bluuebunny/crossref_metadata_2025 huggingface dataset:
An unfinished masterpiece: special collections in the Book Library of the Courtauld Institute of Art
Authors: Foden-Lenahan Erica
Published: July 2016

The Courtauld Institute of Art, a college of the University of London, is one of the foremost centres to study art history in the UK. Like a giant Matruschka doll, the Book Library at the Institute is a specialist art library that contains within it special collections which, in turn, have individual bequests that also contain discrete rare collections. In addition to more than 7400 books catalogued online, it has a range of material that is yet to be catalogued onto the Aleph system, some of which remains inaccessible. The special collections also contain the research papers of several notable former members of staff, and a number of small archive collections that have been donated over the years. Without a dedicated reading room, the special collections feel more integrated into regular use within the library. This gives students a taste of research with historic books, but there are some inherent risks associated with such relaxed usage conditions. This article examines the origins of the Library and its place in the Institute today. It reveals the breadth of its special collections and some of its treasures, but also explains how the present funding crisis in UK higher education may harm the custodial role the Book Library has over this unique research resource.
The Library of the Barber Institute of Fine Arts at the University of Birmingham
Authors: Pulford David
Published: July 2016

The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.
Room within a room: Louis I. Kahn and the Reference Library of the Yale Center for British Art
Authors: Binkowski Kraig
Published: July 2016

What does it mean to work in a Modernist masterpiece? How is a ‘humanist’ space used? The author’s personal perspective on the architectural elements of the Reference Library at the Yale Center for British Art illuminates the humanistic aspects of Louis I. Kahn’s design. He focusses specifically on the material surfaces of white oak, wool, formed concrete, and their interplay with natural light in the library. Architectural elements such as the wood library carrels, concrete pillars, and exterior and interior windows of the library are considered in relation both to Kahn’s perceptions of a library and to his use of these elements in the museum as a whole.
History of the rise and progress of the Robert B. Haas Family Arts Library at Yale University
Authors: Vestermark Jesse
Published: July 2016

This article casts a wide net over the key events, people, locations and collections that shaped the development of the Arts Library at Yale University, beginning with its inception as a humble departmental collection. While the physical spaces that have housed the library have undergone tumultuous changes over the years, the collections themselves have evolved in ways both unique to Yale and universal to the field of librarianship. In autumn 2008, the library was re-christened the Robert B. Haas Family Arts Library and it is now housed within the renovated Paul Rudolph Hall and the newly constructed addition, the Jeffrey H. Loria Center for the History of Art.
Fashion blogs: too trendy for libraries or useful resources?
Authors: Eades Vivienne
Published: July 2016

Do your students look at blogs? Do you see them as information sources? Are they part of your library’s resources? This article summarises some recent research on fashion blogs, both ‘amateur’ and ‘professional’, and their use in providing information to fashion students. It highlights the potential usefulness of subject blogs, based on points that arose from the data collected from fashion librarians and students in interviews, an online survey and a round-table discussion. Hopefully the results will encourage you to consider your own stance on blog information in the library, whichever subject you support.
An open resource for scholars and a primary source for research: the Burlington Magazine online index
Authors: Pezzini Barbara
Published: July 2016

The Burlington Magazine, with its juxtaposition of art trade and academia, historicism and aestheticism, has occupied a unique role in the international art historical panorama since it was first published in 1903. From its very beginnings the magazine had produced a detailed printed index, which reflected the diversity of its contents. In 2005 the magazine received a grant from the Andrew W. Mellon foundation to produce a cumulative online index from 1903 to the present. The Burlington Index is now online, nearly complete and free for all to use. Why did the Burlington need an index when it was already included in JSTOR? How is the Burlington Index structured and what is it based on? What are its aims and limitations? The Burlington Index wants to be a vessel to navigate the ocean of free-text available on JSTOR; a tool for research to open up the contents of the Burlington to a new generation of readers and, ultimately, a magnifying glass to reveal the magazine as a primary source for research on the history of art history, the art market and the art press.
Dealing with adaptation: the Courtauld classification scheme
Authors: Lee Deborah
Published: July 2016

Creating an adapted classification scheme is a solution frequently adopted by art libraries to arrange their collections. However, writing the scheme is only the start: an adapted scheme needs continuous updating to maintain its fitness for purpose. With new art forms, new directions in art history research, new geographic boundaries and new physical formats, there is no shortage of work to be done on an adapted art classification scheme. Using examples from the Courtauld classification scheme, this article explores some of the issues involved in dealing with an adapted classification, and charts the fluctuating relationship between the adapted scheme and its original. The author concludes that once an adapted scheme has been selected for an art library, this represents a lifetime commitment to adaptation.
Reclassification at Chelsea College of Art & Design Library
Authors: Lawes Elizabeth , Olsson Tania
Published: July 2016

