ISSUE 20 DECEMBER 2018 MAGAZINE The Park of Military History in Pivka, Slovenia. The War Memorial of Korea The Museum Room at the Infantry School Corps building in London, Ontario.
The mission of ICOMAM, the International Committee of Museums and Collections of Arms and Military History, is to develop a worldwide network within our field. We support each other and believe in international dialogue and cooperation. ICOMAM is composed of institutions or staff of organisations in our field wishing to join a world-wide network of scholars, specialists and enthusiasts. Example of fields are historic arms and armour, artillery, military uniforms and equipment, flags, fortifications, aircraft, military music, hunting collections, vehicles, ships etc. ICOM is the international organisation of museums and museum professionals committed to the conservation, continuation and communication to society of the world s natural and cultural heritage, present and future, tangible and intangible. http://icom.museum/ ACTIVITIES CONFERENCES: Annual international conferences and major international conferences every three years. The location varies but the major ones take place at the location of the ICOM general conference. Conferences include a mix of working sessions such as papers and discussions and museum visits. Proceedings are published. TOURS: Conferences are normally followed by a post-conference tour where delegates have the opportunity to see more of the country and its museums and a chance to get to know each other better. Many new ideas, partnerships and joint exhibitions have resulted from such informal collaborations. New ideas and great joint projects and exchange of exhibitions are often developed during the post conference tours. AWARDS: ICOMAM supports young museum professionals attending conferences. NEWSLETTERS: Publication and distribution to members of the ICOMAM newsletter every other month. The ICOMAM MAGAZINE is published twice a year with articles in our field and up-to-date news. HOW TO JOIN US Membership of ICOMAM is free to all ICOM members. An application form to join ICOM, and the annual fee schedule, can be downloaded from www.icom.museum or sent to you by your national ICOM representative. http://network.icom.museum/icomam/ Individual authors, Institutions and ICOMAM, 2018 Published by Basiliscoe Press in association with ICOMAM Basiliscoe Press, Hawthorne Cottage, Moorfield Road, LEEDS, LS12 3SE, UK smithbrown@basiliscoe.com Layout by Basiliscoe Press Follow us on Facebook ISSUE 20 MAGAZINE 2
5 22 34 Contents Welcome This wide-ranging new issue of the ICOMAM Magazine includes news from Europe, North America and the Middle East confirming that we are a world-wide community and truly international. We look forward to seeing you at our Congress in Kyoto at the beginning of September. Kay Smith Ruth Rhynas Brown Jeffrey Forgeng EDITORS News 4 ICOMAM News Eva Sofi Ernstell, Chair ICOMAM 5 ICOMAM 2018,Ljubljana, Slovenia 30 September - 3 October 15 The ICOMAM pre-conference tour 27-29 September 2018 20 ICOMAM Slovenia - not a conference but a community Sepp Scanlin 21 The Blue Shield Education and Insurance Sepp Scanlin 22 The Heart of the Art of Combat: Exploring I.33. 10 12 May 2019 24 The War Memorial of Korea: The Memory of the Korean War and the UN veterans Khayoung Kim 27 The Norwegian Armed Forces Museums Cdr Steinar Grønnås 30 Stalingrad. Appeal for Peace Sergey Ivanyuk and Irina Skorchenko 34 The Art of London Firearms: A new exhibition at the Met John Byck 36 The prize of victory: Narva, 1700 Karin Tetteris Articles 39 The Museum Room at the Infantry School Corps building in London, Ontario. The story behind the Royal Canadian Regiment Museum Dr Georgiana Stanciu ISSUE 20 MAGAZINE 3
ICOMAM News Eva-Sofi Ernstell President, ICOMAM Dear ICOMAM colleagues and friends have the pleasure to present a new number of our I Magazine. It does, as always, give us some insight of the ICOMAM field of museums. Interesting articles and some spots about what s up around the world within our field. The editors, Kay Smith, Ruth Brown and Jeffrey Forgeng have done their job in a good manner, as always, and I send them my warmest thanks from all members as I know that we all enjoy this piece of reading. In 2018 we had our conference in Ljubliana, Slovenia, where many of us met. The conference had a full schedule with lectures, visits and good food. Especially the ICOMAM cake! There will be a publication with all the lectures coming up soon, in 2019. Also the publication from Milan is on its way so we have two important books to look forward to. The feedback I get from our conferences is that we have a very friendly atmosphere within our community. This fact is very important as it helps us in our daily work. To know that it is possible to get in touch with someone, struggeling as yourself, in another country can help a lot. I hope we can stay as a friendly International Committee. To achieve such feedback is valuable and therefore it is important to meet in real life now and then. Therefore I am sure that our conferences are of most importance, they glue us together. Next year we will have our annual ICOMAM conference in Kyoto, Japan, at the same time as the triennial congress of ICOM. This is a huge event with thousands of participants. Still I ask you to tell your directors that is important that you can come. You will have the chance to see interesting places, museums and the triennial ICOM congress is a place for networking and starting new international projects. The ICOMAM board has assigned Ilse Bogaerts to be responsible for our part in Kyoto so please get in touch with Ilse if you have questions. The conference will take place during the first week of September next year. There are Travel Grants on the ICOM web, for participaing. In Kyoto a new board will be elected and we will send out information about how to vote in the spring of 2019. If you are interested in running for the board, please do not hesitate to get in touch. It gives you a wide field of museum knowledge from all over the world and you will make many new personal friends, not only colleagues. I guess you need to spend about 2-4 hours each week on average during a year. The board of ICOMAM send their warmest wishes for a Happy New Year to all readers of the ICOMAM Magazine. At the end of our conference in Slovenia ISSUE 20 MAGAZINE 4
Report on Congress XXX of ICOMAM 30 September - 3 October 2018, Slovenia War and peace, Fear and Happiness The theme of this year s conference held in Slovenia was War and Peace, Fear and Happiness, and it was hosted and organised by the Fourm of Slavic Cultures and ICOM Slovenia We started our conference in Ljubljana on Sunday 30 September with a short guided tour of the main building of the National Museum of Slovenia with one of our hosts, Tomaz Nabergoj. Tomaz showed us round and then invited us to study a selection of objects that he and his colleagues had put out for us. Tomaz then went on to lead a tour of the old city centre. Dejan Prešiček, Minister of Culture of the Republic of Slovenia, welcoming delegates to the conference An early start the next morning saw us on a coach heading for the Park of Military History in Pivka. This new museum and visitor centre is located in the old Pivka barracks complex built around 1930 by the Kingdom of Italy and used by the Yugoslav People s Army from 1945 to 1991. The new museum has been situated there since 2004 but has been extensively re-developed in recent years to become the largest museum complex in Slovenia. We were welcomed by the Director of the museum, Janko Bostjancic, Kaja Sirok, the President of ICOM Slovenia and Robert Smrdelj, the Mayor of the Municipality of Pivka as well as by our President and Andrea Rihter. Our first session got underway with a presentation from Joseph (Sep) Scanlin, of the 10 th Mountain Division and Museum Director of the Fort Drum Museum Heritage Center in New York State. Sep talked about the Blue Shield programme, an initiative established as part of the 1954 Hague Convention on the Protection of Cultural Property. Its stated purpose is to serve in a similar fashion as the Red Cross/Red Crescent, but to protect cultural heritage, identifying a protected location during a period of conflict or disaster you can read more about Delegates looking at artefacts from the collections of the National Museum of Slovenia The conference opened that evening in the new extension of the National Museum housed in an ex-barracks complex, where we were welcomed by Barbara Ravnik, Director of the National Museum of Slovenia, Andreja Rihter, Director of the Forum of Slavic Cultures, our President, Eva-Sofi Ernstell and last, but by no means least, by Dejan Prešiček, Minister of Culture of the Republic of Slovenia. A short tour of the collections was followed by a reception. The Park of Military History in Pivka. ISSUE 20 MAGAZINE 5
Inspecting a Bren Gun carrier in the collections of the Park of Military History it below. Aleksandr Nikonov of the Central Armed Forces Museum of the Russian Federation presented his paper on Museums in the epoch of wars and social upheavals: Loss and gain. He spoke eloquently about the enormous changes to museums over the course of the 20th century and the disruptions and changes wrought by two World Wars and political upheavals throughout the century. His paper concluded on the images of the destroyed Buddhas of Bamiyan and the terrible destruction wrought on the ancient site of Palmyra. Janko Bostjancic, Director of the museum, then told us the history of the Park of Military History at Pivka. After the site was abandoned in 1991 it suffered a great deal of damage and vandalism. Following a visionary plan in 2004, the site has been re-developed and is now the largest museum complex in Slovenia and welcomes around 50,000 each year. They actively encourage re-enactors and have 8 tanks in full working order which can be demonstrated for visitors. One of their recent, and The submarine - a P-913 Zeta, made in 1985 at the Special Vessels Shipyard of Jugoslavia. It measure 19.7 metres long overall by 2.7 metres wide largest exhibits, is a small submarine into which visitors can climb and experience the claustrophobic working conditions suffered by the crew certainly not for the faint hearted! Unfortunately, one of our colleagues from Iran, Negar Sagharichi, was unable to get a visa. Martin Solar of the Kobarid Museum of the Ist World War, told us about his museum, a private institution that tells the story of the Isonzo Front in the Julian Alps between Slovenia and Italy in WWI. This award-winning museum, which attracts some 60,000 visitors each year, gives free tours to visitors by guides drawn from a large and strong pool of volunteers and staff. The museum encourages a personal approach by the guides while maintaining a truthful narrative. After lunch, army style food served in the Museum s cafe, we were treated to a tour of the storage areas on the site which are used by a number of other museums including the National Museum and the Museum of Technology. Crawling into the submarine Army-style food in the Museum s cafe ISSUE 20 MAGAZINE 6
