Eesti muuseumide meditsiinilooliste kogude ja esemete väljaselgitamine

Mapping of the Collections of History of Medicinein Estonian MuseumsLeili Kriis, Sirje SisaskUniversity of Tartu MuseumThe work plan of the University of Tartu Museum for the followingyears includes creating a new exposition for the university’s Old AnatomicalTheatre. This made us wonder, what kinds of collections ofhistory of medicine are there in other Estonian museums. A greatopportunity to obtain information opened up with the Ministry ofCulture’s support programme for developing museums that we participatedin with our project “Mapping of the Collections of History ofMedicine in Estonian Museums” from 17 April to 31 December 2013.To obtain data, we designed a questionnaire for the chief treasurersof the museums. Based on the answers we received, the followingoverview was compiled.At the time we conducted the survey, more than half of the materialsof history of medicine in the museum collections had beenentered also into the Estonian Museum Information System MuIS.Keywords related to the topic of medicine have been used. Most ofthe corresponding materials in Estonian museums are connected topharmacies (material objects as well as photographs and archive materials),and furnishings of dental practices (Pärnu Museum, VõruCounty Museum, etc.). Regional museums also contain objects of veterinarymedicine. There are rare items of history of medicine suchas an inoculation knife, cupping lancets, bloodletting devices, a bonesaw, an irritation instrument, healing stones, a homoeopathic pharmacy,and many more. The most noteworthy archive materials areprobably the inoculation materials, mud treatment materials (materialsand manuscripts of Dr Hunnius from Haapsalu, mud treatmenthistory of Saaremaa), and manuscripts by medics (historical overviews).Topics like doping (the Estonian Sports Museum), designingmedical institutions (hospitals, sanatoriums, etc.) (Museum of EstonianArchitecture, Museum of Viljandi), diseases and stress, and howthese are reflected in a person’s creative work (Estonian Theatre andMusic Museum) have also been documented. Most valuable are thestories found in the collections of county museums that tell of medicalinstitutions (hospitals, pharmacies, sanatoriums, leprosariums, etc.)that have operated or are operating in the region and reflect the specificcharacter of the region, as well as the materials of well-known localmedics. Also materials related to alternative and folk medicine. Allthis enriches the general picture of the Estonian history of medicine.Our working group reached the conclusion that the contents ofthe MuIS dictionary should be structured in a better manner andsupplemented with topics that are reflected in specific museum collections(alternative medicine, nutrition, environment, etc.). Imagesof museum objects are also important data carriers in the database.Rare historical documents deserve to be digitised as soon as possiblesince they tend to become fragile with time. Regional museumsshould also find room for materials related to the history and doctorsof local medical institutions

Meenutades Tullio Ilometsa: Remembering Tullio Ilomets

Tullio Ilomets (13 July 1921 in Paide – 22 August 2018 in Tartu), anassociate professor of organic chemistry at the University of Tartu,was one of the authors of the idea of establishing the University ofTartu Museum and its lifelong supporter. As an active member of theheritage protection movement, he frequently spoke about questionsregarding the preservation of the University’s cultural heritage andthe protection of the old university.The author of this article, the chief curator of the University ofTartu museum in the years 1979–2015, developed a very good collaboration with Tullio Ilomets on the collection and preservation of theheritage objects of the university over the decades.Tullio Ilomets worked at the university for over 65 years. His final(and very fruitful) years were spent working as a consultant to themuseum in its Toome Hill building. Despite his advanced age, he wrote his most interesting overviews on the history of science in theseyears, based on the museum’s collections, on topics such as laboratoryglass, historic scales, the photographic collection of the University’sphotographer Kald, etc.Tullio Ilomets’ extensive activities in the area of heritage protection received attention and awards: the Order of the White Star,Third Class was bestowed on him in 2001. He was an honorary citizen of Tartu and recipient of the Tartu Suurtäht decoration (2001).The writer of this article has also attempted to reflect on TullioIlomets as a person, his friendly, humorous, but very purposeful andresilient personality

Physiology Professor Alfred Fleisch (1892–1973) and His Legacy at the University of Tartu