This article examines some of the problems associated with the initial classification and subsequent reclassification of a specialist Fine Art library. The Library at the then Chelsea School of Art was established in the early 1960s. It was unusual, ‘being predominantly a fine art (painting and sculpture) institution, with lesser responsibilities in design.’ Most ‘off the peg’ classification schemes do not incorporate enough flexibility for the detail required by such a specific collection, but do include large sections devoted to design subjects which were unnecessary at the time. It was decided, therefore, to create a bespoke scheme for the Chelsea collection, and this was adapted several times over the years to fit in with the changing landscape of art history and art education. In January 2005, Chelsea College of Art & Design relocated to a new unified site on Millbank, merging the three very specialised libraries: Manresa Road (Fine Art), Hugon Road (Interior and Spatial Design, Graphics and Illustration) and Lime Grove (Textiles and Public Art). One of the major challenges of this relocation was to bring all the collections together under one classification scheme.
Feminism, art, the library and the politics of memory
Authors: Pollock Griselda
Published: July 2016

Questions posed in this short paper are based on thinking back over 30 years of feminist studies in the visual arts and museums. Does the library work for its culture, or sometimes against the grain of its own culture’s amnesia or even repressions? What are the politics of memory in relation to art library practices in terms of registering the critical reworking of knowledge that is associated with feminist critique of institutions, language, disciplines, practices, social relations? How are we to ensure libraries survive as keepers of cultural memory in the era of profitability? What will be lost under these economic pressures in terms of our ability in the future to understand our histories?
Biennalization? What biennalization? The documentation of biennials and other recurrent exhibitions
Authors: Montero Gustavo Grandal
Published: July 2016

Biennials have been central to the development of contemporary art for decades, but there is a paucity of published material specifically related to this subject. Documentation for these important exhibitions is not always made available and it is often difficult to acquire, posing an obstacle to current and future research across a number of areas within contemporary art, curating and art history. This article offers an overview of major current biennials and of the different sources of information they produce (catalogues, other printed material, online resources, archives), and surveys the secondary literature of the phenomenon. It also discusses specific collection development issues in libraries, from a research perspective, proposing a set of recommendations for best practice.
A licence to scan: the visual resource professional in UK higher education and the digital image copyright dilemma
Authors: Davies Matt
Published: July 2016

Visual resource professionals (VRPs) for years provided high-quality, subject specific, copyright cleared images for teaching and research in higher education in the UK by maintaining slide collections. As the rapid march of technology left the 35mm slide in its wake, VRPs found themselves unable to provide the digital alternative because their hands were bound by outdated copyright law. They began sounding the alarm over ten years ago and have been calling for a resolution ever since, but to no avail. Why have their calls not been heeded? How have VRPs responded to the resulting dilemma, and where does it leave the copyright status of the images used in everyday teaching in the UK?
Basic copyright resources for UK archives and special libraries
Authors: Roberto Rose
Published: July 2016

This article provides practical first steps and basic resources for tracing copyright owners in archives and special libraries, through a compilation of sources, guidance notes and useful practices. It points out online diagnostic tools and suggests how to find copyright holders through different search streams, when those holders are known, and where the institution holding the work in question is based in the UK.
Open access resources for Mexican art
Authors: Barberena Elsa , Aguilar Evelin Garduño
Published: July 2016

Free and unrestricted access to online educational or scholarly material, without subscription or registration requirements, seeks to eliminate traditional financial, legal and technical barriers. Indeed it provides greater accessibility to scholarly materials, substantially increasing the visibility of research. This article introduces the Mexican open access journals that specialize in art and culture, and analyzes their visibility in the databases of Latin American scholarly journals.
Trends in digital cultural heritage in Japan, 1980-2012
Authors: Togiya Norio
Published: July 2016

In Japan, many different organisations have played a part in creating the digital content that we now see being shared on the internet. Starting in the 1980s, developments in digital cultural heritage took place mainly in five kinds of institution: museums, libraries, archives, university and research institutes, plus the world of business. Museums and libraries played a leading role in the 1980s, and they were joined in the 1990s by universities and commercial enterprises, which developed digital content in a variety of ways. In the 2000s archival institutions became involved, and museums, libraries and archives began to form networks to enable seamless retrieval of digital cultural heritage. In the 2010s, the focus moved to the sharing of data and specifically the need to establish a common approach for the exchange of metadata for the ‘Semantic Web’. Creating content for tablet devices also became important, as did the question of standardising technology. The Great East Japan Earthquake of 2011 brought a keen awareness of the need to create digital records to preserve and share memories of disasters.
How to connect: joining up the archives at Musashino Art University Museum & Library
Authors: Honjo Michiyo
Published: July 2016