Some of the larger objects in the collections of the Park of Military History Adel Al-Faqih, of the Military Museum of Yemen, had registered to attend the conference. However, the terrible circumstances that have engulfed his country prevented him from attending and he sent a heartfelt letter of apology which was read aloud to the delegates who responded by agreeing to send him a reply offering sympathy and thanks. Peter Johnston of the National Army Museum in London then told us about a museum project to record the withdrawal of the British Army from Germany (Cold) War and Peace: Marking the British Army s service in Germany since 1945. The main thrust of the project is to talk to and record a selection of the approximately 1 million service personnel s experiences and to attempt to create a lasting legacy of something that will leave few, if any, tangible traces. One surprise already has been in the story of the jerry can used throughout the period to carry duty-free fuel obtainable on British bases. Katarzyna Maniak of the National Museum in Krakow, Poland presented a paper about the censoring of art depicting bodies. The morning session ended with a paper by Ruth Brown and Kay Smith, independent scholars from the UK, who presented a paper on the rocket in war and peace. They stressed the fact that rockets were not simple devices and needed specialist knowledge and experience to make them work. Intriguingly they have also been used for both warlike purposes to attack infantry and to save lives from ships wrecked on coasts. The day was completed by a tour of the Museum s collections ranging from small arms to tanks, a steam train and a visit, for those with strong heads, to their submarine. On Tuesday 2 October we met in the new building of the National Museum in Ljubljana, in Metalkova for a full day of talks and presentations. First was a lecture from Tomaz Nabergoj, War and Peace in the history of Slovenia, describing the development and creation of the permanent exhibition we had seen at the old National Museum building on Sunday. His wide-ranging review extended from prehistory to the present day and emphasised the importance of bringing together many disciplines archaeology, images, documents, maps and objects in order to do full justice to the subject. Nicole Hartwell of the National Museums of Scotland spoke about their current project, British military collecting of objects from Africa and India during the period 1750 to 1900. As time was short she concentrated on the period of the Indian uprising in 1857-8 and discussed the significance, both then and now, of material culture brought back to the UK after this tumultuous event. Some of the buildings at the Park of Military History are used as reserve storage areas for other museums. Here is a collection of skis by the renowned Slovenian ski maker, Elan Li Rui of the Museum of the War of the Chinese People s Resistance against Japanese Aggression ISSUE 20 MAGAZINE 7
Robert Cassar of the Palace Armoury in Malta Li Rui of the Museum of the War of the Chinese People s Resistance against Japanese Aggression, then spoke on the theme, Telling history, cherishing peace. The theme of his museum is concerned with the national war of resistance against Japan which started in 1931, with the invasion of Manchuria by Japan, and ended with the end of WWII in 1945. Of especial interest is the Lugou Bridge Incident, in 1937, between the Republic of China s National Revolutionary Army and the Imperial Japanese Army, widely considered to be the start of the Second Sino-Japanese War (1937-45). Ivana Leskovec and Milojka Magajne s presentation was on the Franja Partisan Hospital - set up by the partisans in 1943 and situated in a remote and very hard-tofind gorge where it managed to treat injured partisans till May 1945. This secret hospital, one of over 100 secret hospitals set up in Slovenia, was run and managed by Dr Franja Bolc Bidovec and their talk emphasised the role of women in these clandestine institutions. Lauri Haavisto, of the Military Museum of Finland, then told us about the setting up of an exhibition entitled Finnish defence Forces 100 years at War and Peace. This exhibition, of 1000m 3, traces their history from 1945 to 2018 and concentrates on the stories of those who served and the long-term effects of war especially soldiers who became addicted to morphine and heroin due to their being given it during the war! Michal Dziewulski, National Museum in Krakow, spoke on the subject of Game of Heritage. Attribution of arms and armour in the lands of the former Polish-Lithuanian Commonwealth. Using the symbol of the winged horsemen, the hussars, he argued that heritage was being used as a means to bolster nationalistic tendencies when, in reality, these symbols belong to a much wider trans-national tradition that crosses today s borders. Robert Cassar of the Palace Armoury in Malta spoke about Remembering the Great Siege of Malta through paintings, arms and armour. The ending of the siege, on 8 September 1565, is still commemorated every year on the island and can be said to have forged the identity of the Maltese people. It is recorded in a wonderful cycle of very detailed frescoes in the Grandmasters Palace in Valetta which are being used to identify the people who took part and some of the objects which survive today including possibly the armour that Jean de Valette wore during the siege. Unfortunately Radoslav Simeonov Kolev of the Department of Military Monuments and Military-Patriotic Education of the Social Policy Directorate of the Ministry of Defence of the Republic of Bulgaria was not able to attend but a short abstract was read about the Military Cemetery in Dobrich where friend and foe alike are buried regardless of nationality or religion. Jesus Anson Soro of the Museo del Ejercito in Toledo told a fascinating account of the decipherment of four letters between King Ferdinand and the Great Captain (el Gran Capitan) dating to 1502-6. A team of researchers have managed to overcome the problems of calligraphy, the difficulty of reading the original, encrypted words, and their translation from a code of multiple substitution of symbols and words to modern Spanish. Our final group of papers started with Natashja Peeters of the War Heritage Institute in Brussels talking about the problems of succession planning within a museum context. As a manager she is faced with the prob- Jesus Anson Soro, Museo del Ejercito in Toledo Michal Dziewulski, National Museum in Krakow ISSUE 20 MAGAZINE 8
lem of several prominent and highly knowledgeable colleagues retiring at around the same time and the loss of all that experience and expertise before it can be passed on to a younger generation. Our Iranian colleague, Mojtaba Ebadifath, of the Islamic Revolution and Holy Defense Museum in Teheran was unfortunately unable to attend due to visa problems. Our final speaker was Monika Mazur of the National Museum in Krakow who spoke about the conservation of a series of yataghans from the collections of the Jagiellonian University and National Museum in Krakow. She has been working on a collection of about 100 of these exotic weapons and is revealing their complex construction and the range of materials used in their manufacture as well as revealing and reading inscriptions on them. In the late afternoon ICOMAM held its General Assembly. Apart from reporting the affairs of the Committee, presentations were also made to two delegates who were awarded grants to attend the conference, to Monika Mazur and to Katarzyna Maniak, both from the National Museum in Krakow, Poland. Finally, we were given a presentation of next year s triennial ICOM conference which will be held in Kyoto where we will meet in 2019. The day was completed by a super dinner held in the museum Our two recipients of grants from ICOMAM, above, Katarzyna Maniak, below, Monika Mazur Next year s conference will be in Kyoto, Japan as part of the triennial ICOM Congress Left: our host, Andreja Rihter, at our closing dinner. Above: Delegates on the balcony at our closing dinner ISSUE 20 MAGAZINE 9
Our third, and last, day was taken up by visits to other museums and sites in Slovenia. Our first stop was the regional museum of Ptuj-Ormož in the Castle of Ptuj. Founded in 1893, this general museum has collections and sections for archaeology, history, cultural history and ethology as well as restoration workshops. Clockwise from above: the climb up to the castle at Ptuj; the courtyard of the castle; the effigy of Friedrich IX of Ptuj, hereditary Marshall of Styria of about 1440; part of the 17th century Turquerie collection which depicts a Sultan, dignitaries, generals and ladies of the Ottoman Empire ISSUE 20 MAGAZINE 10
Clockwise from top left: the important collection of early artillery; part of the arms and armour gallery; Tomaž Lazar, our guide, in the arms and armour gallery; the group of delegates From Ptuj Castle, we went on to the former WWI hospital and military camp at Strnišče and then saw the cemetary and chapel close by. Here, more than 3000 soldiers and Russian prisoners of war were buried. Above, the entrance to the cemetery; right, the cemetery chapel ISSUE 20 MAGAZINE 11
We then went on to the Regional Museum of Maribor where we were given a guided tour - including the uniform of General Tito. Clockwise, from above: a collection of uniforms including one of General Tito s; the Regional Museum of Maribor; part of a collection of thousands of lead soldiers ; swords and staff weapons displayed in the bastion, part of the museum, built between 1555 and 1562 ISSUE 20 MAGAZINE 12
From the regional museum of Maribor, we went on to the Militray Museum of the Slovene armed forces on the edge of Maribor. Here we were welcomed by Miran Fišer, Chief of the Slovenia Armed Forces Militray Museum and given a tour of the collections. Delegates being shown some of the collections of the Slovenia Armed Forces Militray Museum ISSUE 20 MAGAZINE 13
The Slovenia Armed Forces Militray Museum ISSUE 20 MAGAZINE 14
The ICOMAM pre-conference tour 27-29 September 2018 Tour along the paths of the Isonzo Front Paul van Brakel Conservator / Curator Nationaal Militair Museum, The Netherlands The last ICOMAM conference took place in Ljubljana, Slovenia. Within the conference program there are always visits planned to related museums. This conference brought us to the National Museum in Ljubljana and the Military History Park in Pivka as conference venues and later to the museums of Ptuj, Celje and Maribor. But as a good tradition, the organizing partners always offer an optional tour in their country besides the conference program. Such tours are an opportunity to meet museum professionals (networking), see collections and their storage and exchange knowledge. It evokes interesting discussions. Tour attendants have often been asked for their comments. This year a pre-conference tour was organized along the Izonso Front in WWI. The area is located around the borders between (North-West) Slovenia and (North- East) Italy. Isonzo is the Italian name of a border river, in Slovenian the Soča river. In the first half of the 20 th century the area has known different rulers, starting with the Austro-Hungarians to the Italian- (Interbellum) and German (WWII) occupations and later the Yugoslavian authorities (post-wwii). The different eras have pushed back the borders in different directions all with ethnic consequences. The Isonzo Front consists of twelve different battles that took place between 23 June 1915 to 7 November 1917. It was a bloody confrontation between the Austro-Hungarian and Italian armies. The Alps in this region are of a strategic geographic importance and claimed by the Italians. They felt supported by the Treaty of London in 1915. The Austro-Hungarians offered intense resistance from their positions in these mountains. About 300.000 men lost their lives in these battles, spread over more than two years. First day: Lokev, Redipiglia, Gorica (Gorizia) and Nova Gorica. Departing from Ljubljana, the trip took us south west to the village of Lokev after passing the stud-farms of the well know Lipizzaner horses. In Lokev is the 15 th century defense tower Tabor, that houses a military collection. It is a private collection of the manager Mr. Srečko Rože. Lokev, the venue of the Tabor Military Museum His mother in law, who was also very well up with the collection, led us around. There are two floors and an attic in which the collection is displayed. The first floor showed the WWI collection. The exhibits are displayed all together in one space. That made it a survey of tightly packed objects from all countries, armies and of all purposes (arms, uniforms, but also protection equipment and objects of use). A similar way of displaying was on The first floor of the Tabor Military Museum, displaying WWI Tabor Military Museum: exhibits from WWI ISSUE 20 MAGAZINE 15
