The African American Museum

Title:  Rev. Richard Allen and Absalom Jones

Year:  2011
Material: A/V equipment, wood, paint
Creator:  Unknown
Collection: Audacious Freedom


Much like the moving portrait at Eastern State Penitentiary, the African American Museum features  'talking pictures' in one of their current exhibitions, Audacious Freedom. Rather than there being just one of these portraits, however, the museum has taken this a step further and hosts a number of these portraits on the second floor. Each is of an individual important to the African American community in Philadelphia from as far back as the initial colonization of America by Europeans. The actors have been filmed with vivid colors and bright lighting to look as if they were painted. Buttons are found to the right of each portrait where questions may be asked of the characters.


Only one of these portraits featured a pair of people, and that is the portrait of Reverends Richard Allen and Absalom Jones. Both of these men were ministers who founded their own churches in Philadelphia because the African American people were not welcome as equals in the white churches. These two worked together not only to preach their beliefs, but dedicated their time during the Yellow Fever scare to helping those who were too poor to flee the city and protecting the property of those who left. It was noted, however, that when the rich white families returned after the epidemic, the ministers and their congregations were accused of looting even though the looting was actually performed by the 'white thugs' that remained in the city. 


I found this interesting because unlike the other portraits, these men talked about issues that are still extremely prevalent today. For example, during Katrina the poorest members of society were accused of looting, even though videos show the common culprits were thugs and punks that appeared as if they could have afforded those items they looted anyway. Knowing that early African American churches utilized energetic songs and moving speeches like are well-known today also made me realize that these churches are like this because of their heritage of being freedom centers.


I feel like most people who go into this exhibition are likely to be interested in the portraits. Even small children were held captive by these character. Someone who is not religious, however, may not be drawn to this specific portrait. They may even be put off initially by the smirking faces of the characters.

The Wagner Free Institute of Science

Title: California Grey Squirrel, Sciurus griseus griseus

Year: Unknown
Material: Animal product (skin, fur), cotton, wood, plaster, glass
Creator:  Unknown
Collection: Upstairs, Taxidermy (Case 24)

Within the upstairs portion of the Wagner Free Institute of Science resides an age-old collection of natural history objects. Many of these are over 200 years old and collected by William Wagner or Joseph Leidy himself. The museum has not changed much since its conception, and for the most part the labels have remained the same, even when they are not entirely accurate. The cases are numbered, and the museum itself resembles a scientific collection rather than museum education. 

One case that stood out as being more outright educational (in the general sense versus research-type education) is the taxidermy case. This case featured a montage of animals (California Grey Squirrels to be specific) at various stages of the taxidermy process. The centerpiece to the case was a completed taxidermy of a California Grey Squirrel.  

Together the objects instruct the reader on how to perform a taxidermy on an animal. Being as a large percentage of the natural history objects in the room were taxidermy, this was an extremely informative case to explain the amount of work that goes into each sculpture. One would venture to guess that the presence of such a display is to encourage a greater appreciation for the other objects within the museum, as the voice of the text implied that the information at hand was important and to be taken seriously as an art form.

Visitors who are interested in the process of the creation of such objects, be it through respect for others' work or a personal interest in the subject would find this display interesting. Those who do not agree with the killing of an animal for any reason, or simply disagree with the display of what is essentially a carcass would not appreciate this object, however, much less the other objects in the case (or the museum's collection as a whole). 

I for one found this display quite interesting because I have some minor experience with the taxidermy process myself. I have watched part of it be done, and have create a study skin before. A study skin is a stuffed skin, like a taxidermy, but it is stuffed for research and so the anatomy has been taken into account when stuffing, but the animal is in no active pose (instead it is stretched out so that it can be measured easily), has no glass eyes, and is not treated (so that the skin and hair may be used for DNA testing).  

The above image is an example of such a study skin utilizing the same species as in the taxidermies.   Stuffing the rat I made a skin of was hard enough without using a framework. I can only imagine how hard it must be to create an accurate, well-sculpted taxidermy. For older students or for adults, it may be interesting to have an all-day (or multiple day) program on the process of taxidermy where participants are able to create their own study skin. This would instill a greater understanding of not only the taxidermy and research process, but of the animal being studied for the activity. Some participants may even find they have a stronger interest in learning how to taxidermy.

