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This padlet gives a taster of some of the objects explored in the University of Cambridge Museums Inspire Nature CPD sessions. 

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This padlet gives a taster of some of the objects explored in the University of Cambridge Museums Inspire Nature CPD sessions. 

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Sessions run throughout February 2021 between 4-6pm and cost £5. More info here:

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Sessions run throughout February 2021 between 4-6pm and cost £5. More info here:

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The UCM's ticketing and Membership management portal.

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Mask: Mother Earth Looking at the Universe

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Mask: Mother Earth Looking at the Universe

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Museum of Archaeology and Anthropology

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Fitzwilliam Museum

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The Gust of Wind Pierre- Auguste Renoir (1841- 1919) c. 1872 Oil on Canvas 52 x 82 cms 2403 Renoir was part of a group of artists known as Impressionists. They were interested in recording an impression of a scene, capturing a moment and a sensation rather than how it looked.

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Fitzwilliam Museum

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This activity is based on 'Water Jar' by Ladi Kwali at The Fitzwilliam Museum. It accompanies a Fitzwilliam Museum Look Think Do activity https://www.fitzmuseum.cam.ac.uk/work/water-jar

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Polar Museum

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Hand-coiled stoneware with impressed and incised decoration, green and white slip and a transparent glaze

This water jar was made by potter Ladi Kwali, who was born and raised in the Gwari region of Nigeria. As a child, Kwali's aunt taught her how to make pots in the local, traditional style. Kwali was highly skilled and her pots were very popular. They were collected by the local leader, the Emir of Abuja, where they were seen by British studio potter, Michael Cardew, when he visited Nigeria in 1950. At the behest of the colonial British government, Cardew set up a local Pottery Training Centre in Abuja (the Nigerian capital) and invited Kwali to join him. Her work was subsequently shown in exhibitions around the world and Kwali joined Cardew on demonstration and lecture tours to Europe and North America.

Ladi Kwali is celebrated as one of Nigeria's most successful artists. She was given an honorary doctorate from Ahmadu Bello University, as well as the Nigerian National Merit Award (the highest award for academic achievement) and was made Officer of the Order of the Niger. The Abuja Pottery Training Centre was renamed the Ladi Kwali Pottery Centre in her honour. She also appears on Nigerian currency, on the 20 Naira note!

Michael Cardew taught Kwali to throw on a wheel but mostly she made pots using the local method learnt from her aunt, positioning a pot on a stool or low table and walking around it, coiling the clay and thinning it as she went. Although this piece is called a 'water jar', it was not made to be functional but was intended as an exhibition piece for European collectors. It is covered with animals, which Kwali incised and cross-hatched from imagination, without a sketch or plan.

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Water Jar Ladi Kwali MBE (1925-1984) 1957 Hand-coiled stoneware with impressed and incised decoration, green and white slip and a transparent glaze 33cm high, 35cm wide C.364-2016 This water jar was made by potter Ladi Kwali, who was born and raised in the Gwari region of Nigeria.

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Found in a shipwreck: underwater archaeology

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Lippold: Griechische Plastik, 131 (n.13), pl. 37.3
Beyen, HG & Vollgraff, W: Argos et Sicyone (1947), 41-, pls. V-VI
Robinson, CA: American Journal of Archaeology XLIX (1945), 121-
Mylonas: American Journal of Archaeology XLVIII (1944), 143-
Annual of the British School at Athens XXXVII (1936-7), pls. 26-30
Beyen, HG: La Statue d'Artemision (1930)
Journal of Hellenic Studies XLIX (1929), 141-4

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Museum of Classical Archaeology Databases

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Lippold: Griechische Plastik, 131 (n.13), pl. 37.3 Beyen, HG & Vollgraff, W: Argos et Sicyone (1947), 41-, pls. V-VI Robinson, CA: American Journal of Archaeology XLIX (1945), 121- Mylonas: American Journal of Archaeology XLVIII (1944), 143- Annual of the British School at Athens XXXVII (1936-7), pls.

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Fitzwilliam Museum

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Rocks at Port-Coton, the Lion Rock, Belle-Île, 1886 Claude Monet (1840 - 1926) Oil on canvas 65 x 81 cm PD.27-1998 (Accepted in lieu of Inheritance Tax by H. M. Government and allocated to the Fitzwilliam Museum, 1998) Monet visited the so-called 'wild coast' of Brittany for the first time in the autumn and winter of 1886.

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Choregic Monumuent of Lysikrates, Frieze

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Choregic Monumuent of Lysikrates, Frieze

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Dionysus changing pirates into Dolphins.

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Lippold: Griechische Plastik, 271 (n.10), pl. 94.3
Richter: Sculpture & Sculptors of the Greeks (1950), fig.491
Lawrence: Later Greek Sculpture (1927), appendix, 94
Thallon-Hill: Ancient City of Athens, 105- & 234, chapter XI (n.2) for more publications
Brunn-Bruckmann: Denkmäler Griechischer und Römischer Skulptur, 488
De Cou: American Journal of Archaeology, 1893, p.42, pl. II-III
Camp: The Archaeology of Athens (2001), 147
Harrison & Verrall: Mythology and Monuments of Ancient Athens (1890), 244

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Museum of Classical Archaeology Databases

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Lippold: Griechische Plastik, 271 (n.10), pl. 94.3 Richter: Sculpture & Sculptors of the Greeks (1950), fig.491 Lawrence: Later Greek Sculpture (1927), appendix, 94 Thallon-Hill: Ancient City of Athens, 105- & 234, chapter XI (n.2) for more publications Brunn-Bruckmann: Denkmäler Griechischer und Römischer Skulptur, 488 De Cou: American Journal of Archaeology, 1893, p.42, pl.