the second floor concerning WWII. A trained eye can filter out the very rare objects that makes the collection extraordinary. The third and attic floor showed the outfit and equipment of Slovenes in the Austro-Hungarian front 1914-1918. The next stop was across the Italian border where we payed a visit to the memorial site of Redipuglia. It is a massive monument in which the remains of over 100.000 soldiers are kept (ossuary). A staircase shaped monument opened on the 18th September 1938 with names and remains of the soldiers who fell in the surrounding area. On top of the stairs, three crosses symbolize Mount Golgotha. On that same top you find the entrance of a small museum. The museum gives a face to the names on the monument. A whole room is filled with photographs on enamel funerary plates gathered from cleared away graves, besides documents of personal merits. The second floor of the Tabor Military Museum, displaying WWII The ossuary of the Memorial Redipuglia Tabor Military Museum: exhibits from WWII The museum at the Memorial Redipuglia: where names get a face The attic of the Tabor Military Museum: Slovenians in Austro-Hungarian service ISSUE 20 MAGAZINE 16
cunabula. An intense project of digitalization has finished recently. Of about 90% of the books there is a digital copy available. The project also led to make facsimiles of examples of particular interest and are exhibited in the library. The museum at the Monument Redipuglia: enamel funerary plates with pictures of victims Monastery of Kostanjevica: the library Another remarkable item of this monastery is the crypt in which the tombs of the last members of the French royal family of the Bourbons can be found. Charles X was the last reigning Bourbon in France who had to resign after the July Revolution of 1830. He had to leave the country together with his whole family. They were invited by the local bishop to come over to Slovenia where they found shelter in the monastery. The last descendant that has been buried in the crypt was in 1932. The museum at the monument Redipuglia: personal documents of WWI soldiers On the way back, we passed the small city of Gorizia. Gorizia, in Slovenian Gorica, is a place with a huge ethnic Slovenian population. Negotiations about the new border after WWII designated the city to be Italian territory. The ethnic Slovenians decided to build up a completely new quarter on the Slovenian site of the border: Nova Gorica. So, Nova Gorica is a city that exists just since WWII whose architecture gives away clearly the after-war origin. But in that very Nova Gorica you find the Kostanjevica monastery. The monastery is still a spiritual center until today. Since 1985 it has been ascribed as a cultural and historic landmark. It houses a considerable library with over 10.000 volumes. Among them there are 30 in- Monastery of Kostanjevica: the crypt of the Bourbons ISSUE 20 MAGAZINE 17
Second day: Nova Gorica, Skalinica, Kobarid, Tolmin/Bovec On this day we were the nearest to the battle fields of the Isonzo Front. A visit to the Regional Museum Goriški gave us a very clarifying historic survey of the changing course of the borders in the so-called Zone A during the years 1945-1947. Zona A is the same strategic point of significance in the Alpes for the post war years after WWII, as it was for the Izonso Front in WWI. A lot of negotiations between different concerned parties took place to come to the present situation of the area. The Kobarid Museum shows most of the Izonso Front and warfare in the mountainous landscape. The museum displays several scale models with audio-visual interaction. The photographs give an extraordinary impression of the horrors that took place in the region in all seasons and circumstances. A personal approach you find in the hall where stories of individual soldiers are told. It gives history a face and shows human conditions in the context with personal belongings. The museum has been awarded with the Council of European Museum Prize in 1993. The day ended in Tolmin, a place known for the Alpine sports that can be practiced there. Regional Museum Goriški: the exhibition of Zone A during the years 1945-47 Further on the trip along the Soča River (Izonso) we reached Skalnica. This place of pilgrimage is situated on a hill from where we had a splendid view over the mountain ridge where the battles of the WWI took place. In one look it was clear what natural obstacle this massif most have been. On our way to Kobarid, we had a short stop on the Austro-Hungarian cemetery in Loče. Just a small monument reminds us of the Austro-Hungarian provenance of the soldiers buried here. None of the tomb markers had an epitaph anymore. The Austro-Hungarian cemetery in Loče The Kobarid Museum: picture on display showing fighting from a snow cave Third day: Tolmin, Cerkno, Idrija, Ljubljana In a gorge near the city of Cerkno, a hospital was hidden where wounded partisans got medical care. Slovenia has known several of these kinds of hidden hospitals, but the Franja Partisan Hospital is the best one kept. The partisan hospitals were hidden from the outer world in the mountains and gorges. The Franja hospital got support from a local farmer, who lived at the entrance of the gorge and was the only one to know of its existence in the neighborhood. Even the patients were supposed not to know where they are: they got blindfolded before entering and their orientation was misled by turning them round, walked back for some meters at several points on the access road. ISSUE 20 MAGAZINE 18
Dr. Franja Bojc Bidovec who operated the partisan Hospital The site is named after Dr. Franja Bojc Bidovec, the physician who founded and operated the hospital from 1943 to 1945. In this period, about 578 persons (partisans, soldiers and civilians) received medical care here. The hospital consists of 14 wooden cabins where all needed activities for running a hospital took place. Even an X-ray machine was operational by electricity from a generator. Constructing cabins above a creek in a gorge is also vulnerable. In 2007, heavy rains turned the creek into a whirly river and destroyed the cabins, except for one. All destroyed cabins have been restored. We used the lunch break to have a quick look at the Cernko Museum. We heard about the exhibition showing the carnival tradition in the region, with masks and uniforms. The last spot to visit was the Gewerkenegg castle in Idrija. Besides the fortified building itself with the artistic painted arched courtyard, you can find there the Idrija Municipal Museum that tells the history of the two main occupations of the city s inhabitants: mercury mining and lace manufacture crafts. Mercury has been found already in the 16 th century. It was mainly used for making barometers and obtaining gold. But the wealth, brought to the city by the mercury, had a reverse side. Life was a hard for the miners. It took several centuries before a link was made between the bad health of the workers and the poisonous mercury. When the men worked in the mines, the women traditionally produced lace. It even led to the founding of a leading lace school for the whole country. The museum also tells that history. Above: The access road to the Franja Partisan Hospital Below: The Franja Partisan Hospital: cabins constructed above a creek between mountain slopes The artistic painted inner court of the Gewerkenegg Castle in Idrija For further information, see: http://www.vojaskimuzejtabor.eu/index.html http://www.itinerarigrandeguerra.com/code/33055/ Redipuglia-Memorial www.potmiru.si http://www.samostan-kostanjevica.si/en/tombs-bourbons www.kobariski-muzej.si http://www.muzej-idrija-cerkno.si/index.php/en/locationsexhibitions/permanent-exhibitions/franja-partisan-hospital.html www.muzej-idrija-cerkno.si ISSUE 20 MAGAZINE 19
ICOMAM Slovenia - not a conference but a community Sepp Scanlin Museum Director 10 th Mountain Division and Fort Drum Museum was fortunate enough to attend my first ICOMAM I Conference recently in Slovenia. From the start of the pre-conference tour until the final airport farewells, it was a truly memorable and rewarding professional experience. In fact my personal experience mirrored the title of the conference, War and Peace; Fear and Happiness in many ways. The obvious parallels lie in war and peace, as we visited sites depicting various eras of Slovenia s turbulent past, studying the implements and impacts of war as these lands were exchanged by empires. The peace however was evident in the wonderful work of our Slovenian hosts and their museums. They presented these trying periods in their exhibits with great professionalism and proudly taught us all more about the treasures of Slovenia. The fear aspect was more personal, as I wondered what I could potentially offer such an experienced and professional group? The attendees, led and managed profound national collections; were experts in conservation, or entire historical periods in which I had nothing to offer. Luckily, I did not fear for long, as the ICOMAM membership was extremely welcoming. From the small nine member pre-conference tour group, to the entire 70 person conference, everyone freely shared their knowledge, experience, and curiosity making me feel a part of the ICOMAM community from the start. The historical expertise found in the ICOMAM membership ranges from the earliest combatants to the militaries of today. The group s experts are equal part teachers and learners. They freely share their challenges and triumphs with one another during this critical conference. Although the group may not meet often, it was clear to me that it was truly a community and not just a professional conference. Many people shared stories from trips past or updates about colleagues unable to attend. Here they all shared a common happiness, in working with and continuing to build a community of experts across the eras of history and borders of nations. ICOMAM clearly demonstrates what I said in my presentation, as a group we may study war and conflict, but we practice as a cultural community. May our efforts continue to remember the past while building a more peaceful future! Thanks again to all my new friends and colleagues in ICOMAM. ICOMAM delegates in the castle at Ptuj ISSUE 20 MAGAZINE 20