The PENN Museum of Archaeology and Anthropology

Title: Sphinx

Year: 1279-1204 BCE
Material: Red Granite
Created during:  Dynasty 19, Reigns of Ramses II-Merenptah
Collection: Lower Egyptian Gallery

Perhaps one of the most well-known and popular objects within the PENN Musuem of Archaeology and Anthropology's world-renowned Egyptian artifact collection is the sphinx. It is the third largest known sphinx in the world. The sphinx weighs in at about twelve tons, and is made purely of red granite. Upon entering the room, one may notice that the floor has several large cracks due to the sheer weight of the statue.

The Egyptian sphinx is typically depicted as mythical creature with a lion's body and the head of a man, also known as the androsphinx in contrast to the female Greek sphinx. The androsphinx is viewed as a benevolent creature, often found guarding the entrance to temples. To the Egyptians, the sphinx represents the power of the Egyptian pharaoh to conquer enemies and protect the people. 

This sphinx in particular was found buried up to its shoulders in sand, with the face exposed to the elements. This resulted in the erosion of the facial features and part of the false beard (a symbol of divine royalty). Inscriptions on the chest and around the base of the statue list the five names of Rameses II. Following his death, Ramses II's son Merenptah added his names in cartouches to the shoulders of the sphinx. The sphinx was sculpted from red granite that was quarried at Aswan and transported by river to Merenptah's temple at Memphis. How this was done is still speculated, but it is apparent that the transportation occurred. The map to the left illustrates the location of Aswan and Memphis.

The sphinx is displayed as the prominent object in the Lower Egypt gallery. The entire room is dimly lit to protect the objects, and is also large and open.  Surrounding the sphinx are a number of columns, mostly limestone from the Merenptah Temple (The Great Temple of Ptah) as well as tablets, statues, and other items mostly from the museum's expeditions in the early to mid twentieth century. The sphinx, however, was excavated by the Egyptian Exploration Fund, under the direction of the famous archaeologist, Sir William M. Flinders Petrie (because of this there is always the chance that it will be reclaimed). The sphinx, however, is not from an expedition by the museum but by The combination gives the impression of stepping into an ancient temple. 

The only label on the sphinx is a small one that includes most of the information listed in the first two paragraphs of this blog. It does not offer any definitions or images, however, and so appears to be mostly for those academics that are familiar with Egyptology. Those that are not as familiar may become disinterested in the exhibit due to the need for a greater understanding of the subject. If the museum wishes to attract a broader audience, it may be in the institution's best interest to offer additional labels with a less technical vocabulary. 

An activity that could be used to engage viewers with the object (and others) is something to help teach the basics of hieroglyphics, much like the 'write your won hieroglyphics' kits for children. A kit like this was one that made me interested in Egyptology as a kid, and may do the same for others. So that the activity does not seem out of place in the room, it could be designed as a rubbing kiosk that appears authentic. Another experience that could engage viewers would be interpretations delving further into Egyptian mythology, or speculations as to how it may have been transported up the Nile.

The Academy of Natural Sciences

Red Fox (Vulpes vulpes) by Ali Shildt, UArts

Title: Red Fox (Vulpes vulpes)
DOB:  2002-2003 (estimate)
Material (of enclosure):  Fiberglass, cement, fabric (stuffed animals, bedding), water feature, plexiglass, metal
Source:  Mercer County Wildlife Center
Location: New Jersey
Collection: Live Animal Center


The Live Animal Center (LAC) is located on the bottom floor of the Academy of Natural Sciences. It is where the majority of the museum's living collection is housed, and is set up like any other education animal department (meaning that the enclosures are not designed as realistic exhibits for the public because the animals). All of the animals are used in the Outside-In, programs around the museum, or taken on outreach. Interns and staff are trained to handle the animals according to a rating scale of the skill level required. The LAC however is still an exhibit in that there are windows for the public to look into the Mammal and Herp rooms as well as the kitchen, and not only view some of the animals but watch the zookeepers working and talk to them if the zookeeper is willing. Another plus to these windows is that the knowledge that visitors may be watching acts as incentive for the keepers to not only be efficient and professional in the work area, but tidy. While attending Delaware Valley College for my BS in Zoo Science, I interned at the LAC. There I specialized with raptors (birds of prey) and mammals. My favorite part of working in the mammal room was the fact that visitors could watch me work and I could answer questions for them about the animals or about my job. 


