A. N. Tolstoy. "Once in a Lifet ime". Draft Autograph from Tolstoy’s Handwritten Notebook (Introduction and Editing by A. S. Akimova)

A. N. Tolstoy’s handwritten notebook of 1909 (Manuscript Department of the Institute of Russian Literature (Pushkinskij Dom), Russian Academy of Sciences) contains a draft autograph of "The Poem at Seventeen" (1910) which could be probed as an earlier version of the short story based on Tolstoy’s personal impressions. The draft autograph is published here, using the text from the handwritten notebook. The text includes the plot and the main characters, the young poet, Lyubochka and her father — the antique dealer. They were subsequently made more specifi c and acquired psychological traits.

Malligheden. Een Noord-Franse gietmal in een Nederlands museum

Saved for Science? (Summary, already written in 2008 by Jay Butler). Especially in northern France, much has been lost in the course of the wars that devastated the area, but much has been saved too. Particularly intriguing among the saved Bronze Age objects are the bronze casting moulds, which in prehistoric times must have been common objects, but which are now scarce because most examples would have been sacrificed to the smith’s ever-ready melting pot. One such object, a finely preserved half-mould for a socketed axe (of the Plainseau family, with slight plastic imitation wings) is in the possession of the Noordbrabants Museum in ’s-Hertogenbosch. It was purchased by the museum in 1962, for the sum of 50 Dutch guilders, from a reputable Eindhoven antique dealer, Dirven, in that city. The museum records state only that it was found in the north of France or in Belgium. A not uninteresting part of the work of a researcher working on the Bronze Age is the tracking down of missing finds: for example, a half-mould for a socketed axe, said to have been found in the surroundings of Amiens, which was seen, described and (well) drawn by Henri Breuil before 1902. This half-mould was said to be part of a hoard of bronze implements, which included spearheads, pins and socketed axes. Also belonging to the hoard was a core (also of bronze) for casting socketed axes.

Saint Joseph and Baby Jesus by Valentin Metzinger and Other Paintings from the Strahl Collection in the Museum of Arts and Crafts in Zagreb

Karl Ritter von Strahl (1850−1929) was the last owner of the renowned collection of paintings and art objects kept in his castle of Stara Loka (Altenlack) near Škofja Loka in Carniola. In 1929, Strahl sold 32 paintings to Stanko Senečić, an antique dealer from Nova Ves in Zagreb. In the Museum of Arts and Crafts in Zagreb, there are five paintings of hitherto unknown provenance, which undoubtedly originate from the Strahl Collection. The paper discusses the circumstances of Senečić’ s purchase and the earlier provenance of the five paintings. Furthermore, different paths by which the paintings came to the museum in Zagreb are analyzed. As previous research of the interwar art market in the Kingdom of Serbs, Croats, and Slovenes (later Kingdom of Yugoslavia) has shown that Croatian private buyers and professional antique dealers visited regularly the sales of castle and manor furnishings in interwar Slovenia, we can assume that there are more art heritage items originating from Slovenia in present-day Croatian public and private collections, awaiting an analysis of their provenance.

Szymon Rabinowicz – odnaleziony

Szymon Rabinowicz – rediscovered In 1935, the National Museum in Krakow began collecting Jewish handicraft with the aim of establishing the “Judaica department”. Until WWII (1939), numerous objects were purchased with the help of antique shops and private individuals. One of the main sources (or even the most important) was Szymon Rabinowicz, a Jewish antique dealer. Surprisingly, although his work was very important for the preservation of Jewish culture, very little was known about him – he was virtually anonymous. Even worse: many legends about him that were spread among old curators of the Museum turned out to be completely untrue. It was only about 75 years after his death that it became possible to reconstruct his life. Now we know that he was born in Frysztak (near Strzyżów, Poland) on 16 December 1895. He arrived in Podgórze in 1914 or 1917 and settled there. During WWI (1914–1917), he served in the Austro-Hungarian army on the Russian front, but was killed by the Germans either in the Krakow Ghetto or during the transport from KL Plaszow to the Death Camp in Treblinka, in 1942.

