HISTORY
The idea of \u200b\u200ba university museum in a historical-born doctor with the reforms of Teresa Josephine. In the second half of the eighteenth century the reformist climate of the Enlightenment also involves the University of Pavia, then hang up almost forgotten empire. The Empress Maria Theresa of Austria and his successor, Joseph II, enlightened monarchs, will deal with rebirth and revival of the ancient University of reforms promoting an educational, scientific, and a building renewal. After several attempts, they will be approved by the Magistrate of General Studies Teaching Plan the 1771 Scientific and Plan of 1773 that they intended to regulate the access of students to faculty, the call of the professors, the best, for fame and scientific value, and were aimed at eliminating unnecessary teachings in favor of a modern education, d ' experimental imprint. Were built for this purpose, the new facilities of the library, the anatomical theater, the Museum of Natural History, the chemistry lab and the different cabinets for teaching, the botanical garden, the cabinet of experimental physics and anatomy. The current construction of the museum, however, which occupies what was once the seat of the Faculty of Medicine, headed next to the old Anatomy Theatre Antonio Scarpa, dates back to the thirties. The Museum was in fact created in 1932 to accommodate the material on display in the exhibition staged at the Palazzo Botta memorabilia to mark the first centenary of Scarpa, founder of the anatomy school of Pavia. The exhibition, organized by Antonio Pensa, president of the Fourth Congress of the Italian Society of Anatomy and Professor of Human Anatomy, achieved great success with the public and studied by medical science and natural history. The exhibits included the opportunity for autographs, printed works, anatomical preparations of the same Scarpa and other anatomical Rezia and Panizza, preserved in the Anatomical Museum. The Cabinet of Anatomy, created and enriched by Scarpa and his successors, was the site of the Institute of Anatomy for nearly a century, until it moved to Palazzo Botta in 1902 and the premises of the cabinet became the Institute of Pathology. After exposure of 1932, the Institute of Pathology moved into their new headquarters in Via Forlanini and local university was just released in the building housing the anatomical material, the first center of the existing museum collections. In that year, also flocked to the fledgling museum numerous historical objects that were returned after the exhibition at the University of Science History in Florence, including several instruments Cabinet of Physics A. Volta, and preparations relating to vascular disease and osteo-articular kept in the former Port Museum, located on the premises of the old Hospital Surgical Clinic S. Matthew until the transfer of the latter in the new home to the hospital. The current museum was then officially opened in 1936 and was expanded over the years due to objects from academic institutions, museums, background, or donated by individuals, must be remembered, among other things, the donations made by the heirs of the Golgi appartenutigli objects, manuscripts, notes for lectures, academic Italian and foreign decorations, ordered his correspondence by his pupil and above attestation Veratti assigned to the original Nobel Prize in 1906. During the war the museum was closed and its contents transferred to a safe place, while the immediate postwar period, thanks to the Rector's radiant, the Museum increased its collections with the purchase of relics, the discovery of objects and documents and donations of great value. Then, as in the times of its founder, was restored communication with the porch and the courtyard giving access to the House Scarpa, and the Museum was annexed a large room which was later upheld the tools of physics, purchased or built by Volta and his successors, Configliachi, Belli, cantons. In addition to anatomical, physical and surgical instruments, documents and memorabilia relating to the history of the university, the museum has a lot of material that, for reasons of space, can not normally be exposed to the public, but are presented with a replacement or on request. Several documents and autographs are collected into folders and listed as to be easily detectable, such as, for example, the autographs of Volta, Foscolo, Monti, Spallanzani, Moscati, Golgi, Oehl, whose museum has dealt with the whole manuscript, but which one is exposed, only the preface. Folders are also stored in the autographs of Brugnatelli Valentino, Romagnosi, Adelaide Cairoli and many other characters. Of the many books in which are collected histories and protocols of the experiences of Port Louis, are exposed only a few copies, while others are kept in cabinets containing other books of great historical and scientific importance.
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