Stocking JR G Objects and Others Essay

and Others
HISTORY OF ANTHROPOLOGY
Volume 1
Observers Observed
Essays on Ethnographic Fieldwork
Volume 2
Functionalism Historicized
Essays on British Social Anthropology
Volume 3
Objects and Others
Essays on Museums and Material Culture
Volume 4
Malinowski, Rivers, Benedict and Others
Essays on Culture and Personality
Objects and Others
ESSAYS ON MUSEUMS
AND MATERIAL CULTURE
Edited by
George W. Stocking, Jr.
Volume 3
THE UNIVERSITY OF WISCONSIN PRESS

The University of Wisconsin Press
114 North Murray Street
Madison, Wisconsin 53715
3 Henrietta Street
London WC2E 8LU, England
Copyright © 1985
The Board of Regents of the University of Wisconsin System
All rights reserved
4 6 8 10 9 7 5 3
Printed in the United States of America
Library of Congress Cataloging in Publication Data

Main entry under title:
Objects and others.
(History of anthropology; v. 3)
Includes bibliographies and index.
1. Anthropological museums and collections-History-
Addresses, essays, lectures. 2. Anthropology-History-
Addresses, essays, lectures. 3. Material culture-Ad-
dresses, essays, lectures. 1. Stocking, George W.,
1928- . II. Series.
GN35.025 1985 306 85-40379
ISBN 0-299-10320-X
ISBN 0-299-10324-2 (paper)
EDITOR
Department of Anthropology, University of Chicago
EDITORIAL BOARD
Talal Asad
Department of Sociology and Social Anthropology, University of Hull
James Boon
Department of Anthropology, Cornell University
James Clifford
Board of Studies in the History of Consciousness,
University of California, Santa Cruz
Donna Haraway
Board of Studies in the History of Consciousness,
University of California, Santa Cruz
Curtis Hinsley
Department of History, Colgate University
Dell Hymes
Graduate School of Education, University of Pennsylvania
Henrika Kuklick
Department of History and Sociology of Science,
University of Pennsylvania
Bruce Trigger
Department of Anthropology, McGill University
Contents
ESSAYS ON MUSEUMS AND MATERIAL CULTURE
3
ARRANGING ETHNOLOGY: A. H. L. F. PITT RIVERS
AND THE TYPOLOGICAL TRADITION
William Ryan Chapman
15
FROM SHELL-HEAPS TO STELAE:
EARLY ANTHROPOLOGY AT THE PEABODY MUSEUM
Curtis M. Hinsley
49
FRANZ BOAS AND EXHIBITS:
ON THE LIMITATIONS OF THE MUSEUM METHOD OF ANTHROPOLOGY
Ira Jacknis
75
PHILANTHROPOIDS AND VANISHING CULTURES:
ROCKEFELLER FUNDING AND THE END OF THE MUSEUM ERA
IN ANGLO-AMERICAN ANTHROPOLOGY
112
ART AND ARTIFACT AT THE TROCADERO:
ARS AMERICANA AND THE PRIMITIVIST REVOLUTION
Elizabeth A. Williams
146
THE ETHNIC ART MARKET IN THE AMERICAN SOUTHWEST, 1880-1980
Edwin L. Wade
167
ON HAVING A CULTURE: NATIONALISM
AND THE PRESERVATION OF QUEBEC'S PATRIMOINE
Richard Handler
192
viii CONTENTS
WRITING THE HISTORY OF ARCHEOLOGY:

A SURVEY OF TRENDS
Bruce G. Trigger
218
OBJECTS AND SELVES-AN AFTERWORD
James Clifford
236
INFORMATION FOR CONTRIBUTORS
247
INDEX
249
Objects and Others
ESSAYS ON MUSEUMS
AND MATERIAL CULTURE
The two halves of our volume title-"Objects and Others" and "Essays on
Museums and Material Culture"-imply overlapping but somewhat different
enterprises. The latter suggests, and did in fact elicit, a series of institution-
ally oriented studies, focusing on what has been called the "Museum Period"
in the history of anthropology (Sturtevant 1969:622). The former-which
suggested itself only later in our volume planning-implies a more general-
ized metahistorical, philosophical, or theoretical consideration of two defm-
ing categories (or category relationships) of human existence, and therefore
of anthropological inquiry in the broadest sense.
Given the announced bias of History of Anthropology toward studies
grounded in primary historical materials, it is not surprising that the essays
in this volume are, for the most part, more obviously related to its subtitle
than to its title. Particularly in the early stages of the historiography of any
field, institutional (and/or biographically oriented) topics provide a conve-
nient focus for research grounded in documents, which tend to collect
around individuals and institutions. But despite the embeddedness of the
present essays in documentary historical material, they do in fact raise im-
portant broader issues: the problematic interaction of museum arrangement
and anthropological theory; the tension between anthropological research
and popular education; the contribution of museum ethnography to aesthetic
practice; the relationship of humanist culture and anthropological culture,
and of ethnic artifact and fine art; and most generally, the representation of
culture in material objects-to mention only some of the more obvious fo-
cusing themes.
Nevertheless, they are far from exhausting, even by glancing allusion, the
range of issues implicated in our title-in either of its parts. In order to
suggest something of this still-unrealized context of significance, this volume
is framed by two brief essays, each taking one-half of the title as its point of
departure.
Etymologically, a museum is a place dedicated to the muses. Although as-

tronomy and history were perhaps more at home there than dance and erotic
poetry, the force of that etymology was clearly manifest two thousand years
3
4 MUSEUMS AND MATERIAL CULTURE
ago in the Mouseion of Alexandria (Alexander 1979:6-7). Modern mu-

seums, too, have been called secular temples, and the spirits of certain of the
muses still inhabit and sometimes inspire them; but the common denomina-
tor of modern definitions of "the museum" is distinctly material. Museums
are institutions devoted to the collection, preservation, exhibition, study,
and interpretation of material objects. Insofar as they are "anthropological"
museums, in the broader Anglo-American sense of the term, they are the
archives of what anthropologists have called "material culture." Characteris-
tically, these objects of material culture are the objects of "others"-of hu-
man beings whose similarity or difference is experienced by alien observers as
in some profound way problematic.
As objects-things thrown in the way of the observer or actor-the pieces
preserved in museums exist in a three-dimensional space encompassing both
object and viewer. It is this complex three-dimensionality that distinguishes
the museum archive from essentially two-dimensional repositories of linear
texts-although linear thinking long characterized much museum practice.
But as the word "archive" suggests, there is a fourth dimension that bears a
peculiarly problematic relation to the museum. In general, the objects pre-
served in museums come from out of the past, so that the observer experi-
encing them in three-dimensional space must somehow also cross a barrier of
change in time. Paradoxically, however, those objects are at the same time
timeless-removed from history in the very process of embodying it, by cu-
rators seeking (among other goals) to preserve objects in their original form.
Removed, however, from their original contexts in space and time, and re-
contextualized in others that mayor may not seek to recreate them, the
meaning of the material forms preserved in museums must always be acutely
problematic. This is even more the case inasmuch as the objects viewed by
museum observers are "survivals" not only of the past from which collection
wrenched them, but from those later pasts into which any given act of exhi-
bition has placed them. Museums, in short, are institutions in which the
forces of historical inertia (or "cultural lag") are profoundly, perhaps inescap-
ably, implicated.
Whatever the contingencies of their specific histories, the three-
dimensional objects thrown in the way of museum observers from out of the
past are not placed there by historical accident. Their placement in mu-
seums, their problematic character, and indeed, their "otherness," are the
outcome of large-scale historical processes. In the case of some "anthropolog-
ical" objects-e.g., a paleolithic stone ax-these processes may be the very
long-term ones of geological, climatic, and human evolutionary change. But
the historical processes that led to the collection of archeological objects in
museums are much more recent: they have to do on the one hand with the
forces of economic development and nationalism that transformed Europe in
MUSEUMS AND MATERIAL CULTURE 5
the nineteenth century (cf. Trigger, in this volume), and on the other with
those of imperial domination (Silberman 1982). As far as ethnographic ob-
jects are concerned, there is a large subcategory of anthropological objects
(those of "folklore" or Volkskunde) generated by processes of industrial devel-
opment and social change internal to particular national states. Such pro-
cesses, however, have in some instances been appropriately characterized as
processes of "internal colonialism," and certainly in the case of the bulk of
traditional ethnographic objects, the most important historical processes
have been those of colonial domination.
This brief historical excursus confirms what is in fact implicit in the ety-
mology of the word "object": that there is inherent in the museum as an
archive of material objects a fifth dimension beyond the three of materiality
and the fourth of time or history. Since the objects thrown in the way of
observers in museums were once those of others, there are relations implicit
in the constitution of a museum which may be defined as relations of "power":
the expropriation (not only in an abstract etymological sense, but sometimes
in the dirty sense of theft or pillage) of objects from actors in a particular
context of space, time, and meaning and their appropriation (or making
one's own) by observers in another (cf. Foster 1984). From the observer's
perspective, however, the power involved in that appropriation is largely ex-
ternal, since she or he neither "owns" the objects in a literal sense nor defines
the parameters of their recontextualization. Within these parameters a mul-
titude of individual recontextualizations may occur, but within them also the
recontextualized objects may be said to exert a power over their viewers-a
power not simply inherent in the objects, but given to them by the museum
as an institution within a particular historical sociocultural setting.
The issue of "ownership" suggests a sixth dimension to the constitution of
the museum as an archive of material objects: that of wealth (though some
might regard this as simply an aspect of the dimension of power). Even before
the political processes of modern nationalism defined it as such (cf. Handler,
in this volume), material culture was, in a literal economic sense, "cultural
property." The very materiality of the objects of material culture entangled
them in Western economic processes of the acquisition and exchange of
wealth. While many ethnographic objects were acquired by expropriative
processes involving no element of exchange, many others were acquired by
barter or purchase, so that the development of museum collections has always
been heavily dependent on the commitment of individual, corporate, or na-
tional wealth (cf. Chapman and Stocking, in this volume). And while the
detritus of the shell heap has never been given a value commensurate with
the labor expended in its recovery, its aesthetic-cum-economic valuation in
relation to objects higher on the scale of "culture" has been a factor affecting
the allocation of resources for its collection and preservation (cf. Hinsley, in
this volume}. From the beginning, market processes have been potent influ-
ences on the constitution of museums as archives of material culture-the
more so insofar as the objects therein have been regarded, or come to be
regarded, as objects of fine art, rather than as artifacts (d. Wade, in this
volume).
This suggests one further-and for present purposes, final-definitional
dimension: the aesthetic. Despite its history of exclusion from museums de-
voted to the fine arts, and of negative evaluation by universal humanistic or
evolutionary aesthetic standards, the material culture of non-Western peoples
has undergone a process of aestheticization since its original emplacement in
museums. This has resulted in part from the relativization (and universaliza-
tion) of Western aesthetic standards (cf. Williams in this volume), and in
part from processes which have recontextualized the production of traditional
items of material culture. Items that once had multiple functions, so that
their aesthetic element could only be isolated by abstraction, have often had
their functions reduced in scope by processes of acculturation, with the more
utilitarian functions transferred to the products of Western technology. In-
sofar as they continue to be produced, items of traditional material culture
are reconceptualized from both the native and the western perspective in
aesthetic terms-whether those of curio kitsch or fine art. Thus objects of
"material culture" -which in traditional contexts often had spiritual value-
are respiritualized (in Western terms) as aesthetic objects, at the same time
that they are subjected to the processes of the world art market. As their
productions become entangled in the market nexus, some of those who were
or might have been native craftsmen are transformed into artists in the West-
ern sense. But whether defined as "art by metamorphosis" or created as "art
by designation," objects that once went into museums of ethnography as
pieces of material culture have become eligible for inclusion in museums of
fine art (d. Wade, in this volume, and Cannizzo 1982:10).
It is within the context of such issues of definition-considered both ety-
mologically and historically-that the institutionally focused histories of mu-
seum anthropology included in this volume take on broader meaning.
Although the museum has been called "the institutional homeland" of an-
thropology (Lurie 1981:184), it took a long time for anthropology to find
that homeland, and its presence there was, even in the so-called "Museum
Period;' always somewhat problematic. The renaissance humanist "cabinet of
curiosities"-the commonly accepted prototype of the modem museum-
emerged contemporaneously with the age of discovery and exploration; from
the time Cortez sent back pieces from Mexico after the Conquest, both "ar-
tificial" and "natural" curiosities from the New World and the East found a
place in them (Sturtevant 1969:621; d. Hodgen 1964: 111-23; Mullaney
1983). Along with the dodo, the marine unicorn (or narwhal), and the stir-
rups of Henry VIII, the collection of the Tradescants, which formed the basis
for the Ashmolean Museum established at Oxford in 1683, included "Poha-
ton, King of Virgil1ia's habit all embroidered with shells" (Alexander
1979:43). It was some time, however, before ethnographic objects began to
be treated as a distinct category. When the British Museum, the first great
national museum, was founded in 1753, its three departments were devoted
to "Printed Books, Maps, Globes and Drawings;' "Manuscripts, Medals, and
Coins," and "Natural and Artificial Productions"; a fourth, added in 1807,
was devoted simply to by that time the Museum's
ethnographic materials had been greatly augmented by the expeditions of
Captain Cook (Alexander 1979:45).
During the first half of the nineteenth century, however, a number of mu-
seums of a more clearly anthropological character were established, or
evolved out of previously existing collections, along several different lines. In
the case of the National Museum established in Denmark in 1816-where
Christian Thomsen's categorization of the contents of Danish burial cham-
bers, kitchen middens, and bog-sites provided the basis for the "three-age"
system of archeological periodization-the anthropological dimension
emerged as an aspect of an interest in the history of the nation itself (Daniel
1943); it was only in the 1840s that a specifically "ethnographical" collection
was established. In the case of the ethnographic museum of the Academy of
Sciences in Petrograd, whose independent existence has been dated to 1836,
the anthropological element derived from an interest in the peoples of an
internal empire. In the case of the National Museum of Ethnology founded
in Leiden, customarily dated from the opening of von Siebold's collection to
the public in 1837, overseas imperial interests were implicated from the be-
ginning, although the Siebold collection itself focused on Japan (cf. Ave
1980).
Although the "Museum Period" has been described as extending from the
1840s to 1890 (Sturtevant 1969:622), the designation seems somewhat
anachronistic for the earlier portion of those years. In three of the major
national anthropological traditions, a more characteristic institutional set-
ting was perhaps the "Ethnological Society"-founded in Paris in 1839, in
New York in 1842, and in London in 1843. While ethnographic materials
were by that time included in museum collections in each of these countries,
the establishment of their major anthropological museums began only with
the founding of the Peabody Museum of Archaeology and Ethnology in 1866
(cf. Hinsley, in this volume).
Internationally, the great foundation period of museum anthropology ex-
tended over the rest of the nineteenth century. Some museums followed the
pattern of the Peabody, focusing on prehistoric archeology and ethnology;
others, especially in continental Europe, were museums of national and peas-

ant culture in the Volkskunde tradition. In some cases, anthropological ex-
hibits were a department of a general national museum, or-especially in
North America-of a museum of natural history; others were the outgrowth
of international fairs or exhibitions (cf. Chapman, jacknis, and Williams in
this volume). Many of the earlier foundations, however, took some time to
reach institutional maturity; from the point of view of both the employment
of anthropological personnel and the support of field research, the great pe-
riod of museum anthropology only really began in the 1890s. By that time,
the university was already emerging as a complementary, but in the longer
run alternative (and dominating) institutional setting (cf. Sturtevant
1969:623; jacknis and Stocking, in this volume).
If we may judge from the essays in this volume, it is hard to locate the
historical moment when the situation of anthropology within the institu-
tional "homeland" of the museum was not intensely problematic. In pro-
grammatic statements or retrospective analyses, it may be possible to specify
clearly the theoretical notions or ideological messages that were intended to
be or seem to have been conveyed through the arrangement of material ob-
jects for viewing by diverse audiences. The explicitly stated theoretical and
ideological agendas of General Pitt Rivers and of Franz Boas contrast sharply
in this respect: the one arranging objects linearly, in terms of externally de-
fined formal or functional qualities, to convey an ethnocentric message of
conservative evolutionary gradualism; the other arranging them contextually,
seeking to preserve the multiple functions and inner meanings of a given
form, to convey a message of liberal relativism. But in both cases, program
was frustrated by the pragmatics of museum practice, and by the perhaps
inherent contradictions of museum purpose. Even before the institutionali-
zation of anthropology in museums had peaked-in terms of numbers of jobs
and resources for field research-Boas had already become acutely conscious
of "the limitations of the museum method of anthropology"-just as he had
previously argued the "limitations of the comparative method of anthropol-
ogy" (cf. jacknis, in this volume).
Museum collections remained important for certain research purposes, es-
pecially in relation to the culture area and distributional concerns of the
diffusionist schools that continued to flourish into the 1920s. More generally,
the museum tradition in its Volkskunde form has continued strong on the
European continent (cf. Hofer 1973). But in the Anglo-American tradition,
the shift toward a more behaviorally oriented anthropology, reinforced by
substantial funding from foundation philanthropy, had by the outbreak of the
second World War left museum anthropology stranded in an institutional,
methodological, and theoretical backwater (cf. Stocking, in this volume).
Except in archeology, material culture studies and museum collections

were no longer important for anthropological research. Surveying major an-
thropological journals for ethnological papers "concerned (at least in part)
with material culture," and the fraction of these "based (at least in part) on
museum collections;' William Sturtevant found in 1969 that although the
timing and duration of the peak of museum anthropology had come at differ-
ent times in England, France, Germany, and the United States, the general
trend after 1930 had been uniformly down, reaching a low point in the
United States in the 1960s, when both lines nearly touched the bottom of
his graph (1969:626). At the last point in history when it would be possible
to collect and document "hand-made traditional artifacts," few field ethnog-
raphers were still interested in collecting; two-thirds of recent acquisitions at
the U.S. National Museum had been collected "under non-scientific condi-
tions by untrained people" (632-33). In a context where "at least 90% of
museum ethnological specimens [had probably] never been studied" at all,
the research function of museums had atrophied, and the professional status
of curators drastically declined. Collections were increasingly inaccessible to
researchers, and often inadequately cared for; many "important ethnographic
specimens" were in fact being sold at public sales desks, to socialite "friends"
of museums, or on the recently inflated market in "primitive art" (634; cf.
Reitlinger 1963:292, 543). A century after anthropology entered its "insti-
tutional homeland," the question could be seriously posed "Does anthropol-
ogy need museums?"
Despite his bleak portrayal of its twentieth century history and current state,
Sturtevant was not ready to abandon to archeologists the museum study of
material culture. Appealing to the definition of man as "preeminently the
tool-using animal," to the "material basis" of other aspects of human social
life, to the utility .of dated artifacts for historical reconstruction, and to the
evidential value of artifacts as less subject to "both informants' and recorders'
biases," he pointed to various trends within anthropology that might revivify
"ethnological research on material culture": an increasing attention to "clas-
sification, semantics, and symbolism" and a "variety of structuralist meth-
ods"; the heightened interest in "diachronic studies"; the difficulty of access
to foreign areas for ethnographic fieldwork; even the "explosive increase in
the number of anthropologists who must publish or perish" (639-40; d. Stur-
tevant 1973).
Writing in 1981, another leading museum anthropologist, Nancy Lurie,
offered an account of "museumland revisited" that provides a convenient
benchmark for evaluating developments since 1969. Granting that museums
had become almost "totally irrelevant for sociocultural anthropologists"-
whole generations of whom had "now completed professional careers without

ever having had to set foot in a museum"-Lurie nevertheless took as her
starting point the fact that "the museum business in the United States is big
and growing": at that time it was estimated that there were 5,500 museums
with half a billion annual individual visits and operating budgets totalling a
billion dollars. Given the push toward accreditation within "the museum
profession:' she was optimistic about future museum career prospects for those
with graduate degrees in anthropology, and felt that the formation of the
Council for Museum Anthropology in 1974 might contribute to breaking
down their isolation from anthropological colleagues.
However, unlike Sturtevant, for whom the community of scholars in the
Alexandrian Mouseion represented the museum ideal, Lurie found her clas-
sic roots in the "peripatetic education" of Aristotle-accompanied, perhaps,
by as many of the nine muses as could be lured back into the museum. Rather
than seeing exhibition as a potential intrusion "on the time and support for
curator's research:' her primary concern was "the kind of paring down to
basics needed for effective exhibits" (1981: 185; d. Sturtevant 1969:645).
Working in the Milwaukee Public Museum, which (along with the National
Museum of Anthropology in Mexico City) had been the site of the latest in
six major advances in "anthropological exhibit techniques" listed by Sturte-
vant (643-44), Lurie was an advocate of the "now widely copied 'Milwaukee
style.'" It featured "color, light, sound effects, open dioramas with unobtru-
sive 'natural' barriers rather than glass fronts, and exhibits the public actually
enters ... [along with] miniature dioramas and attractive specimen groupings
to ... stave off 'museum fatigue'" (Lurie 1981:184). The Milwaukee style
had only slightly lengthened the nine to fifteen second attention span which
the first time-and-motion study of museum visitors discovered back in 1924
was the average for a single exhibit (Alexander 1979:165); Lurie gave a figure
of thirty seconds. Nevertheless, the Milwaukee style well exemplified the
"new museum technology" which, even against the great ine{,tial force of all
those objects long in situ, was having revolutionary impact in the museum
world.
Technology, however, is not the only recent revolutionary force. Like other
elite cultural institutions of the later nineteenth century (cf. Harris 1981),
museums have felt the impact of major social and political changes in the
twentieth-slowly at first, but with increasing momentum in the last several
decades. True, recent demographic studies (at museums in Milwaukee, To-
ronto, Albany, Washington, Belfast, and Dundee) suggest that-despite
General Pitt Rivers' agricultural laborers and Franz Boas' urban mechanics-
museum audiences are today predominantly white, upper-middle-class, and
above average in education (Alexander 1979: 166-67). But since the late
1960s others-specifically, the non-European "others" whose objects have
traditionally filled exhibit halls and cases-have come forward as actors in

the world of museum anthropology.
The emergence of new national consciousnesses in the aftermath of the
colonial era, during a period of heightened domestic radicalism in the centers
of Euro-American power, called into question the traditional relationship of
objects and others in the museum environment. Both the physical ownership
of objects and the right of representing their meaning became issues of con-
tention. For anthropologists in the United States, these came to the fore in
1970 in the controversy between the New York State Museum at Albany and
the Onondaga Indians (and other militant Indian supporters) over the right-
ful ownership of Iroquois wampum belts. Reacting perhaps to the closing off
of field sites by new nations critical of the colonial involvement of social
anthropology, and reflecting the heightened consciousness of ethical issues in
the human sciences generally, many nonmuseum anthropologists took a stand
"in favor of returning 'native property.'" On the other hand, museum anthro-
pologists, appealing to the role of their institutions in preserving the "mate-
rial heritage" of native peoples from destruction, were concerned that "great
collections might be dismantled and lost to scholarly use and public instruc-
tion" (Lurie 1981:186). Although that fear has not been realized, the issue
of the repatriation of cultural property has been the subject of international
concern since the 1970 UNESCO convention on the prohibition of its illicit
transfer (Tymchuk 1983). No longer is it possible for museum anthropologists
to treat the objects of others without serious consideration of the matter of
their rightful ownership or the circumstances of their acquisition-which in
the colonial past were often questionable (d. McVicker 1984).
It is not, however, simply a question of the ownership of "cultural property,"
but also of who should control the representation of the meaning of the
objects in the Western category, "material culture." Although it may appro-
priately be regarded as an "invention" of modern Western culture, the mu-
seum is no longer exclusively a Euro-American preserve. Non-European oth-
ers, both in postcolonial "new nations" and within the Euro-American
sphere, have established museums of their own-as witnessed in the United
States by such institutions as the Seneca-Iroquois National Museum, or more
generally by the Association of American Indian Museums founded in 1979.
While it seems likely that their mode of representation, like that of Western
anthropological museums (d. Jacknis, in this volume), will be governed
largely by pragmatic considerations, the outcome should not be prejudged.
Certainly, in Western museums there has been some rethinking of problems
of representation. Not only radical critics, but establishment museologists
now raise questions about the situation of non-European others along with
animals and plants in museums of natural history, or their segregation from
the rest of world history in museums of ethnography (Sturtevant 1969:642-
43). Increasingly, Western museologists are calling into question the roman-
tic exoticism that has in fact motivated much of anthropological museology;
increasingly, they have insisted on the need to represent the problems of
present day life in the Third World (Ave 1980; Reynolds n.d.).
Despite these changes over the last several decades, the issue that most
concerned Sturtevant-the role 'of the museum in anthropological re-
search-seems little closer to positive resolution than it did in 1969. Lurie
estimated that only 240 of the more than 5,000 individuals listed in the
American Anthropological Association's Guide to Departments of Anthro-
pology for 1980-81 were "actually employed full-time in museums." And
among the many aspects of anthropological inquiry covered by about 200
articles in the Annual Review of Anthropology during the last decade, only
two (Plog's of Style in Artifacts" in 1983 and Silver's "Ethnoart" in
1979) dealt with topics close to museum anthropology. Recent writers on
museum anthropology seem more concerned with issues of exhibition and
popular education than research; while noting optimistically that the "con-
cept of museums as static institutions" with essentially archival responsibili-
ties is being replaced by a "dynamic" approach reflecting "contemporary con-
cerns," a recent evaluation of museums of human history predicts that
"original scholarly research will continue to decline, except in selected insti-
tutions" (Reynolds n.d.).
On the other hand, some of the "revivifying" factors that Sturtevant iden-
tified in 1969 are still potentially operative. Although the demographic ex-
plosion in the anthropological profession was soon thereafter perceived more
as threat than promise, this very fact reflected the increasing sense that an-
thropology had entered a phase in which the unexamined optimism of its
"classic" period could no longer be taken for granted. Ethnographic field
work in the mode of participant observation may continue for some time to
be the hallmark of anthropological inquiry; but the changing circumstances
of the "others" who have traditionally been its subject/object, and their
changing relationship to the European world, have already changed the char-
acter of field work and reduced its relative importance. Although sociocul-
tural anthropology has not since 1969 been reoriented to issues of evolution-
ary development and material base, there are indications that its
rehistoricization may be under way (cf. Fabian 1983). In this context, the
privileged position of observational evidence seems likely to be modified.
The rediscovery of the textual mode has already begun, and it seems not
unlikely that objects-conceived in symbolic as well as material terms-may
become important to other anthropologists besides archeologists. A small
sign of that development is the recent appearance of the journal Res: An-
thropology and Aesthetics. "Dedicated to the study of the object, in particular
cult and belief objects and objects of art," it is published by the doyen of
American anthropological museums; the Peabody Museum of Archaeology
and Ethnology.
Although the present volume has achieved a certain thematic unity, there
are many aspects or ramifications of our topic that remain here unpursued.
We would have liked an article that wQuld treat systematically the develop-
ment of Western notions about the "object," and about the objects of "oth-
ers" -the idea of the icon, or the fetish, or the respective relations of "sav-
age" and of "civilized" man to the material world. We would have liked an
article on the actual processes of collection of objects, and on the recent
movement for their repatriation. We would have liked to be able to treat
other alternatives within museum anthropology, including the continental
Volkskunde tradition, or its modern congener, the museums of erstwhile "na-
tive" peoples. We would have liked to explore other modes of "displaying
humankind," including the anthropology of world's fairs and of modern tour-
istic cultural performances. And we would have liked to have an article re-
flecting more directly the modern radical perspective on all these issues. At
the very least, however, the essays here on "Museums and Material Culture"
may help to open discussion on some of the broader issues implicated in the
relation of "Objects and Others."
Acknowledgments
Aside from the editor, the editorial board, the contributors, and the staff of
the University of Wisconsin Press, several other individuals and organizations
facilitated the preparation of this volume. The Editor's efforts were sustained
in part by a fellowship from the John Simon Guggenheim Memorial Foun-
dation. A continuing grant from the Wenner-Gren Foundation for Anthro-
pological Research, Inc. supported editorial expenses. The staffs of the De-
partment of Anthropology (especially Kathryn Barnes), the Morris Fishbein
Center for the History of Science and Medicine (Elizabeth Bitoy) and the
Social Science Division Duplicating Service of the University of Chicago
provided necessary assistance. Charles Stanish served as editorial assistant;
Martha Lampland translated an article from Hungarian; Ira Jacknis and Neil
Harris offered bibliographic advice; Fran<;oise Weil, of the Musee de
I'Homme, was especially helpful in obtaining some of the pictures. Our
thanks to them all.
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- - - . n.d. Museums of human history in contemporary society. Draft manuscript.
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Silver, H. 1979. Ethnoart. Annual Rev. Anth. 8:267-308.
Sturtevant, W. 1969. Does anthropology need museums? Procs. Bio!. Soc. Washington
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- - - . 1973. Museums as anthropological data banks. In Anthropology beyond the
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Tymchuk, M. 1983. The repatriation of museum collections: An annotated bibliog-
raphy. Typescript. St. Albert Place Museum, St. Albert, Alberta, Canada.
ARRANGING ETHNOLOGY
A. H. L. F. Pitt Rivers
and the Typological Tradition
WILLIAM RYAN CHAPMAN
In the history of anthropology, the name Pitt Rivers is indissolubly linked to

a museum, and to the "evolutionary" principle of its organization-which
like the name, was specified in the terms of a bequest. 1 Augustus Henry Lane
Fox adopted the name Pitt Rivers in 1880 to fulfil the requirements of the
will that made him master of a 25,000 acre estate. Four years later it was
stipulated by Deed of Gift that the museum at Oxford University to which
he gave that new name (along with his ethnographic and archeological col-
lection) would retain his system of arrangement during his lifetime and be-
1. This article is based on research first presented in my Oxford doctoral dissertation (Chap-
man 1981). Pitt Rivers, unfortunately, left few records of his early life, and he destroyed many
of his papers in old age. Many biographical details, therefore, must be reconstructed through
judicious reference to military records, remarks in his published work, correspondence preserved
in the papers of other figures or institutions, as well as the records of the scientific societies to
which he belonged (see under "Manuscript Sources"). There is of course considerable biograph-
ical information in Thompson 1977, as well as in Blackwood 1970, Gray 1905, Penniman 1946,
Thompson 1960 and 1979, and Tylor 1917. For biographical material on the other individuals
mentioned, consult the Dictionary of National Biography and other standard sources. For a more
complete bibliography and further documentation on all matters referred to, see Chapman 1981.
Pitt Rivers' most important papers were collected after his death in The Ellolution of Culture (PR
1906); but I have cited the original essays. Despite the slight anachronism involved, I have
referred throughout this essay to its central figure by his adopted surname; readers consult-
ing bibliographic entries by him prior to 1880 will of course find the author listed as A. H.
Lane Fox.
William Ryan Chapman received his doctorate in anthropology at Oxford in 1982.

He is employed by the United States National Park Service as a Historian in the
Cultural Programs Office of the Mid-Atlantic Regional Office in Philadelphia. His
current research includes further work on British anthropology and a study of Carib-
bean vernacular architecture.
15
16 WILLIAM RYAN CHAPMAN
yond-except for such changes in detail that might be "necessitated by the

advance of knowledge" and did "not affect the general principle originated
by the donor" (Oxford U. Gazette 5/13/84, p. 449).
The origin of the Pitt Rivers' collections and their principle of arrange-
ment, as well as the development and fate of his ambitious plans for an an-
thropology based on their study, have yet to be adequately investigated. The
distinction is commonly made between adherents of the so-called "geograph-
ical system" and those of the "comparative" or "typological" scheme, with
the one strain leading in a predictably whiggish course to the field-intensive
and geographically specific social and cultural anthropology of the early
twentieth century, the other meandering on to the empty, armchair theoriz-
ing of late Victorian "evolutionism." But the picture is not wholly accurate,
nor does it do justice to the complexity of the issues at hand. Nineteenth-
century preoccupations with arrangement did not relate so straightforwardly
to particular theoretical stances as later anthropological critics or historians
of anthropology have tended to assume; nor was the relation of anthropology
to museums unproblematic even in the so-called "museum age." Some of
these complexities may perhaps be illuminated by a closer look at the career
of Pitt Rivers and his collection.
From Muskets to Boomerangs in the 1850s

Stimulated, apparently, by the Great Exhibition of the Works of Art of All
Nations, Pitt Rivers first began to collect objects of a broadly ethnographic
kind around 1851. At the time he was a young military officer, assigned to
testing the new rifles then being introduced to replace the older, smoothbore
muskets. Struck by the "continuity observable" in small arms development,
he began a collection of weapons to show their "slow progression" of devel-
opment over time (PR 1888:826). That rifles were the result of slow advances
in technology was in fact a standard historical view. Henry Wilkinson, with
whom Pitt Rivers worked after he was assigned to the Hythe School of Mus-
ketry in 1853, had (among others) argued that early "missile weapons" de-
veloped from slings progressively through spears and other forms down to the
military technology of the present age-a sequence which Pitt Rivers
sketched in a training manual published in 1854, as well as in a lecture of
1858 (Wilkinson 1841; PR 1854, 1858).
Despite his developmental interest, Pitt Rivers' collection tended to em-
phasize the exotic rather than the antique. Supporting his wife and growing
family largely on his army pay, he could perhaps more easily afford ethno-
graphic objects, which were available in various port cities and some London
shops-and could be obtained from friends returning from abroad. From an
PITT RIVERS AND THE TYPOLOGICAL TRADITION 17
General A. H. L. F. Pitt Rivers. F.R.S. Photograph by W. E. Gray from a life-size oil painting
by Frank Holl. R.A .• 1882 (reference number B1452Q. courtesy of the Pitt Rivers Museum.
Oxford. and G . A. Pitt-Rivers).
early point in his collecting, he tended to emphasize two rather different

organizing principles: one based on a "connection of form"; the other based
on functional affinities (1874a:294). Series of the first type were the more
ambitious: a typical early instance was his collection of boomerangs and
throwing sticks, arranged to show "slow gradations" from straight to curved
shapes (1883a). Other series, such as those on "primitive locks and keys,"
were organized by function or use (1883b); their status as "links in the chain
of progress" depended on more general comparative considerations, rather
than relationships ofform (1858:455).
During the Crimean War, Pitt Rivers took advantage of his overseas service
(which took him also to Malta, Turkey, and Bulgaria) to extend his collec-
tion. When a further tour of duty at Malta ended with severe criticism of his
training methods, he returned to London in 1858. The next four years of
enforced semiretirement from the military were largely filled by scientific ac-
tivities. The Stanley family, into which he had married, was widely con-
nected in the world of science. Through the Stanleys, Pitt Rivers already
knew or soon met John Stuart Mill, the geologist Joseph Prestwich, the phys-
icist John Tyndall, and the anatomist Richard Owen. (Mitford 1939; Russell
& Russell 1937).
His first important organizational involvement was the United Service In-
stitution, founded in 1831 "to foster the desire of useful knowledge" among
the military (RUSI 1831). Pitt Rivers relied on the Institution's library for
his own research, and regularly attended its lectures; his own lecture "On the
Improvement of the Rifle" was the second one to be included in the journal
the Institution began to publish in 1858. 1 hat same year he played an im-
portant role in the Institution's reorganization into five departments-one of
them, which became the focus of his own activity, devoted to ethnography
and antiquities (RUSI 1858). One of the most prominent features of the
Institution was its museum, which included an ethnographic gallery among
its displays of the progress of military technology (Altham 1931:235; Bosque-
cillo 1849). Built up over the years chiefly through the donations of service-
men returning from posts throughout the empire, it was, in Pitt Rivers'
words, "one of the best assortments of semi-civilized and savage weapons that
are to be found in this country, or perhaps, in any part of the world"
(1867b:612).
Pitt Rivers used his Institution connection to enlarge his collection wher-
ever possible. He borrowed examples from the Institution's boomerang series
to make copies for his own, and when the Institution decided to clear out
some of its less essential exhibits beginning in 1861, he was one of the prin-
cipal buyers (Chapman 1981:99; 593). He acquired other pieces from the
members and guests of the Institution-returning military men, veterans of
the Indian Mutiny, West African explorers, consular officers from South
America, etc. Among these acquisitions was the collection of John Pether-
ick, consul in the Sudan during the 1850s and 60s, each piece of which was
very well documented (Petherick 1860). From that time on, Pitt Rivers made
a special effort to obtain objects from those who had actually come in contact
with the exotic peoples who had manufactured them, rather than relying on
shops and auction houses.
Early in 1859, Pitt Rivers' scientific interests took a more deliberate turn,
when he joined the Royal Geographical Society-having been proposed by
two Stanley family friends, the travelerlorientalist Henry Rawlinson and the
Society's longtime president Sir Roderick Murchison (Mitford 1939; Rawlin-
son 1898). The new scientific connection was variously useful. In the Soci-
ety's meeting rooms he encountered returning travelers, from whom he se-
cured new objects for his collection-most notably from Richard Burton
(another Stanley connection), who had just returned from West Africa. His
sponsor Rawlinson offered advice on Middle Eastern antiquities, and pro-
vided notes for drawings and facsimiles (PR 1874b: 175). The Society's library
stimulated a wide range of geographic and ethnographic readings, which
helped to contextualize the pieces in his collection. And it was through the
Society that he established a network of contacts, both around the world and
closer to home. Notable among them were Richard Dunn (an authority on
Eskimo pieces) and the Quaker prehistorian, Henry Christy (whose ethno-
graphic collection was to rival that of Pitt Rivers in the history of Victorian
anthropology). Through these men and others, Pitt Rivers was to become
increasingly involved in ethnological circles after 1860.
The Impact of Evolution and the Turn to Ethnology

Beyond his specific collecting interest, Pitt Rivers was clearly a committed
scientific amateur-a typical member of what has been called the "scientific
generation" (Buckley 1951: 183). He was an avid reader of popular scientific
works, open to new fashions in scientific and philosophical theory. Given his
interest in the history of technology, with its implied emphasis on human
inventiveness and the transmission of knowledge, he was especially interested
in the development of the human mind. Through Mill's Logic, Lewes' history
of philosophy, and the translations of Harriet Martineau, he seems to have
been strongly influenced by Auguste Comte; Herbert Spencer was known to
him personally, and phrases derived from Spencer's articles and books can be
found sprinkled throughout Pitt Rivers' writings of the 1850s and 60s (PR
1858: 1861; 1867b; 1868a; 1869). His burgeoning family stimulated an in-
terest in education, and in more general writings on the nature of man-
including Locke, the Scottish philosophers, and the physiologist William
Carpenter (1854). The most notable of these was perhaps the phrenologist
Charles Bray, who published books on education and human mental progress
(1838; 1841). Pitt Rivers applied Bray's theories to his own family, as well as
to his interpretation of human mental development (Russell & Russell
1937:121); the "nomenclature of phrenology," as Pitt Rivers phrased it,
helped provide a unifying view for his writings on his collections (1867b).
In this context, it is not surprising that the publication of Darwin's Origin
in 1859 had an immediate impact on Pitt Rivers. 'Like many of his Stanley
relatives, he seems to have followed the controversy surrounding its publica-
tion, and to have identified himself closely with the Darwinian camp (Russell
& Russell 1937:72-73). He attended a number of popular lectures on Darwin
during the 1860s, and clearly saw his own work as generally parallel; from
that period on he portrayed his collecting efforts as equivalent to those of
naturalists, and to Darwin's work in particular. Just as natural history collec-
tions conveyed the order and evolution of the natural world, so his collection
showed a parallel evolution within the realm of human technology. He later
had a tendency to say that Darwin's work was simply confirmation of his own
"principle of continuity."
Another pivotal influence in this period was the revolution in archeol-
ogy-as embodied particularly in the work of the French archeologist
Boucher de Perthes (1847-64; 1860; Daniel 1976; Laming-Emperaire 1964).
Although De Perthes' work in the Somme Valley went back to the 1840s, it
was only after 1858, after the discoveries in Brixham Cave in Devon and the
findings of the British delegation to Abbeville, that it was given general cred-
ibility (Evans 1859; Prestwich 1859). The realization that the span of man's
life on earth could not be encompassed by the biblical chronology or inter-
preted in the light of the biblical record had a sudden and often traumatic
impact-in Pitt Rivers' case, the force almost of revelation (cf. Haber 1959).
Just as Darwin had demonstrated the gradual nature of species change, the
"long ridiculed discoveries" of De Perthes proved "the continuity of man's
technical and intellectual development" by "the same laws which have been
in force since the first dawn of creation" (1867b:614). Both Darwin and De
Perthes confirmed Pitt Rivers in the belief that the world was somehow sub-
ject to precepts beyond the scope of human intervention: the "great law of
nature" was the final, determinant cause of all things. Having grown up in
conventional religious belief, from the early 1860s on Pitt Rivers became a
devoted evolutionist.
His conversion to evolutionism had an important impact on his other
scientific activities, broadening the scope of his involvements considerably.
He began attending lectures at the Geological and Zoological Societies, sub-
scribing to their journals and extending the range of his readings. In all he
read and heard, he looked for evidence of "the principle of continuity," and
he tried to apply that principle more rigorously to his work, and particularly
to his collection. New series were developed, including an important one on
ornamentation, demonstrating an "unconscious selection" in the choice of
ornamental motifs. Other series were refined by the addition of new objects
to fill gaps and better convey the evolutionary message.
In the early 1860s, Pitt Rivers began also to seek a new audience for his
collection, which until then had been essentially personal. Although he had
used the weapons series in training soldiers under his command, it was no
longer used for instructional purposes, except for an occasional lecture, usu-
ally at the United Services Institution; and the newer series had never been
presented publicly. But in the aftermath of Darwin and De Perthes, his sense
of purpose was to change.
The main focus of Pitt Rivers' hopes for his collection was the Ethnological
Society of London, which he joined in 1861-attracted, perhaps, by the
presence of other members of the Geographical Society, including his
brother-in-law Henry Stanley and Henry Rawlinson, as well as military men
such as C. H. Chesney, an authority on the history of firearms, whose work
Pitt Rivers had drawn on (Chapman 1981: 174, 616). At the time Pitt Rivers
joined, the Ethnological Society was experiencing a period of profound reap-
praisal. Founded in 1843 as an offshoot of the Quaker-dominated Aborigines
Protection Society, its underlying theoretical concern had long been the
question of unity (monogenesis) or plurality (polygenesis) of the human spe-
cies. For many of the early members, the issue was as much moral as scien-
tific, rooted as it was in biblical assumption. Their general approach to the
problem had been historical, in the sense that it sought to trace the existing
races of mankind back through a history of migration and differentiation to
a common root, on the basis of similarities of physical type, culture, and
above all, language-with comparative philology, the queen science of the
human disciplines, providing a model of genealogical development and a
method for reconstructing it. When the biblical chronology was finally un-
dercut in the late 1850s, confidence in the traditional ethnological approach
was considerably eroded. With the gradual loss of many early members, and
its sense of moral mission, the Society for a time almost ceased meeting
altogether. But after 1859-partly as a result of the impact of Darwin and
De Perthes, partly as the result of the activism of certain newer, younger
members taking a more deterministic view of race-the Society began to
grow again, its membership jumping from 50 to over 200 within a single year.
Most of the new members, including Pitt Rivers, were interested in the new
theories of evolution and the controversy surrounding man's antiquity and
origin; but they were also very much interested in racial differences, and their
implications for understanding human history-a tendency that was also to

be reflected in Pitt Rivers' thought about the objects in his collection (cf.
Stocking 1971).
At the time Pitt Rivers joined, however, the Society still lacked a unified
program. Philology, which had offered the hope of reconstructing the history
of mankind within a relatively short chronology, had largely collapsed as a
programmatic tool with the greatly expanded timespan established by the
new "prehistoric" archeology (Crawfurd 1863). A purely descriptive ap-
proach to race failed to answer questions of man's origins and differentiation,
and the traditional appeal to the effects of environment had also been called
into question (cf. Stocking 1971). Newer, more tangible types of evidence
seemed called for. For some, these were the evidence of skeletal and cranial
forms, either as measured or uncovered from the ground; for others, the evi-
dence of archeology more generally; but for Pitt Rivers, the privileged evi-
dence was to be that based on the comparison of artifacts.
Until Pitt Rivers and a number of other artifact-oriented members became
active, the Ethnological Society had shown little interest in museums or in
collections of exotic implements. What was later called "material culture"
was treated simply as an aspect of physical description-clothing and orna-
ment being subsumed with other attributes distinguishing different "races"
(Hector & Vaux 1861). There had been no real attempt to develop a unified
theory of technological development or systematically to relate the study of
artifacts to the broader historical aims of ethnology. There had been some
effort to encourage the development of a national ethnographic collection:
the reorganization of the British Museum's collection of Natural and Artifi-
cial Curiosities in 1845 as an "Ethnological Gallery" was in part a response
to suggestions by ethnologists such as Robert Latham and Ernest Dieffenbach
(Dieffenbach 1843; King 1844). But the Society had never tried to establish
a collection of its own, nor had it particularly encouraged "demonstrations"
of artifacts at meetings, as was common among antiquarian and other scien-
tific organizations.
Even so, the Ethnological Society did provide Pitt Rivers with new oppor-
tunities for collecting. Through Warren Edwards of the Niger Campaign, and
Owen Stanley of HMS Rattlesnake, Pitt Rivers enlarged his West African
and Pacific series (l874b:86, 127, 130, 149, 178). And during the period of
his greatest activity, in late 1861 and early 1862, there were in fact several
lectures featuring object presentations (Snow 1861; Spottiswood 1862). The
most important of these for Pitt Rivers was that of Edward Belcher "On the
Manufacture of Works of Art by the Esquimaux," which Belcher had studied
in the early 1850s while commanding the search for the ill-fated expedition
of Sir John Franklin. In addition to his Eskimo artifacts, Belcher's collection
included many from the South Pacific and the Pacific Northwest, which he
had visited during previous voyages. His lecture emphasized modes of manu-
facture and use-many of his harpoon and arrow points had been formed by
natives in his presence, with chert taken in situ, using tools he then pur-
chased. In a characteristically "ethnological" vein, Belcher conjectured a se-
ries of connections among the peoples represented in his collection, suggest-
ing a regular commerce between western North America and the Pacific
Islands (1861).
Pitt Rivers acquired forty of Belcher's artifacts; but more importantly, he
seems to have borrowed from Belcher the notion that the manufacutures of
modem peoples could be taken as evidence of common origin (1867a,
1874b:48). If the surviving artifacts of ancient man could be brought to re-
veal a previously obscure history-as archeologists were now proving-then
so too could the artifacts of modem aboriginal races be brought together to
reveal their often common histories. Through the "persistence of forms," as
Pitt Rivers later phrased it, one could show that disparate peoples possessed
common traits, and thus reestablish their past connections. Alongside his
developmental, evolutionary interest, this more traditional "ethnological"
concern was to become a major impulse behind Pitt Rivers' future efforts at
enlarging and interpreting his collection.
"Geographical" and "Typological" Collections, c. 1860

Although motivated by traditional ethnological as well as by evolutionary
concerns, the organizing principles of Pitt Rivers' collection did contrast
sharply with those of other collections in Britain. The only large public eth-
nographic collection was that of the British Museum, which by this time had
sixty-two cases devoted to ethnography (BM 1859). The core collection of
Sir Hans Sloane was catalogued simply as "Miscellanea," but later eighteenth-
century additions from the South Seas were grouped together; and when the
South Seas Room was reorganized in 1808 to "illustrate particular Customs
of different Nations," a de facto "geographical system" was established (BM
1808; cf. Braunholtz 1953). By Pitt Rivers' time, many of the objects were in
poor condition; some had already been discarded because of deterioration
(Miller 1973:41-48). Although other sectors of the Museum-notably the
Department of British and Medieval Antiquities, under the supervision of
A. W Franks-had begun to burgeon in the 1850s, the effect was for a time
to shift space and curatorial attention away from ethnographic materials
(Clarke 1843-56). Pitt Rivers himself described the British Museum as an
"ethnological curiosity," suggesting that it was in a "molluscus state of devel-
opment"; as a research tool in a place of educational value, he felt it was
"useless" (1874a:296; 1888:827).
In looking for models of ethnographic presentation, Pitt Rivers was better

served by museums in other countries. There were important ethnographic
collections in Berlin, Cologne, Frankfurt, Dresden, and Paris (Bahnson
1888; Farrington 1899; Murray 1904; Schasler 1868); but the largest and
most significant was that of the Rijksmuseum voor Volkenkunde at Leiden,
which incorporated the large personal collection of antiquities and curiosities
given to the Dutch nation by the diplomat, traveler, and geographer P. F. B.
von Siebold (Frese 1960; Wittlin 1949:140-41; Hudson 1975:52-55). All of
these collections were known to Pitt Rivers by the early 1860s, who fre-
quently made facsimiles of original pieces he saw in other collections. In later
years he was to criticize the British government for not keeping up with
governments and cities elsewhere in establishing an important central eth-
nographic museum (1888; 1891).
Most of these collections, too, were arranged according to place of origin.
Insofar as this arrangement was systematically justified, the rationale was
established by Siebold, whose scheme for a museum of modem "curiosities"
(supplementing long-standing European collections of classical and national
antiquities) set a precedent for ethnographical museums founded in mid-
century. Following Siebold's example, the Leiden collection was arranged
according to what were considered racial or cultural groupings-a method
which, according to Siebold, gave the best impression of a "people's relative
progress," "the condition of their arts," and the nature of past exchanges with
other peoples (Siebold 1843). Siebold's scheme came to be known to Pitt
Rivers and others as "the geographical system"; but in Siebold's hands, it was
less an organizational tool than a means of reconstructing man's past, and as
such was particularly salient to Pitt Rivers' interests. Whether he visited the
collection is unrecorded, but Siebold's well-known work on Japanese arms
was an important reference when he began his own collection of Japanese
pieces (1874b:126).
The most carefully considered alternative to the "geographical system" was
that propounded by E. F. Jomard. As conservator of the King's Library in
Paris from 1828 on, Jomard had the responsibility of both the older royal
collections of curiosities and the newer collections of exotic materials filter-
ing into the national collections from the various exploratory voyages of the
early nineteenth century (Hamy 1890). During the next few years Jomard
devoted his attention to their reorganization, receiving support first from the
Geographical Commission of Baron Georges Cuvier, and then from the So-
ciete Ethnologique de Paris-both of which had hopes that the ethnological
collections, then housed in the upper floors of the Louvre, might form the
core of a major museum. Jomard's "Plan d'une Classification Ethnographique"
suggests a number of parallels to Pitt Rivers' later scheme (Jomard 1845; ef.
1831). Apparently influenced by Cuvierian comparative anatomy, Jomard
favored a comparative system of "classes:' "ordres:' "especes" and "varietes"-

the first including ten functional categories (food, clothing, building mate-
rials, etc.), the next two divided by type of activity (agricultural tools, weap-
ons, etc.; weapons of the chase, weapons of war, etc.); only the last intro-
duced a geographical criterion. Although Jomard's scheme was never
implemented (Jomard 1862), it was known to ethnologists in Britain, and
Pitt Rivers must have met Jomard while making facsimiles at the Louvre.
Whether Jomard's ideas served him as a precedent is uncertain; by his own
account they merely gave support to a system he arrived at independently
(Chapman 1981:212, 628).
One of the few collections actually to embody an alternative to the "geo-
graphical system" was that of the German antiquarian Gustav Klemm, who
had begun to collect ethnographical and archeological pieces in the 1830s.
Klemm's collection was organized typologically; drawing parallels between
archeological and ethnographic pieces, it was intended to demonstrate a se-
quence of development in technology (Penniman 1965:61-62). His scheme
had been published in Werkzeuge und Waffen (1858), which was widely re-
ferred to by ethnologists and antiquarians in the 1850s and 60s (d. Klemm
1843-52). Pitt Rivers himself cited Klemm's writings frequently, and took
illustrations from them to supplement his own series (1870; d. Myres
1944:5-6). But although Klemm's publications suggested various avenues of
approach, as Pitt Rivers freely acknowledged, his basic principles of arrange-
ment were probably arrived at independently.
If continental museums provided important exemplars, the most immedi-
ately relevant reference point for Pitt Rivers in the early 1860s was the col-
lection of Henry Christy, his colleague in the geographical and ethnological
societies. Like Pitt Rivers, Christy had begun collecting around the time of
the Great Exhibition (Braunholtz 1953:90-93; Edwards 1870:697-99). Al-
though his attention focused originally on Middle Eastern antiquities,
Christy traveled widely in Africa, Asia, and America during the 1850s, be-
fore becoming actively involved in prehistoric archeology at the end of the
decade (Christy 1863; Christy & Lartet 1875). During the early 1860s, the
two men were frequently at the same auction sales, occasionally bidding
against each other for the same items. They frequently exchanged pieces,
and offered each other advice on arrangement and organization. When
Christy's collection was left to the British Museum after his death in 1865,
Pitt Rivers continued to consult it in Christy's apartments, where it remained
housed until 1883; and as with other collections, he made a number of fac-
similes for his own series.
Pitt Rivers was always careful to insist on the difference between their
approaches: "in the Christy collection the arrangement [is] geographical,
whereas I have from the first collected and arranged by forms" (PR
1874b:xiii). A catalogue prepared for Christy in 1862 by C. L. Steinhauer

of the Danish National Museum generally confirms this assessment (Christy
1862). The collection was then divided into two major sections:
ties" and "Ethnography"-the former divided into "early," "later," and post-
Stone Age tools; the latter, into geographical regions (Greenland, the "Car-
ibes," the ancient Peruvians, the ancient Mexicans, the modern Mexicans,
the Eskimo, the North American Indians, etc.). But notwithstanding Pitt
Rivers' characterization, Christy's goal was explicitly comparative, and he did
allow for thematic considerations-including a special series entitled "War
Weapons, and implements used in hunting, fishing and navigation" And
when Pitt Rivers himself began to acquire more antique weapons, it is evident
that Christy's collection was a stimulus.
The special character of Pitt Rivers' collection, however, reflected the fact
that it was in the first instance one of comparative technology, not prehistoric
implements. Even after he added prehistoric remains, the typologically or-
ganized ethnographic series remained the core; his purpose was not simply to
help fill in an incomplete archeological series, but to offer a comparably ef-
fective historical tool for the study of the material culture of present exotic
peoples.
Archeology and Race in Ireland

In the 1860s, Pitt Rivers' own scientific interests were, however, to turn in-
creasingly to archeology. The prolonged inquiry into his training methods
having ended with his exoneration, he resumed active military life in August
1862, when he took up appointment as Assistant Quartermaster General in
the Cork Division of Ireland. Although he had done a bit of digging earlier
on, and was friendly with a number of archeologists, his first formal involve-
ment in archeology began that fall, when he witnessed a number of excava-
tions in Cork, acquiring pieces for his own series (Thompson 1977:39-40).
The following spring he was actively recording field sites; he went on to
excavate a number of "raths" or Iron Age forts (PR 1866). He also became
active in local antiquarian circles, joining the Royal Cork Institution and the
Kilkenny and Southeast Archaeological Society, predecessor to the Royal So-
ciety of Antiquaries of Ireland-at the same time that his connections with
ethnologists and geographers in London were necessarily curtailed.
In this context, developments in prehistoric archeology took on much
greater salience for Pitt Rivers. He had been previously familiar with the
"Three Age" system developed by the Danish antiquaries early in the century,
and had typically listed objects in his collection in the categories "stone,"
"bronze:' and "iron" (Hermansen 1941; Daniel 1943; Birket-Smith 1952; PR
1874b:v-viii). After 1865 he began also to employ John Lubbock's division

of stone tools into palaeolithic and neolithic (Lubbock 1865). But his Irish
experience underlined the importance of such an approach: what had been
simply an organizational system became a means by which history could be
rewritten. The same thinking, in tum, was applied to his own collection.
At this time, the most important archeological collection in Ireland was
that of the Royal Irish Society in Dublin (Armstrong 1920). Organized dur-
ing the early nineteenth century, and reorganized by George Petrie in 1853,
the collection was taken over by Sir William Robert Wills Wilde, a local
physician/antiquarian (and father of Oscar). Stressing that a strictly chron-
ological arrangement was not possible, Wilde divided the collection into
broad categories based on materials, roughly approximating the Danish
scheme, with further subdivisions into subsidiary groups on the basis of use.
Within this context, he adopted, as had Jomard, a natural history model,
categorizing objects "according to Class, Order, Species and Variety" (Wilde
1857-63).
Pitt Rivers, who visited the Museum in 1862, was later to adopt a similar
terminology, and there are many other similarities both in the details of his
categorization and his modes of display. But although he frequently referred
to Wilde in his publications, it is not clear to what extent it was a matter of
defining or simply of confirming his orientation. Wilde did show how a sys-
tem derived from the natural sciences could be applied to materials tradition-
ally treated in a less rigorous manner; but it is clear that Pitt Rivers was
already interested in organizing his collection this way before he came to
know of Wilde's work. At the same time, it seems likely that Wilde's system
did provide ideas for Pitt Rivers, especially for the new archeological series.
In 1863, Pitt Rivers was elected to the prestigious Society of Antiquaries
in London-his nomination having been supported by Henry Christy and
John Evans (Mitford 1939; Evans 1956). The following year he was elected
to the Archaeological Institute, an organization founded and still led by his
wife's uncle, Albert Way. Occasional trips to London allowed him to attend
meetings, meet other antiquarians, and renew acquaintances with geog-
raphers and ethnologists.
In part as a result of his excavations, which turned up human remains as
well as artifacts, Pitt Rivers became increasingly concerned in this period
with the study of skeletal remains, and with questions of race-although as
we have already seen, problems of racial migration and origin had interested
him for some time. Following speculations earlier advanced by Belcher, he
wrote several papers conjecturing that ancient races represented in Irish ar-
cheological sites were identical to present-day Eskimos (1866; 1867a). Start-
ing in 1862, he gradually began to add skulls and other skeletal remains to
the other materials in his collection, and attempted to establish a series of
representative types-relying on the advice of Richard Owen, the preemi-

nent British authority on human morphology, on William Flower, Owen's
assistant in the Natural History Department of the British Museum, and on
John Thurnam, a physical anthropologist in the Ethnological Society (PR
1867b:412; 1874b; Owen 1853-55; Flower 1898). Pitt Rivers never at-
tempted to form a comprehensive anatomical series, contenting himself with
casts and drawings to supplement his other materials. Nevertheless, cranio-
logical evidence became more important to his work.
Pitt Rivers' experience in Ireland left him with a slightly different attitude
toward racial questions. He had long been interested in problems of race and
development, and both his phrenological and Darwinian readings reinforced
the interest. But he obviously felt the impact of his direct experience of Irish
life, which seems to have reinforced a typically stereotypical view of the Irish
as socially and intellectually inferior. Comparing Irish skulls and those of
Australian aborigines and higher primates, he viewed the Irish "race" as oc-
cupying a low point in a hypothetical developmental hierarchy (1874b).
These attitudes were reinforced by his activity as a military officer. During
the autumn of 1865, he was appointed Prosecuting Officer for three noncom-
missioned officers charged with mutiny for their participation in the Fenian
movement. Pitt Rivers saw the issue in racial rather than political or eco-
nomic terms: Fenianism was "a war of the races," and social unrest in Ireland
was due to "the social ethical and psichological [sic] condition of the people"
(Chapman 1981:246, 637). Increasingly, Pitt Rivers was to view race in his
anthropological work as a determining element in human progress.
From the Ethnological Society to the Anthropological

Institute
By the spring of 1866, Pitt Rivers was reestablished in London, where he
began a second period of semiretirement from the military on half pay. Re-
suming his involvement with the ethnological and geographical societies, he
also participated actively in the Society of Antiquaries and the Archaeolog-
ical Institute. He became better known to archeologists, including Evans,
John Lubbock, A. W Franks (with whom he had some dealings when trans-
fering inscribed stones from Ireland to the British Museum [PR 1866; Franks
1867]), and J. L. Westwood, an authority on Irish art and ornament. Within
the ethnological community, Pitt Rivers' contacts were also becoming more
diverse. Through Albert Way he was introduced to George Rolleston, the
linacre Professor of Anatomy and Physiology at Oxford, a fellow Yorkshire-
man and veteran of the siege of Sevastopol, who was interested in skull types
and cerebral development, and assisted Pitt Rivers in a number of excava-
tions (PR 1868b; 1881). Equally important was Thomas Huxley, Hunterian
Professor at the Royal College of Surgeons, and author of the first major
evolutionary statement on Man's Place in Nature (1863), whose speculations
on the representative value of modern races for understanding ancient ones
also formed a central theme of Pitt Rivers' ethnological thought (Huxley
1865). By the late 1860s it is clear that Huxley's Australian Aborigines had
supplanted the modern Eskimos in Pitt Rivers' imagination as the "best rep-
resentatives of primeval man." Through his earlier innovative work at the
Museum of Practical Geology, Huxley was also the exemplar of the popular
scientific teacher (Bibby 1959).
Huxley's model may have helped to redirect Pitt Rivers' own museum ef-
forts. By this time, his collection had begun to take over his home-espe-
cially after he reclaimed pieces that had been placed in storage during his
stay in Ireland. He continued to buy original pieces from travelers and at
auction sales, and to supplement these with facsimiles. E. B. Tylor, who had
come to know him by this time, later said that Pitt Rivers' collection ex-
tended from the basement to the attic of his home, with labelled objects
displayed on walls and cabinets in all the principal rooms (1917). When
properly introduced, those who were interested were allowed to view the
collection on appointment; but on these terms it could scarcely have the
impact of a museum open to the public.
Outside his home, Pitt Rivers played an increasing role in the promotion
of museums as an ideal. Especially after Christy's death, he helped out Franks
at the British Museum, playing a role in Franks' reorganization of the prehis-
toric collection beginning in early 1866 (Franks 1870). Franks and Pitt Riv-
ers also collaborated on exhibits at the Society of Antiquaries, encouraging
that organization to increase its commitment to the promotion of archeolog-
ical collections, especially at the British Museum. Increasingly, Pitt Rivers
established himself as the leading expert on archeological and ethnological
collections. In the spring of 1869, he was the main force behind a series of
special exhibitions held at the Museum of Practical Geology (Chapman
1981:308-9). But although he was an active organization man in the Society
of Antiquaries, the Archaeological Institute, and the Ethnological Society,
he did little to promote his own collection to museum status-perhaps be-
cause he still sensed a lack of receptivity in these more traditional scientific
societies.
Seeking therefore to extend the scope of his own involvement, he became
active in this period in the Anthropological Society of London, which he
had joined in 1865, while still in Ireland. The "anthropologicals" had split
off from the Ethnological Society in 1863, opposing what their leader James
Hunt regarded as the latter group's conventionality on a variety of issues-
including Hunt's definition of anthropology as a science that would recognize
man as one (or many) species in the animal world, his attempt to link science
and racialist political ideology, and his insistence on excluding women trom
frank discussions of sexually related topics (Stocking 1971; cf. Burrow 1963).
Displaying a skeleton in the window of their meeting rooms, and calling
themselves to order with a gavel in the shape of an African's head, the "an-
thropologicals" were somewhat disreputable mavericks in the scientific world;
their leader Hunt was also, on what he regarded as scientific grounds, anti-
Darwinian. Even so, their program had a certain scientific appeal, especially
at a point when traditional ethnological orientations seemed no longer ade-
quate, and Pitt Rivers was not the only Darwinian to maintain a dual alle-
giance. He shared the "anthropologicals'" broadranging scientific goals, and
to some extent their views on racial issues, especially with regard to the Irish.
And in the absence of clear support for his museological ambitions among
the "ethnologicals," he would have been particularly attracted by Hunt's em-
phasis on the importance of collections as research tools, and his desire that
the Anthropological Society should assist the British nation "in forming [an
ethnographic museum] that shall be worthy of the country" (Hunt 1863: 13;
1864:xcv).
The Anthropological Society, however, did not tum out to be the vehicle
for achieving Pitt Rivers' goals. He gave several papers, displayed pieces from
his collection, helped on several special exhibitions, and was active for a time
in the leadership-serving on the Council and even being approached by
Hunt to serve as president for 1868 (Chapman 1981:278-81). By that time,
however, the lines between the two organizations had sharpened, and Pitt
Rivers' commitment to the "anthropologicals" had become more hesitant.
Refusing Hunt's offer, he was to playa leading role with Huxley on behalf of
the "ethnologicals" in the struggles and negotiations leading to the formation
of the Anthropological Institute of Great Britain and Ireland in 1871 (Chap-
man 1981 :334-41). Although it came quickly under the control of erstwhile
"ethnologicals;' the Institute reflected the broadened conception of anthro-
pology which was simultaneously the goal of the "anthropologicals" and the
logical outcome of the Darwinian Revolution. But, despite the fact that Pitt
Rivers himself was later to serve four years as its President, the Anthropolog-
ical Institute served no better than its predecessors in achieving the institu-
tionalization of his collection.
Primitive Warfare and the Evolution of Culture