One of the enclosures that is visible to the public is that of the red fox. Visitors are often confused by this individual, as she is not red. The red fox, Tokala (Native American for 'fox'), is leucistic. This means that there is reduced color in her pigmentation (but she is not albino). On the rare occasions this shy fox (she's so shy even I've never gotten a good photo of her) allows someone to view her, you will see that she is mostly white, with black eyes, a red V shape down her back, and red outlines around her eyes resembling the Egyptian kohl or galena. As beautiful as she is, she could not survive in the wild because her mutation prevents her from camouflaging. Because of this she is a wonderful example to use in education when describing adaptations.


The enclosure is in an L shape, with a door between the two sections so that a keeper may block her from one side of the enclosure when cleaning or doing maintenance. The left side houses an open bed as well as a 'cave' for her to climb on or hide in. The right side has a medium sized dog carrier and a water feature with a pool and a stream. Tokala is explorative, so both rooms are filled with dog toys, plushies, blankets to curl up in, and other enrichment. The biggest issue with interpreting this enclosure is an emphasis that even though she has dog toys, she is not a pet, she is still a wild animal at heart, with strong instincts. My work with her during internship was a prime example of this-- though she could be harnessed and walked, trained basic commands, and liked to play, I had to always remember that she is not domesticated and therefore I must always be on guard.

Bennie, photo by Bill "Itinerant Wanderer"

The visitor accessible area of the LAC is rather small, so the 'objects' surrounding the fox were the mammal and herp rooms as well as the kitchen. Anyone viewing the fox was bound to be serenaded by the calls of the crows in the bird room (behind the fox) as well as Bennie, the Moluccan cockatoo whose daily perch is at the front of the mammal room. Behind 'Bennie and Co.' (Zoot, a blue and gold macaw and an African Grey parrot) a visitor could see the duck pond, coati enclosure, and several small mammal enclosures (as well as any animals that were free ranging at the moment). Next to the mammal room (to the right) is the herp room, however you cannot see into it well as most of it is blocked by the iguana enclosure. Finally, at the end of the hallway is the kitchen, with a lift-up window at the counter where visitors can speak with the keepers as they prepare the daily food and medications. 

The message of the red fox enclosure as well as the entire LAC is that of encouraging conservation through the gaining of a deeper understanding of the species in it. The point of view of zoos is that 'there is nothing more meaningful than the connection a visitor will make than looking straight into the eyes of a living animal,' which also applies here. Most of the animals in the LAC are non-releasable wildlife, especially those that are either amputees or imprinted. A good number of them are donations or confiscations from pet owners that could no longer care for an animal. Tokala, for example, is suspected to be a released or escaped exotic animal as her coloration is not only rare in the wild, but she is extremely socialized and was found wandering the streets of New Jersey with a harness (a state in which permits are required to own them). A combination of seeing the animals first-hand, reading the interpretations, and speaking with staff help to encourage visitors to help the cause of conservation.

Visitors often don't realize this, and assume that the museum either treats all of these animals like domesticated pets, or that they were captured or forced from the wild and could be perfectly fine if they were released. Just like when working at a zoo, it is a constant struggle to help these misinformed visitors understand that American zoos of any sort do not take part in such practices and have not since the the mid twentieth century. I've lost count of how many times I've had to explain this-- as the saying goes, 'if I had a nickel...' I'd be rich. Many visitors came into the LAC with this view when I was working there (and I'm sure still do), hopefully they all did and all will come out knowing otherwise, and perhaps will have the drive to research more into a specific animal, environment, worldwide conservation efforts, or even just simple things to do at home.