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Polar Museum

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Zoology Museum

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Zoology Museum; look, copy, make -Fin Whale

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Think about how the Fin whale moves. Have a go at making your own fins and a tail! Aimed at children with special educational needs and disability but suitable for everyone.

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From Museum of Archaeology and Anthropology. More information: https://collections.maa.cam.ac.uk/objects/440771

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Zoology Museum

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If you've visited the Museum of Zoology, you will have been greeted by the largest specimen in our collection, the magnificent skeleton of a Fin Whale. In this Nature Classroom we will be going on a journey into the oceans to explore the amazing world of whales, and see what their skeletons can tell us about the way they live and have evolved.
These activities support learning in the following areas:

Photo by Todd Cravens on Unsplash

Identify and name a variety of common animals including fish, amphibians, reptiles, birds and mammals

Describe and compare the tructure of a variety of comon animals

Recognise that living things can be grouped in a variety of waysDescribe how living things are classified into broad groups according to common observable characteristics and base on similarities and differences

Identify how animals and plants are adapted to suit their environment in different ways and that adaptation may lead to evolution

What is a Whale?

Is it a bird? Is it a plane? An obvious no to both of these! Perhaps you think we should be asking is it a fish? Is it a tanker? A no to both of these too. Although whales live in the ocean their entire lives, they are not fish. Whales are mammals. As mammals, they are warm blooded, they breathe air, and they feed their young on milk.

Click through the slideshow of watery creatures and see if you can guess which group each animal belongs to.

Whale Scale

Whales are big. The biggest animal ever to have lived is the blue whale, measuring up to a whopping 33m in length. Here we are going to explore just how big that is.

One reason it is possible to be so big is that in water you don't have to cope with gravity in the same way as we do on land - whales are supported along the lengths of their bodies by water. We can see some of the ways that whales are adapted to life in the water in their skeletons.

Whale Bones

At the Museum of Zoology, we have a number of whale skeletons. Even without their flesh, whales are pretty impressive. Go on a short guided tour of the Fin Whale skeleton at the Museum of Zoology and explore the stories it has to tell.

Guided Tour of the Fin Whale Skeleton at the Museum of Zoology
with Learning Officer Dr Roz Wade

Download and print the Fin Whale Model PDF and follow the instructions to create your own skeleton at home using scissors and glue.

View of the skull from underneath showing the baleen plates

Take a closer look at a skeleton and it can tell us a lot about the animal it came from. Let's start with the head of our whale. Just look at the size of its lower jaw bones! We think of the lower jaw being one bone, but it is actually two halved fused together in the middle. The lower jaws bow outwards - imaging taking a scoop of water and how much more you can get in your mouth if you have a big, wide opening like this than a long, narrow one.

Now take a look where the teeth would go - there aren't any! The fin whale belongs to a group called the baleen whales, and instead of teeth they have bristly plates called baleen in their mouths. These are made out of the same stuff as our hair and fingernails. A fin whale feeds by taking a huge mouthful of water, then uses its tongue to squeeze the water out through the baleen plates, the tiny bits of food suspended in the water getting caught on the bristles. The tongue then scrapes off the food to be swallowed.

Ask permission from an adult before trying this activity. Take a large bowl and fill about half way up with water. Now find something like rice crispies that comes in small pieces that float and put some into the water. Can you find any items in your kitchen that can help you filter the rice crispies out of the water?

Find out about other feeding adaptations in mammals in our Nature Classroom on Jaws.

Ribcage and forelimb of the
fin whale skeleton

Now we are going to move back along the whale to the body. You can see that the whale has a huge ribcage. This is an animal with lungs that breathes air. You can find out how the ribs help us to breathe in our Nature Classroom on Skeletons.

The ribs are attached to the backbone. Take a look at the backbone and you can see that the individual pieces (called vertebrae) all have a similar shape. They are all doing a similar job. Check out our Nature Classroom on Skeletons and you can compare the whale backbone to that of other mammals.

Now to the legs. Whales have evolved from animals that lived on land. And when we look at the forelimb, you can see it has the same bones as we do in ours - there is a shoulder blade, then a single bone (the humerus) attached to which are two bones (the radius and ulna). You can even see long fingers on the hands - although they have more bones in each finger than we do. All of this is hidden inside the flipper, but is clear when we have just the skeleton.

Tail of the fin whale skeleton, with a pair of slender bones that are the remains of the hips

But what about the hind limbs? At first glance you may think there is nothing there. Look closer and you can see a couple of splints of bones - these are the remains of the hips. Whales and dolphins have lost their hind limbs, but evolution has left this little piece of evidence behind. You can find out more about mammal arms and legs in our Nature Classroom: Skeletons - Arms and Legs.

Our Fin Whale

We know a lot about the history of our fin whale. It was washed ashore near Pevensey in Sussex in November 1865, and smelled so bad that the local school children wrote a skipping rhyme about it:
I went to Pevensey for to see the whale
But when I got there, I could only see its tail
The tail was long and the smell so strong
It made people sick to stay there long
You can listen out for this in our Ocean Song soundscape createdby Sound Artist Chris Watson and Community Choir Leader Rowena Whitehead inspired by our whale:

You can also hear humpback whales, bearded seals, creaking sea ice and much more. Find out about the soundscape on our Ocean Song blog. Why not have a go at making up your own skipping rhyme inspired by our whale?