The Musashino Art University Museum & Library is run in a unique way that has allowed it to function as library and museum in one, ever since its inception. The contents of the digital archives being created at this 50-year-old, multifunctional museum and library are highly diverse, ranging from rare books, held in the library, to design collections, visual resources, and material on folk art, held in the art museum. Together with the University’s Research Center for Art and Design, the Museum & Library is currently creating an integrated database of its holdings, and digitising its archive collections. The aim is to offer multifaceted information networks that can be interrogated simultaneously for all intellectual information relating to specific artists or artworks as well as to the art collection of the museum. The common challenge in creating these digital archives is the systematisation, sharing and visualisation of a multiplicity of research resources.
The Art Library of the National Research Institute for Cultural Properties, Tokyo
Authors: Nakamura Setsuko
Published: July 2016

The National Research Institute for Cultural Properties, Tokyo had its beginnings in the Institute of Art Research, which was the first institution to specialise in research in fine art in Japan. The library at the Institute played a central role from the very start, acquiring and making accessible its large collection of material related to fine art, with an emphasis on books and photographs. In recent years, we have also begun to play a role as an archive and information centre. What were the original aims and objectives behind the establishment of the library, and how have its activities changed? Amidst the many developments in recent years – the role of the internet, now a major information tool, the organisational changes at the Institute itself – it is essential that we continue to do the work for which we have long been recognised in art history research and the preservation and utilisation of cultural properties, and at the same time find ways to collaborate with related institutions.
Contemporary publishing by national museums and art galleries in the UK and its future
Authors: Hughes Sarah Anne
Published: July 2016

Changes in the format, design and content of museum and art gallery exhibition catalogues can be traced to the visibility and popularity of these souvenirs for the block-buster exhibitions of the 1970s. The increased museum revenue from these book sales and the need, perceived by the publishers recruited to museum staff from a trade background, to address the interests of a more diverse audience are identified as the two main instigators of these changes. The resulting exhibition catalogues play down the scholarly apparatus, offer more images particularly to enhance the reader’s contextual understanding and, in some cases, ameliorate the academic register of the writing. The uses made of exhibition books by institutions, their associated sponsors and museum visitors is commented on.
Digitizing artist periodicals: new methodologies from the Digital Humanities for Analysing Artist Networks
Authors: Crombez Thomas
Published: July 2016

The research project Digital Archive of Belgian Neo-Avant-garde Periodicals (DABNAP) aims to digitize and analyse a large number of artists’ periodicals from the period 1950–1990. The artistic renewal in Belgium since the 1950s, sustained by small groups of artists (such as G58 or De Nevelvlek), led to a first generation of post-war artist periodicals. Such titles proved decisive for the formation of the Belgian neo-avant-garde in literature and the visual arts. During the sixties and the seventies, happening and socially-engaged art took over and gave a new orientation to artist periodicals. In this article, I wish to highlight the challenges and difficulties of this project, for example, in dealing with non-standard formats, types of paper, typography, and non-paper inserts. A fully searchable archive of neo-avant-garde periodicals allows researchers to analyse in much more detail than before how influences from foreign literature and arts took root in the Belgian context.
Otto Kurz (1908-1975)
Authors: Kauffmann C. M.
Published: July 2016

Otto Kurz was justly renowned on three accounts, as a scholar, a librarian and a human being. His publications and lectures ranged from ancient and medieval Near Eastern art and culture to Italian baroque painting; he built up the internationally renowned library of the Warburg Institute after the war and, as a human being, he was a role model to those who knew him, devotedly dedicated to his family in difficult circumstances and generously helpful to all.
Ulrich Middeldorf prior to emigration: ThePhotothekof the Kunsthistorisches Institut in Florenz (1928-1935)
Authors: Dercks Ute
Published: July 2016

When Ulrich Middeldorf departed Florence in November 1935 to teach art history at the University of Chicago, he left behind at the Kunsthistorisches Institut in Florenz the ‘Photo collection – the special pride of our Institute’ in the structure that has characterised it up to the present day. Middeldorf was 25 when he first came to the Institute as a scholar. In the following years he turned thePhotothekinto a modern research instrument, re-organising its classification system and its card indexes as the main finding aid. His contribution to the growth of the collection was enormous, not only thanks to his own donations, but also through the relationship he fostered with the main patron of the collection, Luigi Vittorio Fossati Bellani.
Artifact – a subject guide for the arts and creative industries
Authors: Allinson Julie
Published: July 2016

