A Top Cambridge Museum now offers recovery rooms for guests who are 'activated' by black history displays.
The slavery exhibition in the Fitzwilliam Museum of the university has a 'reflection space' for anyone who may feel overwhelmed or caused by this subject '.
The exhibition increases resistance, revolution, abolition looks at the struggle to end slavery and has a warning.
It also has pamphlets for visitors to guide them to 'well -being' material and other sources if necessary.
These include websites for charities for mental health care, including specialists with the Black African and Asian Therapists Network.
The leaflets point to curriculum material that covers a black history and how they can contact the citizens's advice, the Telegraph reported.
The exhibition documents the history of black -white abolitionists, especially those linked to Cambridge.
It looks at what life would have looked like on plantations and the movement at abolition.
The Fitzwilliam Museum in Cambridge is shown
A gallery in Fitzwilliam Museum in Cambridge, with works such as 'Zipporah' can be seen
Curator Dr. Rebecca Birrell Views Works from Claude Monet in the Fitzwilliam Museum in Cambridge
A corresponding catalog for the exhibition claims that men, including Stephen Hawking, the scientist of Charles Darwin, Son George and physical Arthur Eddington benefited indirectly from the slave trade.
The exhibition of the book mentions this as links to 'Dark Finance'.
But this was disputed by experts, including Cambridge Professor Robert Tombs.
Prof -Toms criticized historical debt and said that “we are unfortunately used to seeing our large institutions themselves and the country that supports them.”
“This case is double discouraging, because a large university institution has resisted itself against argumentation and indifferent to evidence.”
A spokesperson for the museum said: “The emerging reflection space offers visitors the opportunity to explore, create, read, learn and reflect after viewing the exhibition.”
The Fitzwilliam website states: “All live with the consequences of transatlantic slavery, and we cannot understand today's world or the inheritances of structural racism and inequalities without knowledge of it.”
Gallery technician Niall Fall inspects 'An 18th-century family' by Joy Labinjo in the Fitzwilliam Museum
Curator Dr. Rebecca Birrell View 'The Dream II (Mae) by Pamela Percaticmo Sunstrum in the Fitzwilliam Museum
In 2019, a work of art that borrowed from the museum was removed from a dining room from Cambridge College because it insulted vegans.
Hughes Hall received complaints from students who said that the painting, who portrayed a stack of dead animals, postponed their food.
The chicken market, from the studio of Flemish artist Frans Snyders, has a striking collection of animals, including a boar and deer, killed chickens and game birds that are stuck on hooks.
It had been a long -term loan from the Fitzwilliam Museum of the university.
A source close to the Fitzwilliam Museum of the university, who had lent the painting, said at the time that the college wanted to show 'sensitivity' to those who 'do not like to eat meat'.
They said there was 'no agitated situation', but the college had just realized that it was 'not the most suitable' painting for the hall.
The painting was returned to the Museum of Nature Protection Treatment last year and now plays in an exhibition about the art of food.
A spokesperson for the museum told The Daily Telegraph: 'Some dinners felt unable to eat because it was on the wall. People who do not eat meat found it somewhat disgusting. They asked that it would come down. '
The Kipmarkt, from the studio of Flemish artist Frans Snyders, has
'This exhibition makes the points that the debate about vegetarianism, about veganism, is nothing new. It dates from the 1500s. “
The exhibition curators, Victoria Avery and Melissa Kalaresu, said in a joint explanation: 'Many people turn to vegetarianism and veganism as a political choice as a diet, while we reconsider our relationship with animals and their treatment in an industrialized world.
'Food choices are not only determined by political concerns about what we eat, but also exacerbated by the moral fears that resonate around diet, self -image, over -consumption and our body.
“As Feast & Fast shows, many of these contemporary concerns about our relationship with food are not new.”
The Canvas was a copy from the mid-17th century by an unknown artist in the Antwerp workshop of Snyders, known for his still life and animal subjects.
The original is in the Hermitage in St. Petersburg.