(c) University of Cambridge + Julieta Sarmiento Photography

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If you've visited the Museum of Zoology, you will have been greeted by the largest specimen in our collection, the magnificent skeleton of a Fin Whale. In this Nature Classroom we will be going on a journey into the oceans to explore the amazing world of whales, and see what their skeletons can tell us...

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'Water pourer' in Ancient Egypt. What was involved with this role, and what was the significance of water in Ancient Egyptian religious practises more generally?

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The Fitzwilliam Museum Egyptian Coffins Project

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Accession number: E.2.1869

Other markings: None

Wooden coffin set belonging to a man named Pakepu comprising two anthropoid coffins complete with lids and boxes. The coffin set is attributed to Thebes and on stylistic grounds dates to the Late Period (probably the end of the 25th Dynasty). The smaller coffin of the two, known as the inner coffin, nests inside the larger, intermediate one. Both coffins were probably then housed inside a larger, outer 'qersu' coffin.

The coffins are painted and decorated in a colour palette of red, blue, green and two different shades of yellow and bear a range of inscriptions and iconography, many of which are appeals to the gods, especially Osiris, for the provision of food offerings and all good, sweet and delicious things.

The inner coffin interestingly bears a complex layered structure above the wooden carcass made from a combination of fibrous glue, linen and layers of calcite paste, reminiscent of the technique of cartonnage. This association is supported by the presence of a substantial plinth under Pakepu's feet, like those used to attach the footboard in cartonnage coffins.

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Accession number: E.2.1869 Other markings: None Wooden coffin set belonging to a man named Pakepu comprising two anthropoid coffins complete with lids and boxes. The coffin set is attributed to Thebes and on stylistic grounds dates to the Late Period (probably the end of the 25th Dynasty).

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Science and Art: Watercolour of freshwater algae through a microscope

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Science and Art: Watercolour of freshwater algae through a microscope

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https://www.spri.cam.ac.uk/museum/catalogue/article/y2006.1.1/

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Polar Museum

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Whipple Museum of the history of Science - Sunshine Recorder

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Classification of colors

Below is the complete text of the preface to the original second edition of Werner's Nomenclature of Colours and the list of colors that were changed from Werner's original arrangement when Syme adapted it.

A nomenclature of colours, with proper coloured examples of the different tints, as a general standard to refer to in the description of any object, has been long wanted in arts and sciences. It is singular, that a thing so obviously useful, and in the description of objects of natural history and the arts, where colour is an object indispensably necessary, should have been so long overlooked. In describing any object, to specify its colours is always useful; but where colour forms a character, it becomes absolutely necessary. How defective, therefore, must description be when the terms used are ambiguous; and where there is no regular standard to refer to. Description without figure is generally difficult to be comprehended; description and figure are in many instances still defective; but description, figure, and colour combined form the most perfect representation, and are next to seeing the object itself. An object may be described of such a colour by one person, and perhaps mistaken by another for quite a different tint: as we know the names of colours are frequently misapplied; and often one name indiscriminately given to many colours. To remove the present confusion in the names of colours, and establish a standard that may be useful in general science, particularly those branches, viz. Zoology, Botany, Mineralogy, Chemistry, and Morbid Anatomy, is the object of the present attempt.

The author, from his experience and long practice in painting objects which required the most accurate eye to distinguish colours, hopes that he will not be thought altogether unqualified for such an undertaking. He does not pretend indeed that it is his own idea; for, so far as he knows, Werner is entitled to the honour of having suggested it. This great mineralogist, aware of the importance of colours, found it necessary to establish a Nomenclature of his own in his description of minerals, and it is astonishing how correct his eye has been; for the author of the present undertaking went over Werner's suites of colours, being assisted by Professor Jameson, who was so good as arrange specimens of the suites of minerals mentioned by Werner, as examples of his Nomenclature of Colours. He copied the colours of these minerals, and found the component parts of each tint, as mentioned by Werner, uncommonly correct. Werner's suites of colours extend to seventy-nine tints. Though these may answer for the description of most minerals, they would be found defective when applied to general science: the number therefore is extended to one hundred and ten, comprehending the most common colours or tints that appear in nature. These may be called standard colours; and if the terms pale, deep, dark, bright, and dull, be applied to any of the standard colours, suppose crimson, or the same colour tinged lightly with other colours, suppose grey, or black, or brown, and applied in this manner:

If all the standard colours are applied in this manner, or reversed, as grey tinged with crimson, &c. the tints may be multiplied to upwards of thirty thousand, and yet vary very little from the standard colours with which they are combined. The suites of colours are accompanied with examples in, or references to, the Animal, Vegetable, and Mineral Kingdoms, as far as the author has been able to fill them up, annexed to each tint, so as to render the whole as complete as possible. Werner, in his suites of colours, has left out the terms Purple and Orange, and given them under those of Blue and Yellow; but, with deference to Werner's opinion, they certainly are as much entitled to the name of colours as green, grey, brown, or any other composition colour whatever, and in this work Orange and Purple are named, and arranged in distinct places. To accomplish which, it was necessary to change the places of two or three of Werner's colours, and alter the names of a few more; but, to avoid any mistake, the letter W. is placed opposite to all Werner's colours. Those colours in Werner's suites, whose places or names are changed, are also explained, by placing Werner's term opposite to the name given, which was found more appropriate to the component parts of the changed colours. Those who have paid any attention to colours, must be aware that it is very difficult to give colours for every object that appears in nature; the tints are so various, and the shades so gradual, they would extend to many thousands: it would be impossible to give such a number, in any work on colours, without great expence; but those who study the colours given, will, by following Werner's plan, improve their general knowledge of colours; and the eye, by practice, will become so correct, that by examining the component parts of the colour of any object, though differing in shade or tint from any of the colours given in this series, they will see that it partakes of, or passes into, some one of them. It is of great importance to be able to judge of the intermediate shades or tints between colours, and find out their component parts, as it enables us correctly to describe the colour of any object whatever.