Artifact, which was officially launched in November 2003, is the arts and creative industries hub of the UK’s Resource Discovery Network. Variously described as a gateway, a hub and a subject guide, Artifact offers an alternative to commercial search engines, principally for those studying, teaching or researching arts, communications and other creative subjects within UK further and higher education, but also freely available to anyone seeking quality-assured resources online. With the support of a wide spectrum of professionals from both the educational and commercial arts sectors, Artifact is now developing into a comprehensive service that can help fulfil a wide array of information needs for potential customers from many spheres.
The Bibliothèque des Arts décoratifs in Paris, 1864-1904-2004
Authors: Krikorian Béatrice , Sartre Josiane
Published: July 2016

The Bibliothèque des Arts décoratifs, founded in 1864, has been available to students, researchers and professionals from the art world as a place of reference which does not charge ever since it moved to the rue de Rivoli in 1904. Its bibliographic database of 100,000 records can be consulted on-site or over the internet. But perhaps its most distinctive feature is the extensive Maciet iconographic collection, whose loose-leaf albums cover the walls of the reading room and contain over a million images classified by subject; this is currently being digitised.
In edition: artists’ multiples in an academic collection
Authors: Kaplish Lalita , Lawes Elizabeth
Published: July 2016

The artist’s multiple is difficult to define, but could be described as an original artwork produced in an edition of two or more. At Chelsea College of Art and Design, the artists’ multiples collection was developed to give students first-hand experience of original work by artists, something that is rarely included in the special collections of art libraries. This article examines the history and development of this unique collection of objects, and how it has enabled the library to play an active part in the life and work of the academic community it serves.
Making connections, creating dialogues: artists’ books at Rhode Island School of Design
Authors: Chong Laurie Whitehill
Published: July 2016

Artists’ books have been collected at the Fleet Library at Rhode Island School of Design for over 40 years. They include early multiples, conceptual books, fine press books, livres d’artistes, unique books, limited edition handmade books, books as sculptural objects, artists’ archives and ephemera. With between three and eight classes and individual appointments each week, artists’ books have become important teaching tools, fostering creativity among students, faculty and outside researchers. How do they speak to the creative process on so many levels? What is it that makes these resources so compelling?
Visual arts provision in public libraries: threats and opportunities
Authors: Duffy Amanda
Published: July 2016

Local government re-organisation, educational changes and increasing costs of materials are just some of the external threats faced by UK public libraries. Internally the threats come chiefly from the need for financial savings, but they can come from our own unwillingness to make change. However it is an exciting time, with new initiatives coming from government particularly in the areas of educational development and information technology, and opportunities for greater cohesion in planning and management. All these provide challenges for librarians in the visual arts.
Integrating access to distributed images: the Electronic Library Image Service for Europe (ELISE) project
Authors: Dodds Douglas
Published: July 2016

The Victoria and Albert Museum in London is a partner in the Electronic Library Image Service for Europe (ELISE) project, which is part-funded by the European Community. ELISE I began in 1993 and was completed in 1995. The V&A’s National Art Library is particularly involved in the second phase of the project, ELISE II, which began in 1996 and is due to finish in 1999. This paper explains the background to ELISE and considers the implications for the V&A and the wider art and design community.
Aquarelle: a resource discovery system for the European cultural heritage
Authors: Stapleton Mike
Published: July 2016

Aquarelle is a flagship project developing the Information Network on Cultural Heritage, funded under the European Commission’s Telematics Applications Programme. It has created a distributed multimedia information system, offering access to interrelated multimedia reference documents and primary data that describe the cultural heritage of Europe. It aims to create the technology to enable a service which would provide uniform access to the varied collections of data held by museums, art galleries and other cultural organisations throughout Europe.
The little collection that could: building an online index to historical photos
Authors: Millar Ruth
Published: July 2016

Sweeping technological changes took place a decade ago in the Local History Room of the Saskatoon Public Library that now allow customized online searches of its photograph collection of 50,000 images. The Room was established in 1966 to collect and preserve materials relating to the history of the Saskatoon area. The Saskatoon Public Library’s photo indexing project began in 1987 and recent forays into digitization and the Internet have heightened access to the collection. Staff now receive enquiries from around the world.
Shape-shifting and other points of convergence: Inuit art and digital technologies
Authors: Flynn-Burhoe Maureen
Published: July 2016

Western thinking, which is predominantly linear and analytical, does not adequately give access to the complexities of Inuit visual culture. However hypertext offers new possibilities for information management, and the aboriginal communities are using it creatively to share information, as for example in the Internet record of the development of Canada’s newest territory, Nunavut. This article examines how and why interactive multimedia were the means chosen to develop a master’s thesis on the Inuit artist Jessie Oonark.
Libraries, museums and archives collaboration in the United Kingdom and Europe
Authors: Owen Tim , Johnson Rosalind
Published: July 2016

