Character of a Museum

The collection of most small museums is an admixture of many things. While there is
nothing wrong in collecting many classes of items, this practice has to be given some
thought if there is a choice. There have been many instances where after some time, a
collection is needed to be rid of items which had become incongruous in terms of class
or quality. It might be practical to define at the outset the objectives of the museum so
that the collections can be made to support these objectives. In effect, one has to define
the character of the museum. This character will help the curator determine, for
instance, what type of structures and facilities are to be made available in terms of
study, storage, conservation, and exhibition. There are general category museums like
the National Museum, and specialized museums as the Metropolitan Museum of
Manila, the Museo ng Bahay Pilipino, and the Central Bank Money Museum. The need
of the community is at times one of the factors determining the character of a museum.
In most cases, the museum curator is confronted with a conglomeration of objects the
choice for which he had no control whatsoever. Optimistically, the items collected are
originally from and reflect the community where the museum is located.
Collections
A collection may be built and augmented in a number of ways:
1.
2.
3.
4. exchange

field

collection
donation
purchase

When an object in the collection is acquired, the most important consideration is that
information accompanies the object. The information should include data on the object
itself and socio-cultural milieu. Although the collection item itself is a primary data
source, and accompanying data merely secondary source, there is nothing more
frustrating for a curator than to have an object with nothing but the fact of its existence
in his hands. One cannot be too detailed in obtaining data on the collection item like the
following:

name
the

of
ethnic
place

the
group

of
of

material

(s)

name
function
manner

of
of
of

object
origin
origin
description
used
functions
parts
parts
use

definition
who
accompanying

of
/

user
how
ritual

(s)
produced
(s)
ownership
distribution

Documentation
It is imperative for a museum to documents its collections, which at the very least is
composed of a list of the various items. The list names the objects and states how many
of each there are. There are various forms of museum records:
1.
2.
3.
4. Database

Accession

Record/
Photographic

registry
Catalogue
record

1. Accession Record/Registry
A very important consideration is that each object must bear a number which
corresponds to the list. The number must be marked on the subject itself. This is called
the accession number, which is usually coded. The code is usually devised to suit the
purpose of the museum. This should contain the most basic information about the
object e.g. the year of acquisition, the provenance, a succession number:
92-If-25
The example represents 1992 as the year of acquisition; Ifugao as the ethnic group
from which the object came; and the object is the 25th item acquired that year from
Ifugao. The following must be remembered about accession numbers:
1.
It
should
not
attempt
to
code
all
the
information.
2.
It
must
be
short.
3.
It
must
be
written
permanently
on
the
object.
4.
The
number
should
be
written
small,
but
legibly.
5. It must be written on the discreet part of the object where it is not likely to be rubbed
off; and where it is not too obvious, specially when displayed.
6.
It
must
not
be
repeated
on
another
object.
7. It should be structured to follow the classificatory system of the collection.
Sometimes, fieldmen use a field number which they use to identify these objects until
these are brought to the museum where the permanent accession numbers are
assigned.

The Accession Record of a museum contains the basic information about the items in
the collection among which are:
1.1
1.2
1.3
1.4
1.5
1.6
1.7 Notes

Accession
Date
Name

of
of
Brief

The accession records constitute the museum register.

-760-

6395 Object

quiver (native name

kubokub)

Tribe

Negrito

Locality

Balangkawitan, 3 hrs E. of
Ragai, Camarines

How
obtained

by purchase from Lucas

Descriptio
n
Collector

J.M. Garban, Jan. 1913

Cost

40 cts. e

6396 Object
Tribe
Locality
How
obtained
Descriptio
n

guitar (native name

gitada)

number
acquisition
object
Provenance
description
Recorder

Fig. 1 Segment of page from a National Museum registration record.

2. Catalogue
Each of the accessions should have an individual catalogue cards. The card should
contain all the information about the object:
2.1
Accession
2.2
Date
of
2.3
2.4
Name
(s)
of
object
(common,
local,
2.5
2.6
2.7
Manner
of
collection
(purchased,
2.8
2.8.1
2.8.2
Material
2.8.3
Physical
2.8.4
Function
2.9
Acquisition
2.10
2.11
2.12
Publication
2.13
Location
in
2.14
Photographic/negative
2.15
Sketch
or
photo
of
2.16 Notes

number
acquisition
Recorder
foreigner,
etc.)
Provenance
Collector
donated,
etc)
Description
Dimensions
(s)
description
(s)
value
Condition
History
(s)
storage/exhibition
number
the
object

National Museum
(Ethnology)
Catalogue No ______________
Old Acc. No _______________
Object
English Name ____________________________________________
Vernacular Name _________________________________________
Ethnic Group Collected From ________________________________
Own Name ______________________________________________
Popular Name ___________________________________________
Locality ________________________________________________
How Museum Obtained ____________________________________
Value of Material _________________________________________
Collectors Name _________________________________________
Date Collected ___________________________________________
Date Received ___________________________________________
Recorder _______________________________________________
Date Recorded __________________________________________
Storage Location _________________________________________
(Photograph)
015688

(Over)

Fig. 2 Front of a National Museum catalogue card.