Pitt Rivers' conception of his collection and his hopes for what a comprehen-
sive research institution and museum might accomplish are best revealed in
a series of three lectures on "Primitive Warfare" he delivered in June of 1867,
1868, and 1869 to general audiences (including anthropologists, archeolo-

gists, and ethnologists) at the United Service Institution. The first (PR
1867b) focused on the relationship of man and nature, and the way in which
early tools and weapons were gradually developed in unbroken continuity
from natural forms by a process of "unconscious selection." Governed by the
same instincts-Pitt Rivers, reflecting Bray's phrenology, listed "alimative-
ness," "amativeness," and "combativeness"-men shared with animals a num-
ber of basic defensive and offensive mechanisms, and many of their weapons
derived directly from animal forms (antlers serving as piercing weapons, tur-
tle shells for shields, etc.). From these beginnings, however, each weapon
could be shown to have a "history of its own:' independent of the intentions
of its makers, and reflected in its formal development (619).
Pitt Rivers' basic metaphor-common to both Darwinians and ethnolo-
gists-was that of the tree, with present races "taken to represent the bud-
ding twigs and foliage" (PR 1867b:615). The main stem led up to Eurcpean
man: "civilization" was "confined to particular races, whose function it has
been, by means of war and conquest, to spread the arts among surrounding
nations, or to exterminate those whose low state of mental culture rendered
them incapable of receiving it"-as witness the fate of the Tasmanians (616).
But contemporary aborigines, surviving in a state of "arrested development,"
could serve as living illustrations of those from which they sprang, "whose
implements are found low down in the soil" (618). Just as a comparison of
languages had been used to determine recent historical relationships among
races, so could a comparison of artifacts establish more distant connections.
Boomerangs and throwing sticks would serve the role of words; given their
more substantial character, they were in fact truer tests of race. On such a
basis, the whole history of the world could be reconstructed.
The second lecture (1868a) moved forward in that history to the stone
age, dealing more systematically with the method of its reconstruction. Pitt
Rivers focused now on the processes of change, emphasizing "variation"
(e.g., through "errors in successive copies"), the countless unconscious ad-
aptations involved in each advance, and the way in which forms were gen-
erated from similar forms that preceded them, or were still in use (404-5).
He then undertook to reconstruct the course of technological development
by examining particular historical sequences, using examples from his own
collection and that of the Institution. Thus one section was devoted to the
"Transition from Celt to Paddle, Spear, and Sword Forms" (437): pointing to
close resemblances between the simplest polished celts and the ornate pad-
dles found throughout the South Pacific, Pitt Rivers suggested that the latter
were derived from the former, just as the boomerang, throwing stick, and
parrying shield were also derived from a common prototypical form. Aside
from his emphasis on formal criteria, there was another dimension of his
"Clubs, Boomerangs, Shields and Lances," an illustration from The Evolution of Cu/cure, 1875
(reference number 27478, courtesy of the Pitt Rivers Museum, Oxford).
argument worth noting: finding the same basic weapons distributed through-
out the lands bordering on the Indian Ocean, Pitt Rivers was willing to apply
his principle of continuity to ethnological as well as evolutionary purpose,
arguing that it proved an underlying identity of race throughout the area
(416-20).
The striking aspect of the third lecture is in fact its emphasis on historical,
ethnological themes as well as what are commonly thought of as evolutionary
ones (1869). Treating more systematically the association of the boomerang
with specific races, Pitt Rivers noted the fit of his own earlier speculations
with Huxley's recent argument that all the peripheral peoples of the Indian
Ocean belonged to a single '1\ustraloid" race-isolated near its primal state
on the Australian continent (436; cf. Huxley 1870). He then turned to the
"origin and development of metal tools," attempting to settle the dispute as
to whether bronze tools had been independently reinvented, as some recent
prehistorians were inclined to argue, or diffused from a single center, as more
traditional antiquarians had held (PR 1869:516). Arguing by analogy to the
issue of "polygenesis" and "monogenesis" of the human race, Pitt Rivers sug-
gested that while the knowledge of metal production itself may have been
established independently, the more refined techniques of admixture had

been passed from one nation to another (520-21).
Embellishing it with conceptual and rhetorical flourishes from Herbert
Spencer (who was the principal influence on his thinking after 1870), Pitt
Rivers further elaborated his viewpoint in several later lectures (1874a), cul-
minating in a general review of ''The Evolution of Culture" (1875). But the
basic rationale for his collection had been established by the late 1860s.
Unified by the principle of continuity, or modification by small gradations-
which could under some circumstances lead to degeneration instead of prog-
ress-it was essentially an approach to the classification of material artifacts
in terms of criteria of external form. Progress, as he put it in 1874, was "like
a game of dominoes-like fits onto like [and] we cannot tell beforehand what
will be the ultimate figure produced by the adhesions; all we know is that the
fundamental rule of the game is sequence" (1874a:307-8). From a broader
perspective, however, his study might be called a "psychology of the material
arts": what he sought to establish was "the sequence of ideas by which man-
kind has advanced from the condition of the lower animals." Writing to Tylor
in the early 1880s, he argued that the value of his arrangement was not so
much what it showed about the development of tools and weapons, but rather
what it showed by analogy about the development of other "branches of cul-
ture which cannot be so arranged in sequence because the links are lost and
the successive ideas through which progress has been effected have never been
embodied in material forms, on which account the Institutions of Mankind
often appear to have developed by greater jumps than has really been the
case" (Chapman 1981:480).
The Institutionalization of Typological Arrangement

Although he continued to be involved in the activities of the Anthropolog-
ical Institute, there is evidence to suggest that Pitt Rivers was somewhat
discouraged by the reception of his museological ideas; after 1870, his inter-
ests turned increasingly to archeological field work. In 1873, he returned to
active military service, partly in the hope that he might yet achieve the
retirement pay of a lieutenant general, partly because a country posting
would provide greater opportunities for archeological field work. His with-
drawal from London raised the question of the disposition of his collection,
which by this time included more than 14,000 pieces. Aware that the exec-
utors of Gustav Klemm in Leipzig had decided to open Klemm's collection-
which was organized on similar principles-to the public, Pitt Rivers took
steps to transfer his own to a museum (Chapman 1981:368-71).
In doing so, however, he did not wish to abandon his control, not only of
the system of arrangement, but of the objects themselves, insofar as he might

wish to add to, consult, or even to repossess them. He chose therefore the
South Kensington Museum, which had a long tradition of taking collections
on loan, and seemed likely to be amenable to his wishes (Chapman
1981:372-73). The collection officially opened in the new branch museum
at Bethnal Green in the summer of 1874, with Pitt Rivers on hand to deliver
a public lecture reiterating his "Principles of Classification" 0874a}. Al-
though the installation exemplified the newest ideas in display, the collection
was relegated to the basement, and by 1878, when he returned to London,
Pitt Rivers had pressed the South Kensington authorities into transferring it
to the main museum building (Chapman 1983:188).
Actual authority for the collection remained curiously ambiguous. Tech-
nically, it was still Pitt Rivers' property, temporarily on loan. At the same
time, it was in a real sense already in the public domain, subject to interpre-
tation and revision by the South Kensington staff-although Pitt Rivers con-
tinued to exert an influence, through the periodic addition of new materials,
and suggestions for different series, or for changes in display. Later complaints
by Pitt Rivers suggest that disagreements were rather common; in late 1879
the parliamentary Council on Education, which oversaw the museum's edu-
cational work, informed him that he would have to give the Museum com-
plete control if the collection was to continue on display there (Chapman
1983: 190).
Early the next year, however, Pitt Rivers' inheritance of great fortune (and
the name by which he has since been known) changed dramatically the
framework of negotiation. He quickly let the South Kensington authorities
know that he planned greatly to extend his collections, and was anxious to
provide for them a more permanent foundation. For the time being, he
needed "nearly double the space" he now had, and he offered to pay for a
curator, if the Council on Education would accede to his other demands. In
response, the Council appointed a special committee, chaired by John Lub-
bock, to consider the offer. It is evident from Pitt Rivers' correspondence
w:th A. W Franks that both were concerned about the collection's relation
to that of the British Museum-which had previously delegated the care of
Christy's collection to a sixteen-year-old custodian, and was in the process of
absorbing it into the general ethnographic collection. Franks was in fact
prepared to oppose the establishment of a permanent ethnographic collec-
tion in South Kensington, expressly on the grounds that it would compete
with Bloomsbury. Pitt Rivers insisted that it" he could not get more space at
South Kensington, he was prepared to build his own museum: "if the nation
will not accept my offer now on account of . . . rivalry between the two
departments. . . I had rather leave everything to the United States" {where
the Smithsonian Institution had recently established a National Museum,
which was in fact to be organized along lines similar to those of Pitt Rivers'
collection) (Chapman 1983:192-93).
After a compromise was proposed by which the collection would remain
at South Kensington, but be attached to the British Museum, the special
committee offered terms which satisfied Pitt Rivers' desire to retain control:
although specimens were to become government property after six months,
no part of the collection would be sold during his lifetime, or loaned without
his permission, and he remained free to add to it or take from it at will, as
well as to make such suggestions for the rearrangement of series as he saw fit.
But when the Council on Education finally got around to deciding on the
committee's proposal a year later, the whole negotiation was undercut: while
they were anxious that Pitt Rivers' collection "should become the property
of the nation," the Lords were not willing to establish a second permanent
ethnographic collection in competition with that of the British Museum
(Chapman 1983: 194-96).
Although Pitt Rivers continued to add new materials to the South Ken-
sington collection, by the end of 1881 the authorities there began to grow
impatient. Preoccupied already with the management of his new estate, Pitt
Rivers was reluctant to commit himself to building his own museum; instead,
he turned toward the universities, which had been accepting private collec-
tions since the founding of the Ashmolean Museum at Oxford two hundred
years before. Although Pitt Rivers apparently first thought of Cambridge, the
fact that it had just taken steps to found its own archeological museum turned
his attention rather to Oxford, where his recently deceased friend and col-
laborator George Rolleston had been a staunch advocate of scientific studies
(Chapman 1983:197-98).
Toward the end of March 1882, Henty Moseley (naturalist on HMS Chal-
lenger, and Rolleston's successor as Linacre Professor) wrote to Franks stating
that Pitt Rivers had offered his collection to the University. To help him
persuade University authorities to accept, Moseley asked Franks, along with
John Evans and E. B. Tylor, to provide documents for presentation to the
Hebdomadal Council. So armed, Moseley made the offer to the University
in late April 1882, under directive from Pitt Rivers as to the conditions,
which were similar to those offered to the South Kensington. The University
would be required to accept the collection as it was presently arranged, and
he was to have the final say over its disposition until his death-although he
no longer insisted on being allowed to borrow pieces at will. Moseley's efforts
were successful, and on May 30, 1882, the Vice-Chancellor of the University
delivered the Council's opinion that the offer should be accepted, and that
£7,000 should be expended to build an annex at the east end of the existing
University Museum. Although no formal stipulation was included for a lec-
turer, the Council felt that the museum could not "but prove useful in an
Henry Balfour in the upper gallery of the Pitt Rivers Museum, ca. 1890 (reference number
B2219Q, courtesy of the Pitt Rivers Museum, Oxford).
educational point of view to students of Anthropology, Archaeology, and

indeed every branch of history" (Chapman 1983: 198-203). The terms of the
gift were agreed to by all parties in May, 1883, and the University seal was
formally affixed to the Deed of Gift a year later. By that time, the University
had responded favorably to Pitt Rivers' suggestion "that a lecturer shall be
appointed by the University, who shall yearly give lectures at Oxford upon
Anthropology" (Oxford U. Gazette 5/13/84, p.449). E. B. Tylor, who in
1882 had written to Pitt Rivers about the possibility of lecturing at Oxford,
and who had the following year been appointed Keeper of the University
Museum, was now given the added title of Reader in Anthropology (Chap-
man 1981:477, 481, 483).
Typological Museums for the Savants and the Masses

Tylor, like Pitt Rivers, learned to fashion stone tools, and had previously
included chapters on material culture in his Researches into the Early History
of Mankind (1865). By this time recognized as Britain's premier student of
Primitive Culture (1871), he was in principle eminently suited to lecture on
the collections. But material culture was in fact a secondary interest for him,
and from the beginning much of the actual responsibility for setting up and
managing the collections devolved on other men: notably Moseley, who had
been given charge of the University's "ethnological collections" in 1882, and
who was assigned to supervise the transfer of the Pitt Rivers materials from
London (Chapman 1981:472, 488). Actual work on the construction of the
building did not begin until 1885; for economic reasons it was staunchly
utilitarian in character, and much smaller than required.
In the summer of 1885, Moseley and Tylor, with the assistance of Walter
Baldwin Spencer (then a young research student in zoology and later to be-
come an anthropological authority on Australian Aboriginals), supervised
the packing of the collection in preparation for its transfer from South Ken-
sington (Chapman 1981:489). Until the new wing was completed, the col-
lection was stored in empty rooms in the University Museum and other
buildings. To assist in the unpacking and eventual rearranging, Moseley se-
lected a second research student, Henry Balfour, who was put to work that
summer cataloguing the collection as it arrived, designing labels, and arrang-
ing objects on screens and in cases (490). He also handled the transfer of the
ethnographic materials from the Ashmolean, including the famous Cook col-
lection donated by Johann Reinhold Forster-which was "distributed
throughout the Museum in accordance with its arrangements by subjects"
(Blackwood 1970: 11; PR Museum n.d.). Although much of the original Pitt
Rivers collection had been put into place by the late 1880s, its opening to
the public was delayed, as Balfour continued to work on labels, to revise series
as new materials were added, and to work on the proposed catalogue (a task
he never completed). While Pitt Rivers provided occasional advice on indi-
vidual series, he left the management to Moseley and Balfour (who was at
first "sub-" and then "assistant-" and finally in 1891, full "Curator") (Chap-
man 1981:493-95). Pitt Rivers did, however, occasionally admonish Moseley
and Tylor that the work was going too slowly, and in 1888 his growing im-
patience came sharply to the surface.
The immediate cause of his annoyance was a visit to Oxford in the spring
of that year. He found much of the collection still not unpacked, and many
of the series changed from those originally proposed by him-although still
conforming to the general plan. He was not impressed with Balfour, and he
was upset that Tylor's lectures were focusing increasingly on problems in re-
ligion and mythology, rather than on the material culture studies they had
been instituted to promote (Freire-Marreco 1907). His irritation grew when
Balfour suggested in a paper "On the Structure and Affinities of the Com-
posite Bow" (1889) that nothing had been previously written on the subject.
Outraged, Pitt Rivers demanded that nothing further be published on the
collection until he was through "publishing on it" himself. Balfour, following
Tylor's advice, concealed his own annoyance; but from that point on relations
between Pitt Rivers and those managing what was once his collection re-
mained strained (Chapman 1981:518-24).
In the meantime, Pitt Rivers returned to his own archeological work,
which had largely preoccupied him since he acquired the estate in Dorset-
shire. His house there was virtually surrounded by remains, and shortly after
taking possession he started a series of excavations that were to become the
subject of his four volume Excavations in Cranborne Chase (PR 1881-98).
Through his work as Inspector of Ancient Monuments-a title Lubbock had
helped win for him in 1880-he was also involved in recording field remains
at other sites, including Stonehenge and Avebury (Chapman 1981:454-64).
Politics attracted his attention for a short time in the late 1880s; and much
of his time was involved in the daily affairs of county life and the management
of his vast property (509-17).
His museum interests also took a different direction. His new wealth made
it possible to collect on a much wider scale; yearly expenses that used to total
a few pounds now exceeded £1,OOO-including collections of paintings,
Chinese vases, and other Fine Art pieces, as well as a collection of folk
objects built up in the course of his travels as Inspector of Ancient Monu-
ments. Beginning in 1883, Pitt Rivers had begun to assemble some of his
new acquisitions, along with a few series never transferred to Oxford, in a
new museum "calculated to draw the interest of a purely rural population ten
miles distant from any town or railway station." Set up in four rooms of an
abandoned school house on his estate, the museum at Farnham included an
archeological series, agricultural implements, folk costumes, and early pot-
tery-all arranged by the "typological method" to illustrate the progress in
each art (Buxton 1929). By 1890, there was also a restored medieval building
known as "King Johns House;' a game park full of exotic animals, Sunday
concerts by his "private band," and a variety of pavillions for the use of visi-
tors, who by then exceeded 15,000 annually (PR 1888: 1890; 1894).
In 1888, and again in 1891, Pitt Rivers restated what might be called his
"museum ideal." In his presidential address to the anthropological section of
the Bath meeting of the British Association, he called for the establishment
of a national educational museum of arts organized as a "giant anthropologi-
cal rotunda" -concentric circles being peculiarly adapted for "the exhibition
of the expanding varieties of an evolutionary arrangement" (1888:828). Elab-
orating a theme he first articulated in the 1870s when his collection was put
on display in the working class district of Bethnal Green, Pitt Rivers argued
the need for a truly popular museum-or, as he put it in 1891, "an educa-
tional museum"-as well as one of "reference" or "research" (1891:115). The
nation had thought it proper "to place power in the hands of the masses:'
whose ignorance of history lay them "open to the designs of demagogues and
agitators." Fortunately, however, "the law that Nature makes no jumps" could
be "taught by the history of mechanical contrivances, in such way as at least
to make men cautious how they listen to scatter-brained revolutionary sug-
gestions" (116). While he still insisted also on the virtues of typological
arrangement for scholarly purposes, it was clear that Pitt Rivers felt that his
museum ideals were better realized at Farnham than at Oxford. Shortly before
his death in 1900, he wrote a letter complaining of the work of Tylor and
Balfour, and of Oxford in general (Chapman 1983:202). Reflecting on his
decision to present his collection to the university, he concluded:
Oxford was not the place for it, and I should never have sent it there if I had
not been ill at the time and anxious to find a resting place for it of some kind
in the future. I have always regretted it, and my new museum at Farnham,
Dorset, represents my views on the subject much better.
Conclusion
That Pitt Rivers was an "evolutionist" and his collection arranged to illustrate
the principles and the course of human cultural evolution is undeniable. But
as we have seen, his anthropological thinking was molded in the interaction
of a variety of orientations toward several different anthropological issues.
Grounded in a practical technological developmentalism, its basic principle
was that of continuity of typical form-the development of one technologi-
cal form from another by small gradations. Under the impact of Darwinism,
his thinking took on more explicitly biological overtones, and the temporal
range of his developmentalism was greatly expanded: the principle of conti-
nuity had now to establish links with the animal world. But Pitt Rivers was
also strongly influenced by "ethnological" concerns of a more traditional sort:
the attempt to trace all mankind back to a single source and to reconstruct
the history of human racial differentiation and interconnection. Typological
gradations thus served the purposes of two different kinds of diachronic re-
The main exhibition hall of the Pitt Rivers Museu m, ca. 1970 (reference number PR255H,
courtesy of the Pitt Rivers Museum, Oxford).
construction: generalized evolutionary sequences and localized historical se-

quences.
In this context. typological arrangement might in fact take on a sort of
"geographical" character. as in Pitt Rivers' diagrammatic gradational arrange-
ments of boomerang forms. Indeed. his later formulations of his museum
ideal explicitly attempt to incorporate a "geographical" viewpoint. The con-
centric circles of his "anthropological rotunda" were designed to illustrate the
major phases of evolutionary development: a spot in the actual center was
left empty for "the relics of tertiary man, when he is discovered"; the inner-
most circle was for the Paleolithic period; the next for the Neolithic, and
then on through the Bronze, Iron, and Middle Ages-each larger than the
last, because "the increased number of forms would require a larger area"-
"until the outer circle of all would contain specimens of such modern arts as
could be placed in continuity with those of antiquity." But by cutting the
rotunda also into pie wedges, "separate angles of the circle might be appm-
priated to geographical areas," and "where civilisations in the same stage of
development are allied to one another, they might occupy adjacent angles
within the same concentric ring." By following the radii, the "most unin-
structed student" could reconstruct the history of any object and "trace like
forms to their origin"; where "breaks in the continuity of any art must nec-
essarily occur," signs might be posted directing viewers to the spot where "the
threads of connection" might be picked up (PR 1891 :117).
In the discussion of Pitt Rivers' paper, F. W Rudler objected that if one
walked around the Paleolithic circle, "one would never make any progress;'
and would actually have to pass "by a jump" to the Neolithic-thus violating
the principle of continuity. The solution, Rudler suggested, was a spiral,
which might perhaps be constructed in the Albert Hall, if "it could be cleared
out" (PR 1891:122). A hundred years later, it is hard to say whether Rudler's
tongue was in his cheek. Certainly, some very serious consideration has been
given recently to implementing the rotunda idea. Around 1970, a very sim-
ilar scheme was developed by the third Pitt Rivers Museum Curator, Bernard
Fagg, and embodied by the architect Pier Luigi Nervi in the design of a yet
unrealized new building to house the museum's collections, which since its
opening had expanded from 15,000 to over a million specimens (Blackwood
1970: 10). Although the plan was no doubt developed with an eye to the
stipulations of the Deed of Gift, it departed somewhat from Pitt Rivers' ro-
tunda. The principle of the geographical pie wedge was retained, as well as
the concentric circles; but instead of being devoted to evolutionary phases,
the circles were each devoted to objects of a single type, so that the visitor
would follow the continuum of types not out along a radius, but around one
of the rings. While the principle of typological continuity was thus pre-
served, the general effect was to privilege geographical over evolutionary con-
siderations-except in the case of certain archeological collections which
would be arranged in evolutionary sequence along particular radii (9-10).
At the risk of imposing logical considerations upon the materials of history,
one wonders whether Pitt Rivers' ideas of museum arrangement could, with-
out compromise, be realized in the real world of museum display. It seems,
however, to be historically the case that pragmatic considerations of museum
display were in that period impelling both advocates and critics of typological
The first anthropology diploma students with Henry Balfour, 1908. Left to right : F. H. S.
Knowles, Henry Balfour, Miss B. F. Marreco, A. Hadley (reference numher B501Q, courtesy of
the Pitt Rivers Museum, Oxford).
arrangement toward realistic life figure groupings exhibiting the mode of life
characteristic of a particular geographical or cultural region (cf. ]acknis, in
this volume).
Among these pragmatic considerations were those of audience response.
Despite Pitt Rivers' hopes that typological arrangement might close working
class minds to "scatter-brained revolutionary ideas," one suspects that those
three hundred local agricultural workers who came to Farnham every Sunday
may have been attracted more by exotic animals and band concerts than by
typology. Certainly, an important factor in the shift of American typologists
to life groups was their popularity with museum visitors. In short, typological
arrangement may have been as problematic for the purposes of an educational
museum as it was for the those of a research museum.
Nevertheless, despite its problematic character, and the General's disap-
pointment, the Museum to which Pitt Rivers gave his adopted surname sur-
vived, and grew. His donation had placed anthropology in Britain for the first
time within an academic setting. Tylor's appointment as Reader and later to
a personal Professorship helped give the subject scholarly respectability and
scientific status. Tylor's lectures were supplemented by those of Balfour on
Arts and Industries, and in the 1890s, by those of Arthur Thomson on Phys-
ical Anthropology. And when a Diploma in Anthropology was finally intro-
duced in 1907, the first class had its picture taken as a life group in its own
academic geographical setting-in front of a display case in the Pitt Rivers
Museum.
Acknowledgments
For their assistance at various points of the research and writing, I would like
to thank B. A. L. Cranstone, Curator of the Pitt Rivers Museum, Wendy
James (my advisor at Oxford), Godfrey Lienhardt, Dennis Britton, the late
Beatrice Blackwood, Richard Bradley, Geoffrey Turner, Elizabeth Gunn, Ma-
jor Frederick Myatt, Malcolm MacLeod, Anthony Pitt Rivers, Michael Pitt
Rivers, and my wife Betty Ausherman-as well as all the archivists of the
manuscript sources noted below.
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Manuscript Sources
Although they are cited in the present essay only indirectly by reference to
my doctoral dissertation (Chapman 1981), my research involved extensive
consultation of manuscript records and papers, including those of the An-
thropological Society of London (Royal Anthropological Institute), the Ar-
chaeological Institute, the British Association for the Advancement of Sci-
ence, Henry Balfour (Pitt Rivers Museum), Christies of London, Henry
Christy (British Library), the Ethnological Society of London (Royal An-
thropological Institute), John Evans (Ashmolean Museum), the Geological
Society of London, the Hebdomadal Council (Oxford University Archives),
Thomas Huxley (imperial College of Science), the Institute of Army Edu-
cation, the Lane Fox Papers (Leeds City Archives), the Linnaean Society of
London, John Lubbock (British Library), the Oxford University Archives,
the Perceval Papers (British Library), the Pitt Rivers Museum Archives, the
Pitt Rivers Papers (Salisbury and South Wiltshire Museum), the Pitt Rivers
Estate (Dorset County Record Office), the Rolleston Papers (Ashmolean
Museum), the Royal Anthropological Institute, the Royal Geographic Soci-
ety, the Royal Institution, the Royal Irish Academy, the Royal Society, the
Royal United Services Institution, the Society of Antiquaries, the Salisbury
and South Wilts. Museum, the Sotheby Sales Catalogues (British Library),
the University Museum (Oxford), the War Office Papers (Public Record Of-
fice), and the Way Papers (British Library).
FROM SHELL..HEAPS
TO STELAE
Early Anthropology at the Peabody Museum
CURTIS M. HINSLEY
Just after the Civil War, George Peabody, a Salem, Massachusetts, boy who
had made a fortune in England in dry goods and the transatlantic trade, made
a philanthropic mission to his native land, with the intention of endowing
science museums at Harvard and at Yale, and a large fund for education in
the conquered Confederacy (Parker 1971: 165). At Harvard, his plans were
momentarily frustrated by Louis Agassiz, the renowned Swiss geologist who
had emigrated to the United States in 1846 (Lurie 1974). Transplanted to
New England, where he married into a wealthy Boston family and established
himself at Harvard, Agassiz seemed the apotheosis of the Brahmin gentleman
scholar: a comprehensive naturalist who was also a broadly educated, urbane
humanist. With his great scientific reputation, his institutional entrepre-
neurship, and his ability to mobilize wealthy patrons in both Boston and New
York, he had by the Civil War come to dominate natural science in New
England from the precincts of the Museum of Comparative Zoology at Har-
vard. By the early 1860s, his assurance shaded into arrogance; in 1864, his
excessive paternalism and staunch resistance to Darwinian evolution spurred
a rebellion among a number of his student assistants, led by the young icthy-
ologist Frederick Ward Putnam, who left Harvard to return to become super-
intendent of the Essex Institute in George Peabody's native Salem (Dexter
1965; Mark 1980:14-55). When Peabody came to Agassiz a year later with
the offer of $150,000 endowment, contingent on the Museum's bearing his
Curtis M. Hinsley teaches American history at Colgate University, and is currently

writing a book on the history of anthropology in Boston, 1860-1920, centering on
the Peabody Museum of Archaeology and Ethnology. He is also co-curator of an
exhibit on the history of photography in anthropology opening at the Peabody Mu-
seum early in 1986.
49
50 CURTIS HINSLEY
name, Agassiz refused-which may have been a factor in Peabody's subse-

quent decision to support Agassiz's erstwhile student, Putnam, by endowing
the Peabody Academy of Science in Salem in 1867. By that time, however,
Peabody had already succeeded also in attaching his name to a museum at
Harvard. His nephew, the paleontologist O. C. Marsh, had proposed that it
be devoted to American archeology-a science whose links to ethnology
(the study of human races) the Darwinian revolution was making ever more
salient. Out of this confluence of contingencies was born the first specifically
anthropological museum in the United States: the Peabody Museum of
American Archaeology and Ethnology (Brew 1968:15).
Archeology and ethnology were not disciplines that excited widespread
support in the world of science and scholarship in this period. Ethnology,
particularly, had been compromised by its implication in the debates over the
unity or plurality of the human species during the 1850s-in which Agassiz
had been involved on the polygenist side (Stanton 1960); and when the
Smithsonian Institution made American archeology the subject of its first
major publication, the reviewer in the Scientific American had wondered
whether there was not a "better and more profitable way of expending James
Smithson's funds" than "collecting broken earthen pots and Indian wallets
'made long before the Flood'" (Anon. 1848). True, by 1866, the newly as-
serted antiquity of man and the doctrine of his primate origins portended a
greatly heightened scientific relevance for American archeology and ethnol-
ogy. Nevertheless, Harvard's hesitation in accepting the Peabody bequest is
evident in a letter President James Walker wrote to Robert C. Winthrop, the
chairman of the new museum's board:
I have always been of the opinion that when a generous man, like Mr. Peabody,
proposes a great gift, we should accept it on his own terms, not on ours. Even
if we could persuade him to change his plans, and endow some other branch
of the University, he would never take the same interest in it, or regard it so
much as his own. We had better take what he offers, and take it on his terms,
and for the object which he evidently has at heart. The object may not impress
the College or the community, at first sight, as one of the highest interest or
importance. There may be, and will be, as you say, disappointments in some
quarters. But the branch of Science, to which this endowment is devoted, is
one to which many minds in Europe are now eagerly turning, and with which
not a few of the philosophical inquiries and theories of the hour are intimately
associated. It will grow in interest from year to year.
(PMA: JW/RW 10166)
As a matter of fact, for some decades after accepting Peabody's endow-

ment, the University did relatively little to support either his Museum or its
"branch of Science." The battle of museum anthropology for legitimacy and
acceptance in nineteenth-century America was part of a major intellectual
EARLY ANTHROPOLOGY AT THE PEABODY MUSEUM 51
and cultural shift. For most of the scholarly world, the study of mankind was
still a branch of classical, humanistic study, rather than part of the realm of
natural science. The Peabody Museum emerged during the transition be-
tween the two views, and its first decades reflected the difficulties of institu-
tional and conceptual reorientation. Founded in the shadow of Agassiz's pow-
erful intellectual, social and financial presence in the Boston community, it
was caught in the midst of heated local debates over Darwinian evolution.
And it faced a strong predisposition in established Boston circles against the
worthiness of "primitive" peoples and their artifacts for the moral education
of civilized nations. The outcome of such conditions was to give the Museum
a marked disadvantage in raising funds and to place its officers in the position
of brokering between patrons and fieldworkers, addressing different audiences
in distinct voices. The resultant tensions deeply marked museum anthropol-
ogy in Cambridge.
Classical Civilization and Paleolithic Man:

Old World Models for New World Archeology
Perhaps not surprisingly, in view of Peabody's origins, the Museum was
marked in the beginning by a strong Salem and anti-Agassiz bias. The first
board of trustees included two Peabody nephews-one of whom was soon
replaced by Henty Wheatland, the scientific patron of the Essex Institute of
Salem-as well as Asa Gray and Jeffries Wyman, the professors of botany and
of comparative anatomy at Harvard, and both of them Darwinian opponents
of Agassiz. Through ex officio members, the Museum was interlocked with
the Massachusetts Historical Society, the Boston Society of Natural History,
and the American Antiquarian Society in Worcester. But if these relation-
ships brought early collections to the Peabody, its Salem connections some-
what limited its access to Boston finances. While Agassiz's museum had put
down deep roots in local soil, the Peabody was from the beginning perceived
and treated as an outside institution.
Circumventing Agassiz was at once an intellectual, personal, and financial
issue. Peabody had instructed that his museum address "the great questions
as to the order of development of the animal kingdom and of the human
race, which have lately been so much discussed" (PML:l). In other words,
the Museum was expected to enter the evolution debate, where Agassiz' con-
servatism was well known. Under the circumstances the trustees were anxious
to achieve two goals for their enterprise: financial stability and scientific re-
spectability. Judging correctly that they could expect little additional help,
Winthrop and treasurer Stephen Salisbury set out to invest their limited funds
prudently and spend the proceeds cautiously.
52 CURTIS HINSLEY
In these matters the choice of the aging, ailing Wyman as the Museum's
first curator made a difference. By 1865 the strain of lecturing had become
too great for him and he had effectively stopped teaching. By virtue of gifts
from family friends, however, Wyman enjoyed an income for life. The mu-
seum thus enjoyed its first curator at a discount. On the other hand, while it
saved money, the failure (until 1887) to establish a professorial chair in an-
thropology probably damaged the discipline's image in the Harvard commu-
nity. The decision was a matter of circumstances, for only Wyman's infirmity,
and his absences from Cambridge, prevented him from assuming such a pro-
fessorship along with the curatorial position. While he did not think it "even
probable" that he would become professor in the Museum, in fact the various
applicants for the position-Daniel Brinton, Charles Rau, Albert Bickmore
among them-were not taken seriously. Winthrop reminded Wyman in 1868
that "I consider [the professorship I yours when it is best for you to take it"
(PMA: RCWIJW 8/8/68); but Wyman knew that he would never be strong
enough to accept. Nevertheless, until his death in 1874 he provided, through
his reputation as comparative anatomist and his ongoing shell-mounds ar-
cheology, what the Museum most required: a solid scientific foundation.
In contrast to the magnificent material presence of Agassiz, Jeffries Wyman
seems almost ethereal, perched precariously on the edge of existence. His-
torically, indeed, Agassiz has grown larger than life, while Wyman has vir-
tually disappeared. If Agassiz was robust, Wyman was ill and faded; as he
migrated southward each winter there was no assurance that the fragile man
would return for another spring. Agassiz possessed a massive ego; Wyman
seemed to have been born totally without one. Agassiz fought fiercely for
scientific status and priority, while Wyman gave away ideas and discoveries
for others to use. Agassiz was panoramic in the sweep of his generalization
and taxonomy; Wyman lovingly investigated the minute, the exceptional,
the individual.
By the time of his death Agassiz had built a major institution; in the sum-
mer of 1874, just before his death, Wyman could still be found quietly dust-
ing and ordering his private collections, which filled a single room in Boyls-
ton Hall (Wilder 1910:200). "In Dr. Wyman's [Museuml we have an
example," wrote Asa Gray later that year, "of what one man may do unaided,
with feeble health and feebler means, by persistent and well-directed indus-
try, without eclat, and almost without observation. While we duly honor
those who of their abundance cast their gifts into the treasury of science, let
us not-now that he can not be pained by our praise-forget to honor one
who in silence and penury cast in more than they all" (Gray 1874:15-16).
The contrasts in the careers and contemporary evaluations of Agassiz and
Wyman suggest a dichotomy in attitudes toward science as both personal
experience and as social institution in mid-century Boston. While both men

were valued, the science of Wyman was clearly not the science of Agassiz.
Wyman stimulated a flurry of disparate digging and unconnected observa-
tions on the kitchen-middens of the New World, most of it intended to dem-
onstrate assumed parallels with an adopted European model of antiquity, and
perhaps the existence of an even greater antiquity in the New World (Wyman
1876). In its first few years under Wyman, the Peabody Museum functioned
within this paradigm. Buying collections in Europe and supporting modest
explorations in North America, the trustees endeavored to establish a com-
parative program. While they spent thousands of dollars on the foundation
materials-notably the Rose, Mortillet, and Clement collections-they saw
these outlays as a necessary first step. Eduard Desor, archeologist and Peabody
Museum agent in Switzerland, advised Wyman at the beginning of the Mu-
seum's first year of operations that the main focus must be on America:
Do not allow yourself to be mislead [sic] by the consideration, that since the
American antiquities are not connected with the classic ages as in Europe,
they are therefore less interesting. By no means. The remains of humanity are
always and everywhere interesting.
(PMA: EDI]W 1/1/67)
Desor's wise words may have served to guide the early Peabody. After ne-
gotiating in Europe for the Wilmot Rose collection in 1868, Winthrop wrote
home enthusiastically: "These Danish specimens, with the Mortillet & the
Clement, will give us a grand European basis for comparison, & we shall be
in a condition to defy all competitors on our own soil, & shall be equal to
almost any collection abroad" (PMA: RW/JW 9/10/68). While the Peabody
trustees acted decisively, however, they fully appreciated that scientific re-
spectability could not be bought.
Indeed, there were important groups in the Boston intellectual and finan-
cial community that remained unimpressed with New World studies, despite
Wyman's efforts and those of Putnam, who returned from Salem to Cam-
bridge to succeed Wyman as curator in 1874. Consider, for example, a dis-
cussion that took place on May 15, 1880, at the second annual meeting of
the Archaeological Institute of America, which already enjoyed a member-
ship of more than 100 Boston gentlemen. Founder-president Charles Eliot
Norton and the twenty-six members present listened intently as their guest
for the afternoon, Major John Wesley Powell, himself recently the founder of
the new Bureau of Ethnology in Washington, made the case for the study of
North American archeology. When Powell had finished his account of the
Bureau's current and planned work, however, one of Boston's prominent cul-
tural figures, Charles C. Perkins, bluntly challenged the usefulness of such
54 CURTIS HINSLEY
Jeffries Wyman, taken hy Oliver Wendell Holmes, August II, 1865 (photograph numher
N31071, courtesy of Ann Wyman and the Peahndy Museum, Harvard University).
efforts in America. A trustee of the Museum of Fine Arts, Perkins suggested

that American materials would be readily available for some time to come;
he urged instead that the Institute concentrate its resources on classical, Old
World sites, so that, as he put it, "we may lay our hand upon something to
be placed in our Museums."
Francis Parkman, Boston's elder statesman of historical letters, responded
that the object of the Institute was to acquire knowledge rather than art
objects, and this could best be accomplished in America. But F. E. Parker
rose to support Perkins: If knowledge was the true aim of the Institute, "then
this knowledge should be useful and not simply curious; and the knowledge
which was useful to us was not that of barbarians but that of cultivated races
which had preceded us." Even if we possessed "all the pottery ware, kitchen
utensils and tomahawks" the Indians had ever made, "it would be no better
for us." In contrast, classical collections would "improve the people and repay
expenditure."
Parkman tried again. Mr. Parker, he replied, did not understand the "bear-
ing" of ethnological work. Although "household utensils, pottery ware, etc.,
were interesting themselves," the study of tribes involved "questions of the
greatest importance, the evolution of the human race, its civilization, and
many questions of the greatest interest"-to which Parker simply responded
that he saw "no reason for beginning the work of the Institute at a point
where the civilization was inferior to our own instead of superior."
It was left to Putnam, as curator of the Peabody Museum, to summarize
the positions he had heard: "The widest field for the study of Ethnology," he
remarked, "is in America, where the study ought to begin; here we have
everything of man dating back farther than anything in the old country; we
must study the art of these races to find out about their migrations and dis-
tribution; if Ethnology is the aim of the Institute, then America is the proper
field; if art only in its highest development" is the aim, then the other side of
the ocean was the proper field of operation (AIAP: Minutes of General
Meeting 5/15/80). For his part, Powell later commented caustically on en-
counters with such men when he observed that "our archaeologic institutes,
our universities, and our scholars are threshing again the straw of the Orient
for the stray grains that may be beaten out, while the sheaves of anthropology
are stacked all over this continent; and they have no care for the grain which
wastes while they journey beyond the seas." (Powell 1890:652}.
As Putnam sensed, the debate between Old and New World enthusiasts in
the new Boston institution was no mere choice of geography. It was a ques-
tion of how best to build museums of mankind, and more generally, how to
approach the study of archeology. On the one hand, there was Lewis Henry
Morgan, the dean of American anthropologists, arguing in a letter to Charles
Eliot Norton, that Grecian and Syrian relics should be left securely buried,
while research was directed to "our more humble Indian antiquities" which,
"lower in public estimation;' were "perishing daily" (AlAP: LHM/CEN 10/
25179). On the other, there was Norton's own feeling that "what we might
obtain from the old world is what will tend to increase the standard of our
civilization and culture"; and that if "we are ever to have a collection of
European Classical Antiquities in this country we must make it now"-since,
as Perkins put it, "classic collections are limited in extent and there is a great
run upon them" (AIAP: Minutes of General Meeting 5/15/80). The one
approach implied building museums by encouraging active collecting by re-
searcher3 in this country; the other, in the context of available resources of
56 CURTIS HINSLEY
personnel, implied building collections by the purchases of agents abroad.

More generally, though, the question was whether archeology was to go for-
ward within the Great Tradition of humanistic scholarship as established
since the Renaissance through the fields of linguistics, art, architecture, and
archeological reconstruction, looking chiefly to the Mediterranean world. Or
was the study of humanity to be more profitably pursued through the younger,
vigorous tradition of the post-Darwinian natural sciences-through study of
origins, development, and variation of mankind and human cultures over the
face of the earth? Colin Renfrew has recently referred to this persistent dif-
ference in purpose and perspective as the "great divide" which still separates
archeology as classics from archeology as science (Renfrew 1980). But in the
Boston context, it was not only a question of research and institutional strat-
egy; it also became a social index and a financial factor.
Culture and Commerce: Moral Education in the Gilded Age
Some of the social and personal factors involved were suggested in a letter
written by Putnam to Morgan, telling him more about the man they had to
deal with in the Archaeological Institute of America. After identifying Nor-
ton as the first professor of art history at Harvard, Putnam added that he was
also a man of high social function and is rich, with a fine house and large
grounds here in Cambridge. So far as I know he has not taken an active interest
in American antiquities or ethnology, but he is well up in all that relates to
classic art. To my knowledge he has never been inside of the Peabody Museum,
and he has not the slightest idea of what I have done or am trying to do there.
If you can get him interested in the exploration of the remains of the ancient
peoples of America you will be doing a good thing, for he is a man of consid-
erable influence in Cambridge and Boston and he would be well backed
up ....
(FWPP: FWP/LHM 1131180)
Against the traditional view of Boston cultural decline during the "Gilded
Age," some scholars emphasize the efforts of men such as Norton to reassert
moral guidance in an increasingly pluralist, democratic, and unmanageable
city through "influence" rather than through politics. With such institutions
as the museum, library, symphony, and university, Norton was able to avoid
the fate of the mere aesthete who indulged in bemoaning the crass tendencies
of his age (Green 1966; Harris 1962; cf. Horowitz 1976).
The decline of American gentility was a national phenomenon closely
associated with urban growth, immigration, and startling changes in demo-
graphic and political balance (Persons 1973). Boston was only one of many
vanatlons, but a unique one where constant vigilance against social, finan-
cial, and moral slippage had continuously produced investment in art, sci-
ence, and commerce for the public welfare. Boston began as a garrison of
precarious souls; corruption and decline always seemed to threaten from be-
yond or within.
Since the days of the first Winthrops, New England cultural stability con-
sisted in blending social and religious respectability, financial stability, and
political leadership in certain persons and families. The elements were insep-
arable and presumably inherited. But the immigration, urbanization, and
ward politics of the mid-nineteenth century shattered the correspondence of
these cultural components, splitting off politi<;:al power from social promi-
nence. The result was an unhappy condition in which gentlemen were with-
out political issue and men of politics were clearly not gentlemen. Under-
standably, gentlemen of the post-Civil War generation looked back with
nostalgia even as they struggled for moral influence through other means.
The haunting fear was inconsequence-the decline to mere aestheticism,
to talking in closed circles among good fellows who intuitively understood.
And the danger was great because the temptation to turn away from a tawdry,
grasping commercial society to the pleasant companionship of kindred spirits
was alluring. To some, the fabric of New England culture seemed to be visibly
unraveling, and only men of supreme courage and energy could prevent fur-
ther shredding. In this effort to hold society together, education was abso-
lutely crucial: the education of social leaders, at Harvard; and the education
of the public through schools, museums, and so forth. Theodore Lyman ex-
pressed the need to his brother-in-law, Alexander Agassiz, in 1873:
Just now there is a tidal stream of commercial life which sweeps into itself all
the energy and talent of the United States-only here and there is it resisted
by men of peculiar temperament or peculiar genius. The state of mind thus
induced is so incompatible with that of scientific thought that, when men by
success, or through exhaustion, leave commercial enterprise, they are inca-
pable even of conceiving what science is and mistake it-when they try to
understand it-for something that will lead to preserved beef, or patent wash-
ing fluids .... What we must keep trying to do-and what we have done very
successfully-is to make Harvard College larger and as many sided as pos-
sible-that is, to present learning in as many forms as possible
(AAP: TLlAA 5/4173)
Lyman's concern for moral education was shared by the men who founded
the Archaeological Institute, and who constituted the cultural elite of Bos-
ton: Norton, student of Dante and the standard-bearer of high culture;
Charles Perkins; Martin Brimmer, wealthy philanthropist, president of the
Museum of Fine Arts, world traveler and art collector. Others were Norton's
58 CURTIS HINSLEY
cousin and president of Harvard, Charles W. Eliot; Augustus Lowell; and

Henry P. Kidder. As Neil Harris has observed of the board of directors of the
Museum of Fine Arts in this period, "this was not a group of idle aristocrats
or newly rich entrepreneurs intent on raising their social status through a
connection with the fine arts" (Harris 1962:551). To men of Norton's back-
ground and education the burden of public enlightenment was tangible and
serious, a noblesse oblige that served at the same time, they believed, as the
surest route to peaceful, gradual social improvement in community and na-
tion.
The heart of education lay in the teacher as model and the subject matter
as inspiration. Together, model and inspiration would elevate the student
morally, inculcating a sense of religious awe, artistic appreciation, and manly
responsibility-finally creating those elusive qualities of nineteenth century
gentility: "character" and "taste:' Understandably, in this vision of education
as inspiration only the finest, perfect products of human genius had a legiti-
mate place; not surprisingly, they tended to be identified narrowly and eth-
nocentrically. Why, after all, expose young men and women to the everyday,
the mundane, the imperfect? Little use or profit could be gained from such
experiences. As Theodore Lyman advised the Harvard president: '?\ young
and learned man, who yet has ... no belief that one thing is really better
than another, is one of the most dismal spectacles conceivable." Such a gen-
eration would drift the country "Devilward" (CWEP: TLlCWE 6/8/71).
Thus, when Norton, Parker, Brimmer, and others talked of "knowledge"
as opposed to "mere curiosity," they had in mind spiritual elevation, an en-
nobling influence that worked in mysterious ways, through the beholding of
the best in human products and instilling similar aspirations in the beholder.
'?\ man who would judge well of foreign people and profit by them, must first
study and get his mind solid and muscular, and capable of seeing things as
they are, and of comparing them" (CWEP: TLlCWE 6/8/71). It was not a
question of science versus art, but a cultural style or approach toward natural
and human products. Its scientific equivalent was a form of natural theology:
the close, minute study of nature in order to reveal the divine plan and
intricate foresight of the Creator. This was only an alternate route to the
same goal: religious inspiration and moral improvement of the investigator.
Many American scientists of the nineteenth century voiced such senti-
ments. Jeffries Wyman made the connection between nature and art to Rob-
ert Winthrop in 1874: "I sometimes think that we should stand in the pres-
ence of the more attractive scenes of nature as well as works of art, give our
whole souls to them, and pass on" (PMA: JW/RW 2/19/74). For Wyman, in
fact, scientific and artistic landscapes became indistinguishable as divine po-
etry. In the culture of these men, science could be art, for they shared a vital
characteristic: a pious stance toward the works of God and man. Order, per-
manence, and stability were the relevant principles. According to this vision,
perfection in art and culture made sense. There were high and low points in
art and in human history, to be sure, but these were understood as degrees of
relative accomplishment toward a single standard.
Charles Darwin had rocked this world of assumptions with a frightening
vision of a possibly purposeless universe of chance. If any order were to be
found there, it would be statistical, not divine. But while clerics argued vig-
orously (and often beside the point) against what they perceived to be an
atheistic cosmology, among Boston gentlemen the response was less religious
than aesthetic; their complaint was against the ugliness of struggle and nat-
ural selection. Again, Jeffries Wyman spoke out of personal despair for a
whole generation: "This struggle for existence everywhere is an awful spec-
tacle-not one perfect form on earth, every individual, from crystal up to
man, imperfect, warped, stunted in the fight" (Dupree 1953:245). Darwin,
he added, had raised questions that "we had been brought up to consider out
of the reach of discussion." On scientific grounds Wyman accepted Darwin's
hypothesis as a satisfactory theory. But aesthetically and morally Wyman re-
nounced such an appalling, unlovely vision. If history were nothing more
than a process of constant adjustment, of ongoing imperfection, where could
one turn for aesthetic criteria or moral standards?
Norton's vision of the cultural mission of education-and, indeed, of ar-
cheology-provided an answer:
Deprived as we are of the high & constant source of cultivation found in the
presence of the great works of past ages, there is the greater need that we should
use every means in our power to make up for the loss of this influence upon our
youth, and give to them so far as possible some knowledge of the place these
works hold in history, and of the principles of life & character which they
illustrate. We need to quicken the sense of connection between the present
generation and the past; to develop the conviction that culture is but the name
for that inheritance, alike material and moral, that we have received from our
predecessors, and which we are to transmit, with such additions as we can
make to it, to our successors.
(CWEP: CEN/CWE 1115174)
Brahmin Funding for the Archeology of Indian Shell,Heaps

Although the matter was not posed that way, the problem facing the men of
the Peabody Museum was to reconcile such a view of culture with the hum-
bler but more embracive definition being articulated within evolutionary an-
thropology (Tylor 1871)-or, at a more practical level, to relate their own
anthropological collecting to the categories of classical archeology and high
art accepted by their potential patrons. It was a challenge to make a con-
60 CURTIS HINSLEY
vincing case for paleolithic or neolithic artifacts. On his first European buy-
ing trip for the Museum in 1868, Robert Winthrop consistently described his
purchases as good "investments" and "perfect" specimens-employing the
phrases of two familiar worlds: finance and art (PMA: RW/jR 8/8/68). But
even if, like Oliver Wendell HolI:I1es, one gave the "ragpickers" of prehistoric
archeology a French disguise-"They delight me, these Chiffonier expedi-
tions among the shell heaps of nations, almost as it would to dredge the
Tiber" (JWP: OWH/jW 10121168}-it was still difficult to equate the shell-
heaps of Maine, Florida, or even the Swiss Lakes with the ruins of Italy or
Greece. Daniel Brinton managed to remain optimistic that ar-
chaeology will in time rank equal with that of Egypt and the Orient" (JWP:
DB/jW 4/6/68), but he still expressed disappointment with the cultural status
of Florida shell-heaps.
In truth, North American archeology was a combination of backyard
scrabbling and high aspirations. George Peabody, nephew of the founder,
caught the tone well in starting a letter to Wyman: "My uncle tells me you
have been pitching into some clam heaps .. !' (JWP: GP/jW 5127/67). And
S. Weir Mitchell left an engaging description of a summer's day spent "raking
over an Indian shell-heap" with Wyman: "bone needles, fragments of pottery
and odds and ends of nameless use went with a laugh or some ingenious
comment into his little basket" (Mitchell 1875:356}.
Here lay the foundations of North American archeology. The rhetoric was
revealing. Whether one accepted Darwin entirely or in part, the museum
anthropology of the new Peabody issued a challenge: it was clearly to be a
science of humanity, not a history of art or an institution for the appreciation
of high art. The impact of evolutionary thought on museum anthropology
was precisely to give attention to the everyday, the mundane, and the imper-
fect. Focus increasingly turned to the many rather than the few, the common
rather than the exceptional, as the keys to cultural understanding. The bulk
of anthropological treasure is mundane; sober deflation of expectations pre-
pared the way for new criteria of cultural evaluation (Hinsley 1981:103).
As essential as such artifacts are to anthropology, they did not in the nine-
teenth century produce enthusiasm or financial support from either private
sources or Harvard College. Beginning in 1875, Putnam gave countless "par-
lor talks" in Cambridge and Boston in an effort to raise funds for fieldwork in
New jersey, Ohio, Tennessee, California, and elsewhere. Typical of Putnam's
perpetually harried state was the following note of 1883 to his Salem mentor,
Henry Wheatland:
I am now working night and day on my Annual Museum Report and getting
my collections of the past year in order and cataloguing them for the Report.
We have never had so much material come in in a year before. I must show it
off to advantage and speak on it, in order to get further aid for my
expl[orations] next year. I've given a parlor lecture at Mrs. Warren's which I
hope will turn well, as I interested a number of ladies in the work.
(HWP: FWP/HW 1117/83)
But with the exception of his drive to save Ohio's Serpent Mound-which
had the selling points of romantic aura and largeness of scale-Putnam's
efforts were only moderately successful.
Nor was there much help from Harvard. Rather, the early years were
marked by squabbles over who would pay for heating and lighting (PMA:
CWE/ Asa Gray 8/12175). The Harvard Corporation held the Museum at
arm's length, as Winthrop reported to the trustees in 1885:
At our last Annual Meeting, I made a statement to the Board in regard to the
anomalous relation which this Institution seems to hold to the University ...
At any rate the President's Annual Reporr of this year, like that of several
previous years, does not recognize the Peabody Museum in any form or shape.
I cannot think such a condition of things just to the memory of Mr. Peabody
or consistent with the character which the Institution sustains to the Univer-
sity. I am perfectly sure that President Eliot has no unkind or disrespectful
intention in this course of absolutely ignoring our Museum. But the result of
such an omission from the Annual Reports of the President cannot fail to be
injurious to our interests-as we are not recognized as a worthy department of
the University, & not brought to the attention of the public as a subject of
interest.
(PMA: Minutes of Trustee Meeting 6/12/85)
Over time, Putnam had some success building a small financial base around
the Boston nexus on which Agassiz had so successfully drawn. Between 1881
and 1896, it has been estimated, 90 percent of Putnam's expedition money
came from donations (Casler 1976:7). Prior to 1890, however, Putnam was
unable to tap the established Brahmin sources that had nourished Agassiz's
institution. His trustees were not physically or socially vigorous individuals,
despite their respected names, and Putnam's status did not give him initial
entree to important circles. Origins counted in Boston, and like generations
of his ancestors, Putnam had grown up in Salem; furthermore, his neglect to
obtain even a Bachelor's degree during his years at Harvard with Jeffries Wy-
man and Louis Agassiz cast a shadow. The Museum trustees waited twenty
years-until 1885-to try to fill the Peabody professorship in anthropology,
and even then Agassiz's son Alexander was able to block Putnam's appoint-
ment for still another two years. "You know I don't believe in Putnam's ca-
pacity, but he is honest and industrious and an excellent curator," Agassiz
later explained to President Eliot-"I only objected to his being made pro-
fessor" (CWEP: AA/CWE 8/8/94). In numerous ways Putnam showed the
scars of social and professional doubt; though he rarely stopped to rest, the
62 CURTIS HINSLEY
Museum he headed was by 1890 still only beginning to establish its,ppera-

tions on a firmer ground of local support.
Amateur Archeologists and the Antiquity of Man in America
The social and financial tenuousness of Putnam and his museum of anthro-
pology during the first twenty-five years of the Peabody made a clear imprint
on methods, theoretical statements and, especially, on field relationships.
Afraid of a misstep, Putnam became a cautious man. Anxious to encourage
fieldworkers, he developed at the same time a valuable reputation for insist-
ing on precise, thorough excavation and notation. In 1886 Frank Hamilton
Cushing sketched the emerging image of Putnam, and it was one of respect-
able conservatism:
His work in the Ohio mounds must take rank as the first of its kind. It reminds
one of the patient, detail-loving, even pedantic labors of the Danish, German
and French Archaeologists in their shell-heaps, lake-villages and bone-caverns;
yet it has more to recommend it than this! In it, there is no pottering over
useless detail. While Professor Putnam leaves, literally, no stone-or clod of
earth-unturned, unscanned, unfelt even,-he turns no stone or clod of earth
uselessly. Above all his merits, however, I deem his absolute common sense the
greatest,-always bridling and guiding his unflagging enthusiasm as it does. He
has been for years, content to substitute scientific loyalty for sensationalism,
and the only complaint made of him so far as I know,-his slowness to take
advantage of his discoveries by rushing them into print-constitutes in my
humble estimation his best praise.
(FWPP: FHC/A. Hyatt 1120/86)
But whatever his own reputation for methodological caution and theoret-
ical conservatism, Putnam was at critical points at the mercy of the archeo-
logical amateurs who did so much of his fieldwork. In the case of Charles C.
Abbott, this was to involve him in the most important disciplinary contro-
versy of late nineteenth-century American archeology: the debate over the
antiquity of man on the American continent (Meltzer 1983). For forty years
Abbott maintained, in the face of withering ridicule-and with only timo-
rous support from Putnam, whose training under Wyman predisposed him to
the view-that he had discovered proof of paleolithic man on and around
the Abbott family farm on the outskirts of Trenton, New Jersey.
After receiving an M. D. degree at the University of Pennsylvania in 1854,
Abbott practiced medicine only two years before deciding to support his fam-
ily by writing popular books and magazine articles on nature-a choice that
was to mean a life of constant financial shortage. Abbott began sending ar-
Putnam digging in Foster's Earthwork, Warren County, Ohio, 1890. "This will be the standard
for all time to come," he wrote of his methods for Ohio archeology to Charles Metz, November
II, 1882 (photograph number N 1365, courtesy of the Peabody Museum, Harvard University).
64 CURTIS HINSLEY.
tifacts to Putnam in 1870, when Putnam was still at Salem, and the two men
soon developed a close relationship based on mutual interest and need. Put-
nam came to view Abbott as his private New Jersey source, while Abbott saw
Putnam's institutional affiliations as a scientific road out of Trenton. When
Putnam moved to Cambridge in 1876, Abbott's loyalty went with him.
By that time, Abbott had already published "The Srone Age in New Jer-
sey" (1872), which marked the beginning of public debate over paleolithic
man in America. Since many of his materials were surface or near-surface
finds, Abbott gave little heed to stratigraphy or geology. He modestly avoided
the issue of the identity of the early New Jersey peoples, content to have
demonstrated a development sequence parallel, he thought, to that of Euro-
pean prehistory. Thus Abbott's introduction to a national audience was re-
strained. Over the next five years, however, changes in both Abbott's ambi-
tions and Putnam's standards, along with public criticism, began to strain
their friendship. Conscious of his new status as curator of the Peabody Mu-
seum in Cambridge, Putnam sensed correctly that he was to an extent on
trial. He soon became uneasy with the surface work and the purchased col-
lections that Abbott continued to offer, and he urged his friend to undertake
careful digging. Putnam also became sensitive to Abbott's occasionally dis-
honest methods of obtaining materials, and he feared bad reflections on the
Museum. And as Putnam expanded his geographical scope, paying more at-
tention to Tennessee and Ohio, Abbott's jealousy was aroused:
I thought you would be pleased with what I did the last six months, but as you
were somewhat disappointed, why I will try and do better, by going to "fresh
fields and pastures new." But you must remember that I am not the New Jersey
Indians and it isn't my fault that the cussed red-skins made prettier things in
Tennessee than they do here.
(PMP: CCNFWP 7/27178)
Abbott began, too, to feel the constraints of life as a mere collector from
Trenton. He longed to make more profound statements from a more promi-
nent position. At the same time, though, thinking that he had established
New World antiquity, he felt bereft of ideas and purpose, as he confessed on
a dreary Sunday afternoon in the autumn of 1878:
But what of the future? Mere arrow-head gathering is impotent to suggest a

single new thought, and I seem like Othello, to be without an occupation.
Surely to go on digging in the gravel will not tell us anything new.... If in
the course of your thoughts from day to day, in archaeological matters, any
question arises, which you think it possible, I may be able to throw some light
upon, by some new style of field-work or otherwise, please let me know. . ..
Have pity on me, and send me an idea.
(PMP: CCA/FWP 10178)
The views from Cambridge and Trenton steadily diverged. Abbott never
dug as much or as carefully as Putnam desired, all the while absorbing
hundreds of precious Museum dollars. At the same time Putnam grew more
concerned with field method and supervision. When Abbott mistakenly pur-
chased a fraudulent collection from "an ignorant shoemaker" in 1879, Put-
nam and the trustees cooled noticeably. Abbott begged for another chance,
lest he be left "a ship without a rudder" (PMP: CCNFWP 12/28179).
The publication of Primitive Industry in 1881 buoyed Abbott once again.
Abbott now proposed that the neolithic implements he had picked off the
ground were the work of historic Indians, while the subsurface "paleoliths:'
which he claimed belonged to an older, glacial layer, were probably the hand-
iwork of the autochthonous ancestors of the Eskimo. Subsequently he refined
this theory to include an intermediate, "argillite" culture between the paleo-
lithic peoples and the neolithic, jasper-using Indians. Primitive Industry was
not a commercial success, however, and shortly after its appearance financial
pressures intensified for Abbott. Despondently he vowed once again to quit
science, for a time he clerked in a Trenton bank. At this low point he
appealed sadly to Putnam:
Forced out of the ranks of scientific workers, of course you will all very soon
forget me, but I have one request to make. Please do not erase my name from
the lists of recipients of your Annual Reports. It will be a pleasure to me to
yearly note your progress.
(PMP: CCA/FWP 11120/81)
But Abbott could not stay away, and within a short time he was inquiring
again. Mixing wistfulness with threats to work for others, Abbott wondered
aloud if there was "no hope among Boston's Millionaires; I suppose I should
not hope for it. I've been snubbed by their Science always, although grown
grey in loyal service" (PMP: CCNFWP 6/3/83). "If your archaeological
mightiness can find time," he reminded Putnam in 1883, Abbott was willing:
The one great trouble of my life, that which embitters every day, is, that al-
though I have studied very hard and in every way tried to prepare myself for
scientific work, yet I must work alone, or not at all. Other men are gathered
in and utilized, by schools, colleges, museums, etc. or down at Washington,
but there has never been a place for me. . . . I never know a day when I do
not wish I could be with you, and help with much of that museum work you
mention. I know I have the necessary knowledge and skill, but the Fates laugh
at me ...
(PMP: CCA/FWP 9/12183)
So it continued until the end of 1889, when Abbott got his long-awaited
lucky break. With Putnam's blessing he became the first curator of archeology
at University of Pennsylvania Museum in Philadelphia. you well know,"
Putnam reminded William Pepper, the University provost:
66 CURTIS HINSLEY
Dr. Abbott was for years placed in a very unpleasant position by the non-belief
of many persons in the great discovery which he made showing that man ex-
isted in the Delaware Valley at a time preceding the deposition of the Trenton
gravel. During those years it was my good fortune to be able to help him, and,
through the Peabody Museum, to furnish the means for him to pursue his
researches. Now that the scientific world gives him the full credit he so richly
deserves, and he is offered an honorable position by the University of Pennsyl-
vania, I am filled with happiness for his sake.
(FWP: FWP/WP 10/28/89)
Abbott's good fortune was short-lived. Soon after he began his curatorship
in late 1889, he ran afoul of Daniel G. Brinton and Stewart Culin, the two
prominent Philadelphia anthropologists (cf. Darnell 1970). Abbott had little
notion of what a curatorship involved. He was largely dependent on Putnam
for advice on accessioning and cataloguing, and he appears to have spent
weeks doing nothing in his office. In October 1892 he was fired.
After his return to the Trenton farm in 1893, Abbott's relations with Put-
nam and the Peabody Museum entered a final, unhappy stage. After Abbott's
departure for Philadelphia Putnam had hired another Trenton man, Ernest
Yolk, to continue his work. A humble, poorly educated, older bachelor de-
voted to his aging mother, Yolk proved to be a malleable, conscientious, and
worshipful disciple of Putnam-a great improvement over the irascible Ab-
bott.
As government geologists and anthropologists in Washington stepped up
their attacks on paleolithic man in the early nineties, Abbott, now exiled to
his farm, screamed from the sidelines for Putnam to publish Yolk's work.
Though Putnam wavered, Abbott kept the faith:
Volk told me recently that you had told him that people had expressed the
opinion that it was "absurd," "foolish" and "wasteful" to spend money in the
Delaware Valley. . . . [I] still insist that here, in this river valley is the key that
unlocks the problem of the antiquity of man in America. Explorations else-
where will result and do result in captivating their eye; but the conditions in
the Delaware Valley are now capturing the understanding. I look forward very
soon to the utter confusion of the horde of back-biting doubters.
(PMP: CCA/FWP 7/16/97)
Putnam's hesitation was due in part to his respect for the unresolved ques-
tions about New Jersey geology. By 1897 he had apparently decided to let the
geologists decide the disputed points. archeologists," he cautioned Ab-
bott, "we have done our part when we say we have found the works of man
in these special deposits. Now it is for the geologists to determine the age of
these deposits" (FWP: FWP/CCA 6/26/97; cf. FWP/CCA 11114/92). But
caution only angered Abbott, who felt his whole scientific reputation at
Charles C. Ahhott. photographed on his (arm near Trenton . New Jersey (courtesy of Princet,m
University Lihrary. Department o( Rare Books and Special Collections).
68 CURTIS HINSLEY
stake. "Why I must stand by silent and be reduced by [William Henry]

Holmes & Co. you do not make plain. . . . If Palaeolithic man is never
acknowledged, it will be your fault and inexcusably so" (FWP: CCA/FWP 4/
26/99). The relationship continued to sink. In 1900, having sold a piece of
land for a trolley line, Abbott finally thumbed his nose at Putnam:
Poor Abbott is fat, vigorous, full of work and very happy, and none the less so
because a clique, of whom you are afraid, wag their heads solemnly when Tren-
ton Archaeology is broached. Really, I think the tables are turned. It is not
"Poor Abbott" but "Poor Putnam" now, and damned poor at that. The Anti-
Antiquityites have been keeping you shaking in your shoes all these years and
your boots are still shaking. . . .
Ta-Ta,
(FWP: CCA/FWP 12112/00)
In 1911 the financial support of Charles Peabody permitted the history of
Yolk's work and his findings, along with geological studies of the Trenton
deposits, to be published as part of the Peabody Museum Papers. Neither
Yolk nor Putnam cited Charles Abbott in their introductions to the volume
(Yolk 1911).
The historical landscape of American archeology is littered with traces of
men who failed in their bids to become recognized scientists. In the patterns
of his ambitions and his frustrating relation to the nineteenth-century Pea-
body Museum, Abbott was atypical only in the intensity of his reactions. To
various degrees Putnam's fieldworkers-E. B. Andrews and Charles Metz in
Ohio, E. O. Dunning and Edwin Curtis in Tennessee, Paul Schumacher and
Edward Palmer in California and Utah-all exhibited the tensions of work-
ing for an institution that provided opportunity to contribute but could offer
little hope for advancement.
Although Americans a century ago were inclined to see failure as a per-
sonal fault, "failure" in science was as much a result of structural limits as a
question of personal competence. A critical need in many fields of American
science in this period was the means of certifying the streams of investigators
and contributors to the new disciplines. Professionalization was, from this
perspective, a response to a social and structural problem-in effect, a hu-
man sorting process (Reingold 1976). In the various fields of anthropology
this condition was worsened by a severe dearth of paid positions. Conse-
quently an institution such as the Peabody Museum was restricted to narrow
social groups for its workers. The choice came down, on the one hand, to
adventurous naturalist-explorers who were willing to live on a pittance but
who were poorly educated and difficult to discipline; or, on the other hand,
to men of moderate leisure with small scientific ambition, satisfied to con-
tribute without asking much in return. All had to be willing to work largely
out of loyalty.
Michael Mulkay has argued that under conditions of "intellectual and so-
cial openness" it is difficult to assert the "intellectual control" required to
define problems and methods with precision; thus "consensus is achieved at
least partly by exclusion of nonconformists" (Mulkay 1972:16-17). Under
porous professional conditions men such as Abbott and Yolk required above
all someone to vouch for their character, since they lacked academic creden-
tials or firm institutional positions. Thomas Wilson, curator of archeology at
the U.S. National Museum (and the lone defender of paleolithic man among
government workers) put his finger squarely on the issue in a letter to Putnam
in 1900. "Who is Yolk, anyhow?" was the critical point, he reminded
Putnam:
The argument in the whole affair depends largely upon his reputation and
character for truth and honesty. While it was all well enough to compliment
the men who furnished the money by which this discovery is made, I think it
would have been wiser for us to have given expression to our belief in Yolk's
honesty and integrity, and thus our acceptance of his discovery as genuine.
(FWP: TW/FWP 1/3/00)
In these words Wilson touched the sensitive heart of the matter for Put-
nam. As director of the Peabody Museum he addressed many audiences: field-
workers, patrons, the public. Given his own social marginality, and the du-
bious stature of museum anthropology, Putnam found it more congenial to
praise the patrons of Peabody science than to commit himself publicly to men
like Abbott and Yolk. Putnam made a career of cautious building; increas-
ingly, he felt it necessary to keep a proper distance from questionable science.
However privileged he may have seemed to those on the periphery of science,
Putnam could never relax his scientific vigil, for fear that the whole structure
would collapse. A sense of the precariousness and the fragility of a career in
museum anthropology constantly shadowed him.
Mayan Civilization:
A Worthy Subject for the Professionally Worthy
Despite the formidable intellectual, social, and financial barriers that faced
Peabody Museum anthropology in its first twenty-five years, Putnam by 1891
could look back with some satisfaction. On the anniversary date of its found-
ing, he took time from his duties as curator and now professor to write to
Henty Wheatland, the Museum trustee whom he had known since his own
early years at the Essex Institute in Salem:
70 CURTIS HINSLEY
I can't let the day pass without a few lines to you. The years have followed each
other, until twenty-five years have passed since Mr. Peabody founded this mu-
seum Oct. 8, 1866. Well do I remember your telling of the gift he had made
to Harvard and of our talking it over. Soon you became a trustee, and in 8
years the care and development of the Museum fell to me. Little did I think 25
years ago that I should be holding my present position, not only as head of the
Museum then founded but also as head of a department of the University. How
strange it all is! What grand results have come out of Mr. Peabody's gift! ...
Now [the Museum] stands foremost of its kind and so acknowledged[,] and is a
place for study & research, a regular department of the University, & the boy
you took in charge & led on in his early scientific studies is at the head.
(HWP: FWP/HW 10/8/91)
By the time Putnam wrote this, several of the major problems that had so
long hindered the development of anthropology at the Peabody Museum were
on their way to being overcome: on the one hand, finding a subject of inquiry
that would seem worthy of support to groups within the Boston and New
England social and cultural elite; on the other hand, training a group of
investigators who would be deemed worthy of support in the more profes-
sional environment that was beginning to develop within the national an-
thropological community.
Although it was not explicitly seen this way by the actors, one can inter-
pret Putnam's generation-long interest in "glacial man" on the American
continent as a matter of making the best of Holmes' chiffonier archeology: if
one were to study Indian shell-heaps rather than the monumental remains of
classical civilizations, then to claim great antiquity for Trenton man was to
claim, as it were, a paleolithic prize rather than to be a poor runner-up to
European archeologists in the race of prehistory. Be that as it may, by 1890 it
was long since evident that Abbott was no attraction to Brahmin backers,
and he was becoming a bit of an embarrassment among anthropologists as
well. Fortunately, a viable alternative research focus was by then emerging
which was at once culturally and professionally more respectable: the study
of ancient Mayan civilization.
In 1889, the Harvard Corporation appointed the first Visiting Committee
to the Peabody Museum, headed by F. M. Weld, a prominent Bostonian with
a longtime interest in the University. The support of the Weld family, as well
as that of Charles P. Bowditch, proved an important stimulus: subscriptions
to the Museum's publications rose substantially, and fellowships were pro-
vided for the newly recognized anthropology department (Casler 1976).
Bowditch, who in the late eighties had become interested in Mayan culture
while traveling in Central America, took up the cause of the Peabody Mu-
seum upon his return, in large part to pursue his own newly acquired interest
in Central American archeology and ethnology (Hinsley 1984). In Decem-
ber 1891, the first of a series of Bowditch-sponsored expeditions to Copan,

Honduras, departed under the leadership of John G. Owens, who the pre-
ceding fall had become Putnam's first graduate student in archeology.
With Bowditch's involvement, the Peabody Museum finally began to re-
ceive significant contributions from elite Bostonians. While this was no
doubt in part due to Bowditch's own status, it was also surely due to the
nature of the archeological prizes at stake in Central America. These were
no longer the pickings of shell-heaps or Trenton gravels, whose claim to pre-
historic primacy was vigorously disputed by scientific professionals in federal
bureaus of geology and ethnology. Rather they were now the stelae and
stepped pyramids of Copan, and later the gold and copal incense of Chichen
ltza. If these were not in the direct lineage of European high culture, they
were nonetheless clearly the products of the highest culture the New World
had produced, as well as of a history steeped in romance. At last, Peabody
John O. Owens starting for the coast with moldings of sculpture from the hieroglyphic stairway
at Copan, January 7, 1893 (photograph number N300, courtesy of the Peabody Museum, Har-
vard University).
72 CURTIS HINSLEY
archeology had found a subject that seemed comparable to that of the Med-
iterranean basin: a New World civilization worthy of a museum, worthy of
investment, and worthy of study.
By 1891, Putnam had begun to offer a three-year research course based in
the Museum and geared to the interests of graduate students; in 1894, his
student George Dorsey received the first American Ph.D. in archeology.
Once established as both the curator of the country's most important museum
devoted solely to anthropology, and as the Professor of Anthropology at its
most prestigious university, Putnam-who had also long served as permanent
secretary of the American Association for the Advancement of Science-
began to operate in a wider institutional arena. Chosen to take overall charge
of the anthropology exhibits at the Chicago World's Fair, he went on to
become a leading commuter-entrepreneur of American anthropology-head-
ing the anthropology departments at both the American Museum of Natural
History and the University of California, while continuing to maintain his
position at Cambridge. At the Fair, in the American Museum, and again at
Berkeley, he worked closely with Franz Boas, who was to succeed him as the
leading figure of academic anthropology. By a de facto division of labor with
Boas (and Boas' proteges), it was left to Putnam's Cambridge program to
handle the training of the first generation of academic archeologists. While
their numbers were until the first World War countable on the fingers of two
hands, by that time the anthropological program generated out of the Pea-
body Museum had produced the first group of academically certified profes-
sionals in American archeology-most of whom served their apprenticeship
in Mayan research (cf. Darnell 1969).
Acknowledgments
This paper is based on research supported in part by the National Science

Foundation and the Colgate University Research Council.
References Cited
AAP. See under Manuscript Sources.

