettre en tat les locaux des muses; aussi une grande partie des modestes
fonds fut-elle affecte la restauration des btiments dont certains menasaient ruine.
La solution la plus conomique aurait consist remettre les locaux dans ltat o
ils se trouvaient avant la guerre. Mais cet tat tait loin, mme avant la guerre, dtre
satisfaisant et lon se serait vite trouv dans lobligation de reprendre tous les
travaux afin dadapter lorganisation des muses aux exigences de la musographie
moderne. En fait, nous ne disposions lpoque ni du temps ni de largent nces-
saires pour prparer et appliquer une rforme gnrale et profonde.
Dailleurs, la possibilit mme dune telle rforme reste dmontrer. Tous les
historiens dart italiens connaissent et apprcient les progrs de la construction
des muses et de la prsentation musographique raliss dans de nombreux pays
et chacun deux, sil lui fallait constituer et organiser un muse idal, ferait un choix
rigoureux duvres reprsentatives de toutes les poques et de toutes les coles,
les classerait selon les principes dune critique claire et les exposerait de fason
faire apparatre leur valeur esthtique et leur intrt historique. Mais tous les muses
italiens ont une histoire et celle-ci se manifeste dans la fason dont les collections
ont t formes et enrichies; la structure dune collection ancienne constitue un
tmoignage important pour lhistoire du got. I1 est vrai que les collections ne font
pas que saccrotre; elles se dispersent aussi, et les muses actuels ne conservent plus
gure que des fragments de lancienne structure des collections dart de lItalie.
Dailleurs, si les tmoignages du got des collectionneurs et des amateurs dart des
XVI ~ et XVI I ~sicles ne doivent pas tre dtruits, il convient aussi dexprimer et de
transmettre la postrit les gots et les conceptions esthtiques de notre poque
par larrangement de nos muses.
- L guerre ont t heureusement assez lgers; mais le systme des muses lui-mme
Toutes ces considrations venaient compliquer cncore un problme dj grave;
placs dans l'alternative de tout conserver ou de tout renouveler, nous avons opt
pour une solution intermdiaire, la plus raisonnable mais aussi la plus difficile, car
elle imposait un travail de discrimination attentive entre ce qui mritait d'tre
conserv et ce qu'il y avait lieu de renouveler. En outre, il fallait faire preuve d'un
sens de la mesure toujours en veil afin d'tviter que l'ancien et le moderne se
heurtent trop violemment, ce qui aurait eu pour effet de dsorienter le public et de
priver les muses de leur unit. C'est pourquoi les uvres qu'il parut prfrable
de conserver ou de restaurer furent attentivement examinees dans le dessein d'en
assurer la dure et d'en rendre la prsentation plus cohrente, d'en favoriser les
rapprochements intressants et instructifs, d'attirer l'attention des visiteurs sur les
'plus importantes d'entre elles et d'en souligner par des dispositifs spkciaux s'ac-
cordant la prsentation les qualits artistiques essentielles.
Dans presque tous les muses, il fallait : IO reconsidrer la distribution des locaux
et la disposition des euvres; 20 amliorer l'clairage naturel et installer l'clairage
artificiel; 30 rduire les carts de temprature entre l'hiver et l't; 40 liininer ou
attnuer les risques d'incendie, toujours srieux dans des difices anciens; j o am-
liorer les conditions de la visite et installer le chauffage.
Depuis 194j, presque toutes les villes italiennes - mme les plus petites - ont
sensiblement amlior l'amnagement de leurs muses, qu'il s'agisse de collecdons
publiques (tat, villes, fondations religieuses ou prives). Un nombre considrable
de nouvelles salles ont t ouvertes i ct des anciennes. Des regroupements syst-
matiques et mme parfois des transformations profondes ont t effectues, notam-
ment aux Gallerie dell' Accademia de Venise, la Pinacoteca de Parme, celle de
Modne, la Galleria Nazionale delle Marche, Urbino, au Museo di Antichita de
Turin, au Museo de San Martino, de Naples, etc. Ces travaux de rorganisation et
de modernisation, excuts avec peu de moyens et en dpit de multiples difficults,
II. GALLERIA DI PALAZZO BMNCO, Genova. Tomb
of Marguerite de Brabant by Giovanni Pisano. This
fragment of sculpture has been mounted on a simple
mechanical support which when set in motion elec-
trically rises and revolves. Background colouring
has been carefully studied and sometimes natural
materials such as slate have been used.
II. Tombeau de Marguerite de Brabant, par Gio-
vanni Pisano. Ce fragment de sculpture est monte
sur un support articuli qui actionnC Clectriyuement
s'&l&ve et pivote. Les teintes des fonds ont et&
choisies avec soin ct rCalisCes dans certains cas
l'aide de matCriaux naturels tels que l'ardoise.
161
16. hrUSF.0 DI s4N ~%~KTI NC), Napoli. Sculpture
Gallery. A room devoted to the sculpture of Tino
di Camaino and his school.
16. Galerie de sculpture. Salle consacrke aux
euvres de Tino de Camaino et de son cole.
ont permis damliorer considrablement la situation gnrale des muses italiens.
Mais il sest pos aussi des problmes plus graves, qui ont t rsolus avec succs -
et cest de ceux-l que jevoudrais surtout parler ici.
De toutes les villes italiennes Milan est celle dont le patrimoine artistique a le
plus souffert; le Muse Poldi-Pezzoli a t ras; la Pinacoteca di Brera et le Museo
del Castello Sforzesco ont t trs gravement endommags par les bombardements.
La restauration du Museo del Castello Sforzesco, muse municipal, nest encore
qu ltat de projet; il est vrai que les plans sont excellents et, sils sont intgralement
excuts, ce vieux muse est appel devenir un modle du muse conp selon les
techniques musographiques modernes. La Pinacoteca di Brera* et le Muse Poldi-
Pezzoli restaurs sont dores et dj ouverts au public. La pinacothque tait un
muse napolonien typique. Et sicelui-ci refltait, dans sa conception, le got no-
classique de lpoque, la composition de ses collections portait aussi la marque de
ces rudits du dbut du XIP sicle, qui commensaient sintresser laspect
historique des uvres dart et vouloir les grouper par coles. Le conservateur, le
professeur Fernanda Wittgens*, a voulu respecter lordonnance des grandes salles
napoloniennes, adapter larchitecture des autres salles aux caractres historiques
des collections (sans jamais aller jusqu crer de salles dpoque), amnager enfin
conformment aux conceptions modernes certaines parties moins caractristiques
du muse, tout en maintenant une harmonie de dimensions et de couleurs entre les
diverses sections et en prvoyant une prsentation spciale pour certaines ceuvres
clbres, comme l e Mariage de la Vierge de Raphal. Au Muse Poldi-Pezzoli, le
mme conservateur a d rsoudre un probkme moins gnral mais plus compliqu.
Le Muse Poldi-Pezzoli avait t constitu au sicle dernier par un collectionneur
dun got trs raffin mais quelque peu influenc par le romantisme de son poque
et grand amateur dobjets anciens. h ct de tableaux dun intrt exceptionnel, ce
muse renfermait des sculptures, des bronzes, des armes, des toffes, des tapis, des
meubles, des bibelots divers ; lensemble donnait une impression seigneuriale, mais
quelque peu confuse et dsordonne. Le btiment ayant t entirement dtruit par
les bombardements, on se trouva devant une alternative : fallait-il recrer lambiance
primitive, avec lanachronisme romantique du cabinet dantesque ou, sans tenir
aucun compte du got et des intentions du donateur, transformer lancienne col-
lection prive en un muse public ncessairement incomplet et sans unit relle?
L encore on opta pour une solution de compromis : on reconstruisit une demeure
seigneuriale plutt quun muse, mais en sefforsant de ne pas trop encombrer les
salles, damliorer la prsentation et de grouper les objets de faSon rationnelle.
La municipalit de Gnes, en revanche, suivant la courageuse initiative du pro-
fesseur Caterina Marcenaro, directrice du Museo di Palazzo Bianco, a fait trans-
former ce vieux palais en un muse des plus moderne par les soins de Franco Albini,
brillant reprsentant de larchitecture italienne davant-garde. On a opr un tri
rigoureux entre les ceuvres de premire importance et les ceuvres dintrt secon-
daire; ces dernires ont t disposes dans des salles bien claires et bien amnages
(jg. IZ), toujours ouvertes aux visiteurs.
On a adopt une disposition rationnelle,
judicieusement adapte la distribution
des salles ; lclairage a t spcialement
tudi; tous les travaux ont t effectus
selon des principes de clart et de simpli-
cit. Les tableaux sont exposs sans cadre
sauf lorsque les cadres sont originaux
(Jfq ~j), sur des supports simples et
rationnels, dans la mesure du possible
prs des fentres, et cn tout cas, loin des
murs (Ag. 2 4 ) . Les teintes de fond ont
t choisies avec le plus grand soin, et
ralises dans certains cas laide de
matriaux naturels (lardoise brute, par
exemple) de fason obtenir des tons qui
ne soient pas des couleurs. Certaines
uvres bnficient dune prsentation
162
spciale, moins pour forcer ladmiration
des visiteurs, que pour les inviter A
une contemplation calme et riichie.
Cest ainsi quun fragment de sculpture
de Giovanni Pisano a t mont sur un
support articul extrmement simple qui,
actionn lectriquement, llve en le
faisant tourner : le dispositif permet un
examen absolument parfait de cette cmvre
classique ($A. I T ) ; signaler aussi la
prsentation du pallium byzantin, dans
une vitrine de cristal.
A Florence, la Galleria degli Uffizik
posait un problme extrmement com-
plexe, en raison de lktat des locaux, de la
richesse et de la varit des collections,
de la nCcessit de respecter certains
ensembles homognes datant des RIIdicis,
et dautres amnagements anciens et
systmatiques. I1se posait en outre de
graves problmes techniques, notamment
en matire de sicurit et dklairage des
cmvres. Afin dliminer tout risque dincendie, le dernier conservateur du muse, le
professeur Guglielmo Pacchioli, a fait effectuer des travaux inapparents mais impor-
tants. 11a supprim la poutraison de bois des superstructures et amnag des accs au
toit du muse afin de permettre une intervention rapide des pompiers eh cas dincendie.
Comme beaucoup dautres muses italiens, le Muse des OEices est clair par des
verrires, ce qui y provoquait des Ccarts de temprature prjudiciables la conser-
vation des peintures sur bois et - ce qui nest pas non plus ngliger - au confort
des visiteurs. Malgr la dificult de loptration, on a install, dans le vieus btiment
de Vasari, le chauffage et un systme continu de refroidissement par eau des ver-
rires. Laration des salles a t amkliore. Un systme de lamelles mobiles permet
de rgler la lumire des verrires. Enfin, on sest egord de combiner, partout o
ctait possible, lclairage znithal et lclairage latral afin dviter luniformit et
dclairer chaque tableau avec lintensit et sous langle les plus favorables. .
En outre, la disposition des collections a tC profondment modifie. Autrefois
qroupkes par coles - principe valable du point de vue critique mais rigide
lexcs - elles le sont maintenant daprs les contacts et Ies rapports culturels, de
fason mettre cn vidence la contemporankit plut& que la succession chrono-
logique des faits artistiques. Cette rgle elle-mme nest pas applique de fason
systmatique. Les conservateurs ont estim avec raison devoir restituer la Tribme
sinon son aspect original, du moins le caractre monumental que Buontalenti et
Poccetti lui avaient donn la fin du X V I ~ sicle; la salle de Niob lempreinte
no-classique de Paoletti et dAlbertolli; la galerie son architecture et sa dcoration
anciennes, et 3, la terrasse sur la Loggia dell Orcagna quelques Clments du jardin
suspendu conu par Buontalenti. Ils ont galement cru devoir conserver intactes
certaines collections, telles que celle des portraits dartistes peints par eux-memes.
Une ceuvrr non moins importante, le raminagement du Museo di San Martino,
a t ralise Naples ( E. 16, 1-8) par le professeur Bruno Molajoli. Ce muse
possde une collection aussi vaste que varie de meubles, cramiques et documents
de lart plastique voquant lhistoire de la vie et du costume napolitains. Dans un tel
muse, il ntait possible de mettre en relief des muvres isoles ou des collections
quen renonsant dlibrment reconstituer lambiance historique ou artistique,
pour tenter de crer une harmonie de lignes et de couleurs entre les collections
elles-mmes et les salles de laVieille Chartreuse. Cest ce qui a kt fait en sinspirant
de principes musographiques purement modernes qui donnent lensemble une
note dlgance soutenue.
A Naplcs galement, la collection dart dun important institut bancaire (g. 17)
a kt rorganise selon des principes strictement modernes. Elle constitue aujour-
17. GALLE RI^ DEL B.~NCO DI N~POLI . Arranged
(195 I ) by Bruno btolaloli with:the assistance of the
architect Ezio De Felice.
r?. Ensemble atnknage Bruno brolajoli avec la
collahoration de larchitecte de Felice (19sI).

* I-oir ; hfU5EUhi, vol. II, 1949, no 2, p. 28.
dhui en Italie un exemple peu prs unique de musCe moderne amnag selon
163
18. MTJ SEO DI SAN ~~A RT I NO, Napoli. Exhibition
of shepherds from Neapolitan Christ child's cribs,
in artificially lit showcases in darkened rooms.
16. Bergers de la crche napolitaine, espos& dans
des vitrines Cclairkes artificiellement, en des pices
oh rgne la phombre.
des conceptions musographiques ne tenant pas compte des considrations
historiques ou architecturales.
Le Muse de Pise, autrefois muse municipal et devenu proprit de l'tat,
a t transfr dans un ancien couvent qui servit jadis de prison. L'architecte Piero
Sanpaolesi a su tirer parti de l'ancien difice en l'adaptant sa nouvelle fonction.
Sans renoncer compltement des conceptions modernes, il a su confrer l'en-
semble un caractre d'austrit bien adapt i la nature des collections qui se com-
posent surtout de peintures des XIIF et X I V ~ sicles.
La ncessit de respecter le caractre historique des muses et parfois mme
leur structure intrieure a empch d'accorder toute l'attention voulue au dve-
loppement de leur fonction ducative aujourd'hui considre juste titre comme
essentielle. Pour remdier cet tat de choses, on amnage des salles spciales
affectes aux expositions ducatives. Des salles de ce genre existent actuellement
la Galleria Nazionale d'lirte Moderna de Rome, au Museo Nazionale de Pise et
la Gallera di Palatzo Bianco de Gnes. Ces mmes salles servent l'tude et
l'exprimentation de nouvelles mthodes de prsentation musographique.
Bien que de multiples raisons nous obligent en Italie maintenir les muses dans
leurs btiments originaux ou les transfrer si c'est ncessaire en d'anciens palais
(par exemple la Galleria Naaionale $Arte Antica de Rome, qui actuellement installe
au Palais Corsini, doit tre transfre dans quelques mois au Palais Barberini),
quelques nouveaux btiments de muse sont en construction. Celui que l'on
construit Paestum sur les plans de M. de Vita prsente un intrt particulier : il
rassemblera autour de la reconstitution systmatique du temple retrouv l'em-
bouchure du Sele tous les fragments et matriaux archologiques trouvs dans la
rgion. Un btiment extrmement moderne par le plan, l'architecture et la prsen-
tation des collections se construit Milan pour la Galleria d'Arte Moderna sur les
plans de I. Gardella. Un autre projet de muse d'art moderne a t mi s au concours
pour Turin.
Nous n'avons indiqu dans ce bref expos que les ralisations les plus impor-
tantes, sans pouvoir mentionner toutes les modifications et les modernisations qui
ont t effectues dans presque tous les muses d'Italie. En outre, nous avons dli-
brment omis de parler de la partie non encore ralise de notre vaste programme
de rorganisation des muses. Cette rorganisation demandera plusieurs annes
encore. Elle ne sera considre comme complte que lorsque le systme tout entier
des muses italiens aura atteint un niveau de fonctionnalisme en rapport avec le
progrs actuel des tudes d'histoire de l'art. (Traduit dt l'italien.)
.
A MUSEUM OF COLONI AL ART I N AN HI STORI C HOUSE
MUSEO DE ARTE COLONI AL, QUI TO
N Ecuador the Colonial Art was until recent years little appreciated despite its
I great value. Apart from what was to be found in churches or monastery cloisters
at Quito and Cuenca, there were only two or three private collections of svIIth
and svmth century art. Some private persons made it their business to buy antiques,
without the slightest discrimination, thus acquiring clumsy forgeries, many of
which are still to be found in museums or galleries.
Howerer, the setting up of the Museum of Colonial Art-particularly on its
new site, referred to below-began to educate the public whose interest in specimens
of bygone art is now awakening and whose sense of discrimination has greatly
developed.
The decision to set up a museum was taken by the Government some j o
years ago, though no definite plan was drawn up. An important private collection
was bought, including an altar piece measuring some 5 x 6 m. and several minia-
tures, one of which is a Calvary consisting of 17 figures on an old one-centimo
piece. There were also some important pictures, carvings in wood, ivory and
ivory nut and some furniture. The collection was nearly lost, however, because
of the rain which in winter ran down the walls of the theatre foyer in which it was
housed.
I n these circumstances, the Government in 1944 took active measures to preserve
this first collection, together with another acquired four years earlier. Both of them
had been shown at the Golden Gate International Exhibition held in San Francisco
in 1939-1940, and this collection of Ecuadorian Colonial Art aroused much interest
amorig the experts.
This was the position when the Government of Ecuador requested me to choose
an appropriate building, arrange for its restoration and install the collections. I n
this task I was greatly helped by my six years of experience visiting European
museums. In the first place, I realized that it would be financially impossible to
establish a museum with the proper technical equipment, especially as regards
artificial lighting and regulated temperatures. Such a project was beyond our
means, and an alternative arrangement had to be considered. I n point of fact, the
best pictorial and sculptural works have not suffered from the effects of bad weather.
The pictures painted by Miguel de Santiago (end of the svI th century) have
remained intact on the walls of the open cloisters of the Monastery of San Francisco;
and the total or partial damage suffered by numerous paintings of the colonial era
must be attributed to ignorance on the part of the Principals of many of our
monasteries and to lack of technical knowledge on the part of pseudo-restorers.
According to travellers in Ecuador, there is no climate in the world better than
that of Quito. The temperature varies between 14 and ZIOC, and the atmosphere is
dry. PracticalIy speaking, there are two seasons-the dry season, from J une to
October, and the rainy season, from November to May-though the mornings are
sunny throughout the year. These climatic conditions have preserved our works
of art, without the need for any special technical precautions such as are required
by the extreme winters and summers of other latitudes.
Consideration of these facts led me to follow the example of the monasteries.
Finding no sufficiently large and well-lit closed building, I chose the former
residence of the Marquis of Villacis (j g. zo) , after consukation with a member of
the Academia Nacional de la Historia. This house, which dates from the end of
the svIrth century, has wide lower cloisters, bordered by small Tuscan columns
supporting medium-sized white-washed arcades (g. 19). The pavement is in the
style of the period paving stones some 30 centimetres square alternate like a
chess-board with squares composed of small stones from the local river-bcds.
In the centre of the little patio, I put a stone fountain (j g. ZI), a smaller copy of
the most beautiful of the citys old fountains, preserved in the main courtyard of
the Monastery of San Agustin. Round the fountain, small gardens have been laid

by NrcoLAs DELGADO
19. MUSEO DE ARTE COLONIAL, Quito. One of the
lower cloisters, round the flowery courtyard.
79. Lun des cloitres infthieurs qui entourent Is
patio fleuri.
20. MUSEO DE ARTE COLONIAL, Quito. The museum
is installed in the former residence of the Marquis
of Villacis. xvrrrth century.
20. Le musCeest install6 dans l'ancienne risidence
du marquis de Villacis. SVIII? sicle.
21. MUSEO DE ARTE COLONIAL, Quito. The carved
stone fountain in the patio.
zr. La fontaine de pierre sculpt& au centre du
patio.
I 66
out with some of the Colony's characteristic trees and plants, such as a walnut-tree,
a magnolia and some orange trees. And in the sunshine, the honeysuckle which
perfumes the air and clings to the walls describes arabesques of light and shade
against the white background. The atmosphere is exceedingly pleasant, so that the
Museum patio is much favoured by students who come t o read, or others desiring
to escape for a moment the noise and bustle of the streets. In addition, the fact that
we had to find a colonial house meant that it must stand in a part of the city which
still preserved the character and the charm of the early xxth century-the Merced
district over which rose like a banner the tower of the Basilica de las Mercedes.
This district overlooks the western part of the city, and beside it rise the hills of
another very beautiful and picturesque district-that of San J uan.
The house of the Marquis de Villacis, now the Museum of Colonial Art, is not
as luxurious as the Torre Tagle Palace at Lima, nor as magnificent as the Mexican
palaces, but it has to the full the atmosphere and monastic calm of the cloisters of
the nuns of Santa Clara or the Carmelites.
Since the art cofiections were installed in a private house, they had to be arranged
in a natural, familiar way. So far as possible, the various objects had to be disposed
about the house as they would have been by the people of the time. Pictures are
therefore shown together with sculpture, furniture, carpets and miniatures (' g. 22).
In this way, we were able to avoid the great drawbacks which are sometimes found
in museum galleries-often endless-full of sculpture, room upon room of paintings,
interminable exhibits of Far Eastern porcelain ware, etc. ; innumerable similar
objects, repeated in endless succession, depriving each other of much of their
interest; pictures of diAerent sizes, too close together, so that the visitor cannot
appreciate their full value.
A few years ago, after setting up our Museum, I had my first opportunity of
visiting the National Gallery of ,4rt, Washington, technically perhaps one of the
finest, even the very finest. There, to my great satisfaction, I saw that a larger or
smaller space had, just as in our own modest Museum, been given to pictujres in
accordance with their size and importance.
I believe that the ideal form of lighting has not yet been found for museums and
art galleries. Works of art are generally given the same light as the visitors, so that
it is very difficult to study the pictures. Students are handicapped in their observation
as a result of faulty techniques. If there is not sufficient light and space round
a work of art, so that it cannot be completely and properly studied, what is learnt
from it will be incomplete.
I am certain that there is an easy and logical way of lighting works of art; but
I do not propose to discuss the matter here. To my mind, the true proportion of
the colours of the spectrum is not, as a rule, preserved.
Among the more important works in the Quito Museum of Colonial Art are
three paintings by Miguel de Santiago, a remarkable colonial painter. His greatest
works are to be found in the churches and 'cloisters of San Agustin and San Fran-
cisco, and in the San Francisco Chapel and the Seminary at Bogota (Colombia).
The Museum also contains pictures by Manuel de Samaniego, a shy and gentle
painter of Madonnas. There is a richly adorned Virgin of the Sorrows by the
Indian sculptor Caspicara; crucifixes by Pampite and Father Carlos (a Franciscan),
and a beautiful Santa Rosa of Lima, by the peerless Bernardo de Legarda. I n the
large upper cloisters of the Museum, the svnth and xvrnth century furniture
of tooled leather, alternates with richly inlaid escritoires and cabinets. In the main
hall hangs the large picture mentioned earlier, which used to belong to the Com-
munity of the Order of Merced.
The period frames of all these pictures are themselves of great value. Most of
them are gilt on a red or green background. All are hand-carved in wood, and
their ornamentation is always baroque.
The sculpture, although restricted to the religious themes which dominated all
the art of the xvmh and xvmth centuries, is of great variety. Much of it is decorated
with gold by the process then in use.
The remainder of the hhseum contains miniatures in ivory, ivory nut, bone
and wood. All these small works of art are exhibited in horizontal cases, so that a
number of them which are really minute may be studied through a magnifying glass.
The Quito Museum of Colonial Art is a State institution, and has so far received
no substantial private donation. The museum staff has neither the sufficient technical
knowledge nor cultural background to be able to guide visitors satisfactorily. Like
so many other problems arising from the same cause, this can be solved only by
additional funds. May persons or institutions in a position to help us in our project
be inspired by the axiom that museums are a form of wealth which belongs to all
peoples, a cultural heritage of the whole of mankind, to be preserved as perfectly
as possible.
There can be no doubt about the educational value of ths museum, whether as
an instrument of general culture or as an aid to the understanding of history and
the arts. The Quito Museo of Colonial Art is situated in a populous area, and as
long as I was responsible for it, I was able to attract the public, in particular children,
by arranging for periodical visits by schools and colleges and by showing films,
including films for children. At first, the children came for the films; they then
found plenty to interest and entertain them in the Museum itself.
The Museum needs a library, a small room for chamber music recitals, short
plays, puppet shows, etc., and a photographic studio to make good reproductions
at least in black and white, of the best works in the collections.
( Ti-atislnted from Spaiiish.)