Overall, I love how the LAC is designed. Further education and interpretation that the Academy could feature to further engage viewers with the red fox or the LAC as a whole would be to provide some sort of animal guide (either in book or electronic form) where the public could see a brief natural history and personal history of each species housed in the LAC. Also, it would be nice to include a basic map and some photos of the bird and herp rooms as they are not visible like the mammal room. Providing this map would satisfy a lot of curiosity.

American Philosophical Society Museum

Title: Franklinia (Franklinia alatamaha, "Gordonia franklenia dicta")
Year: 1786-96
Material: Paper, ink, Franklinia specimens
Collector: André Michaux
Location: United States
Collection: Hunting for Trees


The American Philosophical Society Museum's current exhibition is titled "Of Elephants and Roses: Encounters with French Natural History 1790-1830." It focuses on post-Revolutionary French scientific study, and describes its effect on the science of natural history as we know it today. The jumping point is centered around two French gardens that served as menageries for flora and fauna from all over the world, thus becoming a hub for scientific research. These gardens are Jardin des Plantes and Malmaison. The exhibition is split into five small galleries: "Music for Elephants," "Hunting for Trees," "Black Swans for an Empress," "A Flower Blooms," and "Everything Giraffe." The above object is from the second gallery, "Hunting for Trees."


The object of this blog could not be featured here because it is on loan from the National Museum of Natural History in Paris. About 70% of the objects on display in this exhibition were on loan (the APS did not have many objects that were relevant to the theme), especially from France. Many have never been shown in the United States before, or have never been shown at all. 

The object, however, was a page from an herbarium voucher much like the one featured (right). It consists of pressed samples from a Franklinia tree suspected to have been taken from either a visit to William Bartram's Phildelphia garden or from the species' native habitat in Georgia. 


The species is no longer extant in the wild, and so possessing pressed specimens from what may be a wild tree is a boon to the study of the species. The importance of this specimen is implied in the label included, and augmented by the objects around it such as the decorative ceramic upon which an image of Franklinia flowers have been painted. Overall, however, the labels and collection of objects succeeded in remaining fairly objective, despite the emphasis of the beauty and rarity of the tree.


Personally I found this object interesting not so much because of the subject, but because of the herbarium study itself. I am working on a collection of these at the moment for an institution and it was interesting to see that the way I was creating them was much the same as how they were created hundreds of years ago. The object has inspired me to delve further into my subjects and strive to create a beautiful, possibly antiqued journal to attract attention to it from those that are not drawn to purely scientific approaches.


Some people may find the subject more interesting, perhaps, if they are dendrologists or landscapers as the tree is beautiful and fragrant, and a popular shade tree for ornamental gardens.


As a conservationist, I can safely assume that others like me may instead of being awed at the beauty of the tree and its use by humans be upset knowing that it (like many other species of flora and fauna) have been driven extinct in the wild by the carelessness of human actions.


Personally, I would focus on the conservation aspect of the subject to further engage viewers. By including more information about the effects extensive collecting of the species, it may become apparent to readers of the effect humans can have on the environment. Knowledge that such a beautiful tree may never be seen in its natural habitat again could drive some people to become more proactive and knowledgeable about the subject of conservation.

The Please Touch Museum

Title: The Waterworks
Year: ~2005
Material: Chlorinated water, plaster, metal and other building materials.
Creator: Please Touch Museum 
Collection: River Adventures


The Please Touch Museum features several themed areas where children can play while learning about subjects vital to understand for everyday life. One of these areas is the River Adventures exhibit. Here children can play in a model river (also called the Waterworks), controlling currents, waves, a water wheel, and an Archimedes screw to see how they affect the toy boats found in the river.  The Waterworks and River Adventures exhibit as a whole are designed to teach kids about the scientific properties of water, natural science, conservation, and some engineering/mechanics. The museum as a whole is aimed mostly at children ages three to seven, but the Waterworks is aimed at ages four and above.