Werner's plan for describing the tints, or shades between colours, is as follows: "When one colour approaches slightly to another, it is said to incline towards it; when it stands in the middle between two colours, it is said to be intermediate; when, on the contrary, it evidently approaches very near to one of the colours, it is said to fall, or pass, into it." In this work the metallic colours are left out, because, were they given, they would soon tarnish; and they are in some measure unnecessary, as every person is well acquainted with the colour of gold, silver, brass, copper, &c. Also the play and changeability of colour is left out, as it is impossible to represent them; however, they are well known to be combinations of colours, varying as the object is changed in position, as in the pigeon's neck, peacock's tail, opal, pearl, and other objects of a similar appearance. To gain a thorough knowledge of colours, it is of the utmost consequence to be able to distinguish their component parts. Werner has described the combinations in his suites of colours, which are very correct; these are given, and the same plan followed, in describing those colours which are added in this series. The method of distinguishing colours, their shades, or varieties, is thus described by Werner: "Suppose we have a variety of colour, which we wish to refer to its characteristic colour, and also to the variety under which it should be arranged, we first compare it with the principal colours, to discover to which of them it belongs, which, in this instance, we find to be green. The next step is to discover to which of the varieties of green in the systern it can be referred. If, on comparing it with emerald green, it appears to the eye to be mixed with another colour, we must, on comparison, endeavour to discover what this colour is: if it prove to be greyish white, we immediately refer it to apple green; if, in place of greyish white, it is intermixed with lemon yellow, we must consider it grass green; but if it contains neither greyish white nor lemon yellow, but a considerable portion of black, it forms blackish green. Thus, by mere ocular inspection, any person accustomed to discriminate colours correctly, can ascertain and analyse the different varieties that occur in the Animal, Vegetable, and Mineral Kingdoms. In an undertaking of this kind, the greatest accuracy being absolutely necessary, neither time nor pains have been spared to render it as perfect as possible; and it being also of the first importance, that the colours should neither change nor fade, from long practice and many experiments, the author has ascertained that his method of mixing and laying on colours will ensure their remaining constant, unless they are long exposed to the sun, which affects, in some degree, all material colours; he has therefore arranged Werner's suites of colours, with his own additions, into a book, and in that form presents it to men of science, trusting, that by removing the present ambiguity in the names of colours, this Nomenclature will be found a most useful acquisition to the arts and sciences.

Since the former edition of this Work was published, Professor Jameson, in his "Treatise on the External Characters of Minerals," makes the following observations.

"Many attempts have been made to delineate the different colours that occur in the Mineral Kingdom, with the view of enabling those who do not possess a mineralogical collection, or who may not be familiar with colours, to know the different varieties mentioned in the descriptions of mineralogists. Wiedemann, Estner, Ludwig, and several others, have published tables of this kind; but all of them were deficient, not only in accuracy, but also in durability. Having the good fortune to possess a Colour-Suite of Minerals, made under the eye of Werner, by my late friend H. Meuder of Freyberg, and being desirous of making this collection as generally useful as possible, I mentioned my wish to Mr Syme, painter to the Wernerian and Horticultural Societies, who readily undertook to make a delineation of all the varieties in the collection. This he executed with his usual skill and accuracy; adding, at the same time, to the series several other colours, which he has distinguished by appropriate names, and arranged along with those in the Wernerian System. The whole have been published in a series of tables, in a treatise which ought to be in the hands of every mineralogist, and indeed in the possession of naturalists of every description.

"The older and some of the modern mineralogists, in their descriptions of the species of minerals, use only single varieties of colour. It was Werner who first made the remark, that single varieties are not characteristic, and that it is only by using the whole range or suite of the mineral, that we are enabled to employ this character with advantage. Thus, it is not sufficient to say that epidote is green, that beryl is green, or that topaz is yellow; we must mention every variety of colour which these minerals possess, because each species of mineral is expressed by a particular suite or group of colours.

"Although colours are frequently applied by botanists for distinguishing species of plants, particularly in the class cryptogamia, still they in general hesitate in employing them in the discrimination of plants in the higher divisions of the system. It is alleged that the colours of plants change very readily, particularly when cultivated in our gardens, and that, therefore, so variable a character should not be attended to. It is not denied, that the colours of plants frequently undergo very considerable changes when cultivated in our gardens; but these domesticated plants are no longer the natural unaltered species, and therefore are not objects of the attention of the systematic botanist. It is also known, that plants, even in their natural situations, owing to disease, experience great changes in their colours; but these diseased individuals would surely never be taken by the botanist for characteristic examples of the species. Indeed it is highly probable, that every species of plant, in its natural region, has a determined colour, or suite of colours. Hence colours may be used as a most interesting character, particularly in those systems of botany which are termed Natural.

"This character may also be advantageously used in giving correct ideas of the changes of colour which plants experience by cultivation, or when removed from their natural soil and climate. Interesting coloured maps might be constructed, to shew the general changes in the colour of the vegetable world from the equator towards the poles; and the difference of colours in vegetables in the two hemispheres, and in the Old and New World.

