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Italy's iconic Riace Bronzes will return to their home at the Reggio Calabria National Museum later this year after lengthy restoration work.

So now, it's almost time for them to return to their permanent home.

According to the superintendent for archaeological and cultural heritage of Calabria, Simonetta Bonomi, restoration work should be completed near the end of the year and the two warriors "will be back home again" in time for Christmas.

The celebrated bronzes were found in August 1972 off the coast of Calabria and quickly captured worldwide attention. They were so highly prized that they are rarely allowed to travel from their home, despite repeated requests.

Even former Italian premier Silvio Berlusconi was turned down twice after seeking to borrow the statues for Group of Eight summits.

During the current restoration work, the Riace Bronzes, last let out in 1981 for a triumphant round-Italy tour, have been kept inside a purpose-built area with a glass front allowing visitors to watch the delicate restoration work.

Meanwhile, the Reggio Calabria museum has been undergoing restorations itself while the bronzes have been away. Approximately six million euros have been earmarked for that project, and regional authorities have released the final funds need to complete the work before year end.

The Bronzes were discovered in 1972 by a Roman holidaymaker scuba diving off the Calabrian coast and turned out to be one of Italy's most important archaeological finds in the last 100 years.

The statues are of two virile men, presumably warriors or gods, who possibly held lances and shields at one time. At around two metres, they are larger than life.

The 'older' man, known as Riace B, wears a helmet, while the 'younger' Riace A has nothing covering his rippling hair.

Both are naked.

Although the statues are cast in bronze, they feature silver lashes and teeth, copper red lips and nipples, and eyes made of ivory, limestone and a glass and amber paste.

Italy has the world's biggest trove of archeological treasures but the Riace Bronzes attracted particular attention.

This was partly due to their exceptionally realistic rendering and partly to the general rarity of ancient bronze statues, which tended to be melted down and recycled.

Stefano Mariottini, the scuba diver who first spotted one of the statues some 300 meters off the coast and eight metres underwater, said the bronze was so realistic that he initially thought he'd found the remains of a corpse.

A million people came to see them in 1981 and the pair are even featured on a commemorative postage stamp.

The statues usually pull around 130,000 visitors annually to the Reggio Calabria National Museum.

Source: AnsaIT [August 14, 2012]

Wendell Phillips, a young paleontologist and geologist, headed one of the largest archaeological expeditions to remote South Arabia (present-day Yemen) from 1949 to 1951. Accompanied by some of the leading scholars, scientists, and technicians of the day, Phillips was on a quest to uncover two ancient cities — Timna, the capital of the once-prosperous Qataban kingdom, and Marib, the reputed home of the legendary Queen of Sheba — that had flourished along the fabled incense road some 2,500 years earlier.

Through a selection of unearthed objects as well as film and photography shot by the expedition team, the exhibition highlights Phillips’s key finds, recreates his adventures (and misadventures), and conveys the thrill of discovery on this important great archaeological frontier.

The exhibition will highlight a famed pair of striding Hellenistic bronze lions surmounted by a figure of Eros, the Greek god of love. Known as the “Lions of Timna,” the skillfully cast sculptural forms — once featured on Yemeni currency — exemplify the vibrant cultural exchange between the Qataban and Greek empires, and inscriptions on its base allow researchers to reconstruct the home it came from and explore familial relationships of its affluent owners.

Other excavated objects featured include precious incense burners, delicately carved alabaster ibexes, finely articulated funerary sculpture, and a wealth of inscriptions that offer unprecedented insight into the life and times of the ancient people of Arabia.

Where: The Arthur M. Sackler Gallery

When: Oct. 11, 2014 to June 7, 2015

Source: Freer Gallery of Art and Arthur M. Sackler Gallery [August 06, 2014]

More than 300 astonishing objects made from gold and other precious materials are presented in the major exhibition “Beyond El Dorado. Power and gold in ancient Colombia”, held by the British Museum in conjunction with the Museo del Oro, Bogotá. The exhibition opens on October 17, 2013 and will run through March 23, 2014.