U N MUSE DART COL ONI AL
DANS UNE DEMEURE HI STORI QUE
MUSEO DE ARTE COLONI AL, QUI TO
N quateur, jusqui ces dernires annes, lart colonial, malgr sa grande valeur,
E tait peu apprci. A part ce que 101-1en voyait dans les glises et dans les
clotres des monastkres de Quito et de Cuenca, il existait tout juste deux ou trois
collections prides duvres du XVI I ~ et du XVI I I ~sicle. Certains particuliers ache-
taient sans discernement des antiquits et acquirent ainsi de grossires imitations
qui figurent encore dans les muses ou galeries. Le Muse dart colonial, ds sa
cration, et surtout depuis son installation dans le nouveau local dont nous parlerons
plus loin, a commenc Iducation du public, qui sintresse maintenant davantage
lart ancien et fait preuve dans son choix dun plus grand sens critique.
Le. gouvernement fut lorigine de la cration de cemuse, voici une trentaine
dannes, mais sans intention bien prcise. I1 avait achet une collection prive
importante, compose dobjets fort divers, depuis un retable denviron 5 x 6 m
jusqu des miniatures dont une reprsente un chemin de croix de 17 figures sur
une pi ke de monnaie ancienne, un centimo. Cette collection comprenait galement
dimportants tableaux, quelques meubles et des sculptures en bois, en ivoire et en
corozo. Mais elle tait trs menace parce quelle se trouvait dans le foyer dun vieux
thtre dont les murs ruisselaient en hiver sous lapluie.
Devant cette situation, le gouvernement en 1944 prit des mesures nergiques
pour prCserver cette collection ainsi quune autre, qui avait t acquise quatre ans
plus tt pour tre prsente avec lapremire la Golden Gate International Exhi-
bition de San Francisco (I 9 j 9-1940), o la collection dart colonial quatorien avait
veill un vif intrt parmi les visiteurs rudits.
Cest dans ces circonstances que le gouvernement de lfiquateur me chargea de
trouver un immeuble appropri, de le restaurer et dy arranger les collections. Six
annes dexprience, passes visiter les muses europens, maidrent macquitter
de cette tche. J e constatai tout dabord que les ressources conomiques disponibles
ne permettaient pas dinstaller un muse vraiment moderne, ayant notamment un
clairage artificiel et une atmosphre climatise. Un projet aussi ambitieux dpas-
sait nos moyens. I1 fallait chercher autre chose. En fait, nous pouvons affirmer que
nos meilleures euvres picturales et sculpturales, mme exposes aux intempries, se
sont remarquablement conserves. Les tableaux de Miguel de Santiago (fin du XVI ~)
sont rests accrochs aux murs des clotres ouverts du monastre de San Francisco,
et cest uniquement i lignorance de nombreux suprieurs de nos monastres et
par NI COL.\S DI ~L GA DO
lincomptence technique de prtendus
restaurateurs quil faut attribuer les
dgts plus ou moins graves quont subis
beaucoup de tableaux des peintres de
lpoque coloniale.
Les voyageurs qui visitent Yquateur
saccordent dire quaucun climat au
monde nest nieilleur que celui de
Quito. La temprature y varie entre
14 et 210 C, et lair y est sec. On peut
dire quil ny a pratiquement que deux
saisons, la saison sche (de juin octo-
bre) et la saison des pluies (de novem-
bre mai), avec cette particularit que
pendant toute lannte les matines sont
ensoleilles. Aussi les uvres dart sy
conservent-elles sans quil soit besoin
de recourir aux techniques spciales
quexigent les hivers rigoureux et les
ts torrides de certaines autres latitudes.
Ces considrations mincitrent sui-
vre lexemple des monastres, et, devant
limpossibilit de trouver un difice ferm suffisamment vaste et bien clair, je
choisis, avec lassentiment dun dlgu de lAcademia Nacional de la Historia,
lancienne rsidence du marquis de Villacis (j. 20). Cette maison, qui date de la
fin du XVIP sicle, possde au rez-de-chausse de vastes clotres entours de petites
colonnes toscanes soutenant des arcs de plein cintre blanchis la chaux (Jg. r9).
Le dallage, caractristique de lpoque, est un damier fait de pierres carres de
30 cm alternant avec des carrs forms de petites pierres tires des rivires
voisines.
22. MUSEO DE ARTE COLONIAL, Quito. The main
hall, with the carved and gilded altar piece, paintings,
sculpture and furniture of the svrrth and xvmth
centuries.
22. La salle principale contenant le retable sculpt6
et dore, les tableaus, les sculptures et les meubles
des XVI I ~ et X ~I I I ~ sihcles.
168
Au centre du petit patio jai plac une fontaine de pierre (jg. 21), copie rduite
de la plus belle fontaine de la ville, celle du patio principal du monastre de San
Agustin. La fontaine est entoure de petits jardins dont les plantes et les arbres
(tels que le noyer, le magnolia et quelques orangers) sont caractristiques de la
colonie, et les murs sont couverts de chvrefeuille odorant qui dessine au soleil
des arabesques dombre et de lumire sur la blancheur des arcades et de lenceinte.
Latmosphre est extrmement accueillante et le patio du muse est le lieu dlection
o viennent lire les tudiants et tous ceux qui dsirent chapper un instant lagi-
tation et au vacarme de la rue. Cet difice colonial, qui ne pouvait gure se trouver
ailleurs, est dans un quartier qui conserve le caractre et le charme du dbut du
X I X ~ sicle, celui de la Merced, au-dessus duquel se dresse, comme une bannire, la
tour de la basilique de Las Mercedes. Ce quartier domine vers louest une partie
de la ville, et cest de l que partent les collines sur lesquelles est construit un autre
quartier, lui aussi trs beau et trs pittoresque, celui de San J uan.
La demeure du marquis de Villacis, aujourdhui Muse dart colonial, na certes
n i le luxe du palais de Torre Tagle Lima, ni la splendeur des palais mexicains,
mais elle a toute la saveur et le calme presque monacal des paisibles clotres de
clarisses et de carmlites.
Installes dans un htel particulier, les collections dart devraient tre disposes de
fason en quelque sorte naturelle et intime. I1 fallait autant que pohsible prsenter les
objets comme lauraient fait, chez eux, les personnages de lpoque. Aussi les
tableaux alternent-ils avec les sculptures, les meubles, les tapis et les miniatures
( g. 22). Nous avons ainsi vit le grand dfaut que prsentent parfois des salles de
sculpture souvent interminables, une succession de salles de peinture, de longues
salles de porcelaines orientales, tout un monde dobjets peu prs analogues qui
se rptent et se nuisent mutuellement, des tableaux de toutes dimensions, serrs les
uns contre les autres, que le visiteur dsorient ne peut pas apprcier.
Voici quelques annes, aprs avoir organis notre muse, jai visit pour la
premire fois la National Gallery of Art, Washington (dont linstallation est des
meilleures) et jai constat avec grande satisfaction que les tableaux, les pein-
tures, etc., y occupent, comme dans notre modeste muse, un espace plus ou moins
grand suivant leur importance.
J e ne crois pas que l'on ait encore trouv d'clairage idal pour les muses. En
gnral, uvres d'art et visiteurs reGoivent la mme lumire, ce qui rend I'obser-
vation difficile. Les conclusions des tudiants sont fausses par certains dfauts
techniques ; et les enseignements qu'ils tirent d'une uvre d'art sont incomplets
parce que l'clairage de l'uvre et l'espace libre qui l'entoure, tant mal distribus,
ne permettent pas de la regarder commodment et comme elle doit l'tre.
J e suis persuad qu'il existe un moyen facile et logique d'clairer les uvres d'art;
niais je ne saurais discuter cette question sans sortir du cadre de mon sujet actuel.
A mon avis, cequi manque gnralement, c'est un heureux dosage des couleurs du
spectre.
Le Muse d'art colonial de Quito possde, parmi ses principales pices, trois
tableaux du grand peintre de l'poque coloniale, Miguel de Santiago, dont l'ceuvre
principale se trouve dans les glises et les clotres de San Agustin et de San Fran-
cisco ainsi que dans la chapelle de San Francisco et au sminaire de Bogota (Colom-
bie). Notre muse. posstde galement des tableaux de Manuel de Samaniego, le
dlicat et timide peintre de madones, une Vierge des douleurs, richement pare,
du sculpteur indien Caspicara, des mises en croix de Pampite et du Pre Carlos,
moine franciscain, enfin une belle Santa Rosa de Lima due l'ingalable Bernardo
de Legarda. Dans ses vastes clotres suprieurs le muse conserve, outre des pices
d'ameublement en cuir repouss des XVI I ~ et XVI I I ~ sicles, de petits meubles en riche
marqueterie. Dans la salle principale se trouve le grand retable auquel j'ai dj fait
allusion et qui a appartenu la communaut religieuse de la Merced.
Les cadres de ces tableaux, tous originaux, ont galement une grande valeur; la
plupart sont dors sur fond rouge ou vert; tous sont sculpts sur bois la main,
et leurs motifs dcoratifs sont toujours baroques.
Les sculptures, si elles relvent toutes de l'inspiration religieuse qui domine la
production des XVI I ~ et XVI I I ~sicles, offrent nanmoins une grande varit. Beau-
coup d'entre elles sont dores selon la technique spciale de l'poque.
Le reste de la collection comprend des miniatures sur ivoire, corozo, os et bois.
Toutes ces petites ceuvres d'art, dont beaucoup ont des dimensions rduites, sont
exposes dans des vitrines horizontales qui permettent au visiteur de les examiner
au besoin la loupe.
Le Muse d'art colonial de Quito est une institution d'tat et n'a encore r ep de
source prive aucune donation importante. Son personnel ne possde suffisamment
ni les notions techniques ni la culture qu'il lui faudrait pour pouvoir guider conve-
nablement les visiteurs. Seuls des moyens financiers permettraient de rsoudre ce
problme comme bien d'autres. On dit que les muses constituent une richesse qui
appartient tous les peuples, un patrimoine culturel qui appartient au monde entier,
et qu'il importe en consquence de les conserver le mieux possible; puisse cette
vrit inciter les institutions et les particuliers qui en ont les moyens nous aider
dans notre tche.
La valeur ducative de ce muse est indniable, tant sur le plan de la culture
gnrale que sur celui de l'art et de l'histoire.
Le Museo de Arte Colonial de Quito est situ au cur d'un quartier populaire,
et tant que j'ai t sa t&e je me suis efforc d'attirer le public, notamment les
enfants, en organimnt priodiquement des visites collectives de collges et d'coles,
et des sances de cinma l'intention des enfants. Les enfants, d'abord attirs par les
films, s'intressaient aprs la sance au muse lui-mme et prenaient plaisir le
vi sit er.
I1 manque notre muse une bibliothque, une petite saLZeo donner des rcitals
de musique de chambre, des comdies, des sances de 'marionnettes, etc.; et un
atelier de photographie o l'on puisse faire au moins en noir et blanc de bonnes
reproductions des principales pices des collections. ( Tmd& df I 'espagnol.)
"
A MUSEUM OF ECOLOGY AND HI STORY
NIEDEROSTERREICHISCHES LANDESMUSEUM, VIENNA
by RI N T E R S B ,4C H E R
23. NIEDER~STERREICHISCHES LANDESMUS~UM,
Wien. Poster. Entrance gate to the museum, syinbol-
izing the two themes of the musum: nature and
arts. 84 cm. Deed Baszel, stefreichische Staats-
druckerei.
23. Affiche montrant la porte dentrite du musee et
symbolisant les deux thmes principaux du musk :
la nature et les arts.
HE Homeland Museum of Lower Austria (fig. zj) is at present housed in a
T beautiful Baroque palace in Vienna. This building of great historical interest
suffered severely in 1944-194~from bombs (fig. 2 j ) : all that was left intact
after the war was the street frontage. Of the collections much was lost or badly
damaged. Many objects that had been placed in safe keeping in various castles
of Lower Austria were overtaken there by the swiftly-advancing front and were
damaged or impossible to recover. This accounts for the loss of more than half the
Museums natural history collection and practically all its art treasures.
Support from the Government of Lower Austria enabled us to begin the
reconstruction of the Museum in 1946. We tried as far as possible to restore to
their original state such old historical parts as were still standing. By removing
all traces of the unfortunate alterations made to individual rooms in the xxth century,
it was possible to restore the historical state-rooms in the style of the xvrrnh century
(fis. 27) and to replan completely the arrangement of the entrance and the courtyard.
All exhibits were removed from the entrance hall; and the first courtyard, whose
fine xmth century arcades were again revealed, is now arranged so as to afford
a comparison of styles, from the Romanesque and Gothic to the Renaissance and
Baroque (fig. 26). There is also a covered section containing Roman gravestones.
In this way, the visitor can gain a harmonious picture of a multiplicity of objects,
whose colourful variety sets off the architectural interest of the courtyard; thus
completely replanned, the courtyard puts him into the mood to appreciate the
historical interest of the building and its museum nature. Once the work of archi-
tectural reconstruction was completed in the spring of 1951, a beginning could
be made with the installation of the Museum, which by the end of the year was
ready to be reopened to the public.
The Museum, in aim, scientific content and arrangement, is a highly individual
creation, deserving careful study not only in Austria but by museum experts abroad.
It is a complete embodiment of a Heimatmuseum. The fact that so many of the
exhibits had to be replaced made it possible from the outset to select only such
objects as were suited to the new conception of the Museum. As compensation
for having lost a considerable number of showcases and having empty rooms at
our disposal, we were able to follow our own ideas in replanning the Museum,
without reference. to any previous inventory. In addition, we purposely aimed
at introducing modern methods of display in the surviving state-rooms of the
old palace, with the result that the new exhibits and the fine interior decoration
were set off to very much better advantage. The same aim was pursued in the
natural history section of the Museum, and in the use of the state-rooms to display
exhibits belonging to the art history department. From this it will be seen how
the Museum has been arranged in sections; and we should add that the art history
department shares a single storey of the building with the folklore and the historical
sections.
The Museum dates from the beginning of this century and is.thus one of the
youngest of the best-known Austrian museums. From the outset, it lacked a long
tradition-a feature of so many collections built up from what the Imperial House,
the Austrian aristocracy or other wealthy art patrons had accumulated in the days
of Austrias power and splendour. The havoc of 1944-1945 made it possible and
essential to rely on an at3Jtrmt idea rather than on the existence of a .rfore Izf
exhibifJ- and was, in point of fact, the Museums distinguishing feature from its
earliest days. Today it is the basis for the illustration and study of Lower Austrias
cultural and natural resources, past and present. Therefore the Niedersterreichisches
Landesmuseum has always stood as a symbol of the homeland.* It is concerned
only with that geographical and political entity that goes by the name of Lower
Austria (19,296 sq. km.). Every subject dealt with throughout the Museum is
intended to shed light on some aspect of Lower Austria-its history and natural
history, its folklore and its art. The
Museum rejects all themes that could be
dealt with equally well in museums for
other provinces, designed for a different
purpose. With its special aims und
organization, it is thus unique among
specialized and general museums.
Both the advantages and the difficulties
inherent in .its scientific and systematic
approach will be readily understood. The
native of Lower Austria and Vienna
enjoys seeing the beautiful and varied
scenery of his homeland, the problems
of his workaday world, the history of
his country and the works of native
artists set before him with all necessary
explanations. A visit to the Museum is,
for him, a pleasant way of gaining a
wider and deeper laowledge of his more
immediate homeland. Visitors who are
not natives of Lower Austria will find
in the Museum a vivid cross-section
of this province's natural features and
culture. The display is the result of
careful selection, a reduced picture of the
country. A cursory tour through the
rooms will give even the most casual
visitor an idea of Lower Austria's
individual features, as well as of its
cultural significance in relation to Austria
and in a wider sense to'the heart of
Europe.
Educational visits to the Museum are
very popular with schools. The Museum's
1
L
. - -
aims are in line with the general trend of Austrian education, with its emphasis
on the homeland. And first-hand, concrete representation, which is so essential
a part of school teaching, is effectively adopted by this Museum-as indeed by
every good museum-as a matter of course. The Museum is thus of great educa-
tional value to schools and the general public-a need which was carefully borne
in mind when it was being remodelled, and which is met by the rational selection
of exhibits and the varied methods of presentation devised.
The Lower Austrian Museum aims primarily at creating an atmosphere. Its
purpose is not so much to impart knowledge direct as to convey it to the visitor
in the form of an experience. It tries to educate, but its educational effort is imper-
ceptible for the visitor. Every room therefore has its particular theme-its dominant
note and corresponding atmosphere. This effect is achieved by a visually-pleasing
distribution of the total space in each room and of the individual showcases or
groups of exhibits. The greatest care was taken to procure the finest objects, all
but high-quality material being rejected. In addition, every eflort was made to
vary the exhibits as far as possible. Thus the Museum today contins all types
of exhibits, from mounted animals in the natural history section, models, relief
maps and geological specimens to high-quality photographs, sculpture and
painting. It has even gone to the extent of keeping live animals and reptiles, amphibia
and fish in the vivarium and the aquarium, thanks to which there are none of those
alcohol or formol preparations that would so detract from the aesthetic value of
these collections. But we were not merely concerned to secure a pleasing effect by
a suitable choice and display of exhibits; it was necessary, above all, to delTise
appropriate explanatory labels. The texts wete made as short and unobtrusive as
possible. Glass panels as a base for the lettering were found most suitable for this
purpose, as they do not mar the general effect of the showcase or rooms by
2.11. NIEDEROSThRKEICHISCHES L~4NDEsbfusEuhfs
Wien. Anteroom. Introductory room to the de-
partmcnt: The
2J. Antichambre. Salle d'introduction lx section :
Le paysage.
=7=
2r. NIEDER~STERREICHISCHES L.ANDESAUSEUPII,
\Vien .Rear of the museum after its destruction in
T9-I .j .
21. Corps de btiment du fond, dCtruit en 1941.
26. NIEDER~STERREICHISC~IES LANDESMUSEUM,
Wen. View of the first courtyard.
26. Vue de la premire cour.
undue prominence. The characteristic noises of animals are reproduced by the
magnetophone method, so that the attraction for visitors is not solely visual.
This variety in display creates ever-new sensations and impressions and so helps
to prevent the museum becoming dull and tiring. It also means that the visitor is
barely conscious of the museums concealed educational aim. It is a special merit
of the museum that it has succeeded in discharging its institutional functions by
providing education in the attractive form of an experience. The best proof of its
success is that the Museum has had 30,000 visitors within three months and is
thus one of the most frequented museums in Vienna. Moreover, in contrast to the
larger State museums, it has an extremely small staff and equipment.
Its distinguishing feature and underlying spirit may be gathered from the in-
scription at its entrance, reading: The aim of this Museum is to depict the natural
features, history and art of the Federal Province of Lower Austria. May it awaken
an understanding and love for nature, people and homeland. Such knowledge
is surely worthy of being imparted through museum experience. The following
summary account of the various collections is intended to clarify the individual
problems referred to above.
Worlung on the fundamental principle that every theme is best treated by pro-
ceeding from the general to the particular, from the known to the unknown, we
used the staircases and ante-rooms to introduce the visitor. The characteristics
and familiar symbols of the province appear as though by chance in landscape
paintings of well-known views, a map of Austria made in mosaic, the arms of
Lower Austria and of its principal towns, an ancient wooden statue of St. Leopold
(the Patron Saint of Lower Austria) and a fragment of architecture (g. 24). The
paintings serve as an introduction to the first room of the Museum, which is
devoted to The Countryside.
A series of canvases gives an idea of the variety of scenery to be found in the
region. The visitor sees that Lower Austria lies at the junction of three types of
European landscape, Alpine heights, the secondary range dividing Germany and
Bohemia, and the East European lowlands. He also notices the unusual beauty
conferred upon the province by the Danube, with its succession of charming
riverside scenes. Thus he is naturally led on to the next question: What causes
this variety of scenery? A large block of stone is placed below each painting
and the visitor notes the geology of the landscapes depicted. This geomorpho-
logical display is supplemented by photographs (g. 28). Next comes a diorama
showing how, 20 million years ago, Lower Austria was covered by the sea,
so that all present-day types of scenery have behind them an immeasurable geolo-
gical history, during which-as is illustrated by geological maps and cross-sec-
tions-natural forces were steadily building up the landscape. Among these factors
was, and still is, the climate, together with the flora and fauna on which it has a
decisive influence. The final purpose of this room is to demonstrate the influence
exerted upon life in Lower Austria by climate, soil and geological formation; and
it explains the arrangement of the natural history section that follows. The inclusion
of a large coloured relief-map showing the whole of Austria (scale of I: 50,ooo with
2 :/,-fold elevation) gives a further idea of the scenic diversity, the nature of the
vegetation (forests, vineyards, arable land), and the density of population and com-
munications, while the visitor may study the topography from special maps.
The room entitled The Lowlands deals with the Lower Austrian part of the east-
ern plain, and with the hilly country between the Alps and the Carpathians. Large
wall-paintin@ and numerous transparencies show how water, as a biological
factor, splits up the province into two contrasting zones-river and meadowland
(j g. 29) and cultivated land and steppe. The former shows the characteristic
fauna and flora f water and marshland, and their dependence on their surroundings.
Under this heading come showcases containing pictures and specimens of the
Auwald (river and meadowland) along the Lower Austrian stretch of the Danube,
with its rich variety of fauna, and displaying life in and around the water. Here,
as in subsequent groups of exhibits, the main species of invertebrates are of course
shown as well as vertebrates. The other half of this room is devoted to the biologic-
ally contrasting zone-the dry, warm lowland (cultivated land and steppe). The
fauna and vegetation of the cultivated land are shown, and examples illustrate
the problems of deforestation and reversion of the land to steppe. The next room,
Mountains and Forest ('fig. 30) introduces the visitor to the zone of secondary moun-
tains, i; which the forest dominates-an impression which the room attempts to
convey. Although, as we know, it is very difficult in a museum to give a really
striking representation of the typical vegetation of an individual landscape, the
method adopted has proved estremely effective. Sizable tree-trunks are placed
against the ~111s of the room and completed by realistic illustrations of the trees
concerned; to these are added greatly enlarged photographs, water-colours, models
of mushrooms, etc. ; and the final result gives a correct impression of the forestland
of Lower Austria. This is supplemented by showcases containing examples of
the chief species of the province's forest fauna.
Here it may be worth saying sometning about the novel and effective way in
which the zoological sh.Jmcases are arranged. The Museum is very cramped for
room and would not be ahle to fulfil its educational function if objects in the show-
cases were dispersed. Moreover, the cases have to create a lifelike impression. A
solution was found in the diorama showcase, which makes it possible to present
a relatively large number of lifelike animals without detriment to scientific accuracy.
It is of course, necessary to devote each showcase to a particular aspect of the
subject. For instance, the case entitled Hole-dwellers shows those birds and mam-
mals that make their homes in tree trunks or in underground burrows, while other
cases bring together the Nocturnal Animals, the Harmless Creatures of the Forest,
and so on.
In the room dealing with The High Mountains, the showcase for vertebrates is
especially striking. Despite the great number of exhibits in this case, their beauty
is vividly rendered, thanks to the use of natural materials (trees as supports, stones,
undergrowth) as background for the mounted animals. The colour and wealth
of the Alpine landscape are conveyed by skilful water-colours. Then comes the
room dealing with the protection of nature. This begins with a historical survey,
showing the visitor, with the help of some magnificent stag's antlers ranging from
the svrIth to the srsth century, how completely and rapidly a stretch of country
can be spoilt as a habitat for such animals, for the land where the stag (Cervus
elaphus) used to live is now a town. The encroachment of civilization and the
retreat of nature are further illustrated by mounted specimens of animals whose
species have become extinct in the course of the last IOO years. The same
idea is applied to the plant world, the species that are protected by law in Lower
Austria being shown in water-colour paintings, with photographs of the main
natural phenomena. This introduces man into the collection, as a biological factor
and an influence on the development of nature, and leads on to: The Exploitation
of nature as the next subject of the series. It is instructive to note that this realistic
presentation of the problem has a special appeal, illustrating the practical problems
of everyday life. I n a restricted space, but very effectively, the visitor is shown
the features of forestry and agriculture ('fig. 311, fruit-growing and viticulture. To
illustrate mining, we arranged an arresting display of numerous specimens from
the museum's nlineralogy collection. The development of the mining industry,
including gold-washing in the Danube, receives as much attention as do the
modern petroleum and coal industries. I n this room, too, the entire wall space,
up to the ceiling, is used for the display of specimens and scientific illustration of
the theme. As the latter task was entrusted throughout to artists, working under
the direction of scientific experts, the results are excellent.
Another room is entitled Hunting and Fishing and depicts these early means of
livelihood in the province, whilst at the same time displaying specimens of animals
hitherto disregarded. Here, too, owing to shortage of space, new methods were
tried out such as small dioramas of the various types of game in Lower Austria.
