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An alternative design source
J. Peter Phillips

wooden examples on a small scale have survived in the ‘cabin’ of Khufu’s solar boat reconstructed beside his pyramid at Giza. The finial of the carrying chair found in the tomb of Khufu’s mother, Hetepheres, also has exactly the same design as this type of column capital (Phillips 2002: 18, fig. 38). There seems little doubt that wooden columns of this design were used in Khufu’s palaces. Palm fronds or feathers The identification of these columns as originally representing the date palm has a number of problems, and it is my contention that they could also represent

in Mummies, magic and medicine in ancient Egypt
Abstract only
The museum in the twentieth century
Samuel J.M.M. Alberti

. In setting the chronological parameters of this project, however, I consciously avoided the last decade of the twentieth century, possibly the most significant and certainly the most turbulent decade in the history of the Manchester Museum and UK museums more generally. From 1994 the Heritage Lottery Fund provided a massive financial injection into the museum sector at the millennium, and the New Labour government elected in 1997 shifted the emphasis in museums from free market economics to social inclusion. Capital projects such as Norman Foster’s Great Court at

in Nature and culture
Penelope Wilson

within the temple court (Herodotus, Histories, II, 169; Godley 1966: 483). Furthermore, the tomb of Amasis seems to have lain through a portal which was approached by a palm-capital colonnade. The structure may have been a ground-level tomb chapel or funerary temple. Unfortunately, nothing is left of the temple and its ancillary buildings (Wilson 2006: 99–115), and the ruination of Sais seems to have begun with the Persian invasion, for the statue of Udjahorresnet alludes to renovations that were necessary in the temple of Neith in the 27th Dynasty (Lloyd 1982

in Mummies, magic and medicine in ancient Egypt
Felix Kanitz and Balkan archaeology
Vladimir V. Mihajlović

understanding and activities, as well as the reception of his endeavours. Finally, having in mind the social origin of knowledge in general, special attention in this chapter is given to the network of contacts Kanitz created; that is, the informal group of people who influenced Kanitz’s political, cultural and scholarly views, and consequently left a strong mark on Serbian archaeology as well. Kanitz’s discovery of the Balkans Felix Philipp Kanitz was born on 2 August 1829 to a ‘rich and notable’ Jewish family in Obuda, now part of Hungary’s capital Budapest (Fehér, 1932

in Communities and knowledge production in archaeology
Pluralism and the politics of change in Canada’s national museums
Ruth B. Phillips

Swings and roundabouts: pluralism and the politics of change in Canada’s national museums Ruth B. Phillips What’s lost upon the roundabouts we pulls up on the swings.1 A trio of national museums surrounds the neo-Gothic buildings of the Canadian Parliament. They are destinations along the ‘ceremonial route’ linking major federal buildings on the Ontario and Quebec sides of the Ottawa River that runs through Canada’s National Capital Region. To the east, the modern glass dome designed by Moshe Safdie for the National Gallery of Canada (NGC) echoes the distinctive

in Curatopia
Open Access (free)
The first Dutch excavation in Italy, 1952–58
Arthur Weststeijn and Laurien de Gelder

off limits for non-Italian campaigns. Ever since the unification of Italy, with Rome becoming the new nation’s capital in 1871, large-scale fieldwork projects in the city had been effectively restricted to Italian experts, the likes of Rodolfo Lanciani, Giacomo Boni and Alfonso Bartoli. But after the collapse of the Fascist regime and with the nascent process of European collaboration in the aftermath of the Second World War, Italy gradually opened up its rich soil to archaeologists from abroad. The Dutch were among the first to profit from this opportunity; their

in Communities and knowledge production in archaeology
Abstract only
Ian Wedde

curatorial practice, I used to remind my students that an audience’s museum experience begins some time before they enter the museum as such, and will not end the moment they leave: all museums are, so to speak, ‘museums without walls’. The affective, cognitive and psychomotor components of a visitor’s pre-visit time, not to mention the latest news item they read or heard, the varieties of excitement or indifference with which they approach the visit over preceding hours or days, their existing knowledge, interest or indifference – their cultural capital, if you will – the

in Curatopia
The last Saite ruler, Psamtek III
Roger Forshaw

unexplained mysteries of the ancient world, and over the years a number of different theories have been put   egypt of the saite pharaohs 7.3  Statue of Darius I. On the two long sides of the base are inscribed twenty-four subject peoples of the Persian empire represented as prisoners of war with their ethnonyms written in studded cartouches representing city walls. Originally sculpted in Egypt and later transferred to the palace in Susa, capital of the Achaemenid Empire. Grey granite. H 2.46 m; Base: 105 cm (L) × 64 (W) cm × 51 (H) cm (National Museum of Iran

in Egypt of the Saite pharaohs, 664–525 BC
Post-connoisseurial dystopia and the profusion of things
Sharon Macdonald and Jennie Morgan

almost always still framed within an overall discourse of ‘benefit’, the attempt has been to go beyond narrowly economistic notions of ‘value’, sometimes by drawing on ideas of different kinds of ‘capital’.15 What is going on here, we suggest, is as much about revising and even subverting neo-liberal models as implementing them. There is considerable evidence of attempts to recognise and give priority to some of the many things that are valued in museums in practice – which usually includes expanding collections of objects – rather than simply adopting what is being

in Curatopia
The politics of co-collecting
Sean Mallon

through the advice from and connections to communities they provided. If there were incentives for the committee members’ participation, it may have been in the social capital of being involved with one of the most high-profile cultural projects the country had ever seen. It may have been in the many ways that they could demonstrate their cultural competency and expertise. The task of identifying and donating items to the museum not only activated the relationship between the community 283 284 Pacific and the museum, it quite literally gave material form to the

in Curatopia