In ancient Colombia gold was used to fashion some of the most visually dramatic and sophisticated works of art found anywhere in the Americas before European contact. This exhibition will feature over 300 exquisite objects drawn from the Museo del Oro in Bogotá, one of the best and most extensive collections of Pre-Hispanic gold in the world, as well as from the British Museum’s own unique collections. Through these exceptional objects the exhibition will explore the complex network of societies in ancient Colombia – a hidden world of distinct and vibrant cultures spanning 1600 BC to AD 1700 – with particular focus on the Muisca, Quimbaya, Calima, Tairona, Tolima and Zenú chiefdoms. This important but little understood subject will be explored in this unique exhibition following on from shows in Room 35 such as Ice Age art: arrival of the modern mind, Grayson Perry: Tomb of the Unknown Craftsman, Afghanistan: Crossroads of the Ancient World and Kingdom of Ife: sculptures from West Africa in shining a light on world cultures through their craftsmanship.

Although gold was not valued as currency in pre-Hispanic Colombia, it had great symbolic meaning. It was one way the elite could publicly assert their rank and semi-divine status, both in life and in death. The remarkable objects displayed across the exhibition reveal glimpses of these cultures’ spiritual lives including engagement with animal spirits though the use of gold objects, music, dancing, sunlight and hallucinogenic substances that all lead to a physical and spiritual transformation enabling communication with the supernatural. Animal iconography is used to express this transformation in powerful pieces demonstrating a wide range of imaginative works of art, showcasing avian pectorals, necklaces with feline claws or representations of men transforming into spectacular bats though the use of profuse body adornment.

The exhibition will further explore the sophisticated gold working techniques, including the use of tumbaga, an alloy composed of gold and copper, used in the crafting the most spectacular masterworks of ancient Colombia. Extraordinary poporos (lime powder containers) showcase the technical skills achieved both in the casting and hammering techniques of metals by ancient Colombian artists. Other fascinating objects will include an exceptional painted Muisca textile and one of the few San Agustín stone sculptures held outside Colombia. Those, together with spectacular large scale gold masks and other materials were part of the objects that accompanied funerary rituals in ancient Colombia.

Neil MacGregor, director of the British Museum said “Ancient Colombia has long represented a great fascination to the outside world and yet there is very little understood about these unique and varied cultures. As part of the Museum’s series of exhibitions that shine a light on little known and complex ancient societies this exhibition will give our visitors a glimpse into these fascinating cultures of pre-hispanic South America and a chance to explore the legend of El Dorado through these stunning objects.”

“American Airlines and American Airlines Cargo are thrilled to be partnering with the British Museum on Beyond El Dorado: power and gold in ancient Colombia.” said Tristan Koch, Managing Director of Cargo Sales for EMEA – American Airlines. “American Airlines is a supporter of the arts in many cities that we serve around the world and it’s exciting to be linking the two destinations of Bogotá, Colombia and London by transporting precious passengers and cargo between them.”

Source: The British Museum [August 04, 2013]

As London hosts the 30th modern edition of the Olympic Games, Dr Craig Barker from the University's Nicholson Museum and Michelle Kiss, a Year 10 work experience student from William Carey Christian School, evoke the ancient Olympic spirit with a look at the origins of the world's oldest sporting festival that may provide parallels for the next three weeks of competition in London.

• The first Olympic Games took place in 776 BC at Olympia in Greece, a sanctuary site devoted to the Greek god Zeus. The ancient Olympics were held every four years, a tradition that remains today. However, whereas cities around the world compete to host the modern games, ancient-world athletes always competed in Olympia.

• Olympia boomed as the games increased in importance — a statue of Zeus was one of the Seven Wonders of the ancient world — before the games were eventually abolished by the Roman emperor Theodosius I in 394 AD, supposedly because they were reminiscent of paganism. While there is much talk of the legacy of London 2012, Olympia and its athletic stadium is an important historical and archaeological site.

• In 2012, news surfaced that Australia's men's basketball team travelled to London in business class while their female equivalents languished in economy. However, during the first ancient games, gender equality in sport was even worse: women couldn't compete. Competitors were split into two groups, boys (12-18 years) and men (18+ years). Horses were also split into colts and fully grown age groups.

• While the composition of the crowds of spectators is less well understood, it's likely that only males and young girls were allowed to watch.

• In antiquity, a lit flame was tended throughout the celebration of the Olympics, and the idea of the fire was reintroduced in 1928 in Amsterdam. Every four years the Olympic flame is lit in front of the Temple of Hera then carried by torch to the host city. The torch relay was not an ancient practice and was introduced at the controversial 1936 Berlin Olympics.

