London is a city rich in museums. There's museums full of toys, furniture, wax
people, antique furniture, in fact, something for practically every taste. It's
hard to see them all, even if you're here for a very long time, so picking
which museums to see can sometimes be quite difficult. Still for most visitors,
The British Museum always ranks as one of London's
The British Museum
had it's origins back in 1753 when the government was given various collections
by a famous physician, Sir Hans Soane. The museum's collections have grown
through the years and the present building was erected in the early 1830s.
Until last year, the British Museum shared it's location with The British
Library, which among other important tasks, houses a copy of every book
published in Britain since 1911 (required by law!), and the buildings of the
former Library are in the process of being converted into a new visitor's
centre for the Museum. The Museum is one of the few quality tourist sites in London that is also still
free to the public. This may change in the very near future though, and any
donations are gratefully accepted as you enter.
The Louvre (France)
The Louvre is situated
between the rue de Rivoli and the Seine. It is
the most important public building in Paris
and one of the largest and most magnificent palaces in the world,the
construction of which extended over three centuries. However, its great
architectural and historical interest is sometimes overshadowed by the
popularity of the art-collection which it contains. It became a national art
gallery and museum since 1793.
Probably one of the most important painting that it contains
is the Mona Lisa. Over four century old, it still fascinates hundreds of
visitors. As Michelet wrote: "This canvas attracts me, calls me, invades
me, absorbs me. I go to it in spite of myself, like a bird to a snake".
The National Gallery of art (USA)
The National Gallery of Art
was created in 1937 for the people of the United States of America by a joint
resolution of Congress, accepting the gift of financier and art collector
Andrew W. Mellon. During the 1920s, Mr. Mellon began collecting with the
intention of forming a gallery of art for the nation in Washington. In 1937, the year of his death,
he promised his collection to the United States. Funds for the
construction of the West
Building were provided by
The A. W. Mellon Educational and Charitable Trust. On March 17, 1941, President
Franklin D. Roosevelt accepted the completed building and the collections on
behalf of the people of the United
States of America.
The paintings and works of
sculpture given by Andrew Mellon have formed a nucleus of high quality around
which the collections have grown. Mr. Mellon's hope that the newly created
National Gallery would attract gifts from other collectors was soon realized in
the form of major donations of art from Samuel H. Kress, Rush H. Kress, Joseph
Widener, Chester Dale, Ailsa Mellon Bruce, Lessing J. Rosenwald, and Edgar
William and Bernice Chrysler Garbisch as well as individual gifts from hundreds
of other donors.
The Gallery's East Building,
located on land set aside in the original Congressional resolution, was opened
in 1978. It accommodates the Gallery's growing collections and expanded
exhibition schedule and houses an advanced research center, administrative
offices, a great library, and a burgeoning collection of drawings and prints.
The building was accepted for the nation on June 1, 1978, by President Jimmy
Carter. Funds for construction were given by Paul Mellon and the late Ailsa
Mellon Bruce, the son and daughter of the founder, and by The Andrew W. Mellon
The Collectors Committee,
an advisory group of private citizens, has made it possible to acquire
paintings and sculpture of the twentieth century. Key works of art have also
come to the Gallery through the Patrons' Permanent Fund. In addition, members
of the Circle of the National Gallery of Art have provided funds for many special
programs and projects.
The Vasa Museum
The Vasa Museum
is Scandinavia's most visited museum, located in Stockholm,
capital of Sweden.
The Museum was inaugurated in 1990. In the large shiphall stands the warship
Vasa - the only remaining, intact 17th century ship in the world. The lower rig
has been rebuilt, complete with masts, stays and shrouds. Just like the Vasa
would have looked like when set for winter in harbour. The wreck, salvaged in
1961, is now once again a complete ship.
Surrounding the ship are several permanent
exhibitions, cinemas, a shop and a restaurant.