"In the Animal Kingdom, the number of colours is very great. They often form the most striking feature in the external appearance of the species; and hence have been considered by systematics as affording discriminating characters of much value. The agriculturist, engaged in the breeding of animals, often witnesses striking changes in their colours, and these varieties of colour, either alone, or conjoined with other characters, characterize his different breeds. But here, as in botany, a regular systematic Nomenclature of Colour is much wanted.

"The anatomist will find it much to his advantage, to use in his descriptions some regular and fixed standard of colours; and in Morbid Anatomy, in particular, the importance of such an aid will be immediately perceived: Thus, the various changes in the animal system, from the slightest degree of inflammation to complete gangrene, are strikingly marked by the different colours the parts assume. Accurate enumerations of these colours as they occur in single varieties, or in groups, conjoined with descriptions of the changes in form, transparency, lustre, consistency, hardness, structure, and weight, observable in the diseased parts, will convey an accurate conception of the diseased parts to those who have not an opportunity of seeing it. But to effect this, the anatomist and surgeon must agree on some fixed nomenclature, not only of colour, but also of form, transparency, lustre, consistency, hardness, and structure; and a better model cannot be pointed out than that contrived by Werner, for the description and discrimination of minerals.

"Lastly, the chemist will have daily opportunities of experiencing its utility; and the meteorologist, and the hydrographer, by the use of an accurate and standard table of colours, will be enabled, in a much more satisfactory manner than heretofore, to describe the sides and meteors of different countries, and the numerous varieties of colour that occur in the waters of the ocean, of lakes and rivers."

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Classification of colors Below is the complete text of the preface to the original second edition of Werner's Nomenclature of Colours and the list of colors that were changed from Werner's original arrangement when Syme adapted it.

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Polar Museum

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Fitzwilliam Museum

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Petrus Apianus, Astronomicum Caesareum, 1540 This book, Astronomicum Caesareum (the Emperor's Astronomy), was published in 1540. It is written and designed by Peter Apian, a professor in astronomy and mathematics at the University of Ingolstadt.

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Polar Museum

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https://www.fitzmuseum.cam.ac.uk/work/sky-study-shaft-sunlight

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Our trees provide a structure around which the other elements of the Garden have evolved. The current Garden site was acquired to accommodate a wider range of trees, and many of the mature specimens along the Main Walk and around the perimeter of the western half of the Garden date back to the establishment of the Garden in 1846.

Since this time we have continued to add to this valuable collection, not only to enhance the landscape, but also ensure successive planting of younger trees for future generations to enjoy.

Having initially been planted to provide a teaching resource for University students, our diverse tree collection continues to inspire and enthral. It offers great variety in scale, flower, leaf or needle shape, bark colour and texture, and autumn colour. A number of our trees are the finest specimens of their kind in the country and have been awarded champion status in recognition of this.

Click here to find out about our Trees of the Botanic Garden Adult Trail.

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Our trees provide a structure around which the other elements of the Garden have evolved. The current Garden site was acquired to accommodate a wider range of trees, and many of the mature specimens along the Main Walk and around the perimeter of the western half of the Garden date back to the establishment of the Garden in 1846.

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Springtime Claude Monet (1840-1926) 1886 Oil on canvas 64.8 x 80.6 cm PD.2-1953 Springtime was painted by Claude Monet in his garden in Giverney, France, on a beautiful spring day in 1886. It shows his 18 year old step daughter Suzanne Hoschede talking to his son Jean Monet.

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Cambridge City Council tree information, resources & activities

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Cambridge City Council tree information, resources & activities

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The trees on Cambridge's streets, parks and gardens add to its unique character - as well as its biodiversity.

Trees improve the city's climate - they produce oxygen, bind dust particles, and provide shade. This makes a vital contribution to the wellbeing of everybody who lives and works here.

Our Tree Strategy sets out how we manage trees to maximise their benefits. The links below will take you to more information about the city's trees and how you can get involved.

Our short video about trees in Cambridge introduces the work we do to plant and protect trees, and our free trees for babies scheme.

If you want to learn more about the city's trees, take a walk along one of our tree trails. There's one at Cherry Hinton Hall and another at the Accordia site off Brooklands Avenue. They're about 1.5km long and you can use your smartphone to learn about the trees.

Help us manage the city's trees

We want you to be active participants in managing and caring for Cambridge's urban forest. If you think you could help us manage the city's trees, here's what you could do to help:

Tree projects and information

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The trees on Cambridge's streets, parks and gardens add to its unique character - as well as its biodiversity. Trees improve the city's climate - they produce oxygen, bind dust particles, and provide shade. This makes a vital contribution to the wellbeing of everybody who lives and works here.

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Nature Classroom - Page 2 - Museum of Zoology Blog

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Posts about Nature Classroom written by rcw30 and saras9690

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For me a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually.

Claude Monet

In the 1890s, Claude Monet undertook several series of paintings, multiple studies of a single subject viewed under different weather conditions and at different times of day. It was part of his lifelong project to capture in paint the transitory appearance of nature, the shifting perceptions of an environment caused by changes in light, weather, movement. It was an aim that in the 1870s had exposed Monet and his fellow Impressionists to riducule and criticism, but one that by the 1890s had altered the course of French art forever.

In 1891 the owners of a group of poplars near Monet's home in Giverny decided to auction off the fully-grown trees. They had been planted in the first place for commercial rather than aesthetic reasons, and had always been destined to be turned into matchsticks or scaffolding. But the trees had captured Monet's imagination and at the sale he came to an arrangement with their buyer, to ensure that they would not be felled before he had had a chance to paint them at his leisure. Between spring and autumn of 1891 he worked on twenty-three canvases of the poplars, fifteen of which eventually formed a successful exhibition at the gallery of the dealer Paul Durand-Ruel in Paris the following year.