• Judges were handpicked from people living in Elis, the area surrounding Olympia. The 'Elean Judges' enforced strict rules on the competitors: fines were issued for failing to arrive on time for the training period, cheating and for cowardice.

• Events in the ancient Olympics included foot races, discus, jump, javelin, boxing, pentathlon, pankration (a blend of boxing and wrestling) and chariot races. Most events, including the races, discus and javelin, took place in the Stadium of Olympia with other events taking place in the surrounding area.

• Before the start of any Olympic Games a truce would be announced, proclaiming that all wars, disputes and death penalties be put on hold until the end of the games. This truce also guaranteed athletes a safe journey to Olympia in the month leading up to the games. The truce was written on a bronze discus and placed in Olympia. The modern International Olympic Committee has revived the tradition of the truce, and all 193 United Nations member states have, for the first time, united to co-sponsor the Olympic Truce Resolution for the 2012 London Olympics.

• the sixth-century BC wrestler Milo of Croton, who was said to have died when he was wedged against a tree during a display of strength gone wrong and subsequently devoured by wolves

• Astylos, also of Croton, who competed at Olympic Games between 488 and 480 BC, but was expelled from his home city when he agreed to compete for Syracuse, and so can lay claim to being the first free-agent in sporting history

• Roman emperor Nero, who despite being thrown from his chariot in the 10-horse race at the 67 AD games, was still proclaimed the winner on the grounds that he would have won had he been able to complete the race

The Maya are one of the oldest cultures in the world. This exhibition is all about the magnificent artistic forms of expression of the Maya. With a collection of around 300 works of art, including many Mexican national treasures, it displays the fundamental aspects of pre-Hispanic art: the body and the physique are central to this exhibition.

The Maya present their vision of life using various materials and techniques from their daily life, splendid buildings and works of art. They describe their relationship with gods, their everyday existence, their literature, their astronomy, their music and their dances. What often dominates these works is an idealised notion of humanity, which the Maya retained not only in their conception of humans and the ideal of beauty, but also in the location of mankind in the cosmos.

The exhibition will run until 7 August 2016.

Source: Martin-Gropius-Bau [July 12, 2016]

The exhibition which opened on July 2 at the Musee d’histoire de Nantes, was organized in partnership with the Byzantine and Christian Museum in Athens, and offers a chance to discover the exceptional objects from the Refugee Treasures exhibition presented in 2009 in Athens, and a selection of items conserved in France that will be presented for the first time.

The treaty imposed the exchange of civil populations and defined the terms of forced migration on both sides of the Aegean Sea. 1.3 million Greeks and 400,000 Muslims were forced to leave their homes, leaving their belongings behind.

Today, some icons in France act as a testament of a migration extending far beyond Greece’s borders.

Exhibition curator: Kiriaki Tsesmeloglou, member of the Icon Network association, restorer and conservator of painted works.

The exhibition will run through November 13, 2016.

Source: Musee d’histoire de Nantes [July 08, 2016]

A museum in Sweden will digitise its mummy collection in 3D to allow visitors to unwrap a real mummy in digital form.

The permanent exhibition is scheduled to open in the spring of 2014.

The curators hope it will help visitors gain a deeper understanding into the lives of ancient Egyptian people.

The museum will scan six mummies using a process called reality capture technology, where high-resolution 3D digital models can be made by compiling data from photos and X-ray scans.

Museum visitors will be able to explore the mummies in a way similar to what archaeologists do when they are looking for novel discoveries from ancient remains.

"We aim to set a new standard for how museums work with 3D digitisation and interactive visualisation to make collections more accessible to other museums, researchers and museum visitors," said Thomas Rydell of the Swedish Interactive Institute.

"In this project we are working with mummies, but the same methods could of course be used on large variety of objects, such as natural history objects and other historical artefacts."

The museum visitors will be able to zoom into very high resolution to see details like carving marks on a sarcophagus. They will also be able to "unwrap" a mummy by peeling off virtual layers of the wrapping to explore the artefacts buried with the body.

"We can literately create a virtual copy of the mummy. This version could be shared with other museums, be used for research or be part of an interactive visitor experience," added Mr Rydell.

The work is a collaboration between Swedish visualisation researchers, Medelhavsmuseet in Stockholm and two technology companies, Autodesk and Faro.