Abbott, C. C. 1872. The Stone Age in New Jersey. Am. Nat. 6:144-60, 199-229.
- - - . 1881. Primitive industry: Or illustrations of the handiwork in stone, bone and
clay, of the native races of the North Atlantic seaboard of America. Salem.
AIAP. See under Manuscript Sources.
Anon. 1848. Editorial comment. Sci. Am. Feb. S.
Brew, J. 0., edt 1968. One hundred years of anthropology. Cambridge.
Casler, J. C. 1976. Personalities, politics and patrons of the Peabody Museum of

American Archaeology and Ethnology, 1866-1896. Unpublished bachelor's thesis,
Harvard Univ.
CWEP. See under Manuscript Sources.
Darnell, R. 1969. The development of American anthropology, 1979-1920: From
the Bureau of American Ethnology to Franz Boas. Unpublished doct. diss., Univ.
Penn.
- - - . 1970. The emergence of academic anthropology at the University of Penn-
sylvania. ]. Hist. Behav. Scis. 6:80-92.
Dexter, R. W. 1965. The 'Salem secession' of Agassiz zoologists. Essex Inst. Hi.lt.
Colis. 101:27-39.
Dupree, A. H. 1953. Jeffries Wyman's views on evolution. Isis 44:243-46.
Essex Institute. 1893. Letter from F. W. Putnam, 4!17!93. Hist. Colis. 30: 186-89.
FWPP. See under Manuscript Sources.
Gray, A. 1874. Comments. In Jeffries Wyman: Memorial meeting of the Boston Society
of Natural History. Boston.
Green, M. 1966. The problem of Boston: Some readings in cultural history. New York.
Harris, N. 1962. The Gilded Age revisited: Boston and the museum movement. Am.
Quart. 14:546-66.
Hawkins, H. 1972. Between Harvard and America: The educational leaders hill of
Charles W Eliot. New York.
Hinsley, C. M. 1981. Savages and scientists: The Smithsonian Institution and the de-
velopment of American anthropology, 1846-1910. Washington.
- - - . 1984. Wanted: one good man to discover Central American history. Harvard
Mag. 87 (No. 2):64A-64H.
Horowitz, H. L. 1976. Culture and the city: Cultural philanthropy in Chicago from the
1880s to 1917. Lexington.
HWP. See under Manuscript Sources.
JWP. See under Manuscript Sources.
Lurie, E. 1974. Nature and the American mind: Louis Agassiz and the culture of science.
New York.
Mark, J. 1980. Four anthropologists: An American science in its early years. New York.
Meltzer, D. J. 1983. The antiquity of man and the development of American archae-
ology. Advances Arch. Meth. & Theory 6:1-51.
Mitchell, S. W. 1875. The scientific life. Lippincott's Mag. 15:352-56.
Mulkay, M. J. 1972. The social process of innovation. London.
Parker, F. 1971. George Peabody: A biography. Nashville.
Persons, S. 1973. The decline of American gentility. New York.
PMA. See under Manuscript Sources.
PML. See under Manuscript Sources.
PMP. See under Manuscript Sources.
Powell, j. W. 1890. Problems of American archaeology. Forum 18:638-52.
Reingold, N. 1976. Definitions and speculations: The professionalization of science
in the nineteenth century. In The pursuit of knowledge in the early American repub-
lic, ed. A. Oleson and S. C. Brown, 33-69. Baltimore.
Renfrew, C. 1980. The great tradition versus the great divide: Archaeology as an-
thropology? Am. ]. of Arch. 84:287-98.
74 CURTIS HINSLEY
Stanton, W. The leopard's spots: Scientific attitudes toward race in America, 1815-59.
Chicago.
Tylor, E. 1871. Primitive culture: Researches into the development of mythology, philos-
ophy, religion, language, art and custom. 2 vols. London.
Volk, E. 1911. The archaeology of the Delaware River Valley. Pap. Peabody Museum
5.
Wilder, B. O. 1910. Jeffries Wyman, anatomist: 1814-1874. In Leading men of sci-
ence, ed. D. S. Jordan. New York.
Wyman, J. 1876. Primitive man. Am. Nat. 10:278-82.
Manuscript Sources
In writing this paper I have drawn on research materials collected from the
following manuscript sources, cited as abbreviated:
AAP Alexander Agassiz Papers, Archives of the Museum of Compara-

tive Zoology, Harvard University, Cambridge.
AIAP Archaeological Institute of America Papers, Colgate University,
Hamilton, New York.
CWEP Charles W. Eliot Papers, Harvard University Archives, Cam-
bridge.
FWPP E W. Putnam Papers, Harvard University Archives, Cambridge.
HWP Henry Wheatland Papers, Essex Institute, Salem, Massachusetts.
JWP Jeffries Wyman Papers, Countway Library, Harvard University
Medical School, Boston.
PMA Peabody Museum Archives, Peabody Museum of Archaeology and
Ethnology, Harvard University, Cambridge.
PML Peabody Museum Letterbooks, Peabody Museum of Archaeology
and Ethnology, Harvard University, Cambridge.
PMP Peabody Museum Papers, Harvard University Archives, Cam-
bridge.
I wish to thank all the repositories and archivists for their assistance.
FRANZ BOAS AND EXHIBITS
On the Limitations of the Museum Method
of Anthropology
IRA JACKNIS
Franz Boas is remembered as the founder of professional anthropology in this

country, and for more than sixty years, the professional anthropology he did
so much to shape has found its primary institutional locus in a particular
setting: the university department. But Boas himself entered anthropology in
the midst of what is often called its "museum age"-1880-1920 (Sturtevant
1969:622). His first anthropological employment was in the recently founded
Royal Ethnographic Museum of Berlin, where as an assistant under Adolf
Bastian from mid-1885 to mid-1886, he spent much of his time preparing for
exhibition the artifacts that had been brought back by Johan Adrian Jacobsen
from the Northwest Coast of North America. Boas' attraction to the peoples
who were henceforth to be the ethnographic focus of his professional life
began with these objects, which embodied a "flight of imagination" sharply
contrastive to the "severe sobriety" of the eastern Eskimo, whom he had
studied while undertaking ethnogeographic researches in Baffinland in 1883-
84 (1909:307). Given a chance to meet their creators when Jacobsen brought
a troupe of Bella Coola to Berlin in January 1886, Boas quickly began devel-
oping plans for the fieldwork he was to undertake that fall-the collections
from which were sold to the Berlin museum. Settling afterwards in the
United States, Boas was unsuccessful in seeking a position at the American
Museum of Natural History, and his first regular jobs in this country were as
geographical editor for the journal Science and as docent in the Department
Ira }acknis is Research Associate in the Department of African, Oceanic, and New
World Cultures at The Brooklyn Museum. His doctoral dissertation in anthropology
at the University of Chicago, "The Storage Box of Tradition," concerns the relation-
ship between museums, anthropologists, and Kwakiutl art, 1881-1981. He is con-
tinuing his research on various aspects of Boasian anthropology.
75
76 IRA JACKNIS
of Psychology of Clark University. His links with the world of museum an-
thropology remained strong, however, and were reasserted in the aftermath
of his resignation from Clark, when the major regional anthropological fig-
ure, Frederic W Putnam of Harvard's Peabody Museum, took upon himself
the role of Boas' institutional patron (cf. Stocking 1968, 1974).
Putnam was supervising the Department of Ethnology and Archaeology at
the World's Columbian Exposition in Chicago, and he chose Boas as his
second-in-command. Although Boas himself did no collecting for the Expo-
sition, and much of his effort was devoted to organizing fieldwork in physical
anthropology, he did supervise a large team of local experts in gathering an
impressive array of Northwest Coast specimens. When the Exposition was
over Boas worked for nine months packing, moving, and setting up the col-
lections in the new Field Columbian Museum, but the job he hoped would
be permanent was forestalled by the political machinations of government
anthropologists (cf. Hinsley & Holm 1976).
Throughout this period, Boas had been conducting fieldwork on the
Northwest Coast for the Bureau of American Ethnology and the British As-
sociation for the Advancement of Science, and in the fall of 1894 he carried
on a further fieldtrip funded jointly by the British Association, the US. Na-
tional Museum, and the American Museum-hoping that out of this might
eventuate a permanent job. It was in response to the request of Otis T. Ma-
son, of the National Museum, for a "pretty complete collection illustrating
the whole winter dance ceremonial of [the Northwest Coast] tribes" (FBP:
FB/OTM 5120/94) that Boas, with the help of his Kwakiutl assistant George
Hunt, undertook the most intensive participant-observation work of his ca-
reer. Upon his return, Boas worked for two months preparing a "life group,"
a dramatic tableau of costumed mannequins, which the National Museum
exhibited at the Cotton States Exposition in Atlanta in the fall of 1895.
Meanwhile Putnam, who had just accepted the direction of anthropology
at the American Museum, was negotiating with the Museum's president,
Morris K. Jesup, to commission Boas to make "as complete a collection as
possible of models illustrating the different tribes [of the Northwest Coast]
and dressed in the garments of the people, and arranged in groups so as to
illustrate the life history of each tribe represented" (FBP: FWP/FB 7/16/94).
Boas was later asked to return to the Museum to supervise the installation of
the material he had collected that fall. Putnam hoped that this would be the
opening wedge in his protege's permanent appointment; and indeed, after
several months of work, in January 1896 Boas was appointed Assistant Cu-
rator of Ethnology and Somatology, about six months before Jesup and Put-
nam were able to negotiate for him a parallel appointment at Columbia Uni-
versity.
Boas' first regular museum position was also to be his last. Although he
FRANZ BOAs AND EXHIBITS 77
held the American Museum appointment during what was probably the crit-
ical decade in the establishment of his intellectual and institutional leader-
ship in American anthropology, it was a decade marked by increasing conflict
of purpose and personal tension between Boas and the Museum administra-
tion. By May 1905 he had resigned from the Museum, concluding on both
pragmatic and theoretical grounds that the sort of anthropology he was in-
terested in was better carried on in an academic milieu. By emphasizing this
shift, some historians (e.g. Darnell 1972:8-9) have left the impression that
Boas had a superficial interest in museums, or that he valued them only as
sources of support for fieldwork and research. By focusing on his exhibits, a
medium dedicated to the popular presentation of anthropology, this essay
attempts to cast light upon an alternate path, once of great concern to Boas,
which has become lost to us in the Boasian reorientation of American an-
thropology.
Tribal and Typological Arrangement, 1887-1895
To replace Boas' early anthropology in its museum context, we may note that
his first major theoretical statement on specifically anthropological issues
came in a discussion of museum classification. In an exchange of letters in
1887 in the journal Science, Boas, with barely a year of museum experience,
took on two of the leaders of American anthropology, Otis T. Mason of the
U.S. National Museum and John Wesley Powell of the Bureau of American
Ethnology (B.A.E.). In studying the collections in the National Museum,
Boas had been disappointed to find that the objects from the Northwest
Coast were "scattered in different parts of the building, and ... exhibited
among those from other tribes" (l887a:62). Encouraged by Director George
B. Goode, Mason had arranged all his material according to universal "in-
ventions"-fire-making, transportation, the crafts of pottery or basketry,
etc., so that specimens from diverse cultures had been placed together ac-
cording to the putative evolution of a technological type.
Against Mason's typological evolutionary scheme, Boas posed his own
nominalist Geisteswissenschaftliche viewpoint (cf. Stocking 1974:8-12). The
attempt to classify ethnological phenomena as "biological specimens" that
could be "divided into families, genera and species" was based on the as-
sumption that "a connection of some kind exists between ethnological phe-
nomena of people widely apart." But in the human sphere, where every in-
vention was the product of a complex historical development, "unlike causes"
could "produce like effects" (1887 a:61). The outward appearance of two phe-
nomena might be identical, "yet their immanent qualities may be altogether
-.J
en
u.s. National Museum case, ca. 1890, showing the typological evolution of spindles, shuttles, and looms (negative numher 21389,
courtesy of the Smithsonian Institution).
FRANZ BOAS AND EXHIBITS 79
different." Groupings based on a "deductive" approach to "analogies of out-

ward appearance" were therefore bound to be "deceptive" (1887b:66). Be-
cause "in ethnology all is individuality" (ibid.), the object of study must not
be "abstractions from the individual under observation," but "the ethnologi-
cal specimen in its history and in its medium" (1887a:62).
Mason's interest in the adaptive utilitarian function of different inventions
in serving various "human wants" led him to focus on the external form of
the artifact, which was directly accessible to the visual inspection of the
curator. In contrast, Boas was advocating a transfer of anthropological inter-
est from the external form to an artifact's meaning, which was not easily
accessible to psychological interpretation in utilitarian terms, because the
same object might carry a number of different meanings:
The rattle, for instance, is not merely the outcome of the idea of making noise,
and of the technical methods applied to leach this end: it is, besides this, the
outcome of the religious conceptions, as any noise may be applied to invoke or
drive away spirits; or it may be the outcome of the pleasure children have in
noise of any kind; and its form may be characteristic of the art of the people.
(1887b:65)
Thus the same implement, judged from a formal point of view, might belong
in a number of different departments of a typologically organized museum.
In the long run, this shift from form/function to meaning was to have
indefinitely ramifying consequences for the future of American anthropology;
but in the context of the 1887 debate, the problem it raised was the alter-
native principle of museum arrangement. If one could not group specimens
by their surface characteristics, how would the curator know which rightfully
belonged together? The answer was based on the cultural holism Boas had
imbibed from the German intellectual tradition. Just as Boas had suggested
that "the art and characteristic style of a people can only be understood by
studying its productions as a whole" (1887a:62), so more generally the mean-
ing of an ethnological specimen could not be understood "outside of its sur-
roundings, outside of other inventions of the people to whom it belongs, and
outside of other phenomena affecting that people and its productions"
(ibid. ). The solution to the problem of arrangement was thus "a collection
representing the life of one tribe." Boas' "ideal of an ethnological museum"
was one that would be organized by a "tribal arrangement of collections"
(1887b:66-67). Practically, Boas suggested the exhibition of "a full set of a
representative of an ethnical group" with tribal peculiarities shown in "small
special sets" (1887c). Boas insisted that such an arrangement was not a clas-
sification, but a grouping only "according to ethnic similarities." 1
1. Boas' advocacy of the geographical order was not original. In fact, his 1887 debate was
80 IRAJACKNIS
In his response, Mason gave no ground. Calling Boas' suggestion that un-
like causes could produce like effects "a very ingenious one," Mason claimed
that "it has nothing to do with the case;' and reasserted the importance of
the biological method in ethnology (1887:534). Mason was willing to admit
"geographical areas" as one of the "classific concepts" by which museums
could be organized-others being material, race, social organization, envi-
ronment, structure and function, and evolution or elaboration. But as he
later maintained, "They are all good, each bringing out phases of truth over-
looked in others and it is only by a comparison of results that the whole truth
may be reached" (1890:515). In defending his exhibit scheme, Mason
pointed to his audience. People with all sorts of specialized interests-sol-
diers, potters, musicians, artists-"desire to see, in juxtaposition, the speci-
mens which they would study" (1887:534). Therefore, "in any museum every
thing should tend to enlist the sympathies and cooperation of the greatest
diversity of mind." Boas had convinced no one in Washington, where it was
established policy to place no object on exhibition "which is not of evident
educational value and likely to interest and instruct a considerable percent-
age of the persons visiting the Museum" (Goode 1882: 1).
Yet, within less than a decade, the National Museum began to arrange its
exhibits according to a regional plan. While some (Brown 1980) have inter-
preted this as evidence of theoretical convergence between Boas and his
Washington colleagues, it seems that true to Boas' dictum, appearances are
deceiving, and unlike causes can produce like effects (cf. Hinsley 1981:112).
For a short time Boas and Mason overlapped, using common terms and ap-
pearing to arrange exhibits in similar patterns, but they differed fundamen-
tally in the total conceptual system of which these terms and patterns were a
part.
The stimulus for this convergence was Mason's preparation of the Smith-
sonian's ethnology displays for the Chicago World's Fair. Setting out to select
representatives of the major stocks as depicted in the B.A.E.'s 1891 map of
American Indian language groups, Mason soon realized that the character of
the artifacts clustered not according to language or race, but according to
local environmental zones. Although his cases at the Fair were still arranged
by language stock, the message communicated to the public, and subse-
quently elaborated by Mason, was that "the arts of life . . . are in each cul-
ture area indigenous;' and "are materialized under the patronage and direc-
torship of the region ..." (1894:215).
Although Mason had begun arranging exhibits according to locality even
reminiscent of one conducted a half century earlier between the Dutchman Philip von Siebold,
taking the regional position, and the Frenchman Edme-Franc;ois Jomard, proposing the cross-
cultural system (cf. Frese 1960:38-42). Boas would have been familiar with a geographical sys-
tem from the institutions of his museological mentors, Bastian in Berlin and Putnam in Cam-
bridge.
FRANZ BoAS AND EXHIBITS 81
as he was being challenged by Boas, he was constrained from using this prin-
ciple more broadly for several practical reasons. Many of his specimens had
"false location and insufficient data" (1889:90), and since "it is often begging
the whole question to assign a specimen to a certain tribe," he felt that "no
harm can possibly come from putting things that are alike in the same case
or receptacle" (ibid.). Full tribal displays were also forestalled by the chronic
lack of space (1895:126). But perhaps most important, it was only with the
field research and collecting of B.A.E. ethnologists like James Mooney, stim-
ulated by specific commissions for the Fair, that Mason was to have enough
reasonably complete and well-documented collections to allow such a tribal
presentation.
The Chicago Fair was also the scene for the introduction to America of
the "life group:' a form of ethnographic display seemingly more in tune with
Boasian principles. 2 Although the Smithsonian had used single mannequins
to display clothing as early as the 1876 Centennial Exposition, only in 1893
were groups of such costumed figures arranged in dramatic scenes from daily
life and ritual. Mason himself had been impressed with the village encamp-
ments of tribal peoples at the 1889 Paris Fair; the life group would give per-
manence to such compelling pictures, which were a popular success at several
turn-of-the-century world's fairs (cf. Holmes 1903:201). Like the culture
area, the introduction of the life group was stimulated by the more intense
fieldwork sponsored by the Bureau of American Ethnology. Though the at-
tractive designs were worked out under the direction of the artist-turned-
archeologist William H. Holmes, many of the groups were based on the direct
advice of experienced collector/ethnographers like Frank H. Cushing, James
Mooney, and Walter J. Hoffman. 3 Like the habitat group in biology (Parr
2. European museums had adopted the life group several decades before their American coun-
terparts. Growing out of a long tradition of waxworks, the first life groups were part of commer-
cial exhibitions, such as the Chinese Collection and the Oriental and Turkish Museum, both of
London, opening in 1842 and 1854, respectively (Altick 1978:292-93, 496-97). One of the
first museums to exhibit these tableaux was the Museum of Scandinavian Ethnography, opened
in Stockholm in 1873. The vivid and innovative display techniques of curator-director Artur
Hazelitis became widely known after he exhibited life groups at the Paris World's Fair of 1878
(Alexander 1983:245-46), during the next decade many museums, especially in Germany
and Scandinavia, began to install them.
3. Mooney and Cushing agreed with Mason that life groups should be arranged on the basis
of "geo-ethnic" units, but they clashed over the implementation of this goal. During the instal-
lation of the Smithsonian exhibit at the Chicago Fair, Cushing edited Mooney's labels and
"ordered additional artifacts from other tribes to be included in the Navajo and Hopi exhibit,"
based on Mooney's collections (Colby 1977:283). While Cushing regarded the culture within a
region as essentially homogeneous, at least for purposes of display, Mooney proposed selecting
one representative tribe from a region and exhibiting artifacts only from that single tribe, adher-
ing to stringent standards of accuracy and detail (Mooney 1894). This opposition between a
regional and tribal approach surfaced again in 1907 when George A. Dorsey criticized the areal
displays of the post-Boasian American Museum.
82 IRA ]ACKNIS
1959) and the period room in history and art (Alexander 1964), the contem-
poraneously introduced life group was anthropology's attempt to create a
functional or contextual setting for its specimens. Artifacts were thus dis-
played in association with related specimens from specific cultures, as Boas
had called for. But instead of communicating cultural integration by means
of object juxtaposition and labels, to be synthesized in the viewer's mind, the
life group was a presentational medium, allowing these cultural connections
actually to be seen. Not surprisingly, the life groups were enormously popular
with visitors, and within a year, Putnam and the American Museum were
making plans for their own series of life groups.
In spite of the new features the National Museum began to introduce in
the mid-nineties, Boas and his colleagues were still far apart. Mason and
Holmes never gave up their evolutionary and typological schemes; they
merely augmented them with tribal and regional arrangements. Even more
fundamentally, they saw their exhibits in a different ideological perspective.
Mason foresaw a time when by "the multiplication of wants" and "the refine-
Life-group exhibit of Kwakiutl hamatsa initiate and attendants at the u.s. National Museum,
ca. 1896 (negative number 9539, courtesy of the National Anthropological Archives, Sm ithson-
ian Institution) .
ment of taste" the whole world would become "an unique, comprehensive
and undivided home for the whole race" (1894:215). But according to Boas,
"the main object of ethnological collections should be the dissemination of
the fact that civilization is not something absolute, but that it is relative, and
that our ideas and conceptions are true only so far as our civilization goes"
( 1887b:66).
Nevertheless, the experience of Mason and Holmes reveals that there was
more involved in museum display than the conceptual issues addressed by
Boas. Theoretical conceptions could only be realized to the extent that avail-
able materials and media allowed, and their realization was constrained also
by the goal of attracting large appreciative crowds. As we shall see, Mason's
movement toward a more Boasian stance foreshadowed Boas' move-for
equally pragmatic reasons-toward a more Masonian position. It is against
this theoretical and practical context that Boas' exhibits at the American
Museum must be seen. Having criticized the Washington establishment, Boas
now had a chance to put into practice his ideals of museum anthropology.
Constraints of Power, Money, and Authority

The exhibits here attributed to Boas were not his alone, since a museum
display is the product of collaborative labor performed within a particular
social system. The museum is an institution with roles for patrons and trust-
ees, administrators, curators, scientific assistants, preparators, custodians,
and visitors. Boas' tasks as curator were largely defined by the expectations
others had of his role and he of theirs. We must begin, therefore, with a
consideration of the resources Boas was given and of the freedom with which
he was allowed to use them.
Like everything else at the American Museum of Natural History, anthro-
pological exhibits were funded through a combination of public and private
sources. The Museum's 1869 charter had called for the City of New York to
pay for the land, building, and maintenance. Unlike the National Museum,
which was beholden to a general, national constituency, the American Mu-
seum was thus compelled to attract the city's masses if it wanted to be assured
of financial support. But the collections were owned by the twenty-four trust-
ees, who funded expeditions, exhibit installation, and other operating ex-
penses. Drawn from the financial elite of the city-bankers, railroad presi-
dents, manufacturers, merchants, and lawyers-the Museum's supporters
were businessmen, not scientists. Moreover, they tended to be nouveau riche,
with a desire to prove their worth and bring glory to their city. By and large
84 IRA JACKNIS
they were sceptical of research; as one said, this was better left to the Ger-
mans (Kennedy 1968:122).
Boas therefore often found that in order to support his vast plans of collec-
tion, research, installation, and publication he had to go beyond the trustees
to a circle of patrons more favorably disposed toward his work. Flattering
letters to possible patrons were a distinct genre of Boasian correspondence
(Stocking 1974:285). Boas was able to play on a number of "soft spots":
Archer M. Huntington and the Duc de Loubat had serious anthropological
interests; Jacob H. Schiff and Henry Villard were German-born; railroad
owners like Villard and Collis P. Huntington were asked for funding for ex-
peditions to regions through which their railroads ran, citing the anticipated
increase in "interest of the public" which exhibitions might stimulate
(AMAC: FB/C. F. Newcombe 5/20/01). But Boas' most generous patron was
in fact the Museum's president, Morris K. Jesup, a retired banker who gave
$250,000 for an expedition to the north Pacific coasts of Asia and America.
Then, as now, most wealthy patrons were more willing to donate magnifi-
cent collections than to pay for more mundane operating costs, despite the
fact that the cost of collecting was "insignificant as compared with the ex-
pense of installation" (AMCA: FB/MKJ 12/11/97). In 1895 Boas estimated
that it cost the museum $200 per life group figure, most of it due to the great
amount of skilled labor necessary (FWPP: FB/FWP 12/5/95). Thus it tended
to be the lot of the dedicated trustees to make up the deficits.
As the ultimate source of funds (directly, from their own pockets, or indi-
rectly, through their political connections), the trustees were the ultimate
authority in museum governance. The board, however, usually acquiesced in
the decisions of the President. This was especially true during the term of
Jesup, who served from 1881 to 1908, and was largely responsible for making
the Museum a great center for research and exhibition. Until 1901, Jesup
was both chief executive and operating officer; after that the zoologist Her-
mon C. Bumpus assumed responsibility for much of the day-to-day running
of the institution, first as assistant to the President and then as Director.
During Boas' tenure the Department of Anthropology consistently listed
the largest staff of curators-three when he arrived, four by the time he left.
As in a university, curators were ranked by full, associate, and assistant level,
and in anthropology, they were designated also by regional (Mexico and Cen-
tral America) and subdisciplinary specialty (ethnology or anthropology). In
addition to permanent curatorial staff, the Museum hired on contract a series
of field researchers. After making their collections, men such as Alfred Kroe-
ber, Waldemar Jochelson, and George Hunt often spent a period in residence
writing up their research, preparing labels, and directing exhibit installation.
Each department also employed a set of "scientific assistants," or support
personnel. In 1903 these included a secretary; a card cataloguer and label-
writer, a general installer, a model maker, a figure maker, and a general as-
sistant (AMDA: Departmental Report, Fall 1903). The number of such as-
sistants varied, depending on the tasks at hand and support from the central
administration. Craftsmen with special skills could also be hired on contract,
and various workers were delegated from the office of the superintendent:
carpenters, printers, and floor attendants.
For Boas the points of tension within this structure arose when he had to
deal with the central administration. Within his own department he seems
to have wielded complete control, with curators as well as assistants, assign-
ing tasks as he saw fit. Extra-departmental relations, however, were a constant
source of frustration. His own museum preparators were frequently called off
departmental work to do other tasks, making it difficult to plan coordinated
efforts. Necessary supplies and labor were often not forthcoming. One petty,
but typical, complaint to Jesup illustrates the general problem:
For the arrangement of one case in the north Hall . . . I need a number of
wooden stands, which have been made and partially painted. Mr. Wallace [the
superintendent) informs me that there is no appropriation for giving these
stands the second coat of paint that they require. I beg to ask for authority to
have these stands painted, since the case looks very bad in its present condi-
tion.
(AMDA: FB/MKJ 1119/99)
Much more serious, though, were Boas' relations with his superiors in the
museum hierarchy. As chairman, Frederic Putnam was his immediate super-
visor. When, for instance, Boas proposed the Jesup Expedition, the President
insisted that Putnam direct the project, at least on paper (Mark 1980:39-
41). But as Putnam was only at the Museum one week out offour, Boas was
in effect free to direct the department's affairs. This very absence, however,
led to severe strains between the two. By 1902 it appeared to Boas that their
work was at cross-purposes, due to a lack of full communication (FBP: FBI
FWP 4/6/02), and the following year Boas objected to Putnam's supervision
on grounds that are obscure, but which seem to have stemmed from Boas'
position as professor at Columbia (FBP: FWPIFB 216/03). The impasse was
effectively resolved by Putnam's resignation from the Museum at the end of
1903 (cf. Mark 1980:43-46).
With the central administration, Boas insisted on a fairly autonomous po-
sition: "if an institution wants me, it does not want me merely to carry out
orders, but also to lay plans for work" (FBP: FB/FWP 12/18/95). Accordingly,
Boas requested that he be allowed to communicate directly with President
Jesup. Throughout his tenure Boas continually called attention to his "in-
ferior position:' and threatened, on at least one occasion, to go elsewhere
(AMDA: FB/FWP 12/1/98). Although Jesup seems generally to have ap-
86 IRA JACKNIS
proved of Boas' research, to the extent that he could understand it, Boas'
exhibits continually dissatisfied him. He often complained that there were
not enough labels (FBP: FWP/FB 712/96), and he once felt he had to direct
Boas Uto state that the Eskimo clothing is the real genuine article not man-
ufactured" (FWPP: FB/FWP 2/11197). After viewing an Alaskan display
which displeased him, Jesup demanded the final say over installation (FWPP:
FB/FWP 11112/96). This divergence between Jesup and Boas over who was
to have final authority for the displays was in fact the expression of underlying
differences of attitude, philosophy, and purpose which were resolved only by
Boas' resignation in 1905.
Constraints of Audience and Purpose

Boas defined three purposes for museums: entertainment, instruction, and
research (1907:921)-each of which was correlated in a general way with
three museum audiences: children and the great body of less educated adults;
elementary teachers and a limited group of more educated adults; and ad-
vanced scholars (AMDA: FB/MKJ 5/28/98). For each group of visitors Boas
offered a different kind of exhibition.
Just as our school system requires, beside primary and grammar schools, high
schools and universities, so a large museum should fulfil the function of a pri-
mary objective school for the general public, as well as serve those who strive
for higher education and help to train the teacher. The educational methods
of university, high school, grammar school, and primary school are different;
and thus the methods of exhibition must differ, according to the public to
which we appeal.
(FBP: FB/MKJ 4/29/05)
Much of Boas' exhibit activity was predicated upon the belief that the
majority of visitors-as much as 90 percent-Udo not want anything beyond
entertainment" (1907 :922).
The people who seek rest and recreation resent an attempt at systematic in-
struction while they are looking for some emotional excitement. They want to
admire, to be impressed by something great and wonderful; and if the under-
lying idea of the exhibit can be brought out with sufficient clearness, some
great truths may be impressed upon them without requiring at the moment any
particular effort.
(Ibid. )
To appeal to such audiences Boas tried to overlay education on a base of

entertainment, by using a few striking displays such as life groups, arranged
so that their main point was instantly perceptible.
Boas had more trouble with the second level, those seeking "systematic
instruction" (1907:925), for he believed that their educational needs would
in fact be best served by small museums, such as could be instituted in
schools. A large museum could not be effectively arranged so that all didactic
systems of interest were contained, and if only one such system were adopted,
the collections would be artificially confined. Aside from separate branch
museums, Boas recommended arranging for this second audience small syn-
optic series in each hall or gathered together in one hall.
It was in such a series of educational displays, proposed to President Jesup
in the late nineties, that Boas came closest to Mason's approach. Boas sug-
gested an exhibit that would show "how the most primitive tribes depend
entirely upon the products of their home, and how with the progress of civ-
ilization wider and wider areas are made to contribute to the needs of man."
Such exhibits "would become of great interest to the tradesman," Boas hoped,
"showing the development of the trades of the carpenter, the blacksmith, the
weaver, etc. in different cultural areas." (AMDA: FB/MKJ 5128/98).
Building on his earlier training in an embracive tradition of geography,
Boas often spoke of human history as an intimate part of the environment:
"the description of a country as the theatre of historical events is the best
basis for elementary teaching of Natural Sciences" (AMCA: FB/MK] 3121
97). Three proposed exhibits on New England at the arrival of the Pilgrims,
the discovery and conquest of Central America, and Arctic whaling were to
show "the nature of the country, its products, its inhabitants, the manner in
which the natives utilized the products of nature and how the immigrants
utilized them" (ibid.).
Although none of these was ever built, Boas' conception of them shows
that he took very seriously the problem of finding suitable topics for different
segments of the general audience of a large urban museum of natural history.
As he worked on these proposals over 1897 and 1898, Boas consulted with
school officials so that the exhibits would form "the strongest possible stim-
ulus to the system of teaching in our Public Schools" (ibid.). Echoing the
founders of many Gilded Age museums, Boas pointed to the "interests of
manual and technical training" (AMDA: FB/MK] 5128/98), hoping, as they
did, that manufactures would be improved by the exposure of craftsmen to
the accumulated heritage of the world's cuI,.·: '.'; (cf. Goode 1889: 72-73). But
perhaps the most important component cr this audience was the many newly
arrived and poorly educated city dwellers. "No other portion of our people
are in more urgent need of educational advancement, and the instruction of
no other class will act more favorably upon the whole body politic" (AMCA:
FB/MK] 312/97). It was precisely for these nonprofessional patrons that the
city supported the Museum, and Boas worked to meet their needs.
The scientists, however, the smallest sector of the museum audience, were
88 IRA JACKNlS
for Boas the most important part: "the essential justification for the mainte-
nance of large museums lies wholly in their importance as necessary means
for the advancement of science" (1907:929). If research on material culture
were not done at the large museum it could be done nowhere, for it was "the
only means of bringing together and of preserving intact large series of ma-
terial which for all time to come must form the basis of scientific inductions"
(ibid.). A prime example of such collection-based research was Boas' 1897
study of "The Decorative Art of the Indians of the North Pacific Coast."
Drawing only from American Museum collections, Boas was able to codify
for the first time the formal principles of this style.
For Boas, advanced research was intimately linked to advanced instruc-
tion, and he worked carefully to match the needs and opportunities of uni-
versity and museum. By 1899, the year he was made a full professor and the
Columbia Department of Anthropology became autonomous, Boas felt that
the Museum's ethnological collections "are now well arranged, and can be
used to advantage for advanced instruction and for research" (AMCA: FBI
MKJ 12/31/98). That year he initiated ethnology courses taught at the Mu-
seum and illustrated them with specimens, and in 1902 even offered a suc-
cessful course in museum administration.
At this point both university and museum needed one another. During the
summer graduate students "carried on field-work for the Museum, and have
thus enjoyed the advantage of field experience" (FBP: FBIN. M. Butler 111
15/02), while the Museum gained well-documented collections. During the
academic year, the graduate students "based their researches largely on the
collections of the Museum" (ibid.). The students thus received professional
training, the results of which were embodied in the exhibits and publications
of the Museum. The program's success can be seen in the work of Columbia's
first Ph.D. in anthropology, Alfred L. Kroeber. Kroeber's expedition to Ara-
paho territory, funded by Mrs. Jesup, returned to the Museum with its first
collections from the American Plains. Kroeber then combined artifactual
and textual evidence for his thesis on Arapaho decorative symbolism (1901).
Scientists shared with the general public the need actually to see the col-
lections in order fully to exploit them. In recounting how he had come to
write his famous article on Eskimo needle cases (1908), Boas remarked:
With the problem of the influence of traditional styles upon invention before
my mind, I went through the collections of the National Museum, and hap-
pened to find in one case most of the needle-cases here discussed assembled.
Without being able to see them, I am sure the point would never have come
home to me.
(FBP: FB/A. M. Huntington 4/13/09)
Accordingly, Boas recommended that because of "the multiplicity of the

points of view from which the material can be viewed:' as well as differences
in "size, form, and material," anthropological material "can only be stored
satisfactorily in such a way that each specimen can be seen" (1907:930-31).
But if scientists needed to see specimens, they did not need elaborate exhib-
its, especially those with a high ratio of models and mannequins to actual
artifacts.
The fieldtrips that generated both the study collections and the exhibits
thus had quite different goals for Boas and the administration. Of the Jesup
Expedition to the Northwest Coast, Boas wrote:
The work which we are carrying on is by no means primarily collecting, but it

is our object to carryon a thorough investigation of the area in which we are
working. The specimens which we obtain are not collected by any means from
the point of view of making an attractive exhibit, but primarily as material for
a thorough study of the ethnology and archaeology of the region.
(AMDA: FB/G. M. Dawson 5/2/99)
Director Bumpus thought otherwise. "Field expeditions of the Museum must

not be carried on for scientific purposes, but only to fill gaps in the exhibi-
tions: . . . if accidental scientific results can be had, they are acceptable, but
... they must not be the object of field-work" (FBP: Memo, Interview with
Jesup & Bumpus 5/17/05).
At the beginning of his tenure, however, Boas still felt that these diverse
interests could be harmonized. Collections were to be divided into an "ex-
hibition series" for the general public and a "study series" for the specialist.
specimens that do not serve to illustrate certain facts or points of view
must be excluded from the Exhibition Series and included in the Study Se-
ries" (FWPP: FB/FWP 1117196). Thus while the exhibition series was almost
wholly dedicated to "Public Instruction," the study series served the advance-
ment of science. Such a division, dating back at least to Louis Agassiz in
1860 (Meyer 1905:324-25), had become widely adopted by Boas' time, es-
pecially by American museums. Over the decade he remained at the Mu-
seum, Boas was to find that it was no easy thing to realize this dual ideal in
practice.
Boas and the Practice of Museum Exhibition

What did Boas' exhibits look like, and why? In evaluating these exhibits it is
necessary to consider to what extent the displays flowed directly from Boas'
conscious intentions, and to what extent they failed to match these goals.
90 IRA ]ACKNIS
As a case study we will consider in detail the Hall of Northwest Coast Indi-
ans. This hall, from his major area of research and exceptionally well-
documented for a turn-of-the-century exhibit, received the most direct and
continuous attention from Boas, and thus best embodied his vision of exhi-
bition.
In addition to his strongly held views on the theoretical implications of
museum exhibits, Boas approached his task with an implicit philosophy of
the exhibit process itself. For a man whose work reveals a certain aversion to
visual thinking (Jacknis 1984:43-52), Boas was quite sophisticated in his
understanding of how the average visitor experiences a museum exhibit.
With an approach evidently derived from his earlier doctoral research on
psychophysics as well as his own observations on visitor behavior, Boas strove
to gain the attention of the viewer, to concentrate it upon a single point,
and then guide it systematically to the next in a series of points. The constant
danger was the loss of attention, either through confusion due to the multi-
plicity of points, or boredom due to the repetition of effects. As we go
through Boas' exhibits we will see these principles applied again and again
on various levels.
The structure of our discussion will mirror that of the museum as the visitor
traces a route through a hierarchy of nested spaces-the permanent environ-
ment of the building, creating the halls, which enfold the temporary and
movable "museum furniture" (cases and mounts), and a range of nonspeci-
men components (mannequins, models, graphics, and labels), surrounding
the objects themselves (cf. Brawne 1982:9-37).
The Museum Building

Boas arrived at the Museum in a period of vast expansion (Wissler
1943:table 6). In 1896 parts of two halls were devoted to anthropology; by
the time he left there were eight (about two-thirds for ethnology, the rest for
archeology), most of them housed in a separate anthropology wing that
opened in 1900. But in spite of this generosity of space, Boas did not get the
kinds of spaces he wanted. Like most curators, he had little to say about the
planning, even for the wing built during his tenure, complaining later that
"a thorough reorganization of museum administration will not be possible
until the plan of operation of the museum is decided upon before the museum
building is erected" (1907:933).
Believing as he did that the major purpose of a large museum was to ac-
cumulate the artifactual base for scholarship, and that, on the other hand,
the exhibits were primarily for the general viewer, Boas thought that "the
line between the exhibition halls open to the general public and the study
collections open to students should be drawn much more sharply than is
generally done" (AMDA: FB/F. Hooper 6/13/03):
In planning a museum, I should be inclined to arrange a series of exhibition

halls for the public on the ground floor. .. . Above these I should arrange a
number of halls with lower ceilings for study collections, but accessible to the
public. Here the cases can be placed close together; and systematic arrange-
ment would be the prime object, not attractive exhibitions. These halls would
be used by teachers, high-school scholars, students, etc. . Over these halls
would be storage-rooms, workshops, offiGes, etc.
(Ibid. )
He in fact recommended a ratio of one unit of exhibition hall to two units

of study collections to one unit of work-rooms.
For the thwarting of this plan Boas blamed the Museum's architecture.
Hall of the American Southwest and Mexico, American Museum of Natural History, ca. 1902
(negative number 488 [photograph by E. F. Keller], courtesy of the Department of Library Ser-
vices, American Museum of Natural History).
92 IRA ]ACKNIS
"The whole museum. . is laid out in large magnificent halls [and] the pro-
portional amount of space available for storage in a building of this kind is so
small that full use of the stored material for scientific purposes is entirely out
of the question" (1907:932). At a time of such active collecting, even the
construction flurry of the nineties could not keep pace, and the high-
ceilinged halls robbed needed space from storage areas. Specimens had to be
stored wherever there was room,' often in the exhibition halls themselves
(AMDA: FB/MK] 3/25/99).
In a period when lighting was still largely natural, illumination was an-
other structural feature over which the curator had little control. The North-
west Coast Hall was part of the original museum building, and large glass
windows had been generously donated by Theodore Roosevelt, Sr., a
founder-trustee and owner of a plate-glass company. But with the glass com-
ing down almost to the floor along both side walls, there was a terrible prob-
lem of reflection in the cases, which was "particularly disturbing in ethno-
logical collections on account of the smallness of the objects" (AMDA: FB/
MK] 1111/97). Fading was also a problem: "the skylight destroys our speci-
mens, and ... attendants in the halls are required in order to regulate the
light according to the position of the sun and clearness of the sky" (AMDA:
FB/MK] 6/13/99). Although by the turn of the century artificial illumination
(a circle of bare bulbs ringing each column and a decorative fixture over each
large case) helped brighten evenings and dark days, it did not yet allow the
special effects of later museum dioramas.
Hall Arrangement
Much of the curator's art lay in the proper juxtaposition of objects,
whether in cases or in halls. Boas had argued in 1887 that the particular
grouping of specimens was a classificatory act, which, in turn, would com-
municate to the visitor a particular theory of (material) culture, and despite
some concessions, he was generally able to arrange his American Museum
halls in accordance with these ideals.
The content of the halls was determined by provenance, subdiscipline, and
size. By and large, all anthropology halls were contiguous, on each of four
levels. Halls were apportioned on the basis of collection strengths, with an
entire large hall each for Northwest Coast ethnology and Mexican archeol-
ogy. In the case of relatively small collections such as South America or the
American Southwest, archeology and ethnology were combined. Where pos-
sible, neighboring halls were devoted to contiguous regions: the Eskimo were
next to the Northwest Coast, Siberia adjacent to the Eskimo. A residual hall,
the West Vestibule, held the oversized items such as totem poles, tipis, and
petroglyph casts (cf. Hovey 1904 for a complete listing and description of the
Museum's halls).
In arranging cases within a single hall, Boas strove to direct visitor atten-
tion along a structured path. Viewing order was suggested most directly by
the sequence of numbers and letters over each vitrine, which also served as
.t
an index to descriptions in a guide leaflet. Boas tried to avoid a large central
aisle flanked by rows of cases, because visitors would "wander from right to
left without order and it is impossible to compel them to see the collections
in such a manner that they will have the greatest possible benefit from a short
visit" (AMDA: FB/MKJ 1111197). His preferred solution was to install a par-
tition down the center, with the cases set up against it: "By dividing the Hall
into two longitudinal halves. . . visitors are compelled to see the collections
in their natural sequence, and even if they pass through only one half of the
Hall will be more benefited than when seeing one alcove here, one there"
(ibid.). A bonus in this plan was the potential use of the added wall space
for maps, diagrams, large labels, murals, and the like.
From the evidence at hand, it seems that Boas never fully implemented
this scheme, though he came close in his Northwest Coast Hall, where two
parallel rows of low desk cases for archeological specimens stretched between
a life group and a village model in large cases at either end. While it was
possible to walk down a small central aisle between the two rows, most visi-
tors walked along the outer sides, passing next to the large alcove cases hold-
ing the bulk of the collections. Within the latter, specimens were arranged
according to two separate principles: "First, a general or synoptic collection
of specimens obtained from the entire area, designed to illustrate the culture
of the people as a whole; Second, several independent collections, each il-
lustrating the peculiarities of the culture of a single tribe" (Hovey 1904:41).
The synoptic series, installed in the first five polygonal cases along one
side, was grouped by cultural domains: the use of natural products, basic
industries, house furnishings, dress and ornaments, trade and barter, hunting
and fishing, travel and transportation, armor and weapons, musical instru-
ments, decorative art, and clan organization. Following these, the cases in
the tribal series snaked up one side of the hall and down the other, in order
from north to south (of both the hall and the region): first the Tlingit, then
Tsimshian, Haida, Bella Coola, Kwakiutl, Nootka, and Coast Salish, fol-
lowed at the end by exhibits from the geographically neighboring but cultur-
ally distinct interior Plateau tribes. Boas included them in both the Jesup
Expedition and the hall resulting from it in order to ascertain and then illus-
trate the limits of the culture area and the effects of local history and envi-
ronment. Within each of these tribal units materials generally followed the
sequence used in the synoptic series, with local omissions and additions.
Such a scheme served several functions at once. Prepared primarily for the
general visitor (FBP: FB/MKJ 4129/05), the briefer synoptic series was a kind
of "condensed culture:' presenting the main outlines of the culture area. The
94 IRA JACKNIS
rest of the collections, arranged geographically, explored in greater depth

more specialized topics. Given the shortage of usable storage space, this dual
plan effected a compromise between heavily didactic displays open to all, and
the closed storage areas open only to qualified researchers. Finally, the bulk
of the geographically arranged collections would form the "indifferent back-
ground" necessary to set off the few striking displays. Boas seems consciously
to have intended that a great part of the exhibits would be ignored by the
general public (1907:923-25).
Installation
In a period of hurgeoning collections and additions to the building, the
order and arrangement of halls was constantly being changed; the Northwest
Coast Hall was substantially altered in almost every year of Boas' tenure. The
Northwest Coast collections filled only the east half of the Ethnology Hall
when it opened on November 30, 1896, the other half being occupied by
material from the Eskimo, northern Mexico, and Melanesia. Although they
included Boas' Kwakiutl life group and a model of a Kwakiutl village, and
the introductory synoptic series was already in place, many of the Northwest
Coast materials were prior holdings, arranged simply according to who had
collected them (FWPP: FWP/Report to MKJ 6/96). Upon completion of the
new wing, the other specimens were moved out, leaving the entire hall for
the rapidly accumulating specimens of the Jesup Expedition, and in 1901 the
previous arrangement by collector was replaced by Boas' tribal scheme.
Though the Annual Report for 1902 claimed the hall to be "completed in its
main features," it saw several further changes before Boas left. Following the
visit of George Hunt in the spring of 1903 the Kwakiutl collections were
rearranged, and where necessary, recatalogued and relabeled. Later that year
Salish and Sahaptin collections were rearranged, and in 1904 the Emmons
Tlingit basket collection was added, along with new models of Kwakiutl fish
traps and Kwakiutl case labels.
Although Boas worked, where possible, toward a permanent installation,
he realized that for most of the halls it was "necessary to make the principle
of arrangement somewhat elastic, allowing for the introduction of material
that ... will fill gaps in existing collections" (AMDA: FB/MKJ 11114/97).
While some of this flexibility was achieved by changing labels and moving
cases, most came from leaving space within the case. Not appreciating Boas'
motives, Jesup expressed his concern that "the collections were spread over
great spaces, and it looked to me more as if the aim was to get [morel cases
than the proper use of those we had" (AMCA: MKJ/FWP 8/2/02). But faced
with the alternatives of closing the hall until the entire display was complete,
or adding specimens haphazardly as they arrived, Boas chose to adhere to a
structured scheme: "It would seem best to prepare first of all those exhibits
which will make clear the idea of the whole arrangement and then add grad-
ually the details as time and funds will permit" (FWPP: FB/FWP 1117/96).
In the midst of this constant exhibit activity, Boas insisted that the Mu-
seum maintain the proper atmosphere for viewing the collections. Recalling
the "sanctuary" in the Dresden Museum, in which the Sistine Madonna was
exhibited, he insisted that
everything in the hall should be calculated to increase the impression of dignity
and of aloofness from every-day life. No dusting, no mopping, no trundling-
about of boxes, should be permitted in a hall visited by the public, because it
disturbs that state of mind that seems best adapted to bring home the ideas for
which the museum stands.
(1907:932)
Cases and their Contents

Unlike earlier private "cabinets," the major public museums of late
nineteenth century employed a range of devices to clarify and explain the
import of the object at hand. Technological innovations were adopted as
rapidly as they were introduced. Accordingly, Boas' museological concerns
were forced to descend to the level of cases, mannequins, models, mounts,
graphics, and labels.
Cases served several functions. They stored and supported specimens, in
addition to protecting them against dust and the prying hands of visitors.
Boas was contantly berating the administration for sending him cases which
would not lock and for not giving him enough security guards. Although
many of the cases in the Northwest Coast Hall dated from the opening of
that part of the building in 1877, all new cases had to be custom made in the
Museum's shop, and artifacts could not be displayed until the requisitioned
cases were supplied.
Boas insisted that single mannequins be placed inside cases with the arti-
facts in order to demonstrate the correct disposition of costumes, ornaments,
and tools: "arranging ethnological specimens such as dress, ornaments, etc.
without them would be exactly the same as though Prof. Allen would hang
unmounted skins in his cases, or as though Prof. Osborn would leave his
specimens imbedded in rock and unmounted" (FWPP: FB/FWP 11/7/96).
Scattered around each hall there were plaster busts, depicting racial features
and the art of face painting (cf. Anon. 1906). Almost every hall also con-
tained a detailed model of native habitations, although on a scale of 1:20-
since it was "impossible to show full size native habitations, because they take
such a vast amount of space without being thoroughly instructive" (FWPP:
FB/FWP 11/7/96). Diagrammatic models were used extensively to demon-
strate special topics, like the different stitches used in basketry, or the ico-
nography of Northwest Coast designs.
96 IRA JACKNlS
Hall of Plains Ethnology, American Museum of Natural History, ca. 1904 (negative number
42642 [photograph by I. I. C. Orchard], courtesy of the Department of Library Services, Amer-
ican Museum of Natural History).
Graphic material in the cases consisted of drawings and photographs. Es-

pecially in his displays of art, Boas employed explanatory drawings: "When I
say for instance, this [design] is a beaver, I want to point out on a good sketch,
what parts characterise the beaver" (FWPP: FB/FWP 11/16/95). Although
enlarged photographs were used in the cases, Boas did not employ them as
systematically as the National Museum. When it came to the supporting
elements within the cases, Boas and Putnam both felt that "the only con-
spicuous thing we wish to have in the case is the object itself, and next to
that the label; but [that] the mounting should be as inconspicuous as pos-
sible" (FBP: FWP/FB 11118/95). Accordingly, the small metal stands used to
support artifacts were painted the color of the shelves. Because he found that
the standard bluish-white labels contrasted too much with the mostly dark
specimens, "so that the whole case assumes an appearance of restlessness,"
Boas tried to "quiet down the appearance of the whole Hall" by using" case
labels matching the shelves and specimen labels approximating the specimen
color (FWPP: FB/FWP 9/12/96).
Attention was again concentrated in the arrangement of the artifacts on
the shelves: "I have selected from among the material all the typical speci-
mens and have arranged them so that each case presents a certain point of
view in Indian life" (FWPP: FB, as quoted in FWP report to MKJ 6/30/96).
Furthermore,
In arranging the collections I have, of course, not crammed the cases, but
placed the material so that it can be seen to advantage. I do not believe that
we can interest the public, if we do not give each specimen a chance to be seen
individually and so that its label can be studied in connection with it.
(FWPP; FB/FWP 9112/96)
Although in contemporary photographs we see cases that appear quite

crowded, it may be that Boas was forced to display more of the collection
than he would have wished, because of a lack of storage space. Alternatively,
our sense of what is crowded and what is spacious may have changed over the
decades, as the general cultural shift from Victorian plenitude to Art Mod-
erne spareness produced a re-evaluation of aesthetic sensibilities in museum
display (cf. Harris 1978:159-68). Be that as it may, Boas' successor, Clark
Wissler, in 1908 found plenty of specimens that could be profitably removed
(AMNH Annual Report for 1908:36, cf. Dorsey 1907:585).
Life Groups
The life group mode of display would seem to be the perfect device to
depict the kinds of local and contextual meanings and functions Boas was
trying to get across, and at first, Boas' plans were extremely ambitious. After
outlining eight groups, comprising twenty-eight figures, he estimated that he
98 IRA ]ACKNIS
Case of Bella Coola masks in the Northwest Hall, ca. 1905 (negative number 386 [photograph
by R. Weber!, courtesy of the Department of Library Services, American Museum of Natural
History).
would need another twenty groups with about seventy additional figures
(FWPP: FB/FWP 12/5/95). Yet by early 1900 only twenty-three figures had
been completed, and many of these were used individually, not in groups
(AMDA: FB/MK] 2/24/00) . Despite their popular appeal, the problems they
presented in scientific and artistic veracity seem to have made them not
worth the great effort they entailed.
Of all contemporary exhibit techniques the life group called for the great-
est amount of materials, time, and skill. Several media were then available
for modelling the figures, among them wax, papier-mache, and plaster (cf.
Goode 1895) . Like the National Museum, the American Museum used plas-
ter, which was relatively easy to work with and durable, and provided a good
surface for paint. The life group preparator for the American Museum was
Caspar Mayer, whom Boas regarded as a sculptor of "great talent." "He is

particularly well fitted to our work on account of the strong tendency to
accuracy and realism," and as "an enthusiastic student [he] is really grasping
the scientific aims of his work" (FWPP: FB/FWP 8/5/96) .
The method developed by Mayer involved taking plaster life casts of the
face and various body parts (FWPP: FB/FWP 10/ 1/96; Wissler 1943: 222) .
These casts came from diverse sources: some were collected along with the
artifacts in the field (as were the casts for Boas' two Kwakiutl groups), some
from the visiting circus or the Carlisle Indian Schoo\, and some from occa-
sional visits of natives to New York. Occasionally, when casts from life were
unavailable, model makers worked from photographs and measurements.
Boas himself demonstrated the poses for the National Museum figures (cf.
Hinsley and Holm 1976:308-10), and had his field photographer record sev-
eral poses for the American Museum cedar crafts group (cf. Jacknis 1984:33-
36). Clay molds were made from the preliminary casts, and the parts of the
body were joined with modelling clay. The whole was then reproduced in a
Franz Boas demonstrating a pose of the Kwakiutl hama tsa dancer for model makers at the U. S.
National Museum, February, 1895 (negative number 8304, courtesy of the National Anthropo-
logical Archives , Smithsonian Institution).
100 IRA jACKNIS
final plaster cast, and the skin color painted on. The figures were then com-
bined with artifacts, again, either collected specifically for the display (as for
Boas' Kwakiutl groups) or drawn from existing collections. This entire pro-
cess was guided, whenever possible, by the original field collector.
Most of the groups produced during Boas' tenure came from the Northwest
Coast and Eskimo-regions strongly represented in the Museum's collec-
tions, where Boas' own expertise sped matters along. Although documenta-
tion is vague, apparently groups from northern Mexico, the American Plains,
and Siberia were also completed before 1905. In their subject matter, Boas'
groups were hardly distinguishable from those of Holmes and other contem-
porary museum anthropologists. Typically, each group showed "a family or
several members of a tribe, dressed in their native costume and engaged in
some characteristic work or art illustrative of their life and particular art or
industry" (AMAC: FWP/MKj 11/8/94). The groups frequently depicted the
construction of artifacts as well as their use. Because Boas tried to represent
both male and female subsistence activities, and children were usually in-
cluded in larger scenes, a home scene was the perfect condensation of these
characters and activities. In keeping with Boas' theme for the educational
displays, most scenes demonstrated the relation of man to nature. The Kwak-
iutl cedar crafts group vividly illustrated the role of this plant in their life:
woman is seen making a cedar-bark mat, rocking her infant, which is bedded
in cedar-bark, the cradle being moved by means of a cedar-bark rope attached
to her toe" (Boas 1900:3-4). The other figures included a woman shredding
bark, a man painting a box, another man tending a fire with tongs, and a
young woman drying fish over a fire.
For Boas, the primary purpose of the life group was to catch the visitor's
attention and direct it to more specific exhibits (FWPP: FB/FWP 1117196).
Speaking of the cedar crafts group, he wrote:
I have taken notice that on Saturdays when the Public leave the Lecture Hall,
they invariably look at the group and then tum to the adjoining case and I find
by their remarks that I succeeded in reaching the end that I had in view in this
arrangement. The visitors discuss the uses of the implements comparing them
to those they see in the group and stop to read the labels.
(Ibid. )
Given their role as glorified stop signs, Boas invariably tried to position life
groups in a central aisle adjacent to the larger cases holding the primary
collection.
Yet despite their evident success, life groups from the beginning had for
Boas a series of drawbacks: the inherent limitations of realism; the distraction
caused by impressive display techniques; and the dulling of effect through
repetition. Although the life group strove in principle for realism, the cir-
cumstances of museum exhibition conspired to defeat that goal:
The Northwest Coast Hall from the south, ca. 1902 (negative number 351 [photograph by E. G.
Keller], courtesy of the Department of Library Services, American Museum of Natural History).
It is an avowed object of a large group to transport the visitor into foreign

surroundings. He is to see the whole village and the way the people live. But
all attempts at such an undertaking that I have seen have failed, because the
surroundings of a Museum are not favorable to an impression of this sort. The
cases, the walls, the contents of other cases, the columns, the stairways, all
remind us that we are not viewing an actual village and the contrast between
the attempted realism of the group and the inappropriate surroundings spoils
the whole effect.
(FWPP: FB/FWP 1117196)
The larger the group, felt Boas, the harder it was to achieve the illusion of
reality, because more of the distracting background would be included in the
vista, and because even with ample museum space the group would be
crowded, compared to its natural state. Boas therefore recommended that
only small, unified groups be constructed.
102 IRA JACKNIS
The limitations Boas faced become clearer when he described what would
be necessary for a really successful illusion:
In order to set off such a group to advantage it must be seen from one side only,
the view must be through a kind of frame which shuts out the line where the
scene ends, the visitor must be in a comparatively dark place while there must
be a certain light on the objects and on the background. The only place where
such an effect can be had is in a Panorama Building where plastic art and
painting are made to blend into each other and where everything not germane
to the subject is removed from view. It cannot be carried out in a Museum
Hall.
(Ibid. )
In fact, however, all the life groups constructed by Boas or the National Mu-
seum were meant to be viewed from all sides, without the illusionistic painted
backgrounds and lighting effects of the diorama-which were popularized
only after 1910 by Clark Wissler at the American Museum (1915), and Sam-
uel Barrett at the Milwaukee Public Museum (1918).
Realistic effects were equally elusive in the case of mannequins, especially
when they were viewed at close range.
No figure, however well it may have been gotten up, will look like man himself.
If nothing else, the lack of motion will show at once that there is an attempt
at copying nature, not nature itself. When the figure is absolutely lifelike the
lack of motion causes a ghastly impression such as we notice in wax-figures.
For this reason the artistic effect will be better when we bear in mind this fact
and do not attempt too close an approach to nature: that is to say, since there
is a line of demarcation between nature and plastic art, it is better to draw the
line consciously than to try to hide it.
(FWPP: FB/FWP 1117/96)
In order to stylize the figure Boas recommended three methods: figures should
be shown in a moment of rest, not at the height of action; skin color and
texture should be an approximation only; and the hair should be represented
by paint or modelling, not by actual hair. Although wigs of real hair were in
fact used, otherwise the groups under Boas' direction do follow these stric-
tures.
Boas was also concerned lest "the element of impressiveness" that life
groups possessed might "overshadow the scientific aim which they serve"
(ibid.). He was also critical of museums in which "the group is arranged for
effect, not in order to elucidate certain leading ideas" (ibid.). In a later essay
Boas gave an example from the American Museum habitat dioramas. Visitors
marveled at a case of gulls hovering with no apparent support over ocean
waves. Rather than studying the bird and surroundings, they came away in-
stead with "admiration of the technical skill exhibited in the installation"

(1907:923).
In this context, more was not better. For with the "undue multiplication
of groups of the same type;' the "impressiveness of each is decreased by the
excessive application of the same device" (1907:925). Again Boas offered
evidence from his own experience: one who will observe the visitors of
the United States National Museum strolling through the Catlin Hall, which
contains the Indian groups, will readily see how the first group seems very
interesting, and how quickly the others appear of less and less interest and
importance" (ibid.). Familiar with the psychophysical principle that the rep-
etition of a stimulus led to habituation, Boas felt that such large displays
should be used sparingly and set off against an "indifferent background."
Thus, although Boas believed life groups to be a necessary display technique,
especially for the general visitor, they forced to his attention the compro-
mises he had to make in the attempt to popularize anthropology.
Labels and Texts

By its nature the museum display communicates primarily through the me-
dium of tangible objects. The extent to which words-in the form of labels,
pamphlets, or monographs-were able to complement, supplement, or sup-
plant the object became for Boas the ultimate limitation to the possibility of
a museum anthropology.
Labels were quite important to Boas. The departmental secretary acted as
label-writer, whenever possible basing the copy on the monographs prepared
by the original field collectors. Labels were arranged hierarchically: each case
contained a large, summary label such as "Nootka" or "Northern Plains
Tribes"; smaller labels announced smaller units such as "Ceremonials" or
"Games"; near each specimen was a tag with basic identifications. Similarly,
the import of the life groups was spelled out with a set of labels, each com-
menting on a different aspect of the scene.
For such popular halls as the Northwest Coast and Mexico, brief pamphlets
were prepared, "easily read as one passes from case to case" (Gregory
1900:63). Boas' guide to the Northwest Coast Hall, printed in November
1900, proved to be so popular that all five thousand copies had been given
out within seven months (FWPP: FWP/MKJ Report for 1901). For those
wishing further detail, copies of the monographs prepared by Museum scien-
tists were chained to the appropriate cases. Collections were in fact installed
as nearly as possible in the order of the treatment in the monograph, so that
each publication was "a full description of the contents of a case or of several
cases (AMDA: FB/H. C. Bumpus 8121/02). By 1902, however, some of the
monographs were getting too heavy to attach to cases, and thereafter visitors
wishing to consult them were directed to the Museum's library (AMDA: FBI
104 IRA JACKNIS
H. A. Andrews 9/16/02). From labels for the general visitor to monographs

for the advanced scholar, each visitor was thus offered verbal information at
the level he or she desired. Here again we see how Boas attempted to har-
monize diverse interests by a system of overlay and juxtaposition.
But from the very beginning, Boas felt that the exhibited artifacts were
ultimately subordinate to the monographic interpretation of the scientist.
Upon hearing that the Chicago Fair administration would not pay for the
publication of scientific reports. Boas complained to Putnam that
The specimens are only illustrations of certain scientific facts .. . . The speci-
mens from the North Pacific Coast are interesting, but their vital interest lies
in their interpretation . . .. The collections will remain dead letters until this
interpretation which is indicated on the labels is substantiated in a report .
(FWPP: FB/FWP 12111/93)
When Mason and Goode commissioned Boas to prepare an annotated de-

scription of the Northwest Coast artifacts in the National Museum, they
intended to use this catalog as a basis for exhibit labels. Goode stressed to
The Northwest Coast Hall, northern end. American Museum of Natural History. ca. 1902 (neg-
ative number 12633. courtesy of the Department of library Services. American Museum of
Natural History).
Boas that it would be inappropriate for them to publish the manuscript Boas
intended to submit, which consisted largely of social and linguistic data.
"The work of the Museum is limited," Goode maintained, "to the adminis-
tration of the collections under its charge"-the main object was "to bring
under control the collections which we now have" (FBP: GBG/FB 215/95).
Yet by this time Boas had largely completed the manuscript, and although
"The Social Organization and the Secret Societies of the Kwakiutl Indians"
did discuss the cultural context of artifacts, using National Museum speci-
mens as illustrations, it was hardly an annotated catalog.
During Boas' American Museum tenure, his policy of delaying labeling
until the corresponding monographs had been completed was a continuing
bone of contention. Although ] esup had' instructed that any collection
placed on exhibition "should be a complete thing labeled and defined," he
had been "surprised" after a visit to the halls, to find "how little I knew or
could find out about them" (AMCA: MK]IFB 812/02). In reply Boas simply
asserted that "publication, installation, and labelling go hand in hand":
"Every contribution to the publications of the Museum in this section is a
contribution to our labelling" (AMDA: FB/H. C. Bumpus 8121102).
From there the disagreement rapidly spread to the relation of fieldwork
and research, and to its communication in exhibition. Bumpus admonished
Boas, "I cannot help feeling that I may have made a fundamental mistake in
yielding to the urgent appeals for purchases and continued field work and the
general enlargement of our collections, rather than to have first cared for the
proper installation of the material actually on hand" (AMCA: H. C. Bum-
pus/FB 12/18/03). Denying that fieldwork interfered with the work of instal-
lation, Boas argued that the "fragmentary state of most of our collections" in
fact necessitated more fieldwork for proper installation. "In the three halls in
which our fieldwork has been most systematic, the labelling is most complete
and satisfactory" (AMDA: FB/H. C. Bumpus 8121102). Thus did a disagree-
ment over labeling-a matter of exhibit installation-escalate to a challenge
to Boas' basic conception of a professional anthropology. Such strains could
not go long unresolved.
Boas' Resignation from the American Museum

Having come to feel that these frustrations and constraints were not acciden-
tal, but the expressions of inherent limitations in museum anthropology,
Boas began in the fall of 1904 the final train of events that led to his resig-
nation. That October he informed the administration that "the work in the
Museum did not seem to me profitable, and I preferred to be relieved of
administrative duties ... but that I would like to continue the scientific
106 IRA JACKNIS
work in which I am particularly interested" (FBP: FB/H. F. Osborn 5/6/05).