Partnership is the watchword throughout Europe currently and libraries, museums and archives, with their wide areas of common interest, are well placed for collaborative working. In particular, technology is opening up the possibility of ever closer collaboration in the creation of a wealth of resources in digital form. While the United Kingdom plans to use digitisation, allied to changed administrative arrangements at national level, to integrate its museum, library and archive activities, the developments in collaboration in these areas in Europe also repay scrutiny.
Museum Libraries in France: Their Wealth and Their Influence
Authors: Picot Nicole
Published: July 2016

The following words preface Francoise Cachin’s introduction to Marie-Thérèse Cavignac’s Les bibliothèques des musées en Aquitaine:

Richness and diversity! Reading this volume demonstrates how wide and varied is the subject matter of the museum libraries in the Aquitaine region, whether it be the library in the Bonnat Museum in Bayonne or in the national museum at the Château de Pau, those in museums specialising in the history of Aquitaine, the Pays Basque or the Périgord, or those in museums dealing with prehistory or contemporary art or seaplanes, the customs service or folk art.

This description is just as valid for the rest of France. Considerable effort has been put into the modernisation of French museums during the last twenty years or so and their libraries have benefited from this renewal as well. I would like in this paper to describe some of the strengths of libraries and documentation centres in museums of art, and to try and define their role within their institutions and within the network of French art libraries.
Open to all museum visitors: the Uris Library in the Metropolitan Museum of Art
Authors: Roth Emily
Published: July 2016

The Uris Library and Teacher Resource Center is the only library in the Metropolitan Museum of Art open to all Museum visitors. Its 6,000 books, 900 videos and growing numbers of CD-ROMs and electronic resources serve ever increasing numbers of the Museum’s public. Students and teachers, Museum members, Museum educators and volunteers, as well as general Museum visitors all use the Library.
Training and the National Art Library
Authors: Meriton John
Published: July 2016

The National Art Library at the Victoria & Albert Museum in London has always seen itself as primarily an educational institution, with training as an integral part of its fabric. There are two fundamental strands to this training the provision of training by our librarians to the users, and the training the staff receive in order to develop and better perform their jobs.
Creating guidelines for disaster planning
Authors: Vriend Anita
Published: July 2016

Because art institutions in The Netherlands all too often do not include library collections in their emergency response programs, ARLIS/NL decided to prepare guidelines for disaster planning in art libraries. These guidelines, now on the website of ARLIS/NL, serve as a tool in the process of disaster planning and can be customised to the individual situation of each library. This article describes the setting up of the project and its results.
Love’s labours … creation of a union list of art, architecture and design serials
Authors: Stead Miranda
Published: July 2016

The Union list of art, architecture and design serials, an online database of periodicals on fine and applied arts, film and television held by academic, public, national and special libraries throughout the UK and Ireland, has been some ten years in the making and work is still progressing. In autumn 2000 funding was obtained to allow for greater progress on this critical research tool, extending the coverage of participating libraries and enhancing the bibliographical records. However the work of increasing the level of participation in the Union list has largely been taken forward by direct approaches to individual institutions and by July 2002 there will be over 60 participating libraries as well as fuller bibliographic citations.
Taking up the digital challenge: image digitisation projects at the Bibliothèque nationale de France1
Authors: Thompson Marie Claude
Published: July 2016

More than 20 million images are to be found at the Bibliothèque nationale de France (BnF), in the form of book and periodical illustrations, manuscript illuminations, maps and plans, prints, drawings and photographs. The editorial context of these images means they are to be found in all fourteen collections departments of the library. However, it is the department of Prints and Photographs that, thanks to legal deposit for published images instituted in the 17th century, possesses one of the richest iconographic collections in the world: prints, posters, drawings, photographs, postcards, etc. These images have to be consulted in the reading rooms of the library’s different collection departments, which are at five different sites (François-Mitterrand (Tolbiac), Richelieu, Arsenal, Opéra, Avignon - Maison Jean Vilar). The introduction of digitisation should bring many changes to this traditional means of research, although we are still only at the beginning, with a programme that started little more than ten years ago.
Pitching pictures: the Prints & Photographs Online Catalog at the Library of Congress1
Authors: Zinkham Helena
Published: July 2016

This article is a sales pitch for pictures, even though art librarians already value visual materials highly. A decade’s advances in online access at a major documentary picture provider, the Library of Congress’ Prints and Photographs Division, should encourage librarians to visit the online United States national library often, and also to offer more of their own collections through the World Wide Web. Despite the beneficial digital image navigation features introduced into the Prints & Photographs Online Catalog (PPOC), many improvements are still needed and there is a long list of desirable future developments. Reference librarians, catalogers, curators, digital conversion specialists and web designers are all invited to contribute to online reference aids as well as online catalogs, to help people succeed more often in finding pictures.
The academic art library: some management problems
Authors: Varley Gillian
Published: July 2016