"The technology will enable our visitors to gain a deeper understanding of the men and women inside the mummy wrappings," said Elna Nord, producer of the exhibition.

"Layer by layer, the visitor can unwrap the mummy and gain knowledge of the individual's sex, age, living conditions and beliefs. With help from the technology, the mummies become so much stronger mediators of knowledge of our past."

Source: BBC News Website [June 28, 2013]

All around the hull of the longest Viking warship ever found there are swords and battle axes, many bearing the scars of long and bloody use, in an exhibition opening in Copenhagen that will smash decades of good public relations for the Vikings as mild-mannered traders and farmers.

The exhibition, simply called Viking, which will be opened at the National Museum by Queen Margrethe of Denmark on Thursday, and to the public on Saturday, will sail on to to London next year to launch the British Museum's new exhibition space.

In contrast to recent exhibitions, which have concentrated on the Vikings as brilliant seafarers, highly gifted wood- and metal-workers, and builders of towns including York and Dublin, this returns to the more traditional image of ferocious raiders, spreading terror wherever the shallow keels of the best and fastest ships in Europe could reach, armed with magnificent swords, spears, battleaxes and lozenge-shaped arrows. "The arrow shape did more damage," Pedersen explained, "the wounds were bigger and more difficult to heal than a straight-edged slit."

Other powers employed the fearless warriors as mercenaries, including Byzantium and Jerusalem, but some were anxious to keep weapons of mass destruction out of their hands: a Frankish law forbade selling swords to Vikings. They got them anyway, as the exhibits prove.

A skull from a grave in Gotland bears the marks of many healed sword cuts, but also decorative parallel lines filed into the warrior's teeth, like those recently found on teeth from a pit of decapitated bodies in Dorset, in what must have been an excruciating display of macho bravado.

"Probably only a small percentage of the Vikings ever went to sea on raiding parties, but I think those who stayed home would have told stories of great warriors, great ships and great swords they had known," Pedersen said. "It was very much part of the culture."

Some of the objects assembled from collections in 12 countries, such as a heap of walnut-sized pieces of amber, or jewellery made to incorporate Islamic and Byzantine coins, probably did come through trade. Others, such as a pair of brooches from the grave of a Viking woman made from gold intricately twisted into tiny animals, originally panels chopped up from a shrine made in Ireland to hold the relics of a saint, certainly were not.

One magnificent silver collar found in Norway has an inscription in runes saying the Vikings came to Frisia and "exchanged war garments with them" – but that may be a black joke. Iron slave collars from Dublin confirm that the wealth they sought wasn't always gold and silver.

This is the largest Viking exhibition in more than 20 years, bringing together loans from across Europe, including hoards from Yorkshire, Norway and Russia, a silver cross and a diminutive figure of a Valkyrie, a mythological battlefield figure, both found in Denmark only a few months ago. Loans from Britain include some of the famous Lewis chessmen carved as fierce Viking warriors, biting on the edge of their shields in an ecstasy of rage.

The most spectacular object, fitting into the gallery with just 1.7 metres (5ft6in) to spare – the new space in Bloomsbury has already been measured carefully – is the sleek, narrow hull of the longest Viking warship ever found, specially conserved for the exhibition and on display for the first time. Just over 36m in length, it was built to hold at least 100 men on 39 pairs of oars.

The ship was found by accident at Roskilde, home of the famous Viking ship museum. The museum was built 50 years ago to hold a small fleet of Viking boats that were deliberately sunk 1,000 years ago to narrow and protect the approach to the harbour. In the 1990s, workers building an extension chopped through the massive timbers of what turned out to be nine more ships, including the awesome length of the warship, estimated to have taken around 30,000 hours of skilled labour to build: only a king could have afforded such a vessel.

Recent scientific tests show it was built from oak felled in 1025 near Oslo, probably for King Cnut the Great – the sea-defying Canute to the English – who conquered England in 1016, and Norway in 1028. Only a quarter of the timbers survived, but they included the entire length of the keel.

Although the exhibition includes sections on Viking politics, strategic alliances through marriage and trade, and beliefs including the contents of the grave of a sorceress with her iron magic wand and little pots of narcotic drugs, the warlike tone was dictated by the ship, which was itself a weapon of war. Vikings sang about ships – one refers to a new ship as "a dragon" – played as children with toy ships and, if rich enough, were eventually buried in ships.