The Blue Shield Education and Insurance Sepp Scanlin Museum Director, 10 th Mountain Division and Fort Drum Museum The Blue Shield symbol was established as part of the 1954 Hague Convention on the Protection of Cultural Property. It stated purpose was to serve in a similar fashion as the Red Cross/Red Crescent to identify a protected location during a period of conflict or disaster, but in this case to protect cultural heritage. Although the symbol had been established in 1954, the International Committee of the Blue Shield wasn t established to support and improve implementation of international cultural property protection until 1996, following the crisis in the Balkans. The foundational goal of the International Committee of the Blue Shield supported the work of protecting world cultural heritage threatened by war and disaster. At that time the four major participating organization were: International Council of Museums International Council of Archives International Council of Monuments and Sites International Federations of Libraries and Institutions So already, as ICOMAM members, we have a vested interested in this critical organization. In addition, both UNESCO and the International Center of Preservation and Restoration of Cultural Property would become critical partners to the organization. When you consider our membership and your individual cultural heritage holdings is there really any rationale not to participate? So what can we as ICOMAM members do to support the International Committee of the Blue Shield? I believe there are two simple steps that all ICOMAM member organizations can take as a good start. Step one - create signs that identify your museum and/or storage depots with the Blue Shield. There are many reasons to do this even in locations that you don t believe are under threat of conflict or disaster. This step will begin to train your staff, your visitors to visually recognize the Blue Shield symbol. Second it will support your own disaster plans, although we hope that our museum may not experience the direct impacts of war, none of us are without the risk of some natural or man-made disaster. Step two - do what we do daily, educate your staff and visitors what the sign itself signifies, both directly, but more important as part of your organization s commitment to preserving cultural heritage. This can be Cultural Property Blue Shield done as simply as the attached picture or as detailed as a small exhibit text label with some more background information. As with all our exhibits, we add context to the symbol. Through these two simple steps, we can begin to build a recognition of this critical symbol throughout our staff, our visitors, and most critically those members of the military or emergency services that respond to war and disaster. Although we may never know, these simple efforts may help a pilot avoid inadvertently destroying a military display park, or enable a disaster recovery team to identify cultural heritage during the response during a natural disaster. None of this is hard to do, or in conflict with our fundamental missions of education and heritage preservations, so why not pick up your Blue Shield? Museum entrance Blue Shield ISSUE 20 MAGAZINE 21
The Heart of the Art of Combat: Exploring I.33 10 12 May 2019 Conference hosted by Royal Armouries: 10 May 2019 Sword and buckler training seminar hosted by Kunst des Fechtens and the Society for Combat Archaeology 11 & 12 May 2019 To celebrate the publication of a new facsimile of one of the museum s treasures, the world s oldest known surviving fight book, The Medieval Art of Swordsmanship: Royal Armouries MS I.33 edited by Jeffrey Forgeng, the Royal Armouries will be holding a conference to consider this fascinating object. Friday 10 May 2019: Conference The Heart of the Art of Combat Exploring I.33 Keynote speaker: Dr Jeffrey Forgeng The conference aims to provide a multidisciplinary understanding of I.33 and welcomes submissions from scholars from various fields of study. Call for papers: Submissions of original research papers of up to 30 minutes are encouraged that consider I.33 from a range of perspectives and disciplines in addition to those that consider I.33 in a wider context. These could include: I.33 perspectives: For example, the codicology; language; art history; arms & armour or fighting techniques of I.33. I.33 in context: For example, other sword and buckler traditions; art in medieval fight books; females and clerics in fencing. Contributions should be previously unpublished and speakers should be willing to offer their work as a 6,000-10,000 word article for peer review and publication in a Royal Armouries conference proceedings volume, edited by Jeffrey Forgeng. Paper proposals: Please send a 300 word abstract and 100 word biography to henry.yallop@armouries.org.uk by 18th January 2018. Conference fees: 20 for attendees, free for speakers. Booking details to follow at: https://royalarmouries.org/ whats-on/?what=conference ISSUE 20 MAGAZINE 22
Saturday 11th & Sunday 12th May Sword & Buckler training seminar hosted by Kunst des Fechtens and the Society for Combat Archaeology The conference is followed by a practical training seminar held at the Royal Armouries. This includes: Taught Historical European Martial Arts workshops; Coached sparring sessions; Lectures and presentations on research in practice; Handling sessions of museum objects and viewings of I.33. Sword & Buckler seminar fees: 60. Booking details to follow at: http://www.kdfleeds.co.uk/events.html In association with ISSUE 20 MAGAZINE 23
The War Memorial of Korea: The Memory of the Korean War and the UN veterans Khayoung Kim Curator/International relations The War Memorial of Korea is a representative museum of Korean military history. It exhibits, preserves and researches materials and data regarding the war history of Korea, mainly focused on the Korean War. Figure 1. The War Memorial of Korea of World Peace, exhibits are focused on the history and activities of the UN and include the United Nations Security Council Resolutions to participate in the Korean War, relics of the first Secretary-General of the United Nations, and video about the background of the UN participation in the Korean War. Figure 2. Memorial event on United Nations Day with the Director General, Park Sam-Duck The Korean War broke out on 25 June 1950 as North Korea invaded South Korea with the support of the former Soviet Union and China. The War continued until 27 July 1953, when an armistice was signed. About 37,000 UN Forces soldiers from 21 countries participated in the Korean War in order to protect freedom and peace of Korea. Today, after 68 years from then, people of the Republic of Korea still remember and are grateful for their noble sacrifice. In a sense, the War Memorial of Korea has run the Participation of the UN Forces Room as one of 7 permanent exhibition rooms since the museum opened in 1994. The exhibition which was renovated in 2014, consists of three chapters Discovery, Memory and Promise. Discovery At the start of the exhibition hall, Republic of Korea, the Second Fatherland, shows image walls of the UN flag and the UN Memorial Park commemorating UN soldiers who died heroic, noble deaths. The UN, Guardian Figure 3. The UN, Guardian of World Peace Memory In The Unending War and Human Relationships, visitors are introduced to a collection of digital picture frames, video clips, slides, and memoirs dealing with stories of love and friendship between humans. UN Members That Sent Combat Units and UN Members That Sent Medical Units are focused on the 16 UN nations that despatched combat forces and the five that sent medical units; the background, main battles, and results of their participation; and memorial monuments honoring the UN fighters built across the world. Dreaming Hope over Ruins presents a diorama focusing on post-war Korea in a ruined state, wartime school education, relief supplies, and reconstruction efforts after the war. The exhibits include a map containing information about the 42 states that sent relief goods to wartime Korea and a work of art entitled Teardrops honoring the devotion and sacrifice of the UN veterans who fought in the Korean War. ISSUE 20 MAGAZINE 24
Figure 4. Memory 1 - The Unending War and Human Relationships Chapter 3. Promise Republic of Korea Today, delivers the message that the prosperity Korea enjoys today is due in large part to the sacrifices of the UN soldiers who joined the Korean War. The exhibition displays statistics showing the remarkably rapid growth Korea achieved after the war, focusing on the Miracle of the Han River. Finally, at the Korea s Promise, visitors are introduced to the dramatic transition Korea achieved from one of the world s poorest countries requiring foreign aid to a donor country actively participating in international relief activities as well as programs and events designed to honor and support the UN soldiers and their countries that helped Korea during the wartime period. Figure 5. Memory 2 - UN Members That Sent Combat and Medical Units Figure 7. Promise 1 - Republic of Korea Today Figure 8. Promise 2 - Korea s Promise Figure 6. Memory 3 Artwork Teardrops ISSUE 20 MAGAZINE 25
The War Memorial of Korea is interested in international exchange and cooperation with military museums in the UN participating nations to record and commemorate the UN veterans who fought in the Korean War. For example, we had a project to collaborate on a diorama which shows the battle of Jatgol, with the National Museum of Military History in Luxembourg in 2013. It was the great work to commemorate the 60 th anniversary of the Korean War Armistice Agreement. And now we have started to prepare new projects for the 70 th anniversary of the outbreak and armistice agreement of the Korean War in 2020 and 2023, respectively. For the preparation of the projects, we are looking forward to receiving some data and references below. 1. Information and pictures of the exhibition related to the Korean War and its veterans in your museum 2. Objects and records related to the Korean War and its veterans 3. Anything related to the Korean War and its veterans For more information please contact: Khayoung Kim (Curator/International relations) +82-2-709-3064 kanthro@warmemo.or.kr kanthro@naver.com Figure 9. Example of Collaboration with the National Museum of Military History in Luxembourg ISSUE 20 MAGAZINE 26
The Norwegian Armed Forces Museums Cdr Steinar Grønnås Curator of artillery and communications Norwegian Armed Forces Museum. Norwegian Military history reflects the development of the Norwegian state and the armed forces significant meaning for society. The Norwegian Armed Forces Museum presents the progression from militia comprising of farmers and fishermen to regular conscription based armed forces. This development has been and continues to be important for the legitimacy and trust in our armed forces. Its history must be preserved to ensure that future generations understand the need for operative armed forces. The Norwegian Armed Forces Museum, through its collections, conserves, researches and presents military history, including wars on Norwegian territory, history of the armed forces and its traditions. Central to this role is the preservation of significant objects and documents that represent the events, places and equipment used. The museum s role in society also contributes significantly to maintaining and developing the professional identity and culture of our military forces. As an institution that manages Norwegian military cultural heritage, The Norwegian Armed Forces Museum is mandated to collect and preserve a representative selection of the Nation s warfare, defence forces and military historic material and immaterial cultural objects. Part of the museum s storage area for tanks and cars The museum is a part of the Norwegian Armed Forces Joint Support Services. It comprises of seven museum sites spread throughout Norway. These museums represent all branches of the military as well as presenting the military history of the region in which they are situated. Each of the regional museum sites has a local director who reports to the over ordinate director, who is also the leader for the central museum, based at Akershus fort, Oslo. The museum has two support departments: research and exhibitions, and collections and documentation. Administrative functions are carried out centrally by the relevant departments within the Norwegian Armed Forces. The main store for tanks and cars The main store for smaller objects ISSUE 20 MAGAZINE 27