Monet painted all these studies en plein air (out of doors), working them up later in his studio if necessary. The poplars had been planted at regular intervals along the banks of river Epte, and Monet painted many of his studies from aboard a flat-bottomed, partially covered barge, on which he could set up several easels at once. In a work, left, painted in 1874 by his mentor and friend Édouard Manet, we see the young Monet sitting before his easel in his floating studio. This painting is now in the Neue Pinakothek, Munich.

In the superbly preserved Fitzwilliam painting there is no water visible, although the meander of the river is suggested by the 'S' pattern that the poplars describe along its bank. We see them from a very low viewpoint, and the four trees in the foreground soar skywards above us, slim yet towering.

The blue-green tree-tops, appearing as an indistinct blur on the horizon, zig-zag their way rhythmically across and up the canvas, gaining in clarity and size until they reach a crescendo in the top left. One thinks of a sound getting louder: a whisper, becoming a murmur, becoming a whoosh. There seems also to be the sense of a faint breeze rippling the foliage.

In terms of colour, the overwhelming impression is of green and varying shades of blue. But Monet has used reddish brown on the tree trunks and yellow in the foreground, to give depth and texture. The use of colour as a structural element in painting was a hallmark of the Impressionist technique. Monet once advised a young painter:

When you go out to paint, try to forget what objects you have before you - a tree, a house, a field, or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact colour and shape, until it gives your own naïve impression of the scene before you.

In his bold use of colour, and indeed in the subject-matter here, Monet was influenced by Japanese woodblock prints, which had become popular in France in the preceding decades. Left is a work by Utagawa Hiroshige (1797-1858) in the Fitzwilliam. Entitled Numazu ('Twilight'), it shows travellers walking along the tree lined banks of the Kise river in Japan.

In addition to the decorative qualities of Monet's painting, and its fascinating evocation of light, of weather and of nature, the trees themselves have a contemporary symbolic significance. The poplar had been, since the time of the Revolution of 1789, the 'Tree of Liberty' for the French, and, in the wake of the Franco-Prussian war of 1870-1, this symbolism was revived. In Poplars, therefore, Monet, the foremost French painter of his day, is celebrating his nation's independence as much as its landscape.

The artist's studio, with Gimpel Fils, 1950 from whom bought by Captain Sykes

Legal notes

Captain S.W. Sykes, O.B.E., M.C.

Acquisition and important dates

Method of acquisition: Bequeathed

Dates: 1966

Dating

Maker(s)

Place(s) associated

Measurements and weight

At the moment, our system does not display units or type of measurements below. We will rectify this as soon as possible.

Materials used in production

Techniques used in production

Inscription or legend

Text: Claude Monet

Location: Lower right

Type: Signature

Text: James Bourlet label: No. 43305

Location: Verso

Type: Label

Text: "Monet", "Les peupliers", "London", the rest illegible

Location: Attached to frame with wire

Type: Label

Associated department: Paintings, Drawings and Prints

Identification numbers

Audit data

Associated institutions

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For me a landscape hardly exists at all as a landscape, because its appearance is constantly changing; but it lives by virtue of its surroundings, the air and the light which vary continually. Claude Monet In the 1890s, Claude Monet undertook several series of paintings, multiple studies of a single subject viewed under different weather conditions and at different times of day.

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Whipple Museum of the History of Science

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The standard way of representing earthquake motion at the time Professor Sekiya made the model was the seismogram, and it remains so today. A seismogram is a trace of the earthquake motion made by an instrument called a seismograph. The seismogram simplifies earthquake motion by breaking it down into separate parts. This makes measurement and analysis much easier. Sekiya's model, in contrast, reinforces the complex nature of earthquake motion by showing the movement in three dimensions.

Sekiya says little about the purpose he had in mind for the model. The only clue he gives is his remark that: "looking at the model one will observe the complexities and irregularities of the earthquake motion".( 1) This suggests that one purpose for the model is in making the point that earthquake motion is complicated and 3-dimensional.

Sekiya was interested in the vertical part of earthquake motion. The model neatly demonstrates that this type of motion was considerable in a severe earthquake like that of 1887. However, we can also see that vertical motion was much weaker than horizontal motion, as the wire paths cover more area horizontally than vertically.

References

S. Sekiya, 'A model showing the motion of an earth-particle during an earthquake', Journal of the College of Science, Imperial University, Japan, 1 (1887), 359-363, p. 360.
Mark Sprevak Mark Sprevak, 'A Japanese earthquake model', Explore Whipple Collections, Whipple Museum of the History of Science, University of Cambridge, 2006

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The standard way of representing earthquake motion at the time Professor Sekiya made the model was the seismogram, and it remains so today. A seismogram is a trace of the earthquake motion made by an instrument called a seismograph. The seismogram simplifies earthquake motion by breaking it down into separate parts.

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It might not look very exciting but flint gravel has a story to tell of a warm chalky sea that covered a lot of England about 90 million years ago. That's when dinosaur were around although they were not living in this particular sea. Sometimes it filled the holes made by borrowing animals and sometimes, if we're lucky it enclosed the remains of sea creatures meaning it is great place to look for fossils.