3. Photographic Record
Where expedient each object of the collection should be photographed, preferably upon
acquisition. Photographs should include a scale to indicate the size of the object, and
the accession number. At least, contact prints of the negative strips should be made.
The contact prints should be filled with the negatives. The contact print and negative of
each object should be identified with the accession number of the object. When the
condition of the object is not normal, damaged portions should be clear on the
photographs.

E|-|3|5|0|5

Fig.3 An ethnographic record

photograph

4. Computer database
With microcomputers and database software now readily available with minimal capital
outlay the setting up of inventories becomes relatively easy. Making backups and hard
copies or printouts of all files is absolutely a must. One must not rely solely on computer
database files. Storage disks like hard disks are notoriously unstable and short-lived. It
should be noted that computer database files only supplement the ordinary manual
system of documentation, which is the primary system.
While computers are nice to have around, these also require people who know how to
make them work. Training and keeping personnel in this field are constant problems.
Unless the museum is handling a tremendous amount of data, which, among others
need to be analyzed, then a manual system might be more practical.
The application programs locally available to create databases are DBase IV and
FoxPro. Another, Superbase, is rather slow but had graphics capabilities, i.e. the image
of the collection item can be stored or displayed with the data.

Structure for Database : B:

Ethnoinv.DBF
Number of data records : 5346
Date of last update
: 04/12/90
Fiel Field
d
Name
1

Type

Wid De Ind
th
c
ex

Ethn_gro Charac
30
up
ter

Artif_type

Charac
30
ter

Eng_nam Charac
30
e
ter

Vern_na
me

Charac
30
ter

Provenan Charac
20
ce
ter

Acc_num

Charac
15
ter

Datecolle
Date
c

Collector

Acquipric Numeri
10
e
c

10

Total
value

Numeri
10
c

11

Condition

Charac
30
ter

12

Notes

Memo

10

13

recorder

Charac
30
ter

14

Last_upd
Date
ate

Charac
30
ter

Fig. 4 Sample of a computer database structure.

Physical Facilities
The facilities a museum requires correspond basically to the various steps in the
processing of specimens or collection items. The ideal certainly is to have adequate
space in the museum premises to carry out all the functions. Where the ideal does not
exist, provisions should be made for vital functions to be carried out.

1. Fumigation/ Cleaning
A collection item that has just come in and is newly registered ordinarily undergoes
treatment. The final phase of treatment is cleaning of the item or object just before it is
placed with the rest of the collection. The reason is that it might be infected with fungus,
wood borers, etc., which may contaminate other items in the collection. Fumigation is
imperative. In the absence of fumigation chambers, other means can be resorted to, as
illustrated on page 30, depending on the type and size of objects. (discussed more fully
under the Conservation Section)
2. Storage
Most small museums do not have provisions for storage. Storage space is imperative
not only as the usual little closets and rooms reserved for office equipage and facilities
but also and more so for collection items. A museum continually collects even though
exhibition space is usually limited. Rotation of exhibitions require space for keeping
items not on display.
The storage area should be near enough to the curator and the exhibition area that it
services. The following are among guidelines to be strictly observed:

No
one
should
hold
office
in
the
storage.
No food or drink should be taken inside the storage area.

Only
fumigated/cleaned
specimens
should
enter
the
storage.
Everything that goes in and out of the storage should be recorded.

Items
should
be
stored
systematically
easy
retrieval.

No
smoking
inside
the
storage
room.
Only authorized personnel should be allowed inside the storage room.
Storage System
Collection items should be classified while in storage. The items may be grouped
according to type of items, e.g. baskets, clothing, agricultural tools; or by ethnicity, e.g.
Tagalog, Ilocano, etc.; or by material e.g. wood, metal, etc. For conservation purposes,
storing by material is recommendable since it is easier to treat, for instance, textiles as a
group instead of individual pieces scattered all over the collection.
The key, of course, for retrieval is through a cross-indexed file combined with a
systematized storage. An item when taken out should be returned to the same place.
If available, acid-free paper should be used to line shelvings. The shelving section
should be identified so that each item has its own particular slot.
If the object is removed, a piece of paper noting the removal of the object, the date,
where the object was taken, the purpose and by whom, should be put in its place. This
is apart

San Miguel de Mayumo Bulacan

We are fascinated with colonial houses. Aside for their remarkable

architecture, and historical value, they tell interesting stories about an era
when the dons ruled the towns with patrician formality. So off we went to
Bulacan to visit the grand ancestral houses in the town of San Miguel de
Mayumo.

The town of Miguel de Mayumo was established in 1763. Its original named
was taken from its first town mayor Miguel Pineda and the kapampangan
word for sweets mayumo. Inspired by the accidental discovery of the stone
image of St. Michael the Archangel in Madlum Cave, the townspeople added
San to the towns original name. Thus the town became known as San Miguel
de Mayumo.