The Hunterian Museum (Scotland)
was built on the grounds of the University
of Glasgow which lay then on Glasgow's High Street.
Opened to the public in 1807, it is thus the oldest public museum in Scotland. In
1870 the Museum was transferred, along with the rest of the University, to its
present home at Gilmorehill in the western suburbs of the city.
The collections have
grown enormously since Hunter's time. At first they were all housed together,
but gradually sections were dispersed to appropriate University teaching
departments. In 1980 the art collection was transferred to a purpose-built Art Gallery.
The Archaeological museum at Olympia
One of the most important archaeological museums in Greece. It
hosts in its collection artefacts from the sanctuary of Olympian Zeus, in Olympia, where the
ancient Olympic Games were born and hosted.
The new museum was constructed in 1975, and eventually opened in 1982,
re-exhibiting its treasures. The architect of the museum was Patrocolos
Museo Del Prado (Spain)
The Prado Museum
is a neo-Classical building by the Architect Juan de Villanueva, the
construction of which began in the year 1785. It was conceived of as a museum
and natural history room forming part of a building complex dedicated to the
study of science, as planned under the reign of Charles III and within the
scope of the urban reform that took place on the Paseo del Prado (previously named
Salon del Prado), which also embellished with various monumental fountains
(Cybele, Apollo and Neptune).
It was established in 1819 as the
"Royal Museum of Painting and Sculpture" by King Ferdinand VII, with
pieces from the royal collections amassed by earlier Spanish Monarchs, his
forebears. At the end of the 19th century, the Museum -by then national in
scope- received works from another museums, then called the Trinity, that were
of a ecclesiastic nature and which had been expropriated under laws governing
the depreciation of ecclesiastic assets. From the time of the creation and
merger of the two museums many other works of art have been added to the Prado
through donations, legacies and acquisitions.
Only a tenth of the museum's artistic
holdings are actually on display in its two buildings, the Villanueva building
and the Casуn del Buen
Retiro. The remainder is held in other places, museums, institutions and
Government buildings or in storage at specially conditioned sites within the
two museum buildings.
The large museum collections
fundamentally include paintings. However, there is a valuable collection of
sculptures, drawings, furniture, luxury art, coins and medallions that cannot
be permanently displayed due to the lack of space.
The painting collection (12th to 20th
century) is displayed as followed: up to the 18th century and Goyas work is in
the Villanueva building, and the 19th and 20th centuries' work in the nearby
Casуn del Buen Retiro.
The fundamental painting collections
belong to the Spanish schools -the best represented- and the Italian and
Flemish schools. The French, Dutch and German schools, through numerically less
represented, are not unworthy of mention vis-a-vis their quality. Two halls are
expressly reserved for sculpture, but sculptural pieces are scattered
throughout the different halls in both museum buildings. All decorative art is
on display in what is known as the Dauphin's Treasure.