The displays and some of the contents will change in London, but in Copenhagen the ship is spectacularly displayed against an animated backdrop of stormy seas and a ferocious raid that leaves the target settlement in flames.

The animation was made in the United States and the Danish team was initially dismayed as it appeared to show raiders attacking a much later medieval walled town. Eventually, curator Peter Pentz said, a Hampshire site saved the film: they agreed it was plausible that the towers and curtain walls could represent the ruins of a Roman shoreline fort, such as Portchester castle near Portsmouth.

As well as the swords, some bent like a folded belt to destroy their earthly use as they went into a warrior's grave, there is one unique weapon, a battleaxe with an intricately decorated golden shaft. Such golden axes are described in the sagas, but this, from a settlement in Norway, is the only real example ever found.

"I think the main point was to impress, not to kill somebody," Pedersen said, adding with satisfaction: "but you can kill somebody with it if you want.

Viking, National Museum of Denmark, Copenhagen, until November 17 2013

Author: Maev Kennedy | Source: The Guardian [June 19, 2013]

One of the sites chosen as part of the green cultural routes program organized by the Culture Ministry’s Directorate of Museums, Exhibitions and Educational Programs Department was Aristotle’s Lyceum. The tour, which introduced attendees to new and exciting information about life in ancient Greece, was led by the head of the Third Ephorate of Classical Antiquities, Eleni Banou.

The Lyceum, located between the Officers Club, the Athens Conservatory and the Byzantine Museum, is poised for its grand opening. The display areas are ready, the information signs are up and the site is officially waiting for visitors. Those passing the well-tended 11,000-square meter grounds on the Culture Ministry’s tour asked Banou when the ancient philosophy school would be ready. Some of them managed to sneak in through the door on the Vassilissis Sofias side of the site to take in the ancient lyceum from up close.

The Lyceum (first brought to light by archaeologist Effi Lygouri in 1996), was an overgrown suburb of ancient Athens named after a nearby temple dedicated to Apollo Lyceus. The archaeologists of the Third Ephorate of Classical Antiquities, which is responsible for the site, want it to become a part of Athenians’ everyday life, a place where visitors can take a walk, rest or read.

However, a date for its formal inauguration has not been set yet, though it is slated to take place within the next couple of months, before the end of summer.

Author: Iota Sykka | Source: ekathimerini [June 03, 2014]

The history of the horse is the history of civilisation itself. The horse has had a revolutionary impact on ancient civilisations and this major exhibition explores the influence of horses in Middle Eastern history, from their domestication around 3,500 BC to the present day. Britain’s long equestrian tradition is examined from the introduction of the Arabian breed in the 18th century to present day sporting events such as Royal Ascot and the Olympic Games.

The domestication of the horse more than 5,000 years ago dramatically changed human history. Domestication is thought to have first happened on the steppes of South Russia with horses being introduced into the Middle East around 2,300BC. Before this introduction, asses and donkeys were used for transport, predominantly as harness animals pulling cumbersome but technologically advanced vehicles — as seen on objects found at the Royal Cemetery of Ur -but gradually horses became the means of faster transportation for these early societies.

The exhibition includes one of the earliest known depictions of a horse and rider: a terracotta mould found in Mesopotamia (Iraq) dating to around 2,000 – 1,800 BC. Horses became a vital component in warfare and hunting, as reflected in the art of ancient Assyria, where elaborate and ornate horse trappings and ornaments were developed reflecting the prestige and status of horse, charioteer and rider.

Riding became an essential part of society during the Achaemenid period (5th -4th century BC), a cylinder seal of Darius, dating to 522 – 486 BC shows the king hunting lions in a chariot, and famously, the Achaemenid’s introduced ‘post horses’ which were used to deliver messages on the royal road. The horsemen of the Parthian Empire (3rd century BC – 3rd century AD) were celebrated by Roman authors for the ‘Parthian shot’, in which an apparently retreating rider would shoot arrows backwards whilst on horseback. The renown of Parthian horsemen is shown in their representation on terracotta plaques and bronze belt buckles in the British Museum collection.

