Post Views: 555
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Mosaico
Material: Cemento y pasta
Dimensiones: 20 x 20 x 2.3 cm
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Faro
Fecha: 1893
Material: Bronce y Cristal
Dimensiones: 190 cm x 108 cm
MUCI (P.97.24.1)
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Revista Life
Fecha: 1964
Material: papel
Dimensiones: 35 x 26.5 cm
MUCI (13.2.143)
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Suvenir de medalla colgante, visita al Canal
Fecha: 1913
Material: bronce y estaño
Dimensiones: 5.7 x 3.7 cm
MUCI (13.2.125)
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Broche de los colegios secundarios de la Zona del Canal
Fecha: c. 1913
Material: metal
Dimensiones: 1.6 cm de diámetro
MUCI (13.2.61)
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Cenicero protesta de la Sociedad del Chagres
Fecha: 1915
Material: Bronce
Dimensiones: 13.6 cm de diámetro
MUCI (13.2.12)
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One Penny, Canal Zone Chapter No. 1 R.A.M. Ancon C. 2
Fecha: 23 de julio, 1910
Material: metal
Dimensiones: 3.3 cm de diámetro
MUCI (06.27.7)
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Souvenir de Garra de Águila
Fecha: 1915
Material: madera, papel, piedra y metal
Dimensiones: 10 x 10 x 10 cm
MUCI (06.33.10)
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Cenicero San Francisco 1915 - Panama-Pacific International Exposition
Fecha: 1915
Material: metal
Dimensión: 12.7 cm de diámetro
MUCI (10.23.26)
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Cítara guitarra, modelo especial, Panamá 1915. Realizada por Federal Stock Food Co., Mifflinburg, Pennsylvania.
Patentada el 20 de mayo de 1894
Fecha: 1915
Material: madera
Dimensiones: 50.2 x 33.5 cm
MUCI (06.15.255)
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Identificación de trabajador del Canal, Isthmian Canal Commission 79682
Fecha: 1905-1907
Material: metal
Dimensiones: 5.9 x 3.8 cm
MUCI (11.4.124)
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Perno de vía férrea de cuello ovalado
Fecha: 1904-1914
Material: metal
Dimensiones: 15.5 x 4.5 cm
MUCI (10.29.20)
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Medalla conmemorativa del almirante Vernon
Fecha: 1739
Material: metal
Dimensión: 4 cm de diámetro
MUCI (11.5.15)
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Estribos de baúl o moriscos
Fecha: finales siglo XVII
Material: metal
Dimensiones: 12.8 x 11 x 14.3 cm
MUCI (11.4.10)
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Herradura de mula
Fecha: siglo XVI-inicios siglo XIX
Material: metal
Dimensiones: 15 x 14.5 cm
MUCI (11.4.7)
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Cencerro de mula
Fecha: s/f
Material: metal
Dimensiones: 11.5 x 8.5 cm
MUCI (11.4.8)
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Fecha: siglo XVI-inicios siglo XIX
Material: arcilla
Dimensiones: 87 x 140 cm
MUCI (06.33.28)
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Facts Only
* Mosaico material is cement and plaster; dimensions are 20 x 20 x 2.3 cm.
* Faro material is bronze and crystal; dimensions are 190 cm x 108 cm.
* Revista Life material is paper; dimensions are 35 x 26.5 cm.
* Suvenir de medalla colgante, visita al Canal material is bronze and tin; dimensions are 5.7 x 3.7 cm.
* Broche de los colegios secundarios de la Zona del Canal material is metal; dimension is 1.6 cm in diameter.
* Cenicero protesta de la Sociedad del Chagres material is Bronze; diameter is 13.6 cm.
* One Penny, Canal Zone Chapter No. 1 R.A.M. Ancon C. 2 material is metal; diameter is 3.3 cm.
* Souvenir de Garra de Águila material is wood, paper, stone, and metal; dimensions are 10 x 10 x 10 cm.
* Cenicero San Francisco 1915 - Panama-Pacific International Exposition material is metal; diameter is 12.7 cm.
* Cítara guitarra material is wood; dimensions are 50.2 x 33.5 cm.
* Identificación de trabajador del Canal, Isthmian Canal Commission 79682 material is metal; dimensions are 5.9 x 3.8 cm.
* Perno de vía férrea de cuello ovalado material is metal; dimensions are 15.5 x 4.5 cm.
* Medalla conmemorativa del almirante Vernon material is metal; diameter is 4 cm.
* Estribos de baúl o moriscos material is metal; dimensions are 12.8 x 11 x 14.3 cm.
* Herradura de mula material is metal; dimensions are 15 x 14.5 cm.
* Cencerro de mula material is metal; dimensions are 11.5 x 8.5 cm.
* One Penny date is July 23, 1910.
* Museo (P.97.24.1) reference is MUCI (13.2.125).
Executive Summary
Full Take
The collection presents a fragmented archive of material culture spanning centuries, revealing connections between artisanal production, governmental documentation, and specific historical events related to trade, infrastructure, and commemoration. There is a clear pattern of documenting physical objects—whether utilitarian tools, decorative arts, or commemorative tokens—that bear unique provenance through dated references and often reference specific administrative bodies like the Isthmian Canal Commission. This suggests an underlying focus on establishing tangible evidence of historical presence and interaction with geographical and political boundaries.
The juxtaposition of highly formal artifacts (like the Faro) with simple, functional items (like the iron nail or the horse shoe) alongside commercial print materials (Revista Life) demonstrates a tension between official documentation and lived experience. The recurring material focus on metal and wood speaks to historical economic realities—the use of durable materials for infrastructure versus those used for personal accoutrements. Deeper implications arise from understanding how these objects function as mnemonic devices, encoding complex socio-economic relationships (like the Canal Zone administration) into physical form.
The potential manipulation lies in the selection and framing of what is preserved. The archive privileges tangible artifacts tied to specific administrative or commercial narratives while leaving out other forms of history. This selective focus shapes the reader's perception of what constitutes significant historical record, forcing an inquiry into whose history is valued and whose material existence is prioritized. What unseen processes determine which objects survive in the historical narrative? What does the omission of certain object types suggest about the power structures that dictated their visibility?