Uffizi Gallery (Italy)
The construction of the
Uffizi palace began in 1560, when the Duke Cosimo I dei Medici decided to build
a special seat for the offices (hence the name "uffizi") of the
thirteen magistracies, that is for the administrative center of the Florentine State. Cosimo I commissioned the project
of the building to Giorgio Vasari, painter and architect at the Medici court,
who realized one of the most famous architectural masterwork of Florentine
Mannerism. Stretching from the Signoria Palace to the river Arno the
costruction posed difficult technical problems since the foundations were quite
over the river; Vasari had to include into the building the ancient church of
San Pier Scheraggio and the ancient Zecca (near the Orcagna Loggias). When in
1574 Vasari and Cosimo I died, the Uffizi were not yet completed: Francesco I,
son of Cosimo I, succeeded his father, Bernardo Buontalenti succeeded Vasari in
supervision of construction; in 1581 the building was terminated. Some years
before at the first floor the offices of the thirteen magistracies had been
installed: everyone of these had a beautiful entrance door in the portico at
the ground floor. A man of peculiar intelligence, Francesco I (1541-1587) had a
profound interest for science, alchemy and art; in 1581 he decided to give a
nearly private arrangement to the second floor of the Uffizi. In the west wing
he set laboratories where specialized artisans worked jewels and precious
stones, perfumes were distilled, new medecines were experimented; in the east
wing he placed ancient sculptures of medicean collection: shortly afterwards in
this side of the building Buontalenti started to erect the Tribune. Francesco's
successors increased more and more the medicean collection with new
acquisitions of paintings, sculptures, precious and rare object in general;
they were set not only at the Uffizi but also at Pitti Palace
or in other medicean palaces. The continuing growth of the granducal
collections in 17th century enriched the Uffizi: new rooms of the second floor
were arranged to display masterworks as in a museum and in the meanwhile the
Gallery could be visited on request by Florentine or foreign persons. For this
the Uffizi can be considered the first kind of modern museum of the history. In
1737, with the death of Gian Gastone (born in 1671) the Medici dynasty ended
and the family of Lorraine ascended the throne
The last descendant of Medici family, the Palatine Electrix Anna Maria Luisa,
sister of Gian Gastone, made an important agreement that secured for ever the
city of Florence
all the medicean art treasures. It was so eliminated any risk of dispersion of
this artistic patrimony unique in the world. The Lorraine family, from Pietro Leopoldo to
Leopoldo II, enriched the whole collection, increasing it with important
masterpieces: many paintings and several hundred of drawings were bought, many
Florentine pictures were transferred to the Uffizi from Tuscan monastries,
after suppression of religious orders during the 19th century. In 1860 at the
formation of the Kingdom
of Italy the
Medici-Lorraine collections became public property to all effects and purposes.
At the end of the 19th century a new arrangement of the Gallery caused the
destruction of the wonderful Medici Theatre, to make way to the first rooms of
the east corridor, before the Tribune
. In 1989 the State Archive that occupied the first floor of the Uffizi, has
been transferred in the new seat of Piazza Beccaria: the first floor will be
indeed arranged to double the Gallery's area, as planned in the Nuovi Uffizi
project. The first six rooms of this floor have beeen recently restored; all
the other rooms soon will be added to them, to make way to the exhibition of
many masterworks now conserved in the warehouses and realize new arrangements
for all needs of a museum of such importance.
The Museum of The Romanian Peasant
of The Romanian Peasant
is part of the large family of European Museums for Folk Arts and Traditions.
It is a National Museum, functionning under patronage of
the Ministry of Culture. Owner of an impressive collection of objects, even if
otherwise poor - as far as the financial means necessary to capitalize this
collection are minimum -, placed in a historical monument building, (new
Romanian style), whose restauration costs exceed by far the budget allocated by
the Ministry of Culture, The Museum of The Romanian Peasant in spite of all
these, has managed to put in practice a special type of muzeology. The original
poetics developped in relation to the object was certain one of the reason why
the Museum was awarded the EMYA - European
Museum of the Year Award.
One of the other reasons, of equal importance, was the very assuming of the
poverty; the personalized style of display in the halls has a certain number of
extensions which sometime happen to go beyond the door of the Museum: that is,
not only openings, concerts and conferences, but also publications and
unconventional ideas, like the Missionary Museum or the Village School, for
The Hunt Collection is an internationally important
collection of original works of art and antiquities. It is a personal one,
formed by a couple who judged each piece that they collected according to the
standard of its design, craftsmanship and artistic merit. These criteria they
applied to objects of all ages - from the Neolithic to the twentieth century.
of the strengths of the Hunt Collection is its medieval material. Its range
covers objects commissioned and used by both ecclesiastical and lay patrons,
and includes statues in stone, bronze and wood, crucifixes, panel paintings,
metalwork, jewellery, enamels, ceramics and crystal. The importance of the
collection is such that some items are currently on loan to the British Museum
and the Victoria & Albert
Museum in London, while others have been shown in
links between the Hunt collection and other museums can be illustrated by the
fact that one fragment of the Beaufort, late 14th century armorial tapestry, is
on display in the Hunt Museum in Limerick, while other fragments of the same
tapestry are in the Metropolitan Museum of Art, New York; the Rijksmuseum,
Amsterdam; the Museum of Fine Arts, Boston and the Burrell Collection, Glasgow.