Alfred Fleisch’s period as Professor of Physiology and Chemistry at the University of Tartu (1926–1932) was highlighted by outstanding achievements—here he constructed various original devices for studying respiration and blood circulation, published his research results in specialised key magazines together with his Estonian assistant and wrote concise literature reviews for the world’s most authoritative manuals. Fleisch’s research legacy had an important influence on the directions of post-World War II physiological research at the University of Tartu. World War II shaped the history of continents and the fate of many researchers but did not sever the connection between generations of scholars, as the example of Fleisch’s research legacy demonstrates. The University of Tartu Museum’s collection includes both a device constructed by Fleisch as well as locally made modifications based on his instruments that were constructed later. Both the objects and archive material found in the museum collection allow us to study the less examined aspects of this topic more thoroughly

Tartu Ülikooli ajaloo muuseumi kogude täiendamispõhimõtetest — tagasivaatavalt tulevikku

On the underlying principles of supplementing the collections of the History Museum of the University of Tartu: a future retrospect Leili Kriis, MA, Chief Treasurer of the History Museum of the University of Tartu   The History Museum was created at the University of Tartu in 1976 with the aim of recording the history of the university in particular and of science in general. The museum statutes changed but its goals remained basically the same. From the outset the museum has been responsible for the safekeeping of the old items submitted to it – and for keeping an eye on the old items still used by the university. The elaborated plan with principles of collection was compiled in 1998. It was expanded in 2004 when the museums of nature, art and history of the University of Tartu were merged and each museum had to work on their autonomous collection policies. The sphere covered by the collecting work of the History Museum has essentially remained the same because while collecting things connected with the university the museum has also been collecting items pertaining to the Estonian (and, selectively, global) history of education and science. It is natural for the principles of supplementation of museum collections to be changing and evolving in accordance with overall developments at the University of Tartu and in universities worldwide. When the new collection principles plan for 2012 was being compiled, the focal issue was how the collections of the museum were special and different from other similar domestic and foreign collections. The collections of the History Museum of the University of Tartu are indeed unique in the context of Estonian memory institutions because it is the oldest (and, in the 17th and 19th centuries, the sole) university in the region. Our collections have distinctive features in the global context of university museum collections, too. This museum has the oldest, most extensive and unique collection of scientific equipment in Estonia. Of international interest are the collections dedicated to education and science and containing items of both local and foreign origin. The main emphasis for museum collection supplementation over the next few decades must be on gathering and documenting modern subject matter (or that from the recent past). These are the priorities: collecting of locally made (University of Tartu, City of Tartu and Estonia) scientific instruments and important scientific research results in the form of material, documentary or digital information; remarkable people with connections to the university (scientists, lecturers, students and alumni) and materials reflecting on their creative and other activities; recording of changes in the daily functioning of the university (anniversaries, events, renovations of historically valuable buildings etc.); and the history of education and science (in Estonia and globally) in the context of the University of Tartu. All personal archives are still to be submitted to the university library while the archives of digital photographs and videos are to evolve as part of the multimedia department. Among the planned activities for museum collection supplementation are the invariably vital tasks of preserving cultural heritage and facilitating historical research. In our collecting work we must take into account the stipulated preservation conditions (also applicable to digital materials) and the resources available for thorough processing of the collections and their public display (via databases, exhibitions, publications and otherwise). The collecting work is and will remain a creative activity, even within the framework of the set supplementation principles, and necessitates assessment of the value of the potential museum items and making of choices

Laboratoorne portselan Tartu Ülikooli muuseumi kogudes. Laboratory Porcelain in the Collections of the University of Tartu Museum