The artillery storage area Artillery in the store Each museum has responsibility for managing its own collection. The Norwegian Armed Forces Museum, Akershus fort, has responsibility for the largest proportion of the collections, approximately 50%, which is where the largest number of collections management staff resides. These staff acts as advisers for the museum collections that are the responsibility of the other museums. The Norwegian Armed Forces Collections The museum cares for collections that are owned by the Ministry of Defense. These consist of approximately 490 000 objects, organized into six categories connected to individual museums in our organization. The collections contain a broad spectrum of objects and documentary evidence, including aircraft and ground equipment, track and wheeled vehicles, cavalry, boats and naval equipment, uniforms, quartermaster material, medals, health and medicine, communications and cryptographic equipment, artillery and optical equipment, and arms and armour, including modern weapons material tested by the Norwegian Armed Forces. Nearly all of the collections have come directly from the Norwegian Armed Forces. The specialist libraries and archives hold over 100 000 books from the 1500s to the present date, which document the Norwegian Armed Forces activities, role, history and tradition. The museum library is focused on manuals and instructions used by the armed forces, technical handbooks and other material that is produced by or describes the activity of the various divisions. In addition, the museum has an active loans programme that enables the heritage of the armed forces to be represented in many local museums and fortifications. At present The Armed Forces Museum loans over 8000 objects both in Norway and abroad. The museum uses PRIMUS, a digital documentation and management system, used by over 200 Scandinavian museums. A web based Digital Museum portal is linked to this documentation system. The Norwegian Armed Forces Museums has seven museums located throughout Norway: ISSUE 20 MAGAZINE 28
The Armed Forces Museum, Akershus Fort, was opened by HM King Olav 5 th on 22 August 1978. The museum collections date from 1860 with collections of representative weapons. The central museum comprises the Artillery museum, founded in 1878, the Quartermaster museum from 1928 and the Army museum from 1940. The exhibitions present Norwegian military history from 1400 to the present day. The main museum has over 62000 visitors per year (2016) The Norwegian Resistance Museum is also located in Akershus Fort. Starting as a private foundation in 1966, it became a part of The Norwegian armed Forces Museums in 1995 and is the leading institution for occupation s history in Norway. The museum holds an important archive and library and conveys the history and events of the resistance through exhibitions and meetings. The museum has over 48000 visitors per year (2016). The Royal Norwegian Air Force Museum is located in Bodø with its central storage facilities in a purpose built building beside Gardermoen airport, Akershus. The museum was established in 1994 and shares a building with the Norwegian Aviation Museum and AVI- NOR museum. The museum presents the history of military aviation from the first aircraft to modern day. The museum has over 35500 visitors per year (2016). The Naval Museum, located in Horton, was established by Royal decree in 1853, and has been located in Karljohansvern since 1864. The Naval museum became part of The Norwegian Armed Forces Museums in 1976. Its collections are based around those of Commander Fredrik Klincks donated in the same year as its formation. The museum presents Norwegian naval history from 1600s to present day. The museum has over 24000 visitors per year (2016) The Armoury in Trondheim was established in 1826 and is located in the Archbishop s Palace, Nidarosdomen. The museum became part of the Norwegian Armed Forces Museums in 1952. It is ostensibly an army museum with collections that represent the equipment used by military units in Trondelag. The exhibitions present armed conflict from 10th Century to present day, including the occupation period of the Second World War. The museum has over 36000 visitors per year (2016) Oscarsborg Fortress Museum was established in 1995 and presents the history of the fortress, coastal artillery, exhibitions on military fire control and targeting systems and the invasion history around the events of 9th April 1940. The museum is located with the inner part of the fortress and has over 36000 visitors per year (2016) Bergenhus Fortress Museum was opened on the 9 April 2006. It has seven permanent displays as well as a temporary exhibition space. The museum is located in the courtyard behind the main fortification and had, in 2016, over 21000 visitors. With thanks to Jeremy Hutchings, Head of Collections and Documentation Department, Norwegian Armed Forces Museum. The building where objects are cleaned and conserved ISSUE 20 MAGAZINE 29
Stalingrad. Appeal for Peace Sergey Ivanyuk Deputy director Museum-Reserve of the Battle of Stalingrad Irina Skorchenko Head of the informational and publishing department Museum-Reserve of the Battle of Stalingrad Memorial-Historical Museum In the scale of its intensity, its destructiveness and its horror, Stalingrad has no parallel. It engaged the full strength of the two biggest armies in Europe and could fit into no lesser framework than that of a life-and-death conflict which encompasses the earth. The New York Times, 4 February 1943 The city of Volgograd (until 1925 Tsaritsyn, until 1961 Stalingrad) has a rich, heroic history. But it became especially famous during the World War II, when Stalingrad survived one of the greatest battles in history. After the war the city was completely demolished and again rebuilt. People wanted to preserve the memory of the high price paid for peace and freedom. Different museums and memorials are devoted to the military past of the Volgograd region, and the largest of them are united into the Museum-Reserve of the Battle of Stalingrad. The Museum-Reserve includes the memorial complex To the Heroes of the Battle of Stalingrad on the Mamayev Hill (Mamayev Kurgan), the Museum-Panorama of the Battle of Stalingrad, the Museum The Memory, the Memorial-Historical Museum. The Museum-Reserve The Battle of Stalingrad is dedicated to objects of the cultural heritage of the Russian Federation with stated value. The main aim of the Museum-Reserve is to collect, to keep, to study and to popularize the objects of the cultural heritage connected with the military history of Russia, in order to prevent the recurrence of such events in future. Every year the Museum launches over 30 exhibitions, not only in Volgograd region, but also in other cities and countries. The Museum-Reserve begins its history from the Museum of Defence of Tsaritsyn, that was opened in 1937. On July 17, 1942 the Battle of Stalingrad began, and the museum building turned out to be in the epicenter of the street fighting. It was partly ruined and restored in 1946-1947. On June 6, 1948 the new museum was opened. It was called the Museum of Defence of Tsaritsyn-Stalingrad under the name of Stalin. Later the exhibits connected with the Battle of Stalingrad were delivered to the newly built Museum-Panorama. In 1993 the Memorial-Historical Museum was opened in the building of the former Museum of Defence. Its exposition is devoted to the Civil War in the South of Russia and the World War I. In 6 halls over a thousand exhibits are presented. You can see the personal belongings of J. Stalin, K. Voroshilov, S. Budenny, etc the organizers and the participants of Tsaritsyn defence; original placards and banners; real documents and photos; attributes of the White Movement in the South of Russia; periodicals of the Russian emigration; collections of Russian and foreign cold steel and fire-arms of the period of the World War I and the Civil War; the 75- mm naval gun; a machine-gun platform called tachanka ; a model of an armored train. The memorial complex To the Heroes of the Battle of Stalingrad on the Mamayev Hill (Mamayev Kurgan) is the main cultural value and the pride of the Hero-City of Volgograd. It is one of the most well-known monuments devoted to World War II. In the period of the Battle of Stalingrad the Mamayev Hill (Mamayev Kurgan) was a place of a violent fighting. After the battle the entire hill was pitted with trenches, shell holes and mine craters, the soil was mixed up with metal: more than 1000 shards per square meter were found there. In October 15, 1967, the majestic monument-ensemble was solemnly opened there. The authors of the memorial, headed by a famous sculptor Yevgeny Vuchetich, succeeded in expressing the greatness of the Soviet people s feat. Mamayev Kurgan ISSUE 20 MAGAZINE 30
Hall of the Military Glory at the Mamayev Kurgan Ruined mill The memorial complex is a dimensional architectural and sculptural composition combined with a general conception. It includes monuments, alleys and squares. The memorial extends for 820 meters from the bottom to the top and is crowned with the monument Motherland Calls! The height of the main monument is 85 meters together with its sword, 52 meters without the sword. The sculpture is made of reinforced concrete. The figure of the Motherland dominates the Mamayev Hill and the city. It is in sight at a distance of dozens kilometers. It presents a generalized image of the Motherland who is holding a sword and calling upon her sons to continue the offensive till the resounding defeat of the enemy. On the western slope of the Mamayev Hill (Mamayev Kurgan) the Military Memorial Cemetery is situated. The Soviet soldiers who were killed at the period of the Battle of Stalingrad and found after the war, were buried there. The cemetery was opened in 1995. Museum-Panorama of the Battle of Stalingrad is situated in the historical place where in September, 1942, the 13th Guards Rifle Division under the command of the Major General A. I. Rodimtsev landed. Near the museum there is a ruined steam mill, where at the period of the Battle of Stalingrad the observation post of the Soviet forces was situated. After the war the building of the mill wasn t restored and kept as a witness of furious fighting and outstanding heroism of the Stalingrad defenders. The architectural conception of the museum complex is based on the dramatic contrast between the ruined mill and the modern building of the Museum-Panorama. The complex of the Museum-Panorama of the Battle of Stalingrad was opened by stages: in 1982 the panorama was opened, later in 1985, when it was the 40 th anniversary of the victory in the Great Patriotic War, the museum was inaugurated. The panorama The Rout of the Nazi troops in the Battle of Stalingrad is one of the largest panoramas in the world. It was created by the group of artists from the Grekov Studio of a battle-scene painting (Moscow) and presents one day of the battle seen from the top of the Mamayev Kurgan. Panorama Museum-Panorama of the Battle of Stalingrad Excursion to the Panorama ISSUE 20 MAGAZINE 31