Art libraries differ from other academic libraries in their stock provision and in the way they are used. The disadvantages of multi-site libraries are outweighed by the difficulties of fitting the art library into a large central library, and by the advantages to the user of co-ordinated decentralisation. The implications for art libraries of centralised cataloguing systems require careful consideration; other problems include staff structures, the use (and abuse) of quantification, and the degree and type of user education. (Text of a paper presented to the course for senior art librarians on ‘Managing the Arts’, organised by ARLIS and the Polytechnic of North London in December).
History of design: a problem of source material
Authors: Jeremiah David , Conway Hazel , Wilkins Bridget
Published: July 2016

History of Design is a very new discipline and there are many problems associated with defining the boundaries of the subject and developing the appropriate methodologies for research and teaching purposes. One of the major problems facing historians of design, and students, is the location and availability of source material, and it is in order to help librarians help those faced with this problem that this composite article has been written. The contributors are all members of the recently formed Design History Research Group.
Some tasks for design history
Authors: Archer Bruce
Published: July 2016

Due not least to its inter-disciplinary breadth of scope, design history has not developed an adequate methodology for identifying (or cataloguing) artefacts or for placing them in their context (classification). Yet design history is essential to design scholarship and to design itself because these are its tasks. (A paper presented to the ARLIS Annual General Meeting on April 1st, from A Framework for Design Scholarship by Bruce Archer, to be published in 1978).
Marketing the Art Library
Authors: French Sonia
Published: July 2016

In an era of economic stringency it is necessary to ‘sell’ the art library, in order to win support as an investment for survival. To do this a new style of reference librarianship has been implemented in the Fine Arts Department of Birmingham Public Libraries, including the provision of services to branch libraries and to art teachers; the creation of publications, exhibitions, and the Art Pack; and the involvement of staff in appropriate committees. (The text of a paper presented to the course on ‘Managing the Arts’ organised by ARLIS and the Polytechnic of North London in December, 1976).
The Marketing and Distribution of Home-Produced Meat and Livestock
Authors: Shaw T. J.
Published: July 2016

The annual output of home-produced meat in Great Britain before the war was some twenty-four million hundredweights, derived from an annual slaughter of roughly seventeen and a half million animals. The sale of these animals represented a return to the agricultural industry of approximately ninety-five million pounds sterling annually.
The Genetical Approach to Problems of Productivity in the Fowl
Authors: Greenwood A. W.
Published: July 2016

It is only possible in the time available to treat the background to problems of production along the broadest possible lines. The subject is one well worth detailed attention, but it is questionable if sufficient knowledge is extant to fill in the wide gaps in the story of the evolution of our highly productive modern breeds from their ancestral types—the jungle fowl.

The history of domestication of the fowl covers a very extended period of time, and in it three main lines of development may be traced. The first of these is the use of the male fowl as a fighting cock. From the earliest times up to the present it has been used for this purpose and cock-fighting has been the incentive to selective breeding. In this case the skill of the breeder has been put to the severest of tests—the elimination in battle of those individuals lacking the necessary qualities to survive.
Care of Bulls at A.I. Centres
Authors: Rowson L. S.
Published: July 2016

This paper is an attempt to throw a little light on what is probably the most neglected, and yet most important aspect of Artificial Insemination, namely, the management of the bulls used for this purpose.

Evidence is becoming apparent that a number of bulls used for A.I. have been discarded or compulsorily rested because they refused service. As the number of Centres increases so will the number of bulls which fall into this category, and the problem is likely to be the greatest that A.I. has to face in the future.

It is rapidly becoming obvious that this failure of sex drive is not, as generally thought, primarily nutritional, but is in a large degree due to the lack of knowledge of the psychological process involved in the sexual act, and the consequent ill-handling of the animals during service. The knowledge available on the mental processes which take place is inconclusive and complicated, and involves androgenic and oestrogenic factors and their relationship with these processes.
Inbreeding and Livestock Improvement in the U.S.A.
Authors: White R. G.
Published: July 2016

Prof. R. G. White prefaced his paper by referring to a letter which had been circulated among the members from Dr. Hugh C. McPhee of the United States Department of Agriculture at Washington. It had been hoped by the Executive Committee that some member of that Department might be in this country at the present time and be able to give an authoritative account of breeding in the United States but unfortunately this proved to be not possible. He would therefore try to lead up to some points brought out in Dr. McPhee's letter and give a short description of some centres at which research was being conducted. Before turning to those parts of the letter which he thought might form the basis of the greater part of their discussion he would venture to offer a few introductory remarks which he hoped would make it easier to appreciate the points brought out by Dr. McPhee.
Hill Land Improvement and its Relation To Increased Animal Production
Authors: Griffith Moses
Published: July 2016

This paper in the main deals with the work carried out on the lands of the Cahn Hill Improvement Scheme and also with work carried out by W.A.E.C.s’ and on individual farms in Wales.