 The University of Tartu Museum’s laboratory porcelain collection mostly includes items that were purchased for the University of Tartu laboratories for research (substance analysis etc.) and teaching purposes (for performing practical tasks such as making medicines).The porcelain collections in Estonian museums (the Mikkel Museum, Art Museum of Estonia and Estonian History Museum) mainly consist of tableware, ornaments and memorabilia. Several museums (e.g., in Saare and Järva Counties) have apothecary ware. The University of Tartu Museum’s laboratory porcelain collection reflects the evolution of ceramics in the general historical development of chemistry and pharmaceutical laboratories. The oldest items were likely ordered by two professors active in the 19th century: Carl Schmidt (1822–1894, Professor of Chemistry 1852–1892) and Georg Dragendorf 1836–1898, Professor of Pharmacy). Both professors had the opportunity to renew their laboratory equipment in the middle of the 19th century, which they did. The most valued part of the collection is the vast selection of older porcelain items from the Institute of Pharmacy, created in 1844.The collection of laboratory porcelain has accumulated over the years and it currently consists of more than 1,000 items. The oldest pieces ordered for the University of Tartu laboratories date from the mid-19th century, starting from 1844–1847 (Köningliche Porzellan Manufaktur Berlin). The porcelain items that were ordered for the University in the 19th century and the early 20th century come from other sources, too, mainly from German companies such as Staatliche Porzellan-Manufaktur Meissen, Sanitäts-Porzellan Manufactur W. Haldenwanger and Spandau. The grog and stoneware purchased for the chemistry laboratory at the same time also came from other partsof Europe (the United Kingdom and France).The porcelain labware purchased after World War II startingfrom the 1950s and 1960s mainly came from the porcelain factories of Leningrad and Riga and Klin in Moscow Oblast. The product list and its changes are reflected in catalogues issued by porcelain companies, which were also used for determining the names and details of the porcelain items discussed in this overview.The collection only has a few items produced by Europe’s oldest porcelain manufacturer Meissen. Most of the items from the older period bear the marking of the Royal Porcelain Factory in Berlin, which was one of the main porcelain manufacturers in Germany apart from Meissen. The list of items from W. Haldenwanger’s porcelain factory is also varied.Apart from a few exceptions, the laboratory porcelain from the second half of the 20th century mainly comes from the porcelain factories of St. Petersburg, Riga and Klin in Moscow Oblast: the collection includes a few items from the Porcelain Factory in Leningrad and a varied selection from Riga and Klin. The products of these three factories differ from German laboratory porcelain from the late 19th and early 20th century both for the quality of the porcelain and finishing of the glazing. The later labware is visually more robust and has simpler finishing, visually resembling hard earthenware, the ingredient quantities and clay type of which can slightly differ from hard-paste porcelain. The older objects include more specific items made for special purposes while the majority of the later ones are of general nature.Many porcelain items fell into disuse due to advancements in university studies and laboratories. Pharmacist training used to include detailed courses on preparing medicines, because many products (e.g., tinctures, ointments and suppositories) that are now produced by large drug companies used to be made in pharmacies. Additionally, new special fireproof and durable materials have been introduced in the field of labware, the use of which results in different and better quality indicators than those of traditional porcelain

Fotograafi luulealbum: Gedichte von Charles Borchardt: A Photographer's Poetry Album: Gedichte von Charles Borchardt

The poetry album written by the well-known photographer CharlesBorchardt is a remarkable historical source of Baltic German occasionalpoetry in terms of its content as well as design. The handwritten,beautifully bound album has 568 pages numbered by the author, plusa register. The titles of the chapters and poems are highlighted in calligraphy,and the poems often end with a vignette. The pages, partiallywritten in gold, are artistically designed with thematic romantical(decal) pictures, printed lithographies and a few photos.The poetry album contains three chapters, it begins with a prologueand dedication (Prolog und Weihe), the first chapter is titled „TheSoft, Gentle Period“, the most comprehensive chapter is „The SecondPeriod“ (Zweite Period), and finally „The Third Period“ (Dritte Period),followed by the „Register“ (Inhalt) and „Annex“ (Anhang).The first part of the album, as the title highlights, consists mostlyof the author’s romantic occasional poetry and love poems, titled asfollows: „Ceremony of Youth“ (Jugend Feier), „Joy of Love“ (Freude anLiebe), „Bringer of Joy“ (Die Freundenspenderin), as well as descriptionsof the beauty of nature: „Song of Spring“ (Frühlingslied), „MorningSong of the Wanderer“ (Wanderers Morgenlied) etc.The second period starts with poems dedicated to people andplaces encountered on the road. Romantic nationalism is evident inthe poems „Greetings from Homeland“ (Heimatgruss), „Czar City“(Die Czarenstadt) etc. The poems dedicated to his kin deserve someattention as well: there are poems for his brothers, photographersRobert (Kunstgefühl) and Ferdinand (Epistel an Ferdinand B), hiswife Olga (An Olga), and poems shedding light on the personal celebrationsof the author’s life („On the Occasion of My 30th Birthday“[An meinem 30. Geburtstag], „25 March“ [Zum 25. Märtz]).Sonnets and epic ballades dominate in the third period: „Love andGrave“ 1–21 (Liebe und Grab), „Songs of Northern Lands“ 1–6 (NordischeLieder). Many texts carry a note on when they were publiclyperformed, for example, the poem dedicated to the silver wedding anniversaryof artists August Krüger and Caroline K. was „Performedon 30 August 1866“ (Zur Silber Hochzeit des Künstlerpaares AugustKrüger u. Caroline K. Angeführt am 30. August 1866), and the „Prologueto Silver Wedding Anniversary, „Party“. Performed on 14 March1868“ (Silberhochzeit “Fest” Prolog) etc.Borchardt’s poetry album contains pages upon pages of sentimentalpoems and cycles of poems driven by love, the beauty of natureand art. The motivation was often to amuse the public as well. Thealbum contains salon poetry written for acquaintances or importantpeople, as well as occasional poetry for performing at celebratory orcommunity events.Borchardt’s activity as a photographer allowed him to meet manyremarkable contemporaries. The ladies among them must have hada greater influence on the author, as is evident from the titles of numerouspoems dedicated to them. The contents of the poetry albumsuggest that Charles Borchardt had the romantic „soul of an artist“,and he was an active member of the society, as well as a remarkablephotographer.His main contribution to Estonian cultural history is his photoseries Estonian Types (Eesti tüübid; 1867), but also images of BalticGerman families, pastors, burghers, and views of Tallinn from thesecond half of the 19th century. As Borchardt and his direct offspringpassed away young, his personal heritage was left to its fate. Hence, itis gratifying that his poetry album and photos are preserved in Estonianmemory institutions and available to the public. This allows usto visually imagine the life, people, landscapes, and sights in the townof Tallinn in 19th century Estonia. We are also able read about thethoughts and feelings experienced by Charles Borchardt, the mostwell-known lensman in 19th century Estonia

