Naval Museum

Historical valuable stuffs and shipbuilding information were preserved in the Model Chamber. Its edifice was instead little for such a large aggregation and in 1805 a Maritime Museum was founded. Some old ages subsequently engravings and images on Marine subjects in add-on to checkerss and ships theoretical accounts appeared in the Museum. But in malice of this in 1827 the Museum was closed because of the deficiency of room. And merely in 1867 the Russian authorities opened the Museum once more, yielded to public sentiment and attempts of naval officers. Its aggregation was enriched by many valuable objects. Among them were personal things of emperor Peter I, the laminitis of Russian Navy, celebrated admirals and officers ; pictures and engravings, specimens of cold steel and fire-arms. The chief aggregation of war vessels and transport ships theoretical accounts was increased excessively. The restored Maritime Museum was located in the West wing of the Admiralty edifice. It was really popular among visitants. In 1909 it was renamed as Emperor Peter the Great ‘s Maritime Museum.

The Revolution of 1917 and the Civil war in Russia 1918 – 1920 have brought indispensable restoratives the Museum ‘s exhibition. The chief end for it became to show the prima function of the Communist Party in Restoration and development of the Navy. The aggregation enriched with stuffs refering the work of seamen-communists, Fleet ‘s Party and Comsomol organisations. The Museum has received points from the museums, closed to that clip, for illustration, museums of Guards Naval Depot and Naval Cadet Corps. The topics of a naval life, pictures wellknown marine painters as I. K. Aivazovskiy and A. N. Bogoliuboff, naval uniform, Russian awards and Markss were obtained on auctions and the private individuals. But at the same clip, in 1920-30th the big figure of topics of the Romanov emperor ‘s household, nobiliary family names were annihilated in the Museum under the force per unit area of new fortunes. This loss has become unreplaceable. And merely due to the true fans of Museum it became possible to continue the less, that makes the pride of its aggregation today.

In 1939-1940 the Museum was renamed as the Central Naval Museum and was transferred from its historical topographic point – Admiralty – to a edifice of former Stock exchange at the malice of the Vasilyevskiy island. This edifice was constructed in 1805-1810 under the undertaking of a known designer Jean Francoise Toma de Tomon. Since that times the Central Naval Museum has become one of the most favorite and attended museums of the metropolis.

During the World War II a portion of the aggregation was evacuated to Ulyanovsk metropolis. But a figure of the employees had being worked in blocaded Leningrad, roll uping the alone stuffs refering the guardians of Leningrad. Excursion & A ; lecturer work was traveling on the ships and in units of Red Banner Baltic Fleet, at the endeavors and in infirmaries of the besieged metropolis The nomadic exhibitions worked.

The post-war period is characterized by active museum exhibition activity. The employees of the Museum repeatedly left with nomadic exhibitions on all Fleets, transporting out big educational & A ; cultural activity. In the beginning of 50-th the professional Studio of Marine creative persons was created under the determination of the Navy ‘s Govering organic structure and enterprise of the Museums ‘ employees. It aimed to update the Museum ‘s aggregation by a stuffs lighting those pages of a history, which have non found sufficient representation in an exhibition. Today the gifted creative persons are working in Studio, among them the Deserved creative person of Russian Federation V. A. Pechatin, Z. G. Abashvili, M. A. Kuznetsov, S. V. Pen, V. P. Yarkin and others. The scientific employees of the Museum work under the creative activity of the new museum catalogues. That has allowed to include earlier unknown paperss and stuffs in scientific usage.

The alterations in Russia of the terminal 1980-th – beginning of 90-th have allowed the Museum to turn to the Museum ‘s reserved aggregations and to demo to public the topics, paperss and stuffs revealling pre-revolutionary history of the Russian Navy. The Museum has developed broad exhibition activity as in Russia and abroad. Peopless of the metropoliss Nakhodka, Kaliningrad, Moscow, Archangelsk, Pskov, Yalta, Tyumen, Vyborg, Severodvinsk have got acquainted with its aggregations. Museum ‘s assembly have received a high appraisal in Denmark, France, Germany, Great Britain, Holland, Hungary, Italy, Japan, Spain, USA. The scientific and originative connexions with museums of Russia and foreign states have extended. The increasing of CNM ‘s popularity and scientific authorization has stirred up the first moving ridge emigres and their posterities. We were gifted the interesting stuffs from France, Holland, Japan, Tunis, USA. Citizens of Russian Federation do non go forth us without attending excessively. & # 1057 ; ollection of the Museum sums about 700’000 points today.