Bumpus, however, instead asked Boas to take on an added responsibility
when the Departments of Ethnology and Archaeology were recombined after
having been separated in 1903. Realizing that a suitable replacement could
not be found, Boas acceded to a unified chair, but only under strict condi-
tions: more money was to be pledged for fieldwork, and Boas was to have
complete and total control over the new department. After five weeks of
review of departmental activities, Boas submitted a report to Bumpus. This
report, and Bumpus' fierce attack upon it, proved to be Boas' final undoing
at the Museum.
Boas made a series of appeals to President Jesup, which led to a May 17
meeting with the Director and the President. When Jesup sided with Bum-
pus, Boas decided his position was untenable, and by the end of the week
had submitted his letter of resignation, citing "fundamental differences of
opinion relating to administration between the director and myself" (FBP:
FB/MKJ 5/23/05). An agreement with the Museum called for his functional
separation as of July 1, 1905, but for his continued supervision for one more
year of the scientific work of the department-essentially the editing of the
Jesup Expedition reports.
The divergence of the two sides came out clearly in the prime grievances
cited by each. For Boas, authority was the stumbling block. He refused to
allow the Director to appoint someone not under his own direct control to
carry out installation work, and he objected violently to Bumpus counter-
manding orders he had issued for such work. He was "absolutely unwilling to
be curator and as such responsible for the department, and to have no other
function than to carry out the instructions of the director" (FBP: FB/H. E
Osborn 5/6/05). As far as Jesup and Bumpus were concerned, the main prob-
lem had to do with Boas' exhibits. Thus, Bumpus directed Clark Wissler to
redo the Blackfoot Indian display so that it would then be "intelligible, in-
structive, orderly, and attractive" (FBP: HCB/FB 4/28/05), and he found the
Mexican Hall "entirely unworthy" in either "scientific or educational" terms
(ibid. )-noting specifically the lack of systematic order and comprehensible
labels. But, in the end, the two problems of authority and exhibit style were
one, for what bothered the administration was not so much Boas' research,
but his exhibit work, and it is in this arena that they attempted to intervene.
Although his ultimate interests lay elsewhere, Boas would not yield respon-
sibility for public displays in his department.
A microcosm of these divergent positions and a precipitating cause for
Boas' resignation was the installation of the Peruvian collection. According
to Jesup, this collection, which had been "gotten together at large expense;'
had remained in the Museum "for a long time without any approach to ade-
quate classification, instructive labeling, or creditable exhibition" (FBP:

MKJ/FB 4/28/05). Instead of waiting for Boas, Jesup directed Bumpus and
Adolphe Bandelier, the collector, to arrange the exhibit. In keeping with
systematic arrangements elsewhere in the Museum, the team devised a
scheme of fixed categories, either by function (house life, industries, personal
adornments) or by material (stone,.wood, clay). To someone who had advo-
cated the position that "in ethnology all is individuality" in a debate almost
two decades earlier, the Bumpus-Bandelier scheme must have been especially
frustrating; and to have such a typological exhibit imposed in his own de-
partment from without only compounded the problem. As for the delay in
arranging the collection since entering the museum, Putnam had responded
to this issue when it had first arisen in 1897: "It is often necessary to spend
days upon a specimen which is afterward put on exhibition in a few minutes,
and only the final result, the simple exhibition of the object, is noticeable"
(FWPP: FWP/MKJ 5/10/97).
But there were probably also more profound ideological differences at issue.
Echoing the optimistic evolutionism so widespread in his age, Jesup had
called for "a series illustrating the advance of mankind from the most primi-
tive form to the most complex forms of life" (FBP: Notes of interview with
MKJ & HCB, 5/17/05). Echoing his earlier remarks that "civilization is not
something absolute . . . and that our ideas and conceptions are true only so
far as our civilization goes" (1887b:66), Boas, in one of his final pleas to
Jesup, talked of his desire to impress upon the general public "the fact that
our people are not the only carriers of civilization, but that the human mind
has been creative everywhere" (FBP: FB/MKJ 4/29/05).
The clash between Boas and Jesup was inevitable, given their fundamen-
tally opposed opinions about the Museum's audience and purpose. Jesup,
himself not a trained scientist, wrote: "In my experience, I find that anyone
who is capable of interesting children or youth in any subject will always get
and retain the interest and attention of older people" (FBP: MKJ/FB 5/2/05).
Although Boas recognized the two levels of a general and advanced audience,
he refused to reduce the displays to the lowest level: "By adapting every ex-
hibit to the level of the needs of the uneducated, we frustrate our object of
adding to the knowledge of the educated who come here in search of more
special information" (FBP: FB/MKJ 4/29/05).
Attacking the facile popularizers of science, Boas later warned of the dan-
ger when "intelligibility is too often obtained by slurring over unknown and
obscure points which tend to make the public believe that without any effort,
by listening for a brief hour or less to the exposition of a problem, they have
mastered it" (1907:922). Boas wanted his exhibits to "bring out the sublimity
of truth and the earnest efforts that are needed to acquire it" (1907:923). He
108 IRA JACKNIS
had long believed that the needs of various audiences could be reconciled,
even within a single exhibit, but if he was forced to choose, he felt that
specialized interests came first.
Two years after his resignation Boas summarized his experience in a general
essay on the "Principles of Museum Administration." Although he still held
out hope for the proper scientific .use of museums, the essay represented his
museological swan song. Over time, Boas' confrontation with "the limita-
tions of the museum method of anthropology" began to resonate, theoreti-
cally and institutionally, throughout American anthropology. By 1907 he had
concluded that "the psychological as well as the historical relations of cul-
tures, which are the only objects of anthropological inquiry, can not be ex-
pressed by any arrangement based on so small a portion of the manifestion of
ethnic life as is presented by specimens" (I 907 :928). This theoretical re-
orientation took some time to establish itself. Boas' own attempt to move
anthropology from an artifact-based utilitarianism ro a more contextual, rel-
ative, and psychological stance was to find its major methodology in the
creation of native texts, which in many ways still possessed an object-ive
character. A more observational and behavioral kind of anthropology had to
await the work of his students in the twenties (cf. Stocking 1976:13-23).
As far as the institutional base of anthropology was concerned, Boas by
1905 had come to question his earlier position that "university instruction"
and the "general educational aims of the Museum" were both "very easily
harmonized" (FBP: FB/Zelia Nuttall 5116/01). Nor were his experiences
unique. Of the early joint university-museum programs, which existed at
Harvard, Pennsylvania, Berkeley, and Chicago, as well as at Columbia, only
the one at Harvard continued to thrive as such; and because it concentrated
almost solely on archeology, it was the exception which proved the rule (cf.
Darnell 1969:140-264). At all the others the same kinds of constraints,
though in different combinations and emphases, worked to divide the inter-
ests of the museum and those of the university. Although museums continued
until 1930 to be a major locus for anthropology, especially for research (cf.
Stocking 1976:9-13), the end of the "museum era" had long since been fore-
shadowed in the end of Boas' own museum connection.
Acknowledgments
This is a revised version of two earlier papers, completed in 1975 and 1979.
For helpful comments on preceding drafts, I would like to single out George
Stocking, and thank also John Adams, Douglas Cole, Raymond Fogelson,
and Curtis Hinsley. For the opportunity to present portions of this material
in lecture I thank the Newberry Library, Chicago; the Field Museum of Nat-
ural History, Chicago; Public Broadcasting Associates, Boston; and the Los
Angeles County Museum of Natural History. I also acknowledge the perrn,is-
sion of the various repositories to consult and to cite documents, and to
publish photographs-which, at the Editor's suggestion, have in several in-
stances been cropped.
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FRANZ BOAS AND EXHIBITS III
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Manuscript Sources
In writing this paper, I have drawn on research materials collected from the
following archives, cited as abbreviated.
AMAC. American Museum of Natural History, Department of Anthropol-

ogy, Accessions 1894-95 and 1901-36. New York.
AMCA. American Museum of Natural History, Central Archives, Depart-
ment of Library Services. New York.
AMDA. American Museum of Natural History, Department of Anthropol-
ogy, Departmental Correspondence. New York.
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FWPP. Frederic Ward Putnam Papers. Correspondence. Harvard Univer-
sity Archives. Cambridge, Mass.
PHILANTHROPOIDS AND
VANISHING CULTURES
Rockefeller Funding and the End of the Museum
Era in Anglo . . American Anthropology
GEORGE W. STOCKING, JR.
The Commodity Economy of Evolutionary Anthropology
Despite its implicit nominal assertion of generalized human relevance, an-

thropology through most of its history has been primarily a discourse of the
culturally or racially despised. The marginality of its human subject matter
has not for the most part strengthened anthropology's claim on the limited
resources society makes available to support the pursuit of nonutilitarian hu-
manistic knowledge. And while anthropologists have attempted in various
ways to argue the social utility of a knowledge of "Others," such claims have
only occasionally been honored. As a result, the resources that sustain and
constrain the creation of anthropological knowledge have been limited. They
have also often been indirect and mediated, in the sense that anthropological
activities have been incidentally or adventitiously supported by funds in-
tended for some other purpose, channelled usually through institutions not
specifically anthropological. Characteristically, this mediation has involved a
complex negotiation of not-fully-comprehended cross purposes.
This often implicit mediation is variously evident in the late nineteenth
and early twentieth centuries, when the discipline had barely got a foothold
in universities-whose presidents and trustees were in any case little able {or
George W. Stocking, Jr., is Professor of Anthropology and Director of the Morris

Fishbein Center for the History of Science and Medicine at the University of Chi-
cago. He has just completed a year as John Simon Guggenheim Memorial Foundation
Fellow, during which he finished Victorian Anthropology, a book on British social
evolutionism.
112
PHILANTHROPOIDS AND VANISHING CULTURES 113
inclined} to support research in the human disciplines. Although Lewis

Henry Morgan devoted $25,000 of his own funds to the single-minded pur-
suit of data on kinship systems (Resek 1960: 106), and General Pitt Rivers
was able to hire crews of workmen to dig barrows on his own estate (Chap-
man 1981), in general those who wished to carryon more-than-avocational
anthropological research had to rely on resources other than those solely
under their personal control. In the United States, government support
proved to be a possibility. John Wesley Powell's success in 1879 in convincing
Congress that anthropology would be useful in getting Indians peacefully
allocated to reservations made it possible for the Bureau of Ethnology to
underwrite a large amount of research on topics somewhat tenuously related
to that end (Hinsley 1981). So also, Franz Boas in 1908 managed to fund
environmentalist physical anthropological research under the umbrella of a
congressional commission devoted to the restriction of the immigration of
"racial" groups presumed to be genetically inferior (Stocking 1968:175). But
in Great Britain (Van Keuren 1982), government was much less forthcoming;
and in both countries the golden age of government funding still lay far in
the future.
In this context, anthropologists had to turn to wealthy individual benefac-
tors, and to a particular cultural institution-the museum-which was in
turn supported largely by their benefaction (d. Kusmer 1979). Here, again,
the mediation of cross purposes was often in evidence. Support for the estab-
lishment of anthropological work at the University of California may be seen
as a well-intentioned subversion of Mrs. Hearst's instinct of aesthetic accu-
mulation from the artifacts of classical culture to the languages of digger
Indians (Thoresen 1975). So also, in seeking support for Far Eastern research
in the aftermath of the Spanish American War, Franz Boas appealed to the
commercial interests of the entrepreneurs of transcontinental railroads; but
he also justified his request to these archetypes of the American way in terms
of a relativizing appreciation of the achievements of distinctive civilizations
(Stocking 1974:294-97). Such attempts to build bridges of enlightened self-
interest were always problematic; try as he might, Boas could not raise money
from Andrew Carnegie and others for a museum of Afro-American culture
(316-18).
Insofar as support was forthcoming, it was facilitated by the fact that ma-
terial objects served as both commodity and medium of exchange within the
restricted political economy of anthropological research. From the perspec-
tive of donors whose beneficence was sustained by success in the world of
commodity production, palpable and visible objects could be seen as a return
on investment, even if their aesthetic or utilitarian value was minimal by
conventional cultural standards. From the perspective of anthropologists, the
collection of objects for sale to museums was an important if somewhat ten-
114 GEORGE W. STOCKING, JR.
uous means of capitalizing research on less marketable topics. Between them,

at the center of the political economy of anthropological research, stood the
museums, institutions premised on the collection and display of objects. Al-
though not often devoted solely to anthropology, they were prior to the first
World War the most important single institutional employers of anthropolo-
gists, and channelled into anthropological research an amount of support
that has yet to be calculated-the return for which was most quickly evident
in the boxes and bundles of cultural objects sent back for warehousing and
display (cf. Darnell 1969: 140-235).
Quite aside from the nature of its political economy, a number of intellec-
tual factors also conspired to sustain an object orientation in anthropological
research. To a much greater extent than today, knowledge itself was thought
of as embodied in objects; William Rainey Harper took it for granted that a
museum was as essential as a library to the creation of a great university
(Stocking 1979: 11). As a discipline organized around the principle of change
in time, and devoted primarily to groups that had left no written records,
anthropology had a strong internal intellectual push toward the collection
and study of material objects permanently embodying moments of past cul-
tural or racial development. Within an evolutionist framework, human phys-
ical remains, archeological finds, and contemporary material culture were the
most ready means of graphically illustrating the development of mankind;
and though they were not convenient for public display, even the texts col-
lected by linguists had rather an "object" character (Stocking 1977). Indeed,
it might be argued that the existence of an object orientation within each of
its major subdisciplines was one of the strongest factors sustaining their some-
what problematic presumptive unity in a general "anthropology."
While Boas might have questioned whether the tendency is inherent in
museum display per se, it seems likely that in an ideological milieu befogged
by evolutionary racialist assumption, such an object orientation often con-
tributed to a degrading and distancing objectification of the "Others" who
had made the objects, and who were themselves literally objectified in mu-
seum displays. Be that as it may, there seems to have been some tendency for
the more object- and museum-oriented anthropologists to be more closely
identified with the dominant groups in American culture, and with the cul-
tural ideology that justified their dominance (Stocking 1968:270-307).
Already before the outbreak of the first World War, however, the evolu-
tionary viewpoint had been brought seriously into question, first in American
and then in British anthropology. The historically oriented diffusionisms that
immediately succeeded it still to some extent sustained an object orientation
insofar as they conceived culture as a collection of easily transportable thing-
like "elements." But even within the "historical school" certain leading figures
in both countries had already begun to move away from an object-oriented
museum-based anthropology. By 1905, when he severed his connection to

the American Museum of Natural History, Franz Boas had clearly decided
that the psychological issues that had always been central to his concern
could not be effectively pursued in a museum context (cf. Jacknis, this vol-
ume). In England, the emerging social anthropological orientation of Rad-
cliffe-Brown and Malinowski strained not only against the object-oriented
museum tradition, but against historical anthropology itself (Stocking 1984).
In Boas' case, this movement was associated with a more general critique of
racialism; in the British case, it reflected at least a more positive valuation of
the culture of "savages." While "Others" themselves might still in a meta-
phoric sense be objectified by the scientizing orientation that long survived
the demise of evolutionary anthropology, in both countries "objects" as such
were soon no longer to provide a focus for the unity of anthropology.
But if there was an endogenous intellectual movement within anthropol-
ogy away from objects and museums, it was by no means evident to all at the
time that this trend was to become dominant in the Anglo-American tradi-
tion. On the contrary, the immediate postwar period was one of considerable
ferment and even disarray. In the United States, there was a brief reaction
against the newly dominant anti-evolutionary cultural anthropology of Boas
and his students, many of whom shared his immigrant background and anti-
war sentiments. Taking advantage of Boas' attack on several museum-
oriented anthropologists who had carried on espionage work for the United
States government, a group of Waspish "patriots" attempted a coup in the
American Anthropological Association in 1919, and were momentarily suc-
cessful in ousting Boas from leadership. Some among them sought to redefine
anthropology in "hard" scientific racialist terms, and to reorient it away from
the historical study of the American Indians toward important arenas of con-
temporary domestic and foreign concern-the problems of immigration re-
striction and the peoples of the Pacific (Stocking 1968:270-307; cf. 1976).
In Britain, where the movement away from evolutionism had been later
and less cohesive, the groupings within the discipline were more diverse.
Although an elder generation of museum-oriented anthropologists still dom-
inated the Royal Anthropological Institute, a strongly diffusionary school had
emerged under the leadership of the neurological anatomist-cum-
Egyptologist Grafton Elliot Smith, who sought to derive all human culture
from a group of seafaring, sun-worshipping builders of megalithic monu-
ments. Somewhere in between were the ethnographically oriented anthro-
pologists who occupied the important positions at Oxford, Cambridge, and
the London School of Economics-several of whose students were turning
away from historical questions toward the present-day "functioning" of the
groups they studied in the field (Langham 1981; Stocking 1984).
In this situation of lively intellectual competition, the commitments made
by a major new funding alternative-the private foundation-could be a

powerful selective influence. And indeed Rockefeller philanthropy, which did
so much to reshape the whole range of human science in this period, was
also to playa major role in determining the outcome of the post-evolutionary
reorientation of Anglo-American anthropology.
From Human Biology to Cultural Determinism
By 1920, the vast bulk of the $450,000,000 which the ambiguous dynamic
of robber barony and protestant ethic had set aside for "the well-being of
mankind" had already been received by the four institutionalized Rockefeller
philanthropies-the Rockefeller Institute for Medical Research, the General
Education Board, the Rockefeller Foundation, and the Laura Spelman
Rockefeller Memorial (Fosdick 1952:ix). Their organization and administra-
tion, however, would not reach mature form until 1928, and the early 1920s
were a period of redefinition of philanthropic priorities and of transition in
administrative style. Prior to this time, the dominant role in the definition
of philanthropic policy had been played by Frederick T. Gates, the Baptist
minister who long served as the elder Rockefeller's philanthropic aide-de-
camp, and whose primary interest lay in the field of medicine and public
health. When John D., Jr., decided in 1910 to devote himself almost full
time to philanthropy, his somewhat broader vision of social welfare tended to
meet Gates's resistance (Fosdick 1956:138-42). Although early initiatives in
the social sciences ran aground upon the conflict of corporate and philan-
thropic interest in the aftermath of the "Ludlow Massacre" in 1914 (Gross-
man 1982), the elder Rockefeller's creation of the Laura Spelman Rockefeller
Memorial in 1918 to further his late wife's social reform interests reopened
the possibility of social scientific research (Bulmer 1981). After 1920, in the
context of a broadening of Rockefeller philanthropic activity overseas and an
increasing focus on the support of institutions of higher learning, there was
a general shift towards the encouragement of research as the best means of
promoting human welfare (Fosdick 1952:135-45; Karl & Katz 1981; Kohler
1978; Bulmer 1981).
The movement toward academic research reflected the greater prominence
within Rockefeller (and other) philanthropies of a group of academically
trained foundation bureaucrats who came to play a very influential role in
the determination of policy (Kohler 1978; Bulmer & Bulmer 1981:358-59).
In relation to anthropology, the key figures were Beardsley Ruml (who had
received a Ph.D. in psychology at Chicago under James Angell), Edwin R.
Embree (who had studied philosophy and served in administrative posts at
Yale), and Edmund Day (who had been professor of economics at Harvard
PHILANTHROPOlDS AND VANISHING CULTURES 117
and Michigan). As the intellectually free-wheeling director of the Spelman

Memorial, Ruml was instrumental in convincing its trustees in 1922 that
practical social welfare must be grounded first on a firm foundation of social
scientific research. When the Foundation proper established a Division of
Studies in 1924, Embree played a key role in organizing a program of research
into "Human Biology." Day was subsequently to become Director of the Di-
vision of Social Sciences when all the research activities of the various
Rockefeller philanthropies were consolidated within the reorganized Rocke-
feller Foundation in 1928. All three men shared Ruml's orientation toward
the social sciences: that practical social welfare depended on developing first
a more rigorously "scientific" and empirical social science, based on first-hand
observation of living human beings rather than on historical materials, clas-
sificatory systems, or general theoretical'speculation-a social science that
would produce "a body of substantiated and widely accepted generalisations
as to human capacities and motives, and as to the behavior of human beings
as individuals and groups" (quoted in Bulmer & Bulmer 1981:362).
For Ruml, biology was one of the social sciences, and as Embree's program
title suggests, a generalized "psychobiological" orientation was very influen-
tial in Rockefeller philanthropic circles in the early 1920s. Heavily influ-
enced by racialist and evolutionist assumption still widely prevalent in the
natural and social sciences-and momentarily resurgent in anthropology-
it implied a kind of theoretical unity underlying a number of issues of prac-
tical social concern, ranging from immigration and crime to public health
and mental hygiene to fertility and child development. Insofar as it expressed
a generalized concern with the composition, quality, and control of the pop-
ulation of a complex industrial society, this postwar distillation of the pro-
gressive impulse may easily be interpreted as an ideological expression of the
class interests of leading groups within a maturing corporate capitalist system
(cf. Haraway 1977). To a considerable extent, however, the story of Rocke-
feller anthropology in the interwar period is that of the redirection of the
interest in "human biology" toward the study of human sociocultural differ-
ences.
Although it was in Day's division that a program in cultural anthropology
was eventually to develop, the earliest Rockefeller involvement in anthropol-
ogy developed willy-nilly out of the research of Davidson Black, a Canadian
army surgeon who took the chair in embryology and neurology at the Foun-
dation's Peking Union Medical College in 1918 (Hood 1964). Black had
become interested in human paleontology while studying comparative anat-
omy in 1914 with Elliot Smith, who was then working on the "remains" of
Piltdown Man. Despite the fears of Foundation officials that Black's anthro-
pology would distract him from teaching (RAC: R. M. Pearce/DB 4/4/21),
he was able to carryon the work that led to the discovery of Peking Man in
1926, and over the next decade the Foundation's previously limited support
118 GEORGE W STOCKING, JR.
reached a total of almost $300,000 to Black and his successor Franz Weiden-
reich. J In 1920, Elliot Smith himself was a principal beneficiary of some
$5,000,000 the Foundation gave to support medical research at University
College, London (Fosdick 1952: 109; cf. Fisher 1978)-and which inciden-
tally sustained the institutional base from which Smith and his disciple Wil-
liam Perry propagated their controversial diffusionist notions. In this context,
Smith for a while seems to have been cast in what was to become an infor-
mally recognized role in the Rockefeller philanthropies: that of "expert an-
thropological advisor."
Davidson Black's work, like the China interest generally, had a somewhat
special status within Rockefeller philanthropy. With the development of the
psychobiological research orientation of the early 1920s, however, several
interdisciplinary proposals put forward by scholars in the United States were
to lead towards a more systematic program in anthropology. The first two of
these came to the Spelman Memorial, and their fate reflects the influence of
Ruml's personal, institutional, and intellectual affiliations in academic psy-
chology. Ruml's own psychological research had been in mental testing, and
during the first World War he had worked on the large-scale psychological
testing program carried on for the U.S. Army (Bulmer 1981:354). One of
the leaders of that program, Robert Yerkes, went on to take a leading position
with the National Research Council [N. R. c.], which was heavily funded by
the Foundation; and when Yerkes approached the Memorial in 1923 for
money to support the N.R.C.'s new Committee on Scientific Problems of
Human Migration, Ruml was immediately receptive (RAC: RMY/BR 2126/
23). Although the Committee began as a de facto research arm of the im-
migration restriction movement, the $132,000 contributed by the Memorial
over the next four years in fact helped to undermine traditional restrictionist
assumptions. The work of the Committee was heavily influenced by Clark
Wissler, whose own mildly nativist leanings enabled him to mediate between
the racialism of the hard-science establishment and the cultural determinism
of the Boasian school, with which in general he identified. In this context,
Rockefeller support for the N.R.C. (which included a major fellowship pro-
gram in the biological sciences), had by the early 1930s sustained a consid-
erable amount of Boasian anthropological research, including Mead's work
in Samoa, Herskovits' physical anthropological studies of the Negro, and
Klineberg's studies of the intelligence of Negro migrants-each of which
I. Although there is no single overall summary of dollar figures for Rockefeller support of
anthropology, an internal office document (Program and Policy, folder 910), initialed NST and
dated 3/31/33, lists "Anthropology appropriations made by LSRM and RF" to that date, by
institution (or in some cases, individuals). In arriving at overall totals for the period, I have
supplemented these figures with later appropriations, as indicated in particular institutional files,
or in the Annual Reports of the Rockefeller Foundation, 1934-38.
were major building blocks of the emerging anti-racialist scientific consensus

(Stocking 1968:299-300; cf. Coben 1976).
Later on in 1923, Ruml received a second psychobiological initiative that
was to lead toward cultural studies. His mentor Angell, who became the
president of Yale in 1921, proposed the establishment of a "Psycho-Biology
Institute" that would study psychic life from a comparative point of view with
emphasis on man and the higher primates (RAC: JNAlBR 5/4/23; cf. Hara-
way 1977). The plan fitted well with Ruml's policy of developing a few major
social scientific research centers, and by the following June, when Angell
had succeeded in attracting both Yerkes and Wissler to Yale, the Spelman
Memorial voted $200,000 to support the Institute of Psychology over a five-
year period (RAC: BR/JNA 6127/24). Reorganized in 1929 as the Institute
of Human Relations, the Yale project was ultimately to receive many millions
from the various Rockefeller foundations. Although the major anthropolog-
ical item was $550,000 for Yerkes' primate researches, there was a small but
significant flow of support to more culturally oriented studies under Wissler,
and over the long run the Institute was heavily influenced by the increasingly
dominant environmental and cultural orientation within the social sciences
generally (May 1971).
A third psychobiological initiative in 1923 led, in an even more dramatic
transformation of motive, to the first major Rockefeller programs in cultural
anthropology per se. In December of that year, the racial polemicist Madison
Grant forwarded to the Rockefeller Foundation a proposal from the eugeni-
cist Galton Society for a study of the effects of natural selection among Aus-
tralian Aboriginals as "the best approach to a proper understanding of the
artificial conditions of selection now operating in civilized communities"
(RAC: MG/R. B. Fosdick 12129/23). When the proposal was referred to Em-
bree in the newly organized Division of Studies, he followed up already es-
tablished anthropological connections within the Foundation by writing for
advice to both Davidson Black and Elliot Smith, who had just been invited
to lecture at the University of California in 1924 (RAC: ERE/DB 3/19/24;
ERE/GES 3119/24). En route, Smith stopped off to consult with Embree,
Wissler, and C. B. Davenport, another leading Galton Society racialist
(RAC: ERE/CBD 4/10124). Somewhat to the consternation of the Society,
which felt control of the project slipping away, Embree sent Smith on to
Australia to investigate the local anthropological situation-following a gen-
eral Rockefeller Foundation policy that its own initiatives mllst always be
linked to some local commitment of resources and personnel (RAe: ERE/
GES 517, 5/8/24).
The Australian scene was at that point in some confusion. A plan to tillmd
a university chair in Sydney in anthropology, which was developed at the
second Pan-Pacific Science Congress in Sydney in 1923, had been undercut
when a British colonial officer sent out to advise the government on the
administration of its island mandates told them that "special training in an-
thropology was not advisable" for colonial administration (RAC: GES/ERE
5/l9/, 5/21124). Encouraged by Rockefeller support, however, the Prime Min-
ister agreed to reconsider his opposition, and within the next several months
Elliot Smith was able to report that two of the state governments had voted
financial support (RAC: GES/ERE 9/30, 11/5/24). In the meantime, the
sudden death of the Sydney professor of anatomy, and the refusal of Davidson
Black to leave Peking to replace him, undermined the biological aspect of
the scheme, which the Australian National Research Council had in any case
from the beginning conceived in social anthropological terms (RAC: GESI
ERE 6/17/25). Late in November 1925, the Foundation received news that
Elliot Smith, A. C. Haddon, and a third elector had chosen for the chair
A. R. Radcliffe-Brown, one of the two leading exponents of "functionalist"
social anthropology, over the historical diffusionist A. M. Hocart (RAC: Of-
fice Memo, 11/28/25). Although Radcliffe-Brown was completely unknown
to the Rockefeller people, they invited him to tour American anthropological
institutions on his way to Australia (RAC: G. Vincent/ARB 1/7/26).
By this time, the Australian scheme had become linked with other re-
search initiatives that had developed in the Pacific in the postwar period. In
1919, the N.R.C. had established a Committee on Pacific Exploration (later,
Investigations), which took the lead in organizing the first Pan-Pacific Sci-
ence Congress; and about the same time Yale University and the American
Museum of Natural History had joined in a cooperative scheme designed to
revitalize the Bernice P. Bishop Museum of Honolulu. H. E. Gregory, the
Yale geologist who became chairman of the N.R.C. Committee, was ap-
pointed Director of the Bishop Museum, fellowships were established for Yale
graduate students, and $40,000 given to Yale was channelled through the
Museum to support four anthropological field parties of the Bayard Dominick
Expedition to Polynesia. Wissler, a member of the N.R.C. Pacific Commit-
tee, became "Consulting Ethnologist:' and a physical anthropologist was sent
from the American Museum to round out an anthropological staff that had
jumped from one to seven (Stocking 1968:297-98). By the time the Rocke-
feller Foundation became interested in Australian anthropology, Gregory was
looking for further sources of support for the Bishop Museum program (RAC:
ERE/HEG 5/29/25).
Almost simultaneously, the Foundation received another initiative from
Hawaii, when the president of the University there forwarded a memo on
the study of racial differences written by S. B. Porteus, an Australian-born
educational researcher who had just come from the Vineland, N.J., Training
School for mental defectives-another stronghold of the eugenics movement
(RAC: ERE/A. L. Dean 115/25; Porteus 1969). Faced with all these possibil-
ities in the Pacific, Embree came out himself to investigate, traveling first to
Australia with Wissler, and then returning to Honolulu, where they were
joined by E. G. Conklin, a leading biologist associated with the Galton So-
ciety (RAC: ERE/A. L. Dean 5129/25; ERElVice Chancellor, Univ. of Syd-
ney 7/1125; ERE/HEG 711/25). Despite the turn away from biology, Embree
sent back a favorable report on the Australian plans (RAC: ERE/G. Vincent
12/20/25); and while the Wissler and Conklin reports from Hawaii were
oriented toward human biology and racial psychology, they also emphasized
the need for institutional cooperation, in line with Rockefeller policy of de-
veloping regional research centers (RAC: "Rept. on Res. in BioI. in Hawaii"
3126).
In this context, the Foundation voted in May 1926 to make five-year grants
to support all three Pacific research proposals'. The smallest ($50,000 on a
matching basis, later supplemented by $14,000 more) was for the Bishop
Museum's continuing research program, which had been primarily cultural
from the beginning-although its traditional ethnological focus on Polyne-
sian migration could be interpreted in racial terms (BPBM 1926:25). In con-
trast, the support given to the University of Hawaii, totalling $215,000 over
the next ten years, at first supported researches like those on racial temper-
ament by Porteus and the anatomist Frederick Wood Jones. But when Jones
left in 1930, the biological researches carried on by H. L. Shapiro were thor-
oughly in the Boasian tradition, and a series of visiting Chicago sociologists
gave the whole program a decidedly culturalist turn (RAC: U. of
Hawaii, Racial Res." 8/38). In Australia, the money funnelled through the
Australian N.R.C. did support some physiological researches, as well as field
work by Porteus on the intelligence of Australian Aboriginals. But the bulk
of the almost $250,000 granted by 1936 went for social anthropological field
work there and in the nearby Southwestern Pacific (cf. RAC: ARB, "Rept.
on Anthro. Work in Aust." 6/28/30).
The general pattern was clear enough: a number of "psychobiological" re-
search proposals, several of them initiated by people with close ties to racial-
ist doctrine, immigration restriction, or the eugenics movement, were favor-
ably received by the new generation of administrator/academics, who were
interested in furthering empirical social scientific research into human capac-
ities, motives, and behavior. In almost every case, however, these initiatives
were partially or totally transformed, as Rockefeller administrators accom-
modated to the rising current of sociocultural and environmental determin-
ism within anthropology and the surrounding social sciences.
The Turn to British Functionalism

Although there were to be several later grants in support of research in hu-
man biology, these occurred within the framework of the cultural orientation
that increasingly characterized Rockefeller anthropological activities in the
later 1920s. Their somewhat tentative and ad hoc growth may be illuminated
by considering the development of several more specifically anthropological
initiatives within Ruml's social science program at the Spelman Memorial.
In the United States, the earliest of these was an appropriation of $13,500
to the University of Chicago in 1926 to cover the first three years salary of
Edward Sapir, the brilliant linguistic anthropologist (RAC: A. Woods/J. H.
Tufts 5/19/25). When Sapir joined his colleague Fay-Cooper Cole in forward-
ing a program for field research (RAC:FCC/L. K. Frank 3/5/26; JHT/BR 3/
29/26), however, the matter was sidestepped, despite favorable evaluations
from Wissler and two Memorial staff members (RAC: L. Outhwaite, Memo.
4/9/26). Ruml apparently preferred at this·point to work within the interdis-
ciplinary regional social science centers the Memorial was already funding.
Since these were given discretionary power over block-grant funds, anthro-
pological work received support within the limits of the local definition of
purpose and balance of disciplinary power. Thus when the Sapir-Cole request
was channelled to the University of Chicago's Committee on Local Com-
munity Research, its mandate was stretched to cover Cole's archeological
work in Illinois (RAC: L. C. Marshall/BR 5/31/26; cf. Bulmer 1980). Simi-
larly, at Columbia, where Boas carried weight in the Committee for Research
in the Social Sciences, anthropology was the indirect beneficiary of signifi-
cant Spelman Memorial support (RAC: A. WoodslN. M. Butler 5/28/26).
In the meantime, a spinoff of the Cole-Sapir initiative was to lead toward
further Rockefeller involvement in anthropology. The archeological training
program Cole ran in the summer of 1926 stimulated more general interest
among anthropologists in the N.R.C. in an "intercollegiate field-school" in
the Southwest, where, coincidentally, local archeological interests had made
a direct personal appeal to the younger Rockefeller during a visit he made
there in 1926. Successfully co-opting or overriding the local interests, the
nationally oriented anthropologists were instrumental in establishing a Lab-
oratory of Anthropology modeled on the Marine Biological Laboratory at
Woods Hole, Massachusetts. Over and above Rockefeller's large personal gift
for physical plant, the Museum and Laboratory of Anthropology in Santa Fe
received a total of $92,500 in Memorial and Foundation support during the
next ten years, the great bulk of which went to support summer field work
parties sent out from established university departments of anthropology
(Stocking 1982).
Although more than half of the Laboratory's field work was to be in eth-
nology and linguistics, the impetus that led to it had come from anthropol-
ogists whose orientation was still rather traditionally "historical." Develop-
ments during this period in England, however, were to lead to Rockefeller
involvement in a more "functional" anthropology. As part of Ruml's policy of
supporting regional social science centers on a worldwide basis, the Memorial
gave substantial support to the London School of Economics [L. S. E.], where
investigations into tht: human and environmental bases of economics and
politics fitted wdl with the psychobiological orientation then prevailing
among Rockefelb officials (Bulmer 1981). Indirectly, this support helped to
further work in cultural anthropology, which had been augmented in 1923
by the appointment of Bronislaw Malinowski, protege of Charles Seligman,
the School's Professor of Ethnology-·an appointment which, paradoxically,
had been designed to counter the development of Elliot Smith's rival (and
also Rockefeller-funded) school of anthropology at University College.
Although Malinowski was the beneficiary of Rockefeller-funded research
assistants, large-scale direct support to anthropology in Britain developed
outside the School in relation to attempts to apply anthropology to practical
problems of colonial administration (cf. Kuklick 1978). British anthropolo-
gists were quite active at this time in trying to counter unfriendly official
attitudes like those evidenced in the matter of the Australian chair. Empha-
sizing the importance of racial psychological studies in colonial administra-
tion, Seligman and others sought to reform the rather stodgy Royal Anthro-
pological Institute so that it might take on the more utilitarian functions of
an imperial Central Bureau of Anthropology modeled after the U.S. Bureau
of American Ethnology (RAC: C. G. Seligman/W Beveridge 3/13/24). Al-
though an appeal for funds to Ruml in May 1924 elicited no immediate ac-
tion (RAC: J. ShotwelllBR 5/6/24), the Australian matter kept the issue of
applied anthropology before the attention of Rockefeller officials. Early in
1925, Elliot Smith sent Embree clippings from the London Times in which
he and others argued the importance of anthropology for empire (RAC:
GES/ERE 1/20/25). In the meantime, men more directly involved in colonial
affairs were also interested in furthering research initiatives.
At a conference in September 1924, a group of world missionary leaders
and others critical of native policy in Africa advanced the idea of a "Bureau
of African Languages and Literatures" to further native education through
"the medium of their own forms of thought" (Smith 1934:1). Among them
was Dr. J. H. Oldham, who had close relations with several American phi-
lanthropies interested in promoting the ideas of the Tuskegee Institute as a
model for African education, and also with highly placed British colonial
officials who shared his view that research into "the human factor" was the
key to preventing the "impending racial conflicts" threatening Africa (Ben-
nett 1960). Early in 1925 Oldham went to New York to drum up financial
support, and when he subsequently forwarded more detailed plans to the
Rockefeller people, they were favorably received (RAC: JHO/A. Woods 6/91
25). At a conference that September, the planners of the African Bureau
broadened their project to include the study of African social institutions,
"with a view to their protection and use as instruments of education" (Smith
1934:2). Returning to New York for further discussions with Ruml, Oldham
argued that a nation with so many of the race" within its own bor-
ders could not afford to remain indifferent to the economic and social prob-
lems created by the rapid movement of capital into the African continent
(RAC: JHO/BR 1119/25). At the same meeting in which it appropriated
$17,500 for the Royal Anthropological Institute over the next five years, the
Spelman Memorial also voted support "in principle" for Oldham's scheme
(RAC: BR/JHO 11/725), although it was not until a year later that it actu-
ally allocated $25,000 over a similar period to what had by then become the
International Institute of African Languages and Cultures (RAC: BR/JHO
10/26/26).
Having made this commitment to British anthropology, Rockefeller offi-
cials apparently decided to establish closer contact with its prospective lead-
ers-the Memorial inviting Malinowski for an anthropological tour of the
United States which overlapped Radcliffe-Brown's similar tour for the Foun-
dation (RAC: BR/BM 11112125). Although neither venture led to the mass
conversion of the American "historical school" to "functionalism," Mali-
nowski's, especially, was viewed as a great success. Crisscrossing the conti-
nent, he met leading "gentlemen of colour" in the South, visited Indian
reservations in the Southwest, taught summer school at Berkeley (where he
had earlier left a "meteoric trail"), and gave joint seminars with Radcliffe-
Brown to Boas' students at Columbia. Everywhere he went, Malinowski
urged the behavioral study of "the cultural process" in the ongoing present,
insisting that it was "high time" anthropology took up earnestly "the eco-
nomic problems and legal aspects of the present blending of human strains
and cultures" (RAC: BM, "Rept. of American Tour" n.d.). The climax of
his tour came when Malinowski joined Wissler in discussing the present state
of anthropology at the Hanover Conference of the Rockefeller-funded Social
Science Research Council. After Wissler opened the conference by predict-
ing a "revolt" within the discipline in favor of "what my friend Malinowski
calls functional anthropology," Malinowski went on to discuss the method of
the new anthropology, its relation to the other social sciences, and its rele-
vance for contemporary social problems (SSRC 1926: I, 26, 42-54). The
assembled social scientists and foundation officials were very impressed (54-
71). As Charles Merriam had earlier suggested to Ruml, Malinowski was the
first anthropologist he had met who wanted to bring the old antiquar-
ian discipline in close relation to "living social interests" (RAC: CEM/BR
4/24/26).
Even so, the Rockefeller philanthropies made no further commitment to
British anthropology at this time, apparently because of "internecine strife"
centering around the personality and theories of Elliot Smith (RAC: J. Van
Sickle, diary 1O/6/30)-who by this time was losing his earlier position of
influence with the Foundation, which in 1927 rejected a proposal to support

cultural anthropology at University College (RAC: GES/ERE 6118127). In-
deed, after the opening of 1925-26, there seems to have been a momentary
drawback from anthropology within the Rockefeller philanthropies. Aside
from a small grant to the International Congress of Americanists in 1928,
the only further direct support prior to the reorganization of 1928 was to the
Institute for Comparative Research in Human Culture at Olso, which re-
ceived support totalling $45,000 by 1934. Nonetheless, it was clear that
when major anthropological funding was resumed, "functional" anthropology
would have an inside track.
Malinowski, Oldham, and the Prevention

of Race Wars in Africa
With the reorganization of the Foundation accomplished at the end of 1928,

the advancement of knowledge was now defined as its central function. Al-
though it was still assumed that research should eventuate in practical re-
form, the Trustees had accepted the position that "the margin between what
men know and what they use" was "much too thin" (Fosdick 1952:140). The
new divisional structure was oriented toward the major areas of human
knowledge, with the humanities and the natural sciences each for the first
time given independent recognition, and E. E. Day as director of the Divi-
sion of the Social Sciences. Day's first grants were carried out without much
ado along already established lines. In May 1929 the Foundation made a five-
year grant of $75,000 to the Chicago Department of Anthropology (RAC:
N. S. Thompson/F. C. Woodward 5/27/29); the following fall it voted
$125,000 over the same term to the German association of scientific workers,
which the now-defunct Spelman Memorial had supported on several occa-
sions. Although the latter grant was in fact for a eugenically oriented study
of the German people (RAC: F. Schmidt-Ott/EED 9/5129), and the Foun-
dation subsequently gave a small grant to support research on twins by the
physical anthropologist Eugen Fischer (RAC: R. A. Lambert/A. Gregg 5/13/
32), Day's primary interest was clearly cultural, and over the next several
years he moved toward a unified program in this area.
The first major input came from Malinowski, whose performance at the
Hanover Conference Day had witnessed in 1926. Although he had estab-
lished a cooperative relation with Radcliffe-Brown at Sydney, Malinowski was
not inclined to rest satisfied with only indirect access to field work support.
Since the Southwest Pacific was in Radcliffe-Brown's hands, Malinowski
moved toward Africa, where little professional field work had been done apart
from the surveys of his colleague Seligman. By the end of 1928, he had joined
forces with Oldham in a campaign to win major Foundation support (cf.
Stocking 1984).
The opening salvo was Malinowski's plea for a "Practical Anthropology"
that would study the pressing problems of land tenure and labor as they af-
fected the "changing Native" and the colonial administrator fearful of "what
might be called 'black bolshevism'" (Malinowski 1929:28). When Day came
to London in June 1929, Malinowski pursued similar themes in both conver-
sation and a memorandum on "The State of Anthropology ... in England"
(BMP:n.d.; EED/C. G. Seligman 6/24/29). Although functional anthropol-
ogy offered "a special technique" of "rapid research" to solve such problems
as how much labor must be kept in a tribe to maintain its economic base,
the British universities (save L. S. E.) lacked an effective field work orienta-
tion. The critical problem was therefore to provide field work money, and the
most likely channel was the African Institute, which had already inspired
favorable interest from the Colonial Office. At the same time, Malinowski
forwarded to Oldham a confidential "Report on the Conditions in the Rocke-
feller Interests" by an unnamed Observer" suggesting that they
would be receptive to a large-scale appeal stressing "the mutual unification of
knowledge by practical interests and vice-versa"-especially if it had to do
with "problems of contact between black and white and the sociology of
white settlement" (BMP: n.d.). Fearful that the Royal Anthropological In-
stitute and Elliot Smith at University College might be developing compet-
ing plans that would sacrifice "sound" anthropology for the study of fossil
man and the diffusion of Egyptian cultural influences to Nigeria, Malinowski
urged Oldham to "play any trump cards" he held "with a clear conscience"
(BMP: BM/JHO 6/11/29). His concern, however, was needless. Previously
briefed by Ruml, Day already felt that Malinowskian functionalism was the
coming thing in British anthropology, although he cautioned the Rockefeller
European representative not to let Malinowski know of "our favorable preju-
dice" (RAC: EED/J. Van Sickle 11/16/29).
The first fruit of that prejudice was an arrangement whereby anthropolog-
ical field work was supported under the existing Rockefeller scheme of inter-
national postdoctoral fellowships (RAC: BM/EED 813/29; JVS/EED 121231
29). In the meantime, Malinowski and Oldham worked to develop a "million
dollar interlocking scheme for African research"-interlocking, because a
parallel initiative on behalf of the new Rhodes House at Oxford was sup-
ported by men so powerful politically that the Institute felt forced to coordi-
nate planning (RAC: H. A. L. Fisher et aI.lPres., RF 3128/30). In their pri-
vate communications to Rockefeller officials, however, Malinowski and
Oldham made it clear that their own plans took priority (RAC: BM/EED 31
26/30). These were developed largely by Malinowski, who had begun to get
an indirect practical familiarity with the African scene through a series of
informal "Group Meetings" beginning in December 1929, in which mission-
aries, interested colonial officials and anthropologists-sometimes confront-
ing each other from separate sofas-discussed the problems created by culture
contact (BMP: BM/]HO 2/9/30). At the end of March 1930, a printed appeal
was forwarded to the Foundation in separate letters from Malinowski and
Lord Lugard, the retired colonial proconsul and ideologist of "Indirect Rule"
who presided over the African Institute (BMP: BM/EED 3/26/30). In order
to meet the dangers threatening "to defeat the task of Western Civilization"
in Africa and to protect the "interests of the native population" in a period
when world economic conditions foreshadowed "rapidly increasing exploita-
tion," it was essential to carryon systematic field research along the lines of
Audrey Richards' ongoing study of the tribal context of native mining labor
in Rhodesia. Toward this end, and toward the training of administrators and
missionaries in a more enlightened understanding of African cultural values,
the Institute was requesting £100,000 over the next ten years (BMP: Mem.
Presented to RF 3/30/30).
Despite opposition from biological scientists in the Foundation and the
threat of competing initiatives in Britain, Malinowski and Oldham were suc-
cessful in gaining Rockefeller support. After entertaining one of the Euro-
pean representatives at his Italian alpine villa, Malinowski told Oldham that
the key was to win over Selskar Gunn, a biologist in charge of all the Foun-
dation's activities in Europe (BMP: BM/JHO 9/17/30). Warning Gunn of the
"possibility of racial wars of considerable magnitude," Oldham recounted
Malinowski's "enthusiastic" reception by a group of colonial governors at a
meeting in London (RAC: SMG, Diary 9/25/30). With the biological op-
position thus effectively neutralized, the Foundation voted the following
April to allocate $250,000 in matching funds to the Institute over a five-year
period. At the same meeting it rejected the Rhodes House plan on the
grounds that the Institute was more international, less compromised by po-
litical considerations, and therefore more likely to secure additional match-
ing funding (RAC: RF minutes 4/15/31).
Although there were later to be small grants to the Institut fiir Volker-
kunde in Vienna and the Institut d'Ethnologie in Paris, and a somewhat
reluctant renewal of the earlier small grant to the Royal Anthropological
Institute (RAC: JVS/EED 5/29/31), the Foundation seemed clearly to have
committed itself to Malinowskian functionalism, at least as far as the British
sphere was concerned. But at the very moment when his influence was firmly
established, Malinowski began to feel it threatened by the man whom he had
been inclined to regard as his collaborator in the functionalist movement.
"The Biggest Anthropological Pie Ever Concocted"

When the impending termination of the original five-year grant and the rap-
idly deteriorating financial situation of the Australian state and federal gov-
ernments threatened the continuation of the Sydney program in 1930 (RAC:
A. Gibson/EED 3/3/31), Radcliffe-Brown approached Rockefeller officials
with an omnibus plan that would combine an extension of the Australian
grant and a proposal of his own for South African research with the Rhodes
House and African Institute proposals then under consideration (RAC:
ARB/EED 9/17/30; ARB/M. Mason 11117/30). Suggesting that the time was
ripe for more general consideration of Rockefeller anthropological policy,
Radcliffe-Brown argued that no other science was faced with so dire a threat
as that involved in the rapid disappearance of "the lower forms of culture,"
which might well vanish entirely "within the next generation." Fortunately,
in the few years left, the "newer anthropology" based on the "functional
study" of cultures as "integrated systems" might still formulate "general laws
of social life and social development." Focusing on the present and future
rather than the past, it might even approximate an "experimental science"
that would be of "immediate service to those who are concerned with the
administration and education of native peoples." What was needed was "the
establishment of a number of research institutions around the world" to un-
dertake cooperative investigation of the surviving native peoples "area by area
and tribe by tribe" (RAC: ARB, "Memo. on Anth. Res." 11117/30). Rad-
cliffe-Brown, who was leaving Sydney to take up an appointment at the Uni-
versity of Chicago, proposed to make his visit to London for the centenary
meeting of the British Association in September 1931 the occasion for a
concerted effort toward this goal (Radcliffe-Brown 1931).
Although Radcliffe-Brown had asked for Malinowski's aid in pushing his
"vanishing cultures" plan (BMP: RB/BM 9/17/30), Malinowski seems to have
viewed his return from the antipodes as a threat to his own planning(cf.
Stocking 1984). Vacationing in France, he received reports that Radcliffe-
Brown was offering Oldham advice on how to implement the Institute's "five-
year plan:' and that Oldham was taking seriously Radcliffe-Brown's argument
that studies focusing on economic life in terms of "social cohesion" were
preferable to more comprehensive ethnographic inquiries (BMP: A. Rich-
ards/BM n. d.; JHO/BM 9/9/31). Equally disturbing was Radcliffe-Brown's
suggestion that the School of Oriental Studies, which at this point also had
an application before the Foundation for massive aid, was a more logical
institutional center than the L.S.E. for anthropological research throughout
the Empire-a center that Radcliffe-Brown indicated his willingness to head
(BMP: RB/BM 9/27/31, 1130/32,5/25/32). Nonetheless, Malinowski was in-
fluential in getting the School of Oriental Studies grant scaled down to
$36,000 and redefined in complementary rather than competitive terms

(RAC: S. M. Gunn, interview with BM 3/4/31; SMG/EED 1217131,211132),
and Radcliffe-Brown settled in Chicago for the next six years. Once
broached, however, the idea of comprehensive reevaluation of its work in
anthropology was pursued within the Foundation itself.
By 1931, the Foundation's commitments in this area were fairly numerous.
In addition to the program in Britain, those in Hawaii and Australia then
being renewed, and the ongoing support to the Chicago department, the
Foundation was in the process of making grants to two other American de-
partments: Harvard, where support for anthropology complemented a major
commitment to Elton Mayo's researches in industrial psychology at the Busi-
ness School (RAC: A. W. TozzerlEED 11122/30); and Tulane, where the per-
sonal intervention of an elder statesman of the General Education Board,
Abraham Flexner, won a somewhat reluctant support for a bibliographic proj-
ect in Middle American research (RAC: E. Capps, "Memo. on Proposed
Inst." 6/9/30).
Faced with these rather disparate activities, Day was quite receptive when
Radcliffe-Brown pushed the case for cooperative systematic research while he
was teaching at Columbia in the summer of 1931. At a staff meeting late in
July, Day argued that Radcliffe-Brown's memorandum established "a strong
presumptive case" for a more unified program in cultural anthropology, which
would provide comparative data for a contemplated Division in Behavior and
Personality that Day hoped might be funded at $300,000 a year over the next
fifteen years (RAC: EED, "Foundation's Interest in Cult. Anth." 7/30/31). In
this context, the Foundation formally recognized cultural anthropology as "a
special field of interest, the development of which presents an element of
urgency" (RAC: RF Rept. 1931:249). After extended discussion at another
staff conference the following January (RAC: "Staff Conf." 1121132), the
Foundation's officers decided to undertake a full-scale survey of anthropolog-
ical activities throughout the world (RAC: EED/S. M. Gunn 1125/32).
Although Day considered asking Radcliffe-Brown himself to take charge of
the survey (RAC: EED/SMG 1125/32), it was decided instead to hire Leonard
Outhwaite, a currently unemployed former staff member of the Spelman Me-
morial who had studied anthropology at the University of California. Over
the next few months, Outhwaite traveled throughout the United States and
Europe, interviewing over two hundred anthropologists at fifty-one different
institutions. Although he made it a point to start with a blank slate-spend-
ing time in the beginning attempting to define the word "primitive" (RAC:
LO/EED 4/19/32)-Outhwaite's ties to the Boasian tradition inevitably gave
the survey a different character than it might otherwise have had. He found
Radcliffe-Brown "challenging" but "extreme" (RAC: LO/EED 4/19/32); and
while he thought Malinowski was "reasonable:' he was disturbed by his ten-
dency to act as the "Tsar" of anthropology (RAC: LOIEED 6110/32). Outh-

waite could see no essential distinction between the two, and concluded that
their differences were "not strictly scientific" (RAC: LO, in Eu-
rope"). The clearly evident theoretical differences between British function-
alists and American historicists he saw as reflections of the differing cultures
they had studied-and was therefore inclined to favor an essentially atheo-
retical approach to field work. He was opposed to the functionalists' "narrow-
ing" of anthropology, and while he accepted their notion of the systemic
integrity of cultures, he insisted that this, too, must be understood as an
historical phenomenon. In the end, he associated himself with the "best and
most conservative workers in each country"-among whom he included
Cole, Kroeber, Lowie, Wissler, Haddon, Seligman, and the Viennese diffu-
sionists (RAC: LO, "Condensed Rept." 23).
In the meantime, the American Anthropological Association, apparently
at Day's urging, had established a Research Committee to develop its own
plans for the study of vanishing cultures. The preliminary draft circulated by
the Association's Secretary, John Cooper, prior to the Committee's first infor-
mal meeting gave major priority to a trait-oriented study of the North Amer-
ican continent (UCBA: JMC/A. L.Kroeber 4/21/32). As the proposal was
refined at Committee meetings, however, the initial Americanist bias was
dropped for a cooperative worldwide orientation and a "catholicity of eth-
nographic approach" which even envisioned studies of the same tribe by func-
tionalist and historical ethnographers (UCBA: JWClALK, n.d.). The scant
evidence of the Committee's proceedings (AAAP) suggests that the modifi-
cation was engineered by Radcliffe-Brown and Alfred Kroeber-the former
walking with deliberate caution and the latter by nature a compromiser. The
final version was delegated to a subcommittee of five, in which Edward Sapir
and Alfred Tozzer were aligned against Radcliffe-Brown and Wissler, and a
major input in fact came from Boas, who later on was to side with
Brown against his Americanist colleagues on the relative importance of field
work and "source study" (UCDA: JMClF. C. Cole 1125/33).
On June 24, 1932, the Committee forwarded to the Foundation a twelve-
year research proposal, including field work on three hundred tribes through-
out the world, at a total cost of $5,000,000 (UCBA: OMC]/RF; OMC]/EED).
The Foundation, however, delayed consideration pending the completion of
Outhwaite's survey (UCBA: JMClRes. Comm. 7/1132). Comparing his own
with the Association's scheme, Outhwaite noted that their "general conclu-
sions" as to the scientific urgency of a global salvage program and their overall
methodological approach were essentially the same, although his own was
smaller in scope. Accepting Wissler's view that major field work in North
America could be completed in five years, Outhwaite estimated total ex-
penses averaging only $250,000 annually over a fifteen-year period. Outside

the North American area, Outhwaite felt that the less professionalized and
relatively "poverty-stricken" state of European anthropology necessitated a
gradual "strategic" approach, beginning with surveys of the major cultural
areas to define specific research programs. Although emphasizing the impor-
tance of individual field work by "general anthropologists" with "all-round"
training, he was critical of the traditional one man/one monograph ap-
proach, urging also the possibility of interdisciplinary, regional and compar-
ative studies. The major difference, however, was one of governance. Internal
and international jealousies made Outhwaite dubious of the Association's
plan to have the program supervised by an executive committee dominated
by Americans. Although he was optimistic that theoretical rivalries need not
"in practice" be a serious problem, he favored centralized control by an in-
ternationally oriented nonpartisan body-namely, the Social Science Divi-
sion of the Rockefeller Foundation. In this context he recommended that
the Association's proposal be turned down, at least in "its present form," while
the Foundation pursued its own planning (RAC: LO/EED 10112/32; UCBA:
JMClRes. Comm. 11128/21).
At Outhwaite's suggestion, however, the Association committee was asked
to develop plans for the American Indian field that might be incorporated
into subsequent Rockefeller planning (UCDA: JMClM. Mason 3/6/33).
After several months of discussions, the Committee reached an impasse over
the relative importance of further field work as opposed to the systematization
and publication of existing North American data. When the president of the
Foundation notified the Committee on April 26, 1933, that no support was
feasible at that time, Cooper suggested that his letter seemed "to settle the
tie vote" (UCBA: JMClRes. Comm. 4/28/33; M. Mason/JMC 4/26/33). By
this time, the Foundation had in fact decided not to pursue a major program
in anthropology.
The anthropologists were somewhat at a loss to understand what had hap-
pened. One contemporary nonparticipant suggested that there had been a
"series of undercover battles" between Malinowski and Radcliffe-Brown, and
between each of them and the Americans (RAC: W L. Warner/EED 9/15/
33). While we have seen some evidence of this, there is also evidence of a
spirit of compromise in the Association Committee; and towards the end
Malinowski and Radcliffe-Brown also seem to have joined forces in the at-
tempt to win "the biggest anthropological pie ever concocted" (BMP: BM/
W Beveridge 11/19/32). By that time, however, the decision was already
being made, on larger grounds than the internecine bickerings of anthropol-
ogists.
The essential context was the world economic crisis of the early 1930s,
which not only presented the Foundation with an overriding immediate

problem of human welfare, but also drastically reduced the income from its
endowment. When the Trustees met in the fall of 1932 to review the program
in the social sciences, Day proposed a concentration on certain major prac-
tical problems of social engineering, and especially on economic stabilization
(RAC: "Verbatim Notes, Princeton Conf." 10/29/32). Although Day himself
was still inclined to support cultural anthropology, the Trustees were moving
toward a major policy reorientation in which anthropology would find little
place. The early months of 1933 in fact marked the nadir of depression in
the United States, and by the time they met again in April, the decision had
already been made to shelve Outhwaite's report (RAC: S. H. Walker/J. Van
Sickle 4/4/33). For the next year, while the Trustees carried on a ponderous
reappraisal of the whole Foundation program, Day somewhat reluctantly de-
clared a "moratorium in the field of cultural anthropology" (RAC: EED/
D. H. Stevens 11124/33; EED/A. Gregg 12/19/34). Early in 1934, the deci-
sion was made to terminate it entirely, as far as the Social Science Division
was concerned, and let the director of the Humanities Division "pick up any
part he wants to salvage" (RAC: Staff Conf. 3/8/34).
As it happened, the Humanities Division did not pick up very much. Prior
to that time, its orientation had been quite traditional, emphasizing the pres-
ervation of source material. Its only support to anthropology was to linguis-
tics-directly by the grant to the School of Oriental Studies, and indirectly
through the American Council of Learned Societies, which in the ten years
after 1927 funnelled $80,000 to the Committee on Research in Native
American Languages (Flannery 1946). But the Humanities Division was also
affected by the policy reorientation of 1933-34, moving away from the "aris-
tocratic tradition of humanistic scholarship" toward the problems of mass
communication, international cultural relations, and cultural self-inter-
pretation in a democratic society-in which anthropology, as then con-
ceived, was felt to have little place (RAC: D. H. Stevens "Humanities
Program ... : A Review" 1939). The discipline continued to receive Foun-
dation support through general fellowship programs, through grants for in-
terdisciplinary social science programs, and through a renewed program in
"psychobiology" in the Division of Natural Sciences (cf. Kohler 1978). And
for some time there were traces in the annual Reports of the "former program"
in cultural anthropology, as payments continued to be made to a few major
institutional recipients under tapering terminal grants. But by 1938 these had
all ended. Two years later, the discipline reentered the Foundation through
the side door, when the National Institute of Anthropology and History in
Mexico City was funded by the Humanities Division under its program of
Latin American cultural exchange (RAC: D. H. StevenslR. Redfield 12151
40); but this belongs to the postwar phase of Rockefeller Foundation history.
Social Scientific Knowledge and Corporate Self-Interest
Having traced in some detail the development of Rockefeller anthropological