Mööblikogu kui raam muuseumikollektsioonidele. Furniture collection - a frame for museum collections

The furniture collection of the University of Tartu museum comprisesover 600 museum pieces. In addition to that, the museum managesthe cultural assets of the university, which also include some furniture,and maintains a database of it. When the Tartu State UniversityHistory Museum was founded in 1976, large-scale renovationsstarted in the university buildings, which led to a collection of olderfurniture accumulating in the museum.The furniture collection has some historic interior design elementsfrom the faculties, auditoriums, laboratories, offices, the assemblyhall and library, which date back to the 19th and 20th century.The collection has grown more than anticipated and is biggerthan the space at the museum allows. This has been inevitable forseveral reasons: elements of furniture reflect their era, describe contemporaryacademic lifestyle and work procedure. In comparison toother Estonian museums, the furniture collection of the University ofTartu Museum stands out for its university-specific elements, such aslarge cupboard-desks, cabinets with drawers and chests of drawerscharacteristic of laboratories. The historic collection cabinets, some ofwhich came to the museum with collections such as Johann FriedrichErdmann’s (1778–1846) pharmacological collection, Carl Schmidt’s(1822–1894) rock collection, and Johann Georg Dragendorff’s (1836–1898) pharmacy collection provide us a sense of the older history ofthe university. The museum has a varied collection of seat furniture(including lectern armchairs, stools from laboratories and chairsfrom auditoriums, dating back to the early 19th century). The piecesof historical office furniture are connected to many well-known lecturersand professors of the University of Tartu, such as a physicist Arturvon Oettingen (1836–1920), medics August Rauber (1841–1917),Ludvig Puusepp (1878–1942) and Albert Valdes (1884–1971), philologistand poet Gustav Suits (1883–1956), and others.The rooms of the old university library in the Dome Church, especially the Morgenstern hall, are decorated with historic furniture;cabinets brought in with curator Friedrich Maximilian Klinger(1752–1831) in the 19th century, book repositories designed and builtby the university architect Johann Wilhelm Krause (1757–1828),the personal book cabinet and desk of the library’s long-time directorKarl Morgenstern (1770–1852), and empire style armchairs withreplicas of antique bust sculptures.We know little about the makers of the university’s furniture.Local masters (Roger, Maibaum and others) are mentioned in theinventory books of the 19th century, but often the carpenters haveremained anonymous. Factory furniture prevailed at the turn of thecentury and in the first half of the 20th century; products of Thonet,A. M. Luther and others were the most popular. The Tartu IndustrialSchool often made practical pieces of furniture for the university aswell, offering their products for a lower price.These pieces of furniture are irreplaceable in displaying the university’shistoric interiors. The museum uses the historic pieces tostore as well as present its collections, which makes the university’shistoric furniture a sort of a frame to the museum collections