The building of the exhibit was funded by Aqua America Inc., PNC N.A., and The Shea Family Foundation. The Waterworks is displayed in the center of the exhibit room, and next to it is the Nature Pond (for ages three and under). Behind it is the rainforest tree which grows up from the Rabbit Hole. The entrance to the Waterworks features an apron station where vinyl aprons are provided for kids to put on before taking part in water play. Above the Waterworks are a number of artistically sculpted cumulous clouds. Water showers down from one of them to model rain. Another cloud with a face blowing mylar strips out of its mouth is above the are where waves can be created to model how wind affects water.

The water works have few labels-- it is mostly reliant on children gathering their own understanding or being explained to by adults. However, handouts and information is available at the station as well as online for educators, parents, and caregivers to understand the focus of the importance of water to both humans and the environment. The handouts found at the apron station allow for further learning at home. It has suggestions for activities to do as well as simple 'field trips' the family can take to learn more about rivers and water in general. Older kids who are especially interested in the River Adventures exhibit may also wish to learn more about specific subjects such as boating, mechanics, nature studies, or conservation.

People who might not be interested in the waterworks may be parents worried about sanitation (or conversely the presence of chlorine chemicals), or their child getting wet. Children afraid of water may also not be interested in the Waterworks. Older visitors (kids, parents, or caregivers) may also not be interested if they do not have any previous interest in nature or conservation, as this is the most prominent focus of the exhibit. Those people may offer an opposing point of view about conservation, especially if they don't understand how man everyday technologies require water, the importance of water for life, or the fact that there actually is a limited supply of drinkable water on the planet. I would only hope that these people still allow their children to enjoy the waterworks or play themselves so that their eyes may be opened.

Eastern State Penitentiary

Title: Beware the Lily Law
Year: March 2011
Material: Prison bed, A/V equipment, costumes, actors, built into prison cell
Creator:  Michelle Handelman
Performers: Becca Blackwell, Michael Lynch
Cinematography: Ed David
Sound Design: Vincent Baker
Sound Mix: Dan Bora
Production Assistance: Nadja Marcin
“Spare Change for a Dying Queen” by Jimmy Carnicio

Collection: Artist Installations, adult content cell block

Eastern State Penitentiary has been trying to find ways to bring more people to the museum outside of the haunting season. One of the programs offered to do this are artist installations. These installations are temporary exhibits that are thought provoking or educational that bring to light the history and issues associated with prisons, prisoners, or the personell.

Down the cell block reserved for 'adult content' are some of these installations. All are labeled 'mature content' and this block is marked to feature 'adult content' not recommended for children. One of these is titled “Beware the Lily Law,” created by Michelle Handelman. "Lily Law" was one of the many names street youth used in place of "cops". The piece is installed in one of the cells, which has been arranged to look like it is currently in use. A projector hidden above the doorway on the inside of the cell places the image of the actor (presumably an inmate living in this cell). Also above the doorway are speakers. Together, this creates the illusion that the character on screen lives in the cell and is talking to you (the viewer). The viewer is able to sit inside the cell on a stool and listen to the story of the subject, including what life was like being transgendered before they were incarcerated, how they were arrested, and what their life is like now in the prison. Two subjects are featured (one after the other, and the video is on loop), and both are 'caught on tape' performing the daily routines that allow them to "pass". The first is male to female (shown putting on her makeup), the second female to male (shown working out and then binding his breasts). Each subject tells his or her story about being arrested at the Stonewall Inn during the 1969 Stonewalll Riots in New York City during which police raided the bar and arrested transgendered patrons.

Even today these prisoners are placed in the prisons in which they legally are identified as, meaning female transgenders are placed in male prisons, and males in female prisons. For their protection they are often placed in administrative custody, but this creates mental stress because such custody is essentially solitary confinement.