The Central Naval Museum repeatedly participated in joint exhibitions with State Hermitage, State Tretyakov Gallery, State Russian Museum, State museums-reserves & # 171 ; Moscow Kremlin & # 187 ; , & # 171 ; Petershoff & # 187 ; , & # 171 ; Tsarskoye Selo & # 187 ; , & # 171 ; Pavlovsk & # 187 ; , & # 171 ; Gatchina & # 187 ; , State Museum of history of St. Petersburg, State Museum of Religions history, Museum of anthropology and descriptive anthropology ( “ Cabinet of wonders ” ) , A. A. Popov Central Museum of communications, State Memorial Museum of A. V. Suvorov, Central Museum of the Armed Forces of Russian Federation, Military Historical Museum of Artillery, Engineering and Intercommunicational corps, Military Medicine Museum and others.

For last old ages authorization of the Museum has well grown. It has become the member of the International Council of Museums ( ICOM ) International Association of Military Museums & A ; Military History ( IAMAM ) , International Congress of Maritime Museums ( ICMM ) , Union of the originative museum workers of St. Petersburg and part.

Large popularity and authorization the CNM is obliged for those museum ‘s nationalists who works in it for many old ages. The proud of the Museum are: L. I. Bereznitskaya, A. K. Belik, K. P. Krasnopol’skiy, A. L. Larionov, V. B. Morozova, L. S. Petrova, L. G. Shuster, I. P. Sukhanov, T. N. Topornina, A. A Tron ‘ .

Recently the Museum has celebrated its 290th day of remembrance. Its scientific employees have the big originative programs. Highly professional collective, its cognition and sense of purpose is the pledge, that the Museum will maintain traditions of the oldest scientific-educational establishment and absolutely will be the pride of Russian Navy and the exchequer of nautical glorification of Russia.

Museum ‘s chief edifice in Saint Petersburg Photo, 1996

Shalimova Jane

9 & # 8220 ; G & # 8221 ;

The Museum of Tbilisi ‘s History, a exchequer of stuff and religious values of Georgian people was founded in 1910. That clip it was named “ Municipal Museum ” , because it was established by the Municipality.

During 90 old ages more than 50 1000 points have been collected. This aggregation was enabling the Museum to expose the complete hello narrative of the town. The life and civilization beginning from the IV millenary B.C. , since the first dwellers were settled here. This enabled the museum to show the ceaseless class of urban development through its of import phases. Up to the Nineteen century Tbilisi was a typical oriental town with its Caravanserais and bazars, houses with gallery and balconies, with narrow lanes. The contact with Russian and European civilizations gave European imprint to the life manner of Tbilisi and to its external visual aspect. In the Nineteen century in the old portion of the town, in the locality of Sioni Cathedral, where there were leftovers of a Caravanserai built by the King Rostom in XVII century, a new Caravanserai was built. In 1912 the frontage of the edifice was decorated. After Restoration of 1980 this historical edifice became the abode for The Museum of Tbilisi ‘s History.

Unique archeological, ethnographical, documental stuff, many chef-d’oeuvres of common people and applied humanistic disciplines ( rugs, kilims, etc. ) are kept here. The Museum holds the richest photograph-collection which absolutely shows the positions of the town, its life and its dwellers. The Museum keeps many pictures, printings and graphical plants of Georgian and foreign creative persons, picturing Tbilisi and its citizens in their instead colourful spectra. Alongside with the stuff picturing the yesteryear, The Museum of Tbilisi ‘s History represents modern art excessively.