the medieval, there is a wealth of other material ranging from Egyptian, Greek
and Roman items through to the 19th century metalwork and ceramics. There is
also an important collection of Irish archaeological material ranging from
Neolithic flints, through Bronze Age gold, the unique 8th century Antrim Cross,
hand pins, pennanular brooches, down to penal crucifixes of the 18th and 19th
century. Irish decorative arts are represented too in a range of items
including Irish delft, Belleek porcelain, 18th century Dublin tapestries as well as ecclesiastical
and domestic silver.
The Museum Jean Tinguely
Dedicated to the
life and work of Swiss artist Jean Tinquely, who died in 1991, the Museum is
located in Solitude Park, on the right bank of the Rhine. The Museum was
erected as a gift to the city and region of Basel by F. Hoffmann-La Roche LTD to mark the
company's 100th anniversary in 1996. It was designed and built by Swiss
architect Mario Botta and has been open to the public since 3 Ocober 1996.
The Museum's collection consists mainly of works generously donated by the
artist's widow, Niki de Saint Phalle, and works from the holdings of F.
Hoffmann-La Roche Ltd.
The Museum exhibits works
spanning three and a half decades in the artist's life. Viewed in their broader
context, they mirror artistic developments in the second half of this century.
On the gallery level the Museum offers a chronological presentation of works
from the 1950s, 60s, 70s and 80s. The contrasts between the various rooms-like
those in the artist's life-are striking.
In the 1950s Tinquely's works, often executed in black-and-white, possessed a
stark, spare quality and were characterized by tremendous clarity. In 1959 his
méta-matic drawing machines appeared, marking an important renewal.
1960 was the year of Tinquely's huge international success with his
self-destructing Homage to New York. But the artist's style was changing
rapidly. He now began working with arc-welded scrap iron, and his sculptures
became more provocative and comical.
Following the completion of Eureka for
the Expo 64 in
works became more 'sculpture-like' in the classical sense of the word. Works
from this period are often all black and are apt to strike the viewer as
abstract objects rather than as 'found' ones.
The 1980s were characterized by large-scale projects, among others the large
altars. The altar-piece Lola, characteristic of this period, can be seen
in the Museum.
The next two rooms contain the monumental work Mengele - Dance of Death,
a reflection on the inevitability of death.
In the large hall, monumental sculptures such as Grosse Méta Maxi-Maxi
Utopia, Fatamorgana and Agricultural Platform are displayed.
is the National Palace
Museum, in which is preserved and
enormous amount of art and artifact from all of China's 6,000-year history. The National Palace Museum
collection was originally the Imperial collection until Chiang liberated it. It
was then moved several times until finally the Communists started causing
trouble; then the whole thing was shipped to Taiwan. This is probably a good
thing, since otherwise it would have been destroyed in the cultural revolution.
The Semitic Museum
was founded in 1898, and moved into its present location in 1903. It originally
was the home of the Department of Near Eastern Languages and Civilizations, a
departmental library, a repository for research collections, a public
educational institute, and a center for archaeological exploration. Among the
Museum's early achievements are the first scientific excavations in the Holy
Land (at Samaria
in 1907-1912) and important excavations at Nuzi and the Sinai, where the
earliest alphabet was found. During World War II, the Museum was taken over by
the Navy and closed to the public.