activities in the interwar years, it remains to consider more generally the
forces influencing them, and their influence on the history of anthropology.
In many other areas of Rockefeller activity, radical historical critics have
found patterns of research reflecting the dominant ideology of corporate cap-
italist society or the class self-interest of its leading groups. Yerkes' primate
studies have been treated as "Monkey Business, or Monkies and Monopoly
Capital" (Haraway 1977); Rockefeller medicine as a conscious "strategy for
developing a medical system to meet the needs of capitalist society" (E.
Brown 1979:4); Rockefeller social science as a "way of distributing surplus
wealth, which might otherwise go to the state in taxes," to produce "knowl-
edge that would help preserve the economic structure of Western society"
(Fisher 1980:258). Especially in view of recent concern with the "colonial
formation" of anthropology (Asad 1973), the question therefore arises as to
what extent and in what ways the anthropological research agenda may have
been shaped by the self-interest or ideology of "the Rockefellers" as repre-
sentatives of corporate capitalism or western colonialism. Given the limita-
tions of the present source material, 2 and a reluctance to structure it in terms
of a priori interpretive metaphor, it will not be possible to answer such ques-
tions in a fully satisfying manner. But having narrowed the angle and sharp-
ened the focus of the historical lens, we may suggest some of the complexities
of the historical processes by which anthropological research priorities seem
to have been negotiated.
It will help to begin by formulating a criterion of scale. In appraising ac-
tivities in the social sciences in 1934, a Trustees' committee estimated that
of the $298,000,000 disbursed by the Foundation's constituent bodies,
$26,225,000 had gone to support social science research (RAC: Rept.,
Comm. Appraisal & Plan); when direct support to anthropology was com-
pleted four years later, the total allocation approximated $2,400,000 dis-
bursed among some two dozen institutions (cf. Ft. 1). Given what is known
of Rockefeller decision-making processes in this period, it seems likely that
the effective decision was in the hands of key staff members, within the
framework of an overall philanthropic strategy. This is not to say that Trustees
2. Among the relevant limitations are: the fact that records of declined grants were not
preserved by the Rockefeller Foundation; that the present research was restricted largely to
Rockefeller files relating to particular anthropological activities and staff and trustee records
immediately relevant to them. as they were available in 1977; and that it included only a portion
of the potentially relevant personal and institutional manuscript collections elsewhere-as well
as the fact that only a small fraction of oral communications is reflected in the documentary
record.
limited themselves to approving staff decisions. Outsiders sometimes initiated

proposals by direct appeal to the younger Rockefeller or close personal asso-
ciates such as Raymond Fosdick, Abraham Flexner, or Colonel Arthur
Woods; and their initialed comments on such correspondence carried great
weight-as in the instance of Mayan bibliography at Tulane. But for the most
part, key staff members had the major input, not only at a grant-to-grant
level, but also in defining programs in particular areas. When the Trustees
reevaluated the overall program in 1934, the social science program was
clearly identified with Day personally, just as it had previously been with
Ruml, and the human biology program had been with Embree.
Except at moments of general reevaluation, then, the forces most directly
influencing program in anthropology seem primarily to have been those af-
fecting the thinking of a rather small group of reform-minded academically
oriented foundation bureaucrats, whom some in foundation circles jokingly
referred to as "philanthropoids" (RAC: G. E. Vincent, Off. Diary 1110/28),
and the succession of anthropologists who advised them. No doubt their
general ideological orientation was not radically antithetical to those of the
Rockefeller Trustees, and their receptivity to specific anthropological initia-
tives was not unaffected by more general economic, social, and political con-
siderations. But it was perhaps even more strongly influenced by their vision
of social science, and by their response to the play of influences endogenous
to the discipline itself, in the context of certain Rockefeller administrative
policies (the reliance on local academic institutions, on block grants, on
surveys of current work, and on expert scientific advisors).
It was in such a context that a number of "psychobiological" and even
racialist initiatives became vehicles for cultural determinist research. While
the control of the Boasians was briefly threatened in the immediate postwar
period, they still represented, both intellectually and institutionally, the
dominant force within American anthropology. Given the Rockefeller policy
of relying on professionally acknowledged disciplinary expertise, then the
shift away from racialist psychobiology, mediated through the role of Clark
Wissler as expert advisor, followed from the fact of Boasian disciplinary dom-
inance-even though Boas himself was never especially favored by Rockefel-
ler philanthropoids, who were inclined to look instead to younger anthro-
pologists with a more present-oriented, functionalist approach. This is not
to suggest that Rockefeller support could not be an important selective factor
in a situation where there was a more balanced competition of disciplinary
trends. Ruml's and Day's "prejudice" in favor of Malinowski surely contributed
to his rise at the expense of the diffusionists at University College. Neither
is it to suggest that an anti-psychobiological thrust is to be found in all areas
of Rockefeller activity. Quite the contrary, the present analysis assumes that
in areas where the internal intellectual thrust of a discipline was less clearly
PHiLANTHROPOIDS AND VANISHING CULTURES 135
marked, or the role of an established scientific advisor exerted a strongly

countervailing force, then the outcome might be different-as the continued
support of Yerkes, and the reassert ion of psychobiological interests in the
natural science division under Warren Weaver suggests (Kohler 1978). Never-
theless, it seems that within the social sciences the dominant thrust ran gen-
erally parallel to that in cultural anthropology, away from hereditarian view-
points toward cultural determinism. It is of course possible to interpret the
shift from instinct to culture itself in terms of changing ideologies of domi-
nation (Haraway 1977), but insofar as such arguments imply a conscious
shaping of research agendas in the interest of some group outside the disci-
pline, they do not seem to be substantiated by the present chronicle of
Rockefeller anthropology.
The issue of the "colonial formation" of anthropology has been posed most
sharply in relation to the Rockefeller role in supporting British social anthro-
pology in Africa (Asad 1973). Again, it seems quite likely that the philan-
thropoids and anthropologists whose interaction largely determined research
priorities shared a general orientation on issues of colonial policy. Whatever
their personal feelings about its legitimacy or desirability, they accepted the
post-Versailles colonial system as historically "given." The danger was that
unenlightened exploitation, without regard to the welfare of the native pop-
ulations, might lead to "racial wars." In this context, colonial anthropologi-
cal research was indeed promoted as a means of making the system "work"
more effectively, from the point of view of capitalist development and admin-
istrative efficiency, as well as native welfare: "The anthropologist's task is to
convince the government officials and capitalists themselves that their long-
run interests are in harmony with the findings of anthropology" (RAC: BM,
in Van Sickle diary 11129/29).
The present materials do not cast direct light on the extent to which
Rockefeller Trustees might have been influenced by ulterior corporate or class
interest in reacting to such appeals. But they do give a hint of ulterior disci-
plinary self-interest among the anthropologists making them. As Malinowski
noted privately in 1931 anthropology was the least able of all academic dis-
ciplines to support itself. Academic anthropologists spent their time breeding
young anthropologists "for the sake of anthropology and so that they in turn
may breed new anthropologists." Yet there was "no practical basis to our sci-
ence, and there are no funds forthcoming to remunerate it for what it pro-
duces." The Rockefeller money of the last several years had made field work
possible; what must now be done was to capitalize on this "almost surrepti-
tious deviation" and establish the discipline as a special branch of Rockefeller
endowment (BMP: draft memo, "Res. Needs in Soc. & Cult. Anth."). Sim-
ilarly, the proposed research centers of Radcliffe-Brown's vanishing cultures
scheme were intended to provide "assurance that there will be openings" for
the students who were to be trained for field work research (RAC: ARB,
"Memo. on Anth. Res.").
Sustaining such a "surreptitious deviation" was not easy in a situation
where colonial authorities were by no means wholly convinced of the utility
of anthropological research, and often more than a little worried that it
would somehow contribute to native untest (cf. Kuklick 1978). In the fall of
1931, Oldham wrote to Malinowski suggesting that Paul Kirchoff, who had
previously done research in Latin America under Boas, should be given an
African Institute fellowship for field work in Rhodesia, with a view to con-
vincing the Colonial Office of the practical value of anthropology in relation
to Rhodesian mining developments (BMP: JHO/BM 11/19/31). Shortly be-
fore Kirchoff's planned departure, the Colonial Office suddenly refused him
entrance to any British colony, letting it be known that he was suspected of
being a communist agitator (BMP: JHO/BM 1122, 2116/32). Although Mal-
inowski momentarily contemplated resignation from the African Institute
rather than accept the Colonial Office's "bald veto" (BMP: BM/JHO 215/32),
he was rather quickly swayed by Oldham's argument that "the large interests
of anthropology and African research" should not be sacrificed in a "forlorn"
crusade (BMP: JHO/BM 2118/32). Convinced that the whole matter was a
misunderstanding, and that Kirchoff was at most guilty of youthful indiscre-
tion, Malinowski tried to send him to New Guinea, where he felt that even
"the most intensive communistic doctrines" would present "no great danger"
(BMP: BM/R. Firth 9126/32). But this plan, too, was forestalled at the last
minute by the Australian National Research Council on the basis of confi-
dential information from British governmental officials (BMP: D. O. Mas-
son IBM 9/26/32).
Although the actual substance of Kirchoff's research does not seem to have
been at issue, and the Foundation, at Malinowski's urging, did give him a
small grant to write up his earlier Latin American research, the constraining
influence of this incident should not be minimized. At the time, the major
participants concluded that in the future there must be a "very careful scru-
tiny of the past records and personality" of all candidates (RAC: T. B. Kit-
tredge, Memo, talk with JHO & BM 10/24/32); and while Malinowski seems
to have retained a tolerant attitude toward youthful political "indiscretion,"
oral testimony from this period suggests that he was not alone in warning
aspiring young anthropologists that they must choose between radical politics
and scientific anthropology. 3
3. The oral testimony includes interviews with several senior anthropologists. Letters in the
Malinowski papers indicate that Malinowski did not feel that Meyer Fortes's avowed radicalism
was a bar to Rockefeller support (BMP: BM/JHO 2/5/32). Within the Rockefeller records proper,
the only political reference of this sort that I noted related to Radcliffe- Brown: reporting on a
conversation about anthropological matters, Van Sickle (somewhat out of immediate context)
To some extent, then, shared historical vision and disciplinary self-interest

may have conspired to shape portions of the Rockefeller anthropological
agenda to the "needs" of the colonial system; and at least one incident of
active constraint-which may well have had archetypal, "once-burned,
twice-shy" implications-helped to discourage research (or rather, a re-
searcher) the British Colonial Office felt threatening to it. But if one consid-
ers the overall pattern of Rockefeller anthropological research, colonial con-
siderations do not seem to have played a major determining role. During the
period when the Trustees accepted the view that human welfare could best
be achieved by the advancement of knowledge, interaction of philan-
thropoids and anthropologists won the discipline a place within the Rocke-
feller social science program, giving it brief recognition as a special field of
concentration, and for a moment even offering the prospect of sustained long
run support. Once it had been dissociated from the charge of antiquarianism,
its very exoticism enhanced its appeal: by the unique methodology of field
work investigation, it offered an otherwise inaccessible knowledge of the ge-
neric impulses underlying human behavior. Day, who felt that anthropology
had a more "scientific" technique than sociology, was clearly won over by its
promise of an esoteric social scientific wisdom (RAC: "Verbatim Notes,
Princeton Conf:' 11129/32). So long as the foundation had a program "in the
field of human behavior:' he felt that there were "values in the comparative
data in ethnology that cannot wisely be ignored" (RAC: EED/A. Gregg 121
19/34). By 1933, however, the Trustees had begun to wonder about a social
science program that spent more than ninety-five percent of its funds col-
lecting facts and less than five percent determining "whether these facts could
with any degree of effectiveness be applied to contemporary problems" (RAC:
Rept. Comm. on Appraisal & Plan): "Is Day's social science program really
getting anywhere? Is it too academic-too little related to practical needs?"
(RAC: R. B. Fosdick/W. Stewart 7110134). When they then reversed (albeit
temporarily) the priorities of the 1920s and turned to the "immediate prob-
lems of the today," anthropology was among the nonutilitarian programs that
fell by the wayside. What had sold the discipline to phil anthropoids like Day
was not so much its alleged practical colonial utility as its promise of esoteric
scientific knowledge; when the Trustees decided that serious practical con-
cerns must be paramount, anthropology lost its place on the Rockefeller
noted that "R-B thinks that our present capitalistic system bears within itself the germs of its
own destruction" (RAC: "Conversations with A. R.-B. 917-8/31). There is evidence, however,
that Foundation officials were concerned that Boas gave too much field work money to women,
who were felt unlikely to pursue profeSSional careers (RAC: EEDIFB 6/14/32; FB/EED 7/26/32);
and that the candidacy of Godfrey Wilson was seen (in part) as a counterbalance to the high
proportion of Jews and women among Malinowski's students (RAC: JVS "Training Fellows in
Cult. Anth." 6/8/32).
agenda. Whether things would have happened differently if the prior "colo-
nial formation" of anthropology had been more conscious, more consistent,
more systematic and more thoroughgoing is perhaps a moot point. 4
Rockefeller Funding and Museum Anthropology

To question oversimple notions of the exogenous determination of research
agendas in anthropology is not; however, to deny the impact of Rockefeller
funding on the development of the discipline in the interwar period. To
weigh this impact, it may help to consider the scale of Rockefeller involve-
ment from a different point of view. For if their appropriations in anthropol-
ogy seem relatively small from the perspective of overall Rockefeller philan-
thropic policy, they loom somewhat larger when one considers their impact
on the history of a rather small disciplinary community. Because the history
of the political economy of anthropology is a virtually untouched field, no
figures are available on its overall funding at different points in time. It may
help, however, to keep in mind the budgets of two field work enterprises
interwar anthropologists took as exemplars. The Bureau of American Eth-
nology, which British anthropologists sometimes looked to as a model of en-
lightened policy, had in its heyday a budget of between $30,000 and $40,000
a year, only a minor portion of which went for field work expenses (Hinsley
1981:276). The Jesup North Pacific Expedition of the American Museum of
Natural History, which the American Anthropological Association Research
Committee used as benchmark, had a budget totalling $100,000 over about
a dozen years (UCBA: DMCj/EED, n. d.). In this context, five million dollars
would indeed have been a very large anthropological pie, and the two-plus
million that Rockefeller philanthropy did provide was welcome nourishment
in a period when institutional beltlines were tight.
Basing themselves on ten recent expeditions to such places as Samoa,
Manus, Dobu, and Tikopia, the Research Committee estimated the average
cost of extended overseas field work among still-functioning tribal cultures at
$5,500; for tribes "on the point of extinction in North America from which
information can be obtained only by questioning," $1,500 for a single sum-
mer's work would serve (ibid.). In using these figures to make a rough esti-
4. Or, one might add, if the alleged utility had been more effectively demonstrated: reacting
to one paper by a Foundation fellow who had worked in Assam-as characteristic of the work
of "most anthropologists"-one Foundation official commented in 1937: "Somehow such work
seems of only slight importance to colonial administration, or the practical problems and the
responsibilities for making the connections seem to rest on someone other than the anthropol-
ogist" (RAe: S. H. Walker/To B. Kittredge 12/1/37).
mate of the total Rockefeller contribution to anthropological fieldwork, one

is hampered by the difficulty of weighing such factors as the allocation be-
tween subdisciplines, or between the two styles of fieldwork, or the propor-
tion for general institutional expenses-which in Australia apparently in-
cluded the embezzlement of £30,000 by administrative personnel (RAC:A.
Gibson/RF, cable, 5/31134). But even· if one assumes that only a quarter of
the total Rockefeller support went to field work, the Foundation's anthropo-
logical grants supported the equivalent of one hundred summers of informant
field work among American Indians and eighty periods of extended field work
overseas-a figure not including anthropological field work done under the
general Ro<;:kefeller fellowship program, or funded indirectly through the So-
cial Science Research Council. Nor does it reflect support for field work
through general institutional grants in the social sciences (such as the Insti-
tute of Human Relations at Yale), or through specific grants for other social
science projects (such as the contribution Elton Mayo's program in industrial
psychology made to Lloyd Warner's field work in Newburyport, Massachu-
setts). Neither does it allow for the stimulus of the "matching" provision that
was frequently attached to Rockefeller institutional grants in anthropology.
Considering that the total academic anthropological community in the An-
glo-American sphere at the end of the interwar period numbered somewhere
around 400, as measured by doctorates in all subdisciplines, then the Rocke-
feller contribution looms very large indeed. One has only to glance at the
biographical information in the Register of Members of the Association of
Social Anthropologists of the Commonwealth, or at the final summary of the
activities of the Laboratory of Anthropology in Santa Fe (cf. Stocking 1982),
to realize that Rockefeller money played a major role in underwriting the
field work experience of a large majority of the anthropologists trained in the
interwar period.
That money was not readily available from other sources. In the British
sphere, there was a relatively small amount of research money available from
the South African and several other colonial governments. In general, how-
ever, the British colonial establishment seems to have been swayed by argu-
ments for the utility of anthropological research only to the extent that
someone else was willing to pay for it. Until the late 1930s, as the British
colonial reformer Lord Hailey observed with a certain patriotic regret, Amer-
ican money provided the main support for anthropological research in Africa
(R. Brown 1973: 184). Although certain other agencies (notably the Rhodes-
Livingston Institute) picked up some of the slack when the Rockefeller Foun-
dation withdrew, it was not until after the second World War that the British
government began to support research on a large scale. In the United States,
the major alternative support came from the Carnegie Institution, which was
heavily oriented to physical anthropology and archeology; such general eth-

nographic work as it sustained was an outgrowth of its interest in Mayan
archeology (CIW Yearbooks; d. Woodbury 1973:64; Reingold 1979).
In contrast, Rockefeller money supported ethnographic work on a much
broader geographic scale, playing a major role in opening up two areas (Af-
rica and Oceania) where the disintegrative impact of culture contact had not
gone so far as in much of North America. To the extent that the intellectual
movement of the discipline is a reflection of its empirical base, it seems likely
that this sustained the more behavioral, functional, and holistic currents
emerging in the 1920s and 30s (Stocking 1976). Insofar as that movement
reflects an institutional dynamic, the Foundation's particular institutional
commitments contributed to a similar end. Despite its antiquarian orienta-
tion in the humanities, the Rockefeller orientation in the social sciences,
both in its psychobiological and its cultural determinist phase, was consist-
ently behavioralist. And although in the case of anthropology the Founda-
tion did make grants to specific departments, the more general policy was to
work through interdisciplinary social scientific channels, all of which sus-
tained those tendencies in anthropology that were moving away from the
traditional historical orientations. The pattern of Rockefeller institutional
support reflected this: the London School of Economics was supported at the
expense of Elliot Smith's University College; Chicago, Harvard, and Yale got
much more money than the more traditionally Boasian Berkeley and Col-
umbia.
Although the prior institutional structure differed somewhat in the two
countries, the general institutional impact may be illuminated by the Amer-
ican case, where, as we have seen, the funding of anthropological research
was before the first World War channelled largely to (or through) museum
collections. Even the researches of the Bureau of American Ethnology were
strongly conditioned by its relation to the U.S. National Museum; and every
early major university department developed in direct relation to a museum,
either within the university itself, or preexisting in the same city. It was
clearly expected, both by university administrators and anthropologists, that
research would be sustained by this connection. As the names of major ex-
peditions testify, money for anthropological research was frequently raised on
an ad hoc basis from individual philanthropists, who-like the younger
Rockefeller, in his personal philanthropy-tended to be more interested in
archeology than in other anthropological subdisciplines. In this context, get-
ting money for nonarcheological research was always a problem. As we have
seen, this institutional framework reinforced a certain intellectual orienta-
tion: anthropology tended to be conceived as a study of the human past as it
was embodied in collectible physical objects, rather than an observational
study of human behavior in the present; its important relationships were to
the biological sciences represented in museums of natural history, rather than

to the social sciences.
In this context, the impact of the Rockefeller program was considerable.
For the first time relatively large amounts of money became available to an-
thropology through channels that were primarily controlled, not by private
philanthropists or museum-men oriented toward the collection of physical
objects, but by men oriented to social scientific research, for whom the past
as embodied in the object was no longer a privileged form of data, and for
whom the university was in general the favored locus of research. True, at
least one-third of total Rockefeller support to anthropology went to physical
anthropological work, and archeology continued to get a share of many in-
stitutional allocations. But in the negotiation of competing interests and
conflicting cross purposes, the anthropological object no longer had the ad-
vantage of being a common denominator of intellectual interest or a primary
medium of exchange in the political economy of anthropological research.
Despite their support of ethnographic research through the Bishop Museum,
Foundation officials made it clear at several points that they were not inter-
ested in museum work of the traditional sort, but in the various factors af-
fecting human behavior in the present (RAC: EEDI]. Van Sickle 7/1/31). In
the context of a general contraction of museum budgets in the depression
years, Rockefeller support thus encouraged an ongoing intellectual reorien-
tation within the discipline toward the other social sciences and a more be-
haviorally oriented field research. In the British sphere, the impact of Rocke-
feller financing was very much the same. The relative neglect of the museum-
oriented Royal Anthropological Institute, the central role of the London
School of Economics, which had no museum connections, and the general
posture of Malinowski and Radcliffe-Brown all contributed to the weakening
of the historical tradition, and the strengthening of social sCientifically ori-
ented academic research.
A further consequence was the weakening of the unity of subdisciplines
within a general "anthropology." True, the traditional hybrid character of the
discipline in the Anglo-American tradition remained strongly in evidence in
the American Anthropological Association and the Royal Anthropological
Institute. But the interwar period saw a considerable heightening of subdis-
ciplinary specialization; there were fewer "general anthropologists"; interdis-
ciplinary interests were increasingly likely to carry cultural or social anthro-
pologists toward the social sciences rather than towards the other traditional
anthropological subdisciplines. Furthermore, the balance of subdisciplinary
relations within anthropology had changed. "Ethnology"-the subdiscipline
in which the others had been presumed to find, at least in principle, a ret-
rospective historical unity-was being transformed or displaced. In the Brit-
ish sphere, "social anthropology" (whose opposition to "ethnology" had been
proclaimed by Radcliffe-Brown in 1923) had by the end of the second World

War established itself as a well-defined and institutionalized inquiry w1".ose
practitioners were in most contexts disinclined to march under a general
anthropological umbrella. In the more pluralist institutional and theoretical
atmosphere of the United States, there was no analogue to the Association
of Social Anthropologists founded at Oxford in 1946. But although an his-
torical "ethnology" remained a viable form of anthropological inquiry, its use
as the name for the dominant anthropological subdiscipline was passing in
favor of "cultural anthropology" -a category which, like its British analogue,
was oriented toward the study of human behavior in the present (cf. Stocking
1976; 1984). Its practitioners were, for the most part, interested in objects
primarily as personal keepsakes of transcultural experience, brought back to
decorate the walls of their homes, or to distinguish their offices from those of
other social scientists down the hall.
It is of course impossible to weigh the independent contribution of Rocke-
feller activities to the transformation we have been describing, if only because
the Rockefeller program was defined in interaction between foundation offi-
cials and leading representatives of change within the discipline. But there
can be no doubt that it played a critical role in a major disciplinary transfor-
mation. Significant numbers of anthropologists continued to be employed in
museums, which continued to support important anthropological research;
but the museum era of anthropology had come to an end-at least for the
remainder of the century.
Acknowledgments
This paper was first drafted in 1977 when I was a fellow at the Center for
Advanced Study in the Behavioral Sciences, revised following its presenta-
tion to the Chicago Group in the History of the Social [Human] Sciences in
1979, and recast in its present form in 1984 when I was a fellow of the John
Simon Guggenheim Memorial Foundation. In addition to the two fellowship
sponsors and the members of the CGHHS, I would like to thank Len Berk,
Ronald Cohen, Barry Karl, Michael Schudsen, and Edward Shils, who com-
mented on the manuscript, as well as the archivists of the various repositories
in which I consulted manuscripts-particularly J. William Hess of the Rocke-
feller Archive Center. Insofar as it draws on other published and unpublished
research I have done on the history of twentieth-century anthropology, there
are other less immediate debts that I hereby anonymously reacknowledge.
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North Tarry ton , N.Y. (cited herein as RAC). I have also drawn on manu-
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ART AND ARTIFACT AT THE
TROCADERO
Ars Americana and the Primitivist Revolution
ELIZABETH A. WILLIAMS
In 1928 an exhibition of pre-Columbian art was held in the Louvre's Pavillon

du Marsan. Including almost a thousand objects, mostly from Central and
South America, it was the first such exhibit to accent the aesthetic rather
than ethnographic interest of such pieces. A catalog (Les arts anciens de
l'Amerique) was prepared by the exhibit's organizers, the ':A..mericanist"
scholar Alfred Metraux and Georges-Henri Riviere, who on the strength of
the show was soon to be hired as curator at the Musee d'Ethnographie du
Trocadero. An introduction by Raoul d'Harcourt, coauthor of an acclaimed
work on Peruvian ceramics (1924)' praised the exhibit's managers, the au-
thorities who had sponsored it, and the high quality of the pieces shown.
Although the catalog elsewhere averred that the exhibit's sole purpose was to
illuminate artistic developments, d'Harcourt himself displayed a certain un-
easiness:
It will be objected in certain quarters that by reason of the frequently ritualistic

or purely utilitarian character of the chosen pieces, this exposition falls into
the domain of ethnography, and this will be true. But, aside from the fact that
from a broad perspective aesthetics belongs to that science, where indeed it
occupies a favored position, nothing would appear to be more legitimate than
to group objects from the special point of view of their artistic form and decor,
taking into account . . . the idea of beauty which is at work in and incorpo-
Elizabeth A. Williams, currently Instructor in the Department of History at the Uni-

versity of Georgia in Athens, is the' author of "Institutional Stalemate: French An-
thropology in the Nineteenth Century," Isis (1985). Her current research, funded by
a National Science Foundation Scholar's Award, explores further the history of
French anthropological theory and institutions in the nineteenth century.
146
ART AND ARTIFACT AT THE TROCADERO 147
rated in them. Such a procedure renders more directly visible the style of an
epoch or a region and makes comprehensible the play of neighboring influ-
ences.
(Arts anciens, x)
That d'Harcourt was so hesitant to affirm the aesthetic interest of pre-

Columbian works in 1928 occasions some surprise. Europe's awakening to the
beauties of art primitif is generally traced to a much earlier date, either to
the changed sensibility in the work of Van Gogh or Gauguin or to the "dis-
covery" of primitive sculpture by Picasso and other avant-garde artists in
1906-7 (Laude 1968; Curtis 1975; Rubin 1984). Moreover, it has recently
been argued that in Paris after the first World War there emerged among
ethnographers and modernist aesthetes a distinct vision (captured in the con-
struct "ethnographic surrealism") that "destabilized" such traditional cate-
gories of high culture as the opposition between art and artifact (Clifford
1981). If so, we might interpret d'Harcourt's hesitation as a late reflection of
traditional prejudices against the "primitive arts," or perhaps as an indicator
of generational and cultural fissures in French ethnographical circles ("tra-
ditionalists" versus "modernists"). But there can be no doubt that he echoed
ambivalences long expressed among ethnographers trying to determine the
place of ethnographic artifacts in traditional classifications of artistic produc-
tion.
In the nineteenth-century museum, unlike its predecessor the eighteenth-
century cabinet de curiosite, exhibits were expected to reflect some clear ra-
tionale: museums of natural history presented instructive exhibits; museums
of art presented things of beauty. But the place of ethnographical displays in
this scheme of things was not wholly clear. Some ethnographers argued that
their materials had nothing of the beautiful about them and that ethnograph-
ical collections were intended only to enlighten. Among the most influential
was E. F. }omard , curator at the Bibliotheque Royale, who began in the
1820s to urge the creation of a full-dress ethnographical museum in Paris:
"there is no question of beauty in these arts . . . but only of objects consid-
ered in relation to practical and social utility" (1831:423).
That position, however, was inherently problematic. The act of display
itself suggested that beauty was somehow involved. Furthermore, many
pieces, especially those from sophisticated material cultures like those of pre-
Conquest America, fell into already well-established classes of artistic pro-
duction-statuary, vases, bas-reliefs. Such objects seemed clearly to be born
of aesthetic intentions, since they were decorative, formal, stylized, and un-
mistakably the products of careful labor and technical skill. Moreover, many
European observers were susceptible to their aesthetic effects. Peruvian ce-
ramics are the best case in point. Their beauty was admired even early in the
nineteenth century by authorities such as Alcide d'Orbigny, a naturalist and
148 ELIZABETH A. WILLIAMS
voyager who found little else to praise in American material culture (Soldi
1881:403-4). Although most later curators took }omard's cue, repeating
throughout the nineteenth century that ethnographic pieces were solely in-
structive, there was a subliminal sense that certain of these objects reflected,
however imperfectly, the high aspirations of Art. They exerted a special
force, awakened a sense of intrigue, or evoked strangely harsh judgments on
their aesthetic nullity.
Pre-Columbian artifacts were a special source of wonder to European ob-
servers because of the high level of material development of ancient Ameri-
can civilization and its apparent independence from the fonts of Old World
creativity. The productions of the classical world could be easily arrayed along
a sequence of progress to the modern arts; the "oriental" world had lost its
feel of utter strangeness and been assimilated into European sensibility
through periodic vogues of chinoiserie; the "true" arts primitifs of Arctic,
African, and Oceanic peoples could be unambiguously categorized as the
work of savages. But the arts and civilization of pre-Columbian America were
a profound enigma. Chroniclers of the Conquest had testified to the brilli-
ance of American civilization, but their works had largely disappeared from
view in the seventeenth and eighteenth centuries and were only beginning
to be read again from around 1750. Nor did they fully prepare nineteenth-
century observers for the wealth and complexity of the ars americana.
Because they were the writings of the conquerors themselves, they had an
equivocal and not wholly trustworthy status (Keen 1971:352-53, 393-94).
Moreover, their illustrations, if any, employed "naive" stylistic devices that
amused or irritated nineteenth-century "realist" readers.
It took a full century of reacquaintance with pre-Columbian civilization
before its material splendor was widely acknowledged (Lejeal 1903), and
even then ethnographers who willingly recognized the variety and complex-
ity of pre-Columbian productions remained reluctant to grant them purely
aesthetic merit. This final task of revaluation of the ars americana was ac-
complished only in the wake of the "primitivist revolution" in European aes-
thetics, a process set in motion by avant-garde artists who appear to have
been little indebted to previous ethnographic labors among the "primitive
arts." The relation between the ethnographic rediscovery of the ars americana
and their ultimate aesthetic revaluation is the subject of the present essay.
Americanist Collections in France

to the Founding of the Trocadero
The study of ancient American material culture, and the building of pre-
Columbian collections, was but a part of the larger development in France
of americanisme-the general area study of the Americas of both continents
and all periods. Americanist scholars investigated diverse subjects, from the
travels of Marquette, to the population and industry of modern St. Louis, to
the history and remains of the Incas. Although interest in the Americas was
slower to develop than that shown in "Orientalism" (d. Said 1979), by 1875
French Americanists met with their European colleagues in the International
Congress of Americanists (Comas 1954), and from 1896 they published in
an independent journal, the Journal de la Societe des Americanistes. The
founding of these institutions in turn gave new impetus to americanisme,
which by the end of the century increasingly emphasized collecting as an aid
to study of American material culture.
The first American artifacts to enter a French collection (the Cabinet du
Roi, later absorbed into the Bibliotheque Nationale and the Museum
d'Histoire Naturelle) had been sent back by Joseph Dombey from South
America in the 1780s (Hamy 1889: 318-19). Subsequently, in the period
1800 to 1850, scattered pieces-mostly from Mexico but some from Peru-
found their way into two private collections held in Paris. One was the pos-
session of a parliamentarian named Allier; the other was formed by Jomard,
who saw the assembling and methodical classification of artifacts as a primary
function of an emerging science of "ethnography" (Longperier 1850:9-10;
Jomard 1831). The most extensive collection, however, was built in fits and
starts at the Louvre itself. At the instigation of the antiquarian Henri de
Longperier, the Louvre had accepted donations of American pieces and fi-
nally in 1850 purchased a collection that Longperier particularly admired-
including some major pieces that had already been lithographed for Lord
Kingsborough's Antiquities of Mexico (1831-48; d. Longperier 1850: 7-10).
These newly purchased artifacts were displayed to the public as part of the
first pre-Columbian exhibit ever opened in Paris. As Longperier suggested in
his catalog, few French scholars "had gotten a taste for American studies"
(1); and indeed americanisme was neither his sole, nor even chief, interest.
He was an antiquarian by profession, and in the field of "antiquities" concen-
tration on a given area was less important than the basic disposition to work
with the products of the "ancient arts." Thus Longperier also prepared shows
for the Louvre on Assyrian and Asian antiquities, French coins, and Gallic
vases ("GE").
The Louvre pre-Columbian exhibit, as described by Longperier's catalog,
contained more than nine hundred pieces from varied sites in the ancient
American world. There were sculptures in basalt, jasper, granite, and jade;
numerous terra cotta figures including animal and human representations;
shards of stone and terra cotta bas-reliefs; a wide range of ornamental objects
including necklaces, bracelets, and plaques in jasper, jade, agate, obsidian,
quartz, and crystal; and a number of utensils of daily life such as mirrors,
needles, and weights (1850: 17-128). Making no distinction between Central
and South America, Longperier presented these materials as the remains of
a civilization that was "virtually wholly unknown" and of a highly "peculiar

character" (5). He commented on the paucity of information available to
scholars, but suggested that the lack of interest in the Americas was not
surprising since their past was not, like the Egyptian, closely tied to Europe's
own "sacred history" (1-10). Nor, he mused, would one be drawn to the study
of American antiquities because of their inherent beauty. Instead of the beau-
tiful, the Americans had devised "bizarre combinations" of forms and ideas
reminiscent of the Oriental style; "their very [physiological) organization"
seemed to have "denied to them that impulse toward the beautiful that alone
engenders progress" (5-6). Despite these judgments, Longperier's commen-
tary on the actual pieces emphasized the strange fascination exerted by
American artifacts, and he devoted considerable effort to explicating their
origins and meaning. To do so, he consulted what materials were available at
the Bibliotheque Nationale, including Mexican manuscripts and several co-
dices, and he brought to the enterprise the greatest expertise any French
scholar had yet developed in deciphering Mexican and Peruvian iconography
(Hamy 1885:4).
Although the collection of pre-Columbian artifacts remained part of the
Louvre's permanent holdings until 1880, it never served as the impetus to
Americanist studies that Longperier had envisaged (Hamy 1889:352). It was
repeatedly moved in the years after the 1850 exhibit, the last time out of
public view, and the handling of the materials was later strongly criticized by
officials within the Ministry of Public Instruction (352). Nevertheless, Long-
perier himself continued to devote time to Americanist pursuits. He later
helped to produce an album of the drawings of Jean-Frederic Waldeck, who
had visited Palenque, Uxmal, and Chichen Itza in the 1830s (Waldeck
1866:v-xv). Then in 1859 he and a small circle of Americanists joined with
colleagues in orientalist studies to found the Societe d'Ethnographie ameri-
caine et orientale, although their emphasis was largely philological (Williams
1983:150-66).
During the following decade, the study of pre-Columbian America was
given further impetus when Napoleon Ill's invasion of Mexico was accompa-
nied by an "army of savants" modeled on that which the first Napoleon had
assembled for the Egyptian expedition. In the course of the "imperial exper-
iment" in Mexico, French scholars undertook large-scale excavations of an-
cient Mexican sites, the most extensive at Mitla (Keen 1971:436-37). Al-
though many artifacts gathered in these undertakings found their way back
to France, they were scattered in various public and private collections. Per-
haps because of the ignominious end of the larger enterprise, their acquisition
never led to any major exhibit of Mexican material culture.
Some of the artifacts acquired during the Mexican venture ended up at the
Louvre, which in this period maintained not only its badly housed pre-
Columbian collection but also a separate "ethnographical collection" of some

2,000 objects of diverse origin, including some "rare and valuable" pieces.
From 1850 forward, these were exhibited under the auspices of the Musee
Naval, which had been housed in the Louvre since 1828 (Hamy 1889:347).
This collection apparently had a certain success with the public, inspiring
talk of building a permanent, extensive "museum of ethnography" at the
Louvre. But the idea never met with favor among Louvre officials or bureau-
crats in the Beaux-Arts administration, and by the 1860s it was clear to
certain scholars that Paris was in sore need of a full-scale independent mu-
seum of ethnography (Hamy 1889:346-52). Not only were important pieces
and collections being lost to provincial museums and "ignoble boutiques"
(Jomard's phrase), but in 1868 the national pride of ethnographers was
piqued when the Museum fur V6lkerkunde opened in Berlin under the direc-
tion of Adolf Bastian (Goldwater 1967:274). Thereupon, two scholars-
Armand de Quatrefages, who was professor of anthropology at the Museum
d'Histoire Naturelle, and his protege Ernest-Theodore Hamy-took the cre-
ation of a comparable museum in Paris as their special task. Neither Quatre-
fages nor Hamy had devoted much work to the collection or analysis of eth-
nographic artifacts, but both men strongly favored the idea of an
ethnographical museum, in part because they were troubled by the predomi-
nantly "materialist" (physicalist) bent in French anthropology (Hamy 1882).
After 1870 Hamy increasingly moved away from investigations in biological
anthropology to historical and ethnographical concerns, work he hoped to
see further stimulated through the agency of a museum.
From an early date Hamy took a special interest in things American, and
it was a project to display pre-Columbian materials that gave the final impetus
to the creation of the Musee d'Ethnographie du Trocadero in 1878. In the
mid-1870s the voyager and archeologist Charles Wiener returned from an
excavating trip to Peru that had been financed by the Ministry of Public
Instruction on the understanding that his finds would be handed over to the
French government on his return (Wiener 1880:i-viii). Having sponsored
Wiener's excavations, the Ministry was now obliged to mount some kind of
an exhibit of the 4,000 objects he brought back. Combined with the con-
stant urgings from Hamy and Quatrefages, this necessity encouraged the
Minister to use the occasion to gauge public interest in the establishment of
a permanent ethnographical museum. The Wiener Peruvian collection,
along with a display of artifacts and natural history specimens from Colom-
bia, Bolivia, and Ecuador, was assembled in the Palais de l'Industrie, and
opened in the spring of 1878 (Hamy 1889:353-63). Attendance was high
and press notices were favorable, and Hamy and Quatrefages now pressed for
permanent arrangements. The Ministry agreed to sponsor a full-scale exhibit
of Americana in connection with the Universal Exposition of 1878, and later
to convert the quarters into a permanent repository for ethnographic arti-

facts.
It is not easy to form a clear picture of the Peruvian exhibit from the
various accounts, but it appears that one of its primary purposes was to
achieve "life-like" effects that would intrigue and please the public. To do so,
Wiener engaged his friend the sculptor and medallionist Emile Soldi to assist
in preparing the display. The entryway to the exhibit simulated a facade from
the temple at Tiahuanaco, and immediately inside facsimiles of statuary were
displayed along with genuine pottery and other artifacts, all interspersed with
sculptures of human heads and figures Soldi created on the basis of Wiener's
notes and sketches. The exhibit made no consistent distinction between dif-
ferent locales or cultural areas, and objects from other collections were mixed
in with Peruvian materials. Mannequins were built to display necklaces,
headgear, clothing, and other ornamentation thought to be characteristic of
ancient Peruvian style, and objects and wares that formed pleasing "vi-
gnettes" were combined regardless of provenance or dating. Nonetheless it is
clear that both verisimilitude and artistic effect were major concerns; Soldi
sought, as he put it, to prepare "faithful reproductions" (Soldi 1881:335-
507; Hamy 1889:352-57).
Early Attempts to Overthrow the Naturalistic Aesthetic

Wiener's exhibit at the 1878 Exposition occasioned the publication of a ma-
jor tract in defense of non-Western aesthetics, Soldi's Les Arts meconnus
(1881). Soldi was a follower of the architect Viollet-Ie-Duc, who had in-
spired and guided the neo-Gothic revival in modem architecture and was
among the best-known and most prestigious spokesmen for a nonclassical
aesthetic. Subtitled "les nouveaux musees du Trocadero;' Soldi's book was
written to promote the idea that an entire series of new museums must be
created to display those arts long neglected by academic tastemakers and
largely excluded from citadels of art like the Louvre. The first section covered
the "industrial arts;' in which he included such pursuits as engraving, ca-
meos, and sculpture in precious gems; the other divisions corresponded to
given periods and regions-the art of the Middle Ages, then Persian, Khmer,
American, and Egyptian art. For each he had a special case to deliver, but
his overall argument rested on a rejection of the classical ideal in art, exem-
plified by the Greek, Roman, and High Renaissance traditions, whose pro-
ductions were, "for the adepts of a certain school that is still too powerful,
the only superior productions of human genius, the only ones worthy of in-
spiring the artist" (3). In this view all other arts-he listed Egyptian, Assyr-
ian, Hindu, Cambodian, Persian, Moorish, Mexican, Peruvian, Chinese,
Japanese, Byzantine, Lombard, and Gothic-were only sporadically interest-

ing. Thanks to the efforts of antiquarians, the guardians of taste were being
forced to abandon their narrow criteria for a more expansive vision, but in
general the arts outside the classical tradition continued to be "disdained"
(3-4).
Soldi's pleading for neglected artistic traditions was part of a long move-
ment against classical aesthetics that began in the eighteenth century among
collectors of archeological antiquities and encompassed such "primitivist"
schools as the French primitifs, the German Nazarenes, the Pre-Raphaelite
Brotherhood, and in Soldi's own day, the Nabis and Gauguin's school of Pont
d'Aven (Curtis 1975). Yet within this context Soldi's style of argument is of
special interest, in part because he made a case for arts, like the pre-
Columbian, that attracted little attention even among aesthetic rebels.
Furthermore, while other artists sought to transform aesthetic canons by
themselves creating "primitivist" works, Soldi sought to achieve that end by
public display and education through the medium of the museum, working
in collaboration with ethnographers who were just beginning to establish
their own authority in the management and display of the "primitive arts."
In preparation for the 1878 Exposition, Soldi and his circle had developed
an ambitious plan for "an historical school of the sciences and the arts,"
which would include a "Museum of Ethnography" with collections represent-
ing all stages in the evolution of the arts (Soldi 1881:iii-vi). Along with
sections on Old World antiquities and medieval art, these were to be housed
in the new Trocadero, an eclectic Gothic-Byzantine-Moorish structure that
was erected on the hill overlooking the Champs du Mars specially for the
1878 Exposition.
Soldi's grandiose scheme was rejected for requiring not only a great invest-
ment, but the raiding of other museums, including the Louvre, for large parts
of their collections. His conception is, worth our notice. Aside
from being the most forceful argument for studying the "primitive arts" in the
period, it reveals some of the tensions and contradictions that bedeviled early
attempts to overthrow the prevailing naturalistic aesthetic.
The "historical school of the arts and sciences" was intended to teach an
evolutionist conception of the origins, nature, and development of the arts
by showing how the arts began, what forms they took, and what materials
were at the disposal of artists in diverse settings across the ages. It drew clear
distinctions among arts that were "primitive," "advanced:' "refined:' and "dec-
adent"-the last being a favorite term of Viollet-le-Duc's coterie, who be-
lieved that Occidental art of the High Renaissance was in a full phase of
decadence from the art of the Middle Ages (Soldi 1881:69-71). This con-
ception was never intended to suggest that all the arts were on a par, but
rather that all the arts were worth looking at and that all arts could instruct.
In tum this new openness to variety in form, technique, and subject matter
was expected to produce as a byproduct new valuations of the arts; and indeed
Soldi's admiration of such traditions as the pre-Columbian demonstrated the
benefits, in fresh vision, of rejecting the classical aesthetic.
Such an historical-evolutionist perspective on the arts had, however, its
own criteria of excellence-standards by which "progress" and "decadence"
could be gauged. And it was here that Soldi's favorite argument began to
emerge, for along with his other purposes-promoting a historical museum
of the arts and stating the case for· his favorite arts meconnus-he also sought
to promote a "materialist" theory of artistic production that eschewed inquiry
into what he scornfully referred to as the "beautiful and the sublime" in favor
of attention to the materials and tools available to artists and their level of
technical competence (1881:xii-xv). This approach was a fruitful one for
focusing wider attention on arts which, if judged by traditional aesthetic
standards, were invariably dismissed as barbarous or, in the favorite term of
the age, "grotesque:' If the first desideratum was to make people perceive,
then arguing for the historical and technical interest of alien arts was not a
bad way to begin-and making people first perceive was the important func-
tion performed by exhibits such as the Trocadero show, and the function that,
in effect, all ethnographic displays filled until the boundary between art and
artifacts, the beautiful and the instructive, began to break down.
But if Soldi's materialism suggested a more positive valuation of exotic arts,
he nonetheless found some pre-Columbian pieces repellent. In ranking the
various traditions within pre-Columbian art, he drew directly upon Viollet-
le-Duc, who had himself written on Mesoamerican ruins in an introduction
to Desire Charnay's Cites et ruines americaines (1863). Viollet-le-Duc's "rac-
ist/dilfusionist" interpretation of Mexican architecture was directly inspired
by propositions on the creative impulse found in Gobineau's Essai sur l'ine-
galite des races humaines (Keen 1971:437-38). Working from Gobineau,
Viollet-le-Duc developed an analysis linking material techniques in architec-
ture with specific racial groups-the use of mortar indicating, for example,
the presence of a "Turanian-Finnish" element in the American races (Viollet-
le-Duc 1863:26-27). Viollet-le-Duc argued that the "pure" artistic impulse
at work in the ancient Americas was best expressed in the mature style of the
Toltecs (3-4), whose "medieval" brilliance he equated with his own beloved
European Middle Ages. Soldi reproduced Viollet-le-Duc's argument intact,
adding his own observation that Incan art was much superior to the Aztec,
which, with its "hideous forms" and sanguinary imagery, was clearly a "dec-
adent" phase (Soldi 1881:343). Aztec monumental sculpture had produced
"bizarre results"; Aztec work in obsidian and chalcinite was "barbarous"-
utterly failing to capture the human figure and wholly lacking in fluid line
because "technical grossness" made it impossible to sculpt in such materials
(347-48). In one case, he noted, the artist had so little control over his
materials that he "had not even tried" to render true eyes, but had settled for
two "slits" in the hard stone (351-54).
Although Soldi generally favored Peruvian art, he was no less harsh in
judging the megalithic sculptures of Tiahuanaco. "Dominated by the mate-
rial:' this tradition of sculpture was "in infancy": human forms were square
rather than fluid, the limbs were freed from the body, simple holes
sufficed for eyes and blocks for ears (363-71). Thus although Soldi was moved
by many features of pre-Columbian art-which in one place he called "as
great as any the world had produced in grandeur and beauty"-the natural-
istic aesthetic died hard with him, too. In a perfect peroration to his evolu-
tionist argument, he concluded: "The ingenuity and patience with which
American sculptors designed human forms, in using procedures such as these,
are worthy of all our admiration despite the gross aspect of the final result"
(379).
Limited as Soldi's challenge to the naturalistic aesthetic was, his "materi-
alist" theory of the evolution of art still did not gain easy acceptance in
French aesthetic or ethnographic circles. French analysts of the "primitive
arts," like their counterparts elsewhere, adhered strictly to an evolutionist
scheme of artistic development (cf. Jacknis 1976). But they were little inter-
ested in the suggestion that technique or the artist's materials were of chief
importance. Rather they concentrated on divining the causes and origins of
the artistic impulse. Salomon Reinach, for example, attributed the artistic
impulse to magical origins, specifically to the desire of primitive peoples to
"evoke" by means of artistic representation the beneficent forces or spirits of
the animals they hunted for food (1903). A more important opponent was
Hamy, who became curator of the Trocadero on its founding and who in his
writings on the pieces held there took strong issue with Soldi's contention
that materials determined artistic form. Hamy insisted that the intellectual,
cultural, and religious inspiration of the artist was primary (Hamy 1897: 16),
and his own understanding of the "evolution" of art was grounded in a
broader scheme of cultural progress that placed peoples and civilizations
along a continuum leading to the European standard. Thinking in this way,
he was disinclined to appreciate and certainly never developed what potential
there was in Soldi's "materialist" scheme for a revaluation of the "primitive
arts."
The Collection at the Trocadero

Although figures on attendance at the pre-Columbian exhibit at the 1878
Exposition are not available, the show was successful enough to convince the
Beaux-Arts authorities to proceed with opening the permanent Trocadero
museum. Its founding began a new chapter in the display of pre-Columbian

art in Paris, for from this point on, pieces from the ancient Americas were
continuously on exhibit. Although the Trocadero museum was underfunded
and ill maintained, it led a steady existence and provided ready access to art
and artifacts that could be seen nowhere else.
To some extent the Trocadero .preempted the role of the "world exposi-
tions" in satisfying the Parisian taste for pre-Columbian exotica. Sources on
the 1889 Exposition Universelle include only a few references to pre-
Columbian displays. A mock village of ancient Mexico was part of a larger
exhibit of archaic dwellings that struck Van Gogh as "primitive and very
beautiful" (Read 1964:48). And the businessman and assiduous americaniste
Eugene Goupil displayed his collection of statuettes and diverse "industrial
productions" from pre-Conquest Mexico (Boban 1891:8). But near the end
of the nineteenth century public interest in exotica came increasingly to be
focused on those regions of the world-West and Central Africa, Southeast
Asia, Melanesia-where France had colonial "interests:' and the later ex-
positions responded accordingly. The 1900 Exposition included a giant rep-
lica of a Khmer temple which was very popular despite criticism in the Ga-
zette des Beaux Arts for its false conception and detail (La Nave 1904:326).
The craving to see what France had gained with the empire was to lead
eventually to a festival of national self-congratulation in the Colonial Expo-
sition of 1931. But as public interest in exotica shifted to France's own co-
lonial world, there was little need for ad hoc displays of the more esoteric
exotica like the pre-Columbian, and the Trocadero became the acknowl-
edged focus of interest in the art and artifacts of the Americas.
As established in 1880, the Trocadero's American collection drew on sev-
eral different sources. Although the most important transfer from another
institution was that of the Louvre's antiquities," which were moved
to the Trocadero on its founding, the Museum d'Histoire Naturelle and the
Bibliotheque Nationale also sent certain pieces (Hamy 1889:352-53). A
number of donations were also made to the Trocadero by individuals who
could not privately house the pieces they had collected, or who gave them to
the French government out of national feeling. Career diplomats were espe-
cially important in this regard; after devoting lifetimes to investigating their
surroundings, they frequently transferred the material results back to the met-
ropole. Perhaps because Peruvian laws governing the export of artifacts were
weaker than the Mexican ones, those who served in Peru seem to have been
particularly active in collecting. Leonce Angrand, French consul in Lima
and Wiener's mentor in Peruvian studies, was typical of such diplomatic do-
nors; and the Drouillon collection was also acquired in this fashion.
But by far the greatest number of pieces, at least in the American division
of the museum, came from "missions" financed by the Ministry of Public
The exterior of the Trocadero Museum in Paris at the time of the 1878 Exposition, as shown in The Illustrated Catalogue of the Paris Inrernariunal Exhibition
......
Vl (courtesy of the Newberry library, Chicago).
-.J
Instruction. Wiener's Peruvian sojourn was the most "profitable" of these ven-
tures; but others, too, were highly successful. The voyager Alphonse Pinart,
who received a Fr 125,000 subsidy from the government to travel for five
years in the southwestern United States, Mexico, Central America, and the
Andes, returned hundreds of pieces (not all of them authentic, it now ap-
pears) to the Trocadero (Parmenter 1966:21-28). Hamy's friend Jules Cre-
vaux sent a number of artifacts back from travels on both continents before
he was killed near the Pilcomayo River by Toba Indians in 1882 (Hamy
1884). On another Peruvian trip, Leon de Cessac sent fifteen boxes contain-
ing both material artifacts and physical remains from an extended period of
excavation at Ancon (Hamy 1889). Shortly after 1900 the explorer Paul
Berthon spent five years on an archeological mission to Peru, where he gath-
ered a treasure of Nazca ceramics (previously rare in European collections) as
well as mummies, textiles, baskets, and an assortment of "the humblest of
objects" (Berthon 1911:27-34).
In later years the Trocadero began to buy American pieces on the open
market, but since the museum was always financially hamstrung this was
never an important source. The museum was first funded on a Fr 22,000
annual budget, which grew in tiny increments, until in 1908 funding was
again reduced to the original amount (Verneau 1918-19:554). Since the
lion's share of these sums went to salaries and physical operations, virtually
nothing was left for acquisitions. According to Hamy's successor Rene Ver-
neau, the sum typically available to him for making new purchases in any
given year was only two hundred francs (547).
Open free of charge to the public, the Trocadero enjoyed a certain follow-
ing even in the early years, before the vogue of arts primitifs. But it was a
difficult, if not impossible, place to work: quarters were cramped, lighting
and heating minimal, and the collections arrayed in a haphazard arrangement
determined only by storage and display facilities (Verneau 1918-19). As di-
rector of the museum from 1880 to his death in 1908, Hamy seems to have
accepted these physical defects with equanimity. Although he did press the
authorities for improvements, he had no success. On the whole, he preferred
to devote his time not to improving the display of artifacts, but to "decoding"
the pieces and drawing from them whatever ethnographic or historical infor-
mation they would yield.
E. T. Hamy and the Evaluation of "Primitive Art"

Although Hamy was a man of many interests, he devoted the largest portion
of his time to the Trocadero's American section, which he thought ranked
with the best in the world (1889:363). His prominent role in creating the
Trocadero and his writing on pre-Columbian pieces were later to draw the
attention of the art historian Robert Goldwater in his important study Prim-
itivism and Modern Painting (1938). Although in Goldwater's view the "prim-
itivist" revolution was effected chiefly by working artists, he thought that it
was anticipated by ethnographers whose collections made possible a long
unconscious association between European artists and works of art from Af-
rica, Oceania, and the Americas (42-43).ln isolated instances, moreover, he
found that European ethnographers "appreciated their objects as 'art' long
before the artists," supplying E. T Hamy as a case in point (xxii, 21-22).
Yet while it is true that Hamy had a profound love of things American, he
seems in fact to have had little appreciation for the aesthetic values of pre-
Columbian culture. His approach to study of the Trocadero's holdings was
exclusively scholarly and pedagogic, and on the rare occasions when he took
up aesthetic matters, he usually found the pieces in question "grotesque" or
tqxed their creators for failing to achieve realistic effects. His first major work
An assortment of Aztec statuary as displayed in the Galerie d'Amerique of the Trocadero Mu-
seum (courtesy of the Musee de I'Homme, Paris).
on the Trocadero's American collection was Decades americanae: Memoires

d'archeologie et d'ethnographie americaines (1884), a series of short essays in
which he his characteristic style of exposition about individual
artifacts. Each essay was devoted to one piece whose origins, function, and
iconography he attempted to trace: a stone fragment from an Aztec sacerdo-
tal staff; a terra cotta figure of a frog, found on the upper Orinoco; a tombsite
at Los Tres Molinos in Ecuador; a motif on a vase from Truxillo (Peru); a
hieroglyph from one of the Aubin manuscripts showing an Aztec tzompantli
(skull rack); "Carib" ornaments he found among "anthropolithic" remains
from Guadeloupe; and swastikas found on an assortment of artifacts from
North and South America.
Hamy's erudition was vast; he knew in depth the codices, the Spanish
ethnographic and historical accounts, and the scholarly work of his contem-
poraries in Europe and America. Since he expended considerable energy
trying to prove the Old World origins of pre-Columbian civilization, much
of his scholarship now seems errant; but even in these instances, his exposi-
tion was marked by close attention to iconographic detail, careful searching
in extant written sources, and laborious sifting of ethnographic evidence. In
all these exercises the point of Hamy's labors was decipherment; as he put it
himself, he was striving "to solve . . . problems, more or less difficult" that
were posed in the process of classification (5). Thus his interests were histor-
ical and ethnographic, and he confined himself to tracing descriptions in
earlier sources and taking up problems of origin, dating, and periodization.
After two decades with the Trocadero collections, Hamy published another
series of essays, entitled La galerie americaine du Musee d'Ethnographie du
Trocadero (1897). This work was assembled on the occasion of yet another
"universal exposition:' this time the 1893 World's Fair in Chicago. When
asked to contribute to the fair, Hamy assembled photographs rather than
sending actual artifacts (he was no doubt short of money), and in Galerie
americaine he wrote extensive commentary on a select group of the pieces.
The sixty plates were superb illustrations of some of the Trocadero's treasures.
Ten were of more recent North American origin, but the rest were pre-
Columbian, including a stone mask, a limestone statue of a Nahua god, Tol-
tec ceramics, a rock-crystal death's head, a funerary urn from Oaxaca,
samples of Peruvian textiles, and ceramics from diverse culture areas in Mex-
ico, Colombia, and Peru. Although he selected pieces for their "rarity or
historical character" rather than for aesthetic reasons (i), Hamy was in this
work forthright in assessing artistic merit, delivering, for example, a harsh
judgment of the sculptural aesthetics of a limestone deity from Vera Cruz:
The choice for materials of an easily worked limestone . . . the inability to
detach the upper limbs . . . from the surface of the trunk; the summary exe-
cution of the lower limbs, which remain attached one to the other, all this
manifestly denotes a relatively ancient work. I will pass over the matter of
proportions, which give to our personage a bit less than four tetes and reduce
his height in so shocking a fashion; Mexican sculptors persisted to the end in
this perverse aesthetic.
(17)
Whatever the truth about other ethnographers of the period, it would seem
that Hamy should not be cited for working to raise the perceived aesthetic
status of "primitive art." Although he was alert to purely technical refine-
ments in ceramics and metalworking and appreciated the variety of decora-
tive motifs in Peruvian textiles (1896:20), these judgments on the "minor
arts" did not fundamentally qualify his broad assessment of pre-Columbian
civilization as aesthetically barbarous.
It is true, as Goldwater observes, that Hamy frequently argued for the
universality of the aesthetic impulse. And in this regard he did stand apart
from those who denied aesthetic capacity to primitive artists working outside
a naturalistic aesthetic (Goldwater 1967: 17). But the "universality of art"
was only another in a series of questions disputed among French anthropol-
ogists and ethnographers who sought to prove the fundamental sameness or
diversity of humankind-a late embodiment, in short, of the monogenist-
polygenist question (Stocking 1968). French monogenists had long argued
that religiosity, family feeling, and the like were "universal;' contesting the
polygenist view that the various races had independent origins and widely
differing capacities (Cohen 1980:84-86). As "primitive art" began to draw
increased attention, monogenists argued that this faculty too was universal
and constituted further proof of the oneness of humankind (Hamy 1908).
That affirmation of the universal artistic drive did not necessarily imply
appreciation of "primitive art" is indicated in an 1883 article on ancient
American art by the Marquis de Nadaillac, an archeologist of some repute.
In a discussion that veered confusedly from rock painting to Mayan bas-
reliefs, Nadaillac argued that American sculpture was full of "grimacing fig-
ures that are repulsively ugly" (121-27). He explained the "bizarre qualities"
of American sculpture by observing that the "ancient American races failed
to comprehend the beautiful as we do, formed as we are by the immortal
creators of great art in Greece" (126-27). Yet Nadaillac was less interested
in whether American artists produced beautiful works than in their very ex-
istence amidst a barbarous civilization, and he drew from his survey the lesson
that "art is an innate sentiment in man ... more or less developed among
all the races" (140). For both Hamy and Nadaillac, then, their commitment
to artistic "universalism" reflected positions staked out in other controversies.
They were speaking to the enduring monogenist-polygenist argument rather
than urging any genuinely new of the "primitive art" of the Amer-
icas or elsewhere.
Hamy remained director of the Trocadero until his death in 1908, and his
approach to pre-Columbian artifacts remained consistently scholarly and
pedagogic in character. Although he was interested in showing off selected
pieces to good effect, he chose these according to nonaesthetic criteria since
matters of display were of no great import to him. Indeed, by the end of
Hamy's tenure as director, the Trocadero showed clear signs of neglect. The
collections were jumbled and crammed into wholly inappropriate space.
Some were displayed in dusty cases and others were simply stood on the boxes
in which they had arrived (Verneau 1918-19).
The Trocadero and the "Primitivist Revolution"

Hamy was succeeded as director by Rene Verneau, during whose yt:ars (1908-
27) the Trocadero fell on even bleaker times. Unlike Hamy, Verne au was
interested in mounting impressive displays and, as we shall see, he was
slightly more sensitive than Hamy to the aesthetic qualities of the Trocadero's
holdings. Nonetheless, Verneau suffered many woes in trying to maintain the
museum with its limited personnel and pitifully small budget. During the first
World War, when all the Museum's employees save one aging guard were
mobilized, Verneau could do little else than watch the collections slowly
deteriorate. Even before the disastrous circumstances of the war, however,
the Museum's meager budget and facilities were described by one visiting
ethnographer as a "bad joke" (Verneau 1918-19:556). Although Verneau was
irked at his inability to buy anything on the growing commercial market in
"primitive art:' the collections continued to expand with gifts from donors.
One such instance illustrates both the Trocadero's characteristic style of op-
erations and something of Verneau's feeling for the pre-Columbian pieces in
his charge. In 1913 he was approached by a trader from Cholula who offered
to sell for a modest sum a collection that included, in Verneau's words, "rare
and beautiful" pieces. Even at cut-rate Verneau could not afford the purchase,
but loathe to lose the opportunity, he asked a benefactor (Prince Roland
Bonaparte) to buy the collection for the Trocadero.
Verneau later described these pieces for the Journal de la Societe des Ameri-
canistes and in his account there is a new note of pure delight in the figurative
sensibility, and especially in the decorative skill, of the ancient artists. Ver-
neau referred to one piece, a figure of a laughing head as a "caricature worthy
of a true artist:' and to another, a pottery plate, as a "magnificent piece"
whose "richness in decoration" surpassed" anything similar to it previously
held by the Trocadero (1913:339). Nonetheless, this article and Verneau's
other writings of the period indicate that he saw his task as guardian of the
Trocadero holdings in much the same light as had Hamy: the history and
ethnography of the pieces were of primary importance. Verneau was open to

the idea (as Hamy had not been) that there was beauty in "primitive art" like
the pre-Columbian. But he did little himself to promote the idea or to suggest
that the traditional scholarly approach to products of the "primitive arts" was
constricted or inadequate.
This being the case, we may judge Verneau's delight a minor sign of the
times, which now saw the "primitivist revolution" begin to gain broad cul-
tural momentum. The role of the Trocadero in this movement is replete with
irony. The museum, its director and patrons all unwitting, was one site where
avant-garde artists became intimately acquainted with arts primitifs (Paudrat
1984:141-42). It is especially ironic that the Trocadero's disarray, which
caused pain and embarrassment to ethnographers (Verneau 1918-19), was a
source of delight to surrealist artists and aesthetes, for whom the museum was
"an unscientific jumble of exotica, a place one went to encounter curiosities,
isolated esthetic objects" (Clifford 1981:554).
In the postwar years the enthusiasm for "primitive art" was fueled by mul-
tiple cultural charges, from weariness with Pound's "botched civilization" to
a new fascination with "colonials" generated in part by African participation
in some of the worst fighting of the war (Lunn forthcoming). In Europe,
African and Oceanic art were the principal objects of what James Clifford
has called a "fetishism nourished on cubist and surrealist aesthetics"
(1983:122), but the "primitivist revolution" changed the canonical status of
all artistic traditions the nineteenth century had considered "primitive." This
process of revaluation revealed new tensions in its tum, for while modernists
appropriated "primitive art" to undermine established aesthetic categories,
traditionalists like Raoul d'Harcourt strove to draw arts like the pre-
Columbian into the high culture canon or at the least to regroup them with
what modem art historians label the "court and theocratic arts" of
societies (Rubin 1984:3; 74-75). In any event it was now impossible sum-
marily to dismiss arts outside the classical tradition; choices, gradations, and
preferences had to be expressed in specifically aesthetic terms rather than in
the placid generalities of conventions that sorted out good from bad virtually
without seeing.
This change, wrought primarily by avant-garde artists, necessarily rever-
berated among ethnographers and encouraged a break with the scholarly/
pedagogic approach to the "primitive arts" that was largely sustained up to
the first World War. Although pre-Columbian art was never central to the
"primitivist revolution:' the effects on both scholarship and display of Amer-
ican works were pronounced. The years after the first World War witnessed
the first shows devoted to pre-Columbian art as such. Exhibits appeared
across Europe and in America: at the Burlington Fine Arts Club in London,
1920; the Pavillon du Marsan in Paris, 1928; the Metropolitan Museum of
Art in New York, 1933. With this development the process of reacquaintance
with pre-Columbian civilization was transferred to a new cultural plane. Al-
though ethnographic expertise was required for such exhibits, ethnographers
began to lose their privileged role in the selection and display of an ameri-
cana. This change raised for ethnographers the new, "modem" problem of
how to display objects now judged outside their halls to be full-fledged Works
of Art. However, the conflict between aesthetic and scholarly possibilities in
the contemplation of "primitive art" continues to the present day.
Despite the "primitivist revolution" the exhibits of the Trocadero-refur-
bished in the 1930s as the Musee de I'Homme-continued to emphasize the
geographical origins, functions, and technical qualities of pieces that had
struck avant-garde artists either by their universally magical qualities (Pau-
drat 1984:141-42) or for their startling resolutions of formal problems. In-
deed, the appropriation of "primitive" aesthetic values by modernist aesthetes
seems increasingly questionable to anthropologists (see the discussion in Res,
a recently founded journal of the Peabody Museum). On the other hand,
many contemporary artists (like their predecessors in the avant-garde) fault
the scholar's approach for rendering prosaic objects of great beauty and aes-
thetic force (Arts primitifs 1967). Thus the legacy of nineteenth-century
ethnographic museology-the opposition between beauty and instruction,
which was restated as a conflict between aestheticized, and functional/in-
terpretive display (Clifford 1981:558-59}-has yet to be resolved.
Acknowledgments
Research for this paper was supported in part by the Hermon Dunlap Smith
Center for the History of Cartography at the Newberry Library in Chicago
and by the National Science Foundation. I would like to thank James Clifford
and George Stocking for their criticism of the original manuscript, and the
staff of the Newberry Library for gracious assistance in the use of their collec-
tions.
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THE ETHNIC ART MARKET IN
THE AMERICAN SOUTHWEST
1880-1980
EDWIN L. WADE
The rapid rise of ethnic art markets in the twentieth century represents a
dynamically interactive form of culture change, wherein native peoples,
grasping for cultural legitimacy and survival in the industrialized West, ac-
cept the economic option of converting culture into commodity (Beier 1968;
Grabum 1976). The products of their aesthetic impulse, first as artifact and
then as art, become the currency of an "irreducible triad" (Alsop 1978,
1981)-the art market, art collecting, and art scholarship. Although moti-
vated by different values and interests, dealers, collectors, and scholars are
symbiotically interdependent, sharing an overlapping socioeconomic niche
in which they cooperate and compete for the control of both the processes
and the products of native aesthetic culture (McNitt 1962; Wade 1976). If
one considers the evolving role of certain native artists, then a fourth com-
ponent is added to the triad, creating a volatile quartet.
The Southwest Indian art market offers an illuminating microcosm, in
which from the earliest days there has been a tense see-sawing of power be-
tween collector/humanists and trader/dealers, with the arts and crafts as ful-
crum point, and scholar/anthropologists adding weight now to one side, now
the other. Traders, anxious to tap a burgeoning tourist market, encouraged
mass production with its attendant technological and aesthetic changes; col-
lectors, anxious to save the arts from commercialization, sought to preserve
traditional modes. Despite an historical edge, and the early cooperation of
anthropologists, traders consistently lost ground to the financial and social
influence of the well-endowed patron collectors, who were increasingly
Edwin L. Wade is Curator of Native American Art and Curator of Non-Western Art
at Philbrook Art Center, Tulsa, Oklahoma. He received his Ph.D. from the Univer-
sity of Washington, and was formerly assistant director and manager of collections at
the Peabody Museum of Archaeology and Ethnology, Harvard University. Among his
publications is As in a Vision: Masterworks of American Indian Art.
167
168 EDWIN L. WADE
joined by anthropologists in supporting a preservationist approach. The pro-

cess, however, has been replete with paradox-the preservation of "tradi-
tional" aesthetic culture straining against the forces of community develop-
ment and individual cultural creativity. Over time, the two factions have
grown closer in their ideas about the direction of Native American art, as
dealers began to realize the marketability of cultural "authenticity," and col-
lectors began to value native creativity in more universalistic aesthetic terms.
But enough of the old rivalry remains to revive the game of teeter-totter just
when Native American artists begin to feel that they could please. both sides,
and they now seem forced to make a choice between isolation in a ghettoized
ethnic art market and entry into the mainstream of "fine art." (Wade:1976;
Wade & Strickland 1981).
This essay delineates the major phases of this convoluted history: the in-
cipient market (1875-1915), in which an economic bond was forged be-
tween Indian traders and scholars, with the academics dependent on the
dealers for the acquisition of their study collections; the art revivalist move-
ment (1920-70), characterized by powerful art patrons and their preserva-
tionist associations, who manipulated the imagery of Native American art
for philanthropic purposes, but in the process drove a decisive wedge between
art dealers and scholars; and, finally, the expansive period (1968-present),
which has witnessed the reorientation of both market and scholarship toward
a fine arts posture. l
Museums, Scholars, and Pothunters