This work was started by Sir George Stapledon and his colleagues at the Welsh Plant Breeding Station. Mr. Stapledon, as he then was, made a survey of the hinterland of North Cardigan soon after taking up the post of Adviser in Agricultural Botany at Aberystwyth and conceived the idea that there was great scope for improvement on these lands. When he was appointed Director of the W.P.B.S. he and some of his colleagues started small-scale trials at Llety and Bwlch-rosser and afterwards on Captain Bennett Evans’ farms.
The Breeds of Cattle of Devon and Cornwall with Special Reference to Environment
Authors: Currie J. R.
Published: July 2016

In a paper of this kind it would be very easy to be over ambitious and therefore be tempted to go too far in an effort to establish relationships between the physical and the other factors which have influenced the livestock policy of this region. Apart from the complexities of these relationships which make it difficult to determine their influence, there is generally a large gap in our knowledge of the physical data relating to livestock farming. For example it is only fairly recently that we have come to realise the subtle influence that certain “trace elements” have on the health of ruminant livestock, and also the marked differences that exist in the feeding value of grass of varied species according to the type of farming practised.
Raising Beef Cattle on the Welsh Hills
Authors: Bennett Evans G. L.
Published: July 2016

I am not setting up to be an expert on the raising of store cattle in general and I propose now to tell you something of my own experiences from the Hill Farmers', angle and to air my favourite theory that a tremendous increase in beef production (as well as in other commodities) could come from the upland grazings of this island.

The question I asked myself ,right away, back in 1930, was would cattle live on the hills during the winter? All that I ever saw on the hills were just the local small.herds in summer on the rough grazings on what we call in Wales, Ffridd land, in Scotland, and North of England, Inbye land; enclosed by a fence or a stone wall, near the homestead.
The Feeding Value of Grass and Grassland Products
Authors: Holmes William
Published: July 2016

The increasing cost and scarcity of imported feeding-stuffs and the consequent increased importance of self-sufficiency has directed more and more attention to grassland in the past ten years, and with the spread of ley-farming across the borders of Scotland and Wales there has been a great increase in the acreage of temporary leys in England. But it is a commonly expressed opinion that our knowledge of how to produce grass has not been matched by knowledge of how to feed it. I think that this is an exaggerated and unduly pessimistic view. While there is undoubtedly much still to be learned about the feeding value of grass and many workers are at present studying it, I think that we have already a great fund of knowledge, and what's more that most of it has been available for the last 10-20 years at least. There is neither the time nor, in view of the reviews by Watson (1939, 1948, 1950), the need for a comprehensive review of the literature, and today I intend to give merely a brief historical review followed by a general statement of current knowledge and finally some comments on matters of interest in current grassland practice.
Practical Aspects of Litter Testing
Authors: Blount W. P.
Published: July 2016

I am very glad to have this opportunity of discussing litter testing, although I imagine tliat most of you are familiar with the work which we are carrying on at Stoke Mandeville. To recapitulate the set-up as briefly as possible, we receive half-litters of three hogs and one gilt (from litters of not less than eight weaned), aged 65-70 days so that the first test weighing can be carried out at exactly ten weeks of age. Environmental conditions have been arranged so that each team of pigs receives as near standard treatment as possible. Each lot has its own 8 foot x 7 foot wooden pig hut facing south, with a 9 foot x 8 foot enclosed concrete run. The pigs are kept bedded down on a good depth of long straw litter and a Fordham automatic drinking bowl (fitted with a soft spring) is available to each house. Feeding is simplified by means of three-compartment Seaford self-feeders which are kept fully supplied with dry Sow & Weaner Meal (No. 1) until the pigs reach 110-120 lbs. liveweight (17 weeks).
The Sixth International Congress of Animal Husbandry
Authors: Davidson H. R.
Published: July 2016

The Sixth International Congress of Animal Husbandry held in July, 1952, at Copenhagen was valuable from more than one point of view. While the cynical may say that we suffer from too many conferences the fact remains that we have now entered a period where co-operation of one kind or another between European countries will almost certainly increase. This being the case it is as important that we should find the best way to make international conferences more efficient as it is to listen to papers and discussions arranged at them.
Winter Grazing of Cattle in the North-East of Scotland
Authors: Corbett J. L.
Published: July 2016

There is little doubt that the lowest costs of beef or milk production are achieved when the animals are grazed on pastures from which they obtain most or all of their sustenance. On the other hand the most expensive phase of cattle production is the winter period when stock are usually housed and must be hand-fed. The results from numerous investigations firmly support these assertions. In the large mixed farming area of the North-East of Scotland virtually no grazing is normally available from the middle or end of October until the beginning of May when normal grass growth has resumed.
Some Effects of Seasonal Changes in Dairy Herd Management upon Milk Yields
Authors: Burt A. W. A.
Published: July 2016

Seasonal variations in the milk production of a dairy herd are due to the seasonal distribution of calvings, to changes in the potential productivity of the herd due to effects of age, and to seasonal changes in the herd environment.

