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This paper discusses the mummified body of Michael Willmann (1630–1706) – one of the most outstanding painters of the Baroque period in Central Europe. Willmann’s mummy was preserved in the crypt of the former Cistercian monastery church in Lubiąż, Silesia (Poland). The article presents the history of the mummy and possibilities for opening the crypt and displaying it to the public, following the example of similar expositions in Europe which have found respectful and sensitive solutions for presenting the bodies of the deceased (e.g. Capuchin Crypt in Palermo and Capuchin Church in Brno). Willmann’s mummy is not only the body of an artist, but also a part of the cultural heritage of the Lubiąż Cistercians, making it worthy museification. This issue is particularly important in the context of the plans for establishing the Michael Willmann Museum in the former Cistercian monastery church in Lubiąż.

The article is devoted to the professional activities of graduates of the Higher Women’s (Bestuzhev) Courses in the State Hermitage Museum. They made a great contribution to the Soviet museum building, they were engaged in the restructuring of the Imperial Hermitage, scientific and exhibition work, and mastered educational field. The article is based on materials from the personal archive of N. V. Blagovo (materials Mel’nikova) and the graduates’ memories. In addition, biographies of 23 employees of the Hermitage, graduates of Courses who worked there from 1914 to 1975, are given for the first time.

This article proposes a way of formalizing the description of various types of relations between the elements of museum communication based on the semiotic approach and the concepts introduced by F. de Saussure, C.S. Pierce and C.W. Morris. Semiotic models can be used to explain the specifics of museum communication for museum studies and as a methodological basis for developing various versions of databases or other software for museum affairs.

It is not only a legal obligation, but also a moral and ethical imperative, that every cultural institution make itself and its activities accessible to the public which includes people with various special needs. A careful analysis of these needs and the way to address them in a person‘s day-to-day life can be an inspiration for the creation of more accessible exhibtions and expositions. This paper analyzes several types of such accessibility-improving measures by type, e.g. a guiding line through the exhibition, labels in Braille, haptic models and audio-guides for those with visual impairments, videomonitors and sign-language guides for those with auditory impairments, improved physical access for those with reduced mobility and alike. Additionally, I highlight various small changes to the overall active and passive communication with the visitors that can be improved to access the exhibition‘s accessibility - after all, a well-prepared museum guide can often do much more to increase the visitors‘ engagement with the museum than any special tools. The final section of the paper contains a report on a survey of current exhibitions and expositions which are aimed at special needs visitors.