The installation is not only thought-provoking but highly controversial. An LGBT ally may watch this and be moved through either sadness or anger at seeing what life is like in prison for a transgendered person. Someone who does not have a stance on the subject or is unfamiliar with transgendered people may not understand what the 'big deal' is. Finally, someone who is does not agree with the transgendered lifestyle, is homophobic, or easily offended would likely be disgusted by not only seeing and hearing from a transgendered person but perhaps may be upset that the art piece was even installed. 

The artist clearly is an LGBT ally as the work only features the point of view from that side of the movement for equal rights between homosexuals, heterosexuals, and the people 'in between'. This insinuates that the museum is also supportive, even though it may be attempting to just make the issue known but not take sides.

For anyone unfamiliar with the troubles dealt with by the transgendered community, it would be greatly beneficial to research further into the subject.

The Philadelphia Zoo

Title: Black-Tailed Prairie Dogs Cynomys ludovicianus
Year: Unknown
Material: Wood, acrylic, fiberglass, cement, sand, dirt, hummus (other materials unknown)
Creator:  Unknown
Collection: Prairie Dogs

The black-tailed prairie dog exhibit is located on the east side of the zoo near to Bird Lake and the Treehouse. It is an open top exhibit, with low sides so that people (including children) can see the lookouts from afar. This also allows the prairie dogs to survey the area, which would stress them if they were prevented from such.  According to the zoo's website, the most common intruder that the prairie dog scouts look for are the free-range peacocks. The exhibit does not merely consist of what can be seen by the naked eye, however. The colony consists of fifty to sixty individuals, runs eight feet deep, and consists of a network of tunnels and living chambers.

Though this species is listed as "Of Least Concern" on the IUCN Redlist, it is relevant to the zoo as a whole in that it brings attention to species that are 'closer to home'. In addition, prior to 2004 black-tailed prairie dogs were listed as a candidate species to be added to the Endangered Species Act. Their populations were brought up through a combination of land management, education, population management (they are susceptible to the plague), and the placement of a ban on using prairie dogs in the exotic pet trade (this ban was lifted in 2008 however). In fact, the population has increased so dramatically that in some areas they are now considered pests by farmers (who, on that note, may not be interested in seeing a prairie dog exhibit and may even voice this opinion upon viewing such).

None of the above information can be found on the signage located at the prairie dog exhibit, however. Instead, the only interpretations consist of two signs: information on breeding cycles, and a description of the job of a lookout as well as how to identify them. The natural history and demographics of the prairie dogs can be found on the website, but no information is included on their conservation history. It is readily available common knowledge in the zoologic field (as well as the pet trade) that can be found on practically any website, but the average visitor would not think to look for such information.

Showcasing the success in increasing the prairie dog population is vital to the zoo's mission of conservation. Instead  of merely showing 'cute animals' in the middle of an otherwise exhibit-less area, the surroundings could be redesigned to immerse the visitor in 'prairie dog country'. Other zoos have built an interactive directly into a prairie dog exhibit, however this would not be an ideal project for a zoo that already has a complex enclosure built. One idea would be to devise a play area that models the network of tunnels that prairie dogs live in (this would be big enough for adults too, of course). This would help visitors to understand the extent to which prairie dogs organize their colonies. Signage could include comparisons of the size of  recorded prairie dog colonies to places like football fields, airports, and even counties. Finally, interpretations should be included extrapolating on the progress the prairie dog has made as a total population to emphasize the fact that conservation efforts do in fact work.

The American Swedish Historical Museum

Title: Tapestry
Year: 1938
Material: Wool and linen
Creator:  Designed by Märta Måås-Fjetterström, embroidered by twelve women from different provinces of Sweden
Collection: The Fredrika Bremer Room

The tapestry hangs in the back of a recreated mid-19th century Swedish parlor at them American Swedish Historical Museum in Philadelphia. The tapestry, combined with the other objects in the display, help the viewer to better understand the comfortable life Fredrika Bremer grew up with and sacrificed to help others. It features selected quotes from the writings of Fredrika Bremer, chosen by the Swedish Fredrika Bremer Room Committee.