The modern Art section was founded in 1986 and is on the 3rd floor of the edifice. The modern Art section of Tbilisi history museum exhibits the province of modern Georgian Art. Back in the former Soviet clip instead bold, nowadays Historical exhibitions were arranged, viz. Georgian Neoexpressionism, Transavangard, Free Figuration, Installation, Video-Art, Performance and other tendencies and waies.

ARMENIAN GENOCIDE MUSEUM

The Museum of the Armenian Genocide opened in 1995 in clip to mark the 80th day of remembrance of the Genocide. The Museum construction is of alone and original design. ( designers: S. Kalashian and L. Mkrtchian ) . This two-story edifice is located at a

neodymium in the side of a hill so as non to take away from the enforcing presence of the Genocide Monument nearby. The roof of the edifice is level and covered by concrete tiles. It serves as a scenic position point overlooking the Ararat vale and Mount Ararat.

The first floor of the Museum is below class and houses administrative, technology and proficient care offices and infinites, a 170-seat hall ( Komitas Hall ) , storage suites for museum and scientific objects, a library and a reading hall. The Museum exhibit is mounted in the 2nd floor in a infinite which is over 1000 square metres. It occupies three indoor halls and one outdoor hall and its hallway. An eight metres long and three metres broad basalt rock lies on the floor of the outdoor hall and the hallway. The out-of-door hall symbolizes the ageless memory of the victims of the 1915 Genocide and the integrity of the Armenian people spread throughout the universe. It besides expresses the battle between good and evil, light and darkness.

The western wall of the Museum ‘s first exhibit hall has a map engraved in rock which shows the historical Armenian Plateau and adjacent states. It is bounded by the Black Sea in the North, the Caspian Sea in the E, the Persian Plateau in the South, and the Mediterranean Sea to the sou’-west. The map shows the Armenian colonies on the district of Western Armenia and Ottoman Turkey which existed until the slaughters of the Armenians and the monolithic decease Marches which began in 1915. The map is nine metres broad and five metres high.

The Introductory Hall exhibits exposure and ethnographic tabular arraies with information about the Armenian colonies and Armenian population figures in 1914 in Ottoman Turkey. They besides contain information on the figure of Armenian churches and schools which were working in the part at that clip. A complex of the tabular arraies at that place and in the 3rd hall supply a visitant with the following informations, including the population figures in 1914 before the Genocide ( See the undermentioned charts ) .

The 2nd exhibit hall ( 700 square metres ) nowadayss eyewitness studies and paperss about the slaughters and atrociousnesss perpetrated against the Armenians. The exhibit has many big exposures taken during 1915-1917, archival paperss, portrayals of outstanding Armenians, victims of the atrociousnesss, friends of the Armenian people, and documental movies.

A particular portion of the exhibit is reserved for the original paperss issued by international organisations and parliaments of foreign states reprobating the Genocide.

Numerous different publications about the Armenian race murder written in many linguistic communications are besides exhibited.

This hall besides shows tabular arraies with informations on the figure of Armenians populating in different states of Europe, Asia, Africa, America and Australia after the Genocide. In the same hall a granite pedestal supports crystal vases which hold Earth from historic Armenian parts: Erzerum, Van, Baghesh ( Bitlis ) , Sebastia ( Sivas ) , Kharpert, and Tigranakert ( Diarbekir ) . It besides holds the skull and castanetss of a immature Armenian killed in the Der Zor desert. In the same hall, a granite tree with distributing subdivisions symbolizes the infinity and metempsychosis of the Armenian people.

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The tabular arraies displayed in the 3rd hall demo the Armenian population figures in 1914 and 1922 ( See chart below ) .

The last hall of the Museum is basically an outdoor terrace, a traditional characteristic in old Armenian constructions. A semicircular basalt wall is divided into 12 equal sections. Each of the sections contains a sentence reprobating the Armenian Genocide by outstanding foreign politicians, diplomats, scientists, and authors of that period. The hall looks like a courtroom where eyewitnesses present their condemnatory grounds. The last word belongs to the visitant, who can do a opinion based on the stuffs presented.