The historical aspect of hunting is illustrated by a showcase displaying the equipment
used throughout the ages. I n the section on fishing, the Museum has succeeded in
presenting live specimens. Examples of the great majority of fishes native to Lower
Austria are contained in one large and several small tanks; the remaining types
are displayed in the form of dried exhibits. I n the natural history section, we de-
liberately present the material in the following scale: mounted specimens, specimens
depicted in paintings and photographs, specimens in small dioramas, mounted
"3
specimens in large-scale dioramas, and, lastljr, lisre specimens in the aquarium or
vivarium (j g. 32). Several large dioramas of different types of game conclude this
collection. The last room of the natural history section, entitled Scenes of Prehistoric
Life, is devoted to palaeontology and demonstrates how the development of the
plant and animal life of Lower Austria up to the present day has run parallel to
the general historical development of life on the earth, with however certain
variations due to the specific geological formation of the province. Fossils and
sketched reconstructions, showcases and dioramas, explanatory notices and wall-
paintings-all help to provide, within the smallest space, a faithful and compre-
hensible picture of the provinces geological past (Ag. 3j). This last koom in the
natural history section shows how nature has evolved into the environment of
man, that biological.environment which man to this day disputes with the beasts
and the plants, firstly for self-preservation and finally, by the power of his intellect,
in order to fashion human civilization-a subject which forms the theme of the
next section on prehistoric times, and the history of civilization.
The natural science section, showing the development of life on earth from the
earliest times up to the Ice Age, leads on to the history of human civilization,
traced by means of material culled from various branches of study.
Since the progress of mankind can be reconstructed only through objects brought
to light by excavations, it was very important to enhance the significance of such
objects by arranging them systematically and with due regard for the visitors
convenience and for aesthetic considerations, and to use them in conjunction with
reproductions, models and illustrations so that they might evoke a complete picture
of primitive mans wa~7 of life.
From the general theme of the earliest human civilization-features of the Ice
Age, man in his environment, his cultural awakening-the visitor is led on to the
beginnings of cisrilization in his own homeland. Since the material which has
survived from the earliest period is too specialized to be readily comprehensible
to the layman, a division was made, in illustrating the earlier and later Stone Age,
between the general and the specific; for instance the earlier Stone Age is classified
under economy, settlement, ergology, religion and burial rites, so as to illustrate
its general character, whilst a selection from the most significant palaeolithic esca-
vation sites brings out the specific imprint it left in the region. From the Bronze
Age onwards, ths double approach is dispensed with, lest it should result in mono-
tony. Instead, the main emphasis is placed on historical transformations and cha-
racteristic innovations.
Both the arrangement of the showcases and the fact that they are lighted from
inside-the rooms having no direct lighting at all-are designed to focus the visi-
tors attention on the actual exhibits and to prevent the harmonious architectural
structure of the room or the explanatory wall-pictures from becoming unduly
obtrusive. The brightness of the rooms was also varied deliberately, so as to reflect
firstly the dim twilight of mans origins, then the dawn of prehistoric times, and so
through the centuries of recorded history to the brilliant radiance of modern art.
If an exhibit is to be appreciated as a witness of the past, its effect must not be
destroyed by obtrusive comment. Accordingly, labels have been used in the show-
cases only when absohtely necessary; and such explanatory notices as are required
for a proper understanding of the cultural and historical background are not directly
attached to the groups of exhibits, largely for aesthetic reasons.
The successive movements of population are shown diagrammatically in a com-
bination of charts and excavation material which illustrate clearly, without any
captions being needed, such events as the Nordic migration, the transfer of burial
urns, the Roman colonization, the migration of the peoples, etc.
Burials have been depicted by graves let into the ground; this conveys the best
and most direct impression of the customs it is desired to record. The visitor thus
feels he is actually seeing the grave and not merely a museum copy enclosed in
glass. A complete picture of the Schleinbach settlement and burial ground is provided
by thc two Schleinbach graves (fis. j]), illustrating the social and spiritual make-up
of an early Bronze Age civilization (burial rite with human sacrifice), and by
transparencies of regional burials, of plundered graves and of a woman stoned
to death-together with a plan of the site and various excavated exhibits.
2.7. NrEDEKdsrERRErCHrsCHES L ~NDES~~USEU%
Wen. Baroque Gallery.
27. Galerie de style baroque.
*
=75
28. NlEDER6STERREtCFitSCHES I,ANDESIUSEUhl,
\Vien. Countryside and soil.
28. Paysage et sol.
29. NIEDER~~STERREICHISCHES LANDESMUSEUM,
Wien. Display illustrating river and meadowland,
with relief-map of Lower Austria.
29. Ensemble Fleuve et prs, avec le plan en relief
de la Basse-Autriche.
J O. NIEDER~STERREICHISCHES LANDEShlUSEUU,
Wien. Mountiiins and forests of Lower Austria.
30. Forcts et montagnes de la Basse-Autriche.
Lest this side-by-side display of various cultures might incline the casual visitor
to take all the hard-won achievements of civilization for granted, comments have
been included in the genetics succession, to bring home the spiritual potentialities
of mans primitive forbears. Although the main emphasis is on technical progress,
such achievements also point to the tireless strivings of the human spirit and stand
as landmarks on the path of human progress.
Scenes depicted on the I hffarn situla were used to illustrate the Hallstatt
culture between the early and late Iron Ages ; they may be seen from a reproduction
of the situla with its decorative frieze, mounted on a rotating plexiglass stand
(hq. 36). No sketched reconstructions were used for the Roman Empire (jg. 34)
and the early Middle Ages up to the Babenbergs, since the excavation material is
self-explanatory and, moreover, we have inadequate data for. the purpose. They
are replaced by maps, which provide a far more concrete illustration of what
happened. A combination of excavation material and charts gives the visitor an
idea of the objectives and dynamics of the migration of the peoples. He sees how,
after the Germanic tribes from North and East pbured over the Roman limes
in A.D. 39j , the peoples of the Roman
Empire were gradually, under the new
pressure, driven westwards until they
finally retreated into Italy; he is able to
visualize the kigrations of the Ostro-
goths, Heruli, Rugians, Lombards, Avars,
Slavs and Bavarians, and to study at
first-hand the pottery, bronze, iron and
glass objects which have survived from
this period in history. A chart illustrating
the story of the Babenberg settlers and
a selection of objects from the Middle
Ages and the beginning of Modern
Times bring the visitor to the age of
peasant settlement.
After the chronological sequence of
rooms depicting mans pre- and early
history, it would have been tempting to
continue in this way tracing the devel-
opment of civilization up to the present
day. However, at this point a purely
aesthetic approach would have contrasted
sharply with the treatment of previous
periods, which had been illustrated mainly by utilitarian objects ; it would have given
a false impression of the relationship between the individual periods. Moreover, our
aim in reorganizing the Museum was to arrange objects according to a uniform
plan. It would, of course, have been simpler to treat the ensuing folk and art history
sections quite separately. While this might have met the requirements of a purely
scientific display, it would have lacked the vividness of a logical, historical sequence.
An attempt was therefore made to lead the vifiitor gradually from material to
spiritual achievements and to show folklore in its proper perspective as the connect-
ing link between the remote past and present-day artistic expression.
The settlement of Lower Austria at the time of the Babenbergs afforded an
opportunity of tracing the present-day distribution of the population back to that
period with its mixture of peoples. After the story of the settlement comes an
exposition of the various typ,es of houses, followed by a section on the artistically
much more interesting subject of peasant furniture (fis. 38). Here, too, examples
of painting and carving are used to bring out clearly the differences between the
various regions of Lower Austria. Thus wepass from the general to the particular
and individual. The exhibits include household utensils, pottery and glassware,
together with specimens of old original national costumes, small personal articles,
jewelry, etc. From such specialized subjects as these, we again pass to consideration
of wider perspectives; for instance, the organization of the crafts and, in connexion
with the guilds, the order system. Two typical industries of Lower Austria, iron-
work and viticulture, complete the survey of the material civilization of the region.
Vintage utensils serve as a transition to the illustration of the seasonal customs of
Lower Austria, which are represented symbolically in a fresco on the ceiling (j g. 41) ;
the whole ensemble is permeated by the idea of the recurring life-cycle, as reflected
in folklore and beliefs. Church festivals are evoked by individual objects, such
as a Baroque crib, painted Easter eggs and various cakes for special occasions.
Here again the purpose is to delve beneath the surface and to bring out the deeper
significance of these customs. We meet, at every turn, with superstition. Talismans
over doorways and fireplaces, sacrificial beasts and votive offerings-all hark back
to a cult which has survived to this day, in different forms, embodied in Christian
beliefs (jig. 3:). It is perfectly logical, therefore, that the next section should deal
with pilgrimages. After an account of the legend of the veil and its connexion
with the foundation of Iilosterneuburg, the former Babenberg castle and burial-
place of the patron saint of the province, there follows a brief mention of other
places of pilgrimage. A varied selection of exhibits illustrates the magnificence
of Baroque churches and also Romanesque and Gothic works of art. Primitive
symbols of worship provide the spiritual link with the earliest Christian art.
The above arrangement of the folklore section has imposed certain restrictions,
besides necessitating a careful selection 9f exhibits ; but it has the advantage of
affording a coherent and comprehensive survey which, in the minimum space,
stimulates and satisfies the visitors interest. The scientific aspects of individual
subjects will be treated later in greater detail in special exhibitions arranged in
rooms set aside for the purpose.
The section on the history of art, deliberately placed next, deals with a more
general subject, though one which also adopts an educational approach to the
homeland. As the Museum is not an art gallery, different principles have been
followed in arranging the paintings and sculptures. Large groups provide inter-
esting comparisons between similar subjects ; contrasts are established between
works of different periods (fis. 39). The large Rococo room contains Gothic,
Renaissance and Baroque work (j g. 40). I n this way, the essential features of
each style are vividly brought out in a restricted space. A careful distinction is
drawn between regional achievements and foreign influences. I n the state-rooms
of the former Clary-Aldringen palace, the paintings and sculptures are arranged
to provide natural adornment for the rooms, so that the comfortable, homely
atmosphere is not spoilt by the formality of a museum.
Great emphasis is laid on local talent, a separate room being allotted to artists
of Lower Austria. A pianoforte dating back to the time of J oseph Haydn is among
the most interesting exhibits. This, with a bust of the composer, a water-colour
of the house where he was horn, and a Baroque painting with a dedication to
him, illustrates the great contribution of Austrian music to the worlds heritage.
,4 small number of exhibits thus succeed in giving an exhaustive picture.
The historical survey concludes with the xrsth century. The pictures of this
period reflect the life and scenery of the homeland, shown in the form of set groups,
landscape paintings and scenes of everyday life. A general survey, ranging from
the formal landcapes of the early years of the century to impressionistic paintings,
is used, here also, to underline the intellectual climate of the age. An endeavour
is thus made both to popularize art and to prepare visitors for an understanding
of the leading specialized museums.
Contemporary art, too, is represented by a number of especially interesting
paintings. These were chosen firstly on the strength of their value as works of
art and secondly as illustrations of the great variety of beauty to be found in Lower
Austria. Many works, representing not merely landscapes but scenes of everyday
life, were specially commissioned by the Museum, which thus, instead of adopting
a narrow historical approach to its subject, has kept in touch with the present and
is becoming a patron of art. Thanks to its close links with present-day life, it
has provided a welcome stimulus in many directions.
This section concludes with a painting of an ancient room containing the
miracle-working objects and other rarities of a Lower Austrian religious foundation.
Museums were originally collections of objects of historical value; it was not until
the xrxth century that their real principle became established, and that they became
j I . NIEDER~~TERREICHISCFES L INDESMUSEUM,
Wien. Exploitation of nature. Display on agiicul-
ture in Loqer Austria.
31. Espluitation de la nature. Culture des cdrCales
en Basse-Autriche.
32. NIEDER~STERREICHISCHES LANDEShiUSEUhi,
Wien. Hunting and fishing: small dioramas and
aquaria.
$2. Chasse et peche. Dioramas de petites dimensions
ct aquariums.
33. NIEDERSTERREICHISCHES L*NDESMUSEU?II,
Wien. Scenes of prehistoric life.
3j. Tableau de la vie prthistoriquc.
I77
P
places dedicated to the glorification of the human spirit. The Homeland hhseum
strikes out on entirely new lines, aiming at a harmonious blend of nature and
art, of past and present. The museum is there to be read like a book. It displays
its objects in compact, well-spaced groups. It avoids any cold and monotonous
array of glass showcases. Each room is given individual treatment and has its
own atmosphere, in keeping with the historical character of the palace. The technical
and artistic planning of all sections is directed to the same end-to reveal hidden
links, to stimulate the visitor's interest and to deepen his understanding and love
(Traidateed ,from Gemmati.) . for the homeland.
UN ,MUSE D'COLOGI E ET D'HI STOI RE
NI EDEROSTERREI CHI SCHES LANDESMUSEU M, VI ENNE
par R I NTER s B A c HE R
* L'oir : MUSEUM, vol. IV, 1951. n" 2.
34. NIEDER~STERREICHISCHES LANDESMUSEUM,
\Vien. Excavated material. Periods of Rome and
of the Migration of the Peoples.
j/. Objets de fouilles de l'poque romaine et de
l'&poque des migrations des peuples.
N beau palais de style baroque abrite actuellement le Muse rgional de la
Basse-Autriche Vienne (jg. 23). Au cours des annes 1944-1945, ce btiment
de grande valeur historique a t gravement endommag par les bombardements
(jg. 2)) : la fin de la guerre, seul subsistait le corps de btiment donnant sur la
rue. Une grande partie des collections fut dtruite ou gravement touche. Nombre
d'objets qui avaient t mi s l'abri dans diffrents chteaux de la Basse-Autriche
tombrent aux mains de l'ennemi qui avansait rapidement. Laplupart subirent des
dommages, d'autres ne purent tre rcuprs. La collection de sciences naturelles
a ainsi perdu plus de la moiti de ses trsors, et presque aucun des objets d'art
n'a pu tre sauv.
En I 946, il devint possible d'entreprendre les travaux de reconstruction grce
l'appui du gouvernement de la Basse-Autriche. On a essay de reconstituer autant
que possible dans leur tat primitif les parties historiques du btiment qui taient
restes debout. C'est ainsi qu'on a supprim toutes les modifications gnantes
introduites dans les salles au cours du SIX^sicle. On a pu rtablir de cette manire
les grands appartements historiques dans le style du XVI I I ~sicle (jg. 271, et traiter
l'entre et la cour selon des principes compltement nouveaux. L'entre du palais
a t dsencombre de tous les objets, et l'on prsente dans la premire cour, dont
les belles arcades datant du X'VI I ~sicle ont t dgages, une exposition synoptique
des diffrents styles allant du roman au baroque,. en pasiant par le gothique et le
Renaissance ( j g. 2 6). Une partie couverte formant lapidarium contient la collection
des pierres tombales romaines. On a russi de la sorte non seulement grouper
des objets trs diffrents en partant d'un point de vue unique, mais A composer
U
un ensemble riche et vari qui met en
valeur l'effet architectural de la cour.
Cette reconstitution complte prpare le
visiteur, ds l'entrde, l'ambiance histo-
rique et musale du palais. La reconstruc-
tion fut termine au printemps 19j I , ct
l'installation intrieure du muse put com-
mencerds cemoment. Aumois dedcem-
bre 19j I , la mi x en place tait termine,
et le muse powait tre ouvert au public.
II est permis de constater aujourd'hui
que ses buts, son contenu scientifique et
sa structure font de cemuse une cration
tout fait remarquable pour l'Autriche,
ct d'un trs grand intrt pour les
mustologues d'autres pays. C'est que It:
Muse de la Basse-Autriche reprsente le
type pur du Heimatmuseum". Lancessit
de remplacer de nombreux objets par dcs
acquisitions nouvelles a pcrmis de choisir
de prfrence ceux qui correspondaient au
nouveau plan d'amnagement. La perte
178
de nombreuses vitrines et les locaus vides nouvellement construits ont permis
d'aller de l'avant sans tre oblig de respecter un inventaire comme cela est d'ordi-
naire invitable. D'autre part, on a tenu appliquer les mthodes de prsentation
moderne aus appartements d'apparat de cet ancien palais, qui y ont gagn, aussi
bien que la belle architecture. Des solutions analogues ont t adoptes pour les
sections de sciences naturelles comme pour l'exposition d'objets du dpartement
de l'histoire de l'art dans les appartements d'apparat. Ces remarques permettent
de se faire une ide de la distribution des dpartements du muse et l'on ajoutera
que la section d'histoire de l'art se trouve runie celles du folklore et de l'histoire
au mme tage.
Le muse, fond au dbut de ce sicle, constitue ainsi un des plus rcents parmi
les muses clbres d'Autriche. I1 a d renoncer ce caractre que possdent
nombre d'autres collections : une vieille tradition remontant souvent aux collections
de la maison impriale, de la noblesse autrichienne ou de mcnes fortuns de la
vieille Autriche puissante et riche. En effet, en raison des dommages et des destruc-
tions des annes 1944-1945, il devenait possible et ncessaire de partir d'une ide
mdfresse au lieu de poursuivre l'imposante runion d'un grand noinbre d'ol!jets,
et ce fut, ds le dbut, le trait caractristique du muse. Cecaractre est aujourd'hui
la base de la prsentation et de l'tude du pass et du prsent de la Basse-Autriche,
dans la nature comme dans la culture. Le NiederGsterreichisches bfuseum apparat
donc comme le symbole du Heimatmuseum". Son domaine est dlimit par la
rgion gographique et politique de la province fdrale de la Basse-Autriche
(19.296 km". Tous les thkmes de la recherche scientifique comme de la prsentation
musale sont centrs sur les caractres de ce paps: sciences naturelles, histoire,
folklore ou art. Tous les thmes qui pourraient tre tudis aussi bien dans les
muses d'autres rgions ou dans des instituts appliquant d'autres mthodes sont
limins du cadre du Muse de la Basse-Autriche. Ainsi, notre muse occupe
rellement par ses buts et son organisation une place unique parmi les muses
spcialiss ou gnraux.
Les avantages comme les difficults scientifiques et mthodiques du travail du
muse sont donc vidents. Le visiteur autochtone de la Basse-Autriche ou de
Vienne aime voir reprsenter et expliquer la beaut multiple de son paysage natal,
les problmes de sa vie quotidienne et de son milieu, l'hstoire de son pays, les
ceuvres des artistes locaux. Une promenade B travers le muse lui permet d'appro-
fondir et d'largir agrablement la connaissance qu'il a de sa petite patrie. De son
ct, le visiteur tranger trouve au muse la vue par coupes successives de la nature
et de la culture de ce pays. On offre au public une slection attentive, une quin-
tessence. En parcourant les salles d'exposition, le visiteur peut saisir rapidement,
et sans grand effort, non seulement les caractristiques de la rgion, mais encore la
signification culturelle de la Basse-Autriche en Autriche et au cceur de l'Europe.
Les coles visitent volontiers le muse, d'autant plus que l'ide directrice du
muse concide avec le principe rgionaliste des programmes scolaires autrichiens.
Le postulat pdagogique de I'cole qui vise la reprsentation immdiate est effec-
tivement ralis, cela va de soi, au Muse de la Basse-Autriche, comme d'ailleurs
dans tout bon muse. Ainsi, le muse sert particulirement l'cole et l'ducation
populaire : ce but a t constamment prsent l'esprit des rorganisateurs du muse
et a influenc le chois des objets et les diverses mthodes d'installation.
Le muse a moins pour objet de communiquer un savoir que d'inculquer. au
visiteur une exprience directe. Le muse ne veut pas seulement enseigner, il veut
duquer, sans que le visiteur ait conscience d'un effort pdagogique. Chaque salle
a son sujet propre, sa tonalit, son ambiance. Ce rsultat est atteint grce un
heureux amnagement visuel de chaque salle, de chaque vitrine, de chaque ensemble
expos. On s'est constamment efforc d'acqurir les objets les,plus beaus et de la
plus haute qualit. On a vis la plus grande varit possible, selon l'espce des
objets exposs. Ainsi se trouvent actuellement au muse plusieurs catgories
d'objets depuis les spcimens naturaliss de la section de sciences naturelles, les
maquettes, les cartes en relief, les chantillons du sol, jusqu' de bonnes photo-
graphies, et des uvres d'art, sculptures et peintures. On a mme t jusqu' prsenter
des animaux vivants au vivarium et l'aquarium (reptiles, amphibies et poissons).
De cette fason, il a t possible d'exclure du muse les spcimens conservs dans
J I. NIEDERSTERREICHISCIiES L.\XDESMUSEUhf,
Wien. View of the two Schleinhach pves.
31. Vue des deus tombes -de Schlcinbach, encas-
trkes dans IC sol. Des Cartes donnent une image
synoptiyue de la succession des migrations.
* L'oir: MUSEUM, vol. IV, 191 I, 11'' 2.
I79
I
t
36. NIEDER~STERREICHISCHES LANDESMUSEUX,
\Xien. Halstatt civilization. The Icuffarn situla. A
reproduction of a situla is mounted on a rotating
plexiglas stand.
36. Civilisation de l&poque de Halstatt. Les situla
de Kuearn. Une reproduction de situla est mont&
sur socle pivotant en plexiglas.
lalcool ou le formol et lesthtique de lexposition JJ gagne considrablement. Mais
on a fait plus; on atch galement de trouver un mode dtiquetage en accord
avec le style de lensemble. On a prfr, dans la mesure du possible, des textes
brefs, sur verre, et on les a exposs discrtement; on a vit ltiquetage voyant
des vitrines et des salles et nulle part la vue densemble nest gne. On ne sest
pas adress simplement aux yeux du visiteur. Un magntophone rend les cris des
animaux. La varit des mthodes de prsentation cre la curiosit renouvele
chaque pas et offre des impressions nouvelles, ce qui pargne la fatigue au visiteur.
De cette facon, on obtient galement que le visiteur se rende peine compte du but
pdagogique poursuivi. On peut donc considrer comme un succs le fait que le
muse sacquitte de sa mission ducative en transmettant de facon agrable une
exprience vivante. La meilleure preuve de cette russite est le chiffre de 30.000 visi-
teurs obtenu en lespace de trois mois. Le Muse de la Basse-Autriche est parmi les
plus visits de Vienne. De plus, il faut remarquer que, compar aux muses de
Ytat, beaucoup plus importants, ce muse fonctionne avec un personnel et un
matriel trs modestes.
Le trait caractristique du muse, sa signification la plus profonde apparaissent
dans les mots inscrits lentre: (( Ce muse a pour but la reprsentation de la
nature, de lhistoire et de lart de la province fdrale de Basse-Autriche. Puisse-t-il
susciter comprhension et amour pour la nature, le peuple et le pays. 1) De tels
buts ne sont-ils pas rellement dignes de constituer le thme dune exprience
musale? Un bref apercu des expositions qui se sont succd rendra clair chacun
des problmes que nous venons dvoquer.
Selon le principe fondamental qui veut que pour traiter un sujet on aille du
gnral au particulier, du connu linconnu, les escaliers et les antichambres du
palais ont t utiliss pour prparer le visiteur. Des paysages familiers, une carte
de lAutriche en mosaque, les armoiries de Basse-Autriche et de ses villes princi-
pales, une ancienne sculpture en bois reprsentant saint Lopold, patron de la Basse-
Autriche, un fragment darchitecture voquent les traits et les symboles de la
contre (/g. 24). Des peintures servent dintroduction la premire salle dexpo-
sition dont le titre est : Le paysage.
Une srie de tableaux reproduit la diversit du paysage. Par limage, on fait
remarquer au visiteur que la Basse-Autriche se situe lintersection de trois grands
paysages dEurope, la haute montagne alpestre, les montagnes moyennes sparant
la Bohme et lAllemagne, la plaine de lEst europen. On voit en outre comment
le Danube, avec ses charmants paysages fluviaux, donne au pays sa beaut. Le
visiteur trouvera toute naturelle la question suivante : N Do provient cette varit
du paysage? )) Dans le gros bloc de pierre expos au-dessous de chaque tableau,
le visiteur reconnat la gologie du paysage. Une srie de photos complte cette
prsentation gomorphologique (jg. 28). Ensuite un diorama, reprsentant le sol
de la Basse-Autriche couvert par la mer, il y a vingt millions dannes, montre
que chaque paysage des temps prsents est le rsultat dune histoire gologique
dune dure inimaginable, au cours de laquelle diffrentes forces terrestres ont form
le paysage (carte et coupe gologiques). Parmi ces facteurs, le climat agit encore
aujourdhui de mme que la flore et la faune, qui dpendent dailleurs du climat. La
dernire ide de cette salle est celle de linfluence exerce sur la vie par le climat, le sol
et la conformation gologique de la Basse-Autriche, et cette presentation explique en
mme temps le plan de la section suivante, celle des sciences naturelles. Un grand
relief color de la rgion (chelle: r/ro.ooo, relief z,~), intercal entre les deux
salles, met de nouveau en vidence la varit du paysage, sa parure vgtale (forts,
vignes, labours), la densit de la population et des communications. Lorientation
topographique est facilite par des cartes auxiliaires.
La salle intitule: La plaine a trait la participation de la Basse-Autriche la
plaine orientale et au pays des collines situ entre les Alpes et les Carpathes. De
grands tableaux muraux et de nombreux diapositifs montrent comment leau, en
tant que facteur biologique, divise cette rgion en deux secteurs vitaux opposs:
fleuve et prs (jg. 29) dune part, terres cultives et steppe de lautre. Pour le premier
secteur, on grsente les animaux et les plantes caractristiques des rgions humides
et on dgage leur dpendance vis--vis de ce milieu. LAuwald (fleuve et prs),
qui borde le Danube, sa faune varie et la vie dans les eaux et sur les rivages sont
.