Flint gravel is easy to find in back gardens, car parks and driveways and doesn't require any special tools to find the fossils. Look out for natural flint pieces about 2cm in size, any smaller and you are unlikely to find fossils. Well-rounded flint pebbles are not much good either, although sometimes this kind of gravel does have water worn fossils in it, especially belemnites and

Have a look at the video and see what Team Sedgwick found in a local car park and download the information sheet to help with your own fossil identifications.

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It might not look very exciting but flint gravel has a story to tell of a warm chalky sea that covered a lot of England about 90 million years ago. That's when dinosaur were around although they were not living in this particular sea.

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A long list... some examples discussed in the website at the link below, including:
- Antimony black (stibnite)
- Azurite
- Chalk and gypsum
- Cinnabar
- Copper sulphates
- Earths and Ochres
- Malachite
- Minium
- Orpiment
- Realgar and Pararealgar
- Lapis lazuli (lazurite)

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Naturally occurring pigments such as red, yellow and brown earths have been used as colorants since prehistoric times. Before the Industrial Revolution, the range of coloured materials available for art and decorative uses was relatively limited. Most of them were earth and mineral pigments (inorganic), or pigments of biological origin (organic), but synthetic, man-made pigments were available as well.

Precious metals were also used, both in powdered form and as very thin sheets ('leaves'), to enrich the decoration of manuscripts.

In order to produce a fluid medium which can be used to paint, pigments have to be mixed with an appropriate organic 'binder', the film-forming component of paint. Medieval and Renaissance illuminators used natural gums obtained from plants, glues made from animal sources, and eggs - most commonly egg white (glair), but also egg yolk - as binders.

Explore the different materials used by illuminators by clicking on the images to the right.

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Naturally occurring pigments such as red, yellow and brown earths have been used as colorants since prehistoric times. Before the Industrial Revolution, the range of coloured materials available for art and decorative uses was relatively limited. Most of them were earth and mineral pigments (inorganic), or pigments of biological origin (organic), but synthetic, man-made pigments were available as well.

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Museum of Archaeology and Anthropology

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Kettle’s Yard for Schools: An Interactive Introduction

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Museum of Archaeology and Anthropology

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Whipple Museum of the History of Science

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Join artist Kaitlin Ferguson in a series of activities based on telescopes and exploration.

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1. Home

2. Objects and Artworks

3. Object

4. 1106

Object information

Titles

This and no. 1107 come from the predella of a signed altarpiece

Church of Sta. Lucia dei Magnoli, Florence; Joseph Fuller of Chelsea, perhaps bought in Florence with other Italian pictures, 1815, (?) by Professor Fuller's Father

Named entities

Legal notes

Professor Frederick Fuller (1819-1909), received in 1923

Acquisition and important dates

Method of acquisition: Bequeathed

Dates: 1923

Dating

Maker(s)

Agents depicted

Subjects depicted

Materials used in production

Components of the work

Support composed of panel (wood)

Frame measuring: Depth by cm by 7.2 by Height by cm by 31.9 by Width by cm by 58.5

Panel measuring: Height by cm by 27.3 by Width by cm by 54.0

Techniques used in production

Associated department: Paintings, Drawings and Prints

References and bibliographic entries

Identification numbers

Audit data

Created: Saturday 6 August 2011

Updated: Thursday 22 October 2020

Last processed: Friday 23 October 2020

Data source: Adlib

Associated institutions

How to cite this record

This record can be cited in the Havard Bibliographic style using the text below:

The Fitzwilliam Museum (2020) "Painting" Web page available at: https://collection.beta.fitz.ms/id/object/265 Accessed: 2020-10-31 10:58:55

To cite this record on Wikipedia you can use this code snippet:

{{cite web|url=https://collection.beta.fitz.ms/id/object/265|title=Painting|author=The Fitzwilliam Museum|accessdate=2020-10-31 10:58:55|publisher=The University of Cambridge}}

Machine readable data

More objects and works of art you might like

Holding department: Paintings, Drawings and Prints
Accession Number: 4156

Holding department: Paintings, Drawings and Prints
Accession Number: 2729

Holding department: Paintings, Drawings and Prints
Accession Number: PD.32-1984

Contact us

The Fitzwilliam Museum,
Trumpington Street,
Cambridge
CB2 1RB
Tel: +44 (0)1223 332900
What3Words: lofts.puzzle.given

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Home Objects and Artworks Object 1106 Titles This and no. 1107 come from the predella of a signed altarpiece Church of Sta. Lucia dei Magnoli, Florence; Joseph Fuller of Chelsea, perhaps bought in Florence with other Italian pictures, 1815, (?)

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We heard how dangerous it could get outdoors with all of the traffic-crossings, pollen, UV rays and so on, and so we decided to stay inside and paint our walls with a live stream of the outside world...

Introduction

For those less familiar with such witchcraft, this phenomenon is known as 'camera obscura'...

First decoded by none other than legendary Arabic scientist, Alhazen, the surreal projections of light through a pinhole have been observed across a myriad of generations, eras and cultures.

Using no more than materials essentially considered rubbish, is it astounding to realise this simple manipulation of light we currently bask in is what eventually lead to development of the device currently reshaping the landscape of art: The camera.

For the cowardly like-minded, here is how you can experience your perilous surroundings from the darkness of your comfortable room.

Materials

You will need:

How To

First, lock your doors, kill the lights and block the windows with cardboard as though you are expecting visitors.

Next, using your sharp implements of cutting (I.E. scissors, knife or claws in our case), gouge a hole somewhere in the dead off-center of your cardboard curtain.