In 1880 the Atchison, Topeka, and Santa Fe Railroad came to Albuquerque.
During that same year the Atlantic and Pacific Railroad began constructing
a line at Isleta, New Mexico, which would reach to the West Coast and
L Not until Nelson Graburn's (1976) breakthrough study of ethnic arts and art markets did
anthropologists seriously begin to consider the acculturative impact of such institutions on tran-
sitional native societies. Government workers had realized very early, however, that great eco-
nomic and social change could be effected in conservative societies through the introduction of
a cash economy based on arts and crafts production. In many ways the successful Anglo-inspired
cultural revivals among Southwestern Puebloan peoples in the 1920s provided the prototype for
the Collier administration's New Deal Era policies. These policies reoriented the federal Bureau
ofindian Affairs (Burton 1936) and were reflected in thousands of articles outlining "progressive"
work programs to promote the cooperative arts and crafts industry published in the Indian Ser-
vice's journal Indians at Work.
Nevertheless, no studies have exclusively focused upon the internal relationships of partici-
pants within such an ethnic market. Coming closest to such an analysis was my 1976 disserta-
tion, Economics of the Southwest Indian Art Market, which traced a five hundred-year period of
Anglo intervention and finally usurpation of local Native American art production. The present
article relies heavily upon that study as well as upon my fifteen years of intimate involvement in
both the academic and the commercial side of this market.
THE ETHNIC ART MARKET IN THE SOUTHWEST 169
connect as far east as the Indian Territories of Oklahoma. Inevitably, the

pueblo of Laguna would be served, for better or worse, by this rail line, since
a train station would be built within the confines of this previously isolated
native village. Within less than a decade, rural New Mexico was forcefully
ripped from feudal self-sufficiency and dropped into the bustling economy of
an industrializing nation. For White America, it was a time of personal
movement and exploration, and the railway allowed Victorian sophisticates
and metropolitan adventurers the experience of meeting in person "pacified"
Pueblo and Navajo Indians in their native habitats (Tietjen 1969). Many of
these travelers were learned people, familiar with the prestigious eastern mu-
seums, the popularized scientific reports published in Harpers and the weekly
tabloids, and occasionally even the detailed military and research institute
reports that dealt with the indigenous peoples and arts of the southwestern
frontier. Others came anticipating a grand affair, replete with scenic wonders
and quaint mementos from a distant land populated by "savage" artisans.
To inflame the tourists' expectations, the passenger departments of the
major railways began to commission scholars to produce popular handbooks
on the Indian cultures, picturesque ceremonies, and arts and crafts to be
encountered along the way, as well as outlining the paid side trips available.
One such publication was The Moki Snake Dance, "a popular account of that
unparalleled dramatic pagan ceremony of the Pueblo Indians of Tusayan" by
Dr. Walter Hough of the United States National Museum, published through
the passenger department of the Santa Fe Route (Hough 1899; cf. Dorsey
1903). Exotic but docile Indians proved profitable, and it remained in the
railroad's commercial interest to choreograph as many varied events as pos-
sible. The tourist concession personnel began organizing the Indian artisans,
who responded by tailoring their work more to White taste (McNitt 1962;
Harvey 1963). Functional full-sized ceramic water jars, too bulky to transport
easily by train, were replaced by smaller, decorative forms. New shapes ap-
peared as well, as ]. G. Bourke observed in the 1880s at the Rito Railroad
Station in New Mexico:
The sugar bowls and salt cellars were bric-a-brac that would have set Eastern
collectors crazy with envy; they were ornamental ware, made by the pueblos of
Laguna, six miles distant. A dozen or more of the Indians were hanging around
the door, waiting to sell their wares to the passengers.
(Bourke 1884: 106)
The railroads even furnished free travel passes to craftsmen and their fam-
ilies if they agreed to sell their works at other depot towns like Albuquerque
and Gallup (Minge 1970; Harvey 1978). Obviously this mobility aided in
the promotion of Indian arts, yet more importantly it now allowed the artists
personal contact with their alien buying public and its needs. No other influ-
170 EDWIN L. WADE
Laguna Pueblo potters with 011 as on the village railroad tracks, ca. 1900 (negative numbeI
20269, courtesy of the Southwest Museum, Los Angeles, California).
ence, neither traders nor dealers nor scholars, would so broadly promote and
transform Indian art as did the railroads and their tourist bureaus.
By the 1890s, the demand for Southwestern Indian arts and crafts was
significantly outstripping the supply. In addition to curio dealers, Indian trad-
ers, and tourists, museums were becoming major consumers of both antiqui-
ties and ethnographic objects. By the turn of the century archeological ex-
peditions organized around excavations would become common, but prior to
that most museum-sponsored collecting expeditions were directed to pur-
chase representative tribal study collections. It was here that the interdepen-
dence of dealer and scholar was first realized. James and Matilda Stevenson's
famous Bureau of American Ethnology expedition of 1879 acquired, through
purchase, representative Puebloan artifacts both from native artists and from
individual collectors like the Hopi trader Thomas V Kearn and the Santa Fe
curio entrepreneur Jake Gold (Wade & McChesney 1981). Adolf Bandelier
acquired much of his Harvard University collection of antiquities from Gold
and another prominent Santa Fe dealer, Charles H. Marsh, and later as-
sembled a similar collection for the Berlin Museum (Lange & Riley 1966:72-
73). Although motivated by scholarly purposes, the activities of Stevenson,
Bandelier, and later museum buyers introduced to Southwest Indian com-
munities a cash economy based on the production of arts and crafts, and
simultaneously established the Indian art shop and its proprietor as quasi-
sanctioned scholarly entities.
Preeminent among these early trader/dealers was Thomas V Kearn, who
operated on the Hopi reservation in northeastern Arizona (Tietjen
1969:121-23). Kearn was the quality supplier of Southwest Indian artifacts,
and a major source of ethnographic information about the meaning of the
pieces and the lifeways of the people who made them. As early as 1881, Kearn
already had hundreds of prehistoric and modern Hopi pots, as well as an
impressive collection of arts from other Pueblo and nomadic tribes (Bourke
1884). Unquestionably, Kearn's association with leading anthropologists-
including Frank Cushing and Washington Matthews-strongly aided him in
becoming the most widely recognized Southwest Indian art supplier for the
Eastern museums. Assisted by his resident "Hopiologist," Scottish-born and
educated Alexander M. Stephen, Kearn excavated thousands of Hopi vessels
from the ancient village sites of Awatovi, Sikyatki, and Jeddito. In 1892 the
second Hemenway Expedition, under the direction of Jesse Walter Fewkes,
purchased a collection of over 3,500 objects-for the then fabulous sum of
$10,000-which is now at the Peabody Museum of Archaeology and Eth-
nology (Wade & McChesney 1980). In the early 1890s the Scandinavian
archaeologist Gustaf Nordensk"iold, who was just completing his excavations
of the Anasazi ruins at Mesa Verde, Colorado, wrote to Kearn requesting a
price list for any Indian relics he might have available for sale (Wheat 1974).
In 1897 George A. Dorsey purchased a collection of pottery and artifacts for
the Field Columbian Museum, and a collection of 500 objects was also
shipped to the Museum fur Volkerkunde in Berlin.
The competition of museum anthropologists and tourists for Kearn's lim-
ited supply of native artifacts had an effect on the process of their creation,
contributing simultaneously to the encouragement of mass production and
the beginning of a ceramic stylistic revival. Although usually associated with
Fewkes and the Hopi woman Nampeyo, much of the credit for inspiring this
revival properly goes to Kearn and his assistant, Stephen. According to the
collection catalog Stephen prepared for the Hemenway Expedition, Kearn
was already encouraging Hopi potters to incorporate prehistoric designs and
172 EDWIN L. WADE
shapes into their modern ceramics by 1890 (Wade & McChesney 1981)-at
least five years before the commonly accepted date associated with Nampeyo's
revival. According to the catalog, the purpose of the expedition was to con-
struct an evolutionary sequence for the history of Hopi culture on the basis
of a serial ordering of Hopi ceramics from the earliest prehistoric to the con-
temporary. Many of the finest pot.tery examples, however, especially those
from the Sikyatki and later San Bernardo periods (fifteenth through sixteenth
centuries) were badly damaged and unsuitable for exhibition. Kearn then
commissioned a number of unidentified potters to fabricate replicas of the
prehistoric wares. It appears that during the process Kearn and Stephen ex-
panded the original intention and used the replica project as a testing mech-
anism to see whether the contemporary potters could completely reproduce
the ancient styles, firing techniques, and surface treatments used by the ear-
lier traditions. It was their opinion that the modern potters were culturally
degenerate and incapable of the sophistication of their forebears; yet occa-
sionally, they admitted, one or another potter showed promise (Wade &
McChesney 1980:13-14, 75).
Early photographs of Kearn's home and shop at Hopi reveal large quantities
of decorative ceramic tiles, dippers, ladles, shallow bowls, and other non-
functional knickknacks that give every visual indication of having been mass-
produced for the tourist trade. Many of the vessels in the collection sported
repetitive designs, were miniaturized versions of functional forms, and clearly
had never been used (Wade & McChesney 1980:9). Such are the character-
istics of curios. Kearn went so far as to import wooden molds to insure the
uniformity of the Hopi tiles he had ordered:
In the course of inquiries concerning the fabrication of their Modem Ware,

the Moki women made frequent reference to the method anciently employed
to produce a paste of compact and equable texture, by first moulding the clay
into tiles which, after baking, were ground to a fine powder. As they were thus
traditionally familiar with tiles, it was suggested to them to make some and
decorate them, but they only produced a great number of rude, shapeless ob-
jects. Wooden moulds were then given them and a high price was paid for the
tiles exhibiting carefulness in their preparation, and every means were used to
elicit the best specimens of modern decorative art.
(Quoted in Wade & McChesney 1980:96)
It was in this context that Fewkes and Nampeyo made their contribution-
which in Fewkes's case may have been simply that of hiring Nampeyo's hus-
band Lesou for a dig crew. Nampeyo had previously taken an interest in the
designs found on prehistoric potsherds littering the Hopi Mesas, and during
the excavation of the site at Sikyatki, she and her husband came to the camp,
"borrowed paper and pencil, and copied many of the ancient symbols found
Nampeyo, Hopi potter (negative number 26996, courtesy of the Peabody Museum, Harvard
University).
174 EDWIN L. WADE
on the pottery vessels unearthed," which-according to Fewkes-she "repro-

duced of her own manufacture many times since that date" (1919:279). But
there is no evidence to indicate that Fewkes helped Nampeyo market her
wares, encouraged her work, or assisted in its preservation; rather he was
known to have complained bitterly that her revival ware was being mistaken
for authentic prehistoric pottery and that unscrupulous forces could use them
fraudulently to dupe unsuspecting buyers (Frisbie 1973). Nampeyo's unprec-
edented success both in selling and promoting her work was the result of the
concerted efforts of missionaries, traders, and other museum anthropologists.
Even Fewkes's archeological assistant, Walter Hough, enthusiastically sup-
ported her endeavor and in 1896 purchased some of the earliest examples of
her revival ware for the collections of the National Museum. Two years later
she had come under the sponsorship of Professor Dorsey and the Reverend
Voth, who brought her to Chicago to demonstrate pottery making. By 1904
the Navajo trading post operator Lorenzo Hubbell had brought her to the
attention of the Fred Harvey Company, who then hired her to demonstrate
pottery making at their lodge at the Grand Canyon.
But if Kearn was the original guiding force behind the ceramic revival, it
was Nampeyo who perfected a new style of Hopi pottery based upon the
design elements and shapes employed by the ancient Sikyatki and Payupki
potters. As would an archeologist or art historian, she carefully reconstructed
the design system, including the spatial arrangement of motifs, ascertaining
which elements were acceptable for contiguous use and which were not,
when to color in a design and when to leave it blank, and which composi-
tional patterns were best suited to various vessel forms. This new style, du-
biously labeled "Sikyatki Revival Ware:' differed radically from then current
traditions such as Polacca Polychrome, which had been heavily influenced by
Zuni tastes, and in a relatively short time the new style completely eclipsed
all others (Wade 1980).
The ceramic revival was replete with paradox. On the one hand, it might
be interpreted as a sorcerer's apprenticeship gone awry. What began as a sanc-
tioned scientific experiment was rapidly transformed into a commercial ven-
ture which, because of its remarkable popularity, swept away the "valid" ce-
ramic tradition of the people Fewkes had mounted an expedition to study.
Inadvertently, Fewkes had set in process the ultimate destruction of part of a
material culture he had been commissioned to document. But from another
(and perhaps more native) point of view, the revival may be seen as establish-
ing arts and crafts as a steady source of income for the Hopi, and ultimately
as altering the economic base of the First Mesa villages. An economy that
had been entirely dependent on subsistence farming was modified to incor-
porate cash derived from pottery making; and in drought years when crops
failed, pottery could still be made and sold. Furthermore, Nampeyo was the
first, and for many years the only, Native American artist known by name,
and the museum purchase of her modem wares contributed also to the legit-
imizing of contemporary Indian arts and crafts as more than just the degen-
erate products of ancient traditions.
The early interest in prehistoric Southwestern antiquities was by no means
limited within the boundaries of the Hopi reservation. Worsening economic
conditions in the United States in the 1890s contributed to the rapid accel-
eration of officially sanctioned pothunting, especially after the Federal Gov-
ernment shifted to the gold standard in 1893, and workers in closing silver
mines turned to whatever quick source of income was available. Earl Morris,
one of the founders of Southwestern archeology, recalled that his father, to
feed his family, sold pottery he collected when the demand for his services as
freight hauler for the mines near Farmington, New Mexico, tapered off
(Lister & Lister 1968:4-6).
But the premier pothunters were the Wetherill brothers of Manco, Colo-
rado (Watson 1961:17-28; McNitt 1962; Lister & Lister 1968). Running
cattle through the desolate Mesa Verda Plateau in the southwestern comer
of Colorado on a bleak December day in 1888, they stumbled upon one of
the greatest troves of Southwestern archeology, the enigmatic "cliff cities" of
the Anasazi. The brothers, who had always been interested in Indian relics,
set to work exploring and digging into the ruins, and were rewarded with the
bounty of a lost civilization. The following year, the first of many exhibits of
the recovered materials was shown in Denver, and to everyone's surprise they
were bought by a collector for $3,000 (Watson 1961:26). The wealth of ar-
tifacts recovered from the ruins soon gained international attention. In 1891
Gustaf Nordenskiold employed the Wetherills to assist him in finding and
excavating additional cliff dwellings. He amassed a considerable collection,
part of which was exhibited at the Chicago Columbian Exposition, and upon
his death was transferred to the National Museum in Finland.
The Wetherills, particularly John, became the celebrity explorers of the
Southwest, listing among their formidable accomplishments the first discov-
eries among the ruins in Chaco Canyon, New Mexico; various sites in Can-
yon de Chelly, Arizona; Kiet Siel, Inscription House, and other cliff dwell-
ings within the eastern Navajo reservation; as well as Basket Maker remains
at Grand Gulch, Utah. During their long and influential careers, one or
another brother guided and consulted with many of the leading archeologists
and historians of their time, including George Pepper of the Hyde Exploring
Expedition, Byron Cummings, S. J. Guernsey, Neil Judd, and even Zane
Grey and Teddy Roosevelt. The success of the Wetherills offered admirers and
emulators, such as the Day family of Chinle, Arizona, a career model, prov-
ing that self-taught expertise, though frowned upon academically, was valu-
able (Trafzer 1973), that selling artifacts was profitable even if only quasi-
176 EDWIN L. WADE
respectable among some classes, and that the trappings of national heritage
and pride were still being discovered.
Art Fairs, Philanthropist .. Sponsors, and the "Revival"

of Native Artistic Traditions
During the 1920s and 30s, a number of well-intentioned philanthropic or-

ganizations were born whose principal goal was to save Native American art
from ruination at the hands of commercial traders-among them, the South-
west Indian Art Association, the Gallup Ceremonial, and the Museum of
Northern Arizona, which sponsored various Indian craft shows. They sought
to reinvest in the Indian a feeling of pride in his culture and in his indigenous
craftsmanship, and to provide a continuing positive sponsorship that would
allow Indian art to flourish for generations to come. Indian artists could now
expect that they would no longer be subjected to a curio dealer's or trader's
refusal to show a work because it was too innovative, or too traditional; now,
presumably, there was an alternative (Brody 1971; Love 1974).
As a matter of fact, arts and crafts fairs were originally the creation of
reservation traders (James 1974; McNitt 1962). As early as the 1890s, trad-
ing post operators such as Hubbell of Granado, Arizona, and C. H. Algert
of Fruitland, New Mexico, were sponsoring lavish annual feasts for their Na-
tive American clientele, using as their models trade gatherings and market
fairs that took place during Spanish Colonial times. Seventeenth- and eigh-
teenth-century Spanish officials recorded the broad tribal participation in
such events: Puebloans, Utes, Apaches, Comanches, Kiowas, Cheyenne,
and occasionally even Northern Plains tribes like the Blackfeet, would peace-
fully gather at traditional trade centers such as Taos, New Mexico, and barter
for both utilitarian and rarer commodities. Socially, such feasts were ritual-
ized intertribal proceedings, vehicles for the renewal of trade relationships.
In the same way, the reservation trader used the public feast as a political
mechanism to reinforce the economic pact between himself and the Indians
who patronized his establishment. By the closing decades of the nineteenth
century a new element was added. Certain traders realized that they could
ensure both the quality and quantity of particular native products, initially
weaving, by instilling in the craftsmen a competitive spirit. Feast days tradi-
tionally provided the public stage for warriors to play out their personal ri-
valries; now, through the selective awarding of small prizes of foodstuffs or
currency, the trader could acknowledge the workmanship he preferred. In the
case of Navajo blankets, the winning textile was placed on public display
outside the trading post (Amsden 1934).
.fhe interior of Jake Gold's old curio shop in Santa Fe, New Mexico, ca. 1900. From the 1870s
to his release of his shop to J. S. Candelario, Gold became celebrated as a supplier of quality
Indian artifacts to the early Southwest scientific explorations (negative number 10729 [photo-
graph by Royal Hubbell], courtesy of the Photographic Archives of the Museum of New Mexico).
While the traders were busy cultivating competition among the local weav-
ers, collectors and pothunters were having their own version of an arts and
crafts fair in the Four Comers area of the Southwest. Farmington and Fruit-
land, New Mexico, became popular gathering places where collectors could
convene periodically to show off their latest acquisitions, and to trade and
buy from one another (Lister & Lister 1969:66). Although prehistoric pot-
tery was by far the main attraction at these gatherings, eventually classic
textiles and other choice art objects and relics became common. By the
opening years of this century, the basic ingredients were present that would
coalesce into the grand-scale arts and crafts exhibitions of the 1920s. A group
of traders as well as collectors were now concerned with Indian art for more
than just its utilitarian value.
One of the first individuals to pull these divergent market forces together
was William Shelton, the superintendent of the Navajo Agency at Shiprock,
New Mexico, who instituted an annual fair in 1909 with the hope that it
would be an acceptable alternative to federally discouraged religious cere-
monials. Craft competitions were held, with prize money furnished by both
the Agency and the local traders, who had been strongly urged to participate.
178 EDWIN L. WADE
The fairs rapidly became economically important to the Navajos, as traders

and a growing number of collectors began vying with one another for choice
items (James 1974:58). In 1921, with a few modifications, the addition of
some Indian dances and a move down the road from Shiprock to the train
line at Gallup, New Mexico, a new event was conceived: the Gallup Cere-
monial.
Although traders benefited by having an increasingly wider variety of arts
and crafts to choose from, in general these fairs were meant to be Indian
events-unlike present day arts and crafts fairs-thus, the 1934 Annual Na-
vajo Fair at Shiprock attracted more than 7,000 Indians who came to buy,
sell, trade, and visit each other. Anglos in the audience were so insignificant
that they went uncounted (USBIA). Similar Indian Service fairs occurred in
the 1930s at Moenkopi and Oraibi for the Hopis, at Window Rock for the
Navajos, and at White River for the Apaches (ComwallI933).
The Indian Service, however, was not the only organization involved in
the staging of arts and crafts fairs. Several other groups, mainly philan-
thropic, promoted Indian art and supported various fairs and competitions.
Such exhibitions were ostensibly for the betterment of the Indian people, but
each year the events tended to be more about Indians, and less for them.
Although philanthropic groups were definitely trying to entice tourists into
buying Indian art, their ultimate goal was to convey the unique and special
qualities of the Indian and to show the nation that this was a heritage worth
preserving. Certain of these organizations, such as the Southwest Association
on Indian Affairs, have been instrumental in the growth of commercial
Southwest Indian art traditions. Since 1921 they have sponsored the Annual
Indian Market in Santa Fe, New Mexico. Through their activities, by 1930
Santa Fe had become a focal point for the contemporary Native American
art scene.
A distinguished body of Santa Fean scholars, poets, artists, and art collec-
tors, including Mary Austin, John Sloan, Amelia Elizabeth White, Alice
Corbin Henderson, Edgar Hewett, and Kenneth Chapman, began financing
Indian art exhibitions across the United States, as well as at home (Love
1974). To this end, they choreographed magnificent native song, dance, and
costume shows performed against a backdrop of arts and crafts booths. At the
1921 Santa Fe Indian Market, tourists were enthralled by the sounds of tor-
toise shell clappers and moccasined feet, swaying to the primordial beat of
ancient America. As early as the 1920s it was maintained that upwards of
100,000 visitors came to Santa Fe's market and fiesta each summer for the
ethnic extravaganza (Burton 1936:66). Unquestionably, the unwary tourist
received a touched-up picture of Native American life; but humanists justi-
fied the glamorized image as a legitimate way to build popular sympathy for
The Second Annual Indian Market sponsored hy the Southwestern Association of Indian Af-
fairs, 1922, in the Santa Fe Armory (negative numher 14288, courtesy of the Photographic
Archives of the Museum of New Mexico).
Indian political and religious freedoms. They doubted whether tourists stop·
ping at the White River fair would have left with the same supportive attitude
had they seen adult male Indians in blue jeans and cowboy hats, children in
suspenders, and women carrying pocketbooks. Out of costume, they were too
much like other poor Americans, devoid of magic and the "nobility of the
savage." Thus, on the surface, philanthropically-sponsored fairs were very
similar to those organized by other interests. The following advertisement
published by the Gallup Ceremonial Committee could have applied equally
to any of the arts and crafts fairs sponsored by philanthropic organizations;
They will perform dances age old before the coming of the Spaniard. They will
perform dances without a single innovation in rhythm or theme since the first
time the measured tread and low-pitched chant sent forth a prayer to the Great
Spirits of the Upper and Lower Worlds . . . . . . Half-naked, painted bodies,
decorated with treasured beads, wild animal skins, feathers and sacred oma-
180 EDWIN L. WADE
ments, will sway in faultless rhythm to the throbbing beat of the log drum and
strange chants of dancers.
(lTGCA 1925)
The real difference between the humanists and the dealers was in their
motivation for promoting Indian art. For humanists, the preservation of In-
dian culture was uppermost. To them, arts and crafts were inseparable from
the culture and if permitted to die or degenerate, would take with them a
significant part of the culture. Less concerned about the changing nature of
Indian societies, the traders sought to create a product popular enough to
provide a relatively stable economic base for the reservations-since more
money for Indian artists meant more money in their own pockets. To achieve
commercial success they were quite willing to have the native artists discard
traditional and generally time-consuming techniques, such as the use of ve-
getal dyes in textiles, or ancestral designs of limited interest to Anglos.
Inevitably, the two groups found themselves in an adversary relation. By
the 1930s, many humanists were concerned that there had been an overall
decline in the quality of Southwest Indian art. In a Denver Art Museum
leaflet, Frederic Douglas described the sad state of Pueblo jewelry with undis-
guised distaste:
Pieces of old rubber phonograph records are replacing the old black jet or
lignite. Coral imported from Italy has supplanted almost altogether the
reddish-pink stone seen in the prehistoric inlay. Within the last five years large
quantities of Chinese turquoise have been imported and sold to the Indians,
who make it into ornaments or sell it in crude lumps. A synthetic turquoise,
or an enamel resembling the stone in appearance, is rapidly taking the place
of the real article. It is an importation from Europe. Attempts have been made
by unscrupulous traders to sell imitation shell beads made at American button
factories.
(Douglas 1931:2)
The most vigorous campaign waged against the traders was that of Harold
and Mary Colton, who turned their 400-acre hunting lodge into the Museum
of Northern Arizona. In 1929 they initiated an annual Hopi arts and crafts
fair and judging competition, and then set rigid criteria for the participants.
For pottery these included judging the item on its symmetry; thinness of the
vessel walls; surface finish; firing and color; ring (the sound produced when a
finger is tapped along the rim of the vessel-poor ring suggests the pot is not
fired well or is cracked); shape; permanency of design (it should not rub off);
clarity of painted designs; application of design; and balance of design. Sim-
ilar stiff requirements had to be met for coiled and Wicker baskets, blankets,
rugs, ceremonial garments, and Katcinas (Bartlett 1936). To make certain
that the Hopi were producing items that would measure up, Museum staff
members were sent out twice a year, in fall and winter, to check on the
craftsmen's progress and to make recommendations for improving the quality
of their work. Then in the spring, just before the exhibition, the staff mem-
bers would return, review the pieces offered, and select the ones to be in-
cluded in the show.
Among the items that were flatly rejected were any blankets containing
aniline dyes, which had been introduced by traders to the Hopi around 1890,
along with a deep wastepaper basket shape. The new dyes were faster and
easier to use, and the new shape had proved to be more appealing to tourists
than the flat baskets, which had virtually no (western) functional value, and
could only be hung on the wall as decoration. But the Museum of Northern
Arizona was adamant about disallowing nontraditional shapes and tech-
niques in the baskets that appeared in their exhibition. The traders were just
as firm, complaining that it was already difficult to sell Hopi baskets, even
with commercial modifications. The preoccupation with reviving the old
techniques was increasing the already discouragingly high cost of Hopi crafts.
The Hopi had to ask between $40 and $50 for their blankets because the
The 1933 Museum of Northern Arizona Hopi Craftsman Expedition. Left [0 righc Katharine
Bartlett, Mrs. Harold S. Colton, Edmund Nequatewa, and Sam Shingoitewa (courtesy of the
Museum of Norrhern Arizona Collections).
182 EDWIN L. WADE
Museum of Northern Arizona insisted they persist in the laborious, time-

consuming process of dying their wool with lump indigo (Whiting 1942;
ITGCA 1930). The manager of an Indian curio shop in Flagstaff summarized
the situation in the 1940s:
Hopi blankets are hard to sell. Prices are too high. There is no pattern in them.
Nothing but stripes and they are a lot easier to weave than the Navajo
rugs. . . . They are using horrible brilliant native dyes. No, the native dyes do
not sell better than the aniline.
(Whiting 1942:156)
The Museum of Northern Arizona crusade among the Hopi was not the
only problem with which the traders had to contend. Other philanthropists
had made attempts among the Navajo to reinstitute the use of native dyes
and classic designs, and even to originate styles all their own. Between the
efforts of the traders and the patrons, Navajo rug styles began to multiply.
Ambitious patrons promoted their favorite styles by offering prizes at the Gal-
lup Ceremonial and other competitions. The top prizes at the 1930 Cere-
monial, each $25, were contributed by Mary Cabot Wheelwright for "blan-
kets of old pattern vegetable dye" (lTGCA 1930). There was in fact more
opposition to the Navajo project than to the Hopi revivals. Traders objected
that following detailed recipes in which chemical mordants and vegetable
materials had to be precisely mixed and slowly simmered for hours added to
the cost of the textiles. Navajo rugs were in constant high demand and the
traders were unwilling to jeopardize their steady market by raising prices and
introducing new colors and fine woven designs.
Many of the traders' misgivings about the marketability of the revival tex-
tiles proved correct. Nine years after the inception of the Hopi Craftsman
Show, the museum proclaimed that the production of vegetable-dye textiles
had doubled over preprogram years. But from the 1940s to the present, textile
production has dwindled each year, and its survival as a commercial art is
highly problematic. A few inferior pieces still appear at the Hopi Craftsman
Show and the reservation guild, but most weavers find it too time consuming
to manufacture finely woven wool blankets for the small monetary return.
The struggle to determine the future of Indian art was not confined solely
to the trader and the humanist. Humanists often disagreed among each
other, and sometimes a group would change its philosophy regarding the arts
and crafts in midprogram. Apparently this happened with the Museum of
Northern Arizona. After its failure to sustain Hopi weaving it began to lean
more toward accepting and encouraging innovative work. The director's wife
and members of the museum staff decided that the traditional silver jewelry
made by the Hopi was too similar to that of the Navajo and Zuni-which
was not surprising, considering that the Hopi had only learned the craft from
the Zuni at the close of the nineteenth century and the Zuni had, in tum,
learned it from the Navajo. But the Museum felt it was time for the Hopi to
have their own distinctive style, even if that meant displacing what they had
come to think of as their traditional form of jewelry.
Virgil Hubert of the Museum staff set out to collect designs from Hopi
pottery and basketry as the basis for creating the new Hopi silverwork. Al-
though Hubert supervised the development of the overlay metalworking tech-
nique, Paul Saufkie, a Hopi silversmith, was commissioned to tum ideas
into real jewelry, and his pieces were placed on exemplary exhibit. Proud of
its creation, the Museum of Northern Arizona announced that "Here was an
art that was definitely aided and inspired by the work of the Museum" (Bart-
lett 1953:47)-surely a radical turnabout from its earlier grassroots tradition
revivalism. Although Museum visitors showed considerable interest in the
silverworking that resulted, their enthusiasm was not shared immediately by
the Hopi. At first no native smith would use the designs or the overlay tech-
nique. It was only in 1947 that the new style became generally accepted and
the Hopi Silvercraft Guild adopted overlay silver jewelry as their official tribal
technique.
Another paradoxical product of the revivalist movement was the introduc-
tion of prehistoric Anasazi and Mimbres pottery motifs among the potters of
Acoma Pueblo in the 1950s. Or. Kenneth Chapman of the Laboratory of
Anthropology, Santa Fe, New Mexico, showed members of the Lewis and
Chino families examples of thirteenth-century Mimbres designs and advised
them how to adapt these to their current styles. Though it is doubtful Chap-
man believed this was much more than an interesting experiment, others
hailed it as a revival of Acoma's ancestral art. Apparently they assumed that
the ancient Mogollon-Mimbres were the ancestors of the Acomas, even
though the prehistoric sites ascribed to the respective cultures were hundreds
of miles apart and there is little archeological support for postulating a mass
exodus of Mimbres out of southernmost New Mexico into the Western Keres
area of the Rio Grande Valley, where Acoma is located. The only time when
such migrations could have occurred would have been in the late 1400s. The
fact that Acomas at that time were producing glaze ware with strong similar-
ities to the Zuni and Little Colorado styles, however, seems to rule out much
influence from the Mimbres.
The interest of Anglo patrons and philanthropic organizations in reviving
old art traditions has continued to the present-as witness the revival of old-
style Mojave effigy pots and frog figurines with the encouragement of the Gila
River Arts and Crafts Center in the 1970s (Wade 1976). But viewing the
revivalist movement as a whole, it is hard to avoid the conclusion that it has
been caught from the beginning between not easily reconcilable forces. Al-
though Anglo philanthropists saw themselves in opposition to private profit-
184 EDWIN L. WADE
Kenneth Chapman showing an Acoma pot to Acoma potter Lucy Lewis (© \979, Laura Gilpin
Collection, Amon Carter Museum),
oriented traders, over time they also became of necessity increasingly con-
cerned with monetary matters. Derived honestly from a desire to reward Na-
tive American artists (and sustain the communities from which they came)-
as well as from the desire to record some public indication of success-the
emphasis on sales intensified as art dealers and curio merchants continued to
run their own art fairs. When financially successful, these drew the most
talented native artists away from the humanists. Irrespective of good inten-
tions, the philanthropists soon realized that money spoke. The larger the
sales, the greater the commitment of the artists; the certainty of an object's
purchase, since it conformed to the ideals of the fair sponsors, guaranteed
that its style would be emulated. Trying to insure the purity of traditional
native art, the humanists were caught up in the greater forces of an art market
of which they were never more than a single component (Wade 1976).
The Limitations of Revivalism and the Liberation

of Artistic Vision
The inability of philanthropically motivated organizations to live up to their
ideals has been a factor in the recent harsh criticism of such organizations by
militant Indian groups and independent artists. In the early 1970s, the
American Indian Movement, Indians Against Exploitation, several Navajo
National Chapters, and the Coalition for Navajo Liberation publicly ex-
pressed serious objections to the way in which some of these activities have
been conducted. The most scathing criticism-reinforced by a petition
signed by 1,200 people-has been directed against the Gallup Ceremonial,
which A.I.M. charged rewarded Indians for perpetuating a Hollywood cari-
cature of their traditional life, and committing sacrileges through the public
performance of sacred ceremonies (Navajo Times 1972:34; Wassaja 1973:21).
Events sponsored by nonprofit philanthropist organizations, including the
Santa Fe Indian Market, have also fallen victim to criticism.
In this context, certain limitations of revivalism as an historical movement
and a cultural strategy (in both the aesthetic and the anthropological sense)
demand consideration. Certain of the programs were, by important criteria,
quite successful-the Museum of Northern Arizona's invention of the silver-
working style gave the Hopi a sorely needed means for bringing more income
to the reservation. But the question may still be asked: Was traditional Indian
art really saved?
A true revival requires extensive knowledge about traditional techniques
and the repertoire of design elements, as well as the function the art tradition
fulfilled in its society. By such standards, commercially successful revivals
must often be judged wanting. Thus while the newer Navajo textiles have
found a place in the tourist market, there is no basis for the claim that classic
Navajo weaving was saved. Designs were often modified and simplified-as
in "Crystal," "Wide Ruins," and "Chinle" rugs. Even the revival "Chief's"
textiles had little in common with those produced from the 1850s to the
1880s. Orangey aniline reds were often used in place of the deep, lustrous
ones produced by natural cochineal dye; and revival weavers often substituted
coarsely carded grey wool for the dark brown bands used so effectively in the
early blankets to set off the brilliant indigo blue stripes.
Alternatively, the few revivals that have accomplished the goal of bringing
back the pristine traditions have not always succeeded financially-as wit-
186 EDWIN L. WADE
nessed by the Northern Arizona Hopi blanket project. In this respect the
Gila River Arts and Craft Center's efforts to reward Pimas who would weave
accurate renditions of the old willow and devil's claws baskets has been per-
haps the most successful. Today weavers like Naoma White and Gladice An-
teone are creating baskets that rival the finest works made before the decline
of the 1920s.
Yet citing examples of revival programs that succeeded simply raises the
further question of the irreducible selectivity of the whole revival process,
and the criteria of choice. At the same time that Hopi basket weavers were
persuaded to return to the use of vegetal dyes,' many of the greatest basket
traditions-Chemehuevi, Washoe, Panamint, and Western Apache-were
being lost. Although in some cases geographical isolation of the producing
groups was no doubt a factor, one still wonders how museum and other phil-
anthropic groups who wanted to save Indian art could allow so much of the
brilliance of these traditions to waste away. From the viewpoint of art spe-
cialists, saving the superior art traditions would have seemed most logical.
From this perspective, revival programs in the Southwest have typically been
overly subjective and inconsistent regarding who to promote, what to save,
what to discard, what to discriminate against, and what to tolerate. Organi-
zations commonly waver back and forth on policy, as in the case of the Mu-
seum of Northern Arizona's fierce persistence in stamping out aniline dyes in
Hopi weaving, then introducing a commercial silverworking project at the
expense of a native tradition.
Inevitably, one is led to consider the way most decisions have been made.
Characteristically, a philanthropic patron acts either on his own or in concert
with an organization of his associates concerned with the plight of the Amer-
ican Indian. The patron and his fellows usually have friends in surrounding
Indian communities whom they encourage and sometimes support financially
in arts and crafts endeavors. If they have the facilities, they invite the Indians
to perform their arts and crafts specialities on the organization's grounds. If
the arts seem to be failing, or if the particular community is not doing well
economically, the group may decide to hold fairs or special exhibitions where
cash prizes are awarded and the Indian artists are promoted. The patron and
his organization find themselves so completely immersed in the problems and
accomplishments of one group they may never find time for anyone else. In
their enthusiasm they lose sight of other Indian peoples' problems, and they
continue to sponsor the same group, pour money into their community, and
devise one program after another even after that community may have gotten
back upon its feet.
In view of this, it is not surprising to find Hopi yucca baskets, with crude
coiling, being turned out now in larger quantities than ever while the unsur-
passable artistry of the Washoe and Chemehuevi has been lost. The Rio
Grande pueblos drew attention, as they were convenient to Santa Fe and

Albuquerque. Patrons could visit them whenever they liked. Today people
know the names of Maria, Nampeyo, and Lucy Lewis, but the names of the
top Chemehuevi basket weavers, Mary Snyder, Maggie Painter, Mary Hill,
and Anne Land are virtually lost. The logic that most humanist groups seem
to apply in deciding which arts (or more accurately, which Indian commu-
nities) to preserve is to save their friends, or those most cooperative and
willing to be saved. To a disconcerting degree, revivals seem thus to have
been based on three underlying factors: the convenience of travel to local
Indian populations; the personal whim of the patron, and the maleability of
the people in allowing Anglo control and manipulation of their arts and
crafts.
But even if revival programs had been less subject to such decision-making
factors, even if they had been successful in reconstituting traditional Native
American arts, many today-including both artists and art specialists-
would argue the legitimacy of an alternative strategy. Art is not necessarily
served by resurrecting ancient designs and techniques that perished centuries
before-especially when this demands the focused energies of talented native
craftspersons and artists who must emulate an obscure tradition rather than
developing their own visions (Milton 1969; Highwater 1985).
The liberation of Native American artistic vision is, however, inevitably
constrained by the art market that receives or rejects its products. By now,
the future of the antique sector of the Southwest art market is no longer
problematic; prehistoric and historic Southwest Indian art has attained a se-
cure place in the international market for "primitive art." But contemporary
creations and the artists who produce them have had a harder course, and
their future is less secure. Irrespective of the degree of Westernization of the
contemporary Native American artists, their art is not exhibited in the same
galleries where Anglo-American and European art is shown. Indian art is a
separate, distinct aesthetic movement in the United States. Native American
artists have their own competitions, such as the Scottsdale National and the
Heard Museum shows, and their own fairs and exhibitions (Wade & Strick-
land 1981; Brody 1971).
Several factors have caused this segregation of contemporary Native Amer-
ican art from mainstream American art movements. First, modem Native
American art owes most of its forms, designs, and themes to the traditional
tribal arts. The galleries and other commercial outlets for Native American
arts and crafts have capitalized on this heritage. In the mind of the patron a
great deal of the "specialness" of this art lies in its primitive roots; and though
the Native American today is not primitive, both Native Americans and
Native American art bear an ethnic trademark. Indeed, ethnicity is their
best promotional asset (Ashton 1973).
188 EDWIN L. WADE
This protective veil of ethnicity, however, can erode the innovative vigor
of the art. Those who wish to retain the benefits of their Native American
association and exploit the exclusivity of an ethnic market will forever float
between the lower tiers of the "fine art" mainstream and the quaintness of
folk crafts. They will have to operate within the aesthetic constraints im-
posed by humanist organizations, whose inadvertent legacy has tainted Na-
tive American artistic expression with the paternalistic sanctions of historic
trust, removed from objective criticism, and as a consequence has limited
creative self sufficiency.
In the 1970s an alternative contemporary Native American art movement
arose: the Individualists (Wade & Strickland 1981:4). Founded in the polem-
ical, anticolonial stance of the Institute of American Indian Arts, this move-
ment has rapidly grown beyond its original primarily political posture.
Though proud of their Indian heritage, and acknowledging its influence, art-
ists like Ric Danay, Bob Haozous, George Morrison, George Longfish, Tru-
man Lowe, Emmi Whitehorse, David Bradley, James Havard, and others
strive for artistic excellence first and ethnic association second-if at all. No
longer artistically content with the restrictive themes and styles sanctioned
by the ethnic market, they openly explore their creative inspirations, uncon-
strained by media or medium. Charles Loloma has not hesitated to produce
gold jewelry despite the fact that Indians are supposed to work in silver. He
set diamonds, opals, and ivory in his jewelry when Southwest Indian art
patrons were clammering for huge chunks of turquoise and coral. His designs
are Charles Loloma designs, not reinterpretations of Navajo and Zuni motifs.
And the Indian art patrons purchased his pieces enthusiastically. Fritz
Scholder brought to his paintings something new, not just to the Indian art
market, but to the modem art world: he demonstrated a new way to use color
in stressing his explosive imagery. The modem Indian artist who feels that
contemporary Native American art is far too narrowly defined and aestheti-
cally dominated by Anglo patrons can follow the precedents set by Loloma
and Scholder. Scholder purposely challenged the Studio Tradition of South-
west Indian painting and held his work up as a way out of the old cliched
approaches. R. C. Gorman echoed the challenge: "Traditional Indian paint-
ing is a bore. . . . . I say, leave traditional Indian painting to those who
brought it to full bloom . . . . The younger painter must certainly look and
work within himself, within his own generation" (Milton 1969:91).
Not surprisingly, conservative Native American artists and supporters of
Indian art feel that such views are harbingers of doom, and both the Individ-
ualists and their critics are amply represented by artists, supportive scholars,
patrons, and the newest of market creations, Indian art galleries. Debate
rages broadly as to what, if anything, constitutes legitimate Native American
Robert Haozous, son of traditional Mescalero Apache sculptor Allen Houser, and a leading
exponent of "individualistic" art, standing in his Santa Fe studio with his sculptures {courtesy of
Robert Haozous} . .
artistic expression, and the ethnic art market is in a state of some turmoil. It
seems certain that Indian art in the traditional sense, replete with ethnic
identifiers, will continue to be produced, and that fairs, judging competi-
tions, and preservationist societies will continue to promote and oversee it.
IncreaSingly, however, it will be relegated to the realm of American folk art
traditions, and from the ranks of its producers will arise more individuals
who, because of skill, vision, or proximity to alternative traditions, will shed
their specifically Indian identity for that of the mainstream artist. In this
context, the folk craft market may become the protective placement service
for the fine arts, and the Native American experience may provide a much-
needed inspirational jolt to tired aesthetic traditions of the West.
190 EDWIN L. WADE
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ON HAVING A CULTURE
Nationalism and the Preservation
of Quebec's Patrimoine
RICHARD HANDLER
I t even happens frequently in anthropological collections that a vast field of
thought may be expressed by a single object or by no object whatever, be-
cause that particular aspect of life may consist of ideas only.
(Boas 1907:928)
Twenty years after his debate with Otis Mason and J. W Powell over the
proper arrangement of ethnological objects in museums, Franz Boas returned
to the pages of Science to discuss the relative place that popular education
and scientific research should occupy in the hierarchy of objectives of a great
museum. The argument against arbitrary classification he had sketched only
tentatively in 1887 (d. Stocking 1974:2, 57) was now elaborated with the con-
fidence of one who had long since won his point: "any attempt to present eth-
nological data by a systematic classification of specimens will not only be arti-
ficial, but will be entirely misleading." Decontextualized in museum cases,
specimens or objects were fundamentally inadequate to portray cultural reali-
ties:
The psychological as well as the historical relations of cultures, which are the
only objects of anthropological inquiry, can not be expressed by any arrange-
ment based on so small a portion of the manifestation of ethnic life as is pre-
sented by specimens.
(Boas 1907:928)
Richard Handler is Assistant Professor in the Department of Sociology and Anthro-

pology at Lake Forest College. He is completing a book on nationalism and the
politics of culture in Quebec. His other research and writing concerns the anthropol-
ogy of Jane Austen's novels, and the literary and aesthetic aspects of the work of
Edward Sapir.
192
ON HAVING A CULTURE 193
Yet for Boas the existence of unsolvable problems connected with the dis-
play of material culture (cf. Jacknis, this volume) did not mean that anthro-
pology museums were to be abandoned. The "function of the large museum,"
he wrote, was to preserve "vanishing" specimens for future scientific research:
We collect these [specimens] because they are the foundation of scientific

study.... It is the essential function of the museum as a scientific institution
to preserve for all future time ... the valuable material that has been col-
lected, and not allow it to be scattered and to deteriorate.
(Boas 1907:929-30)
Apparently Boas, preoccupied with the problems of "salvage" ethnography,

did not consider the collecting of ethnographic specimens-that is, their
removal from living cultural milieus-as an example of arbitrary decontex-
tualization. Perhaps because he believed that many "primitive" cultures would
soon cease to exist, Boas wanted a tangible record of their contribution to
human history preserved in metropolitan museums. There at least they could
be studied by the appropriate specialists, and protected from physical destruc-
tion.
The problem of the proper contextualization of museum specimens, how-
ever, has not disappeared in the intervening years. If anything, the postco-
lonial, often militant self-consciousness of "tribes" who have become "ethnic
groups" (Cohen 1978), of former colonies that have become new nations,
and of "underdeveloped" nations attempting to develop, has reoriented and
embittered disputes about the contextualization issue. It is no longer simply
particular methods of display, but the very right of old and established mu-
seums to the objects in their possession that is now contested. In the eyes of
their critics, these museums have not merely misrepresented other cultures,
they have oppressed and plundered them. From this point of view, no appeal
to scientific necessity can justify the removal of what has come to be called,
tellingly, cultural property: only the people who created artifacts, or the
people whose "identity" they represent, can place them in a proper context.
Conflict over the collection and preservation of cultural property in mu-
seums is as old as the museum itself. The Louvre was founded during the
French Revolution to house art treasures confiscated from the Crown and
Church and transferred to the ownership of the sovereign people. Napoleon
systematically extended the collections of the Louvre by "liberating" the art
of Europe from its aristocratic and royal owners, but after Waterloo the
French were required to return much of what they had taken-while the
Paris mob watched in despair as their treasures were dispersed. Subsequent
European revolutions saw similar programs of cultural expropriation intended
to democratize access to previously inaccessible cultural treasures, as well as
to protect them from the revolutionary mob: "Rescued from the fury of the
194 RICHARD HANDLER
people by revolutionary art lovers and scholars, the visual objectifications of

tyranny, superstition and oppression were, through the alchemy of the mu-
seum, transformed into the National Heritage, the most precious possession
of the people" (Nochlin 1972:15).
Yet, as the case of the Louvre suggests, a collection that represents their
national heritage to the citizens of one political entity may well represent a
patrimony-in-exile to those of another. We see today attempts at a "world-
wide repatriation movement of cultural properties" (Halpin 1983:269)-or,
more sensationally, "culture wars" in which "nations fight for treasures in
exile" (Miller 1984). If Boas despaired of the possibility of exhibiting objects
so as to convey cultural context, he hardly imagined that the museum itself,
an institution that "must stand first and last:' as he put it (1907:933), "for
the highest ideals of science," would become the target of "-accusations of
vandalism, cultural imperialism, destruction of meaning, and outright theft"
(Nochlin 1972:10).
It is not my intention in the present essay to pronounce upon the proper
function of museums or the just distribution of cultural property. Rather, I
am concerned with what Harris (1981:36) has called "the logic of cultural
institutions"-and specifically, the logic of "high-cultural" institutions such
as museums and the objects they contain. By focusing on the idea of cultural
property, as manifested in some sixty years of historic-preservation legislation
in the Canadian province of Quebec, I seek to explicate what might be called
the fetishism of material culture that animates governments, citizens, and
museum curators alike in their zeal to preserve their "heritage." Whose heri-
tage a particular collection represents is often open to question; but the idea
that objects, or material culture, can epitomize collective identity-and,
epitomizing it, be considered as the property of the collectivity-is rarely
disputed. Indeed, the repatriation of heritage objects often comes down to
placing them in one's own museum-an act which perhaps establishes own-
ership, but only by reinterpreting cultural things in terms of the ideas of those
who plundered them.
Cultural-Property Legislation in Quebec
In Quebec le patrimoine is a term common in popular usage and central in

nationalist discourse. To speak of the piltrimoine is to envision national cul-
ture as property, and the nation as a property-owning "collective individual,"
to use Dumont's term (1971). The simplest definition of the patrimoine is
"old things!' A school child, for example, told me that "the patrimoine is old
things. Like that chair-if that chair is maybe twenty-five years old, it's part
of the patrimoine." Similarly, the early reports of the Historic Monuments
Commission of Quebec plead "en faveur des vieilles choses" (1923:xvi). And
people unsympathetic to historic preservation would ridicule the patrimoine
by explaining to me that it was nothing but "old junk." In contrast, the
broadest definition of patrimoine equates it with national culture. During a
parliamentary debate in which the narrow versus the broad meaning of the
concept was speCifically at issue, one member of the Assemblee Nationale
offered the following definition: "The word patrimoine designates the totality
of what we possess, and what is added to it. Thus it refers not only to the
conservation of what we call traditional goods, but of everything that can be
called cultural property" (ANQ 1972:XlI, 4585) Taking the narrow and
broad senses together, we can isolate three aspects of the significance of pa-
trimoine: (1) age combined with (2) proprietorship that is (3) collective.
People weight these elements differently, but for the moment I would stress
that the concept typifies what may be called an objectifying logic (cf. Han-
dler 1984a). It allows any aspect of human life to be imagined as an object,
that is, bounded in time and space, or (amounting to the same thing) asso-
ciated as property with a particular group, which is imagined as territorially
and historically bounded.
Although it can also be seen as typifying a worldwide interest in cultural
property that is if anything more acute in peripheral or "emerging" polities
than in older metropolitan centers where people are culturally self-confident,
historic-preservation legislation in Quebec has followed European trends.
Private efforts to preserve Quebec's heritage can be found in the mid-
nineteenth century (Fregault 1963), but the provincial government first
acted in this domain in 1922, when it passed the Historic or Artistic Monu-
ments Act.' That law called for the "classification" of "monuments and ob-
jects of art, whose preservation is of national interest from an historic or
artistic standpoint." Once classified (in the Quebec Official Gazette), immov-
able property could not be destroyed, repaired, restored, or otherwise altered
without the consent of the Provincial Secretary, who was to be advised by a
five-member Historic Monuments Commission (hereafter H.M.C.). Pri-
vately owned movable property could not be classified without the consent
of its owner, but no classified objects were to be alienated without the con-
sent of the Provincial Secretary-although the sanctions were only vaguely
specified.
The 1922 Act was followed by one in 1935 which attempted to preserve
1. 12 Geo. V, Chapter 30. I cite the English version of all laws, which, until 1977, had
official status in Quebec, as did, of course, the French version.
196 RICHARD HANDLER
the historic character of the Ile d'Orieans, just down the St. Lawrence River
from Quebec City. The act called for the improvement of roads, the creation
of parks, and the erection of historic markers, and placed restrictions on the
construction of restaurants and gas stations as well as "the putting up of pos-
ters [e.g., billboards]" (25-26 Geo. V: Ch. 8). In 1952 the Historic or Ar-
tistic Monuments and Sites Act added (but did not define) 'sites' to the
"monuments and objects of art" of the earlier law. It also specified that the
category of "immoveables susceptible of classification" was to include "pre-
historic monuments, lands containing remains of ancient civilization and
landscapes and sites having any scientific, artistic or historical interest," as
well as "immoveables the possession of which is necessary to isolate, clear or
otherwise enhance a classified monument or site" (15-16 Geo. VI: Ch. 24).
The laws of 1935 and 1952 foreshadowed later developments in historic-
preservation legislation. The former focused not on single objects but on a
sociogeographic area; the latter expanded the category of properties deemed
worthy of protection, and also attempted to give government a more active
role. The provincial government, however, was not disposed to exploit such
possibilities until the "Quiet Revolution" transformed it from a patronage
organization whose scope of activity was limited, to a welfare-state bureauc-
racy seeking to influence practically all aspects of life in Quebec. Henceforth
the provincial government-in competition, it should be noted, with the
Canadian federal government, which had been expanding rapidly since the
second World War-would be the major actor in the preservation of Quebec's
heritage.
One of the first pieces of legislation of the Quiet Revolution government
was the creation, in 1961, of a provincial Ministere des Affaires culture lies
(hereafter M. A. C.), which sponsored the new Historic Monuments Act
passed in 1963 (Rev. Stats. Provo Queb., 1: Ch. 62). In addition to the
monuments, objects and sites of previous legislation, the new law provided
protection for "any municipality or part of a municipality where a concentra-
tion of immoveables of historic or artistic interest is situated." Construction,
alteration, or demolition within any such "historic locality" was forbidden
without a permit from the H. M. C., which was also authorized to regulate
"posters and Signboards." The law prohibited export of classified property
without the permission of the H.M.C., and also authorized the M.A.C. to
acquire classified property, as well as to aid private individuals and organiza-
tions to maintain or restore classified property in their possession. Finally, it
established the Historic Monuments Service within the M.A.C., to provide
bureaucratic and academic expertise to both the Minister and the H.M.C-
which was reduced to a more purely advisory, rather than administrative,
body (MAC 1965:172).
Although the M.A.C.'s third annual report called the provision for historic
localities "the most radical modification" of older laws (1964:52), the insti-
tutionalization of expertise and the creation of a governmental bureaucracy
to deal with heritage was to be as significant as the widening of the category
of what could be protected. Though the Service, like the M.A.C. generally,
had difficulty in the beginning finding personnel (MAC 1966:153), by the
late 1960s Quebec universities were turning out enough social scientists to
meet the government's demand for their expertise (cf. Tremblay & Gold
1976:26). The 1960s also witnessed a rapid increase in the number of items
classified. The Deputy Minister, historian Guy Fregault (1963), listed 122
properties classified between 1922 and 1963, whereas the tenth annual
M.A.C. report puts the total at "nearly 700" (1971:79). The same report
mentions that the Service studied more than 1000 demands for construction
permits that year, as compared to sixty-seven in 1963 (MAC 1964:53-55).
Finally, the Service consciously sought to rationalize its procedures, in order
to improve efficiency and put itself "in accord with the most progressive for-
mulas being studied or applied in other countries" (MAC 1968:56).
The expansive effect of the institutionalization of heritage preservation is
evidenced in sweeping new legislation, the Cultural Property Act (Stats.
Queb. 1972: Ch. 19) which the M.A.C. sponsored to replace the 1963 Act.
The 1972 law opened with a list of definitions, including those for "cultural
property"; "work of art"; historic property, monument, site, and district; ar-
cheological property and site; "natural district" ("a territory . . . designated
as such ... because of the aesthetic, legendary or scenic interest of its nat-
ural setting"); and "protected area" ("an area whose perimeter is five hundred
feet from a classified historic monument or archaeological site"). This array
of cultural properties was complemented by intricate regulatory provisions,
including two methods for controlling heritage objects: "recognition" and
"classification." The M.A.C. could regulate alienation, export, and altera-
tion of both "recognized" and "classified" property; it was to keep an official
registry of all such property, and would hold a right of preemption in case of
alienation. The Minister was given the right to classify property without the
owner's consent, to grant tax incentives to help individuals maintain patri-
monial property, and to establish around any classified object a "protected
area" in which the same restrictions applied as were applied to the object
itself. The M.A.C. was empowered to "make an inventory of cultural prop-
erty that might be recognized or classified:' to authorize inspections by ex-
perts, and to block other government agencies when their actions endangered
protected cultural property-as well as to issue "archaeological research per-
mits" and to be notified of archeological discoveries. The maximum fine for
violation was raised from $500 to $5,000-which in 1978 was raised to
$25,000. With this amendment, the legal framework for preserving le patri-
moine reached its present form.
198 RICHARD HANDLER
Nationalism, Government Regulation,

and the Creation of Cultural Property
The fundamental assumption of all versions of French-Canadian and Que-
becois nationalist ideology is that an individuated-that is, bounded and
distinctive-nation exists. 2 This collective individual is imagined (like a bio-
logical organism) to be precisely delimited both physically and in terms of a
set of traits (its culture, heritage, or "personality") that distinguishes it from
all other collective individuals. The nation is said to "have" or "possess" a
culture, just as its human constituents are described as "bearers" of the na-
tional culture. From the nationalist perspective, the relationship between
nation and culture should be characterized by originality and authenticity.
Culture traits that come to the nation from outside are at best "borrowed"
and at worst polluting; by contrast, those pieces or aspects of national culture
that come from within the nation, that are original to it, are "authentic." Yet
specifying the components or content of an authentic national culture is a
secondary operation which follows the assumption that a culture-bearing na-
tion exists. Thus descriptions of cultural content, and the criteria for deter-
mining authenticity, can vary widely, and there are recurrent debates over
what should be included in the national heritage, or whether a particular
piece of material culture is or is not historical. Yet there is relatively little
debate over the question of whether an individuated French-Canadian or
Quebecois nation exists (cf. Belanger 1974:42). In sum, nationalist ideology
privileges the fact of existence over its characteristics, formal boundedness
over substantive interrelationships.
This nationalist worldview permeates both the letter and the spirit of cul-
tural-property laws in Quebec. The various activities that the H.M.C. initi-
ated or championed in the 1920s indicate that its primary mission was to
make both French Canadians and the members of other nations aware of the
existence of French Canada's historical and cultural possessions. Crucial to
this goal was the work of "inventorying" cultural property in dossiers with
extensive photographic documentation in order, first, to preserve "at least
the memory" of patrimonial objects and, second, to aid in the "practical task"
of "conservation and preservation" (HMC 1923:xi). For similar reasons the
H.M.C. advocated the creation of an historical museum and an ethno-
graphic museum-the first, as "a temple of national devotion" (xiv); the
2. The terms "French-Canadian" and "Quebecois" are not equivalent, though they may be
used to refer to the same group. I use both terms to refer, roughly, to French-speaking citizens of
Quebec, but, following indigenous trends, use "French-Canadian" when speaking of the pre-
1960 nationalist outlook, and "Quebecois" when discussing developments since 1960. For a
nationalistic analysis of the evolution of terms of self-identification in French Canada, see Rioux
(1975:5-21).
second, to secure "specimens of each of the objects that our ancestors used"
against the increasingly voracious appetite of American tourists for French-
Canadian antiques (1925:xvii). Other duties included the unveiling of patri-
otic statues (1923:xi-xii) and the erection of new monuments and commem-
orative roadside markers. According to the H.M.C., to increase historical
awareness-"of what we once were and what we must be today"-was among
the surest means to "develop the patriotic spirit of a people" and to give
tourists a better image of the nation (1925:xiv). Finally, the H.M.C. made
its inventories available to the public in such works as The Old Churches of
the Province of Quebec, 1647-1800 (1925) and Old Manors, Old Houses
(1927), both attributed to P. G. Roy, provincial archivist and member of the
H.M.C. Reprinting an appreciative review from the London Times literary
supplement (1/27/1927), the H.M.C. called the publication of the volume
on churches "the event of the year;' suggesting that such praise from abroad
should make French-Canadians more respectful of their national heritage
(1926:vii).
In its inventories the H.M.C. divided cultural property into ten categories:
(1) commemorative monuments; (2) churches and chapels; (3) forts of the
French Regime; (4) windmills; (5) roadside crosses; (6) commemorative in-
scriptions and plaques; (7) devotional monuments; (8) old houses and man-
ors; (9) old furniture; and, somewhat vaguely, (10) "les chases disparues"-
things that have disappeared (HMC 1926:xii-xiii). Its classification shows
that the H.M.C. defined national culture in terms of the conservative, cler-
ical nationalism that dominated Quebec in the first half of the twentieth
century. In that ideological perspective the substance of national identity and
culture depended on French origins and Roman Catholicism. As the leading
nationalist ideologue, the historian Abbe Groulx, put it in an address to
French-Canadian youth: "Students of Catholic faith and French race. Here,
it seems to me, is your definition; it is your originality; you have no other"
(1935: 188). Groulx's definition corresponds to the H.M.C.'s categories,
which privilege buildings dating from New France, monuments referring to
that period, and religious architecture and relics.
Roy (1927:vi) mentions a second and related categorization for buildings
that may properly be considered "patrimonial": (1) those possessing "both
historic character and antiquity," (2) those "whose merit lies entirely in their
being of another age;' and (3) those "typifying Canadian architecture." In
other words, cultural property can arouse veneration because of age alone or
age combined with historically important events, or because it epitomizes
national existence. For Roy, buildings rooted in an historically specific past
or typifying a national-cultural style "possessed originality and symbolised
truly the soul of an entire people" (v). By contrast, newer houses were not
"really of our tradition;' nor could French Canadians be "truly at home in
200 RICHARD HANDLER
them" (vii). In sum, what is historical and typical is authentic, truly French-
Canadian; and it is assumed that authenticity is objectively ascertainable,
even though, as we shall now see, the criteria to determine what is historical,
typical, or patrimonial can change.
The Quiet Revolution of the early 1960s saw the displacement of clerical-
conservative nationalism by a forward-looking nationalism typified by the
independentiste Parti Quebecois (founded in 1968). The emergence of the
provincial government as a welfare state was by no means in
North America, but in the Canadian context that institutional transforma-
tion interacted with a long-standing national polarization (French versus En-
glish Canada) to produce a renewed "Quebecois" nationalism. As the previ-
ously passive but now rapidly expanding Quebec government came into
conflict with a federal government which was also expanding, traditional
concerns for pan-Canadian French-Canadian "survival" were transformed
among the political elites of the province into the desire for "national devel-
opment" within Quebec, which could now be viewed as a global society pos-
sessing an autonomous state-the provincial government (McRoberts &
Postgate 1980:94-123). Quebecois routinely describe their changed outlook
by saying that an exclusive concern with la survivance was replaced in the
1960s by the desire to live a full and creative national existence within the
boundaries of Quebec.
Accompanying the new outlook were new interpretations of Quebec's his-
tory and culture that challenged and then replaced the clerical-conservative
vision of a French and Catholic Quebec gazing eternally backward to New
France. For example, G. E. Lapalme, the political leader responsible for the
creation of the M.A.C., typified a generation of Montreal intellectuals and
artists who sought, in the 1940s and 1950s, a secular, contemporary French-
Canadian culture intimately connected to the internationally prestigious
high culture of France. Lapalme seems to have been immensely influenced
by Andre Malraux (appointed Minister of State for Cultural Affairs by De
Gaulle in 1959), as well as by European high-cultural institutions and the
efforts of national governments and international agencies such as UNESCO
to promote cultural development. He equated culture with "a civilization, an
art of living, or, as Andre Malraux has put it, 'the best of what survives of
men's works'" (1973:96; cf. Malraux 1953:630-42). Lapalme's cultural ori-
entation was written into the charter of the M.A.C., whose goal, as de-
scribed by law, was to "promote the development of arts and letters in the
Province and their diffusion abroad" (Rev. Stats. Provo Queb. 1: Ch. 57).
Although Lapalme was committed to "democratizing" culture, this did not
entail an appreciation of popular or anthropological culture, but rather rais-
ing the cultural level of the masses by exposing them to high culture. But the
Quebec government's bureaucratization of cultural politics between the 1963
and 1972 cultural property laws was increasingly accompanied by appeals to