About a century ago, San Miguel de Mayumo is a wealthy town where the
landed barons have established residence or built vacation houses for running
their haciendas in Central Luzon. These grand houses hosted lavished parties
for the towns elite and some even sheltered important officers of a retreating
revolutionary government.
But World War II, land reform policy, communist insurgency movement, and
the closing of the railroad system made the old rich families leave their San
Miguel lifestyle and established their lives somewhere else. San Miguel today
is a quiet town with plenty of ancestral houses that tell stories of patriotism
and tasteful living.

From the poblacion, we began our walking tour along Rizal Street where most
of the prominent families built their stately homes. The house of Don Miguel
Slojo, municipal president from 1908 to 1912 was built in1903 and is in good
condition.
The house was one of those taken by the Japanese Army. Locals claim that the
house is haunted by the ghosts of those who were murdered in the house
during the Japanese Occupation.

A few walks from the Slojo House we saw one of the three houses associated
with the landed de Leon clan of Bulacan which we were told houses a glass urn
containing sand allegedly taken from the spot where Rizal fell when he was
shot in Bagumbayan on December 30, 1896.
The house was built in the 1890s by Pelagio de Leon and Eladia Santiago
where they raised five of their children: Ceferino, Felix, Jose, Crispina and
Valeriana. Ceferino was the father of beauty queen Trinidad who later married
President Manuel Roxas. Felix was the grandfather of former Bulacan
congressman Jose Cabochan. Jose was married to Doa Narcisa Buencamino
of LVN Pictures. Crispina was married to Damaso Sempio, a nephew of hero
Gregorio del Pilar, and Valeriana was married to Catalino Sevilla who built a
gorgeous three-storey mansion which we also visited during the trip.

Don Jose Capitan Pepe de Leon was gobernadorcillo of the San Miguel in
1892, married Doa Narcisa Sisang Buencamino, after being widowed from
his first wife. Doa Sisang was a Filipino film industry pioneer and one of the
founders of the de Leon, Villonco and Navoa Pictures. LVN Pictures is one of
the three leading movie companies during the 1950s and has produced many
of the country respected movie talents.
With Capitan Pepes political reputation and Doa Sisangs social prominence,
film celebrities and political figures frequently visit their house including
President Manuel Quezon who was godfather to their only son, Manuel.

Across the street is another house associated to the de Leons. Damaso Sempio
was married to Crispina de Leon. The house may not be as grand as the two de
Leon houses but its guest book outshines the other houses in terms of
historical value.
Revolutionary hero General Gregorio del Pilar, Sempios uncle was said to
have spent the night in the house on his way to Isabela to cover the retreat of
Aguinaldo. Also in the Sempios guest book was General Artemio Ricarte, the
general who refused to recognized American sovereignty over the Philippines.

A short distance from Sempio House is the Simon Tecson Mansion. Simon
Tecson served in the Filipino armed forces both during the Spanish and
American Wars.
The retreating General Emilio Aguinaldo used the Tecson Mansion as
headquarters on the days prior to the signing of the Pact of Biak-na-Bato.
Descendants of Simon Tecson claim that the actual signing of the said peace
treaty took place in the house and not in cave of Biak-na-Bato. The tintero or
inkwell used in the signing and the canopied bed used by Aguinaldo are just
some of the revolutionary memorabilia preserved in the house.
Among the historic houses in San Miguel, the Tecson Mansion is the only one
that has a historical marker. But just as same as the other houses we visited in
the trip, walk-in tourists are not allowed to go inside so we relied on stories
told to us by the locals.

We left Rizal Street and traveled to Barangay San Jose to visit the 1906 house
once owned by Dr. Maximo Viola. Viola was friend of Dr. Jose Rizal. He lent
the national hero the money for the publication of Noli me Tangere.
The house has been sold to Ronaldo and Amelia Reyes who worked to
preserve the houses original narra floors and walls, mulawin window ledges,
and even the original glass windows which were very expensive during the
time of the houses construction.
The lot across the Viola house that was owned by the David served as a
meeting place of Katipuneros. The David House was demolished when it gave
way after years of abandonment and disrepair.

Another house that might end up the same fate as with the David House is the
Catalino Sevilla Mansion. The three-storey structure still puts of a faade of
stateliness. But we were told that the house is in dire need of attentive
restoration since its foundation is ready to give in anytime.
Built in 1921 by municipal president Catalino Sevilla, the construction of what
the locals referred to as the malaking bahay or the only three-storey structure
in the town at that time has inspired a local tale about the male ego.
It has been told that Catalino was a mere famer of the landed de Leon family
who became rich enough to marry the landlords youngest daughter Valeriana.
To outshine his father-in-law, the farmer built the tallest structure in town so
that his father-in-law would have to look up to his son-in-law.
The third floor housed a spacious ballroom where the Celia Club, composed of
the local elite would throw their luxurious soirees as entertainment.