37.
Vi t
31.
NIEDBRB,TERREICHISCHES
:n. Religious art and objects.
Objets d'art religieux.
reprsents dans les vitrines par des images et des spcimens. Comme dans tous les
groupes exposs qui suivront, on montre, bien entendu, ct des vertbrs, les
grandes divisions des invertbrs. L'autre partie de la salle est consacre au secteur
vital oppos, la plaine sche et chaude (terre cultive et steppe). On y voit la faune
et la flore du pays cultiv et les problmes du dboisement et de l'envahissement
du terrain par la lande. La salle suivante : Montagnes et forits (j g. PO), conduit
le visiteur au plan de la montagne moyenne. Comme dans la plaine, le rle de la
fort est prdominant dans cet espace. Bien qu'il soit trs difficile de reprsenter
dans un muse, d'une manire vivante, la flore typique d'une rgion, la mthode
choisie s'est montre tout fait approprie. Des troncs d'arbres voisinent avec
les images des mmes arbres peintes sur les murs; des photos de grand format
et des aquarelles, des modles de champignons compltent cette vue d'ensemble
qui finit par communiquer au visiteur une impression exacte de la vgtation
sylvestre. Les vitrines contiennent les espces les plus typiques de la faune sylvestre
de Basse-Autriche.
Qu'il nous soit permis ici d'attirer l'attention sur la prsentation neuve et efficace
des vitrines zoologiques. Le muse souffre beaucoup du manque de place. Une
prsentation disperse tait, d'autre part, exclue par le but pdagogique vis. En
outre, les vitrines devaient offrir un aspect aussi vivant que possible. On a donc
choisi la solution de la vitrine diorama, qui permet de runir un nombre consi-
drable de spcimens d'animaux sans renoncer l'exactitude scientifique. Cette
mthode pdsuppose, il est vrai, que chaque vitrine traite un des aspects du problme
auquel la salle est consacre. La vitrine intitule : Habitants des refuges naturels, par
exemple, runit les oiseaux et les mammifres habitant les cavits des arbres et du
sol. De mme, on a group les animaux de nuit, les htes inoffensifs de la fort, etc.
Dans la salle intitule : Haute montagne, la vitrine des vertbrs est particulirement
frappante. En n'utilisant que des matriaux naturels (tronc d'arbre formant support,
pierres, broussailles) pour la prsentation des animaux naturaliss, on a pu mettre
en valeur, malgr l'abondance, la beaut naturelle des objets. Des aquarelles montrent
les couleurs du paysage alpin. La salle suivante est consacre la protection de la
nature. Au debut, elle dtveloppe quelques ides historiques, en montrant l'aide
de magnifiques bois de cerfs du XVI I ~ au XM' sicle la rapidit et l'importance des
changements qu'un paysage peut subir son dtriment. L o vivaient autrefois
les cerfs (cervus elaphus) s'tend aujourd'hui la ville. Le sort d'autres espces, exter-
mines au cours du dernier sicle, montres dans les vitrines sous forme de spcimens
naturaliss met en vidence la marche de la civilisation et le recul de la nature.
La mme ide est expose en cequi concerne la flore, et des aquarelles dpeignent les
espces protges de la Basse-Autiche, des photos montrent les phnomnes naturels
importants. Par l, l'homme est introduit dans le droulement des collections comme
facteur biologique agissant sur la nature. On est alors fond poursuivre I 81
38. NIEDER~STERREICHISCHES LANDESMUSEUSI,
\Vien. Folk art and folklore room.
38. Salle folklorique. Prsentation d'habitations et
de types de meubles rustiques.
39. NIEDER~STERREICHISCHES LANDEShlUSEUhl,
Vien. Romanesque and Gothic art. Large groups
provide interesting comparisons, and the essential
features of each style are brought out in a restricted
space.
39. Art roman et gothique. Le groupement permet
d'intbressantes comparaisons, et le caractbre propre
des styles apparat.
le thme sous la rubrique : Exploitation de la nature. I1 est instructif que des questions
aussi proches de la vie suscitent la curiosit du visiteur et correspondent aux besoins
de la vie pratique. Sur un espace rduit et pourtant d'une fason frappante sont
prsents les problmes de l'exploitation de la forit et l'agriculture (Ag. j r ) , la
viticulture et la culture des arbres fruitiers. Sous le titre : Exploitation minire,
on a mis en avant de nombreux objets provenant de la collection minralogique
du muse. L'histoire de la mine, y compris l'orpaillage dans le Danube, y trouve
sa place A c& de l'exploitation actuelle des gisements de charbon et de ptrole.
Dans cette salle, comme dans les autres, les murs jusqu'au plafond sont utiliss
pour illustrer scientifiquement le sujet gnral et les objets exposs. On a confi
rkgulirement l'illustration des artistes qui ont travaill sous la direction des
hommes de science, et le rsultat est satisfaisant.
Ldasalle appele : Chasse et pche tient compte de ces deus exploitations de base
du pays. Ces thmes permettent en mme temps de montrer des espces non encore
reprsentes ailleurs. ci galement, le manque d'espace a conduit des solutions
nouvelles, parmi lesquelles les petits dioramas consacrs au gibier de la rgion.
L'histoire p trouve sa place dans la vitrine prsentant les armes de chasse travers
les ages. Dans la section de la p&he on a russi prsenter les animaux vivants.
Plusieurs petits bacs et un grand aquarium contiennent presque toutes les espces
de poissons de la Basse-Autriche ; les autres sont reprsentes en exemplaires
desschs. On notera que, dans le cadre de la section des sciences naturelles, on a
recherch la progression suivante, de l'objet naturalis l'objet reproduit en pein-
ture ou en photographie, puis l'objet prsent dans un petit diorama, l'objet
naturalis prsent dans de grands dioramas et enfin l'objet vivant dans l'aquarium
ou le vivarium (fis. 32). Plusieurs grands dioramas montrent enfin le gibier et
terminent cette srie. La dernire salle de la section des sciences naturelles : Scnes
de la vie prhistorique, est consacre la palontologie. Elle montre le paralllisme
entre la vie actuelle des animaux et des plantes en Basse-Autriche et l'volution
gnrale de la vie sur toute la terre. Fossiles, reconstructions du pass l'aide du
dessin, vitrine et diorama, textes explicatifs et peintures murales concourent
donner dans un espace restreint un rsum comprhensible et vivant du pass
gologique de la rgion ($g. 33). Cette dernire salle de la section des sciences
naturelles reprsente la transformation de la nature en milieu humain, milieu biolo-
gique dans lequel l'homme, encore de nos jours, se dgage de l'animal et de la
plante pour conserver sa vie et finalement' dvelopper la culture humaine par la
force de l'esprit, thme reprsent dans la section suivante de prhistoire et d'histoire
culturelle.
La section des sciences naturelles, en montrant l'volution de la vie sur la terre,
depuis les temps les plus reculs jusqu'
l'poque glaciaire, forme la transition :
l'histoire culturelle humaine, qui retrace
le chemin parcouru par l'humanit
l'aide d'Clments emprunts diffrents
domaines scientifiques.
Ayant pour seuls points de repre les
objets de fouilles, on a d tenter de leur
donner le maximum de valeur dmons-
trative en les groupant d'une manire
systmatique, claire et esthtiquement
satisfaisante. Des reconstitutions, des
maquettes et des illustrations compltent
cet effort qui tend faire saisir au visiteur
la vie des civilisations prhistoriques.
Partant de quelques thmes gnraux
concernant les dbuts de l'histoire de
l'humanit : les glaciations, l'homme dans
son milieu, son volution culturelle, le
visiteur est familiarise avec les dbuts de
la civilisation de son pays natal. tant
donn que le rare matriel que nous
possdons concernant les premires tpo-
ques de notre civilisation noffrirait au
profane quune vue partielle, difficilement
comprhensible, on a dcid, pour repr-
senter le premier et le second ge de la
pierre, de sparer le gnral du sptci-
fique. Pour dcrire le caractre gnral
de lgc dr In pierre taille, on a choisi les
thmes suivants : conomie, habitation,
ergologie, culte et funrailles. Alors que,
pour en dcrire le caractre spcifique,
des objets provenant des sites de fouilles
paltolithiques les plus importants tmoi-
gnent de lempreinte laisse dans la
rgion. X partir de lge du bronze, on
a renonc cette division pour viter la
monotonie et lennui; dans ces dernires
salles, les changements historiques et les
crations nouvelles et significatives sont
davantage mis en relief.
Lamnagement des vitrines, leur clai-
rage intrieur et labsence dclairage
direct dans les salles tendent concentrer
lattention du visiteur sur les objets
exposs et a attnuerl i mpressi onmanant
de larchitecture harmonieuse de la salle
et des tableaux muraux, destins seule-
ment accompagner et mettre en relief
les groupes dobjets. La gamme des
clairages et les teintes des salles corres-
pondent aux intentions de lexposition.
Partant de la pnombre accompagnant la
naissance du premier homme et laube des
premiers ges, passant par les sicles de
lhistoire crite, on aboutit la lumire
clatante de lart contemporain.
Si lon veut que lobjet se fasse tmoin
du pass, la parole ne doit pas le gner. Cest pourquoi les vitrines ne contiennent
presque jamais de notices explicatives. Les explications indispensables une pleine
comprhension des phnomnes de la civilisation et de la succession historique sont
places non loin des objets des fouilles. Lesthtique plaide galement en faveur de
cette solution.
Des cartes donnent une image synoptique de la succession historique des
40. NrEDERt)sTERREIcHrscHES LwDbshtusEutf,
Wien. Rococo room with w-orks of art from various
40. Sal,e de de
diffhrentes p&riodes.
rococo, avec des ~uvl e s
migrations. En harmonisant objets de fouilles et plans, on a pu rendre
clairs, sans avoir recours aux tiquettes, des vnements tels que la migration
nordique, la migration des urnes funraires, la colonisation romaine, lpoque des
invasions, etc.
Pour la reprksentation des rites funraires, on a encastr la tombe originale dans
le sol. I l sagit donc bien de la tombe elle-mme et non dun second ensevelissement
en sarcophage de verre. Les deux tombeaux de Schleinbach donnent un aperp de
la structure sociale et morale de la civilisation de I2ge du bronze (rites funraires
accompagns. dun sacrifice humain). Les diapositifs montrant des enterremenis
locaux, des spultures pilles et la lapidation dune femme, de mme que le plan
du site et les objets de fouilles, offrent au visiteur une image sans lacunes du territoire
47. NIEDER~STERKEICHISCHES LANDESMUSEUM,
dtablissement. et du cimetire de Schleinbach (j g. jjj.
&ant donn que la succession des diffrentes civilisations conduit le visiteur non
averti trouver toutes naturelles les conqutes -en leur temps nouvelles et dificiles -
de lesprit humain, on a intercal dans cette succession gntique des considrations
qui invitent mditer sur les possibilits spirituelles de nos anctres des premiers
\Vien. Guilds, crafts and
j r , Cc)rporations, artisanat,
Viticulture.
L~i+iculture.
temps. Ces considrations, qui portent avant tout sur des domaines techniques et
1 8 3
qui tmoignent de l'effort incessant de l'esprit humain, marquent les tapes impor-
tantes de la route qui mne aux sommets de notre civilisation.
La civilisation de Hallstatt, passage du premier ge du fer au second, a t repr-
sente par les dcorations scniques des situla de ICuffarn, dans lesquelles cette
civilisation s'est dpeinte. Le visiteur peut examiner en dtail les situla monts
sur un tambour rotatif en plexiglas (' g. 36). Pour la prsentation de la priode
de l'Empire romain (j g. 34) et des poques mdivales jusqu' la Maison de Baben-
berg, on a renonc aux reconstitutions picturales, parce que les objets retrouvs
s'expliquent d'eux-mmes et que l'on ne possde pas assez de documents pour
pouvoir tenter une telle reconstitution. On leur a substitu des cartes qui expliquent
les vnements d'une fason plus concrte. En associant objets de fouilles et cartes,
on a russi reprsenter aussi bien les objectifs que le dynamisme de l'poque
des grandes migrations. L'observateur voit comment, aprs la destruction du limes
(an 395 de notre re), sous la pression des Germains qui afflutrent du Nord et de
l'Est, la population romaine fut peu peu refoule vers l'Ouest et jusqu'en Italie.
I1voit dfiler devant ses yeux les Ostrogoths, les Hrules, les Rugiens, les Lombards,
les Avars, les Slaves et les Bavarois et, tmoins directs et vestiges de ces vnements,
il voit des poteries, des ustensiles en bronze, fer et verre. Une carte retrasant
l'histoire de la colonisation de la Maison de Babenberg, accompagne d'un choix
d'objets du moyen ge et des dbuts de l'poque moderne, conduit l'histoire de
l'tablissement paysanal.
Ayant suivi lefil de la chronologie travers la section de la prhistoire et celle
des dbuts de l'histoire, on aurait pu &re tent de descendre jusqu' la civilisation
contemporaine. Mais une prsentation oriente uniquement dans lesens de l'histoire
de l'art se serait trouve en opposition aigu avec les objets montrs jusqu'ici,
produits d'une civilisation essentiellement matrielle. Le rapport entre les diErentes
poques en aurait t fauss. En rorganisant le muse, on avait cherch, d'autre
part, crer un ensemble logique et organis. I1 aurait kt plus facile de traiter
indpendamment et sparment la section suivante, celle du folklore et de l'histoire
de l'art. On aurait cr ainsi une collection d'objets satisfaisant des exigences
purement scientifiques ; mais on n'aurait pas rendu saisissable une volution vivante
fonde sur l'histoire de l'esprit humain. On a donc tch de conduire peu peu
le visiteur du monde matriel vers les manifestations de l'esprit et d'incorporer
le folklore la place qui est la sienne, celle d'un mdiateur entre un pass lointain
et l'expression d'art du prsent.
La colonisation de la. Basse-Autriche, au'temps des Babenberg, a t le terme de
comparaison choisi pour faire ressortir dans l'image de l'tablissement prsent les
diffrences remontant aux populations d'autrefois.
L'histoire de l'tablissement conduit la reprsentation de certaines formes d'habi-
tation et de mobilier rustique (j g. 381, d'une richesse artistique incomparable. Ici
encore, des exemples de peintures et de sculptures permettent de faire reconnatre
nettement les diffrentes parties de la Basse-Autriche. On progresse ainsi de plus
en plus du gnral au particulier. Suivent les ustensiles, cramiques et verres, com-
plCts et enrichis par l'exposition de costumes rgionaux, petits objets personnels,
bijoux, etc. De l, l'exposition passe de plus larges horizons. On montre l'orga-
nisation des mtiers et celle des ordres lis au systme des corporations. Deux
industries typiques de la Basse-Autriche, le travail du fer et la viticulture, terminent
le cycle de la civilisation matrielle. Des objets relatifs aux coutumes du vignoble
conduisent par transition aux rites populaires relatifs aux saisons, dont les symboles
sont peints fresque au plafond ('g. .p). On a voulu par l exprimer la pense
qu'au-dessus des facteurs matriels, il y a les cycles de la vie, que refltent les croyances
populaires du paysan. Les ftes chrtiennes de l'anne sont voques par certains
objets, par exemple une crche de style baroque, des oeufs de Pques enlumins
et des gteaux des jours de fte. Pourtant, la reprsentation n'est pas purement
extrieure. On a tenu dgager en mme temps les racines profondes de ces usages
et de ces rites. La superstition apparat chaque fois. D'anciennes formules et invo-
cations concernant le feu et la maison, des animaux sacrifis et des ex-voto rappellent
un culte qui, modifi et transform, survit dans la foi chrtienne (fig. 37). Le thme
suivant sera logiquement celui des plerinages. Partant de la lgende du voile, qui
se rapporte la fondation de Klosterneuburg, ancien chteau des Babenberg, et
lieu de spulture du saint patron du pays, on montre brivement les autres lieux
de plerinage. Le faste des glises baroques voisine avec les uvres romanes et
gothiques. Les images d'un symbolisme primitif ramnent le visiteur aux dbuts
de l'art chrtien.
L'arrangement de la section du folklore, que nous venons d'esquisser, demande
une limitation et un choix svres des objets exposs. I1offre l'avantage d'une
structure cohrente englobant tous les points essentiels et reste clair et intressant,
quoique limit un petit espace. Des expositions spciales traitant de questions
particulires au point de vue scientifique seront organises plus tard dans des salles
rserves cet effet.
La section de l'histoire de l'art, qui suit naturellement, conduit le visiteur dans
un domaine plus gnral, qui doit en mme temps servir l'enseignement rgiona-
liste. Le muse n'est pas un muse d'art; le groupement des sculptures et des peintures
n'obit donc pas des principes d'esthtique pure. Des groupes permettent des
comparaisons intressantes entre des thmes analogues. Des uvres de styles diff-
rents sont opposes ("g. 39). Dans la grande salle de style rococo, des uvres
gothiques, de la Renaissance et du baroque voisinent (jg. 40) . Le caractre propre
de chaque style se dgage ainsi avec une grande intensit. Des uvres purement
rgionales sont nettement distingues de celles qui portent les marques d'influences
trangres. Dans les grands appartements de l'ancien palais baroque des Clary-
Aldringen, sculptures et peintures sont arranges de fason en former naturellement
l'ornementation qui ne doit pas, par un froid amnagement museal, troubler le
charme d'une habitation agrtable.
La vie locale est mise en avant, et une salle entire est consacre aux artistes de
la Basse-Autriche. Un clavecin de l'poque de J oseph Haydn, un buste reprsentant
l'artiste, une aquarelle de sa maison natale et un tableau baroque qui lui fut ddi
nous mettent en prsence du rayonnement mondial de la musique autrichienne.
Un petit nombre d'objets russit crer une atmosphre d'ensemble.
Cet apersu historique s'achve avec le X I X ~ sicle. La vie et le paysage de la rgion
se refltent dans les tableaux de cette poque. Ici encore, on a compos des groupes,
runi des paysages et des peintures de genre. Commensant par le svre paysage
du dbut du xw sicle et allant jusqu' la peinture influence par l'impressionnisme,
la succession des tableaux veut reffter l'volution de l'esprit, essayer de rendre
l'art accessible tous et faciliter la compr5hension des uvres exposes dans les
grands muses spcialiss.
L'art contemporain est galement reprsent par quelques peintures intressantes.
A ct de la valeur esthtique, le sujet a influenc le choix des tableaux. On a voulu
illustrer la multitude des beauts inconnues de la Basse-Autriche. Nombre de
tableaux, non seulement des paysages, mais galement des scnes de la vie populaire,
ont t commands par le muse lui-mme. Le muse sort ainsi de ses limites
historiques; il cherche le contact avec l'actualit et devient mcne. Cette troite
liaison avec la vie prsente a dj exerc une action stimulante dans de nombreux
domaines.
' La section se termine par un tableau reprsentant un ancien cabinet de curiosits
dans un couvent de la Basse-Autriche. Le tableau donne l'occasion de parler bri-
vement de l'histoire des muses. L'ide ne au sicle dernier a t de faire du
muse, jusque l collection de curiosits historiques, comme un monument la
gloire de l'esprit humain. Dans le cas prsent, on a essay de raliser, vue entire-
ment nouvelle, un Heimatmuseum vivant, synthse harmonieuse de la nature et
de l'art, du pass et du prsent. Le muse devrait se lire comme un livre. I1 utilise
un espace restreint et concentre d'autant plus troitement les groupes d'objets. I1
vite un alignement monotone des vitrines et chaque salle est traite comme une
unit part, possdant son ambiance propre, accorde au caractre de ce palais.
L'organisation technique et artistique vise une seule et mme fi n: dgager des
filiations, stimuler l'intrt et susciter dans l'me du visiteur la comprhension et
l'amour du pays natal. (Tmduif de l'al/eiltnmd.)
RECENT DEVELOPMENTS I N .MOBI LE UNI TS
by ABRAHAM BEER
More thaji hag the poprdation of the world ir illiterate. . . Fundamental
education seeks f o cotztribufe t o the solntion of the problem of social back-
wardness ly placing qbhasis not onb on the jght against illiteraq but
also on health, education, technical traithg and cdfzral deuelopmen t. (The
Use of Mobile Cinema and Radio Vans in Fundamental Educa-
tion. Um~co, N o . 18.2, 1~49. )
To combat ignorance in the iiwld. . . and $0 j%rthw the came qf peace
th~otghafit all the nations . . . we need mobile units idsing armio-ivkal
ftchniques (V. Ctrallp Initial Survey Report an Mobile Units,
Um.co, 191 o)
EXPERI MENTS. Though mobile cinema and library services have been combat-
ing illiteracy in many countries for almost two decades, the use of mobile units
carrying other educational facilities are quite a novelty in modern educational
techniques.
I<. B. Disher has given a most comprehensive analysis of the needs to extend
the programmes of educational institutions beyond the doors of the institutions
themselves by the application of mobile units.1 In his Travelling Trailside Museum
of the Cleveland Museum of Natural History (jg. 43) he proved as early as 1947
that the mobile unit is a means to bring the services of the museums to the
people residing in settlement or housing project areas, hospitals, orphanages,
schools, suburban communities or outlying rural districts.
The mobile unit has seen some development in the United States for museum
purposes with such experiments as the lTravelling Trailside Museum of the
Cleveland Museum of Natural History, Cleveland, Ohio (jg. 43) ; the trailercoach
of the Childrens Museum, VVashington, D.C.; the Museumobile of the Illinois
State Museum, Springfield, Illinois (g.r. 44, 4) ) ; the Historical Coach of the Cali-
fornia State Centennial Commission, Sacramento, California. There are two notable
examples in Europe: the Experimental Vehicle of the Muzeum Narodowe in
Warsaw, Poland2 and the Mobile Unit of the Centre International de lEnfance,
Paris, France (j g. 46).
.
ON THE URGENT NEED FOR MOBI LE UNI TS. The success of these none too
numerous experiments proves their value in fields of education, but in order to
achikve real results, planned activities on a national and an international scale will have
to be undertaken. These efforts must not wait until construction and reconstruction
schemes are completed. The task of building community centres, schools, museums,
libraries, theatres, health centres, etc., is, by its very nature, a long term one.
The need for education now is so urgent that we must not wait for the completion
of construction programmes; nor must we be discouraged by the small budgets
allocated for educational, cultural and health purposes. Educators will have to
take their books, exhibitions and other educational instruments to the public;
organize courses to train new teachers and social workers to continue the work
begun by them.
Mobile units are required in: (I ) big cities; ( 2) urban and rural areas; (3) undevel-
oped and under-developed areas.3
I. In addition to established central cultural and educational institutions, mobile
units are needed in big cities for the provision of special facilities for different
parts of the city., Working people could visit the stationed unit:at lunch time or
at the end of the working day. Schools could arrange frequent visits to the
nearby exhibition.
2. I n co-operation with regional and local educational authorities full programmes
could be organized through the medium of circulating museums, and mobile
I. Kenneth B. Disher : Mobile Museum Units.
Fl~,,datt2snful Ed,,cuii6n. vol. u, No.
Vol. III, No. 4, 1930.
hf;seums,.. Paper presented at
Experts, Unesco-rcohq November 193 I.
Dec. T9~0.
2. Mobile hfuseums in Poland. bfUSEU.lf,
1. Abrahani Beer: New Trends in Mobile
Meeting of
186
educational and health units.
provide fundamental education for the countless underprivileged.
3. One can never stress too strongly the urgent necessity for mobilizing units to
DI SADVANTAGES OP PREVI OUS TY PES I N USE. I n the past, despite all their
advantages, mobile units have been handicapped by their cramped space, since the
width of a vehicle is limited by international traffic regulations to 8'-"' (2.50 metres).
The entire purpose of an exhibition, library, reading room, etc. is lost the moment
the visitors are forced to follow each other in packed queues through the inside
of the van (j g. 44). The only place to hang exhibits being on the windowless
side walls, insufficient material can be shown, and there can be no variety in its
presentation (' g. 4 ~ ) . The congestion inside does not stimulate a voluntary interest
in what the mobile units have to ofTer. Queuing or selecting books without protection
in inclement weather has its obxTious results (j g. 47). Moreover, because of the
limited space in the vehicle, each service (mobile library, exhibition, cinema)
requires a separate unit. This means that costs of engines, coachwork, and staff are
unnecessarily multiplied.
If it is to be successful, even the smallest unit must give the visitor a maximum
feeling of free space. People need to rest their eyes from time to time on a distant
view. The interpenetration of interior and exterior space, resulting from a con-
scientious architectural design of the entire structure, guarantees the impression of
spaciousness and pleasing comfort even in the smallest unit.
For these reasons the narrow, rigid type of travelling educational units is out-
moded.