The text translates:

The narrow valley widens
Paths becomemore numerous
There shall be room work
Lightheartedness enough for all
Who honestly seek and desire
If one has felt deeply a single
Grief then one understands
All other sufferers
Every deep longing is a
Prophecy of fulfillment
Every earnest seeking has the promise of finding
Is not faith the royal highway
Of the spirit to that other
All-highest access over the mountain
Gift of Swedish women

It is on display as an homage to both Fredrika Bremer and Swedish women everywhere. It also helps to "set the scene" of the parlor display. It appears the tapestry was made specifically for this room in 1938.

The label describes the tapestry as being "designed by one of Sweden's most famous weaving artists," thereby pointing out the importance of the item and also praising it.

If one is interested in learning more about the tapestry, further readings in the Fredrika Bremer room about her as well as studies of her life and works outside of the museum would help to gain insight. As the Fredrika Bremer room focuses on her work as a philanthropist and women's rights activist, people who are not interested in the history of women's rights or social work would likely not be interested in this room, much less the tapestry. An opposing point of view of the tapestry may come from someone who disagrees with the passages woven into the tapestry.

To further engage viewers with the tapestry, it may prove beneficial to feature a table nearby with the works of Fredrika Bremer that these passages came from so that viewers can read on.

The Philadelphia Museum of Art

Title:   Horse Armor of Duke Ulrich of Württemberg for use in the field

Year:   1507

Material:   [Armor] embossed, etched, and partially blued and gilded steel; tail plate replaced; brass; leather; [saddle] birch bark; steel; leather and textiles replaced

Creator:   Wilhelm von Worms the Elder (armorer), German, active Nuremberg, master in 1499, died 1538; and anonymous Nuremberg graphic artist.

Collection:   The Kretzschmar von Kienbusch Collection of Arms and Armor


This work is the most prominently displayed piece in The Kretzschmar von Kienbusch Collection of Arms and Armor at the Phildelphia Museum of Art. For the purposes of this examination, I will focus solely on the horse armor, as it was the only complete set of horse armor within the amory, wheras there were a number of suits displayed. The horse armor was made for Duke Ulrich of Württemberg, who served under the German king Maximilian. It is likely this armor was created for accompanying the king to Rome in 1508, but the king's trip never happened. He was known for his excessive spending on extravagances, as shown in detailed graphics on the armor (which would have been unnecessary for the field).  It is not only important because of the history of its owner, but also because of its creator and its unique qualities. It is the earliest complete set outside of Europe and the only surviving horse armor created by Wilhelm von Worms, who was famous for his skilled craftsmanship. This rich history is my guess as to why it is displayed, in addition the the beautiful craftsmanship and etchings.


The armor was acquired through a gift of Athena and Nicholas Karabots and the Karabots Foundation in 2009. The gallery itself is five rooms (two smaller rooms on either side of the main room). The armor is displayed on the sculpture of a horse, placed on a small stage at the center back of the room, perfectly centered between two windows. The entire room has been decorated in such a way as to "set the scene". Other objects in the room include more suits of armor, spears, shields, stained glass, and even a faux crow perched in one of the "castle" windows. 

A suit of armor has been put together and placed on top of the horse, posed as if riding to create the illusion of a knight and his horse prepared for battle. On either side are descriptions of the armor (the left being the knight's suit, the right being the horse's armor). 


The interpretation is written concisely in third person, and includes information not only on the armor but the armorer and the Duke. Despite the author's attempt to make the information appear impartial, however, their admiration of the work is apparent.


The study of European armor, German craftsmanship, or German history may all be useful subjects to focus on. As a fan of history in general, old trades, and reenactment (and an occasional reenactor myself) I was interested in studying practically anything in this gallery. Someone who does not enjoy studying the subject of arms or armaments  may not be interested in the horse armor, much less the gallery as a whole. As the label did not at all describe the dislike many of the Duke's subjects have for him or his infamous history, someone familiar with this may have something to say about the unnecessary extravagance of the horse's armor. The presence of an interpreter may engage viewers with the subject, though this likely exists for tours already. I would be hesitant to add any sort of interactive or additional decor to the room, as it is very fitting already and the inclusion of technology would contradict the theme.