And that's it! The sunlight entering through the aperture in your cardboard will now project an inverted image of the treacherous outdoor realm onto your dark walls, floors and ceiling.

CLAWnclusion

Just as your pupil currently projects an inverted image of your dirty computer screen (or LCD if you happen to be part of the smartphone revolution) onto your retina while you read this questionable tutorial, we roll up the catnip and lazily lounge like domestic felines in the achievement of converting our room into a giant eyeball. If we had 35ft film (rather than 35mm) upon the wall, we would perhaps be inside one of the biggest pinhole cameras ever...

In the 15 - 20 minute it takes for our eyes to adjust to the darkness, they become 1 million times more sensitive and we can observe the progression of outside life with nearly as much clarity as a television. Trees blowing the wind, pedestrians crossing roads, cars navigating traffic lights and clouds drifting quietly by.

And if you're really ambitious, you can set up a camera and capture a time-lapse of all of these happenings for future reference:
About the author: Destruction of Cats are an unstoppable feline force of photographers, filmmakers, musicians & writers making art in your alleyways. This article was originally published here.

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How To Convert Your Room Into a Giant Camera Obscura

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We heard how dangerous it could get outdoors with all of the traffic-crossings, pollen, UV rays and so on, and so we decided to stay inside and paint our walls with a live stream of the outside world... For those less familiar with such witchcraft, this phenomenon is known as 'camera obscura'...

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Fitzwilliam Museum

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1. Home

2. Objects and Artworks

3. Object

4. PD.11-1997

Alternative views

Object information

Titles

James MacKinnon, from whom purchased

Named entities

Acquisition and important dates

Method of acquisition: Bought

Dates: 1997

Dating

Lemmonier travelled to Italy in 1772 as a recipient of the Prix de Rome. Like many of his contemporaries, he was attracted to the dramatic sight of Vesuvius in eruption, and visited Naples and Vesuvius in 1779. This sketch, evidently painted on the spot, is remarkable for being painted so near the volcano that particles of ash are incorparated into the pigment.

Maker(s)

Note

Lemmonier travelled to Italy in 1772 as a recipient of the Prix de Rome. Like many of his contemporaries, he was attracted to the dramatic sight of Vesuvius in eruption, and visited Naples and Vesuvius in 1779. This sketch, evidently painted on the spot, is remarkable for being painted so near the volcano that particles of ash are incorparated into the pigment.

Measurements and weight

At the moment, this record does not display units or type of measurements. We will rectify this as soon as possible.

Subjects depicted

Materials used in production

Components of the work

Support composed of paper

Techniques used in production

Inscription or legends present

Text: 'D'après nature en 1779'

Location: Verso

Type: Inscription

Associated department: Paintings, Drawings and Prints

Identification numbers

Accession number: PD.11-1997

Primary reference Number: 2757

Stable URI

Audit data

Created: Saturday 6 August 2011

Updated: Friday 21 August 2020

Last processed: Wednesday 21 October 2020

Data source: Adlib

Associated institutions

How to cite this record

This record can be cited in the Havard Bibliographic style using the text below:

The Fitzwilliam Museum (2020) "Painting" Web page available at: https://collection.beta.fitz.ms/id/object/2757 Accessed: 2020-10-30 02:28:26

To cite this record on Wikipedia you can use this code snippet:

{{cite web|url=https://collection.beta.fitz.ms/id/object/2757|title=Painting|author=The Fitzwilliam Museum|accessdate=2020-10-30 02:28:26|publisher=The University of Cambridge}}

Machine readable data

More objects and works of art you might like

Holding department: Paintings, Drawings and Prints
Accession Number: 4156

Holding department: Paintings, Drawings and Prints
Accession Number: 2729

Holding department: Paintings, Drawings and Prints
Accession Number: PD.32-1984

Contact us

The Fitzwilliam Museum,
Trumpington Street,
Cambridge
CB2 1RB
Tel: +44 (0)1223 332900
What3Words: lofts.puzzle.given

Useful links

About the University

License

© 2020 The University of Cambridge

Top

# data[].attributes.attachment_link.description
Home Objects and Artworks Object PD.11-1997 Titles James MacKinnon, from whom purchased Named entities Acquisition and important dates Method of acquisition: Bought Dates: 1997 Dating Lemmonier travelled to Italy in 1772 as a recipient of the Prix de Rome.

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Polar Museum

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Whipple Museum of the History of Science

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From antiquity to the present day, people have used globes to model the world around them. Globes serve many different functions, from practical tools to representations of power, and have been produced for a variety of audiences, including as children's teaching objects, sailors' navigation aids and gentlemen's status symbols. Many of the globes held in the Whipple Museum's collection were used for teaching, including the dissectable paper globe kits designed by Edward Mogg to liven up children's geography lessons. The Globes section of the Explore website received special funding support from the Designation Challenge Fund (Audience Development Grant), the Ann D Foundation and Dr Anita McConnell. We are very grateful for this support.

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From antiquity to the present day, people have used globes to model the world around them. Globes serve many different functions, from practical tools to representations of power, and have been produced for a variety of audiences, including as children's teaching objects, sailors' navigation aids and gentlemen's status symbols.

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We have had lots of interest in these sessions so are planning to run them again. Join our schools mailing list by following the link below to find out more. 

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We have had lots of interest in these sessions so are planning to run them again. Join our schools mailing list by following the link below to find out more. 

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To sign up to receive emails you must be aged 16 or over. We are committed to protecting your personal information and being transparent about what information we hold. Your data is used by us for supporter relations, events and for fundraising. We are a department of the University of Cambridge.