NEW TY PE OF MOBI LE UNI TS. NOW, however, we are in possession of a new type
of vehicle, which uses modern techniques to enable us to combine several services
p. EXTENDI NG MOBILE EXHI BI TI ON UNIT. Archi-
tect: Abraham Beer. View of the interior. Floor
area: 21 feet Y 23 feet (7 m 50x7 mtres), is free
of structural columns. h socket system:in floor and
ceiling enables to insert aluminiumrods according
to the layciut required (fis. J ~-FJ ). The display
panels and showcases of standard dimensions are
hung betwcen these rods. The interior receives
plenty of light through the glass side walls and
through 4.2 roof lights.
42. Unit d'exposition mobile et extensible. Archi-
tecte : Abrahm Beer. Vue intrieure. L'espace
libre, 7 111 yo ).. 7 mtres ne comporte aucune
colonne structurale. LJn dispositif pr hi dans le
plancher et le plafond permet le montage des tiges
d'aluminium correspondant au5 hesoins de l'expo-
sition ( j g. I Z - I J ) . Les panneaux et vitrines de
l'exposition, de dimensions standard, sont sus-
pendus entre ces tiges. La luniikre pnktre large-
ment par les parois de verre et par 42 huhlots.
4 j. TRAVELLING TRAILSIDE hfussuhi, Cleveland
Museum of Natural History, Cleveland, Ohio.
Noteworthy are here such details as : roof ventila-
tion, side wall swinging up to open the view to the
interior, interchangeable standard showcases.
4j. On remarquera certaines partiCuParitCs : la ven-
tilation par le toit, la paroi laterale souvrant de
bas en haut pour permettre du dehors la vue de
lexposition intkrieure.
188
in one unit. The extending mobile unit
came into existence. By pushing an electric
button, an 8-3 wide vehicle can be
converted in yo seconds into a structure
measuring 16-> (5.0 metres) or 25
(7.jo metres) in width.
Trader i 4ni f I for exhibitions. Figures 42,
48 a, b, c, d show a prototype of a mobile
exhibition unit of this kind designed
by the author. This consists of a towing
tractor and a trailer, body of which
is constructed on a chassis 33 feet
(I O metres) long. Figure 48 a shows the
unit on the road. The towing tractor
contains sleeping accomodation for
one man, and a public announcement
system. Figure 48 b shows the trailer
itself, the tractor having been detached.
Figure g8 c is a birds-view photograph
of the trailer expanded by a telescopic
device which enables the roof, walls
and floor to extend simultaneously, thus
trebling the floor area to 620 sq. feet
(57 sq. metres). As mentioned, the
operation takes yo seconds, and saves
~-
long work by several men.
The following operations are then carried out by the crew of two within an hour:
(I ) Panels, protecting the glass side walls are swung up, thus providing j4
(1.6 metres) on either side. These canopies protect visitors against rain and sun.
( 2 ) Two pairs of steps are swung down from side to serve the entrance and exit.
(3) Angled ribs, to hold display panels, are hooked to the outside of the trailer. Stan-
dard size display panels are then attached. (4) The rear wall of the trailer is converted
into a further compartment by swinging out hinged panels. This compartment can
be used as a puppet theatre, film-strip projection unit; additional exhibition space,
or a stage for performances and concerts. (j) The interior of the exhibition is
prepared by inserting aluminium rods into a socket system in the floor and ceiling.
The panels and showcases of standaid dimensions are hung between these rods (jg.42).
Figures j2, j3, j d , J J show four &fferent types of interior arrangements for this
kind of unit, proving the flexibility of the basic plan.
The front of the trailer is designed as a cinema projection box, containing two
film projectors and sound equipment. This includes gramophones, tape recorder,
radio receiver, and loud speakers. Built-in cupboards provide storage for equipment
as well as the crews luggage.
A sleeping accomodation is provided for one of the crew. The interior exhibition
space receives plenty of light through the glass side walls, and through 42 holophane
glass lights in the roof. At night the exhibits are floodlit from the exterior through
the roof lights, giving a diffused light, which is punctuated by interior emphasis spots.
floor. Two hundred folding chairs can be carried in addition to other material. In
transit a tent roof for zoo spectators can be carried in the trailer.
T h Mobile Edncatioizal LT9d of fhe Frmch kLnixfq of Edmcfioiom. Smkler units than
the above described will be necessary for educational prograinmes in small towns
and villages. The French Ministry of Education is at present building a small unit
to the authors designs (/ass. ~ 6 , 17, ~ 8 , ~ 9 ) . This has been prepared for use in a
youth education programme for French rural districts. Unlike the trailer unit, this is
built round a powered 2% ton chassis. The entire structure and interior, as well
as exhibition panels, showcases, etc., are designed to a standard module.
The van, 21 feet (6.4 metres) long, consists of two distinct parts-the drivers
cab@ and the exhibition room. The cabin has three seats, and sufficient space for
a great deal of equipment. This includes two film projectors, switchboard, radio
There is ample storage space in the chassis, which is accessible through the .
receiver, gramophone, tape recorder, public announcement system, repair tools,
etc. I n addition there is a folding bed and luggage space. This cabin has a connect-
ing door to the exhibition room. The exhibition room itself expands on the same
principle as the trailer described above, more than doubling its floor space. The
flaps that form the extension of the roof 6-6 (z metres) either side are held
in position by light metal supports that reach to the ground. Between these supports
are hung exterior exhibition panels, with a display surface on both sides. The side
walls of the unit are made entirely of glass. Behind the walls are placed the show-
cases, facing outwards.
The advantage of this layout over any previous design is that effective exhibition
area is increased, and forms a single architectural unit. The exhibition narrative
starts with the exterior panels and showcases, which give a vertical display
surface of between 430 and 650 sq. ft. (40-60 sq. m.). This means that more people
can freely circulate and study the exhibition at their leisure.
The exterior stimulates a desire to enter the interior of the exhibition. This,
with the aid of the socket system, can be adapted to the layout required. Panels,
showcases and tables, can easily be combined in many arrangements because of
their standard sizes. This part of the exhibition incorporates a library of joo books,
which are well protected against dust and theft.The library is so situated that anyone
attending it, can overlook and control the entire exhibition.
The panels and showcases are so designed that two alternative exhibitions can
be carried.
The special characteristic of this new type of mobile unit is, that it abolishes
entirely the corridor type of display (j p. 43-46) and gives ample room for a free
circulation around panels and displayed objects. Because the exhibition is not
bounded by solid walls the eye can rest from time to time on distant views, and
return refreshed to study of the exhibition. This provides new possibilities for
relating specific objects and sections to the exhibition as a whole. Any arrangement
neglecting this possibility misses the educational purpose of an exhibition, and
consequently should be considered harmful.
Figures j d - j y give alternative arrangements for an exhibition as well as a
suggestion for converting the interior into a reading and class room. I n all these
cases the exterior remains an exhibition, so that the unit as a whole can be used
simultaneously for two purposes.
Whatever arrangement is used the whole unit can be set up by one employee
and a voluntary helper in less than an hour. Once the exhibition is assembled the
normal routine can be carried out by one man.
Mobile mit for zmder-devefoped arens. For use in undeveloped or under-developed
areas it is probable that much larger units
will be required, carrying their own
generating equipment. Figure 60 shows
a proposed multi-purpose mobile unit,
the width of which could be expanded
five times. Such a unit 1,100 sq. ft.
(100 sq. metres) is large enough to be
adapted for many and varied purposes.
In fact, a possible use could be a head-
quarters for pilot projects of the United
Nations and its Specialized Agencies,
either as its own or as a part of a caravan.
Figure 60 is a plan for the use of this
unit in technical assistance programmes.
The interior is divided into a reading
room, an exhibition room and lecture
room.
44. MU US EU MOBILE, Illinois State Museum, Spring-
field, Illinois. The congestion inside the vehicle
does not stimulate the study of an exhibition. The
visitor becomes tired after a short while because of
lack of space, air and daylight.
44. Laffluence lintrieur du vChicule nest pas
le stimulant qui convient lCtudedune exposition.
Le visiteur se fatigue en peu de temps Cause du
manque despace, dair et de lumikre du jour.
(1. MUSEUMOBILE, Illinois State Museum, Spring-
field, Illinois. The usual corridor type of an
exhibition vehicle.
JI. Type de vhicule-exposition B couloir central.
OTHER TYPES OF MOBI L E UNI TS.
Though the three mobile units mentioned
abovearesufficient for most normalneeds,
the problem of waterborne and airborne
RCENTS
units is bound to arise. Already experiments have been carried out with the conver-
sion of barges and ships for exhibition and educational purposes. Obviously the
problem of space here is not so great as with land units. However with air-borne
units there will be new and quite different problems.
ON THE NEED FOR RESEARCH. Need of research into all forms of mobile units
for educational, scientific and cultural purposes is so urgent that an effort should
be made now to establish an international research service. One of the first subjects
to be studied must be the standardization of construction and exhibition elements.
Equally important will be the reconsideration of the techniques of audio-visual
display. Where time, space and budgets are of such importance it will be absolutely
essential that the material for the programmes be chosen and presented in such
a way that every element pulls its full weight. Some organization will need to
direct research into methods: of communicating information and ideas through
simplified and direct means. Possibly the easiest way of acquiring these much heeded
techniques will be through the introduction of pilot projects for mobile units.
DVEL OPPEMENTS
DES UNI TS
par A BRA HA M BEER
MOBI L ES D EXPO S.1 I I QN
L a popdatioti totale du lobe compte actuellemetif j o 9; dillettrk..
Lli?c/cation de base cherch contribuer la solufioti de ces probl2tnes en
insistant non sedement sur la lutte contre Ianalpbabtid. w e , mais ausri sur
Ihygihie, Iducatioti, la formation technique cf le dhdoppenietit cuifurd.
(Les camions de cinma et de radio pour 1Cducation de basc,
Unesco, priblicaton ti0 j Xr , 1949.)
Pow mmbattre lig,lorance dans le motide ... et pow scrriir /a (ause de Ja
paix dans toutrs /eJ- nafions ... il noirs f auf des units mobiles qui emploient
/es techtuquts audjo-iiisuelles. (JI. Curad Initial Survey Iieport on
Mobile Units, Utiescu, 19~0.)
EXPRI ENCES. Bien que depuis une vingtaine dannes des services de cinma
mobile et des bibliothques circulantes soient utiliss dans de qombreux pays
pour la lutte contre lanalphabtisme, lemploi dunits mobiles quipes A laide
dautres matriels denseignement constitue une relle nouveaut parmi les tech-
niques modernes de lducation. I<. B. Disher a analys de fason approfondie les
raisons qui rendent ncessaire lextension des programmes des institutions ddu-
cation au-del de leurs murs grce lemploi dunits mobiles1. Au moyen du
Travelling Trailside Museum du Cleveland Museum of Natural History (fig. #j,j,
il a dtmontr, ds 1947, que le muse itinrant met les ressources des muses la
disposition des cits ouvrires ou des cits-jardins, des hpitaux, des orphelinats,
des coles, ainsi que des banlieues ou des campagnes recules.
Lemploi des units mobiles a pris une certaine extension aux tats-Unis en ce
qui concerne les muses, grce des expriences faites au moyen du Travelling
Trailside Museum du Cleveland Museum of Natural History (j g. 43), du Trailercoach
du Childrens Museum de Washington, D.C., du Museumobile de lIllinois State
Museum, Springfield (Illinois) (Ag. .+.;I, 4 ~ 1 , de 1Historical Coach de la California
State Centennial Commission, Sacramento (Californie). Nous en trouvons deux
exemples notables en Europe : le vhicule exprimental du RiIuzeumNarodowe de
Varsovie (Pologne)3 et lunit mobile du Centre international de lenfgnce, Paris
(France) (fis. 46).
DE L A NCESSI T D UNI TS MOBI L ES. Le succs de ces expriences assez peu
nombreuses en dmontre la valeur; mais pour obtenir de rels rsultats une acti-
efforts ne doivent pas tre retards jusquau moment oh auront t mens A bien
les programmes de construction et de reconstruction. Ldification de centres
daction ducative et sociale, dcoles, de muses, de bibliothques, de thtres, de
centres dhygine, etc., est de par sa nature mme une uvre de longue haleine.
Or les besoins dordre ducatif revtent une telle urgence que nous ne saurions
I. Kenneth B. Disher : (( es muses itintrants 11,
Ehca~~oOu de bast.: Bft/Let.+z frfprzesh::el, TL 1x9 n 4,
vit organise sur le plan national et sur le plan international Sera ncessaire. Ces
octobre rgjo.
vol. III, no 4, 1950.
2. (( bfusCes mobiles en Pologne ),, hrusEuhr,
I 9O
attendre l'achvement des programmes de construction; de mme, il ne faut pas
se laisser dcourager par la modicit des crdits budgtaires allous l'ducation,
la culture et la sant. Les ducateurs devront aller au public, lui porter leurs
livres, leurs expositions et autres auxiliaires d'ducation, organiser, pour continuer
leur action, des cours de formation de nouveaux matres et d'assistantes sociales.
Le besoin d'units mobiles se fait sentir : IO dans les grandes villes; 20 dans les
zones urbaines et rurales; 30 dans les rgions peu ou point dveloppes1.
I . Outre les institutions fixes de caractre culturel et ducatif, des units mobiles
sont ncessaires dans les grandes villes afin de rpondre aux besoins particuliers
des diffrents quartiers. Les travailleurs peuvent, en effet, visiter l'unit mobile
l'heure du djeuner ou en sortant de leur travail. Les coles pourraient orga-
niser de frquentes visites une exposition voisine.
2. De concert avec les autorits rgionales et locales de l'enseignement, il serait
possible d'organiser des programmes complets au moyen de muses itinrants
et d'units mobiles d'ducation et d'hygine.
3. On ne saurait trop insister sur la ncessit urgente de mettre des units mobiles
au service de l'ducation de base destine aux innombrables deshrits.
I NCONVNI ENTS DES TY PES PRCDEMMENT EN USAGE. Malgr tous leurs .
avantages, les units mobiles utilises antrieurement avaient l'inconvnient. d'tre
fort exigus, puisque les rglements internationaux de la circulation limitent
z m j o la largeur d'un vhicule. Une exposition, une bibliothque, une salle de
lecture perdent tout intrt ds que les visiteurs sont forcs de faire queue et de
s'entasser l'intrieur (fig. 44). Les parois latrales aveugles pouvant -seules servir
la prsentation des objets, ceux-ci sont forcment en nombre rduit et l'exposition
souffre d'un manque de varit (fis. 4 ~ ) . La fule l'intrieur du vhicule rend
malaise l'attention individuelle. Faire la queue ou choisir des livres en plein air,
par mauvais temps, prsente des inconvnients manifestes (jg. 47). De plus, l'es-
pace l'intrieur tant limit, chaque service (bibliothque, exposition ou cinma
itinrant) exige une unit mobile distincte, ce qui multiplie inutilement les frais
de traction, de carrosserie et de personnel.
Pour avoir du succs, une unit mobile, mme la plus petite, doit donner au
46. MOBILE UNIT of the Centre international de
l'enfance, Paris.
46. Unit6 mobile du Centre international de l'cn-
fance, Paris.
visiteur une impression d'espace libre. Le regard aime se reposer de temps en
temps sur des perspectives lointaines. L'interpntration de l'espace intrieur et
de l'espace extrieur, qui rsulte d'une conception architecturale soigneusement
4,~. TBNNEssEE VaLrEr AUTHoRrrY REGIoNaL
Library Service Bo&m&ile. selecting bclc-lis at
the exterior in inclement \?-eather has its obvious
mise au point de l'ensemble du vhicule, assure cette impression agrable, mme
dans les units les plus exigus.
ducatives
47. Service de la bibliothque rkgiunale. Biblio-
mobile. Le choix d'un livre dehors par mauvais
temps prksente des inconvknients manifestes. C'est pour ces raisons que le type troit et rigide d'unit mobile
est aujourd'hui dsuet.
L E NOUV EA U TY PE D'UNI T MOBI LE. Nous sommes aujourd'hui en possession
d'un nouveau type de vhicule mettant profit les techniques modernes pour
combiner plusieurs services dans une mme unit; c'est l'unit mobile extensible.
.I1 suffit d'appuyer sur un bouton lectrique pour qu'en 90 sccondcs la largeur d'un
vhicule passe de z m j o j mtres ou 7 m 50.
L'mite' ~ i o b i l c polir expsitiom. Les figures 4.2, $8 n, 6, c, d montrent le prototype,
conu par l'auteur, d'une unit mobile d'exposition. I1comprend un tracteur et
une remorque, construite sur un chssis de I O mtres de long. On la voit en ordre
de marche sur la figure 48 a. Le tracteur est pourvu d'un amnagement permettant
de coucher une personne ainsi que d'un microphone de commande et d'un haut-
parleur. La figure 48b montre la remorque spare du tracteur. La figure 48c donne
une vue plongeante de la remorque avec superficic triple (j 7 mB) grce un
dispositif tlescopique, rendant le toit, 1:s parois et le plancher simultanment
extensibles. Comme nous l'avons indiqu, cette opration ne prend que 90 secondes
8
et conomise un travail prolong qui exigerait l'intervention de plusieurs hommes.
Les deux hommes qui composent l'quipe d'une unit mobile procdent en
___
biuseums u. Comlnunication prCsentke
I . Abraham Becr: 18 New Trcnjs in Mobile
la rGunion
une heure aux oprations suivantes : 10 ils relvent les panneaux qui couvrent mixte d'experts Unesco-rcoxr, en novembre 1951.
les parois de verre, mnageant ainsi un espace de I m 60 de chaque ct (ces
auvents protgent les visiteurs contre la pluie et le soleil); 20 ils abaissent latra-
lement deux marchepieds escamotables devant l'entre et lasortie; 30 des supports,
r9r
48 a. MOBILE EXHIBITION UNIT, ECA, 1950-1951.
a. b. c. d. Architect : Abraham Beer.
Unit in transit. The unit consists of a towing tractor
and the actual exhibition trailer.
48 a. Unit6 d'exposition mobile, ECA, 1950-1911.
a. b. c. d. Architecte : Abraham Beer.
Unit6 en ordre de marche. Cette unit& comprend
un tracteur d'attelage et une remorque d'exposition.
$8 b. Bird's view of trailer, the tractor having been
detached. The glazed roof lights open for ventila-
tion.
48 b. Vue A vol d'oiseau de la remorque d'e:position,
le tracteur ayant i t ditelt. Les hublots peuvent &re
ouvefts pour la ventilation.
destins recevoir les panneaux d'expo-
sition, sont alors accrochs l'extrieur de
la remorque; 40 au moyen de panneaux
charnires, que l'on oune, la paroi arrire
de la remorque fournit un comparti-
ment supplmentaire o l'on peut loger
thtre de marionnettes ou appareil de
projection de films fixes; on peut ga-
lement s'en servir pour agrandir l'expo-
sition, ou p mnager une scne pour
des reprsentations thtrales ou des
concerts; jo l'intrieur de l'exposition
est ensuite mis en tat au moyen de tiges
d'aluminium fixes au plancher et au
plafond par un systme d'embotements.
Les panneaux d'exposition et les vitrines,
de dimensions standard, sont suspendus
entre ces tiges (' g. 42).
Quatre amnagements intrieurs ( j g. p, 13, j,t, j j , ) montrent la souplesse du
plan de base.
L'avant de la remorque est organis en cabine de projection cinmatographique,
avec deux appareils de projection et le matriel de sonorisation : phonographes,
enregistreur sur ruban magntique, appareil rcepteur de radio et haut-parleurs.
Des placards mnags dans les parois peuvent recevoir le matriel et les bagages
de l'quipage, dont l'un des membres couche dans la remorque.
A l'intrieur, l'exposition est largement claire grace aux parois de verre et
42 hublots de verre dit holophane mnags dans le plafond. La nuit, l'exposition
est illumine de l'extrieur travers ces hublots qui donnent une lumire diffuse;
on obtient un clairage d'effet au moyen de spots disposs l'intrieur.
Le chssis, accessible par le plancher, offre un vaste espace o zoo chaises pliantes
peuvent trouver place en plus d'autres matriels. La remorque en tat de marche peut
galement transporter une tente abritant zoo spectateurs.
L'mit tmbile du Ministre de 2 'didcation nafonale (Frame). Les programmes
d'ducation qui s'adressent aux petites villes et villages supposent l'emploi d'units
de moindres dimensions. Le Ministre de l'ducation nationale en France fait
actuellement construire, selon les plans de l'auteur, une unit mobile de propor-
tions rduites (jg. 16, j7, j 8 , ~9). Elle a t conpe dans le cadre d'un pro-
gramme d'ducation qui s'adresse la jeunesse des campagnes rurales de France.
Contrairement la remorque, cette unit est monte sur un chssis de camion
de 2,j t. L'ensemble, tant intrieur qu'extrieur, de mme que les panneaux
d'exposition, les vitrines, etc., est conforme un module standard.
Le camion, long de 6 m 40, est divis en deux parties : la cabine du conducteur
et la salle d'exposition. La cabine est trois places; elle est suffisamment spacieuse
pour contenir une bonne partie du ma+.
triel, qui comprend deux appareils de
projection cinmatographique, un tableau
de distribution, un rcepteur de radio, un
phonographe, un enregistreur sur ruban
magntique; un systme de sonorisation
avec microphone et haut-parleur, des
outils, etc. I1 s'y trouve, en outre, une
couchette pliante et un emplacement r-
serv aux bagages. Une porte permet de
passer de la cabine la salle d'exposition.
Cette dernire, extensible selon le mme
principe que la remorque dcrite plus
haut, peut tre plus que double de
superficie. Les auvents abattables qui pro-
longent le toit (z mtres de chaque ct)
sont maintenus relevs par des montants
48 c. Entrance and exit side. The steps are hinged
and they fold when the unit is being contracted.
48 r. Entree et sortie. Le marchcpied est monte
charnieres et se replie lorsque le vehicule est clos.
J J d. Bird's view of the expanded unit. A folding
compartment (on the right of the photo) prolongs
the body of the trailer and serves as puppet theatre,
additional exhibition space, or stage for perfor-
niances and concerts. The left end of the trailer is
designed as a cinema projection box.
48 d. Vue vol d'oiseau de l'unit& d'exposition.
Un compartiment repliable visible droite prolonge
le vhicule et sert de sctne de theitre OU de concert,
ou d'espace ccimplkmentaire pour I'esposition. Du
chte gauche, cabine de projcction.
J Z-J I. Plans of different arrangements of interior
for a trailer unit I O m long. Architect : Ahraham
Beer.
J Z-J J . Plans de diffkrents amtnagements intkrieurs
pour une remorque de I O metres de long. Archi-
tecte : Abraham Beer.
de mtal lger qui prennent appui sur le sol et qui peuvent recevoir des panneaux
dexposition double face. Les parois latrales du camion sont en verre et les
vitrines places lintrieur font face lextrieur.
Cette disposition a lavantage, sur les modles anttrieurs, de donner une surface
utile suprieure et de constituer une vritable unit architecturale. La visite
commence par les panneaux et les vitrines extrieures dont la surface verticale
est comprise entre 40 et 60 m2; autrement dit, un plus grand nombre de visiteurs
peuvent circuler librement, et chacun deux peut tudier loisir les objets qui
lintressent.
Ce que le visiteur voit au-dehors lui donne le dsir dentrer. Lexposition int-
rieure est prsente sur un systme de montants mobiles dont le plan peut tre
modifi volont. Panneaux, vitrines et tables peuvent aisment tre disposs de
diffrentes fa5ons, car ils sont tous de dimensions standard. Cette partie de lexpo-
sition contient une bibliothque de 500
ouvrages qui sont parfaitement protgs
contre la poussire et le vol. En raison
de la situation de la bibliothque, la
personne de service peut surveiller toute
lexposition.
Les panneaux et les vitrines sont
conps de telle manire quil est possible
de transporter deux expositions simulta-
nkment.
Ce type nouveau dunit mobile se
caractrise notamment par la suppression
totale du type dexposition couloir
central (Fg. 43-46) ; le visiteur peut
circuler librement autour des panneaux et
des objets exposs. Lexposition ntant
pas enferme entre des parois rigides,
lil peut, de temps autre, se reposer
sur quelque perspective lointaine pendant
la visite de lexposition. Cetype dexpo-
sition donne une grande libert de grou-
pement des objets et des sections de
lexposition. Tout plan dexposition qui
nglige ces possibilits nouvelles ne
saurait atteindre les buts ducatifs dune
exposition et doit, par consquent, tre
considr comme dfectueux.
Les figures ~ 6 ~ 9 montrent diffrents
modes damnagement dune exposition
et de conversion de lintrieur en salle de
lecture ou de classe. Dans tous ces cas,
lextrieur reste consacr une expo-
J I sition, afin que lunit mobile puisse
tre utilise deux fins.
Quelle que soit la solution adopte, lensemble peut tre mont en moins dune
heurt: par un seul employ et un aide bnvole. Aprs montage, une seule personne
suffit assurer le service.
UtiitLs iZles pow rgins i wf j smi meIl t di~eloppes. I1 est probable que, dans
les rgions insuffisamment dvelopptes, il faudra utiliser des unites mobiles de
plus grandes dimensions possdant un groupe lectrogne. La figure 60 montre
un projet dunit mobile toutes fins dont la largeur peut tre quintuple. Couvrant
une superficie de IOO m2, elle peut tre adapte des usages nombreux et varis.