Arabic, Persian, Turkish and Mughal miniature paintings, ceramics and manuscripts all attest to the growing importance of the horse in the Islamic world from the 7th century AD. Exquisite Mughal miniatures depict princes with their valued Middle Eastern steeds, horses that were famed for their speed and spirit. A magnificent Furusiyya manuscript, dating to the 14th century AD, on loan from the British Library, is a beautifully illustrated manual of horsemanship, including information on proper care for the horse, advanced riding techniques, expert weapon handling, manoeuvres and elaborate parade formations.

The horse has a long history on the Arabian Peninsula, becoming an important cultural phenomenon and a noted part of the traditional Bedouin way of life. The ‘Arabian horse’ was developed through selective breeding, and with features including a distinctive head profile and high tail carriage, the Arabian is one of the most familiar horse breeds in the world. The exhibition includes ‘Gigapan’ panorama photography of rock art which show horses in scenes of various dates from sites in Saudi Arabia, as well as loans of objects from Qaryat al-Fau which include wall paintings and figurines.

The importance of fine horses in the Middle East is explored through the fascinating Abbas Pasha manuscript (dating to the 19th century and on loan from the King Abdulaziz Public Library, Riadyh). This document is the primary source of information about the lineage of the purebred Arabian horses acquired by Abbas Pasha (the viceroy of Egypt) throughout the Middle East.

The story of the Arabian breed of horse is examined in parallel to that of Wilfrid Scawan Blunt (1840-1922), poet and agitator, and Lady Anne Blunt (1837-1917), the granddaughter of Lord Byron. The Blunts travelled widely in the Middle East and established a celebrated stud for purebred Arabians, which was crucial for the survival of the Arabian breed, at Crabbet Park in Sussex, and another outside Cairo in Egypt.

Horses, including Arabians had long been imported from the Middle East to Britain, but from the 17th century, three Arabian stallions in particular were introduced, which, bred with native mares, produced the Thoroughbred breed, now the foundation of modern racing; some 95% of all modern Thoroughbreds are descended from these three horses. Paintings and prints, trophies and memorabilia explore their remarkable success and their influence on sport and society, from early race meetings through to modern equestrian events.

Faissal Ibn Abdullah Ibn Muhammad Al-Saud, Minister of Education and Chairman of the Board of Trustees of the Saudi Equestrian Fund said "It is well known that the horse has played a crucial role in the development of civilization, and that a close bond exists between horses and men. I am very pleased that it has been possible to support this exhibition in London which gives us an opportunity to look at different aspects of the history of the Arabian horse and the context from which it emerged."

The exhibition runs until 30 September 2012 and is part of the celebrations for the Diamond Jubilee.

Admission is free.

Source: The British Museum [June 02, 2012]

The exhibition "The Roman villa in Chatalka site. The wealth of a Thracian aristocrat" is a result of a successful collaboration between the National Institute of Archaeology with Museum and the Regional Museum of History Stara Zagora. It presents the lifestyle of wealthy Thracian aristocrats, owners of villa rustica, built in the 1st c. AD in Chatalka site, close to the city of Stara Zagora.

The exhibition includes valuable artifacts found in Roshava Dragana tumulus, where some of the family members who possessed the estate were buried, as well as items from other tumuli of the necropolis of the villa.

Protective and offensive weapons, a rare bronze helmet mask among them, refer the owners to the local military aristocracy. The gold jewellery and breastplates found in graves of a man and a woman, and the gold wreaths confirm their high social status. Luxury items imported from the East and Italy, parts of the furniture, such as candelabrum with an image of herma with faces of two youths, balsam-containers and perfume vessels reflect their exquisite lifestyle.

The implements attest to the main activities of men and women who lived in the villa. Various inquisitive objects, usually neglected and forgotten in the museum depots, are displayed for the first time at one place. Agricultural tools, model mould and pottery indicate the source of the wealth of the owners of this estate. Votive tablets of the Thracian Horseman discovered close to the residential sector of the architectural complex and the mound necropolis of the villa reveal the Thracian origin of the inhabitants.

Group of silver cups of Boscoreale type and rare glass vessels found near the city of Stara Zagora, complete the notion of the rich urban life of the local Thracian aristocracy comparable to the lifestyle of the Roman nobles in Italy.

The opening is on May 22nd 2015 in the National Museum of Archaeology, Sofia. The exhibition will be on display until September 10th, 2015.

Source: National Institute of Archaeology with Museum, Bulgarian Academy of Sciences [June 01, 2015]