anthropological definitions of culture (Handler 1984b). The concept of a
national culture anthropologically defined was better suited than a definition
restricted to high culture for justifying the provincial government's growing
concern to intervene in all aspects of Quebec society and culture. Thus the
list of "cultural property" covered in the 1972 law was much more extensive
than the "historic and artistic monuments" of previous legislation, a fact that
generated much discussion among the members of Quebec's Assemblee Na-
tionale who discussed the bill before its passage.
The Minister of Cultural Affairs introduced the bill by stressing the insuf-
ficiency of the 1963 law with regard to the natural and archeological patri-
moine and movable cultural properties. The new bill, she explained, was
based on the most progressive concepts from Mexico, France, Israel, Italy,
and UNESCO, and was designed to protect Quebec's patrimoine from the
ravages of economic development (increasingly threatening to traditional ar-
chitecture), from the booming art market, and from "museums outside the
province" (ANQ 1972:XII, 1844). All deputies who responded to the Min-
ister recognized the validity of the expanded notion of cultural property. As
one remarked, the interdependence of all social and cultural phenomena had
become increasingly obvious in past discussions of the M.A.C.'s role, and
thus in the proposed law "the notion of culture has just taken a step forward"
(1845).
The evocation of a broad, anthropological notion of culture did not resolve
the problem of defining what properly belongs to Quebec's heritage. The
deputies were agreed that "nowhere in the world is there an architecture more
Quebecois, that corresponds better to us, than that which we are aiming. . .
to protect" (1855)-but the problem was to determine the content of such
categories as "Quebecois architecture" or "national heritage." For example,
one deputy objected to the vagueness of the term "cultural property"-did it
indicate Quebecois, Canadian, or North American properties, or items from
around the world housed in Quebec museums (1845)? Other discussants pon-
dered the cases of persons maintaining dual residences, of immigrants, and
of others who change nationality-how long must a person reside in Quebec
before his property could be counted as part of Quebec's patrimoine (4617-
20)? One deputy, arguing for ethnic diversity in the composition of the new
Cultural Property Commission (which replaced the H.M.C.), stressed that
all who live in Quebec are Quebecois, hence their property is part of the
patrimoine and they too should be able to "rediscover [their] identity" in the
official heritage (1863-64). In contrast, other deputies discussed grounds for
excluding items from the national heritage. One speaker bemoaned the fact
that Quebecois art is lost to the nation when, as often happens, it comes to
rest in the private collections of "English" Quebecois (1861). And ever re-
202 RICHARD HANDLER
current was the problem of separating the Quebecois and Canadian heri-
tages-how could Ottawa be prevented from claiming pieces of Quebec's pa-
trimoine as Canadian, either by acquiring Canadian national monuments in
Quebec or by bringing Quebecois movables to Ottawa museums?
A related issue was that of the temporal limits of the patrimoine. Some
deputies were puzzled by the broad definition of archeological property (any
object "indicating ... human occupation"). How old must something be
before it could be considered archeological or historical property? "History
begins at what date" (4640)? They also questioned the fifty-year limit speci-
fied in the article concerning the Minister's right of preemption in the case
of classified property offered for sale. Might it not' be desirable for the Min-
ister to acquire objects less than fifty years ola, for example, those associated
with persons holding important offices (4625-29)?
Some discussants were willing to rely on the advice of experts. The Min-
ister of Cultural Affairs refused to change the broad definition of archeolog-
ical property because archeologists had insisted on it; and to the question
about the limits of history she responded, "you have to ask the historians"
(4590, 4640). Another speaker, who wanted even more reliance on expertise
written into the law, argued that only anthropologists, historians, and arche-
ologists-as opposed to "amateurs"-could "identify a cultural property and
... place it in the category corresponding to [its] reality" (1847). But an-
other deputy contested expertise, arguing instead for the necessity of citizen
involvement in heritage preservation: "who knows better than the citizen of
a particular region the history of his region" (1863)?
The potential consequences of the 1972 law were signalled almost imme-
diately by the newly created Cultural Property Commission (hereafter
c.P.c.). In its first annual report the C.P.c. (1973:7) stressed that the law
went beyond conservation to promote systematic development of heritage
properties and sites; later reports elaborated a view of the Cultural Property
Act as a tool to prevent urban destruction. For example, it meant to defend
against the "visual" pollution of historic buildings by new construction, and
suggested the indirect regulation of zoning "by classifying an entire street in
order to save not only buildings ... but a sociological milieu" (1975:133,
143). Nor was the C.P.c. the only organization to envision such possibilities,
for citizens' groups increasingly turned to the 1972 law to fight pollution and
to defend neighborhoods against real estate speculation as well as to preserve
their local heritage. In brief, the anthropological conception of culture em-
bodied in the law could be used in defense of lifeways as well as material
property.
Nowhere were these new concerns more salient than in the debate over
"Place Royale" -a recently created name attached to several blocks of Que-
bec City's oldest section. Although the interest of the provincial government
dates from the late 1920s, when the H.M.C. declared the church of Notre-
Dame-des-Victoires an historical monument, little more was done until the
late 1950s, when the H.M.C. and then the M.A.C. began to restore isolated
buildings near the church. In 1967 the government passed an act respecting
Place Royale at Quebec City (15-16 Eliz. II: Ch. 25), which created a geo-
graphically delimited Place Royale (as, in effect, an historic locality) and
authorized the M.A.C. to undertake' its development. By 1970 the M.A.C.
had acquired some forty of the sixty-four buildings in the locality, while this
decaying section of Quebec City was partially evacuated. At that time the
M.A.C. (1979:18-19) intended "to privilege the French character of
the locale." It would preserve buildings and parts of buildings dating to the
French Regime, demolish those from later epochs and replace them with
reconstructions "as faithful as possible, in their external appearance, to those
which existed in the 17th or 18th centuries." The project was to combine
historical restoration, urban renewal, and touristic and economic develop-
ment.
Because the Place Royale project was the largest of its kind ever undertaken
in Quebec, it was seen as epitomizing the M.A.C.'s approach to heritage
preservation. By the middle 1970s, however, "authentic" restorations focus-
ing exclusively on the heritage of the French Regime were increasingly called
into question. With the displacement of clerical-conservative nationalism by
a secular nationalism oriented to the present and future, and the new-found
equation of patrimoine with anthropological "culture," the Place Royale proj-
ect became the target of an array of citizens' groups and cultural-affairs activ-
ists who disputed both the politics of historic preservation and the con-
stricted view of the national past that it represented.
In late 1978 the M.A.C. sponsored a conference to bring together all
parties interested in Place Royale. Specialists from the Historic Monuments
section of the M.A.C. presented the case for the reigning restoration philos-
ophy. They described four stages in the architectural history of Place Royale
(Amerindian, French, British, and twentieth-century) and justified their de-
cision to focus exclusively on the French period. The architecture of that
period, they explained, housed a homogeneous and original style of life that
succumbed, not at the Conquest, but in the mid-nineteenth century, to the
"abusive intensification of commercial activities" associated with British and
American architecture. Because Place Royale represented the most important
"concentration of [architectural] elements from the French period," it was
crucial to the identity of the entire (Quebecois) nation. Thus the specialists
reaffirmed their commitment to the reconstruction of a French-Regime Place
Royale. As they put it, for Quebecois seeking their national identity, Place
Royale "becomes a privileged tie between the French Canada of yesterday
and Quebec of today." To walk through Place Royale is "to be transported into
204 RICHARD HANDLER
View of the "Old City," Quebec City, in 1970 (courtesy of the Ministere des Relations intema-
tionales and the Ministere des Affaires culturelles Quebec).
the past," and such contact with "our deepest roots" (nos origines profonds)
is crucial to the ongoing vitality of national culture (MAC 1979: 165-69; cf.
Fitch 1982:55).
Criticism of this position came from architects, social scientists, citizens'
groups, and cultural-affairs facilitators (animateurs) , almost all of whom
agreed on two complaints. First, in privileging French-Regime architecture
to the exclusion of all else, the project had favored fakery at the expense of
the authenticity of an evolving system of styles. Second, the Place Royale
project had arbitrarily isolated part of a neighborhood, turning it into an
artificial museum while destroying the authentic social life that once existed
there.
Taking the architectural critique first: critics argued that restoration at
Place Royale had proceeded on the basis of an arbitrary judgment as to the
superior value and authenticity of French-Regime styles. In their view such
judgments were relative, subject to shifts in historiographical fashions.
Furthermore, "restoration itself is merely one more action to which a build-
View of Place Royale, Quebec City, in 1981 (courtesy of the Ministere des Relations interna-
tionales and the Ministere des Affaires culturelles, Quebec).
ing is subjected ... in the course of its long life" (MAC 1979:25). Thus
critics urged that restoration respect all styles and epochs represented in a
site. Some even redefined authenticity as the accumulation of styles con-
tained in the latest state of a building, "a state resulting from a normal evo-
lution" (157). And some suggested a new reading of history to justify that
position: rather than abandoning the nineteenth century to the commercial
invasion of English speakers, they argued that nineteenth-century architec-
ture, with its diverse influences, be seen as an expression of "the adaptive
faculty of Quebecois builders" (152). Finally, these critics demanded that
restoration be "readable" and even "reversible." Since the restorations of to-
day will become simply one more phase in the life of a building, future gen-
erations must be enabled to identify them as the work of the current gener-
ation of restorers-occupants, who should even leave a record of the reasoning
behind their choices (25, 157).
Turning to the sociological critique, we find the same concern for the con-
tinuity of a broadly integrated culture. Critics argued that the law establish-
ing the boundaries of Place Royale had created a geographic and administra-
tive entity arbitrarily isolated from the larger neighborhood. The subsequent
206 RICHARD HANDLER
II
'--
If -- -.-,
=
, II
11
II
-.1 Ii Ii..........-
••
------
, ,\ \ \ ,
J,.U ... W
I....-.--.:
Hotel Louis XIV, Quebec City, in 1966. Note pattern of windows on second and third floors
(courtesy of the Ministere des Relations internationales and the Ministere des Affaires cultu-
relies, Quebec).
"museumification" of Place Royale destroyed 200 years of continuous social

life (49) and turned it into a "concentration camp for culture" (39) . More-
over, the culture displayed there was typical of what culture has become in a
society that privileges economics above all else: an isolated and reduced com-
modity (35). In contrast, these critics wanted an urban-renewal strategy that
would privilege the residential function of the neighborhood, combined with
a judicious mix of other functions such as education, tourism, recreation,
and business. Only by establishing Place Royale as a "natural" social milieu
could it be made to live again. Otherwise, as G. E. Lapalme noted, "at the
approach of winter there would be nothing but the silence of a vast mu-
seum . . . . Only a normal life can conquer winter" (12) . In sum, these critics
deplored what they saw as the reduction of the patrimoine to a fragmented,
The Dumont and Le Picart houses , Place Royale, restored to their eighteenth-century forms
(courtesy of the Ministere des Relations internationales and the Ministere des Affaires cultu-
relies, Quebec).
commercialized image of the past; instead, they envisioned it anthropologi-

cally, as "the mark of a community of men in a particular space" -a witness
to "the continuity of a human milieu" (37-38).
These critiques, both architectural and sociological, correspond to some
extent to my analysis of the nationalistic objectification of culture. I have
argued elsewhere (1984a) that those who seek the sources of national identity
reinterpret aspects of a social world as typifying that world, which is then
understood to be territorially and sociologically bounded ("the nation"), and
in possession of "a" culture composed of detached , object-like "traits." The
critics of Place Royale contested the interpretation of "authentic" identity
and history represented by the project. Yet they did not reject the notion of
an "authentic" culture (cf. Handler & Linnekin 1984) but merely located it
elsewhere: in the ongoing life of ordinary citizens. Their argument reflects
208 RICHARD HANDLER
Pierrot Cafe, Quebec City, in 1969. Note right·hand door on ground floor (courtesy of the
Ministere des Relations inrernationales and the Ministere des Affaires culrurelles, Quebec).
the ascendancy of a holistic, anthropological conception of culture, yet such

a conception depends on an objectification at least as extreme as that of
narrower conceptions of the patrimoine, for it focuses on life itself as the
object to be preserved, documented, and displayed, whether in a museum or
on the stage of an outdoor theater (cf. Handler 1983). The Place Royale
critique rejects the artificial stage of a museumified site, but transforms "or-
dinary" life into a stage. Even the restorers are viewed as actors, and urged to
leave an objective record of their motivations!
On Having a Culture
The preceding review of heritage legislation in Quebec indicates a steady
expansion of the category of patrimonial things-an expansion we can com-
pare to what Durkheim called the contagiousness of the sacred. Early legis-
La Maison Leber. Place Royale. after its restoration (courtesy of the Ministere des Relations
intemationales and the Ministere des Affairs culturelles. Quebec).
lation sought discrete pieces of culture, monuments and objects of art origi-
nating in a well-defined sociohistorical era, and sacralized them by
surrounding them with rules designed to isolate them from social space and
historical time (cf. Maccannell 1976:42-45). In later legislation the category
of things that could be sacralized grew. The sacred past expanded forward and
backward to include relatively recently created properties and the pre-
French, prehistoric Amerindian civilization of Quebec. Sacred space grew, as
historic and natural localities were added to buildings and art objects in the
category of culture to be protected. The sacralized objects themselves became
contagious, spreading their sacredness into the "protected" zones surrounding
them. Even the "view" attached to patrimonial sites became inviolable.
There has also been a proliferation in the number of social domains con-
sidered capable of generating heritage. The initial concern with religion,
New France, and great men has widened to include a variety of historical
epochs and sociological milieus. Today people talk about the "industrial pa-
trimoine" (for example, early factories) and the contribution of ordinary
people, as well as of diverse ethnic groups, to Quebec's heritage. Official
attention to the archeological patrimoine extended the realm of the sacred
beneath the earth's surface. Finally, the 1972 law established degrees of sa-
210 RICHARD HANDLER
credness by adding the procedure of "recognition," for less worthy property,

to that of "classification:'
To document the spread of the sacred does not, however, identify its
source, which I would locate in the relationship of patrimonial property to
the collective individual. Dumont, following Tocqueville, has stressed the
individualistic basis of what is presumably a model of the group: nationalist
ideology. According to Dumont (1971, 1977), in Western common sense the
nation is perceived as a collection of individuals, each of whom replicates,
and who together constitute, a collective individual-a formula that accords
perfectly with Quebecois nationalist ideologies. For example, to claim that
Quebecois houses express the soul of a people is to personify the collectivity;
and to claim that only in such houses can individual Quebecois feel at home
implies both the essential likeness that unites those individuals, and the rep-
lication of each in the collective individual.
Yet to understand the sacredness of the patrimoine we need to look at the
particular relationship that links the individual to property. C. B. Macpher-
son (1962) has suggested the term "possessive individualism" to describe that
relationship as it was initially formulated in Locke's labor theory of value.
Locke's problem was to explain how individuals could appropriate for them-
selves portions of the earth and its resources, which God had given to all
men as common property. His solution was to treat a person's body as his own
property, along with the labor of his body and the "works of his hands"
(1690:305). By objectifying labor as an individual's property, Locke allowed
the individual to mix detachable pieces of himself into natural objects. Yet
the individual does not thereby alienate his labor; rather, he draws the con-
tacted objects to himself. He annexes them, and they become, in effect,
extensions of himself: "Whatsoever then he removes out of the State that
Nature hath provided, and left it in, he hath mixed his Labour with, and
joyned to it something that is his own, and thereby makes it his Property"
(ibid.). Thus can self-sufficient (and, it should be noted, presocial) individ-
uals isolate, objectify, and attach what is "common" and unbounded. In brief,
in the individualist worldview there is an almost mystical bond uniting the
agent with the things he acts upon. Moreover, if on the one hand those
things become his property, on the other hand the individual comes to be
defined by the things he possesses. For example, Locke grounded society itself
in the need of individuals to protect their possessions-a theory that Marx
found well-suited to a society "in which relations between men are subordi-
nated to relations between men and things" (Dumont 1977:5; cf. Marx
1867:81-96).
The preceding analysis sheds light on the relationship uniting nation and
culture, the collective individual and its patrimoine. "We are a nation be-
cause we have a culture"-nationalists in Quebec and elsewhere have elabo-
rated that assertion in many forms. It suggests that existence is a function

of possession: "You [on] can live without [formal] instruction [but] you do
not exist, you will leave no trace, if you are without culture" (Lapalme
1973:226). Moreover, what the nation possesses is often conceived to be part
of it, so that cultural content becomes the very body of the nation; Finlay
(1977: 13) relies on this argument in a plea for tougher export controls for
cultural property:
The artistic possessions of a country are a great part of its heritage, ... they
are part of us and their outgoing diminishes us. There is a difference between
coveting something for a particular collection and saving for the nation some-
thing which is part of it.
As we have seen, the most basic assumptions of nationalist ideology concern

the existence of a geographically, historically, and culturally unique nation.
That nation is believed to be "born of" and indissolubly linked to a bounded
territory and a particular history; those links are conceived as natural, and
arbitrary.
This set of assumptions is rarely questioned from within the nationalist
perspective of a given nation; but when questioned from outside, by spokes-
men for competing national groups, it is often fervently and creatively de-
fended. For example, the British reformer Lord Durham, who wrote in 1839
that French Canadians were "a people with no history, and no literature"
(Lucas 1912:II, 294-95), is recognized as both the "villain and catalyst" who
stimulated the beginnings of French-Canadian historical and literary self-
consciousness (Trofimenkoff 1982:81-83). A similar episode, at exactly the
same time, occurred in the history of Greek nationalism; the German scholar
J. P. Fallmerayer's denial of the Greek claim "to descent from the ancient
Hellenes" stimulated half-a-century's folklore scholarship in Greece (Herz-
feld 1982:75-80).
To meet the challenge of an outsider's denial of national existence, nation-
alists must claim and specify the nation's possessions: they must delineate and
if possible secure a bounded territory, and they must construct an account of
the unique culture and history that attaches to and emanates from the people
who occupy it. It is at this point that disputes about the ownership of cultural
property come into play. However constituted or mobilized, and however sit-
uated with respect to given political boundaries, a self-conscious national or
ethnic group will claim possession of cultural properties as both representa-
tive and constitutive of cultural identity. Yet the ability of such groups to
validate ownership claims, and then to act on them, will differ widely.
We might imagine a typology of cultural property claims, constructed from
three opposing pairs of features of objects and the groups that claim a rela-
tionship to them: actual possession of an object versus lack of possession;
212 RICHARD HANDLER
control of the cultural identity or affiliation of an object versus the lack of

such control; and sovereignty versus the lack of it-that is, political auton-
omy versus minority status or collective encompassment. Combining these,
we find six possibilities:
(1) A sovereign group possesses an object, and controls its identity (ex-
ample: the Liberty Bell).
(2) A sovereign group possesses an object, but does not control its iden-
tity-that is, cannot claim that the object is unambiguously and exclusively
affiliated to its culture (example: the Elgin Marbles in the British Museum).
(3) A sovereign group does not possess an object but claims to control its
identity (example: the Elgin Marbles, from the Greek point of view).
(4) An encompassed or minority group possesses an object, and controls
its identity. This situation is often seen to justify the encompassed group's
aspirations for political autonomy: "we are a nation because we have a cul-
ture" (example: those pieces of the Quebec patrimoine securely housed in
provincial museums).
(5) An encompassed group possesses an object whose identity is disputed
(example: those pieces of the Quebec patrimoine controlled by the provincial
government but also claimed by the Canadian government as constitutive of
Canadian identity).
(6) An encompassed group controls or claims to control the identity of an
object, but does not possess it (example: those pieces of the Quebec patri-
moine housed in federal museums outside Quebec).
We can further elaborate this typology by considering the responses of
disputing parties to the claims of their opponents. For example, in the second
situation-that of a sovereign group possessing an object whose affiliation is
disputed-we can imagine these additional possibilities:
(a) The owning group can make no legitimate claim to control the identity
of the object in question, and responds by attacking the validity of others'
claims to it. As one art dealer, justifying his traffic in Greek antiquities re-
covered in Turkey, put it: "Do the descendants of the Turks who drove out
the Greeks from Asia Minor have a better right [than citizens of other na-
tions] to the art made by the ancestors of the Greeks?" (quoted in Meyer
1973:112).
(b) The owning group can make no legitimate claim to control the identity
of an object, and responds by rejecting nationalistic or particularistic limita-
tions on the object's affiliation. In these cases the object is said to belong to
a universal human heritage, and the owners become its "self-styled guardians"
(Miller 1984:2).
(c) The owning group asserts its right to control the [disputed] affiliation
of an object by claiming to encompass the contesting group that claims the
object as its own. For example, the federal government in Canada claims
that the Quebecois patrimoine, or that of any Canadian minority or Native
American group, is also part of Canada's heritage, because the minority

groups themselves "are Canadian."
(d) The owning group claims that sustained ownership establishes a new
cultural affiliation: "This is our heritage now."
In Canada the third of these additional possibilities has become increas-
ingly relevant, as the Canadian federal government asserts its own national-
ism in response to the claims of Quebec and other Canadian minority groups
and to the changing relationship of Canada to Great Britain and the United
States. For example, a recent review of federal cultural policy (the Apple-
baum-Hebert Report) asks that in Canadian national museums greater atten-
tion be devoted to "Native art and archival material!' This involves changing
the status of Native material culture from artifact to art-that is, from being
viewed as the remains of a vanquished "Other," to being included as part of
the "high culture" of the mainstream. Thus the report recommends that a
proposed "Contemporary Arts Centre" house Indian art currently collected
in an anthropology museum (the National Museum of Man) in order to "re-
move the unfortunate and unnecessary connotation that works of contem-
porary Native art are understood best as artifacts and ... are neither con-
temporary nor art" (Canada 1982:111, 148-49).
Yet the report also recognizes that regional and ethnic minorities within
Canada are sensitive to issues of control with respect to "their" heritage:
It is entirely reasonable that institutions in each region should develop collec-

tions and exhibitions which reflect the distinctive characteristics of that re-
gion .... the National Museums of Canada, in pursuing the objectives of the
National Programmes, has not always been as sensitive as it could have been
to provincial and regional priorities, interests and standards, and has some-
times acted in a directive rather than a reactive way toward the non-national
museums.
(118)
From the point of view of militant minorities, this is drastically understated.

Quebecois nationalists, for example, have consistently attacked what they
see as the Canadian federal government's attempts to annex their culture.
What to federalists may seem a legitimate aspiration to include all Canadian
"subcultures" as full-fledged constituents of a greater Canadian whole, is to
nationalists in Quebec nothing more than cultural imperialism:
Ottawa's action appears to us to proceed ... from a firm ... will to create a
Canadian culture. To do this it is logically impossible for the federal govern-
ment to ... recognize ... the existence of a distinct, homogeneous and dy-
namic Quebecois culture. . . . It is thus not surprising that it wishes . . . to
absorb the components of Quebecois culture into a Canadian totality.
(MAC 1976:98)
214 RICHARD HANDLER
Similar arguments have been made by Native Canadian groups, and, more
generally, by militant and self-conscious ethnic groups throughout the world
who now protest what they see as the alienation of their cultural property by
governments and museums of the West. Such examples indicate that claims
on cultural property are made to an international audience. It is not enough
to have culture and history; the collectivity's proprietary claims must be rec-
ognized by others. As in Locke's social contract, cultural-property legislation
aims to protect and demonstrate the collective individual's existence by pro-
tecting what it possesses from the claims of other collective individuals. As
the Quebec case shows, to do this entails inventory, acquisition, and enclo-
sure. First the collectivity or its representatives (whether self-appointed lead-
ers or a duly constituted government) must take stock of what it has-hence
the widespread passion for the inventory in cultural-property management as
well as in nationalist literature more generally (cf. Belanger 1974:358-59).
Next, what has been shown to be "ours" must be acquired-either by the
state, or by private citizens-and enclosed, whether by isolating property
with special rules, constructing museums, or gathering relevant information
and images within the covers of books.
Inventory, acquisition, and enclosure can involve making explicit one's im-
plicit but undisputed claim to cultural property, disputing the proprietary
claims of others, or recognizing something as national heritage that was not
so recognized previously. A francophone official of the Montreal Museum of
Fine Arts told me that he would like to "nationalize" that institution by
relabelling, in terms of Quebec's regions, art objects that are now labelled
"Canadian:' Currently, he explained, "Canadian" means "national" and any-
thing from Quebec is merely "regional." A different type of creative labelling
occurs in the creation of "heritage" out of previously unmarked bits of daily
life. A patrimonial object can be created by locating its origins within the
bounds of national territory and history. For example, a custom or an antique
is said to "come from" a region and period, as if its "birth" characterized it
once and for all: "Child's Rattle, Beauce County, ca. 1910."3 On the other
hand, for a multi-ethnic national patrimoine, properties become patrimonial
when their human possessors-creators accept citizenship and thereby subor-
dinate their ethnicity to their newly chosen national identity. In sum, all
properties that can be claimed to emanate from the collective individual, or
3. To suggest that an object "comes from" a region evokes a naturalistic image (birth from the
land) associated with "objective fact." Yet "comes from" is an ambiguous notion at best, often
indicating no more than the locale where a researcher encountered a cultural thing. Ellis has
argued (J 983:26-27) that the Grimm brothers deliberately manipulated the practice of naming
a region in order to disguise the fact that many of their German folktales were obtained from
their middle-class relatives-who, though they indeed lived in various German "regions," were
of French origin and spoke French at home.
from the human beings who constitute it, can be included in the collective
heritage.
As is inevitable in a world made meaningful in terms of our individualistic
moral and legal codes, the proprietary claims of some will challenge those of
others, and a successful assertion of rights to cultural property can exclude
the rights of others in the same property. Yet despite often bitter disagree-
ments, the disputants in contemporary "culture wars" share an understanding
of what cultural property is; that is, all disputants-current, would-be, and
former imperialists, as well as oppressed minorities, ex-colonies, and aspiring
new nations-have agreed to a world view in which culture has come to be
represented as and by "things." More and more anthropologists tell tales of
natives whose self-conscious authenticity depends on anthropological records
of the lives of their ancestors (e.g., Linnekin 1983:245; Smith 1982:130),
and more and more anthropologists are hiring themselves out as "cultural
worker[sJ" (Guedon 1983:259) to protect or reconstruct the culture that "be-
longs" to the groups that employ them. Thus it is not surprising that groups
who succeed in repatriating items of cultural property often put them in their
own museums. Indeed, one of the responses of Western museum administra-
tors to Third World repatriation claims is to send foreign aid-to build and
staff museums (Miller 1984:2). Boas despaired of using a language of objects
to portray cultural ideas adequately in museums; could he have foreseen that
objects would become a privileged symbol of the idea of culture?
Acknowledgments
The research discussed in this paper was supported by a fellowship from the
University Consortium for Research on North America, Center for Interna-
tional Affairs, Harvard University. A preliminary draft was presented at a
symposium on "Material Culture in Eastern Canada" during the 1984 meet-
ing of the Maine Council for Canadian Studies, University of Maine, Orono.
The comments of the symposium participants, as well as those of James Clif-
ford, Ira Jacknis, Daniel Segal, George Stocking, and Pauline Turner Strong
have helped me in revising earlier versions of the paper. I particularly thank
Claude Girard and other members of the Quebec Government Delegations
in Boston and Chicago for facilitating my research on cultural property leg-
islation in Quebec, and helping to obtain the illustrations from the Ministere
des Relations internationales.
216 RICHARD HANDLER
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WRITING THE HISTORY OF
ARCHEOLOGY
A Survey of Trends
BRUCE G. TRIGGER
The earliest historical studies of archeology (Haven 1856; Morlot 1861) date
from the mid-nineteenth century, when Joseph Henry, first Secretary of the
Smithsonian Institution, sought with considerable success to purge Ameri-
can archeology of useless speculation and to encourage an interest in factual
scientific research (Hinsley 1981:40). For the next century, however, most
histories of archeology were accounts written for the general public (for a
comprehensive bibliography see Daniel 1975:401-6). Although some au-
thors claimed to supply more balanced surveys (Casson 1934)' there was a
strong emphasis on the romance of exploration and on spectacular discover-
ies. Some books offered noninterpretative accounts of specialized aspects of
archeology, such as barrow digging (Marsden 1974), or largely narrative bi-
ographies of leading archeologists (Woodbury 1973; Thompson 1977; Green
1981; Hawkes 1982). Most of them, however, chronicled the archeology of
the ancient civilizations, especially in the Near East, where discoveries had
attracted the greatest public interest (Ceram [MarekI1951). Although there
are several excellent histories of archeological exploration by professional
archeologists (Lloyd 1947; Fagan 1975), the image of archeology as a disci-
pline devoted to recovering exotic remains neglects the work of archeologists
whose main contributions have been to the interpretation rather than the
recovery of archeological data, as well as the accomplishment that most
Bruce G. Trigger is Professor of Anthropology at McGill University and a Fellow of

the Royal Society of Canada. He has published on African archaeology, North Amer-
ican ethnohistory, and the theory and history of archaeology; among his publications
is Time and Traditions: Essays in Archaeological Interpretation. He is currently com-
pleting a study of the relevance of anthropological research for understanding the
early history of New France.
218
WRITING THE HISTORY OF ARCHEOLOGY 219
professionals claim to prize most highly: progress in the interpretation of

archeological data in terms of human behavior.
A popular style that to some degree remedied this shortcoming was pio-
neered in Geoffrey Bibby's The Testimony of the Spade (1956). Although
archeological exploration remained a key element of his narrative, Bibby
skilfully interwove accounts of how various archeologists learned to interpret
archeological data with summaries of what they had found out about Euro-
pean prehistory from Paleolithic to the late Iron Age. Michael Hoff-
man (1979) recently employed an identical format in his treatment of the
archeology of predynastic Egypt. While the approach can be applied only to
the archeology of single regions, it has a close affinity to the chapters outlin-
ing the history of local archeology that are becoming increasingly common
in culture-historical syntheses of archeological research (e.g., Milanich &
Fairbanks 1980; Walthall 1980).
During the last decade interest in the history of prehistoric archeology has
increased greatly, and is now engaging the attention of archeologists in all
parts of the world. Research topics have become more specific and, as schol-
ars multiply and cease to work in isolation, growing debate is improving the
quality of their work. Although archeologists still predominate, some histo-
rians of science (Freeland 1983) and other professional historians (Killan
1983) are also exhibiting an interest in the field. Formal techniques, such as
citation analysis (Sterud 1978) and thematic analysis (Zubrow 1972, 1980),
are starting to be employed, and at least one important early manuscript
source has been published in a scholarly fashion (Brongers 1973). These
developments have in tum ignited a debate about the relevance of the history
of archeology for archeological research.
Intellectual History and the Positivist Impulse

The development of a more strictly professional interest in the history of
archeology has centered on what Glyn Daniel (1975:10) has called "changes
in the conceptual basis of prehistory." Not surprisingly, the growing awareness
that the archeologist's understanding of the past is influenced not only by
fresh data but also by changing styles of interpretation developed first in
Western Europe, where by the 1930s generational differences among profes-
sional archeologists and the accumulation of a corpus of essential literature
brought into focus the contrast between the evolutionary interpretations of
the nineteenth century and the diffusionist culture-historical explanations
that had replaced them. A few prehistoric archeologists became convinced
that discovering the reasons for such changes was essential for understanding
what was happening in their discipline. Some were also influenced by the
220 BRUCE G. TRIGGER
popularity of Marxist modes of analysis at that time (Crawford 1932), and by

the writings of the philosopher-archeologist R. G. Collingwood (1939,
1946), who stressed the idea of history and archeology as subjective disci-
plines in which the scholar relives the past in his own mind.
Much of the significant pioneering work on the intellectual history of ar-
cheology surveyed its subject matter on a grand scale. The first major study
was Stanley Casson's The Discovery of Man (1939), which sought to trace
from earliest times how humanity had come to study itself objectively. Begin-
ning in ancient Greece, severely set back in Roman and medieval times,
resumed during the Age of Discovery, the struggle against ignorance and su-
perstition reached a new and definitive stage in the nineteenth century, when
evolutionism transformed and for the first time unified the study of mankind.
While only archeology could document humanity's physical and cultural de-
velopment, Casson regarded it as heavily dependent on ethnology for its
understanding of human behavior. Although both disciplines were portrayed
as strongly influenced by broader intellectual traditions, Casson defined these
traditions extremely vaguely. Often they amounted to little more than a
zeitgeist, such as the spirit of intellectual freedom resulting from the discovery
of the New World (143). Moreover, while Casson noted that industrial activ-
ity and a growing leisured class had favored the development of archeology,
he examined the relationship between archeology and changing social con-
ditions in a still more superficial manner. The great accomplishment of his
book was to suggest that an intellectual history of archeology was possible
and worthwhile.
It was Glyn Daniel's A Hundred Years of Archaeology (1950; cf. 1975),
along with some of his later and more popular books (Daniel 1962; 1981a)
that really initiated the systematic study of the history of archeology. Daniel
traced the development of archeological interpretation from the Renaissance
to the present, with particular emphasis on the period from 1840 to 1900.
Although he depended to a considerable degree on secondary sources, and
failed to resolve in his own mind the relative importance of the roles played
by the early nineteenth-century Scandinavian archeologists and later English
and French Paleolithic specialists in creating a discipline of prehistoric ar-
cheology, his interpretation of this period was a lasting contribution to the
history of archeology. He felt less confident about his ability to see the work
of the twentieth century in a proper historical perspective, and his account
of it remained largely a catalogue of discoveries.
Daniel stressed the important role played by new scientific techniques of
analysis, especially radiocarbon dating, in shaping the development of arche-
ology. But like Casson, he saw it influenced mainly by changing scholarly
fashions. Although social conditions had at times made people eager for ar-
cheological information, they had no significant impact on the interpretation
of archeological data (1975:53). The real driving force was individuals will-
ing and able to seize opportunities to advance their discipline.
Adopting a minimum of formal periodization, Daniel stressed that change
took place gradually and largely adventitiously. Yet the main theme of his
book was the rise and decline of evolutionary interpretations and their re-
placement by a culture-historical perspective. Like most contemporary En-
glish historians, he refused to assign absolute validity to any particular model
or theory that purported to explain the past. Because each was the product
of specific historical circumstances and subject to inevitable limitations, a
healthy situation was one in which a number of alternative models competed.
The main lesson to be learned from studying the history of archeology was
that the "final truth" of any given period inevitably breaks down as new facts
accumulate and new explanations are developed (1975:374). Although he
saw archeology as being influenced by randomly shifting intellectual fashions
rather than developing inevitably in a specific direction, Daniel did not
doubt that certain states were healthy for the discipline, while other ones
definitely were not. He clearly privileged an historical orientation, concep-
tualized in a broad and seemingly atheoretical fashion, arguing that without
it archeology would degenerate from a discipline studying human behavior
into a new object-oriented antiquarianism.
Daniel was a member of a larger circle of British scholars who, inspired in
part by Kenneth Clark's The Gothic Revival (1928) and Christopher Hussey's
The Picturesque (1927; cf. Piggott 1976:v), have written more focused mono-
graphic studies relating changes in British archeology to the broader history
of ideas and literary fashions. Thus T. D. Kendrick (1950) interpreted the
development of antiquarianism during the Tudor period as a triumph of Ren-
aissance over medieval thought. M. C. Hunter (1975) argued that John Au-
brey's archeological research was shaped by the scientific methods based on
Baconian principles that were promoted by the early Royal Society. Stuart
Piggott (1950, 1968, 1976) has attempted to demonstrate how the shift from
rationalism to romanticism reoriented British antiquarian research during the
eighteenth century. In his biography of William Stukeley, he went so far as
to suggest that had this change in fashion not occurred Stukeley might have
continued his early analytical studies and not begun to indulge in lavish
fantasies about the Druids (Piggott 1950:183).
For the most part, monographic work on the intellectual history of British
archeology has dealt with earlier periods; very little, apart from biographies
(McNairn 1980; Green 1981), deals with the twentieth century. This may
reflect a need for discretion in a small and until recently strongly hierarchical
academic community. My biography of Gordon Childe, which in a loose
fashion appears to adhere to this tradition, sought to understand how broader
intellectual movements (especially Marxism) influenced his work but, in
keeping with the nature of that work, mainly examined how these influences
reached him through the writings of other archeologists (Trigger 1980;
1984a).
In addition to this work on British archeology, a major contribution to the
emerging intellectual history of archeology was Annette Laming-Emperaire's
Origines de I' archeologie prehistorique en France (1964), which traced the
development of archeology from medieval times into the late nineteenth cen-
tury, when, she believed, archeology achieved essentially its modem form.
Seeking to account for the current divisions of theory, method, organization,
and attitude within prehistoric archeology in France-especially those that
differentiated the study of the Paleolithic period from that of more recent
prehistory-her primary emphasis was on the interaction between the vari-
ous scientific disciplines that played a role in the development of prehistoric
archeology. In contrast to earlier studies of the Celtic peoples who had lived
in France at the time of the Roman conquest, which relied very heavily on
written texts, true prehistoric archeology was created in the nineteenth cen-
tury as a result of the combined influence of geology, paleontology, physical
anthropology, and ethnology. Towards 1900 this rupture between a natural
science and an historical approach to prehistory was narrowed somewhat, as
French historical studies became increasingly social rather than political in
orientation. Yet Paleolithic archeology maintained its close links to the nat-
ural sciences, while the study of later periods of prehistory has become more
closely tied to history.
While primarily interested in the influences of other developing disciplines
on prehistoric archeology, Laming-Emperaire was also concerned with
broader intellectual trends. Thus she argued that the synthesis of antiquarian
and natural science interests was long delayed because it required "a new
conception of man and his place in nature" (156), ultimately supplied in the
nineteenth century by a growing interest in both cultural and biological evo-
lution. She somewhat neglected the impact of developments elsewhere in
Europe on French prehistoric archeology; but she studied in far more detail
than Daniel the way structures of teaching and research, as well as profes-
sional associations and their journals, reflected and shaped the development
of archeology. Although she did not answer the question posed at the begin-
ning of her book-whether the contradictions in modem prehistoric arche-
ology are a permanent reflection of the requirements of studying different
periods or merely a transient result of the heterogeneous origins of the disci-
pline-her book marked a significant step forward in studying the history of
archeology.
If in Great Britain and France the history of archeology has moved toward
intellectual historical contextualization, in the United States it has taken a
more "positivistic" tum. Although the history of archeology was often sur-
veyed in graduate courses, and brief discussions appeared in publications

dealing jointly with archeology and anthropology, relatively little was pub-
lished prior to the 1960s (for a bibliography see Willey and Sabloff 1980:7).
The main exception was Robert Heizer, whose two books The Archaeologist
at Work (1959) and Man's Discovery of his Past (1962) reprinted articles that
were of major importance for understanding the development of archeologi-
cal knowledge in the Old and New Worlds (cf. Daniel 1967; Hawkes 1963).
The general upheaval produced by the "New Archeology" in the 1960s, how-
ever, encouraged interest in the history of American archeology. The first
substantial result was D. W. Schwartz's Conceptions of Kentucky Prehistory
(1967), which argued that three broad trends had successively characterized
American archeology: an original speculative approach, followed after 1850
by an empirical trend, and after 1945 by an explanatory one. Although each
new trend was seen as supplementing rather than replacing previous ones,
the overall effect was to transform archeology (see also Schwartz 1968).
The first comprehensive treatment of the history of New World archeology
was Willey and Sabloff's A History of American Archaeology (1974; cf.
1980). Arguing that the "critical self-appraisal" going on in American arche-
ology required a review of the development of the discipline and its concepts,
the authors concentrated on the archeology of the United States, and espe-
cially on developments since 1960. Willey and Sabloff stress the value of
relating changes in archeological practice to the intellectual climate of the
past; to theoretical developments in other fields, such as ecology, systems
analysis, and art history; to the availability of new analytical techniques,
such as radiocarbon dating and computers; and to changing patterns of fund-
ing. But to them the most crucial influences on archeology are ideas derived
from ethnology and social anthropology. Thus, although they observe that
evolutionism was rejected by most of the social sciences towards the end of
the nineteenth century, they attribute the failure of American archeologists
to adopt an evolutionary perspective at that time specifically to the influence
of Franz Boas and the inadequacy of the archeological data base; a position
that Meltzer (1983:38-39) has demonstrated to be incorrect. They are even
more wary of correlating developments in archeology with social or political
factors, although they do suggest that virulent anti-Communism in the
United States inhibited the advocacy of theories of cultural evolution after
the second World War (1980:184).
Willey and Sabloff divide their history into four periods: the Speculative
(1492-1840); the Classificatory-Descriptive (1840-1914); the Classificatory-
Historical, subdivided into an early phase concerned primarily with chronol-
ogy (1914-40) and a later one marked by a growing interest in reconstructing
context and function (1940-60); and the Explanatory (1960-present). Al-
though partly derived from Schwartz (Willey 1968), each unit was treated as
224 BRUCE O. TRIGGER
a specific period of time, not as a potentially overlapping trend, on the not

very persuasive ground that the concept of "period" was more appropriate
than that of "trend" for purposes of historical analysis. Schwartz's locally
adapted scheme of Kentucky archeology (not the same as his three overall
trends) as well as some of the more developed regional archeological histories
collected in James Fitting's The Development of North American Archaeology
(1973) do suggest, however, that at this time many American archeologists
were prone to conceptualize the history of their discipline in terms of succes-
sive periods. Some of them had begun to regard the advent of the New Ar-
cheology as a "paradigm shift" of the sort Thomas Kuhn (1962) had described
in The Structure of Scientific Revolutions (Sterud 1973), and although Willey
and Sabloff did not draw attention to Kuhn's work, it was relatively easy for
others to interpret the transition between each of their periods as examples
of such shifts.
Yet in contrast to Kuhn (and the European writers previously discussed),
Willey and Sabloff adopted a strongly "positivist" approach, presenting their
successive periods as a logical and largely inevitable development. Only after
American archeology had advanced from speculation to description to
culture-historical synthesis were archeologists in a position to begin really to
explore their data. While they noted considerable continuity between one
period and the next, and took some pain to demonstrate that many features
that characterized the New Archeology had evolved during the preceding
period, they did not hesitate to evaluate previous theories and interpretations
in terms of their current validity rather than the state of archeology at the
time they were formulated. In general, they denied any substantial signifi-
cance to explanations of archeological data or prehistory that had been of-
fered prior to the 1960s. Finally, Willey and Sabloff observed that what held
true for American archeology was also likely to apply everywhere: the meth-
odological approaches devised by the New Archeology "are clearly of world-
wide scope and are being so conceived by an increasing number of archeolo-
gists" (Willey & Sabloff 1974:210).
The original edition of A History of American Archaeology thus offered an
historical legitimization for the New Archeology, while at the same time
providing a critique of what Willey and Sabloff regarded as the excesses of
the new movement. Vindicating the close association between archeology
and anthropology long advocated by many American archeologists and now
reasserted by the New Archeology, it proclaimed that American archeology
was poised for a great stride forward: now for the first time archeologists could
hope to verify their speculations about the nature and causes of cultural
change (1974:209). In the second edition of their book, they celebrated the
accomplishments of the New Archeology and praised its growing theoretical
sophistication, flexibility, and adaptability. Thus they provided "processual"
archeology with a far more inevitable pedigree than Daniel had accorded to
culture-historical archeology or Casson had belatedly supplied to evolution-
ary archeology. It was also a pedigree that, by restricting the factors that
influenced the development of archeology largely to the discipline of anthro-
pology, corresponded admirably with the positivist view of knowledge em-
braced by the New Archeology, which sees the development of archeology as
controlled solely by the discovery of fresh data and of sounder, scientifically
valid methods for interpreting these data. Because of this, it is not surprising
that this book has been widely used as a textbook in courses on prehistoric
archeology.
Just as the intellectual-contextual approach has produced monographic as
well as general studies, so also there have been in recent years more specific
studies displaying a narrowly positivist orientation, in the sense that their
principal concern has been to understand how interpretations have been de-
veloped in relationship to a specific archeological problem as new data have
accumulated, with little interest in the influence of broader intellectual
trends or social conditions. The most specific of these studies is Robert Cun-
nington's From Antiquary to Archaeologist (1975), in which an amateur his-
torian examines the collaboration between his ancestor William Cunnington
and Richard Colt Hoare, as they together studied the prehistoric monuments
of Wiltshire in the late eighteenth and early nineteenth centuries. The main
theme of this book is how Cunnington, rejecting traditional antiquarian
sources, relied solely on archeological data in his effort to classify and date
the burials that he excavated. Chronicling the alterations in Cunnington's
understanding in his analyses of successive discoveries, the author provides
detailed insight into the sophistication that was possible at this time, as well
as the limitations of an analysis based on a narrow range of excavated mate-
rial.
A study of more general interest is Bo Graslund's Relativ datering: Om
kronologisk metod i nordisk arkeologi (1974; since summarized in English in
Graslund 1976). Most of this book provides a detailed, step-by-step account
of how the dating system of Scandinavian archeology was established during
the eighteenth century. Graslund stresses the strongly empirical nature of this
research, which from the beginning was based largely on the comparative
analysis of the contents of graves and other "closed finds" that ensured the
simultaneity of their deposition, and on the chronological ordering of these
finds in terms of stylistic similarity. Although some of the basic concepts
employed by this system appear to have been suggested by earlier numismat-
ical studies, Graslund interprets its elaboration as a process that was almost
entirely internal to archeology. In particular, he rejects the widely held view
that concepts derived from biological evolution played a significant role in
the origins and development of typology. Such concepts only began to be
used by Scandinavian archeologists late in the nineteenth century as illustra-

tive analogies to justify their already established analytical techniques as a
scientific method.
The most recent major work of this sort is D. K. Grayson's The Establish-
ment of Human Antiquity (1983), which traces a series of steps, beginning
with the differentiation between stone tools and fossils, each of which made
easier the recognition in 1859 that human beings had inhabited the earth
many times the traditional biblical span. Although Grayson acknowledges
that theological views impeded the early recognition of human antiquity in
Great Britain, he argues against the commonly accepted belief that a con-
servative theological orientation necessarily hindered such recognition while
an agnostic and scientific orientation inevitably promoted it. He also ac-
knowledges that social factors influenced this process, inasmuch as the high
antiquity of human beings had to be accepted by the "inner of zoolo-
gists and geologists, who were not the people actually collecting the relevant
evidence. Nevertheless, he concludes that the establishment of human an-
tiquity ultimately depended on internal verifiability, which involved provid-
ing irrefutable evidence of human activities in undisturbed geological con-
texts that were demonstrably more than 6,000 years old. Yet the force of his
argument is blunted by his own observation that Marcel-Jerome Rigollot's
convincing evidence was rejected "from the sheer belief that such things
could not be" (206). Grayson has also been criticized for following Laming-
Emperaire's claim that prehistoric archeology developed as a result of the
recognition of human antiquity-ignoring the achievements of Scandina-
vian and Swiss archeologists prior to 1859 (Trigger 1983; Daniel 1984).
What he is really describing is the origin of Paleolithic archeology, whirn
appears to have evolved in France and England relatively independently of
the Scandinavian and Swiss studies of the later phases of prehistory.
The Social Basis of National Archeological Traditions

In terms of the traditional opposition in the history of science, positivistic
and intellectual/contextual histories of archeology may be contrasted as "in-
ternalist" and "externalist"-insofar as the latter take into consideration in-
fluences impinging on archeology from the outside. If the New Archeology
encouraged an "internalist" view of the history of the discipline, there have
been among American historians of since the 1960s some who
argued the importance of external social and ideological factors. Although
the equation of paradigm shifts and periods could sustain a positivistic view
of the development of archeology, Kuhn's view of scientific development
could also (and perhaps more appropriately) be used to sustain a critique of
positivistic viewpoints, and even to some extent the consideration of social

factors in the history of archeology. Thus Fitting interpreted The Develop-
ment of North American Archaeology in Kuhnian terms, characterizing the
period before 1850 as preparadigmatic, the period that followed as that of a
culture-historical paradigm, and the 1960s as a time of scientific crisis. Un-
like Sterud (1973) and Willey and Sabloff (1974), however, he rejected the
cumulative character of archeological understanding and stressed the socially
determined nature of paradigms. Construing these in an exaggerated fashion
as indicating "that subjective truth is relative and science basically irrational"
(12), he argued that "prerevolutionary science is neither more nor less scien-
tific than postrevolutionary science" (290). Because of the essential subjec-
tivity of archeology, it was necessary to be familiar with the history of the
discipline in order to understand current interpretations of archeological
data.
Other American writers ventured in more detail into the realm of "exter-
nal" ideological and social influences. Thus Schwartz (1967) traced the long-
lasting impact on archeological research of the eighteenth-century belief that
Indians had never lived in Kentucky but had only fought over it, and there-
fore had no valid land claim that White settlers must respect. Similarly, R. E.
Silverberg (1968) explored in detail the links between the nineteenth-
century belief in Mound Builders as a civilized, non-Indian people who had
inhabited North America in prehistoric times and the denigration of native
peoples that accompanied the spread of white colonization across North
America. Although a popular study, it exerted considerable influence among
archeologists as the first substantial treatment of a major problem relating to
the history of North American archeology.
A more specific and detailed study relating to the Mound Builder contro-
versy was Marshall McKusick's (1970) monograph describing the discovery
of fraudulent inscribed slate tablets and elephant pipes by members of the
Davenport Academy of Science in Iowa and the heated national debate that
these finds occasioned concerning the antiquity of man in North America.
McKusick treats these debates as an example of the disorder which could
occur in the small private scientific clubs that flourished in the United States
during the nineteenth century and of the widespread antagonism between
these organizations and "big science:' as embodied in the Bureau of American
Ethnology. This controversy was sustained by suspicions and jealousies, as
well as by professional and political competition, that made its resolution
impossible.
More recently, D. J. Meltzer (1983) has examined the role played by the
Bureau of American Ethnology in discouraging other claims that America
had been inhabited in the remote past by native peoples who were culturally
different from those known in historic times-a view reinforced by the tacit
acceptance by most archeologists and ethnologists of the popular belief that

Native Americans had never been capable of change. Meltzer concludes that
in the absence of conclusive evidence for or against the presence of human
beings in America prior to Holocene times, social and institutional factors
played a crucial role in determining the interpretation of what evidence was
available.
The anti-positivist emphasis on "external" influences has been given im-
petus by the growing interest in the history of archeology outside of Western
Europe and North America, which has been nurtured by Glyn Daniel
through his editorship of the Thames and Hudson World of Archaeology se-
ries, and the role that he and Ole Klindt-Jensen played in organizing the first
international Conference on the History of Archaeology in Aarhus in 1978
(Daniel 1981b). Antiquity and Man, a festschrift recently presented to Glyn
Daniel (Evans et al. 1981), contains papers on the history of archeology in
various parts of the world, and two successive issues of World Archaeology
(Trigger and Glover 1981, 1982) are composed of studies that attempt to
account for variations in national archeological traditions by examining
them in historical perspective. The latter clearly demonstrate that, despite
an internationally shared corpus of methods, the questions archeologists ask
and the answers they are predisposed to accept as scientifically supported vary
widely from one society to another. The cultural patterns of individual soci-
eties and the expectations of particular groups within these societies influ-
ence these differences, as do the formal organization of archeology and
sources and levels of funding for archeological research.
The first major European study to consider the relationship between ar-
cheologyand its social context was Klindt-Jensen's A History of Scandinavian
Archaeology (1975). After surveying the progress of antiquarian studies in
Scandinavia during the Renaissance and Enlightenment, he attributed the
beginnings of scientific archeology in the early nineteenth century to emer-
gent nationalism which, as a product of galling military defeats, combined
with the romantic movement to encourage a more widespread and intense
interest in the history and origins of the Scandinavian peoples. In tracing
subsequent developments, Klindt-Jensen paid careful attention to the chang-
ing political and economic conditions within each Scandinavian country, the
early training of individuals who later became professional archeologists, the
manner in which prominent Scandinavian archeologists influenced each oth-
er's work, and the impact of differing institutional structures. Although he
treated the influence of Scandinavian archeologists on archeology elsewhere
in Europe, he paid little attention to the substantial recent influences of
foreign (mainly British and American) archeology on the study of prehistory
in Scandinavia. In general, his treatment of the twentieth century was largely
anecdotal. Moreover, the analysis of social factors was carried on in a holistic
fashion at a regional or national level, rather than in terms of sectional or

class interests-matters which have since been explored in K. Kristiansen's
(1981) investigation of the changing social background of support for arche-
ology in Denmark since 1805.
A more explicitly sociological approach is offered in Karel Sklenars Ar-
chaeology in Central Europe: The First 500 Years (1983), which traces devel-
opments in the region between the Rhine Valley and Russia from the Middle
Ages to the end of the second World War. In addition to the influence of
pan-European intellectual movements such as the Enlightenment, romanti-
cism, and positivism, Sklenar emphasizes the changing sense of national
identity among the diverse ethnic groups that have occupied this region,
demonstrating in great detail how prehistoric archeology was used by partic-
ular social classes within ethnic groups to pursue their own social, political,
and ideological objectives. Such activities have involved both the encourage-
ment and suppression of archeological activities, as well as favoring specific
interpretations of archeological data. He provides a particularly chilling ac-
count of the role played by archeology in the development of German na-
tionalism and Ostpolitik after 1870.
On the other hand, Sklenar pays almost no attention to influences from
Western Europe, or to the work of foreign archeologists, such as Gordon
Childe, who studied the prehistory of Central Europe. Such an approach
precludes an understanding of tendencies such as the "positivism" he argues
had a beneficial influence on Central European archeology in the late nine-
teenth century-since this orientation was clearly shaped by the ''interna-
tional archeology" that evolved in Western Europe after 1860 (Trigger
1984b). Sklenar's isolationist perspective is all the more curious in view of
his claim that Central European archeologists generally were familiar with
the work of their more famous Western European colleagues, despite the ne-
glect of their own work because of the obscure languages in which it was
published.
The most successful national history is Ignacio Bernal's A History of Mex-
ican Archaeology (1980), which traces the study of Mexican prehistory from
the Spanish conquest to 1950. Bernal takes account of studies of prehispanic
Mexico by European, North American, and Mexican scholars and demon-
strates not only how their work reflected their national traditions, but also
how scholars from different countries influenced one another. Noting how
they were all influenced by successive modes of pan-European thought-Ren-
aissance, rationalist, romantic, and positivist-he documents in consider-
able detail the differing attitudes towards the study of archeology taken by
Spanish officials and creoles prior to Mexican independence, by liberals and
conservatives during the nineteenth century, and by the Mexican govern-
ment since 1910. He also traces in detail the evolution of the institutional
setting of Mexican archeology, showing how it was molded by political events

and in tum influenced the character of indigenous Mexican archeology. Ber-
nal has gone further than any other historian of archeology in accounting for
the influence of international scholarly trends, foreign scholarship, internal
social, political, and economic conditions, as well as institutional settings for
teaching and research, on the development of archeology in a single country.
One can only regret his decision to halt his study at 1950.
Turning once again to Great Britain, two recent works that examine social
influences on the development of archeology are worth noting. Kenneth
Hudson's A Social History of Archaeology: The British Experience (1981) is a
collection of essays on topics such as the changing meaning of archeology
among the general public; the class affiliations of members of Victorian ar-
cheological societies; the impact of railways on such societies; the populariza-
tion of archeology; the changing relationship between professional and ama-
teur archeologists; and social factors involved in the development of popular
support for Industrial Archeology. Stuart Piggott has also discussed some of
these problems, in particular the origins of county archeological societies
(1976:171-93). While Hudson, as a social historian, is interested primarily
in the occupational and class characteristics of the membership of these so-
cieties and the impact of railways on their activities, Piggott, in keeping with
his concern for intellectual history, emphasizes the role played by the Oxford
Movement and the Northern Revival in encouraging their formation-al-
though he notes the role of more efficient modes of communication in trans-
mitting new intellectual fashions to the rural-dwelling middle class. Clearly,
the barrier between intellectual and social history is a nebulous one.
Although Hudson's essays are somewhat lacking in scholarly depth and
marred by too free an expression of his personal biases on a variety of topics,
one can only applaud his attempt "to relate the practice of archaeology to
the social conditions of the time, to see how money, the educational and
political system and the class structure have determined both the selection
and ambitions of archaeologists and the way in which they have set about
their work" (1). It is to be hoped that this book will encourage others to
carry out more detailed research on the social history of British archeology.
The History and the Practice of Archeology
Generalizing from the works here considered, it seems that a "positivist"

viewpoint tends to produce a narrowly "internalist" history, weighted heavily
toward the present, both in the sense of devoting more space to recent theory
and method, and in the sense of using them as criteria for interpreting the
past. In the extreme case, positivistically inclined archeologists would dis-

pense with history entirely.
Thus some processual archeologists question the value of studying the his-
tory of archeology at all. Michael Schiffer (1976: 193) has argued that grad-
uate programs in archeology should dispense with histories of thought and
concentrate instead on defining the known principles of the discipline and
indicating future lines of inquiry. In positivist terms, this argument is attrac-
tive. The more logically inevitable are the theoretical formulations that char-
acterize the mature stages of a discipline, the less important it is to know the
history of that discipline in order to understand these formulations and the
problems that scholars are confronting. If clearly formulated techniques of
analysis and a growing corpus of data can produce increasingly accurate ap-
proximations of reality, the history of a discipline becomes irrelevant to its
functioning.
There can be no doubt that the findings of social historical studies of ar-
cheology pose a direct challenge to the positivist view that a growing corpus
of archeological data and proper methods for analysing these data can lead
to an ever more thorough and accurate understanding of human behavior
and history. Increasing familiarity with the of archeology in
different parts of the world indicates that social, political, and cultural differ-
ences influence not only the questions archeologists ask but also the answers
that they are prepared to accept as credible. It is also the case that such
findings can be invoked as support for a currently growing trend in archeology
to reject the notion that archeological interpretations can achieve validity
that is independent of the societies that have produced them (Leone 1982;
Hodder 1982).
In a sharp reaction against this trend, L. R. Binford (1983:233, n. 14) has
denounced what he calls the "irrationalist" position that archeological inter-
pretations are influenced as a result of social factors having an impact on the
worldviews of scientists-an outlook he associates with the work of Kuhn.
Others, however, use Kuhnian assumptions to bolster positivism. Thus David
Clarke (1979:154) attributed regional variations in archeology to the infancy
or preparadigmatic status of traditional archeology, suggesting that in due
course the "unformulated precepts of limited academic traditions" would be
winnowed and consolidated to produce a "single coherent empirical disci-
pline of archaeology." While we have seen a certain tendency for contextual
studies to focus on earlier periods, it does not appear that national variations
in the interpretation of prehistory are disappearing or even significantly di-
minishing, despite growing international contacts and increasing agreement
on many methodological issues. Today, no less than in the past, general views
of prehistory appear to reflect the concerns of the present (Trigger 1981).
Another positivist response to historical contextualism is Binford's (1981)
distinction between general theories, which are common to all of the social
sciences and seek to explain human behavior, and middle-range theories,
which tend to be specific to archeology and seek to establish systematic re-
lationships between material culture and human behavior. It could be argued
that the latter theories, which are fundamental to all archeological interpre-
tations, are considerably less affected by social biases than are broader con-
cepts of human behavior. Yet even the relationship between material culture
and human behavior appears to be sufficiently nuanced and complex that the
biases of the observer can influence how the latter is inferred from the former.
This is particularly so if, as Ian Hodder argues, material culture is not always
a direct reflection of social behavior, and interpretations must take account
of contextually restricted meanings and ideologies (Hodder 1982). Under
these circumstances, as Collingwood (1939; 1946) pointed out long ago, a
complete understanding of archeological interpretations is impossible with-
out knowing the biases of the interpreter as well as the data that he has at
his disposal. This would reinforce the claim that studying the history of ar-
cheology is not something incidental to archeology but a vital contribution
to disciplinary self-awareness and effectiveness. Most historians of science do
not advocate the utility of their history to the ongoing work of science, and
they are in this respect often the opposite side of the coin to the ahistorical
disciplinary practitioner. Yet it is almost certainly no accident that such
claims are made for the human sciences far more often than for the sciences
generally; this being a reflection of the greater complexity of interacting fac-
tors that determine human behavior by comparison with what is encountered
at the biological or physical level (Trigger 1982).
On the other hand, even to the anti-positivist historical contextualist, the
history of archeology reveals the study of prehistory as something more than
an uncontrolled projection of current beliefs and prejudices into the past.
Insights have been gained into the nature of the past that have stood the test
of time, and some of these have powerfully influenced a general understand-
ing of humanity. No archeologist today doubts that all cultures developed
from a rudimentary and ultimately a precultural state, however much arche-
ologists may disagree about how or why these changes have taken place. Ac-
knowledging that social conditions may influence the sort of research that is
done and the conclusions that are reached in archeology does not mean that
it is impossible to gain a more complete and objective understanding of the
past by recovering more archeological data and searching for new analytical
techniques and better correlations between material culture and human be-
havior. On the contrary, knowing more about the social factors that influence
archeological research should increase the self-awareness of archeologists and
permit a more objective understanding of their interpretations. Viewed from
this perspective, the results of such research appear to be of interest even to
archeologists who subscribe to a strongly positivistic view of archeological

studies (Binford 1983:241, n. 11).
The history of archeology must therefore be pursued on two fronts. On the
one hand, there is a need for archeologists to understand how the continuous
recovery of archeological data and the pioneering of new techniques for an-
alysing it have influenced an understanding of prehistoric times. On the
other hand, it is necessary to investigate all the factors influencing the inter-
pretation of archeological data: the funding and organization of archeological
research; scholarly traditions within archeology; the broader cultural tradi-
tions within which archeologists operate; social, political, and economic
conditions; and the impact of foreign archeological studies, especially those
carried out in countries with major research traditions.
Archeologists, as amateurs, have pioneered in the study of the history of
their own discipline, identifying in a piecemeal fashion a large number of
factors that have influenced the development of archeology. They will no
doubt continue to have a special contribution to make, especially in relation
to the development of theory and method. On the other hand, studying the
history of archeology clearly requires all the resources of intellectual and
social history. Increasing professionalism will be required if progress is to con-
tinue and the relative importance of the factors involved in individual situa-
tions and their mutual interconnections is to be ascertained more precisely.
The work done so far suggests that, instead of diverting energy from the basic
concerns of archeological studies, investigating the history and sociology of
archeology can enhance the quality of archeological interpretations of pre-
history. Glyn Daniel's science seems close to coming of age.
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OBJECTS AND SELVES-
AN AFTERWORD
JAMES CLIFFORD
Entering
You will find yourself in a climate of nut castanets,
A musical whip
From the Torres Straits, from Mirzapur a sistrum
Called Jumka, 'used by aboriginal
Tribes to attract small game
On dark nights', coolie cigarettes
And mask of Saagga, the Devil Doctor,
The eyelids worked by strings.
James Fenton's poem, "The Pitt-Rivers Museum, Oxford" (1984:81-84),1

from which this stanza is taken, rediscovers a place of fascination in the
ethnographic collection. For this visitor, even the museum's coolly descrip-
tive labels seem to increase the wonder (''' ... attract small game / on dark
nights"') and the fear. Fenton is an adult-child, exploring territories of dan-
ger and desire. For to be a child in this collection (" 'Please sir, where's the
withered / Hand?"') is to ignore the serious admonitions about human evo-
lution and cultural diversity posted in the entrance hall. And it is to be
interested instead by the claw of a condor, the jawbone of a dolphin, the hair
of a witch, or "a jay's feather worn as a charm / In Buckinghamshire...."
Fenton's ethnographic museum is a world of fetishes, of intimate encounters
with inexplicably fascinating objects. Here collecting is inescapably tied to
obsession, to personal recollection. Visitors "find the landscape of their
childhood marked out / Here, in the chaotic piles of souvenirs" ... "box-
room of the forgotten or hardly possible."
1. Quoted with permission from Children in Exile: Poems 1968-1984, copyright 1984 by
Random House, Inc.
James Clifford is Associate Professor of the History of Consciousness at the University

of California, Santa Cruz, and the author of Person and Myth: Maurice Leenhardt in
the Melanesian World. He has recently edited, with George Marcus, Making Ethnog-
raphy, forthcoming from the University of California Press.
236
OBJECTS AND SELVES 237
Go
As a historian of ideas or a sex-offender,
For the primitive art,
As a dusty semiologist, equipped to unravel
The seven components of that witch's curse
Or the syntax of the mutilated teeth. Go
In groups to giggle at curious finds.
But do not step into the kingdom of your promises
To yourself, like a child entering the forbidden
Woods of his lonely playtime:
Do not step into this tabooed zone ": .. laid with the snares of privacy and
fiction / And the dangerous third wish." Do not encounter these objects ex-
cept as curiosities to giggle at or as evidence to be understood scientifically.
The tabooed third way, followed by Fenton, is a path of too-intimate fantasy,
recalling the dreams of a solitary child "who wrestled with eagles for their
feathers," or the fearful vision of a young girl-her turbulent lover seen as a
hound with "strange pretercanine eyes." And this path through the Pitt Riv-
ers Museum ends with what seems to be a scrap of autobiography, the vision
of a personal "forbidden woods"-exotic, desired, savage, and governed by
the (paternal) law:
He had known what tortures the savages had prepared