Sniper rifle of Zaitsev The museum consists of 8 halls where more than 4 thousand exhibits are presented: weapon and equipment, flags and banners, decorations and personal belongings of the participants of the battle, their photos and documents. For example, a blood-stained greatcoat of a Soviet General Vasily Glazkov with 168 holes of the enemy s bullets and shells on it. In spite of serious wounds General Glazkov didn t leave the battle-field and continued giving orders overcoming a terrible pain. Also the visitors can see a riffle of a legendary Soviet sniper Vasily Zaitsev, who killed over 300 Nazis and was given a title of the Hero of the Soviet Union. Greatcoat of Major General Glazkov In the museum of the Battle of Stalingrad there is an exposition of gifts and souvenirs donated to the city by delegations from different countries of the world. Among them there is the Honorary Sword a gift of George VI, the King of the Great Britain. On November 29, 1943 at the Tehran Conference the British Prime Minister Winston Churchill presented the Honorary Sword to Josef Stalin. On the blade of the sword there is an inscription: To the steel-hearted citizens of Stalingrad, the gift of King George VI, in token of the homage of the British people. In 2015 the museum exposition was technically upgraded. Modern multimedia equipment breathed new life into the halls of the museum and made them more spectacular and interactive. The most impressive part is a model of the central part of Stalingrad transformed with the help of 3D mapping technology. Audio and visual effects turn the visitors into the witnesses of a massive air bombardment in Stalingrad, that killed thousands of people and turned the city into burnt ruins. They can hear the voices of people who survived that horrible nightmare and dive into the atmosphere of pain and fear. Honorary sword ISSUE 20 MAGAZINE 32
Museum Memory Museum Memory Museum The Memory is situated in a basement of the Central Department Store, where in 1943 the Soviet forces captured the headquarters of the 6th German Army under the command of Field Marshal F. Paulus. The Central Department Store was built in 1938. During the period of the Battle of Stalingrad it was demolished and restored after the war. The Central Department Store became one of the symbols of the Stalingrad victory as a place where the commander of one of the best Nazi armies surrendered. In the Museum The Memory different military historical reconstructions are held, that attract hundreds of spectators. The exposition of the museum is constantly developing, including through the use of multimedia equipment. The Museum-Reserve of the Battle of Stalingrad is the most frequently visited institution of culture in the South of Russia. Every year almost 2 million people come to see its objects, enrich knowledge about the dramatic events of the first half of the 20 th century and pay tribute to the people who shielded the world from Nazism. Information on our events, presentations and symposiums can be found at http://www.stalingrad-battle.ru Further information Museum-Reserve of the Battle of Stalingrad, 47 Chuikov St., Volgograd, 400005, Russia + 7 8442 55 01 51, panorama_sb@mail.ru http://www.stalingrad-battle.ru Motherland Calls ISSUE 20 MAGAZINE 33
The Art of London Firearms: A new exhibition at the Met John Byck Assistant Curator Department of Arms and Armor, Metropolitan Museum of Art On 29 January 2019, the Department of Arms and Armor of the Metropolitan Museum of Art will open The Art of London Firearms, a small exhibition in the Arthur Ochs Sulzberger Gallery (gallery 380). The show will explore the art of the London gunmaker, a fascinating and often overlooked chapter in the art and history of European firearms, presenting a selection of seventeen important London firearms drawn from The Met s collection, many of which have rarely or never been exhibited. Focusing on pistols a strength of the Museum s English firearms holdings rather than long guns, it will include works dating ca. 1780 1830, among them highly embellished arms made for the Prince of Wales, later George IV (1762 1830). In intense competition for lucrative commissions, fame, and prestige, the preeminent London gunmakers of the late eighteenth and early nineteenth century brought the flintlock to a level of refinement never before seen. Extraneous decoration was kept to a minimum and instead the development of elegant yet ergonomic designs incorporating new technologies that served to enhance accuracy, handling, and speed were given priority. Through this exploratory process, a beautiful and distinctly English style of firearm was born. The gunmakers of this Augustine age, as one writer of the period defined it, fittingly earned a devoted following among the British Royal family and the aristocracy, in addition to great fame throughout Europe. The exhibition will feature several exceptional firearms made in the classic, early nineteenth-century English style, including a supremely elegant flintlock target pistol by Robert Wogdon (1734 1813) and John Barton (recorded 1795 1819) (Figure 1). Preserved in superb condition, it was recently identified as having been made for Prince William Frederick, Duke of Gloucester and Edinburgh (1776 1834). The pistol is an unusual type of which few comparable examples are known, featuring a.38 caliber barrel measuring nearly twelve inches. A gunmaker celebrated for his fine dueling pistols, Wogdon partnered with Barton towards the end of his career, and this pistol may be their most accomplished work. Graceful, understated, and built with fine attention to detail, it is quintessentially English. A uniquely ornate pair of pistols made by Samuel Brunn (recorded 1795 1820), the finest known examples of English Neoclassical-style firearms, will be another highlight of the show (Figure 2). Distinctly English in form and construction but lavishly embellished in the style of contemporary French Empire firearms, partic- Figure 1. Flintlock Target Pistol of Prince William Frederick, Second Duke of Gloucester and Edinburgh (1776 1834). Robert Wogdon (1734 1813) and John Barton (recorded 1795 1819). British, London, 1801 03. Wood (walnut), steel, gold, brass, horn. Metropolitan Museum of Art, Rogers Fund, 1937 (37.154.3a) ISSUE 20 MAGAZINE 34
Figure 2. Pair of Flintlock Pistols. Gunmaker: Samuel Brunn (recorded 1795 1820); Silversmith: Marked for Michael Barnett (1758 ca. 1823). British, London, marked with the London date letter for 1800-1801. Steel, wood (walnut), silver, gold. Metropolitan Museum of Art, Purchase, Harris Brisbane Dick Fund and Gift of George D. Pratt, by exchange, 1992 (1992.330.1.2) ularly those of Nicolas Noël Boutet (1761 1833), the pistols represent a fascinating blend of aesthetic preferences. Brunn, a leading gunmaker who specialized in engraved sheet silver inlay, reputedly made the pair for the Francophile Prince of Wales. The display will also feature a selection of rare firearms that demonstrate the great mechanical ingenuity of London gunmakers during this period, including a pistol with an inverted flintlock made by Joseph Egg (1775 1837) and Henry Tatham (1770 1825) ca. 1813 15 (Figure 3). Egg, one of the most distinguished makers in the early nineteenth century, patented the configuration in 1813, probably drawing inspiration from a small group of German rifles made in the 1750s with inverted locks. Though Egg s patent does not describe the potential benefits of his flintlock, they may have included a cleaner sightline down the barrel and a downward-directed flash allowing for improved vision when firing. Today, only three inverted flintlock firearms by Tatham and Egg are known. This exhibition is the first in the United States in nearly fifty years to examine London firearms, and celebrates new and ongoing research of this important section of the Museum s collection. It will run for one year (January 29, 2019 January 29, 2020). Figure 3. Flintlock Pistol with Inverted Lock. Joseph Egg (1775 1837) and Henry Tatham (1770 1825). British, London, ca. 1813 15. Steel, wood (walnut), horn. Metropolitan Museum of Art, Gift of Charles M. Schott Jr., 1917 (19.53.49) ISSUE 20 MAGAZINE 35
The prize of victory: Narva, 1700 Karin Tetteris MA Curator Armémuseum, Stockholm Who won? Sometimes, this is a question more easily asked than answered. In the world of sports, we count the goals, seconds and millimetres. In war, the outcome is less clear. What is considered a victory depends a great deal on the aim of the war campaign. During the great battles of the 17 th and 18 th centuries, it was impossible for the participants to get a clear picture of what happened, and only afterwards, various testimonies could be pieced together to form a narrative of the battle. Both victories and losses, therefore, were as much products of editorial work as they were results of actual fighting. The official accounts of the battles created a logical order from the chaotic reality of the battlefield, and could offer an explanation of the result. Meanwhile, they were also part of the war propaganda, emphasizing the bravery of one s own forces in contrast to the enemy s cruelty. These accounts were spread by the clergy when thanksgiving services were held after victories, but The first room of the exhibition is a parish church where news of the victory would be spread to all the subjects in the realm at the same time. also through newspapers and special pamphlets. The way in which the great battles of the 17 th and 18 th centuries were described by contemporaries did not just affect the perception of the events at the time, but has very much influenced historiography during the following centuries. Early-modern war propaganda At the Armémuseum in Stockholm a new exhibition opened on 19 October which aims to highlight this aspect of the legendary victory at Narva in 1700. In our collection more than 250 Russian colours and standards bear witness to the tradition of collecting and displaying trophies. Some 25 of these artifacts are the centre of the exhibition, giving us a chance to tell a story about early-modern war propaganda. Many of them are newly conserved and on display for the first time in one hundred years. Banner of a Russian infantry regiment, silk taffeta, gold and silver paint. Moscow, 17 th century. Inv no: ST 21:33. Company banner of the Semyonovsky Regiment, Chinese silk damask. Moscow, probably 1700. Inv no: ST 22:149 ISSUE 20 MAGAZINE 36
The practice of parading war booty and prisoners-of-war in triumphal processions was established in Rome but has lived on at least until the Second World War. After the battle of Narva a lavish parade was held in Stockholm in August 1701. The exhibition tries to put the audience in the streets of Stockholm during this celebration. A sound-scape has been produced as a result of a scientific workshop held last year at Armémuseum. Distinguishing standard of Yurij Trubetskoy, silk taffeta. Inv no: ST 22:213 Lists of war booty were a staple feature in contemporary accounts from the theatres of war. Captured items were tangible, physical proof of the victory, and became a way to measure its magnitude. The greater the booty, the greater the victory. While war booty in the form of weapons, tents or food could be reused or turned into cash, banners and standards were given status as trophies of the realm, and so were preserved for posterity. They were often displayed in churches, armouries or other public buildings, where they could serve as a reminder of past victories. The harsh reality of war While the first part of the exhibition deals with the celebration of a military victory and the formation of a narrative, the next part brings us back to the battlefield. Here we discuss the price paid by thousands of soldiers, dying from the red flux, starvation, cold or battle-wounds. A high death toll was normal, and did not detract from the sweetness of victory. Neither the loss of Narva four years later, nor the utter defeat at Poltava in 1709 had any effect on the battle s reputation. Narva 1700 retained its place in Swedish historiography as the most famous victory in the nation s military history. Some unique objects from the battle are on loan from other institutions. From the Historical Museum there is an icon used for religious services in the field one of five icons taken as war booty. However, one of the most poignant remnants from the Russian campaign against Narva is a letter, written by the soldier Larion Stepanov from Pskov to his parents. Four weeks into the siege he says that he is dying from cold and starvation. He begs his father to bring him a fur coat, boots and some bread. This is one of 19 letters, all painting the same picture of the harsh conditions for the Russian soldiers outside the walls of Narva. These are kept in the reserve of the National Archive of Sweden. A trophy palace designed by Nicodemus Tessin the younger. It was never realized. Photo: the Military Archives in Stockholm, SFP Stockholm 204 facad ISSUE 20 MAGAZINE 37