Questions to Borrowing in Ukrainian Museology Term System

All cultures of the world is being developed in a close relationship, because any cultural isolation factors adversely affect their existence and undermines gains each individual link. The result of this interaction is the appearance of borrowed concepts, symbols and foreign language vocabulary in languages of different nations. Borrowing is quite logical and natural and predictable as no language can do own stocks lexical stock and must borrow lexical items and be a source of new vocabulary for other languages. The article determined museology terms in terms of their origin, the main source languages and ways of borrowing in foreign term unit in Ukrainan museology term system are identified. It was revealed that museology term system is historically conditioned set of terms; the basic structure consist of foreign-language loans. Much of tokens foreign origin, used for the purpose of nomination in museology term system, borrowed in the Ukrainian language from Greek (hliptoteka, catalog, thesaurus, etc.), Latin (artifact, exhibit, restoration, etc.), French (doublet, tourniquets and so on.), German (outline, of curiosities, etc.), Italian (props, graffiti, etc.), English (note, stand, etc.). so long before the formation of the modern UTM. Genetic peculiarity of terminology has a large number of hybrid terms, indicating that the assimilation of foreign units simultaneously with the aspirations of native speakers to use national elements: ekspozytsiynyk, collectibles, relikviynist (from the Latin root.). It also noted the presence of mixed structures of two languages, which actively operate in museology term system created by combining bases or term elements: Greek + Latin (demography, phillumeny, etc.); + Greek French (avtohid, portrait etc.); French + Latin (Disinfection et al.); Latin Greek + (codicology et al.); Latin + French (valorization etc.). National terms are less than other languages and hybrid terms. Depending on the nature of the process term lexicon borrowing in a foreign language can be divided into direct and indirect. Direct loans are term units that they learned terminological studied directly with language-producer, eg., From Latin: antique dealer, exhibitor, memorial and others. By indirect loans are tokens that entered the museology term system through the intermediary language. For example, through French from Latin included the following terms: amulet, crossbow, replica, etc .; French Italian Gallery, dog, etc .; German with French: poster template so on. Attracting loans allows Ukrainian term system organically fit into the global scientific context. Coming in term system, foreign units undergo appropriate phonetic, morphological and semantic adaptation, and promotes the enrichment of modern Ukrainian museology term system. The use of foreign term units in Ukrainian museology are motivated and helps avoid repetitions, replacing multi-toslivnoho one-word name or for its consolidation and foreign term unit different semantic nuances.

Le vagabond et ses avatars chez Apollinaire

Passionate about mundane details and singular beings, Apollinaire deploys throughout his stories and novels quite a collection of mysterious and paradoxical characters. A central place in his collection is occupied by the wanderer which illustrates the propensity of the writer towards the occult and the picturesque, towards the anecdotal and the extraordinary. As a being always on the run he is sometimes associated with a bohemian spectator, jouisseur of the street and sometimes a marginal presence bordering on antisocial. Versatile character, the apollinarian wanderer does not refer to a specific social type. Wanderer, bohemian, chiffonnier, antique dealer, he has a rather metaphorical position that allows him to expose multiple identities at once. His multivalent nature makes it difficult for a true literary taxonomy. Always seeking innovation and surprise, Apollinaire was able to refine the ambivalence of the wanderer and often relates it to the image of the artist. Marginal and mystifying, the apollinarian wanderer is yet lacking any pejorative sense because its uniqueness is only a sign of originality. With its attractive heterogeneity, the apollinarian prose creates a vast and fine repertoire with a wanderer who is constantly redefining the concept of wandering. With its multiple facets, it actually becomes a living metaphor of a work that is looking through a hybrid and plural writing, mixing genres and composite images. Exploring the prose of Apollinaire, however, we can detect multiple lines of coherence that ultimately reveal a rich array of the wanderer. Despite the nature of the chameleonic apollinarian wanderer, our challenge is to analyze his literary metamorphoses and thus arrive at a definition that surprises in its many urban disguises.