Isole ou dans un convoi, elle pourrait servir de quartier gnral pour une exp-
rience tmoin des Nations Unies ou des institutions spcialises. La figure 60
donne le plan de cette unit utilise dans le cadre du programme dassistance tech-
nique. Elle est alors divisCe en salle de consultations, salle de lecture, salle dexpo-
sition et salle de confrences.
r- - - - --_ __- - - _ _-_ - -__-_
I I I
I I
:
AUTRES TY PES D UNI TS MOBI L ES.
Bien que les trois types dunits mobiles
mentionns ci-dessus puissent rpondre
la plupart des besoins normaux, le
problme du transport des unitts mobiles
par air ou par eau ne manquera pas de
se poser. On a dores et dtj tent de
transformer des ptniches et des navires
en units mobiles dexpositions duca-
tives; le problme de lespace utilist ne
se pose pas arec autant dacuitk que dans
IC cas des unit& terrestres. Lcs unit&
mobiles neriennes suqcitent, toutebis,
des problmes nouveaux ct dun ordre
tout diffsrcnt.
J7
N6 C ES S I T? D EN f R EP Ii C N D R L DES
RE c FI ER c H E S. Le besoin de soumettre
des recherches la question des units
mobiles tducatives, scientifiques et cultu-
relles sous toutes lrurs formes se fait
sentir si imprieusement quil convient
ds maintenant de tenter un effort pour
crer un service international de recher-
ches. Lune des premires qucstions
j6-19. IOB BILE EDLTCATI ON~L UNIT, French Mi-
nistry of Education, Paris. hfodel regi5tcrcd. Ar-
chitect : Abraham Beer.
16-19. Lunit mobiIe du hfinistre de lkducatiun
nationale, France. bfodde d&posC. Architecte :
Abraham Beer.
mettre lttude concerne la normalisation des dments de construction
dexposition. 11importe Cgalement de reconsidrer les techniques audio-visuelles.
dexposition. Les considrations de temps, despace et dargent tant galement
importantes, il sera indispensable de choisir et de prsenter le matriel dexposition
correspondant au programme, de fason que chaque objet y acquire toute sa
valeur. Une organisation devra se charger dorienter les recherches vers des
mthodes de diffusion des informations et des ides par des moyens directs et
simplifits. Pour la mise au point de ces techniques si ncessaires le plus simple
sera peut-0tre dorganiser des expriences tmoins comportant des units mobiles.
( Tizdnit de LaigLcir.)
60. RIOBILE UNIT FOR UNDER-DEVELOPED r h 5 A S .
Model registered. Architect : Abraham Beer. Plan
of the expanded unit built on a chassis 40 ft. (12 ni)
long. Closed unit in transit is 8 ft. j in. (2 m yo)
wide. Here the width of the trailer is expanded five
times, thus giving an interior surface of ITOO sq.
ft. (100 sq. m.) This unit can easily be :irranged for
any kind of requirement. The plan shows the use
of the unit for a technical assistance programme.
The interior is divided into a reading or class room,
a library containing I 500 books, lecture and cinema
hall with folding seats fur 8 0 persons, exhibition
hall and an office. The lecture hall provided with
two emergency esits, has a stage which can he used
for indoor and outdoor performances.
do. Unit mobile pour regions insu&s;imnient
dkveloppkes. Modle depos&. Architecte : hbrahani
Bcer. Plan de lunit6 mobile complCtenient deploybe.
Ccmtruction sur chssis de 12 mtres de long. C h
montre lunit6 d6plopie en 1;irgeur j fois, avec une
surface intbrieure de 100 m4. Crtte unit& peut Stre
facilement aninagee pour toutes sortes de besoins :
utilisation de lunit6 pour un programme da
tance technique; lintrieur est divis6 en salle de
classe ou de lecture, biblioth6que de 1500 volumes,
salle de confkrences ou cinma avec sieges pli3nts
pour 80 personnes, salle desposition et burem.
La salle de conferences est pvurvue de deus stjrties
de secours et dune scne pour reprsentations
lintrieur et lextrieur.
MUSEUM NOTES
REST ORA-TI ON AND P\/I ODERNI ZATI BN
OF THE TI ERGARTEN, SCHNBRUNN
The former imperial palace of Schonbrunn is parti-
culaily dear to the Viennese. EFen if they how
nothing of the historical events connected with the
place. they feel that here tine architecture and the
artistic arrangement of the gardcns form a perfect
ensemhle.
The Schijnbrunn Zoo, built in 1752, is an essential
part of the whole Baroque layout of park and
palace. I t is the work of the architect Nicolas J adot
de Ville-Issey of LunCville and was planned and
built for Dulce Francis Stephen of Lorraine, husband
of Maria Theresa and German Emperor, whom
J adot had followed to Vienna from their common
homeland.
* ,;It tnctgtric Oe tF2iltjrthrr;n
CHRONI QUE
J adots original plan (jg. 61) reveal? the main
idea underlying the general design. A pretty pavilion
stands in the centre (fig. 62J, surrounded by a cir-
cular wall, on the inside of which are the animal-
houses and outdoor cages. These houses once called
lodges (fig. 63) are separated by walls. A main walk
and two diagonal walks converge at the centre of
the enclosure. The various animal-houses were
approsimately of the same size and suitably pro-
portioned to the central structure. The administra.
tive buildings and adjacent aviary, situated along
the aest wall of the park, formed a larger block.
This preliminary plan as, in the main, faithfully
followed. During the last century, the zoo buildings
62. TIERGARTEN, Schnbrunn. The Central Pa-
vilion of 1752. This pavilion, which was seriously
damaged during the war, was restored by the
Federal O6ce for Monuments.
62. Pavillon central, datant de 1752. Ce pavillon,
tres endommag; pendant la guerre, a kt restaur
par lOffice fCdCrd des monuments.
63. TIEKG4KTEN, SchZinbrunn. One of the old
animal houses of 1752.
63. Anciennes loges danimaux, datant de 1752.
61. rrERGARTEN, Schriinbrunn. Nicolas J adots plan
for the Menagerie, completed in 1752. (Fotzns A I ~ w -
f i m, Osterreichische Nationalbibliotelr, ALB 44.6 19.)
6r. Projet de Nicolas J adot pour la mtnagerie,
acheve en 1752. (Ibid.)
undenvent changes which, detitlcting both from the
genera1 symmetry and the clearness of the original
plan, cannot be called improvements.
Some of the original buildings, which were no
longer large enough or suitably equipped to meet
growing needs, were either altered or replaced by
ne+ buildings, arid the walls dividing the animal-
houses, as ael l as the surrounding outer wall, were
removed.
During the second world war, a great many of
the animals were killed, and considerable damage
and destruction mere inflicted on the buildings by
bombing. But the steadily increasing popularity of
the zoo-the only one in Austria-made its recon-
struction imperative.
The reconstitution, in their pie-war form, of the
buildings damaged or destroyed during the war
was out of the question, for that vould have perpe-
tuated their dranbacks; they failed to conform to
-rriodern ideas about the keeping of animals and
fell far short of the requisite conditions of a visit.
The Imperial Court, who from the central pavilion,
liked to look at curious specimens of native and
foreign fauna, had been replaced by the Viennese
public, who enjoy watching .the animals at close
quarters and studying their habits. The public's
wishes must be taken into account in planning the
new zoo, if it is to thrive and fulfil its purpose. On
the other hand, what remains of the historical design
cannot, and must not, be replaced by an entirely
new lay-out. That is ruled out on fmancial grounds,
but even more because the Schnbrunn Zoo is a
higlp original svrrith century creation, known far
beyond Austria as an extraordinarily interesting
feature of cultural and architectural history. I t is the
last rectnaining princely zoo in Europe of the Ba-
roque period and, as such, forms an organic part of
Schiinbrunn Palace and its park.
It therefore seemed to me that the duty of the
architect is to seek with great care to reproduce as
far as possible the clearness of the original design
($8.64 a, b) .Unsightly alterations should be removed,
RESTAURATI ON ET MODERNI SATI ON
DU TI ERGARTEN, SCHONBRUNN
SchBnbrann, ancien chitrau de plaisance imprial,
est particulikrement cher aux Viennois. AlCmesans
connatre les Cvhernents dont le souvenir est lie
ce lieu historique, ils ressentent l'harmonie de cet
ensemble forni par une architecture ghi reuse et
Le jsrdin zoologique de Schnbrunn date de
1752 et constitue un element essentiel d'un ensemble
de style baroque. CEuvre de l'architecte Nicolas
J adot de Ville-Issey, de LunGville, il a kt6 projet
et realis pour le duc Franpis-&tienne de Lorraine,
mari de Ahrie-ThCrCse et empereur d'Allemagne,
que ladot avait suivi de leur patrie commune.
Le projet de J adot ( j g. 61) montre quelle a et
Un parc ChdrtIYant.
l'ide fondamentale du plan. Au centre, un char-
mant pavillon (fig. 62), entoure d'un mur circulaire
A l'intkrieur duquel sont disposCs les pavillons des
animaux avec lcurs annexes. Les secteurs, appel6s
loges (fis. 61) dans le passt, sont s6pars par des
murs. Une allte midiane et deus allees radiales
convergent vers le centre. Les pavillons des animaus
sont de grandeur peu pres Cgaleet leurs propor-
tions s'accordent celles du pavillon central. Un
corps de hitiment plus important. situe prks du mur
ouest du parc, constituait le btiment administratif
et la volihre adjacente. Dans ses lignes principales,
ce projet avait &t realise.
Au cours du sicle dernier, des bitiments du
64 a, b. TIBRGAKTEEN, Schdnbrunn. X model to be
displayed at the eshibition of 191 z ccrmmemornting
the zooth anniversary of the Garden. On the right,
the svrIrth-century Zoological Garden. On the
left, plan for its rearrangement.
64 a, b. Maquettes pour l'exposition cumnimo-
rant le zoo? anniversaire du Tiergarten. h droite :
le jardin zoologique du XVIII' sikcle. A gauche:
projet de ramknagement.
and new and larger animnl-houses built to talie the
place of those that ~ ~ r e destroyed, but they must
be incorporated harmoniously in the general plan.
A second entrance should he made and the paths
rearranged, so that the puhlic can move about niore
easily. It will not, hou-ever, be possible to carry out
our aimof preserving the historical setting unless
the more spacious enclosures (&. 61). which
are customary nowadays and which enable the ani-
mals to he seen in il natural setting, can he placed
outside the narrow limits uf the old architectural site.
This lay-out, situated close to the existing entrance
from the Palace side, is included in..the plans,
Thus, in attempting to preserve all that is worth
preserving and to achieve :I reasonable and mtcful
blending of old and nem-, UT shall remember that
it is our duty both to respect cultural traditions and
to meet the needs of modern progress, with due
regard to the proper care of monuments.
( Tramlafed . f i o~(l Geriituti. )
&ITCHEL ENGELHAKT
jardin zoologique subirent des transfcrrmations qui
ne peuvent gure tre appeles heureuscs, car elles
dtruisaient les proportions du plan et la clart& de
la conception.
Devenus insuffisants, v2tustes ou trop petits,
certains btiments ont kt6 transform& ou remplacs
par des constructions nouvelles. Les murs de sepa-
ration entre les secteurs et le mur circulaire qui les
entourait ont it6 supprims. La seconde guerre
mondiale ravagea 1:t minagerie et les bombardements
dGtruisirent ou endonimagerent les bitirnents. biais
la popularit6 croissante du jardin zoologique, le
seul en Autriche, poussait impkrieusement sa
reconstruction.
Reconstituer purement et simplcment les hiti-
ments endommags tait hors de question. En le
faisant on aurait perptu leurs dfauts. Ils ne
rCpondaient pas aux nornies modernes de la tenue
=97
I
et de laprsentation des animaux ni i des conditions
de visite favorables. La cour, noble et exclusive,
et qui du pavillon central voulait observer les curio-
sits de la faune indigne et exotique, avait tb
remplace par le public viennois qui prenait plaisir
voir les animaux dans leur milieu et i tudier leurs
habitudes. On devait tenir compte des vux du
public pour que le jardin zoologique restit un orga-
nisme vivant apte remplir son but. Dautre part,
les traits historiques existants ne devaient pas &re
remplaces par une cration totalement nouvelle.
Des raisons dordre bconomique sy opposent tout
dabord, mais surtout le fait que le jardin zoologique
de Schnbrunn constitue une creation du SVI I I ~siecle
et de la plus haute originalit, reconnue comme
prsentant un intirkt exceptionnel bien au-del des
frontikres de lAutriche dans le domaine de lhistoire
de la civilisation comme de larchitecture. Dernier
jardin zoologique princier demeur de lEurope de
l&poque baroque, il complte organiquement le
chteau et le parc de Schnbrunn,
I1 ma donc paru que le devoir de larchitecte est
de rtablir autant que possible et prudemment la
clart de lidkefondamentale (fis. 64 a, b). Des trans-
61. TIERGARTEN. Schikbrunn. The model for the
new hippopotamus-house. The central section has
the traditional elcvated roof, while the side sections
are lo-wer and flat-roofed. Architect: Dr. Engelhart.
61. hlaquette pour le nnureau bctiment des hippopo-
tames. La partie centrale a le toit &v& traditionnel;
les parties latralcs ont un toit bas et plat. (Ibid.)
formations ginantes devraient &re supprimees et de
nouveaux pavillons plus spacieux remplaceraient les
httiments dtruits, tout en sintbgrant harnionieu-
sement dans les proportions de lespace architectura1
donne. Une deuxime entre serait cri&, et un
meilleur track des allbes permettrait de mieux diriger
lepublic. Toutefois, si lon veut garder au zoo ses
traits historiques, il faudra placer les enclos spacieux
(fig. 6j), i lintrieur desquels aujourdhui les
animaux voluent en liberte dans un milieu naturel,
en dehors des limites restreintes de lancien site
architectural. Lemplacement prvu pour eus se
trouverait c& de Yentrie latrale du chiteau.
Telle est la mesure dans laquelle k lancien, digne
dtre prservd, le neuf peut tre adapt dans le
respect de latradition culturelle et du progrks vital,
au sens o lentend la conservation vigilante de nos
monuments.
( Tradiit dr Lahtzaizd.)
?dI CI I RL ENGELHAET
VOCATI ONAL TRAI NI NG
TECHNI SCHES MUSEUM FUR I NDUSTRI E
UND GEWERBE, WI E N
The Austrian school curriculum prrmides for visits
to factories, which the pupils find a valuable strurce
nf inforniation about industrial production. Unfor-
tunately, s o far as the arts and crafts are concerned,
young people have no opportunity of visiting
workshops nhere these are carried out.
A few specialized institutions, such as a voca-
tional guidance office, have been set up in Austria
to provide training in craftsmanship. The Tech-
nisches Museum, for its part, has had benches ins-
talled in its worlrooms to enable craftsmen to
practice their trade (fi<. 66, 6.7).
At the same time, the Museum meets the need
of making certain forms of craftsmanship known to
the public, hy allowing it to watch the criftsmen
at their work. Beside each apprentices bench there
are t1x-o showcases, one containing his tools and
the crther the objects he has made.
Adults and young people can talk to the workers,
question them and so gain an idea of the various
trades. The museumthus contributes, in a modest
way, to the vocational guidance work of the Lan-
desarlieitsamt (Labour Oifice).
ORI ENTATI ON PROFESSI ONNEL L E
66. ~ ECHNI SCI I L I hfUSEUV FOR I NDUSTRI E UNI>
GELVERBE, Wicn. The engraver.
66. Le cisrleur.
TECHNI SCHES MUSEUM FUR I NDUSTRI E
UND GEWERBE, WI EN
Le programme scolaire autrichien prvoit des visites
des diffrentes usines et manufactures; les &ves
en retirent un prcieux enseignement en ce qui
concerne LI production industrielle. I1 nen cst
malheureusement pas de mme pour lartisanat et
aucune occasion ne soffreaux adolescents de visiter
les ateliers oh les artisans exercent leur art ou leur
metier.
Quelques institutions spkialises ont t crdes
en Autriche, notamment un bureau dorientation
professionnelle, en vue de former des apprentis
artisans; de son cht, le Technisches Museuma fait
insvaUer, dans ses locaux de travail, des tahlis sur
lesquels des :artisans peuvent pratiquer leur mtier
(/is. 66, 671.
En mme temps, le musbe rbpond au besoin de
faire connatre certaines formes dartisanat au publis,
qui a ainsi loccasion de voir les artisans au travail
et dobserver laf qon dont chacun exerce son mktier.
Auprs de ltabli de chaque apprenti se trouvent
deux vitrines: lune contenant ses outils et lautre
les objets quil a exCCutCs.
Adultes et jeunes gens peuvent sentretenir avec
les ouvriers, les interroger, se faire une ide des
diffrents metiers. Le muse contribue ainsi, sous
une fornie discrte, leffort dorientation profes-
sionnelle du Bureau du travail, le Landesarheitsimt.
67. TECHNISCIES h f US E ~ x f F ~ R INDUSTRIE UND
GEWERBE, Wien. Group of school-children witch-
ing a demonstration of the potters art.
67. Groupe decoliers observant une dPmonstrL-
tion de lart du potier.
IV. THE M U S E U M AND THE SCHOOL . These
E CS U CA 'I' I 0 AL T R AV E L L I N G E X HI B I 'I' I 0 N S
eshibitions help to lieep the syllabi related to the
I N MEXI CO
Educational Travelling Exhibitions have been
organized by the Instituto Nacional de Antropologa
e Historia, Mxico City, in collaboration with the
Museo Nacional de Arqueologa, the Universidad
de Nuevo L eh and the Direcciones generales de
Ensenanza primaria, in hiexico.
I. THE ORI GI N OF TXI E I DEA. The first congress
for the purpose of studying and planning a system
of evening classes for primary adult education was
held in Mexico City in 1949. At that congress, a
group of art teachers submitted a resolution calling
fora series uf reforms with the object of increasing
the practical interest of the syllabus by means of
visits to museums, the organization of exhibitions
designed to promote an appreciation of art, the
intrcrduction of the visual arts in adult primary
education, and the use of audio-visual ai dsal l the
above being regarded as pmcticd methods of pre-
venting education from degenerating into mere
learning by rote.
This resolution was approved. Art teachers were
appointed to serve in the evening primary schools,
and a Board of five senior art teachers and an educa-
tor was formed to carry out a scheme for a series
of exhibitions, After some initial difficulty in secur-
ing support for the organization of these eshibi-
tions, mesucceeded in enlisting the aid of Dr. Daniel
F. Rubin de la Borbolla, the Director of the hfuseo
Nacional de Antropologia, who welcomed the
idea enthusiastically and immediately took charge
of the arrangements for the eshibitions originally
planned, on the fcrlloming general topics : I . The
visual arts in pre-Columbian times (fip. 68, 69, , o) ;
2. Culture and art in the Colonial period (fig. 7 r,, 7.2) ;
j. xIxth century art; 4. Modern and contemporary
art. The first two exhibitions have so far been
organized.
The exhibition on The uwalarts ik pr e- Cohl ~i ar fims
consisted of a set of twenty panels illustrating the
follouring topics : (a) Early forms of life; (b) Central
America; (c) Zones where civilization was highly
developed in pre-Columbian times : (d) American
contributions to world culture; (e) Architecture;
(f) Sculpture; (g) Painting; (h) The minor arts
(goldsmith's work, feather work, lapidary work,
weaving) ; (i) The sciencis (mdthematics, astronomy,
linguistics); (jj The social system; (E) The economic
system; (1) Religion.
The panels, of plywood set in pitch-pine frames,
are made to fold like screens and contain painted
reprcrductions of codices and archaeological speci-
mens, enlargements of photographs, and brief
esplanatory notes.
A number of reproductions of archaeological
specimens, and showcases containing stone objects
and ceramics, dating from the earliest archaic to
the advanced cultures, help to create atmosphere.
The eshibition Ciiltire a d art in the Calotrial
pt.iud is arranged in sixteen panels illustrating the
following subjects : (a) The world in the svth cen-
tury; (b) The discovery of America; (c) The pre-
Columbian world; (d) The preaching of the Gospel;
(e) Education; (f) The ecunomic system; (g) The
social system; (h) Sculpture; (i) Painting; (j) Archi-
tecture;' (k) Printing; (1) L' iteizture.
A selection of original svrnth century paintings
and a number of objects typical of the Colonial
period provide an appropriate background.
III. USE OF THE EXHI BI TI ONS. Once the prepara-
tions are all complete, the eshibitions start to tour the
schools in the Federal district. Conveniently situated
'
II. THE ORGANI ZATI ON OF THE ESHI BI TI ONS.
premises are chosen in each school district, as the
idea is that the general public, as well as children
and adults attending the schools, should come to
see the exhibitions. Before the exhibitions are open-
ed to either children or grown-ups, two lectures
are arranged for the local teachers, to give them
advice on the best iray to talre their pupils round.
During the visit, the latter : (a) study the exhibits,
talre notes and make sketches; (hj are given an
opportunity to use the library to obtain information
on special topics set by the teachers; (c) write essays
on subjects which interest them.
concrete and p&tical life, but they have another
significance, too : the niuseumdoes not coniine its
activities to welcoming children and teachers within
its own walls; it goes out to the schools themselves,
where it does work of very great educational and
social value. - -
Wc have gained nmst useful experience, and
now realize that not only history (which has so far
engaged our attention) but also geography and
natural science syllabi, which need to be made nic~re
practical, can be organized on similar lines, with
due emphasis on the concrete.
With the help of one of our universities, an
illustrated catalogue Fitti B full esplanatory test
has recently been published. It vas hitherto avail-
able only to teachers, hut should be published in
a simpler edition for distribution tu all children
and adults visiting the museum.
,
(io 7 0
. -
EXPOSI TI ON s DUCATI VES I TI NERANTES
AU MEXI QW
Des expositions itinrantes ducatives .ont it org.1-
nises par lInstitut0 Nacional de Antropologa e
Historia, Mxico, D. F. en collaboration avec le
Museo Nacional de Arqueologla, Puniversidad de
Nuevo Len et les Direcciones Genei-ales de Ense-
anza Primaria au Mexique.
I. OR I GI NE DE L I D ~E . En 1949 eut lieu
MexicolapremiPre runion du Conseil pour litude et
lorganisation de cours primaires du soir lintention
des adultes. Quelques professeurs darts plastiques
membres de ce conseil y prbentrent une motion
prconisant une srie dinnovations qui visaient
donner au programme dtudes un caractre concret
au moyen des visites aux muses, de lorganisation
dexpositions prsentes dans un sens artistique, de
linscription des arts plastiques au programme des
cours primaires pour adultes et de lemploi des
auxiliaires audio-visuels, tnutes mesures considrtes
comme des moyens pratiques de ragir contre un
enseignement trop verbal.
Cette motion ayant CtC adopti-e, on nomma des
professeurs darts plastiques dans les cours primaires
du soir et lon constitua un comit formk de cinq
professeurs darts plastiques et dun pedagogue, que
lon chargea dlaborer un programme dexposi-
tions. Aprks quelques recherches infructueuses pour
sassurer certains appuis qui laideraient mettre sur
pied ces expositions, le comit obtint finalement
le cnncours du Dr Daniel F. Rubn de laBorbolla,
directeur du Museo Nacional de Antropolo&.
Celui-ci accueillit lidkeavec enthousiasme et accorda
immdiatement son patronage aux espositims qui,
daprs le programme primitif, devaient porter
sur les sujets gntrilux suivants : 10 lart plastique
i lpoque prcolombienne (fix. 68, 69, 70) ; 20 la
culture et lart lpoque coloniale (l i s. 71, 72);
3 lart au arxe sikcle; 4* lart moderne et contem-
porain. Les deux premires expositions ont djX tL
organisies.
position sur Lart pJuJ.tipe L*+oqiie pn:L.oIa//llJi~~tit~e
comprenait 20 panneaux notamment consacrbs aux
sujets suivants: a) origine de la vie; b) Amrique
centrale; r.j zones prtcolombiennes de haute culture:
11. ORGA NI SA T I ON DES.ESI OSI TI ONS. Les-
d) apport des cultures amricaines d la culture uni-
verselle; e) architecture; fl sculpture; g) peinture;
h) arts mineurs : orfvrerie, plumasserie, lapidairerie
et tissage; a) sciences : mathmatiques, astronomie,
langage; j ) organisation sociale; k) organisation
iconomique; l ) religion.
Les panneaux en contreplaqu sont entours dun
cadre de bois de pin et articulis la manitre dun
paravent; ils purtent des reproductions peintes de
codex et de spicimens archologiques, des agran-
dissements photographiques et de courtes notices.
Lambiance de lexposition est cre par des re-
productions de spcimens archtologiques et par des
vitrines o lon voit des objets de pierre et de cra-
mique dont lorigine remnnte aux temps les plus
reculs ou qui illustrent les priodes:de haute culture.