On the day of the Thanksgiving celebrations magnificent illuminations were erected in Stockholm. A smaller version of a 25m high pyramid has been built in the exhibition. Photo: Erik Lernestål/Armémuseum The memory of Narva The last part of the exhibition is devoted to the conflicting realities during the centuries after the battle. The story of the victory lived on and the trophies taken in the battle were exhibited in different locations, but views on the historical event have changed back and forth. King Charles XII and his military exploits have been used by many different groups to serve many different ends. In 1936 the director of Armémuseum initiated a project to erect a memorial of the battle onsite in Narva. It was inaugurated with great pomp and nationalistic overtones. Fifty years later the celebrated warrior king was a tragic figure featured in a comedy about the Swedish defeat at Poltava. Nowadays, the man in the street would be hard pressed to call up any knowledge whatsoever about the battle of Narva. Icon Saviour Made Without Hands, wood, gesso, tempera, silver, gilded metal frame. The Moscow armoury, late 17 th century. Photo: Swedish History Museum SHM 3973:32 We hope that the audience will reflect on questions like how a narrative about historical events has been formed and which part the material relics play in this narrative. Hopefully this encourages a critical view on cultural heritage and its role in shaping history. The objects are not just dead matter, but highly potent agents in different political processes. In the room of the battle the walls evoke a feeling of the snow and mud or perhaps blood spots. The display case show weapons in action, on their way to hit the visitors. Photo: Erik Lernestål/Armémuseum Letter sent by Larion Stepanov, probably of the Pskov Streltsy Regiment, to his parents Stepan and Varvara in October 1700. Photo: National Archives of Sweden, Extranea 156:3 ISSUE 20 MAGAZINE 38
The Museum Room at the Infantry School Corps building in London, Ontario. The story behind the Royal Canadian Regiment Museum Dr Georgiana Stanciu Executive Director / Directrice Musée The Royal Canadian Regiment Museum The Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario. 2018. (Photography by the author) Introduction The Royal Canadian Regiment Museum tells the story of the first infantry regiment established with the regular army in Canada. The museum is located in the west wing of Wolseley Barracks, in London, Ontario. Owned by Canada s Department of National Defence, the barracks are part of the 31 Canadian Brigade Group. The U shaped structure lodges not only a museum, but also the 4 th Battalion, The Royal Canadian Regiment s reserve component, the 1 st Hussars, an armoured regiment with the primary reserve in Canada, and other support agencies such as the regional office for Cadets. The ensemble is registered with the Canadian Register for Historic Places and provides a unique example of military architecture during Victorian era. The relation between the Barracks history and the Museum s history is also singular for Canadian museums, yielding remarkable findings. The Royal Canadian Regiment The British troops left their posts north of the Great Lakes in 1867, when Canada became a confeder- ate self-governed state. This left the young country with a small and poorly trained militia to defend its borders for which British garrison troops had provided a training capability. Steps toward fixing the lack of trained military were taken starting 1883, when the Parliament passed legislation to establish several instructional schools, among which was the Infantry School Corps. The latter had one main role: to train the local militia units, from the Atlantic to Lake Superior. Initially, three companies located in eastern Canada formed the Corps. Two years later, in 1885, a fourth company was confirmed for London, Ontario. With a strength of less than 400 officers and other ranks, these four units would become Canada s regular infantry component for many years to come. Between 1885 and 1898, the unit known as Canadian Regiment of Infantry or Royal Regiment of Canadian Infantry, participated in operations outside the borders of the confederated provinces at the time, and in 1899, one active force battalion was raised to help British Imperial troops in their fight against the Boers in South Africa. Bringing a remarkable contribution to Britain s victory in South Africa, at Paardeberg, the Regiment gained notoriety and by 1901, the unit was presented with Colours by the Prince of Wales, future King Edward VII, and re-named The Royal Canadian Regiment (RCR). Placed on Active Service in 1914, the Regiment was eventually deployed to the front lines of the First World War between 1915 and 1919 as part of the Canadian Expeditionary Force. With reduced strength, the unit continued to be part of the Canadian Active Militia between 1919 and 1939. The outbreak of the Second World War saw the Regiment deployed overseas with the first contingent of the Canadian Active Service Force that participated in the Italian Campaign (1943-5) and the liberation of Northwest Europe (1945). Post Second World War, the RCR has contributed to the Korean War (1950-3), battalions of the regiment were stationed in Germany during the Cold War, until 1991. During this time, they took part in multiple peacekeeping operations throughout the globe, and the war in Afghanistan (2003-14). ISSUE 20 MAGAZINE 39
West and south façades of the Infantry School building, drawing. 1886. (Archives and Research Collection Centre, Western University, London, Ontario) Awareness of regimental traditions existed since the early years, however it is only in the aftermath of the First World War that the notion of regimental history begins to take shape. With this notion comes the practice of collecting material culture that illustrates regimental deeds, significant enough to be used for educational purposes and teach future generations about RCR achievements. The Infantry School Building It is to be noted that a museum room existed in the blueprints designed by the Department of Militia and Defence for the Infantry School Corps building, or as it is known today, Wolseley Barracks. This was the second military architecture erected by Canadians in their efforts to build an Active Force. The first such building was destined to host the Royal Military College in Kingston, Ontario. Unlike the drawings for the Infantry School, the blueprints for the Royal Military College have not been found and the reports about this building do not mention a museum room. The Minister of Militia and Defence, Sir Adolphe Caron visited London, Ontario, on the 1st of July 1886, when Canadians were celebrating the 9th anniversary since their Confederation. Sir Adolphe took the time to inspect the troops in training at Carling Heights, but most importantly, to attend the corner stone ceremony for the new Infantry School Corps building, which was to be erected on these grounds. The construction had been approved by the Canadian Parliament that spring, for a budget of $30,000, the equivalent of little over $CAD500k today. The Engineer Branch of the Department of Militia and Defence, a satellite agency for Public Works, had prepared the plans for the new Infantry School. The Chief Architect, Henry James whose initials can be seen on the drawings was reporting at the end of 1886 that there were three buildings, arranged to form three sides of a square connecting at angles. All three buildings had a basement and two stories above ground. Lodgings for officers were planned for the south wing, and the east wing was intended for barrack rooms, kitchen, cellars and dining room. The west wing facing Elizabeth Street, included a central arched entrance and tower. Alongside quarters for non-commissioned officers, kitchens, canteen, prisoners rooms and hospital, there were four more amenities: reading room, recreation room, lecture hall and museum. These amenities can be seen on the drawings prepared by the Engineer Branch, on the second floor of the west wing, above the arched entrance, just under the tower. The Branch hired a local architect to supervise the construction, F. Durand. Despite some delays, construction was completed in early 1888 and the building open for use sometime before the 2nd of April 1888. On this date, a local reporter was giving a detailed account of his visit to the new military school. Accompanied by Col- Second floor plan of the Infantry School building, drawing. 1886. (Archives and Research Collection Centre, Western University, London, Ontario) ISSUE 20 MAGAZINE 40
The Infantry School building, unknown photographer, sepia photograph, c 1888. The Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario (RCRM2018.001.308). onel Smith, the Commanding Officer of D Company, the reporter viewed the men s rooms, with their kitchen, the officers accommodations with their Mess and the museum! From the description we understand that this was one of the two rooms furnished within the west wing. In the museum room, the visitors enjoyed some piano music played by the Musical Director of the Corps, Private George Shields. In 1888, the Infantry School building in London was one of a kind judging only by the existence of the four rooms intended for educational purposes. Standard plans for drill sheds would only be issued ten years later, although none included reading, recreation, lecture or museum rooms. At the time, Public Works was one of the emergent departments of the Federal Government, preoccupied to building a few post offices, but mostly to defining the architect roles and responsibilities before taking over constructions across the country. Museums had been established in some of the Canadian provinces before 1886, plans to form collections have been made, but physical buildings to preserve and present these collections were not yet on the government agenda. In 1894, the Infantry School building in London, Ontario, was re-designated Wolseley Barracks to honour Field Marshal Garnet Joseph Wolseley, 1 st Viscount Wolseley, Commander-in-Chief of British Forces between 1894 and 1901, also first Colonel-in-Chief of The Royal Canadian Regiment. The Museum Early sources make little mention of the museum, or any of the other three rooms, moreover, there is no document informing us on the stated goals of the institution, nor any other indication of how the museum room functioned between 1888 and the 1970s. but it is