Another such trick is the recurring use of a tall glass box filled with different layers of dirt serving as a timeline. The relevant dates for a specific gallery are marked on the box in each case. Along with the different colors alloted to each time period, this is a useful visual marker of the rather abstract time periods in question. Using a dirt timeline is effective not only because it is three dimensional, verging on the tangible as well as the visual, but also because it recalls the physical location of the objects when they were discovered, as well as the archaeological methods by which we learn about them.
Making the past feel present is tough, and can be helped along with all sorts of sensory cues. In the historical museum in Écija, Spain - the Museo Histórico Municipal housed in the Palacio de Benamejí - there were several visual cues that I quite liked because they border on the tangible. One is a Roman pottery kiln reproduced in the museum at roughly half size; as the text explains, they could be up to 6 meters tall! The area of modern Écija was a prime site of Roman amphora production because the olive oil industry there was also booming, and required transport vessels to be made locally in great number. Over 20 kilns have been found between Écija and the Guadalquivir river alone, in just 25 kilometers! Being able to see the structure of a kiln, complete with a tiny paper cut-out man checking on the wares, helps to make this massive production feel more real.
Another such trick is the recurring use of a tall glass box filled with different layers of dirt serving as a timeline. The relevant dates for a specific gallery are marked on the box in each case. Along with the different colors alloted to each time period, this is a useful visual marker of the rather abstract time periods in question. Using a dirt timeline is effective not only because it is three dimensional, verging on the tangible as well as the visual, but also because it recalls the physical location of the objects when they were discovered, as well as the archaeological methods by which we learn about them. On a study trip with students recently, I got to visit the wonderful historical museum in Écija, Spain - the Museo Histórico Municipal housed in the beautiful Palacio de Benamejí. Both the town and the museum are less well-known than they should be; they are not only beautiful, but full of treasures waiting to be discovered! As archaeologists we were thrilled by the artifact collections and the exciting excavations that took place under the main plaza, once the Roman forum. In addition, the museologically oriented among us delighted in the presentation in the museum. Thanks to a tour by museum director Antonio Ugalde, we got an in-depth look at the history of the area from the prehistoric to the late Roman periods. The school groups that come through here can hardly know how lucky they are!
Including a hugely enlarged photo of the piece (see below) is a good way to help viewers appreciate the detail. At the same time, it's important to lure them to look at the piece itself rather than stopping at the picture alone. This is done by the special case and lighting on the gold piece: the case is a cone shape projecting from the wall, highlighting the tiny treasure in a way that lures you irresistibly to take a closer peek. The conical bubble draws you in like a magnet! It is helped by the single light from overhead, lighting it in a golden glow. We were pulled toward it like a moth to the flame.
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Ideas on Display
A humble space to reflect on concepts of museum display as enacted across a wide range of subjects, countries, and approaches.
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