Lexposition Cidture e t art Ie)nque colotiialc
comprend 26 panneaux consacrs aux sujets sui-
vants : a) le monde au we sicle; I)) la dcouverte
de lAmrique; c) le monde prcolombien ; d ) l&an-
glisation; e) liducation; f) lorganisation cono-
mique; g) lorganisation sociale; h) la sculpture;
5 ) la peinture; j ) larchitecture; k) limprimerie;
I ) les lettres.
Diverses pcintures originales du SVI I I ~sitcle et
divers objets caractristiques de l&poque coloniale
crent lambiance de cette exposition.
III. UTI L I SATI ON DES ExPosI TioNs. Une fois
tous les dtails riglks, les espositions commencent
faire latourne des coles du district fdtral. Le local
choisi dans chaque circonscription scolaire doit 6tre
facilement accessible au public; cm a voulu en effet
que non seulement les enfants et les adultes frquen-
tant les coles mais.aussi le grand public puissent
profiter de ces expositions. Avant que celles-ci ne
soient ouvertes aux enfants et aux adultes, deux
conftrences dorieneation sont donnes aux matres
dicole de la circonscription, pour leur permettre de
guider leurs Clves le mieux possible. Pendant leurs
visites, les &kves observent, prennent des notes
et dessinent, sont invits consulter dans les
bibliothkques des ouvrages de rfkrence SUT cer-
tains sujets choisis par les matres ou rdigent des
monographies sur les sujets qui les intressent.
IV. L E arusE ET L EL OL E. Outrequecesexpo-
sitions permettent de rendre les programmes sco-
laires plus concrets, le muse nest pas seulement un
lieu daccueil pour les enfmts et les matres, mais
se deplace et va dans les Gcoles mmes, remplissant
ainsi une function hautement Cducative et sociale.
LcxpGrience acquise est extremement prcieuse
et montre quil est possible de donner lobjectivit
requise aux programmes dhistoire qui retenaient
toute lattention, mais quil est nkessaire de ltendre
dautrcs matires telles que la gkographie et les
sciences naturelles.
Nous avons pu rcemment, avec le concours de
lune de nos universitks, publier un catalogue illus-
trC, Rccnmpagn dun texte abondant, qui jusqu
prsent na servi yuaus rnaitres; mais il est question
den publier une kdition simplifie distribuer
tous les visiteurs, enfants et adultes.
MUSE COMMUNAL, VERVI ERS
This museum is housed in a building which was
constructed in 1690 but modernized in an unsatis-
fiactory way in -1912. The archaeological collections
are on the g!ound floor, and the paintings, which
are top-lit, on the first floor. I n the back-wing,
which was not modernizedin 1912, there are three
store-rooms, and the administrative offices.
Although not far from the centre of the town, the
museumis, so to speak, somewhat remote. If, there-
fore, it is really to attract the public, it must be made
a centre of interest. As the premises cannot be
200
extended, either horizontally or vertically, the only
alternative is to exploit what space is available in
the best way.
A year and a half ago, therefore, we prepared a
project for the utilization of the cellars; these would
be converted into a store-room for stone objects
and ceramics, a lapidary section, a room for record-
ing the archaeological features of the district and
lastly a room (mainly to be used by schoolsj for
lectures, niqetings and the showing of slides and
films. Unfortunately, this project is still under con-
sideration at the Ministry of Public Works.
The ground floor contains seven monis devoted
to archaeology. These rooms, though they had large
windoxs, were nevertheless badly lit; and, as addi-
tional lighting was indispensable, the windows were
removed and each room was divided into two. The
ceiling was lowered so as to ensure normal propor-
tions; the walls were covered with fibre panels (on
wooden supports) painted a light hut lustreless
colour, to permit the exhibits to be set off to their
hest advantage. So far, four of the old rooms hdve
been reconstructed and a new room has been fitted
up fnr prints. Fluorescent tubes (7,000 I<) provide
direct lighting for the exhibits, while visitors remain
in the half-light. I n the ronni for engravings (/&. 7j)
the lighting, which is hidden behind the coriugations
of the ceiling, is shed on to oblique panels so that
the glass frames protecting the exhibits do not cause
reflections and visitors can inspect the engravings at
close range without casting shadows. The room
for sculpture and our collection of porcelain-one
of the fi est in Belgium-will shortly be completed.
. As for the paintings, on the first floor, it would be
difficult to alter the arrangement of the rooms. The
lighting, however, will be modified so as to facili-
tate evening visits, for the museum is open in the
evening on all week-days.
I n J anuary 1951, we also proposed a change in
the museums general policy. Statistics covering a
period of four years had shown us that the museum
q-as visited by three categories of persons: those
attracted by curiosity : 70 ,o; those desiring ins-
truction : zs ;; specialists : 5 ;; (these figures
relate solely to persons living in the Verviers region).
In practice, there is no real dserence between
the first two categories, for both the curious
and thestudents wish tn see the objects regularly
exhibited and clearly and instructively displayed,
whereas the specialists are in search of technical
information.
We first endeavoured to satisfy the specialists
requirements by setting up a laboratory for photo-
graphic analysis (infra-red, ultra-violet, flubres-
cence, macrophotography, etc.); it is used for
studying the museums morks and will ~I SCJ he
employed for recording the archaeological fratures
of the district.
With regard to the other two categories of visi-
tors, the nmdifications were more ditficult, as they
involved a complete revolution in methods of
display. The main defect of the original display
scheme was that it was too technical for the average
visitor and not technical enough for the specialist.
The object of every museum is to develop in the
general public, through the fine arts, an appreciation
of the beautiful and, through archaeology, to inspire
in it respect and love fur the past. Realizing how
difficult it is to change ideas which peuple have
already acquired, we held no illusions as tothe pos-
sibility of instilling a love for art into the public
at large. FCJ ~ this rcason, after several conclusive
experiments, wefelt that our niain object should be
to arouse the interest of schoolchildren aged 9 or
more. We have endeavoured to bring the various
exhibits within their understanding, which, inci-
dentally, is hardly less receptive than that of the
average public.
Our guiding principle is to maintain the interest
of risitors by means of attractive display and tem-
porary exhibitions. I n the archaeological section,
for ezample, most of the exhibits had to be removed
from their showcases and presented in a setting
in keeping with their period. Weaccordingly tried,
when reconstructing old interiors (/&. 74, 71, 76).
to establish perceptible and logical rather than his-
torical and archaeological connesions between the
various objects. A catalogue or a notice ciin evcike
the history of a period, but it cannot recreate its
atmosphere.
In the fine arts section we have arranged the
best of our ancient works in three rooms, in histo-
rical order. Alongside each exhibit, purely technical
and aesthetic esplanations are given; anecdotes and
literary information are, so far as possible, avoided.
One rnom is devoted to regional, another to conteni-
porary artists. Here the problem is more complex
than in the archaeological section. Before the pio-
7 4
neering nature of modern art cm be appreciated,
the evolution of the arts in general must be under-
stood. Regional artists must also be enabled to
cotnpare their work with the most recent develop-
ments in their tield. Accordingly, in spite of limited
space, we have reserved a room for temporary
exhibitions of works of living artists, although they
are unconnected with the museunis permanent
coUections. The eshibitions are devoted to works
of modern Belgian artists and occasionally, for
compar2itive purposes, tn the worlrs of a tnodcrn
mister. Since J iinuary, for instance, we have mhi-
bited engravings by Picasso and drawings by bra-
tisse, as well as works of \Yalloon expressionists
and non-figurative artists.
MUSE COMMUNAL , VERVI ERS
Le muske est situ dans un btiment construit en 1690, Le rez de-chausic comprend sept salles conw-
mais modernis en 1912, et de fason malheureuse. cres larchologie. Ces salles Ctiient mal Cclairtes
Au rez-de-chausse sont groupes les collections par de grandcs fenstres et un Cclairaqe dappoint
darchologie; lCtage, la collection de peintures ktait indispensable. Les fenetres ont Ct& supprimkec.
qui a bknifici dun &clairage znithal. Dans larrire- Chaque salle n Ct diviit-e en deux. Pour restituer des
bitiment, non transform en 1912, se trouvent trois proportions normales on a abaisst le pkfond. On a
magasins de rserve et les locaux administratifs. recouvert les murs de panneaux en fibre monts sur
Sans Ctre trs kloign des quartiers actifs de la chevrons et peints en une couleur claire et mate,
ville, le muse est cependant en dehors de la circu- pour pertnettie aux objets de prendie tcwte leur
lation, de telle sorte que le public qui napas docca- valeur. h lheure actuelle, quatre salons anciens ont
sion de le visiter doit y Ctreattirt: par la cration CtreconstituCs et une nouvelle salle, cconsacree
dun centre din&&. Les locaux ne pouvant sagran- aux estampes. Des tubes fluorescents de 7. 00~uI i
dir ni en superficie ni en hauteur, il faut tirer le Cclairent diiectement les objets tout en laissant le
parti maximumde ce qui existe. public dans la pknonibre. Lclairage de la salle
Cest pourquoi, il y a maintenant un an et demi, consacrke aux gravures (fie. 7$J , dissimulC dans un
nous avons tabli un projet damknagement dans plafond en dents de scie, porte sur des panneaus
les caves dun magasin de rserve pour les pierres obliques pour que le~glaces qui protigetit le5eumes
et les cramiques, dune section lapidaire, dune ne produisent plis de reacts et quon puisse sappro-
salle consacrte linventaire archologique de cher des gmvures sans former dombres. Prochti-
larrondissement, et enfin dune salle de confkrences,
runions ou projections destine principalement aux
coles. Le projet reste malheureusement en suspens
I
au Ministtre des travaux publics.
201
71
nement sera amnage la salle consacree aux sculp-
tures et i notre collection de porcelaines, une des
plus belles de Belgique.
Ltage est occupti par les peintures. La disposi-
tion des salles peut dificilemcnt &re modifie;mais
lclairage sera revu pour faciliter les visites qui ont
lieu en semaine tous les soirs.
Nous avons ti: amens en janvier 195 I B proposer
une modification de lorientation du muse. En effet
dcs statistiques portant sur quatre annes nous
avaient enseign que le muse ttait yisitk par trois
catgories de personnes : celles qui y viennent par
curiositt : 70 :(,; celles qui y viennent pour sins-
truire : 25 5;; les spcialistes : 06. (Ces chiffres
. concernent uniquement les visiteurs de la rbgion
vervitoise.)
Pratiquement, les deux premieres catgories
peuvent Stre confondues. Les curieux et les tu-
diants demandent des expositions et une prsenta-
tion claire et instructive, les spcialistes dsirent des
renseignements techniques. .
Nous avons commenc par satisfaire les spcia-
listes en montant un laboratoire danalyse photo-
graphique (infrarouge, ultmviolet, fluorescence,
macrophotographie, etc.) consacr ltude des
Oeuvresdu musk et i linventaire archologique de
larrondissement.
Pour les deux autres cattgories de visiteurs, les
modifications taient plus dficiles i raliser car
clles rendaient nkcessaire un houleversement coin-
plet. Le principal dkfaut de lancienne prkentaticin
tait dttre trop specialis0e pour le public habituel
et trop peu rationnelle pour les spbcialistes. Le but
de tout muse est de diriger vers le beau au moyen
des arts les personnes dont lopinion nest pas for-
me et de leur inspirer le respect et lamour du
pass grcc i 1archi:olopie. Nous ne nous faisons
pas dillusions sur les nioyens dinculquer lamour
de lart au grand public sil faut rformer une du-
cation acquise. Cest pourquoi il nous a paru neces-
saire aprs plusieurs essais concluants dintresser
principalement les lves des coles, et d&s lge de
neuf ans. Nous nous sommes efforcs de mettre les
objets au niveau de leur comprhension qui, dail-
leurs, nest pas trks ditfirente de celle du public
moyen. Le principe directeur est dtviter lennui
@ce h une prtsentation attrayante et B des espcisi-
tions temporaires.
Dans la section archologique, il fallait sortir IC
plus qrand nombre possible dobjets de leurs vitrines
et les replacer dans le cadre ,de la vie courante de
lpoque, et cest pourquoi, dans les reconstitutions
dintrieurs anciens (fig. 74, 7 j , 76) nous nous
sommes efforcs dtablir entre chaque objet des
liens frappants et logiques plut& quhistoriques ou
archtologiques. Un catalogue ou une notice convien-
nent parfaitement pour reconstituer lhistoire dune
poque, mais ils ne sauraient en rendre latmosphkre.
Pour les beaux-arts, nous avons group en trois
salles, par ordre historique, les meilleurcs Oeuvres
anciennes de nos collections. Les explications consa-
crees uniquement i la technique et B Iesthftique
figurent h c6tk de chaque ceuvre; les anecdotes et le
c6t littraire du sujet sont bnnnis autant: que pas-
sible. Une snlle est cxmcre aux artistes rksionaux;
une autre aux mmifestations des artistes contein-
porains. Le problme est ici plus tendu que dans
la section darchkologie. II faut faire comprendre
lkvolution des arts pour rendre accessibles les de-
couvertes de lart moderne. I1faut galement per-
mettre aux artistes rkgionaux de confronter leurs
rruvres avec les dernieres manifestations des arts.
Cest pourquoi, bien que manquant de place, nous
avons rserv: une salle BUS espositions temporaires
duvres dartistes vivants, sans rapport avec les
collections du muse. Les espositions sont consa-
cr6-s aux artistes modernes belges et, de temps en
temps, pour faire le point, i un matre de lart mo-
derne. Depuis janvier, par exemple, nous avons
espose des gravures de Picasso et des dessins de
Matisse, puis des ~euvres dartistes u-allons expres-
sionnistes et non figuratifs.
CI NCI NNATI ART MUSEUM
Introductory gallery of sculpture from India and
Indonesia, leading to the four Chinese galleries
The two marble columns are rare examples of
early wrth century architecture from a Sivan temple
in the region of Madras. They are installed in the
doonvay to suggest their architectural function and
to assure advantageous display of their graceful
(fig. 77v 78, 79) .
Salle dintroduction lasculpture indienne et indo-
ntsienne conduisant aux quatre salles chinoises
Les deus colonnes de marbre snnt des spcimens
rares de larchitecture du dkbut du V I I ~ sicle, prove-
nant dun temple de iva situ dans la rgion de
Madms. On les a places dans lencadrement de la
porte afin de suggrer leur &le architectonique et
de mettre en valeur la grice de leurs proportions er
(fi<. 773 78,79) 9
proportions and refined carving. h large-scale map
of the Far East gives the source of each object in
this series of galleries. In the centre is a bronze
xvrrth century Siva. In the foreground is the vrth
ccntury Chinese stela of the Wai Dynasty.
The gallery wnlls have been painted a plaster grey
and charcoal black colour to present effectively the
bronze and stone objects exhibited. The pedestals
la dlicattsse de leurs sculptures. Une grande carte
de 1Extrtme-Orient indique lorigine de chacun des
objets qui se trouvent dans cette srie de salles. Au
centre, un bronze du X V I I ~ siccle reprsentant iva;
au premier plan, la stkle chinoise de la dynastie
Wai (I+ sicle).
On a peint les murs de lasalle en gris plitre et en
noir-charbon de bois, pour faire ressortir les objets de
bronze et de pierre exposs. Les socles trs siinples
are simple, and yellow hrnwn in colour. The screen
bihind the Siva has been raised on supports tn avoid
heaviness of etfect while providing a background
for the bronze figure and, in contrast ti-) the ~valls,
it is a bright yellow in a lighter value.
Special lighting has been arranged, as in the lintel
above the columns, in order to present the sculp-
ture favourably for enjoyment and for study.
sont de cciuleur brun-jaune. L&cran devant lequel
se trciuve iva est plac sur des supports : il fournit
ainsi un fond B la figure de bronze sans alourdir
leffet densemble et, dun jaune vif, il contraste par
sa tonalit plus claire avec la couleur des murs.
Un clairage special a tt installti, comme dans le
linteau au-dessus des colonnes, afin de prsenter la
sculpture sous un jour qui la rende agrable regar-
der et facile h tudier.
2 0 2
77. Crw,+rr ART hfuserrhr, Cincinnati, Ohio.
North end CJf Chinese sculpture hall, with ante-
room of Indian and Indonesian sculpture. The
window-cases, as we call them, Seen at the left,
hold Shang and Chou Dynasty brvnzes.
p. Estrkmitk nord du hall de 1.1 sculpture chinciise
avec vestibule riser\,& h 13 sculpturc indienne et
indcinisienne. Les vitrines que lon aperoit A gauche
renferment des bronzes des dymsties Schang et
Chou.
78. CINCINNATI ART hI usmr, Cincinnati, Ohio.
Screen and niche case in Indian-Indonesian Gallery.
Screen yellow, walls plaster-grey. Buddhist heads
in a wall case; Siamese xrvth-swth centuries, Siva
swrth century, Cambodian head, sth-srth century.
78. Panneau et niche dans lagalerie Inde-Indonisic.
Le panneau est jaune, les murs gris pile. Dans une
niche, des tPtes de bouddhas; Siam (du srve au
S V I ~ sicle), iva du XSI I ~ , tete cambodgienne du
s p - x ~ p sikcle.
79. CINcirw+rI ART MusEuhr, Cincinnati, Ohio.
Chinese sculpture hall seen through mindoar-case
in north wall, containing Chou bell and Ordos wild
ass. All case linings ate Shantung silk; lights are
fluorescent tubes above frosted glass.
79. Hall de la sculpture chinoise vu it tfilwrs la
vitrine de la paroi nord qui cuntient une cloche
Chou et un Hne sauvage Ordos. Les parois des
vitrines sont tapisstes de soie chantoung; liclairagc
cst assuri par des tubes fluorescents dissimulks au-
dessus dune vitre dkpolie.
203
Musfi DU LOUVRE, PARI S
L A SALLE DES TATS
The Salle des tats (Assemhly Room), intended for
meetings of the principal official bodies and for
certain official ceremonies, was built according to
the plans of Visconti and completed by Lefuel. It
a a s inaugurated by Napoleon III on 14 August
1857. The original decoration of this room still
survives behind the present walls, which were
built by the architect Guillaume as part of his alter-
ations to fit the room for use as a museumgallery,
I t was inaugurated as such in 1886. A large skylight
had been installed and, to provide the rich decora-
tion then considered necessary for museumrooms,
the curve of the arches had been heavily ornamented
with stucco figures.
Before the war, the Salle des Etats [j:q. 80) con-
tained a collection of romantic paintings (Dela-
croix, Lngres and Courbet). These large canvases
are now shown in the series of galleries which run
at right anglcs to the Salles des Etats, forming a
collection of the large French decorative paintings
from David to Courhet.
In accordance with the extension plans of the
Departement des Peintures, the Salle des Etats
(j g. 87) has now been reserved for the exhibition
of large Venetian paintings of the Renaissance,
with which the Louvre is particularly well-endowed.
I n a building like the Louvre, where it is impossible
to alter the internal structure, it has been a point of
policy to relate the use of the rooms to their various
dimensions. The placing of the large French
srxth century pictures near to thc Venetian deco-
rative ones has the effect of creating a group of
monumental paintings such as is found in no other
museumin the world.
The architectural alteration of the room was
directly related to the display of the rUarriage at
catia. A wall was built opposite to the door leading
80. hf usf ~ uu LDUYRE, Paris. Salle des tats, before
re-arrangement.
80. La Salle des tats, avant la r6installation.
87. Musio DU LOUVRE, Paris. Salle des tats, nen
arrangement, hfarch 1912.
81. La Salle des tats. Nouvelle installation, mart
1952.
into the Grande Galerie, so as to permit this paint-
ing to be viewed from a considerable distance (more
than 35 metres). The picture is flanked by two great
doorways leading into a sort of ante-room which
constitutes a transition from the Venetian paintings
to the French xxth century ones.
The heavy stucco decoration of the cornice,
effected in 1886, has been replaced, in accordance
with the Architectural Commissions decision, by :I
simple painted and gilded frieze. During the xrsth
century, the paintings had been given a sumptuous,
ornate setting, which in the xxth. century was to
give place to a much simpler one, detaching, as it
were, the pictures from their surroundings. HCJW-
eyer, despite the fashion for neutral tints, it was
thought well in this instance to adopt a warmer ,
colour, which could set of the Venetian pictures
more effectively than cold tones too often sugges-
tive of the hospital ward.
The Salle des Etats leads into the Grande Galerie
through two hays devoted to Venetian painting; an
endeavour has therefore been made to preserve the
unity of this room. The only exception is a copy of
Leonardo da Vincis Last S@per, although, owing
to its subject, even this painting is in harmony with
the rest of the room, which contains numerous other
pictures of mystic banquets.
The works have been spaced out at intervals of
between I m. so, and z m., so that each picture may
occupy, undisturbed, the visitors field of vision.
Every endeavour has been made to exhibit the paint-
ings in ancient frames, hut difficulties due to the size
of the works displayed have prevented this from
being done in all cases. A Venetian frame for Titians
Etzto?izbmetzf mas purchased in London; and two
large pictures, Titians Jrrpiter aiid Aafiope and Vero-
neses Supper at Emmans have been provided with
period frames. But with the largest paintings this
procedure was not possible. The i U~rri qe at Cam
appears in a frame triade, probably, at the time of the
Empire cit the Restoration; it was decorated with
a frieze of rather doubtful taste, but this has now
been replaced by a stippled design after the pattern
of Italian frames of the swth century.
A new experiment has been tried as regards labels;
these, made of transparent rhodoid with black letter-
ing, have been placed on the wooden panelling. It
has thus been possible to tnake them large enough
to be redd from a distance without destroying the
harmony of the ancient frames, and without creat-
ing the glittering effect formerly produced by labels
on a gilded background.
The works themselves have been treated accord-
ing as their condition required. The Louvres tne-
thods of prudence have been observed throughout.
The paintings have been relieved more or less, as
each case dictated, of their ancient wrnish, with a
view to securing a better adjustment of tones.
I t has been possible to exhibit, under these con-
ditions, all the large paintings of Veronese: Supper
ut the House of.Siiiioiz the PIJauiJw. painted in 1570 for
the refectory of the Servites and offered to Louis XY
by the Seigniory of Venice; Siuatwa atid the El dm;
Szqpcr at Emnau~.; Estber b&re ilhasnerns ; :md the
two ceiling paintings of the Doges Palace, St. Mark
rrouxiwg 161 Virtues and Jrqiter destrojq the T%es-
both these paintings have been placed opposite the
Alauriage at Calla, in a position apart.
The other paintings include Veroneses Portruif
dit de la BelLe Nai i i ; Palma Giovanes loutrait of at1
Admira/ ; Titians ].piter and Antiope (owned at
different times by Philip II of Spain, Charles I of
England and Louis XIV of France), EfJtombmnf,
Chriif Cr~2zi vith Therm., and Supper at Emmaiis :
Tintorettos sketch of the Paradise for the Hall of
the Great Council in the Doges Palace; Francesco
Bassanos Etitonibn~mt ; three paintings by Bonifiacio
de Pitati and his students; and Lorenzo Lottos
Hob Fami!?.
Only twenty-one works are exhibited in this
immense room, but they include some of the largest
oil-paintings of the Italian school.
GERMAIN BAZIN
204
MUSGE DU LOUVRE, PARI S
LA SALLE DES TATS
Construite sur les plans de Visconti et termi de par
Lefuel, la Salle des tats, destine la reunion des
grands corps de 1tat et h quelques crimonies
oficielles, fut i naupri e par Napolcsn III le14 aoiit
1857. Le dkcor de cette salle subsiste encore derriire
les murs actuels qui datent du remaniement optr
par larchitecte Guillaume, afin de transformer cette
pi ke en salle de niusCe. Elle fut inaugure en 1886;
bien quon lait pourvue dune grande verriire, on
avait tenu lui donner la richesse quon estimait
devoir itre celle dune salle de muste, au nioyen
dun lourd dicor de statues en stuc qui garnissaient
les ~-0ussUres.
Avant lii guerre, la Salle des tats (fig. dal conte-
nait un ensemble de peinture romantiyue (Dela-
crois, Ingres et Courbet); les vastes toiles de ces
tnaitres qui lornaient sont venues prendre placc
dans lasuite des galeries, formant une prisentation
des grands tableaux dcoratifs frmpi s de David h
Courbet et dispnsics perpendiculairement la Salle
des tats.
Dans le plan dexcension du dCpartemsnt dcs
peintures, la Salle des hats (Ay. 8 r ) est rCserv&e
la prisentation des grandes peintures vknitiennes
de la Renaissance dont le Louvre est particdikre-
ment riche. Dans un bdtinient tel que le Louvre,
dont cm ne peut modifier la disposition intCrieure,
on sest attach&, en &et, h utiliser les salles selon
leurs dimensions. La proximit des grands tablemx
franais du SIS si&cle et des tableaus dicoratifs
vnitiens forme un ensemble de peinture riionu-
nientale que ne prsente mcun autre niusCe au
nionde.
La transformation architecturale de la salle a i tt
ralise en fonction de la prisentation des Nores de
Catia. Un mur a ti constivit Face lentre de la
salle dans la Grande Galerie, pour permettre leur
exposition avec un grand recul (plus de 35. ni).