In the 1970s, it resumed
its academic activities, and today is again home to the Department of Near
Eastern Languages and Civilizations and to the University's collections of Near
Eastern archaeological artifacts. These artifacts comprise over 40,000 items,
including pottery, cylinder seals, sculpture, coins and cuneiform tablets. Most
are from museum-sponsored excavations in Iraq,
Jordan, Israel, Egypt,
Cyprus, and Tunisia. The
Museum is dedicated to the use of these collections for teaching, research and
publication of Near Eastern archaeology, history, and culture.
Museum was built up and run privately by the Rajab family. It was opened to the
general public in 1980. The Museum is divided into two main sections of
This Section deals
with calligraphy, pottery, metalwork, glass, wood, ivory and jade carvings of
the Islamic world. Early calligraphy is presented in a separate small room,
showing pages from the Holy Qur'an, dating back to the first three centuries of
the Islamic period. It also contains an early dated Qur'an written on
parchment, dating to 393AH/AD1002. Later examples display calligraphic panels.,
inscriptions which were cut, or in brail script.
A collection of Holy Qur'ans from small to large examples.
A treatise of the 9th century scholar al-kindi on optics.
A page fragment from the timurid Prince Baysunqur's Qur'an.
The pottery section presents the full history of this art form, starting from
pre-Islamic time up to the 19th century. So far the only known dated piece of
this type of pottery. It is decorated with a beautiful written kuffic
inscription, giving a quotation from the the Holy Qur'an. So far the earliest
known ceramic object with a Quranic inscription.
The large selection of metalwork on display includes objects from the Umayyad
period onward. Among them a 7th - 8th century AD bronze ewer, and an early
incense burner. Seljuq, Ghaznavid and Ghurid period metalwork is well
represented by ewers, flasks, oil-lamps and incense-burners. Of the later
periods several bowls, ewers and trays are shown.
Islamic glass of the early periods are demonstrated by a number of vessels,
including perfume flasks, medicine bottles and beakers. Some of these have cut,
others applique or trailed decoration. The ivory carvings include an indian
musical instrument, a so-called "Sarinda", pen-boxes and another
musical instrument from ottoman Turkey,
The exhibited jades are all from Mughal India and date from the 17th and
18th centuries, including an extremely rare red and white jade as well.
Arms and Armour
The arms and armour is shown in several display cabinets and one room is
specially dedicated to the swords and daggers of the Near and Middle East.
There is also a special and extremely rare object, a ceremonial shield, carved
out of buffalo hide, made at Ahmadabad in India during
the 16th century.
Islamic lacquerwork is presented in a special cabinet and it includes a 14h
Mamluk box, a late 14th or early 15th century Qur'an stand, or Rahla, a signed
and dated Kashmir mirror-case and many Qajar pen-boxes and mirror-cases.
This part of the Museum deals with
the costumes, textiles, embroideries and jewellery of the Islamic world, but
also includes relevent objects from Tibet,
Nepal and Bhutan.
The objects are exhibited in the following order:
The gulf countries: Kuwait, Bahrain, the United
Arab Emirates, Oman
and the Yemen.
The exibited objects include jewellery, costumes and textiles of these countries.
This is followed by a detailed display of folk jewellery of other near and
Middle Eastern countries and also of India,
Nepal, Tibet and Bhutan.
The collection is particularly rich in Syrian and Palestinian costumes, while
its folk jewellery is perhaps one of the richest and largest in the world.
In both sections of the museum there are large numbers of swords, daggers, some
old Islamic fire-arms and gun-powder holders.
Likewise, an outstanding collection of musical instruments from almost every
part of the Oriental world are exhibited.
There is a special collection of jewellery, which once, so it is claimed,
belonged to the last Emir of Bukhara.