unlikely that the Department of Militia and Defence had a well-defined goal when planning for such a space, probably no more than to satisfy a general belief that museums support teaching and instructing. After all, the new building had been destined to host a training unit for the Canadian Militia. Yet the regimental museum will always be associated with the building known today as Wolseley Barracks, called home station by all those who served in the RCR and it is in the ulterior evolvement of the Regiment that a museum will take shape, independent of the space intended in 1886 to such a purpose. In the years following the demobilization after the First World War (1919 to 1924), companions-in-arms who had survived the European trenches, came together as a network of support and formed the Old Comrades Association. This organization aimed at maintaining the relationships and camaraderie established at the front, but more importantly, recognized the importance of assembling the regimental history. By 1933, when the RCR was celebrating its 50 th anniversary, a Montreal historian was commissioned to write the history of the unit, an endeavour spanning over 4-5 years of intense research, and gathering of documentation, including material culture historically significant for the Regiment s past. The idea of a regimental museum clearly sprung from the circumstances created by the searches for the regimental history. Yet again, the museum will continue to be just an idea for many years to come, as found in the regimental magazine The Connecting File, later known as Pro Patria. In 1937 the museum was yet but an infant and a call for offerings was made to the Royals, encouraged to Group of Canadian military visiting the Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario. 2017. (Photography by the author) ISSUE 20 MAGAZINE 41
Medal set belonging to Captain C. L. Wood, MC. 1914 18. The Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario (RCRM2018.001.309) bring forward articles of regimental interest. Starting in January 1938, the magazine regularly informs the readers about such offerings, such as the medal set belonging to the late Captain Claude Llewelyn Wood. The medals were presented by his father, Major Wood. Captain Wood was a veteran of the First World War, debilitated by rubella in 1916, wounded twice after, and deceased on 30 October 1929. He was awarded the Military Cross and bar, alongside the campaign medals for those who fought overseas between 1915 and 1918. Although other items may have preceded this medal set in the regimental collection, it stands as the first artefact documented artefact to be donated to our museum. It can be viewed in the Ivey Medal Gallery, alongside other prestigious medal groups belonging to former members of the Regiment. Another episode from December 1938 reveals that the much desired regimental museum wasn t moving anywhere beyond the work-in-progress status. A certain Dr. McCormick s offered his uniform and equipment, which he wore while no. 7730 in South Africa [South African war], but only upon completion of the museum. Although the offer was accepted by the commanding officer, the material never seems to have made it to the museum. There is no record of Dr McCormick in the donation files and the only South African war era uniform in the museum collection is in provenance of a different source. The efforts of organizing a regimental museum at Wolseley Barracks came to a full stop at the outbreak of the Second World War. Once the conflict was over, more exactly in fall 1947, the museum was coming to an opening stage with many items accepted so far, amongst which three large paintings, presented by Colonel M. P. Bogart. These are actually three prints published in the Canadian Pictorial and Illustrated War News in 1885 as a visual chronicle of the North-West Rebellion. Two of the prints presented by Col Bogart continue to be displayed in the dedicated section in the permanent gallery. By 1953 the museum was receiving a permanent location, on the 2nd floor of the Barracks west wing, above the archway entrance. This location had been assigned to Sergeants Mess before the Second World War, but it actually coincides with the museum room from the 1886 floor plans. However, it will not be until the early 1970s that the museum takes shape, with more exhibit space spread over Full dress tunic, staff sergeant rank. 1902 11. The Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario (RCRM2018.001.311) the 2 nd floor and receiving about 2,000 visitors yearly. Most of these visitors were connected to The RCR, coming from out of town, rarely accompanied by non-military companions. It seems that artefact collecting via individual donations remained the only way to ensure the museum s welfare at this time. The expansion brought up a new topic though: the expertise required to collect, care, research and present the collected items. The solution to this concern was to assign curatorial responsibilities to the regimental adjutant as recorded in the latter s job description dating back to 1973. The regimental adjutant, amongst other responsibilities, is henceforth entrusted with curatorial duties. Drawing illustrating the design for regimental cap badge by the Goldsmith and Silversmith Company Ltd 1919. The Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario (RCRM2018.001.310) Lee Enfield rifle, South African War. 1899 1900, The Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario (RCRM2007.001.0016). ISSUE 20 MAGAZINE 42
Infantry School Corps helmet plate, 1883 94. The Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario (RCRM2018.001.309) This is also the time when the museum receives its first professional accreditation from the Directorate of History and Heritage, a specialized section within the Department of National Defence Canada. This accreditation, maintained to this day, came with compliance pre-requisites for the proper operation of a museum, including specific requirements as to the governance structure, professional standards as to proper preservation and exhibition of artefacts, their research and documentation. Hence all subsequent museum operations will be conducted following proper practices. The next important moment in the evolution of our institution from the museum room to The Royal Canadian Regiment Museum reveals how an old building is adapted to modern museum s needs. In 1983, on the occasion of the centennial of the Regiment, the museum expanded from its 1960s-1970s layout to half of the entire west wing at Wolseley Barracks, approximately 6,800 sq ft exhibit space, plus another 2,000 sq ft collections storage, in the basement. This expansion was carried out in two phases. Phase 1, before 1983, included a new entrance, construction of an elevator, ramp and washrooms, but more importantly, the entire facility was made ready to receive environmental control system and an external contractor, Sears and Russell Consultants, was brought in from Toronto to work on the exhibits on the first floor. On 30 June 1983, the newly expanded and renovated museum was open His Royal Highness Prince Philip, Colonel-in-Chief of the regiment at the time. Phase 2 followed and was completed by 28 June 1985. It included the installation of all environmental protection material and controls, completion of collections storage in the basement and of second floor exhibits. The Royal Canadian Regiment Museum continued to be managed by the Regimental Headquarters, with visiting hours for the general public, a fundraiser program to support operations, and an active system for artefact donations that resulted in doubling the size of the collection. A document dated January 1986, titled The Royal Canadian Regiment Museum Status, outlines the museum mandate: [ ] It is the intention of The Regiment to ensure that the sacrifice and service of the past is displayed in the present and preserved for the future. The principal philosophy is to recognize the concept by which a regiment functions the participation of its members in a hierarchical, yet benevolent military structure which places strong emphasis on the well-being of its men. Beside the philosophy, according to the same document, the museum has five objectives, out of which the most important are to serve as a training medium to teach Regimental History and to preserve this history by collecting relevant artefacts. At the end of 1990s, a new challenge lay ahead: the Regimental Headquarters transfer to Petawawa, a military base situated some 600 km northeast, became imminent. In 1992, the 1 st Battalion, The RCR, was relocated to the above-mentioned base and the Regimental Headquarters are traditionally placed with this battalion, mostly for military administration purposes. The Headquarters relocation did not take place until 2009, but the process brought changes to the museum operations and current configuration. View of the Frist World War exhibit, c. 1978. The Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario In 2001, the curatorial duties, once the responsibility of the regimental adjutant, were now transferred to a professional curator, hired as an independent contractor by the Regiment. When offices were vacated with the gradual move of the Headquarters, space became available in the west wing at Wolseley Barracks. Freed space was assigned to the museum which resulted in expanding to a foot print of over 12,000 sq ft exhibitions and services on the 1 st and 2 nd floors, alongside an extra 400 sq ft in collections storage in the basement. In addition, a small outdoors set up was allocated to the museum for the display of larger pieces of military equipment. Since 2013, The Royal Canadian Regiment Museum at Wolseley Barracks has become an important landmark not only for the military across the country, but also for the local community. The entire west wing of the old Infantry School Building is now home to a vast collection including uniforms, medals, original art, weapons, military equipment, archives, musical instruments regimental memorials, silverware, etc. It is also home to exhibits illustrating the RCR storyline, ISSUE 20 MAGAZINE 43
which matches Canadian post-confederation history, and the internal and external conflicts that our military was a part of. Public programming is in place to actively engage with the local community, but also the larger regimental family across the country. Conclusion The museum room in London s Infantry Building thusly evolved from the conceptual stage of one single small space on a floor plan to a small size modern museum, with a mandate to promote and enhance the pride that Canadians have in their military and its achievements through ensuring they know the story of one of their View of the First World War exhibit, c. 1985. The Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario. nation s great Regiments. Resulting from a set of circumstances, more than from structured planning, the stated intent to preserve regimental heritage has prevailed and opened the path to a sequence of renovations-expansions since the 1950s. These projects have led to the museum taking over one third of the Barracks. Initially destined to lodge soldiers and officers or provide them with a training venue, the museum and the building have become a heritage landmark in the City of London, Ontario, with potential to develop even further toward an all-encompassing site dedicated to the evolution of the infantry in Canada after 1867. View of the current First World War exhibit. The Royal Canadian Regiment Museum at Wolseley Barracks, London, Ontario. 2017 (Photography by the author) ISSUE 20 MAGAZINE 44