Deus portes monumentales encadrent le tableau et
donnent accs h une sorte dantichambre mnageant
latransition entre lapeinture vinitienne et les salles
de peinture fransaise du X I X ~ sicle.
Le 1c)urd dkcor en stuc de la corniche esicutie
en 1886 a disparu pour Paireplace a une simple frise
peinte et rehausske dor, selon la dicision de la
commission darchitecture. Au XIXC sikle, le respect
des Ceuvres avait conduit kafabrication dun dcor
soniptueux et lourd. Le sit sicle devait revenir
une sorte dabstixction isolant leuvre peinte.
cependant, il faut noter que, inalgr& la vogue des
tons neutres, on a cru ici devoir adopter une couleur
plus chaude qui met mieux en valeur la peinture
dkcorative vtnitienne que les toils froids voquant
lanudite dune salle dhBpita1.
La Salle des Etats souvre dans laGrande Galerie
entre deus travies consacres I J peinture vini-
tienne; aussi sest-on eEorc6 de maintenir luniti de
cette salle. Seul un tableau Cchappe 21 cette rgle,
cest une copie de /a C h de LConarcl de Vinci, qui,
cependant. se rattache par son sujet Ienscmble
de la salle oh figurent diji de nonibreus banq-icts
mystiques.
Lespacement des cpuvres, des intervalles vir int
entre I m 7 0 et 2 in, a it6 cnncu pour que chaqx
ceuvrc puisse rester isolie dans le champ visucl du
spectateur. Leffort de rencadrement des tableaux
avec des bordures anciennes a ktt! poursuivi ici. Mais
les difficults dues au format des toiles prtsenties
nont pas permis de raliser latotaliti du programme.
Un cadre vknitien a pu itre acquis B Londres pour
la Alise ai/ tandwan du Titien. On a pu cependant
riencadref dans une bordure dipoque deux tableaus
aussi grands que fa I..i:r2w du Pardo du Titien et /ES
P&rit/s dEiizmaLr de Veronse. hiais un ne pouvait
pas songer faire un eRort semblable pour les plus
grands tableaus. Les Nn r w de Carla possdent un
cadre escut probablement sous lEmpire ou la
Restaumtion et ornt dune frise de got douteux.
On a Pait disparatre ce motif pour, le remplacer par
un dessin, execute en pointill, limitation des
bordures italiennes du s w c sicle.
Une innovation a tk tente en ce qui concerne
les itiquettes. Excutes sur rhodoid transparent en
lettres noires, elles ont ktpos2es sur la cimaise en
bois. De cette manikre elles ont pu ttre ralisies h
une grandeur qui permet leur lecture de loin. sans
pour cela rompre lharmonie des bordures des
cadres anciens, ni attirer lcri1par un Gclat trop vif,
comme les anciennes inscriptions sur fond or.
Les c~uvrcs elles-m$mes ont et trsitCes selon les
nicessitts de leur i tat. Les niithodes de prudence,
traditionnelles au Louvre, ont i t appliques coninie
il a ti fait jusquici. Suivant lancessiti de chaque
cas, les peintures ont i t plus ou moins allgies de
leur vernis ancien, a h de les faire reapparaitre dans
un juste rapport de tons.
Cest dans ces conditions que lon a pu reprksenter
toutes les peintures monumentales de Vkronse :
Le Rtpas dey JiitZotl, peint en I 570 pour le rifectoire
des Servites et offert Louis XIV par laSeigneurie
de Venise, la.rr/;nfim a!i huh. /fs 12kritis d khvm: ss
/nsr/oiiisrere~~t dEsther, et les deux plafonds du
Palais des Doges : J,iitit Alm. r~o~/rl rori t/mt les ot,f:cs
&lagdes et Jiipitrr. jiJridrqyant 1t.s mk t s ; ces deus
peintures ont i t& placies tkce aux Nores de Caw:t,
dans une positiw isolie.
On trouvera encore, de Vironksc, le Iortr.ait dit
de La Bdl e Nuii I. de Palma Giovane, un Portrait
dmairal ; du Titien, ILJ I iiirs da P~mdo, qui a appar-
tenu h Philippe II dEspagne, i Charles I er dAngle-
terre et A Louis UV, b lllisc ai tombem, /(: Cniuwi-
~ e m t w t d+ims. lm P&rhs d Emtizais ; du Tintoret,
lesquisse du PuradiJ. de la Salle du Grand Cunseil
au Palais des Doges; de Francesco Bassano, la Alhisr
air tnntbt.az~ ; de Bonifiazio de Pitati et de son atelier,
trois compusitions; de Lorenzo Lotto, la Sabte
Famlle.
Au total, vingt et une euvres seulement figurent
dans cette salle immense, mais parmi elles sont
quelques-unes des plus grandes peintures lhuile
de licole italienne.
GERMAIN BAZIN
WORCESTER ART MUSEUM
P 11 R L T C 1 T Y AND PUR LI C R E I, AT I ON S . A
combination of increased facilities (fk. dr, $3)
for hfuseuni members and widespread publicity
cmcerning membership has been responsible for
a marked increase in numbers during recent years.
An effective innovation m~s the introduction, in
1940, of a programme of fire or more motion picture
films chosen for their importance as contributions
trJ the art of the cinema.
The filnis are shown to museum members
during the winter season. Other opportunities for
members have been an extension of adult classes
in the theory and practice of design and the
introduction of special talks on the permanent
collection which are preceded by a supper in the
early evening. Members are given receptions at
breviews of special exhibitions among the events
of the year, and receive regularly the museums
A~en~s Bdetitz arid Caletidar.
Circulation of a booklet with very brief text,
numerous illustiwions and their captions, was
started in 19~1. The cover and the design of the
interior were done by a firm of public relations
consultants, the head of which is active in the
Museums Members Council.
GEORGE L. STOUT
83. YORCESTER ART AZUSEUM, Worcester, Massa-
chusetts. Certain early evening gallery talks for
members are preceded by well-served and inespen-
sive suppers.
8 j. Certaines visites comnientCes, organisies le soir,
pour les membres, sont prictdes dun diner bien
servi et de pris modique.
lieu pendant la saison dhiver. Ue nouveaux cours
SUT la thhri e et la pixticlue du dessin dornement
WORCESTER ART MUSEUM
et de d6coi-ation ont t organiss en plus des autres
cours dadultes lintention des membres, de meme
que des causeries sur la collection permanente du
Pustrcrrb, REI .ATI oNS AVEC L.E PUBL I C. association. Lorganisation depuis 1940 de sances muse, prcides dun diner. Les membres de
De nr.iu.ceaus avantages (fi. 82, 83) consentis par de projection, dont le programme comprenait au lassociation sont Cgalement invits au vernissage
lAssociation des membres du niuse i ses adhrents moins cinq filins choisis en raison de leur importance dexpositions spiciales qui font date et ils repivent
venant sajouter A une propagande intense ont eu dans lart du cinma, a constitu Cgaleinent une rgulikrement le NEI)(T Rdhfitz awZCa1crdar du musk.
pour etfet daccruitre sensiblement leffectif de cette heureuse et efficace innovation. Ces sances ont Le muse a entrepris en 1971 de diifuser une
brochure de propagande contenant fort peu de teste
mais beaucoup dillustrations accoinpagnkes de
lgendes. La courerture et la maquette de cette
brc)churc Ctaient lcpuvre dune socit desperts-
conseils en matire de publicit;, dont le directeur
est un membre actif du conseil de IAssociation des
nieinbrcs du inusCe.
GI XX~GE L. Smur
81. WOKCESTER ART MUSEUM, Worcester, Massa-
chusetts. Exhibition: Desigrz .for fbe home. hiembers
may enrol in the Du<yrfor fhr home course to study
problems of household arrangements and installation.
82. Exposition : ,%ko,nti~n d i /l f ~ef /; J.. Les membres
peuvent sinscrire au cours de decoration dint-
rieurs pour les questions damnagement et dins-
tallation de lhabitation.
J f. TOPKAPI s.411.1i-1hf UZEV, Istanbul. General
view. Fromleft to right: Second courtTard with the
cypress walk; Divan or Council Chamber and
the Harem; Kitchens; Gate of Felicit?; Third
courtyard, Throne room, and Libraries, old and
new; Apartments of the Sultan and the Empress
TOPKAPI SARAY I MUZESI , I STANBUL
The Tcrplcapi Sarayi stands in one of the loreliest
settings in the woxld, on a promontory overloolcing
the Sea of hlarinora and the Golden Horn, from
which the Bosphoims, the island of Prinlripo and
Istambul, with its countless mosques, can be seen.
This foimer palace of the Sultans is today a building
of unusual architectural interest. I t was begun in
the svth century, and state apartments, harems,
pavilions and domestic offices were gradually added
over the nest 400 years. In 1924, the palace \ras
scheduled as a public inclnument and, after certain
restoration ~o r k had been carried out, was con-
verted into a museum.
In December 1951, a number of new rnoms were
opened, to exhibit thc treasures of the former
Sultans. These collections, containing many objects
of fabulous worth-some of which, presented to
the Sultan by allied monarchs, had never even been
unpacked-mere then still in their original crates.
They have now been arranged in a setting murthy
of their beauty and value (jig. 84-89).
Mother; Treasure-house of the Holy Relics and
administixtive offices; Museums of porcelain, silver
and ciystal; Fourth courtyard and Baghdad Kiosk.
84. Vue gknbmlc. De gauche ii droite : Deuxikme
cour avec lalle des cyprks; divan ou chambre du
Conseil et harem; cuisines; purtail dc la Fblicit;
troisiine cour, Salle du Trime, et hibliothkpes,
ancienne et nouvelle; appartement du sultan et de
limpratrice lZI&rc : trsorerie des saintes reliques et
btiments administratifs ; musLes de la porcelaine,
de largent et du cristal; quatrikme cour et kiosque
de Bagdad.
206
TOPKAPI SARAY I MUZESI , I STANBUL
restauration ayant tt effcctuts, le palais a t
dCclart monument public et transform en muse.
En dkcembre 1971, un certain nombre de salles
contenant le trsor des sultans ont i t inauprtes.
Ces anciennes collections. constituies par des trsors
LeTopkapi Sarayi est situt dans un des p h beaus prsente aujourdhui un ensetnhle architectural dune richesse fabuleuse dont Certains, presents de
sites du monde, sur un proniontoire dominant la extrkniernent original. CotnmencC au s v e sicle, il monarques allies, navaient mcme pas &tC dtbaus,
tr~er de biarmara et laCorne dOr, dou lon apergoit sest au cours des quatre sikcles qui suivirent agrandi se trouvaient encore dans leurs caisses dorigine;
le Bosphtsre, pile des Princes et Istanbul mas- dappartements dapparat, harems, bains, kiosques elles ont rnaintcnant ti installees dans un cadre
+es innombrables. Cet ancien palais des sultans et btiments de service. En 1924, des trilvaus de digne de leur beaut& et dc leur valeur (j g. B+f9).
XJ . TOPKAPI SAR.ITI MUZESI, Istanbul. View of the
Baghdad !&&ICs, built in 1633. This is the best pre-
served building in the palace. The frieze is orna-
mented with a verse from the ICoran, reading:
ln religion, there must be no constwint,
81. Vue interieure du kiosque de Bagdad construit
en 1638. Cest le btiment le mieux consrrvt de
tout le palais. Un verset du coran, u I1 ne doit y
avoir aucune contrainte dans la religion J., c)rne le
pourtour dc la ciinaise.
--
--. . - -. . . . . . . - ..-A
86. Toi ~sa~i SARAYI hItrzhs1, Istanbul. hfuseumof
porcelain. Building erected in 1606, restored in
1944. I t contains the great imperial collections of
Chinese porcelain (about 8,000 pieces dating from
the sth and subsequent centuries, including 1,300
pieces of celadon).
86, hlusie dc la porcelaine. Bltiment construit cn
1606, restaure eii 1944. I1 contient les trks impor-
tantes collections imptriales de porcelaines chinoises
(8.000 pikes environ des se sikcle et suivants, dont
1.300 pices en ckladon).
~. ..
87. Torrc~rr S AR~ YI ~C U Z E S I , Istanbul. Treasure
Room. Shoncasc containing costumes of the Otto-
man sovereigns.
X7. Salon du trbsor. Vitrinc contcnant les uistumes
dcs S ( . X I V K ~~~~S ottornans.
88. Toprc2trI SIR \YI hfuz~sr, Istantul. The kitchens.
88. Les cuisines.
89. TOPKAPI SARAPI Muz~sr, :Istanbul. Second
treasure-room, containing the golden throne of
Ahmed I (1603-1617) and the ebony throne of
Murad IV (1623-1640). The showcases containing
swords, helmets, guns, plumes, etc. are either of
metal, with glass shelves, or set into niches in the
walls of the building, which dates from the svth cen-
tury. These cases are lit by fluorescent lamps, and
the backs are covered with very pale yellow watered
silk.
89. Deuxime salon du trCsor dans lequel se
trouvent le tr6ne en or dAhmet Ipr (1603-1617) et
le trdneen bine de Mourad IV (1623-1640).
Les vitrines contenant +&es, casques, fusils, pa-
naches, etc. sont, de deus types : en mtal, avec dta-
gCres de cristal, ou encastres dans les niches du
b;itiment qui date du )ive sicle. Ces vitrines sont
clairees par des lampes i fluorescence et le fond
est garni de soie moire faune trs clair.
The second volume of a collection dealing with the
historical and al-chaeological monuments of the
American countries has just been published in
English by the Cornision de Historia de 1Instituto
Panamericano de Geografia e Historia (legislation,
progrunmes, present trends, administration, clas-
sification of monuments). This volume, by Mr. Ro-
nald F. Lee, Assistant: Director of the National
Park Service, deals with the monuments of the
United States of America.] The tirse, by hlr. Angel
Rubio, was published in Spanish in 1950 and dealt
with the monuments uf the Republic of Panama.2
The other volumes are being printed; one, by
hfr. Robato Montadon, deals ni th Chile; the other,
by Mr. Rodrigo hi. F. de Andreade, with Brazil.
The volumes on Argentina, the Dominican Repub-
lic, Guatemala, Haiti, Hnnduras, J amaica, hfexico
and Vencxuela are in course of preparation.
The first volume of a guide to the public collec-
tions of art of the United States, in Spanish, has
just been published by the Pan American Union. It
provides a survey of the principal museums and
gallerias of the Eastern Seabord from Florida te
Nexy York. A subsequent volume covering New
England is in preparation. Ultimately, books on the
Mid- West and thc Western United States will be
prepal-cd. This is the first attempt to make informa-
tion available on the wealth of art treasure5 which
the foreign visitor tnay appreciate in this country.
The book is designed for thc use of Spanish speak-
ins people, of whnm a large number visit the United
sr ut es.^
208
Le second volume dune collection consacre aux
monuments historiques et archkologiques des pays
amricains vient dktre publit en anglais par la
Comisin de Historia de 1Instituto Panamericano
de Geografia e Historia (lgislation, programmes,
tendances, organisation administrative, classement
des monuments). D hf. Ronald F. Lee, Assistant
Director au National Park Service, ce second volume
traite des monuments des tats-Unis dAmkrique.1
Le premier, par M. Angel Rubio, publi en espagnol
en 1950, traitait des monuments de la Rpublique
de Panama.2 Deus autres volumes sont en CCJ U~S
dimpression: lun, d i hi. Robato hfontadon,
consacr au Chili; lautre, par hf. Rodrigo hi. F. de
Andreade, au Brksil. Les volumes relatifs lArgen-
tine, au Guatemala, i Hati, au Honduras, la
J amaque, au Mexique, la Rpublique Domini-
caine et au Venezuela sont en cours de prparation.
I. Lee, Ronald F., II. U&ed States ; Historical and
archaeulogira1 niutmmer~ts, 195 I, 128 p., ill. indes,
2.1. cm.
2. Rubio, Angel, I. Pariania : r2.fur~rmmenfos Bistorisos
3 arquto/u@m, hfsico, D. F., Instituto Panamericano
de Geografa e Historia. Comisin de historia.
UNITED STATES
hrsico. D. F.. 1050. 128 p.. ill.. index. ZJ cni.
,. . . .
Le premier volume dun guide des collections dart
publiques des tats-Unis dAmrique, en espagnol,
vient dktre publie par la Panamerican Union. On y
trouvera une tude des principaux muses et galeries
de la cdte est, depuis laFloride jusqu New York.
Le volume suivant sera consacc6 la Nouvelle-
Angleterre, les deux derniers au Middle West et
lOuest des tats-Unis. Cest le premier effort qui
ait jamais i t tent pour offrir au visiteur dtranger
des renseignements sur les trsors dart de ce pays.
Louvrage est destini aux touristes de langue espa-
gnole, dont un grand nombre se rendent chayue
anne aux tats-Uni ~.~
1. Sicre, J ose Gomez, Guia de Las rolecrioties ptiblibas
ie arte En lus EstadoJ. LGiiaos. I. Costa Oriental:
Florida a hTcw York, Washington, D. C., Union
Panamericana, 1931, 154 p. ill,, index, 24 cm.
IhlP. UNION, 13, RUE MhCHACN, PARIS-XIV
C O N T R I B U T O R S I A U T E U R S
I
GIULIO CARLO ARGAN
B~~~at
~ ~ ~ i ~ ~ i ~ ~ , ~k~~~~~ of the wer i a E ~ ~ ~ ~ ~ ~ ,
&Iodena, from193,, to 1938. since then has beea
Inspector-General for mediaeval and modern art
NICOLAS DELGADO
at the Ministry of Education in Rome. Deputy
I ecmer in the History of Art Criticism at the
Universiq of Rome. Publications : History of Ita- Born Quito, Ecuador. Studied art in Europe, 1911-
lian Art, from xvth to the xxth centuq. Author 1916. Guest of Department of State of U.S.A.,
of books and essays on mediaeval and Renaissance invited to study Noah American Museums and
ardtectwe. Contributor to many Italian and foreign their organization, ~ 9 4 4 . Twice Director of the
art reviews; is now devoting spccial study to the Fine Arts National School, Quito. General Director
methodology of art criticism md to modern of National Fine Arts. Art Lecturer. Official Com-
are. missioner, San Francisco Worlds Fair, 1939-1940. (paris, 1950).
Member of Editorial Advisory Board of MUSEUM.
tion italienne des beaux-arts depuis 1933. Direc-
teur de la ~ ~ n ~ ~ i ~ &tense, de Modene, jusquen
man Of Council for Defence Of the city
of Quito. Architectural Composition teacher in the
School of Architecture University of Quito.
1938. Depuis, inspecteur gh&r al du Ministkre de
ltducation pour lart du moyen Bge et lart
modeme. Char& de COWS dhistoire de la aitique . NB a Quito (Equateur). tudie les beaux-arts en
$)art h Yuniversit de Rome. A publi une histoire Europe, 1911 -1916. Invitt par le Dipartement
de Part italien du xve au X I X ~ sikcle et plusieurs dfitat des &ats-Unis d hai que pour tudier les
livres et essais sur Iarchitecture du Moyen Age et musees nord-amtricains et leur organisation, 1944.
de la Renaissance. Collabore
plusieurs remes Directeur A deux reprises de Pecole nationale des
d& italiennes et ttmgtres. Se consacre SUaOut beaux arts de Quito. Directeur gCnEral des beaux-
actvdement A lktude des problkmes de metho- arts. Cours et confkrences sur les sujets relatifs B
dologie en aitique d ~ et A l&tu& de lart lart. Commissaire officiel A la Worlds Fair de
modeme.
San Fmcisco, 1939-1940. Membre du &mit& de
rdaction consultatif de RIUSEUM. Membre de la
Casa de la Cultura de PEquateur. Prtsident du
Conseil pour la dEfase des arts de la ville de Quito.
ABRAHAM BEER
Architect, Paris. Bom in 1916. Graduate of t he professeur de composition atchi tecde g 1&ole
Hebrew Technological Institute, Hafa (Aichircc- darchitectute de lUoiversit6 de Quito.
ture and Town Planning). Author of the first expan-
dable mobile musueum. Studies and lectures on KURT MARTIN Director, Medersterreichisches Eandesmusuem,
museographical architecture. Specialist in visual B~~~i n in Zaich. A pupil of Heinrich WE- Vienna.
f l i at the University of Munich, became a Doctor Directeur du Nieder6sterruchisches Landesmuseum,
aids and exhibitions.
Architecte, Pais. N6 en 1916. Dipldm& de 1Int- of philosophy in rp4. Since 1927 has worked in Vienne.
titut technologique hbreu, Hafa (architecture et
urbanisme). Auteur du premiqmuste mobile exten-
sible. fitudes et confrences sur les musees et Par-
chitecture. Spd&Ste des auxiliaires visuels et des
Karlsruhe, fkst at the Badisches Landesmuseum and,
since 1934, as the Director of the Staatliche Kunst-
halle. During the war he mas &o placed in charge
of the Musees du Haut-Rhia in Strasbourg, and
after the war he became director of the Landesamt
fiir Museen ia Freiburg-in-Breisgau. In 1948, he
visited the United States as German curator for
the exhibitions of German pictuues. Is the author
of books and articles OR mediaeval plastic art. ;
X V ~ I c e n q architecture, horticulme and sculp-
me; and old German and modern painting. Has
organized exhibitions in Germany and abroad,
including Des Mhtres de Cologne d AZhwf Direr
~6 Zurich en 1899. & 1924, doctorat de
sophie IUniversit6 de Munich. l&ve de Heinrich
Wodffh. Depuis 1927 ?i Karlsruhe, dabord au
~ ~ d i ~ d ~ ~ Landesmuseum et, depuis 1934, direc-
teur de la Staatliche Kunsthalle. Charg en outre
pendant la guerre de la direction des mustes du
Haut-Rhin Strasbourg et, depuis la guerre, de la
direction du Landesamt fiir hfuseen Friboufg-
en-Brisgau. Envoy en 1948 aux Etats-Unis dAm&
rique comme membre allemand de lacommission
chargte dorganiser les eqositions de tableaux
allemands. A Ccrit des livres et des articles sur la.
sculpture du moyen ge, sur IatcKtecture, lart des
jardins et la sculpture du XVI I I ~&de, s u r la pein-
ture allemande ancienne et la peinture modeme.
A or@nis& des expositions en Wemagne et h
l%tranger, parmi lesquelles lexposition : Des maatires
de Cologne d AZhrf D r ~ (Paris, rgp) .
RINTERSBACHER
Member of the ~ ~ a l i ~ ~
Nb en 99 Turin*
partie de *dminiSwa-
Member of Casa de la Culmra of Ecuador. Chair-
I Wrttembergisches Landesmuseum, Stuttgart.
2 Museum fiir Kunst und Kulturgeschichte, Dort-
mund. 3 Mainfrhkisches Museum (Gundermann,
Wrzburg). 4 Selbstverlag Frankfurter Goethe
Museum (Molzahn-Altheim). J \ValIraf-Richarn
Museum, Kln. 6 Hessisches Landesmuseum (Staat-
fiche Kunstsammlungen, Kassel). 7,10 Bayerischee
Nationalmuseum, hfnchen. I! Staatliche Kunst-
halle (Walter Schmidt, Karlsruhe). 9 hIuseum fir
Kunst und Gewerbe (Friedrich Hewicker, Ham-
burg. II Ehem. Staatl. Museen in Berlin, Gcmiilde-
galerie (Walter Steinbopf, Berlin-Ilablem). 12-15
Galleria di Palazzo Bianco (na Foto Cresta, Genova;
P I C T U R E C R E D I T 1 P HO T O G R A P HE S
13, 1 4 ~ 15 A. VUani & Figli, Bologna). rb, 18 Mu-
seo di S. Martino, Napoli (Gabinetto fotografico
della Soprintendenza alle Gallerie, Napoli). 17 Galle-
ria del Banco di Napoli (Gabinetto fotografico della
Soprintendenza alle Gallerie, Napoli). 19-22 Museo
de Arte Colonial, Quito. 24-41 Niederster-
reichisches Landesmuseum, Wen. 42-60 Abraham
Beer, Architecte, Paris. 61-65 Tiergarten, Schn-
brunn (GI Bildarchiv, Nationalbibliothek; 62, 63
Horik; 64a H. Madenslcy, Wien; 64b J. Scherb,
Wen; 155 Engelhart, Arch.). 66, 67 Technisches
Museum fiir Industrie und Gewerbe (Ruth-Maria
Franz, Wien). 68-72 Direcciones generales de En-
seanza primaria, hfexico, D.F. 73-76 Mus6e com-
munal, Verviers (74, 75 Arbel; les Architectes
urbanistes Gaston Machot et Robert Busch).
77-79 Ci nchati Art Museum (Richard Mathera,
Cincinnati.) 80, 81 Muse du Louvie, Paria.
82, 83 Worcester Art Museum. 84-89 Topkapi
Sarayi Muzesi, Istanbul (87, 89 Foto-Sender).
Ewaium :
MUSEUM v (1gj2), 2, $$. 117-229, f@. 37-44, for /
pour : Freer Gallery of Art, Smithsonian Institution,
r ed lipc : Fogg Museum of hst, H3t-pard Uni-
versity, Cambridge* Mass.