The Living Art Museum
owns a very large collection of art and source material, donated by members of
the Living Art Museum Association and others. When the museum was founded, a
provision was incorporated in its Organization Charter, stipulating that its
members would donate one work upon joining the Association and subsequently every
few years. These provisions have not been strictly observed, as it soon became
evident that storage space, as well as funds for the preservation and
maintenance of the art collection were insufficient. Furthermore, one of the
main objectives of the Living
Art Museum, that of
collecting contemporary art, has encouraged the official/state-owned art
museums to pay more attention to contemporary art. Nevertheless, the Living Art Museum
owns a fairly extensive art collection and has succeeded in preserving a unique
part of Iceland's
art history. For example, the Museum owns the largest artists books collection
in the country, one of the world's largest collections of the work of
German-Swiss artist Dieter Roth, as well as works by most members of the SÚM
Group, Jón Gunnar Árnason, Magnús Pálsson, Hreinn Friðfinnsson, the brothers
Sigurður Guðmundsson and Kristján Guðmundsson, Róska, Arnar Herbertsson, Magnús
Tómasson, Gylfi GIacute;slason, Sigurjón Jóhannsson, Hildur Hákonardóttir and
The Museum owns works by many of the nation's best-known younger artists and
the collection is growing steadily. The collection also includes works by some
50 foreign artists, such as Joseph Beuys, Pieter Holstein, Richard Hamilton,
Dorothy Iannone, Jan Voss, Wolf Vostell, Douwe Jan Bakker, Emmet Williams,
Robert Filiou, Nini Tang, Peter Angermann, John Armleder, Geoffrey Hendriks,
Jan Knap, Alan Johnston, Peter Mönning, Bengt Adlers and Franz Graf.
All works of art in the Museum's possession are selected by the artists
themselves and not by specialists of art institutions. A catalogue of the art
collection of the Living
Art Museum is accessible
on a digital database.
The Prince of Wales Museum
of West India
early years of the twentieth century, some prominent citizens of Bombay decided to set up
a Museum with the help of the government to commemorate the visit of the Prince
of Wales. One of the resolutions of the committee at its meeting on June 22,
1904 was, "The building should have a handsome and noble structure
befitting the site selected, and in keeping with the best style of local
The committee spared no
effort to realize this dream. On March 1, 1907, the then government of Bombay handed over to the
museum committee a spot of land known as the "Crescent Site",
situated at the southern end of the present Mahatma Gandhi Road. After an open
competition for the design, George Wittet was commissioned to design the Museum
building in 1909. George Wittet had collaborated with John Begg in the
construction of the General Post Office building. His other works in Bombay include the Court
of Small Causes and the magnificent Gateway of India.
The National Museum of History (Brazil)
National Museum of History, pertaining to the Ministry of Culture, created in
1922, is one of the most important museums in Brazil
with 287.000 items that include the largest numismatic collection in Latin America.
architectural complex where the museum is situated had its origin in the
Santiago Fort, located at the former Calaboose Point, one of the strategic
points for the defense of the city of Rio
The National Gallery of Canada
The National Gallery of
Canada, a visual arts museum of international stature, holds its collections of
art in trust for all Canadians. The mandate of the National gallery, as set out
in the 1990 Museums Act is: to develop, maintain and make known, throughout
Canada and internationally, a national collection of works of art, historic and
contemporary, with special but not exclusive reference to Canada; and to
further knowledge, understanding and enjoyment of art in general among all
of Moroccan Arts
The imposing silhouette of
the Dar el Makhzen dominates the Tangier kasbah.
Formerly the governor's
palace, it was built in the XVIIth century and is laid out around a splendid
patio decorated with enamelled faience. The Museum
of Moroccan Arts is
housed in the prince's apartments which are indeed princely: painted wooden
ceilings, sculpted plaster work and mosaics, all of them exquisite.
A worthy setting for works of art from all over Morocco, which are honoured as
prestigious ambassadors of their regions.
The north is represented by
firearms decorated with marquetry and its pottery bearing subtle motifs of
flowers or feathers, while from Rabat come the shimmering carpets with their
characteristic central medallion...
the Fez room is quite dazzling... silks with their subtly shifting highlights,
superbly bound illuminated manuscripts with the finest calligraphy,
centuries-old dishes decorated in the most brilliant colours, from golden
yellow right through the famous "Fez blue".
