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.