For him there, as he calmly pl.lshed open the gate
And entered the wood near the placard: 'TAKE NOTICE
MEN-TRAPS AND SPRING-GUNS ARE SET ON THESE PREMISES.'
For his father had protected his good estate.
Fenton's journey into otherness leads to a forbidden area of the self. His third
way of engaging the exotic collection finds only an area of desire, marked off
and policed. This law is preoccupied with property.
C. B. Macpherson's classic analysis of Western "possessive individualism"
(1962) traces the seventeenth-century emergence of a sense of self as owner.
The ideal individual surrounds itself with accumulated properties and goods.
Richard Handler's essay in this volume on the construction of a Quebecois
cultural "Patrimoine" draws on Macpherson to unravel the assumptions and
paradoxes involved in "having a culture;' selecting and cherishing an authen-
tic collective property. Extending his point, it can be said that this form of
identity, whether cultural or personal, presupposes the act of collection, a
gathering up of properties in arbitrary systems of value and meaning. These
systems, as various essays in this volume show, have changed historically. But
they are always powerful and rule-governed. One cannot escape them. At
best, Fenton suggests, one can transgress ("poach" in their tabooed zones),
or make their self-evident orders seem strange. In Handler's subtly perverse
238 JAMES CLIFFORD
analysis a common system of retrospection-revealed by a Historic Monu-

ments Commission's selection of ten sorts of "cultural property"-becomes a
taxonomy worthy of Borges' Chinese Encyclopedia:
(1) commemorative monuments; (2) churches and chapels; (3) forts of the
French Regime; (4) windmills; (5) roadside crosses; (6) commemorative in-
scriptions and plaques; (7) devotional monuments; (8) old houses and man-
ors; (9) old furniture; (10) "les chases disparues."
In his discussion, the "collection" or preservation of an authentic domain of

identity cannot be natural or innocent. It is tied up with nationalist politics,
with restrictive law, and with contested encodations of past and future.
Some sort of "gathering" around the self and the group-the assemblage
of a material "world;' the marking off of a subjective domain which is not
"other"-probably is universal. And all such collecting produces hierarchies
of value, exclusions, rule-governed territories of the self. But the notion that
this gathering involves the accumulation of possessions, the idea that identity
is a kind of wealth (of objects, knowledge, etc.) is surely not universal. The
individualistic accumulation of Melanesian "big men" is not possessive in
Macpherson's sense. For in Melanesia one accumulates not to hold objects as
private goods, but to give them away, to redistribute. In the West, however,
collecting has long been a strategy for the deployment of a possessive self,
culture, and authenticity.
Children's collections are revealing in this light: a boy's accumulation of
miniature cars, a girl's dolls, a summer vacation "nature museum" (with la-
beled stones and shells, a hummingbird in a bottle), a treasured bowl filled
with the bright-colored shavings of crayons. In these small rituals we observe
the channeling of obsession, an exercise in how to make the world one's own,
to gather things around oneself tastefully, appropriately. The inclusions in all
collections reflect wider cultural rules, of rational taxonomy, of gender, of
aesthetics. An excessive, sometimes even rapacious need to have is trans-
formed into rule-governed, meaningful desire. Thus the self which must pos-
sess, but cannot have it all, learns to select, order, classify in hierarchies-
to make "good" collections. 2
Whether a child collects model dinosaurs or dolls, sooner or later she or
he will be encouraged to keep the possessions on a shelf, in a special box, or
to set up a doll house. Personal treasures will be made public. If the passion
is for Egyptian figurines, the collector will be expected to label them, to know
their dynasty (it is not enough that they simply exude power or mystery), to
2. A highly suggestive source on collecting as a strategy of desire is the catalog (Hainard &
Kaehr, eds. 1982) for an exhibition at the Musee d'Ethnographie, Neuchatel, 5 June--31 Decem-
ber 1981-an analytic collection of collections and tour de force of reflexive museology.
tell "interesting" things about them, to distinguish copies from originals. The
good collector (opposed to the obsessive, the miser) is tasteful and system-
atic. Accumulation unfolds in a pedagogical, edifying manner. The collec-
tion itself, its taxonomic, aesthetic structure, is valued. And any private fix-
ation on single objects is negatively marked as fetishism. Indeed, a "proper"
relation with objects (rule-governed possession) presupposes a "savage" or
deviant relation (idolatry or erotic fixation}.3 In Susan Stewart's gloss: "The
boundary between collection and fetishism is mediated by classification and
display in tension with accumulation and secrecy" (1984:163).
Stewart's wide-ranging study, On Longing, traces a "structure of desire"
whose task (following Lacan) is the repetitious and impossible one of closing
the gap that separates language from the experience it encodes. She explores
certain recurrent strategies pursued by Westerners since the sixteenth cen-
tury. In her analysis, the miniature, whether a portrait or doll's house, enacts
a bourgeois longing for inner experience. She also explores the strategy of
gigantism (from Rabelais and Gulliver to earthworks and the billboard), the
souvenir, and the collection. She shows how collecting-and most notably
the museum-creates the illusion of adequate representation of a world by
first cutting objects out of specific contexts (whether cultural, historical, or
intersubjective) and making them "stand for" abstract wholes-a "Bambara
mask;' for example, becoming a metonym for Bambara culture. Next, a
scheme of classification is elaborated for storing or displaying the object so
that the reality of the collection itself, its coherent order, overrides specific
histories of the object's production and appropriation (162-65). Paralleling
Marx's account of the fantastic objectification of commodities (their "fetish-
ization"), Stewart suggests that in the modem Western museum "an illusion
of a relation between things takes the place of a social relation" (165). The
collector discovers, acquires, salvages objects. The objective world is given,
and thus historical relations of power in the work of acquisition are occulted.
The production of meaning in museum classification and display is mystified
as adequate representation. The time and order of the collection overrides
and erases the concrete social labor of its making.
Stewart's work, along with that of James Bunn (1980), Daniel Defert
(1982), and Johannes Fabian (1983), among others, brings collecting and
display sharply into view as crucial processes of Western identity formation.
Gathered artifacts-whether they find their way into curio cabinets, private
living rooms, museums of ethnography, folklore, or fine art-function within
a developing capitalist "system of objects" (Baudrillard 1968). By virtue of
3. My understanding of the ideological role of the fetish in Western intellectual history-

from De Brosses to Marx, Freud, and Deleuze-owes a great deal to the so far unpublished work
of William Pietz, especially "The Problem of the Fetish" (1984).
240 JAMES CLIFFORD
this sytem, a world of value is created and a meaningful deployment and

circulation of artifacts maintained. For Baudrillard, collected objects create
a structured environment that substitutes its own temporality for the "real
time" of historical and productive processes: "... the environment of private
objects and their possession-of which collections are an extreme manifes-
tation-is a dimension of our life that is both essential and imaginary. As
essential as dreams" (135). The history of anthropology needs to accommo-
date a perspective on collecting that embraces both a form of Western sub-
jectivity and a changing set of powerful institutional practices. The history
of collections (not limited to museums) is central to an understanding of
how those social groups that invented anthropology have appropriated exotic
things, facts, and meanings. to make one's own; from the
Latin, proprius, proper, property.) It is important to analyze, as a number of
the essays in this volume do (Williams, Wade, Handler), just how powerful
discriminations, made at particular moments, constitute the general system
of objects within which non-Western artifacts circulate and make sense. Far-
reaching questions are thereby raised.
What criteria validate an authentic cultural or artistic product? What are
the differential values placed on old and new creations? What moral and
political criteria justify "good:' responsible, systematic, collecting practices?
(Why, for example, do Frobenius' wholesale acquisitions of the early century
now seem excessive?) How is a "complete" collection defined? What is the
proper balance between scientific analysis and public display? (In Santa Fe,
a superb collection of Native American art is housed at the School of Amer-
ican Research in a building constructed, literally, as a vault, with access re-
stricted to research scholars. The Musee de I'Homme exhibits less than a
tenth of its collection; the rest is stored in steel cabinets, or heaped in comers
in the vast basement.) Why has it seemed obvious, until recently, that non-
Western objects should be preserved in European museums, even when this
means that no fine specimens are visible in their country of origin? How, at
different historical moments and in specific market conditions, are "antiqui-
ties," "curiosities," "art:' "souvenirs:' "monuments:' and "ethnographic arti-
facts" distinguished? (Why, for example, have many anthropological mu-
seums in recent years begun to display certain of their objects as
"masterpieces"? Why has tourist art only recently [Graburn, ed. 1976] come
to the serious attention of anthropologists?) What has been the changing
interplay between natural history collecting and the selection of anthropo-
logical artifacts for display and analysis? The list could be extended.
The history of collecting is concerned with what, from the material world,
specific groups and individuals choose to preserve, value, and exchange. Al-
though the complex history of this symbolic system from at least the Age of
Discovery remains to be written, Baudrillard provides an initial framework
within which the deployment of objects in the recent capitalist West can be
conceived. In his account, it is axiomatic that all categories of meaningful
objects-including those marked off as scientific evidence and as great art-
function within a ramified system of symbols and values.
To take just one current example: the New York Times of December 8,
1984, reported the widespread, illegal looting of Anasazi archeological sites
in the American Southwest. Painted pots or urns thus excavated, in good
condition, could bring as much as $30,000 on the art market. The same issue
contained a photograph of Bronze Age pots and jugs salvaged by archeologists
from a Phoenician shipwreck off the coast of Turkey. One account featured
clandestine collecting for profit, the other scientific collecting for knowledge.
The moral evaluations of the two acts of salvage were starkly opposed. But
the pots recovered were all meaningful, beautiful, and old. Commercial, aes-
thetic, and scientific worth in both cases presupposed a given system of value.
This system finds intrinsic interest and beauty in objects from a past time,
and it assumes that collecting everyday objects from ancient (preferably van-
ished) civilizations will be more rewarding than collecting, for example,
charmingly decorated thermoses from modem China, or original T-shirts
from Oceania. Old objects are endowed with a sense of "depth" by their
historically minded collectors. Temporality is reified and salvaged as beauty
and knowledge. 4
This archaizing system has not always guided Western collecting, and it is
presently contested. The curiosities of the New World gathered and appre-
ciated in the sixteenth century were not primarily valued as antiquities, the
products of primitive or "past" civilizations. They Occupied, frequently, a cat-
egory of the marvelous, or of a real, present "Golden Age" (Honour 1975;
Mullaney 1983; Rabassa 1984). In recent years the systematic, ideological,
bias of Western appropriation of the world's cultures in a mode of retrospec-
tion has come under critical scrutiny (Fabian 1983; Clifford 1985), and at
least two of the essays gathered here (Handler and Wade) strongly suggest
4. This system may perhaps be brought into sharper relief by alluding to a different one. The
Igbo of Nigeria, according to Chinua Achebe, do not particularly like collections: "The pur-
poseful neglect of the painstakingly and devoutly accomplished mbari houses with all the art
objects in them as soon as the primary mandate of their creation has been served, provides a
significant insight into the Igbo aesthetic value as process rather than product. Process is motion
while product is rest. When the product is preserved or venerated, the impulse to repeat the
process is compromised. Therefore the Igbo choose to eliminate the product and retain the
process so that every occasion and every generation will receive its own impulse and experience
of creation. Interestingly this aesthetic disposition powerful endorsement from the trop-
ical climate which provides an abundance of materials for making art, such as wood, as well as
formidable agencies of dissolution, such as humidity and. the termite. Visitors to Igboland are
shocked to see that artifacts are rarely accorded any particular value on the basis of age alone"
(1984:ix).
242 JAMES CLIFFORD
that cultural or artistic "authenticity" has as much to do with an inventive

present as with a past, its objectification, preservation, or revival. And in
both of these discussions, the definition of cultural value is shown to be a
matter of historical, political debate.
Since the turn of the century, objects collected from non-Western places
have been classified in two major categories; as (scientific) cultural artifacts
or as (aesthetic) works of art. Other collectibles-mass-produced commodi-
ties, "tourist art:' curios, etc.-have been less systematically valued and ap-
propriated; at best they find a place in exhibits of "technology" or "folklore."
The separation of ethnography and art has not, however, been watertight.
Certain classes of object have moved from one context to the other. But
generally speaking, the ethnographic museum and the art museum have de-
veloped fundamentally different modes of classification. In the former, a work
of "sculpture" is displayed along with other objects of similar function or in
proximity to objects from the same cultural group, including utilitarian arti-
facts (spoons, bowls, spears, etc.). A mask or statue may be grouped with
formally dissimilar objects and explained as part of a ritual or institutional
complex. The names of individual sculptors are unknown, or suppressed. In
the art museum a sculpture is identified as the creation of an individual. Its
place in everyday cultural practices (including the market) is irrelevant to its
essential meaning. Whereas in the ethnographic museum the object is cul-
turally or humanly "interesting:' in the art museum it is primarily "beautiful"
or "original."
Elizabeth Williams' essay in this volume traces an important chapter in the
shifting history of these discriminations. In nineteenth-century Paris it was,
in effect, impossible to conceive of Pre-Colombian artifacts as fully "beauti-
ful." Ars Americana was considered grotesque or crude by a dominant natu-
ralist aesthetic. At best it could be assimilated to the category of the an-
tiquity and appreciated through the filter of Viollet-le-Duc's medievalism.
Williams shows how Mayan and Incan artifacts, their status uncertain, mi-
grated between the Louvre, the Bibliotheque Nationale, the Musee Guimet,
and (after 1878) the Trocadero. The latter institution, where they seemed at
last to find an ethnographic home, treated them as scientific evidence. The
Trocadero's first directors, Hamy and Verneau, showed scant interest in their
aesthetic qualities.
With the modernist revolution-as Picasso and others began to visit the
"Troca" and to accord tribal objects a nonethnographic admiration-the
proper place of non-Western objects was again put in question. In the eyes of
a triumphant modernism some of them, at least, coult:! be seen as universal
masterpieces. The category of "primitive art" emerged, along with its distinc-
tive market and connoisseurship. This development introduced new ambi-
guities in a changing taxonomic system. In the mid-nineteenth century, Pre-
Colombian or tribal objects were antiquities or curiosities. By 1920 they were

anthropologically meaningful and/or aesthetically valued. Since then, a con-
trolled migration has occurred between these two institutionalized domains.
Around 1930, for example, the Trocadero, under Rivet and Riviere, func-
tioned primarily as a scientific collection but also served as an artistic re-
source in a Parisian climate of "modernist primitivism" (Rubin, ed. 1984).
Some have regarded its successor, the Musee de I'Homme, as a kind of secret
museum of tribal "art" (Vogel 1984). Other national traditions have seen less
interpenetration of ethnographic and artistic domains; but there has usually
been, from a distance, some degree of conversation. In recent years, the
blurring of boundaries has markedly increased.
During the winter of 1984-85 in New York City, at least seven highly
visible new exhibitions featuring tribal art were in progress. At the Museum
of Modern Art a major body of African, Oceanian, and Eskimo artifacts was
brought from ethnographic museums and private collections to be shown
alongside works by Picasso, Giacometti, Brancusi, Derain, Henry Moore,
etc.-modernist works that they had either directly influenced or that they
powerfully resembled. At the Metropolitan Museum of Art (Mead, ed. 1984)
Maori traditional objects were installed in a gallery adjoining the ruined
Egyptian Temple of Dendur. While Ashanti treasures were on special display
at the American Museum of Natural History, Northwest Coast artifacts from
the Museum of the American Indian had traveled downtown to the more
accessible IBM Gallery. There they were displayed in a darkened room to the
sound of recorded chants. Outside stood a large totem pole, freshly carved
for the occasion by the Kwakiutl artist Calvin Hunt. Simultaneously at the
Metropolitan the recently opened Rockefeller Wing of tribal art continued
to draw crowds. And to accommodate the overflowing interest and the bur-
geoning market, a new Center for African Art had just opened its doors. Its
inaugural exhibit featured one hundred "masterpieces" from the Musee de
I'Homme (Vogel & N'Diaye, eds. 1984).
The boundaries of art and science, the aesthetic and the anthropological,
are not permanently fixed. In various anthropological museums (for example,
the Hall of Asian Peoples at the Museum of Natural History), a new "bou-
tique" style of display artfully arranges objects so that nothing could seem out
of place on the wall or coffee table of a middle-class living room. And in a
complementary development, the newly renovated Museum of Modern Art
has expanded its permanent exhibit of cultural artifacts: furniture", automo-
biles, home appliances and utensils-even hanging from the ceiling, like a
Northwest Coast war canoe, a much admired bright green helicopter.
Clearly the ethnographic/artistic object system, in connection with art
markets and the world of commodities, is operating with a new inventiveness
and flexibility. My concern is not to speculate on recent developments which
244 JAMES CLIFFORD
may again be redeploying the categories of the beautiful, the cultural, and
the authentic. Nor can I pursue here the shifting value of collected objects-
whether "masterpieces" or "material culture" -within scientific anthropol-
ogy (Sturtevant 1969, 1973; Jamin 1982; Reynolds 1983). I want only to
underscore the unsettled, the nomadic, existence of these non-Western ar-
tifacts (Centilivres 1982:55). They have been diversely recontextualized,
used as "cultural" or "human" evidence in the exhibit halls (or basements) of
certain museums, made to stand for "artistic" beauty and creativity in others.
They gain "value" in vaults or on the walls of bourgeois living rooms, are
made and judged according to shifting criteria of authenticity, are brought
from the Museum fi.ir V olkerkunde in Hamburg to hang beside a canvas of
Joan Mir6 in New York. Where do these objects belong? I have been sug-
gesting that they "belong" nowhere, having been tom from their social con-
texts of production and reception, given value in systems of meaning whose
primary function is to confirm the knowledge and taste of a possessive West-
ern subjectivity.
While these systems are institutionalized and powerful, they are not im-
mutable. There exist possible standpoints from which non-Western objects
can be encountered in ways that unravel self-evident, dominant, taxonomies.
By way of conclusion, I would suggest three such positions, or modes of in-
tervention.
1. Rather than grasping objects only as cultural signs and artistic icons
(Guidieri & Pellizzi 1981), we can return to them, as James Fenton does,
their lost status as fetishes. Our fetishes. This tactic, necessarily personal,
would accord to things in collections the power to fixate, rather than simply
the capacity to edify or inform. African and Oceanian artifacts could once
again be "objets sauvages:' sources of fascination with the power to discon-
cert. Seen in their nomadic resistance to classification they could remind us
of our lack of self-possession, of the artifices we employ to gather a world
sensibly around us. 5
2. We can struggle to keep in view the historical relations of power in all
collections of exotic objects. Who collects whom? How is another group's art
or culture properly displayed? These have become openly political questions.
In the New York exhibitions there were signs that the possession of the ob-
jects displayed was contested. A note in the Museum of Modem Art ex-
plained that a Zuni figurine would not be brought from Berlin because of
objections raised by tribal authorities. The existence of living "tribal" peoples
with ongoing relations to the art on display was clearly manifested in the
5. For a post-Freudian positive sense of fetishism see Leiris (1929, 1984); for the fetish's
radical, critical possibilities see Pietz (1984), which draws on Deleuze; and for a semiologist's
perverse sense of the fetish (the "punctum") as a place of strictly personal meaning unformed by
cultural codes (the "studium") see Barthes (1982).
Northwest Coast installation. The show ended with work from living artists;
wood chips were left around the freshly carved totem pole in the IBM atrium.
The Maori and Ashanti exhibits both opened with active, ceremonial partic-
ipation by non-Western groups to whom the artifacts "belonged" (in a sense
not synonymous with private ownership). The conditions of collection and
display were evidently negotiated-no longer in anyone group's exclusive
control. When relations of power among living political groups are mani-
fested in exhibitions, the objects may seem to be less firmly "collected"
within a single system of value.
3. It is important to resist the tendency of collections to be self-sufficient,
to suppress their own historical process of production. The history of the
collecting and recontextualization of non-Western objects is now, ideally, a
part of any exhibition. It was rumored recently that the Boas Room of North-
west Coast artifacts in the American Museum of Natural History would soon
be refurbished, its style of display modernized. Apparently (or so one hopes)
the plan has been abandoned. For this beautiful, dated, hall reveals not
merely a superb collection, but a moment in the history of collecting. The
widely publicized Museum of Modem Art exhibit made apparent (as it un-
critically celebrated) the historical circumstances in which certain ethno-
graphic objects suddenly became works of high art. More historical self-
consciousness in the display and viewing of non-Western objects can at least
jostle and set in motion the object systems by which anthropologists, artists,
and their publics collect themselves and the world. The essays in this volume
are a step in that direction.
References Cited
Achebe, C. 1984. Preface. In Igbo Arts: Community and Cosmos, ed. H. M. Cole &
C. C. Aniakor, pp. viii-xi. Los Angeles.
Barthes, R. 1982. Camera lucida. New York.
Baudrillard, J. 1968. Le Systeme des objets. Paris.
Bunn, J. 1980. The Aesthetics of British Merchantilism. New Lit. Hist. 11:303-21.
Centilivres, P. 1982. Des "instructions" aux collections: La production ethncigra-
phique de l'image de l'orient. In Hainard & Kaehr, eds. 1982:33-61.
Clifford, J. 1985. On ethnographic allegory. In Making Ethnography, ed. J. Clifford &
G. Marcus. Berkeley (forthcoming).
Defert, D. 1982. The collection of the world: Accounts of voyages from the sixteenth
to the eighteenth centuries. Dialect. Anth. 7: 11-20.
Fabian, J. 1983. Time and the other: How anthropology makes its object. New York.
Fenton, J. 1984. Children in exile: Poems 1968-1984. New York.
Grabum, N., ed. 1976. Ethnic and tourist arts. Berkeley.
Guidieri, R., & F. Pellizzi. 1981. Editorial. Res 1:3-6.
246 JAMES CLIFFORD
Hainard, ]., & R. Kaehr, eds. 1982. Collections passion. Neucha.tel.

Honour, H. 1975. The new golden land. New York.
]amin,]. 1982. Objets trouves des paradis perdus. In Hainard & Kaehr, eds. 1982:69-
100.
Leiris, M. 1929. Alberto Giacometti. Documents 4:209-11.
- - - . 1984. Manhood. Trans. R. Howard. Berkeley.
Macpherson, C. B. 1962. The political theory of possessive individualism. Oxford.
Mead, S. M., ed. 1984. The Maori: Maori art from New Zealand collections. New
York.
Mullaney, S. 1983. Strange things, gross terms, curious customs: The rehearsal of
cultures in the late Renaissance. Representations 3:40-67.
Pietz, W. 1984. The problem of the fetish. Ms.
Rabassa,]. 1984. A Hand: The travail of Columbus. Ms.
Reynolds, B. 1983. The relevance of material culture to anthropology. ]. Anth. Soc.
Oxford 2:63-75.
Rubin, W., ed. 1984. "Primitivism" in modern art: Affinity of the tribal and the modern.
2 vols. New York.
Stewart, S. 1984. On longing: Narratives of the miniature, the gigantic, the souvenir,
the collection. Baltimore.
Sturtevant, W. 1969. Does anthropology need museums? Proc. Bio!. Soc. Washington
82:619-50.
- - - . 1973. Museums as anthropological data banks. In Anthropology beyond the
university, ed. A. Redfield. Proc. So. Anth. Soc. 7:40-55.
Vogel, S. 1984. Introduction. African masterpieces from the Musee de I' Homme, 11.
New York.
Vogel, S., & F. N'Diaye, eds. 1984. African masterpieces from the Musee de I'Homme.
New York.
INFORMATION FOR CONTRIBUTORS
Future Volume Themes
Normally, every volume of HOA will be organized around a particular theme

of historical and contemporary anthropological significance, although each
volume may also contain one or more "miscellaneous studies." Potential con-
tributors to announced volumes are encouraged to write to the editor before
submitting drafts. Researchers on other topics are also urged to communicate
about their work-in-progress, since later volume themes will be chosen in the
light of such prior information. Volume themes already selected include the
following:
HOA 4: Anthropology Between Two World Wars; 1914-1945 (in press)
HOA 5: Biological Perspectives in Anthropological Inquiry
Although the origin of "anthropology" is often linked to the emergence of
Darwinian evolution, and in the continental European tradition the term
has usually referred (without any modifier) to the study of the physical char-
acteristics of humankind, its relation to scholarly biological inquiry and to
popular biological assumption has been recurrently problematic. At issue are
some of the most deeply rooted and contemporaneously pressing anthropo-
logical problems, including the origin of humankind and its place within the
natural world, the origin and social significance of "racial" differences, the
relation of biological and cultural evolution, the biological and social signif-
icance of gender differences, etc. -as well as more specifically disciplinary
matters having to do with the intellectual division of labor and institutional
boundaries among the various human sciences and their component subdis-
ciplines. We hope to elicit essays covering a wide range of intellectual and
social history, which will help to illuminate present theoretical, methodolog-
ical, ideological, and social concerns-although papers on the history of
"physical anthropology" more narrowly conceived will also be welcome.
HOA 6: Anthropology and the Romantic Sensibility
Like much of Western intellectual life, anthropology has always been im-
pelled by two contrasting energizing motives: the rationalistic and the ro-
mantic (polarities which correlate, perhaps, with others that are the staples
of intellectual history: progressivism/primitivism; natural science/humanism,
materialism/idealism, etc.). While anthropology is often spoken of as the
child of the Enlightenment, reborn perhaps with Darwinism, the romantic
current has run very strong, and the tension between the two continues to
247
248 INFORMATION FOR CONTRIBUTORS
the present (strongly to be manifested, for instance, in the MeadlFreeman

controversy). Volume 6 will be devoted to the history of this tension, with
special emphasis, as the title suggests, on the romantic current.
Manuscript Preparation
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lines to a page with 1V4-inch margins. All material should be double spaced,
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umentation should be in the anthropological style, with parenthetic author/
date/page references (Boas 1911: 120) and a list of "References Cited" (begun
on a separate sheet). For exemplification of stylistic details, consult previ-
ously published volumes; more extensive guidelines may be obtained upon
request by writing to the editor. Please note that unsolicited manuscripts will
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Department of Anthropology
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INDEX
Abbott, Charles C, 62-70 Anthropological Society of London, 29

Aborigines Protection Society, 21 Anthropology: Anglo-American, 4, 8, 114-
Academic anthropology, 8, 36-37, 43, 52, 16, 139, 141; shift to behavioral, 8, 108,
61,69, 70-72, 75, 76,88, 108, 112, 134, 114, 137, 140-41; demography of, 9, 12;
135, 140, 197. See also specific universities rehistoricization of, 12; as science, 30, 51,
Achebe, Chinua, 241n 60, 115, 128, 137; as humanistic study, 51,
Aesthetic{s): and museum ethnography, 3, 60; of, 108, 112, 192; political
146-63·passim; as dimension of museum, economy of, 112-16, 138-42; research
6; instinct, 113, 161, 167; contrasted with priorities of, 133-34, 138; weakening of
ethnographic, 146, 147, 148, 164,242, general anthropology, 141
243; non-Western, 152-53, 189, 241n; Antiquarianism, 32, 221, 243
naturalistic, 152-55; classical, 153, 154; Antiquity of man, 20, 50, 53, 62-69, 70,
materialist, 154-55; values of pre- 226, 227-28
Columbian culture, 159, 160; reevaluation Applied anthropology, 123, 126, 136, 137
of, 163, 189; appropriation of primitive, Arapaho, 88
164, 240; and classification, 239. See also Archaeological Institute, London, 27, 28, 29
Art Archaeological Institute of America, 53-55,
Africa, 22, 25, 123-24, 135, 139, 140, 156, 56, 57
163, 243, 244 Archeology: and museums, 4, 9, 49-71 pas-
Afro-American, 113, 118 sim, 90, 92, 108, 170; "three age" system,
Agassiz, Alexander, 57, 61 7,26,41,225; prehistoric, 22, 23, 25,
Agassiz, Louis, 49-51, 52-53, 61, 89 219,222,226; Pitt Rivers and, 26-28; Pa-
Algert, C H., 176 leolithic and Neolithic, 27, 41, 60, 220,
Amateurs, 62-69, 202 222, 226; at the Smithsonian, 50, 218;
American Anthropological Association, 12, North American, 53, 55, 60-61, 70, 224;
115,130-31,138,141 classical vs. prehistoric,S 5, 56, 59-60;
American Antiquarian Society, 51 Mayan, 69-71,140; training, 72, 108,
American Association for the Advancement 122, 228; support for, 140-41, 223; South-
of Science, 72 west, 170, 171, 172, 175; recovery and in-
American Council of Learned Societies, 132 terpretation of data, 218-19; and interpre-
American Indian Movement, 185 tation of human behavior, 219, 231, 232;
American Indians. See Native Americans radiocarbon dating, 220, 223; New Arche-
Americanist{s), 146, 148-50, 162 ology, 223, 224, 225; mentioned, 202,
American Museum of Natural History: found- 218-33 passim. See also Historiography of
ing, 83; Department of Anthropology staff, archeology
84; administration, 84-85; anthropological Art: "primitive," 9, 147, 148, 153, 155, 158-
halls, 90, 92, 94; building, 90-92, 94; 62, 163-64, 187,242; fine art, 55, 58,
mentioned, 72, 75-108 passim, 115, 120, 148, 189, 239; primitivist revolution, 146-
138, 243, 245 47, 148, 159, 162-64,242-43; Ars Ameri-
Andrews, E. P., 68 cana, 146-63 passim; pre-Columbian,
Angell, J. N., 116, 118 146-63 passim, 242-43; Medieval, 152,
Angrand, Leonce, 156 153, 154; classical, 152, 163; Renaissance,
Anteone, Gladice, 186 152-53; decadence, 153, 154; evolution of,
Anthropological Institute of Great Britain 153-55, 172; native artists, 167, 168, 174,
and Ireland, 30, 33, 115, 123, 124, 126, 180, 183, 186; commercialization of, 167,
141 172, 176, 180, 181; preservationism, 167-
249
250 INDEX
Art (continued) Bastian, Adolph, 75, 80n, 150

68, 180, 181, 185, 189; incorporation of Baudrillard, J., 239-40
prehistoric designs, 171-74; revival of na- Bayard Dominick Expedition, 120
tive traditions, 174, 176, 182, 183-85; ex- Belcher, Edward, 22-23, 27
hibitions, 178, 186, 187,243; critique of Bernal. Ignacio, 229
revivalism, 185-87; liberation of Native Berthon, Paul, 158
American artistic vision, 187-89; Individ- Bibby, Geoffrey, 219
ualists movement, 188. See also Aes- Biblical assumption, 20, 21, 50. 150, 226
thetic(s); Artifact(s); Material culture; Ob- Bibliotheque NationaIe, 149, 150, 156, 242
ject(s) Bickmore, Albert, 52
Artifact(s): and fine art, 3, 6, 147, 242; and Binford, L. R., 231
race history, 22, 31; and moral education Bishop Museum, Hawaii, 120, 141
of civilized nations, 51; Paleolithic and Black, J. Davidson, !l7-18, 119
Neolithic, 60; as basis of scholarship, 88, Boas, Franz: on museum arrangement, 8, 77-
90, 104, 108; pre-Columbian, 148, 150, 79,92; early career, 75-77, relations with
160, 242; sale of, 175, 240; contextualiza- Putnam, 76, 85; and life groupings, 76,
tion of, 193, 239-40, 244-45; as fetishes, 97-103; conception of anthropology, 77,
244. See also Material culture; Object(s) 79, 105, 108, 192; resignation from Amer-
Art market: trader/dealers, 167-68, 170, ican Museum, 77, 86, 105-8; on museum
171, 174, 176, 180, 182; scholar/anthro- and university, 77, 88-89,115; constraints
pologists, 167-68, 170, 174; collector/hu- on his curatorial role, 83-85; relations
manists (philanthropists), 167-68, 176, with Jesup, 85-86, 105-7; on purposes of
178, 180, 182, 186, 188; phases of, 168; museum, 86-89, 90, 101, 102, 107, 192-
and introduction of cash economy, 171, 93; and preparation of museum exhibits,
174, 180, 185; arts and crafts fairs, 176- 89-105; on planning of museum building,
80, 182, 183, 186, 189; mentioned, 9, 91-92; on atmosphere for viewing, 95, 97;
158, 167-89 passim, 240, 242, 243 on illusion of reality, 101-2; on importance
Ashanti, 243, 244, 245 of monographs, 103-5; immigration re-
Ashmolean Museum, 7, 35, 37 search, 113; and Rockefeller Foundation,
Association of American Indian Museums, 122, 134; and American archeology, 223;
11 mentioned, 10,72, 130,215, 245
Association of Social Anthropologists, 139, Boasian anthropology, 108, ll5, !l8, 121,
142 124, 129, 134, 140
Atchison, Topeka, and Santa Fe Railroad, Bonaparte, Prince Roland, 162
168-69 Borges, J. L., 238
Aubrey, John, 221 Boston Society of Natural History, 51
Austin, Mary, 178 Boucher de Perthes, J., 20, 21,
Australian Aboriginals, 28, 29, 32, 37, 119, Bourke, J. G., 169
121 Bowditch, Charles P., 70-71
Australian anthropology, ll9-20, 123, 128, Bradley, David, 188
129, 139 Brancusi, Constantin, 243
Australian National Research Council, 120, Bray, Charles, 20, 31
136 Brimmer, Martin, 57, 58
Aztecs, 143, 160 Brinton, Daniel G., 52,60,66
British Association for the Advancement of
Bacon, Francis, 221 Science, 39, 76, 128
Balfour, Henry, 37-38, 39, 43 British Museum, 7, 22, 23, 25, 28, 29, 34,
Bambara, 239 35,212
Bandelier, Adolph, 107, 171 Bumpus, H. c., 84, 89, 105-7
Barrett, Samuel, 102 Bunn, James, 239
INDEX 251
Bureau of [American] Ethnology, 53, 71, 77, Cook, Capt. James, 7, 37

80,81,113,123,138,140,170,227 Cooper, John, 130, 131
Bureau of Indian Affairs, 178 Cortez, 6
Burlington Fine Arts Club, 163 Crevaux, Jules, 158
Burton, Richard, 19 Culin, Stewart, 66
Cultural anthropology, 115, 117, 119, 122,
Cabinet du Roi, 149 125, 132, 135, 142
Cambridge University, 35,115 Cultural decline, 56-57, 180
Carlisle Indian School, 99 Cultural determinism, 116-21, 134, 135, 140
Carnegie, Andrew, 113 Cultural elite, role of, 56-57, 70, 114
Carnegie Institution, 139-40 Cultural imperialism, 193-94,214,241
Carpenter, William, 20 Cultural institutions, 194
Casson, Stanley, 220, 225 Cultural mission of education, 56-59
Center for African Art, 243 Cultural property: preservation of, 193-94,
Central America, 70-71, 87, 146, 149, 150, 198; ownership of, 193-94,211-15; repa-
154, 158 triation of, 194,214-15; definition of,
Cessac, Leon de, 158 194-97, 199,201-2; and nationalism,
Chapman, Kenneth, 178, 183 198, 207, 210-11, 214; clerical/conserva-
Charney, Desire, 154 tive view of, 199,203; anthropological
Chesney, C. H., 21 view of, 200-201, 203, 207; critique of
Childe, V. G., 221, 229 preservationism, 204-7; expansion and sa-
Christy, Henry, 19,25-26,27,29,34 cralization of, 208-10; and cultural iden-
Civilization, 31, 51, 55, 56, 68,72,83, 107, tity, 211-12, 215; basis of cultural property
127,148,155,160,163,200 claims, 211-15; mentioned, 5, 11, 167
Clark, David, 231 Cultural relativism, 8, 83, 113, 205
Clark, Kenneth, 221 Culture: anthropological vs. humanist, 3,
Clark University, 76 55-56,59,200-201,203,208; hierarchi-
Classical tradition, 51, 54,55-56,70,113, cal scale of,S, 71, 128, 193; area, 8, 80,
152, 163 81, 87,93; evolution of, 30-33, 172; Euro-
Clifford, James, 163 pean high, 71, 147, 163, 194,200-201,
Coalition for Navajo Liberation, 185 213; holism, 79, 82, 128, 140,208; psy-
Cole, Fay-Cooper, 122, 130 chological and historical relations of, 108,
Collection: fascination of, 236; and identity, 192; as collection of elements, 114, 198,
237-38; and classification, 238; and decon- 207; contact, 127, 140; and commodity,
textualization, 239; history of, 240 167,206; as property, 194,211; national,
Collingwood, R. G., 220, 232 194-95, 198, 203-4, 210-12; authenticity
Colonial administration, 120, 123, 126, 127, of, 207, 215, 237, 240, 242; objectification
128, 139 of, 207-8, 215; subcultures, 213
Colonial Exposition of 1931, 156 Cummings, Byron, 175
Colonialism,S, 11, 127, 133-38, 156, 188, Cunnington, Robert, 225
193, 215 Cunnington, William, 225
Colonial Office, 126, 136, 137 Curtis, Edwin, 68
Colton, Harold, 180 Cushing, Frank H., 62, 81, 171
Colton, Mary, 180, 182 Cuvier, George, 24
Columbia University, 76, 85, 88, 108, 122,
123, 129, 140 Danay, Ric, 188
Comparative anatomy, 24 Daniel, Glyn, 219, 220, 222, 225, 228, 233
Comparative philology, 21, 22, 31, 150 Danish antiquaries, 26, 27
Comte, Auguste, 19 Darwinism, 20, 21, 28, 30, 31, 39, 49, 51,
Conklin, E. G., 121 56, 59, 60
252 INDEX
Davenport, C B., 119 Fabian, johannes, 239

Davenport Academy of Science (Iowa), 227 Fagg, Bernard, 41
Day, Edmund, 116-17, 125, 126, 132,134, Fallmerayer,]. P., 211
137 Fenianism, 28
De Brosses, C, 23 9n Fenton, james, 236-37, 244
Defert, Daniel, 239 Fetishism, 163, 194, 236, 239, 244
de Gaulle, Charles, 200 Fewkes,]. w., 171, 172
Denver Art Museum, 180 Field Columbian Museum, 76, 171
Derain, Andre, 243 Fieldwork, 12, 15, 60, 64-65, 68, 75, 76,
Desor, Eduard, 53 81,83,88,105-6,115,121,122,130-
d'Harcourt, Raoul, 146, 147, 163 31, 135-37, 138-41
Dieffenbach, Ernest, 22 Fischer, Eugen, 125
Diffusionism, 8, 32,114-15,118,120,130, Fitting, james, 224, 227
134, 160, 219, 221 Flexner, Abraham, 129, 134
Dobu, 138 Flower, William, 28
Dombey, joseph, 149 Folklore, 5, 211, 214n, 239,242
d'Orbigny, Alcide, 147 Forster, johann R., 37
Dorsey, George A., 171, 174 Fortes, Meyer, 136n
Douglas, Frederic, 180 Fosdick, Raymond, 134
Dresden Museum, 95 Franklin, Sir john, 22
Druids, 221, Franks, A. w., 23, 28, 29, 34, 35
Dumont, Louis, 194 Fregault, Guy, 197
Dunn, Richard, 19 French-Canadian. See Quebec (province)
Dunning, E. 0., 68 Freud, Sigmund, 239n
Durham, Lord, 211 Functionalism, 115, 120, 121-25, 126, 127,
Durkheim, Emile, 208 130, 140
Funding of anthropology, 8, 51,60-61, 70-
Education: popular, 12, 39, 80, 86-87; 71,83-84,112-42 passim, 158
moral, 57-59; native peoples, 123, 128
Edwards, Warren, 22 Gallup, New Mexico, 169, 176, 178, 179,
Eliot, Charles w., 57, 61 185
Embree, E. R., 116-17, 119, 120-21, 123, Galton Society, 119, 121
134 Gauguin, Paul, 147, 153
Eskimo, 22-23, 26, 27, 29,65,75,86,88, General Education Board, 116, 129
92, 94, 100, 243 Geological Society of London, 20
Essex Institute, Salem, 49, 51, 69 Giacometti, Alberto, 243
Ethnocentrism, 8 Gila River Arts and Crafts Center, 183, 186
Ethnographic surrealism, 147 Gobineau, A. de, 154
Ethnography, 12, 146, 147, 149, 150 Gold, jacob, 171
Ethnological Society of London, 7, 21-23, Goldwater, Robert, 159, 161
28, 29 G(x)de, George B., 77,104-5
Ethnology, 21, 22, 23, 29, 31,39,50,51, Gorman, R. C, 188
79,90,92, 107, 122, 137, 141-42,220, Government anthropology, 66, 69, 71, 76,
222, 223 83, 113
Eugenics, 119, 120, 121, 125 Grant, Madison, 119
Evans, john, 27, 28, 35 Graslund, Bo, 225-26
Evolutionism, 8, 16,20,21,60,77, 107, Gray, Asa, 51, 52
112,114-15,117,219,220,221,222, Grayson, D. K., 226
223, 225 Gregory, H. E., 120
Exoticism, 11, 16,61,137,154,163,169, Grey, Zane, 175
218, 240, 244 Grimm, jakob and Wilhelm, 214n
INDEX 253
Groulx. Abbe. 199 Hubbell, Lorenzo, 174. 176

Guernsey. S. J.• 175 Hubert, Virgil. 183
Gunn. Selskar. 127 Hudson, Kenneth, 230
Human biology, 116-21. 134
Haddon. A. c.. 120. 130 Humanistic scholarship, 51, 55, 125, 132
Hailey. Lord. 139 Hunt. Calvin. 243
Hamy. E.-T.• 151. 155. 158-62. 163 Hunt. George. 76. 84. 94
Haozous. Robert. 188-89 Hunt. James, 29-30
Harper. William R.. 114 Hunter, M .• 221
Harris. Neil. 58 Huntington, Archer M .• 84
Harvard University. 49-50. 52. 57-58. 60- Huntington, Collis P.• 84
61. 108. 116. 129. 171 Hussey, Christopher. 221
Harvey. Fred. Co .• 174 Huxley. Thomas, 29, 30
Havard. James. 188 Hyde Exploring Expedition. 175
Hazelius. Artur. BIn
Heard Museum. 187 Ideology. 114. 117. 133-35, 198,210-11
Hearst. Phoebe Apperson. 113 Igbo (Nigeria). 241n
Heizer. Robert. 223 Independent invention, 32-33
Hemenway Expedition. 171 Individualism, 198, 210. 237. 238, 244
Henderson. Alice c.. 178 Institut d'Ethnologie, Paris, 127
Henry. Joseph. 218 Institute for Comparative Research in Human
Herskovits. Melville. 118 Culture, Oslo. 125
Hewett. Edgar. 178 Institute of American Indian Arts, 188
Hill. Mary. 187 Institute of Human Relations, 119. 139
Historical anthropology. 114. 122. 124. 130. Institut fur Volkerkunde. Vienna, 127
141. 151. 160 Institutionalization of anthropology, 6, 8, 43,
Historiography of anthropology. 3. 240 72, 108. 114. 140
Historiography of archeology: and romance of International Congress of Americanists. 125.
exploration. 218. 219; and history of sci- 149
ence. 219. 226. 232; relevance for archeo- International Institute of African Languages
logical research. 219. 230-33; professional- and Cultures, 123-24, 126-27, 136
ization of. 219. 233; intellectual! Irish "race," 28. 30
contextual histories. 219-22. 225. 226. Iroquois wampum belts, 11
232-33; periodization of. 221. 223-24; of
British. 221-22. 225. 226. 230; of French. Jacobsen, J. A., 75
222; of American. 222-25. 226-28; posi- Jesup, Morris K., 76,84, 85-86, 87, 105-7
tivist histories. 222-26. 231-33; of Scandi- Jesup North Pacific Expedition, 84, 89, 93,
navian. 225-26. 228-29; social basis of ar- 94, 138
cheological traditions. 226-30. 231. 232. Jews, 137n
233; critique of positivist histories. 226- Jochelson, Waldemar, 84
30. 232; of Cental European. 229; of Mex- Jomard, E. E, 24, 27, 80n. 147, 149
ican. 229-30
HOIIre, Richard, 225 Kearn. Thomas, 171-72
Hocart, A. M., 120 Kendrick, T. D., 221
Hodder, lan, 232 Kidder, Henry P.• 58
Hoffman, Michael, 219 Kilkenny and Southeast Archaeologial Soci-
Hoffman, Walter J., 81 ety, 26
Holmes, Oliver w., 60, 70 Kingsborough, Lord, 149
Holmes, William H., 68, 81, 82, 83, 100 Kirchoff, Paul, 136
Hopi, 81n. 171-72. 180-82, 183 Klemm, Gustav. 25, 33
Hough, Walter, 169, 174 Klindt-Jensen, 0., 228
254 INDEX
Klineberg, Otto, 118 Marsh, Charles, 171

Kristiansen, K., 229 Martineau, Harriet, 19
Kroeber, Alfred, 84, 88, 130 Marx, Karl, 210, 220, 221, 239
Kuhn, Thomas, 224, 226, 231 Mason, Otis T., 76, 77-83, 87, 104, 192
Massachusetts Historical Society, 51
Laboratory of Anthropology, Santa Fe, 122, Material culture: and museums, 3, 4; aesthe-
139, 183 ticization of, 6, 243-44; decline of study
Lacan, J., 239 of, 9; utility for anthropology, 9; as West-
Laming-Emperaire, A., 222, 226 ern category, 11; and race, 22; secondary
Land, Anne, 187 interest to Tylor, 37; Boas on, 88, 92, 108,
Lane Fox., A. H. See Pitt Rivers, 192-93; and political economy of anthro-
A. H. L. F. pology, 113-14; American, 148; destruc-
Lapalme, G. E., 200, 206 tion of, 174; and cultural identity, 194;
Latham, Robert, 22 and understanding of human behavior,
Latin America, 136 232. See also Artifact(s); Object(s)
Laura Spelman Rockefeller Memorial. See Matthews, Washington, 171
Rockefeller Memorial, Laura Spelman Mayan civilization, 69-71, 129, 134, 242
Lewis, Lucy, 183-84, 187 Mayer, Casper, 99
Linguistic anthropology, 80, 114, 122, 132 Mayo, Elton, 129, 139
Locke, John, 19,210,214 Mead, Margaret, 118
Loloma, Charles, 188 Melanesia, 156,238
London School of Economics, 115, 122, 140, Meltzer, D. J., 223, 227-28
141 Merriam, Charles, 124
Long/ish, George, 188 Mesa Verde, Colorado, 171, 175
Longperier, Henri de, 149-50 Metraux, Alfred, 146
Loubat, Due de, 84 Metropolitan Museum of Art, 163-64, 243
Louvre, 24, 146, 149-51, 152, 153, 156, Metz, Charles, 68
193, 194, 242 Mexico, 26, 92, 94, 103, 106, 149, 150,
Lowe, Truman, 188 156, 158, 160
Lowell, Augustus, 58 Middle America, 129
Lowie, Robert, 130 Milwaukee Public Museum, 10, 102
Lubbock, John, 27, 28, 34, 38 Mir6, Joan, 244
Lugard, Lord, 127 Missionaries, 123, 127, 174
Lurie, Nancy, 9, 12 Mitchell, S. Weir, 60
Lyman, Theodore, 57, 58 Monogenesis, 21, 32, 161
Montreal Museum of Fine Arts, 214
McKusick, Marshall, 227 Mooney, James, 81
Macpherson, C. B., 210, 237, 238 Moore, Henry, 243
Malinowski, Bronislaw: oppostion to museum Morgan, Lewis H., 55, 56, 113
and historical anthropology, 115; appoint- Morris, Earl, 175
ment at L.S.E., 123; tour of U.S., 124; Moseley, Henry, 35, 37
turns to Africa, 125-26, 127; alliance with Mouseion of Alexandria, 4, 10
Oldham, 126-27; and Colonial Office, Mulkay, Michael, 69
127,136; and Radcliffe-Brown, 128, 130, Murchison, Roderick, 19
131, 141; on support for anthropology, Musee d'Ethnographie du Trocadero: found-
135; mentioned, 129, 134 ing of, 151-52; pre-Columbian collections,
Malraux, Andre, 200 155-58; Hamy's study of collections, 158-
Manus, 138 62; under Verneau, 162-63; refurbished as
Maori, 243, 245 Musee de I'Homme, 164, 243; mentioned,
Marine Biological Laboratory, Woods Hole, 147, 242, 243
122 Musee de I'Homme, 164, 240, 243
INDEX 255
Musee Guimet, 242 Napoleon, 193

Musee Naval, 151 Napoleon III, 150
Museum(s), 192; and popular education, 3, National Institute of Anthropology and His-
12,39,80,86-87,94, 107; definitional tory, Mexico, 132
dimensions, 3-6; as archives of material Nationalism, 4, 5, 11, 192-215 passim, 228,
culture, 4, 12, 88; as institutional home- 229, 238
land of anthropology, 6, 8, 108, 113-14, Nationalist ideology, 198,207, 210-11
140; types of, 7-8, 11, 147, 198,239,242; National Museum of Anthropology, Mexico
and universities, 8, 35-37, 43, 49-71 pas- City, 10
sim, 75, 77, 88, 108, 140; and anthropo- National Museum of Denmark, 7, 26
logical research, 9, 12, 84, 86, 88-89, National Museum of Finland, 175
108, 114, 142, 192; audiences of, 10,43, National Museum of Man, Canada, 213
51, 69, 80, 83, 86-89, 90, 100-101, 107; National Research Council: Committee on
technology of, 10, 89-105; critique of, 11, Human Migration, 118; Committee on Pa-
193-94,214-15; exhibits, 75-108 passim, cific Exploration, 120; mentioned, 122
152, 158,243, 245; organization of, 83- Native Americans: languages, 80, 132; field-
85; as hierarchy of nested spaces, 90; and work among, 130-31, 138-39; art, 146-
cabinets of curiosity, 95, 147; as consumers 63, 167-89, 213, 240; mentioned, 26, 50,
of ethnographic objects, 170, 171; as 55,60,64,65, 70, 213, 227. See also Art,
temple of national devotion, 198. See also native artists
Collection Native Canadians, 214
Museum anthropology: museum period, 3, 6, Navaho, 81n, 169,174,175,176,177-78,
7,8,16,75,108, 143; decline of, 8-9, 182-83, 185, 188
11, 108, 114-15, 140-43; battle for legiti- Negro. See Afro-American
macy, 50, 69; impact of evolution on, 60; Nervi, Pier Luigi, 41
Boas' ideals, 83, 86-89 New Guinea, 136
Museum arrangement: and anthropological New York City, 243
theory, 3; typologial, 8, 15, 16, 38, 77-83, New York State Museum, Albany, 11
107; contextual, 8, 193; geographical, 15, Nordensk'iold, Gustaf, 171, 175
24, 25, 40, 80; formal vs. functional, 18; Northwest Coast Indians, 22, 75, 76, 77, 88,
natural history model, 25, 27; rotunda 90-105, 243, 245
scheme, 41; live groupings, 41-43, 76,80- Norton, Charles E., 53, 55, 57-59
81,84,86,97-103; tribal, 79-80,81, 93;
and production of meaning, 239 Object(s): culture as, 3, 192, 195,207,215,
Museum d'Histoire Naturelle, 149, 156 239; etymology of, 4; and museums, 4-5;
Museum fur Volkerkunde, Berlin, 24, 75, ownership of, 11, 193,240,241,244,245;
151,171 Western notions of, 13, 242; object-
Museum fur Volkerkunde, Hamburg, 244 oriented anthropology, 108, 115, 140-41;
Museum of Comparative Zoology, Harvard, texts as objects, 114; as personal keep-
49, 61 sakes, 142; museums as consumers, 170;
Museum of Fine Arts, Boston,S 7-58 and selves, 236-44; system of, 240-41,
Museum of Modem Art, 243, 244 243, 245. See also Fetishism
Museum of Northern Arizona, 176, 180-82, Oceania, 23, 140, 163,241, 243, 244
183, 185-86 Oldham,). H., 123, 126-27, 128, 136
Museum of Practical Geology, 29 Onandaga Indians, 11
Museum of Scandinavian Ethnography, Orientalism, 149, 150
Stockholm,81n Osborn, H .. F., 95
Museum of the American Indian, 243 Others, 3, 4,10,11,13,112,114,115,213,
237, 238
Nadaillac, Marquis de, 161 Outhwaite, Leonard, 129-31
Nampeyo, 171-75, 187 Owen, Richard, 18, 28
256 INDEX
Oxford University, 7, 15,28,35-37,39, 39; negotiations with South Kensington

126, 142 and Oxford, 34-37; Inspector of Ancient
Monuments, 38; establishes second mu-
Painter, Maggie, 187 seum at Farnham, 38-39, 42; on educa-
Palmer, Edward, 68 tional functions of typology, 39; geographi-
Pan-Pacific Science Congress, 119, 120 cal viewpoint, 40; mentioned, 10
Parker, F. E., 54, 58 Pitt Rivers Museum, Oxford, 15,35-36,37-
Parkman, Francis, 54 38, 41-42, 236
Patrimoine, 192-215 passim. See also Cultural Polygenesis, 21, 32, 50, 161
property; Quebec (province) Polynesia, 120, 121
Pavilion du Marsan, Paris, 163 Porteus, S. B., 120, 121
Peabody, Charles, 68 Pound, Ezra, 163
Peabody, George, 49, 60, 61, 70 Powell, John W., 53, 55, 77, 113, 192
Peabody Academy of Scien!=e, Salem, 50 Prestwich, Joseph, 18
Peabody Museum of Archaeology and Ethnol- Primitive peoples, 51, 129, 155, 193, 241
ogy: founding, 49-51, 70; comparative par- Professionalization, 68-69, 72, 75, 105, 125,
adigm, 53; work in New World kitchen- 134, 233
middens, 53; exploration of shell-heaps, Progress, 16, 18, 28, iSS
59-61; funding, 61; establishment accom- Psychobiology, 117-21, 132,134,135,140
plished, 69-71; mentioned, 7, 13, 164, Psychological anthropology, 108
171 Psychological testing, 118
Peking Union Medical College, 117 Psychophysics, 90
Pepper, George, 175 Pueblo Indians, 169, 171, 176, 183
Pepper, William, 65 Putnam, Frederick w.: superintendent ofEs-
Perkins, Charles c., 53, 54, 57 sex Institute, 49; succeeds Wyman as cura-
Perry, William, 118 tor, 53; on value of ethnology, 55; letter to
Peru, 26, 106-7, 146, 147, 149-50, 151-52, Morgan, 56; fund raising, 60-61; method-
i54, 156-57, 160,242 ological caution, 62, 66; relations with
Petherick, John, 19 amateur archeologists, 62-69; as anthropo-
Petrograd Academy of Sciences, 7 logical entrepreneur, 72; establishment of
Phrenology, 19,28,31 Harvard department, 72; and Boas, 76,80,
Physical anthropology, 22, 27-28, 43, 76, 85, 104; plans life groups, 82; resigns from
113,117-18,125,140,141,151,222 American Museum, 85; mentioned, 97,
Picasso, Pablo, 147,242,243 107
Pietz, William, 239
Piggott, Stuart, 221, 230 Quatrefages, Armand de, 151
Pinart, Alphonse, 158 Quebec (city): lie d'Orleans, 196; Place Roy-
Pitt Rivers, A. H. L. F.: on museum arrange- ale, 202-8; mentioned, 196
ment, 8, 15, 18, 26,34, 38; adopts name, Quebec (province): cultural property legisla-
15, 34; principle of continuity, 16, 20, 21, tion, 194-97; Historic Monuments Com-
32,33,39,41; collection, 16,29,33,39; mission, 195-96, 199, 203, 238; Quiet
Crimean War service, 18; and Stanley fam- Revolution, 196, 200; Ministere des Af-
ily, 18; and phrenology, 19,28,31; impact faires culturelles, 196-97, 200-201, 203;
of Darwinism on, 20, 28, 39; ethnological Cultural Property Commission, 201-2; and
interests, 21-23, 32, 39; interest in local Canadian federal government, 212-14;
historical sequences, 26, 31, 40; years in mentioned, 192-215 passim
Ireland, 26-28; archeological work, 26-
28, 33, 38, 113; role in Anthropological Rabelais, Frano;ois, 239
Society, 29-30; museological ideas, 29-30, Race differences, 21, 22, 27-28, 29, 30, 39,
33,38-39; on evolution of culture, 30-33, 150, 154, 161
INDEX 257
Racial contact, 126 Ruml, Beardsley, 116-18, 122, 124, 134

Racialism, 114, 115, 117, 118-19, 120, 134
Racial psychology, 121, 123 Sabloff, J. See Willey, Gordon
Racial wars, 123, 127, 135 Salisbury, Stephen, 51
Radcliffe-Brown, A. R.: opposition to mu- Samoa, 118, 138
seum and historical anthropology, 115; Santa Fe, New Mexico, 122, 178, 185, 240
tour of U. S., 120, 124; Sydney professor- Sapir, Edward, 122, 130
ship, 120, 125; vanishing cultures plan, Saufkie, Paul, 183
128-29, 135-36; at the University of Chi- Savage(s), 115, 169, 179, 239
cago, 128-29; and Malinowski, 130, 131, Schiff, Jacob, 84
141; on future of capitalistic system, 13 7n; Schiffer, Michael, 231
on social anthropology and ethnology, 142 Scholder, Fritz, 188
Radicalism, 11, 133, 136 School of American Research, Santa Fe, 240
Rau, Charles, 52 School of Oriental (and African) Studies,
Rawlinson, Henry, 19,21 London, 128-29, 132
Reinach, Salomon, 155 Schumacher, Paul, 68
Renfrew, Colin, 56 Schwartz, Douglas, 223, 227
Repatriation, 11, 13 Scottish philosophy, 19
Res: Anthropology and Aesthetics, 12-13, 164 Seligman, Charles, 123, 126, 130
Rhodes House, Oxford, 126, 127 Seneca-Iroquois National Museum, 11
Rhodesia, 127, 136 Shelton, William, 177
Rhodes-Livingstone Institute, 139 Siebold, P. F. B. von, 7, 24, 80n
Richards, Audrey, 127 Silverberg, R. E., 22 7
Rigollot, M. J., 226 Sklenar, K., 229
Rijksmuseum voor Volkenkunde, Leiden, 7, Sloan, John, 178
24 Sloane, Sir Hans, 23
Rivet, Paul, 243 Smith, G. Elliot, 115, 117-18, 119, 120,
Riviere, G. H., 146,243 123, 124-25, 126, 140
Rockefeller, John D., 116 Smithsonian Institution, 34, 50, 80
Rockefeller, John D., Jr., 116, 122, 140 Snyder, Mary, 187
Rockefeller Foundation, 116-42 passim Social anthropology, 115, 120, 135, 141
Rockefeller Institute for Medical Research, Social Science Research Council, 124, 139
116 Social sciences, 117, 119, 121, 122, 124,
Rockefeller Memorial, Laura Spelman, 116- 125, 133, 137, 140-41
19, 122-24, 129 Societe d'Ethnographie americaine et orien-
Rolleston, George, 28, 35 tale, 150
Roosevelt, Theodore, Jr., 175 Societe Ethnologique de Paris, 7, 24
Roosevelt, Theodore, Sr., 92 Society of Antiquaries of London, 27, 28, 29
Roy, P. G., 199 Sociology, 121
Royal Anthropological Institute. See Anthro- Soldi, Emile, 152-55
pological Institute of Great Britain and Ire- South America, 146, 149, 151, 160
land South Kensington Museum, 34
Royal Cork Institution, 26 Southwest Indian Art Association, 176, 178
Royal Ethnographic Museum, Berlin. See Southwest Indians, 92, 124, 167-89,241
Museum fur Viilkerkunde, Berlin Spencer, Herbert, 19, 33
Royal Geographical Society, 19, 21 Spencer, Walter B., 37
Royal Irish Society, Dublin, 27 Stanley, Henry, 21,
Royal Society of Antiquaries of Ireland, 26 Stanley, Owen, 22
Royal Society of London, 221 Steinhauer, C. L., 26
Rudler, F. w., 41 Stephen, Alexander M., 171-72
258 INDEX
Sterud, K., 227 Van Sickle, J., 136n

Stevenson, James, 170, 171 Verneau, Rene, 158, 162-63
Stevenson, Matilda, 170 Villard, Henry, 84
Stewart, Susan, 239 Vineland, N. J., Training School, 120
Stukeley, William, 221 Viollet-le-Duc, 152, 153, 154,242
Sturtevant, William, 9, 12 Volk, Ernest, 66-69
Volkskunde, 5, 7, 8, 13
Taos, New Mexico, 176 Voth, Rev. H., 174
Tasmanians, 31
Third World, 11,215 Waldeck, J.-F., 150
Thomsen, Christian, 7 Warner, Lloyd, 139
Thomson, Arthur, 43 Way, Albert, 27, 28
Thurnam, John, 28 Weaver, Warren, 135
Tikopia, 138 Weidenreich, Franz, 118
Toltecs, 154, 160 Weiner, Charles, lSI-52, 156-57
Tourism, 167, 169-70, 172, 178, 199,240, Weld, Theodore, 70
242 Westwood, J. L., 28
Tozzer, Alfred, 130 Wetherill, John, 175
Trocadero. See Musee d'Ethnographie du Tro- Wheatland, Henry, 51, 60, 69
cadero White, Amelia E., 178
Tulane University, 129, 134 White, Naoma, 186
Turanian, 154 Wilde, W. R. w., 27
Tuskegee Institute, 123 Wilkinson, Henry, 16
Tylor, E. B., 29, 33, 35-37, 38, 39 Willey, Gordon, 223, 224, 227
Tyndall, John, 18 Wilson, Godfrey, 137n
Wilson, Thomas, 69
Winthrop, Robert C, 50, 51, 53, 58,61
UNESCO, 11,201 Wissler, Clark, 97. 102, 106, 118, 119, 120,
United Service Institution, 18, 31 121,122,124,130,134
United States National Museum, 9, 34-35, Women,137n
69,76,77. 81, 83, 88, 97, 98, 99, 102, Woods, Col. Arthur, 134
103, lOS, 140, 169, 174 World's Columbian Exposition, Chicago, 72,
University College, London, 118, 123, 125, 76,80-81, 104, 160, 175
126,140 World's fairs: London (1851), 16,25; Phila-
University of California, 72, 108, 113, 119, delphia (1876), 81; Paris (1878), 81n,
124, 129, 140 lSI-52, 153, 155; Paris (1889), 81, 156;
University of Chicago, 108, 116, 121, 122, Paris (1900), 156; mentioned, 8, 81
125, 128, 129, 140 Wyman, Jeffries, 51-53, 58, 59, 60, 61
University of Hawaii, 120, Ill, 129
University of Pennsylvania, 62, 108 Yale University, 116, 118, 120, 139, 140
University of Pennsylvania Museum, 65 Yerkes, Robert, 118, 119, 133, 134
University of Sydney, 119-20, 121, 128
Zoological Society of London, 20, II
Van Gogh, Vincent, 147, 156 Zuni, 174, 182-83, 188, 244

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and Others

THE UNIVERSITY OF WISCONSIN PRESS

Printed in the United States of America

Library of Congress Cataloging in Publication Data

WRITING THE HISTORY OF ARCHEOLOGY:

Etymologically, a museum is a place dedicated to the muses. Although as-

ago in the Mouseion of Alexandria (Alexander 1979:6-7). Modern mu-

others, especially in continental Europe, were museums of national and peas-

Except in archeology, material culture studies and museum collections

whole generations of whom had "now completed professional careers without

traditionally filled exhibit halls and cases-have come forward as actors in

In the history of anthropology, the name Pitt Rivers is indissolubly linked to

William Ryan Chapman received his doctorate in anthropology at Oxford in 1982.

yond-except for such changes in detail that might be "necessitated by the

From Muskets to Boomerangs in the 1850s

early point in his collecting, he tended to emphasize two rather different

The Impact of Evolution and the Turn to Ethnology

implications for understanding human history-a tendency that was also to

"Geographical" and "Typological" Collections, c. 1860

In looking for models of ethnographic presentation, Pitt Rivers was better

favored a comparative system of "classes:' "ordres:' "especes" and "varietes"-

1874b:xiii). A catalogue prepared for Christy in 1862 by C. L. Steinhauer

Archeology and Race in Ireland

1874b:v-viii). After 1865 he began also to employ John Lubbock's division

representative types-relying on the advice of Richard Owen, the preemi-

From the Ethnological Society to the Anthropological

Primitive Warfare and the Evolution of Culture

1868, and 1869 to general audiences (including anthropologists, archeolo-

established independently, the more refined techniques of admixture had

The Institutionalization of Typological Arrangement

the system of arrangement, but of the objects themselves, insofar as he might

educational point of view to students of Anthropology, Archaeology, and

Typological Museums for the Savants and the Masses

construction: generalized evolutionary sequences and localized historical se-

Bahnson, K. 1888. Ethnographical museums. Arch. Rev. 2:1-16.

1890. King John's House, Tollard Royal, Wilts. Rushmore.

Curtis M. Hinsley teaches American history at Colgate University, and is currently

name, Agassiz refused-which may have been a factor in Peabody's subse-

As a matter of fact, for some decades after accepting Peabody's endow-

Classical Civilization and Paleolithic Man:

experience and as social institution in mid-century Boston. While both men

efforts in America. A trustee of the Museum of Fine Arts, Perkins suggested

personnel, implied building collections by the purchases of agents abroad.

Culture and Commerce: Moral Education in the Gilded Age

cousin and president of Harvard, Charles W. Eliot; Augustus Lowell; and

Brahmin Funding for the Archeology of Indian Shell,Heaps

Museum he headed was by 1890 still only beginning to establish its,ppera-

Amateur Archeologists and the Antiquity of Man in America

But what of the future? Mere arrow-head gathering is impotent to suggest a

stake. "Why I must stand by silent and be reduced by [William Henry]

ber 1891, the first of a series of Bowditch-sponsored expeditions to Copan,

This paper is based on research supported in part by the National Science

AAP. See under Manuscript Sources.

Casler, J. C. 1976. Personalities, politics and patrons of the Peabody Museum of

AAP Alexander Agassiz Papers, Archives of the Museum of Compara-

Franz Boas is remembered as the founder of professional anthropology in this

Tribal and Typological Arrangement, 1887-1895

different." Groupings based on a "deductive" approach to "analogies of out-

Constraints of Power, Money, and Authority