From the miniscule to the monumental, the Moroccan Museum
of Arts is an entire universe of beauty.
Museum is a provincial museum funded
by the Department of Sport Art and Culture of the Eastern
Cape and is an affiliated research institute of Rhodes
University. The Museum today consists of a family of six buildings which
includes the Natural Sciences Museum,
the History Museum,
the Observatory Museum,
Fort Selwyn, the Old Provost military prison
and the Drostdy Arch.
The Albany Museum,
the second oldest museum in southern Africa,
was founded on 11 September 1855, growing out of the Graham's Town
Medical-Chirugical Society (later called the Literary, Scientific and Medical
Society). Between 1859 and 1882 the Town Clerk of Grahamstown, Mr Glanville,
served as the first Curator and he was succeeded by his daughter, Miss Mary
Glanville until 1895 when Dr Selmar Schonland became the first director of the
Museum. Initially the Museum was housed in several small facilities around
Grahamstown, including the top floor of the City Hall, before moving to its
permanent home in Somerset Street
in 1902. This building now houses the core block of the present Natural Sciences Museum.
With Dr Schonland, came the
historic ties which the Museum has with Rhodes University. In 1902 he addressed the Cape Parliament,
speaking for the establishment of a university in Grahamstown, and persuaded
the trustees of Cecil Rhodes's estate to pledge funds for the establishment of Rhodes University
College. When the College
was established in 1904 Dr Schonland became its first professor of Botany. In 1910 Dr Schonland was succeeded
as director by Dr John Hewitt.
John Hewitt's research lay
in the fields of vertebrate zoology and archaeology. He undertook archaeological
excavations at the Wilton
and Howison's Poort type sites. During this period Grahamstown's long-standing
affair with fishes started. In 1930 Dr J.L.B. Smith, Senior Lecturer in
Chemistry at Rhodes, identified and catalogued
the Museum's marine fish collection. The following year Mr Rex Jubb sent the
first small collection of freshwater fishes from Southern Rhodesia (now Zimbabwe) to
On the 6th September 1941
the Museum suffered a devastating fire with a great loss of exhibited material.
Fortunately the library and most of the research collections were saved. In
1952 the Museum's collection of fishes was loaned to the University's
Department of Ichthyology. Three years later the Museum celebrated its
centenary and, in 1957, its staff became Provincial employees.
Dr John Hewitt retired the
following year, and was succeeded by Dr Tom H. Barry. During Dr Barry's tenure
of five years the Hewitt and Rennie Wings were added to the Natural Sciences
Museum and the 1820 Settlers Memorial
Museum (now called the History Museum) was built.
The period between 1965 and
1977, the directorship of Mr C.F. Jacot Guillarmod, was one of consolidation.
The National Collection of Freshwater Organisms was transferred from the CSIR
to the Museum. The Early Stone Age site at Amanzi was excavated and
re-excavations were done at Wilton
and Howison's Poort. Fort Selwyn was restored by the Cape Provincial
authority and handed over to the Museum in 1977.
In 1977 Mr Jacot Guillarmod
was succeeded by Mr Brian Wilmot and it was at this time that the Museum
entered a new period of growth. De Beers Consolidated Mines Limited purchased
and restored the Observatory and the Priest's House and donated them to the
Museum. The Old Provost military prison was restored by the Cape Province.
The freshwater fish
collections of the Transvaal and Cape Nature Conservation authorities, the
Natal Museum and the South African Museum were transferred to the Albany Museum
(the latter two on loan) making it the largest collection in southern Africa.
Museum staff started teaching short courses at the University and, in 1983, the
Museum became an Affiliated Research Institute of Rhodes University. The close
relationship with the University was expanded with the consolidation of the
herbaria of the two institutions and the formation of the Selmar Schonland
Herbarium, housed in the Natural Sciences Museum.