This is a preliminary report of an attempt to estimate the effect of these seasonal changes in climate, feeding and management upon milk yields during single herd years, by making adjustments for the effects of the calving distribution and changes in potential productivity. Milk records from two Dairy Shorthorn herds were used.
The Efficiency Of Mutton Production In Crossbred Sheep
Authors: J. G. W. Jones
Published: July 2016

This paper is a report on preliminary work carried out at the Rowett Research Institute during the winter of 1951-52, in cooperation with Mr. Gill and Mr. Thomson.

What is known as stratification of the sheep industry in Scotland is the differentiation of enterprise into fairly distinctive types, roughly according to the altitude of the holdings. In the production of mutton, four main types of enterprise are concerned:—

(1) breeding of hill ewes for replacement of hill stocks

(2) breeding of first-cross ewes

(3) breeding of second-cross lambs

(4) fattening of second-cross lambs.
Some Aspects Of The Nutrition Of The In-Lamb Ewe
Authors: Gill J. C. , Thomson W.
Published: July 2016

The importance of feeding the ewe well during pregnancy and lactation has long been realized, but differences of opinion exist as to what stage food, in addition to natural grazing, should be given. If, for example, a farmer had a limited supply of supplementary food, when would it be best to feed it? The answer to this question is dependent on factors such as breed of sheep, the expected lambing percentage, the grazing available and the weather conditions.
The Assessment of Progeny Tests of Dairy Bulls made under Farm Conditions
Authors: McArthur A. T. G.
Published: July 2016

The main object of the artificial insemination service is herd improvement. This is facilitated by the larger selection differential obtained when only a small number of bulls are used. Robertson and Rendel (1954) have shown that artificially bred daughters by bulls used at centres outwith the Milk Marketing Board system did not outyield naturally bred daughters milking in the same herds and these results have been substantiated by data from the Board’s centres. This failure to select bulls better than those used in the average herd has probably been due to the multiple aims of selection necessary to satisfy all those interested in the artificial breeding movement and to the methods which have been used to evaluate bulls. A method has been designed aimed at improving this evaluation.
Bloat Onset in an Intact Dairy Cow Grazing New Zealand Pasture
Authors: Bath D. R.
Published: July 2016

Bloat in ruminants is a digestive disorder arising from an abnormal distension of the rumen with gas, and may prove fatal. It is termed chronic when protracted due to physiological disorders and acute when transitory due to feed factors (Cole et al., 1945). Bloat in grazing ruminants is recognised as acute, although the chronic condition at pasture is known (Lyons, 1928). Acute bloat may result from a frothy admixture of gas and ingesta, or from free gas in the rumen (McIntosh, 1941).

The incidence of bloat is world-wide. It is reported most frequently in association with grazing highjy productive pastures and its unpredictability and rapid onset seriously hamper animal and pasture husbandry.
Starch equivalents, ration standards and milk production
Authors: Blaxter K. L.
Published: July 2016

The methods which we use in this country to calculate the rations for our livestock are based on studies made in Germany during the period 1890-1909, and in America at about the same time. These methods have been amended from time to time as the results of other studies have accrued, but, in the main, their basis lies in a few dozen experiments made by Kellner and Kuhn at Leipzig with steers and a very much smaller number made with milking cows. This basic information, expanded in many respects and certainly extrapolated well beyond its admittedly limited experimental foundation, is collected in two sets of tables in the books dealing with the feeding of livestock. One gives the requirements of different classes of stock in terms of energy values and the other gives the energy value of the common feeding stuffs.
The importance of the dry period in the control of mastitis
Authors: Oliver J. , Dodd F. H. , Neave F. K.
Published: July 2016

The variations in the incidence of mastitis and infection with stage in lactation of dairy cattle have been the subject of a number of investigations (Oliver, 1955) but until recent years the udder health of dry cows has been given little attention. This is surprising, because many cows are dry for almost three months in each year and the dry period is immediately followed by a few weeks when the incidence of mastitis is high (Oliver et al .,1956a).

During the last ten years a study has been made at this Institute of the importance of the dry period to the control of mastitis in dairy cattle. The object of this article is to review the progress made.