Editorial.

Editorial. This editorial is begun while I am staying in the Disneyland Hotel,Anaheim, California “Anaheim” redirects here. For Annaheim, see Annaheim, Saskatchewan.Anaheim is a city in Orange County, California, located 28 miles southeast of Los Angeles. , whose Vice-President tells me in a mini-missionstatement in the room, 'My staff and I want your visit to be adream come true. All of us believe that Disney Resort Experiences AreMagic' [bold in original]. Different my Disney experience certainlyhas been, and it could be useful comparative material if my researchinterests more concerned monopoly capitalism, infantilization and thesubtler mechanics of social control, but not what I would call anExperience of Magic. A pity that 'mission statements', usefuldevices to remind organizations just what they are for, have turned intoabsurdities. Many, most of the societies that archaeologists study areso remote and strange they would seem quite unnatural if we were to betranslated into living inside one; staying at Disneyland may fall underthe useful category of 'secondary fieldwork'.I have been summoned to Disneyland by the Annual Meetings of theSociety for American Archaeology The Society for American Archaeology (SAA) is the largest organization of professional archaeologists of the Americas in the world. The Society was founded in 1934 and today has over 7000 members. , at about 2000 head surely the largestof the annual gatherings of the thundering archaeological herd. Theusual zoo of simultaneous sessions; you sit through one indifferentpaper knowing that somewhere on the programme, in some othermeeting-space, there is likely a first-rate paper you are missing -- ifonly you knew how to figure out which one it was. No wonder the cannyprefer to 'surf' from one star paper in one session to anotherin another to another in yet another, rather than sitting through thewhole of a symposium; tough on the fellow without reputation who standsup after the star performer, and watches most of his audience walk away.Or they instead devote themselves full-time to practising the skills ofsocial archaeology in the bar (I name no names).Meeting in Disneyland, emblem of the treating of the past for suchpopular pleasure and private profit, has been a reminder to me thatarchaeology is an idealist business, of no or slight utilitarianbenefit. And it chances that the SAA (Systems Application Architecture) A set of interfaces designed to cross all IBM platforms from PC to mainframe. Introduced by IBM in 1987, SAA includes the Common User Access (CUA), the Common Programming Interface for Communications (CPI-C) and Common Communications has this year been thinking hardabout its ethics, not just the high or petty crimes and misdemeanourswhich archaeologists may inflict on each other or on the stuff we workwith, but by reminding ourselves what are the ideals that direct thewhole venture, and distract us from the better-paid lives we could spendin something more practically useful like cost-accountancy. A missionstatement, in short. And the Society's membership has this yearchosen as its President-Elect Professor Bill Lipe, whose memorable callto a true spirit of conservation archaeology, made a generation ago inthe Kiva kiva(kē`və), large, underground ceremonial chamber, peculiar to the ancient and modern Pueblo. The modern kiva probably evolved from the slab houses (i.e. , is still an ideal far ahead of what most of us actuallypractise, and surely ahead even of what his own Chaco Canyon researchcentre is able to do.Here is the opening to the ethics statement, from a draft thatpretended to rhetoric on the old American model (before it was toneddown into more contemporary idiom):'The archaeological record The archaeological record is a term used in archaeology to denote all archaeological evidence, including the physical remains of past human activities which archaeologists seek out and record in an attempt to analyze and reconstruct the past. is the material memory of our humanpredecessors on earth, by which we may come to know them. It is a commongood, to be held in public trust.' (If the Disneyland Hotel usesbold, then so may we.)Much -- not too much -- follows in discussion papers(*) addressing avariety of ethical aspects, that reach as far as an obligation to publiceducation and to fair dealing with colleagues in publication. All of itfollows from this short and splendid statement of the driving ideal: thestuff of archaeology is not an asset to be possessed and exploited, buta responsibility to be looked after in trust. This is true and this issimple; it should underlie most of what we do, and explains why ourideals do not provide for appropriation of the stuff of archaeology fromthe common good into private possession.'Material memory' is a striking -- and perhaps a new --statement of just what the stuff of archaeology amounts to, and thepurpose of coming to know our predecessors underlines the human factor.Then 'common good', an interesting and unfashionable phrase.We live in an era where things which were once public are being dividedand made private. Once there was the shopping street, kept in order byits public users and a public police force; now there is the shoppingcentre or mall, a private place controlled by a private security force.Things cannot, we have come to believe, be held in common, and that is'the tragedy of the commons'; whatever the common resource,individual private interests will take from it, and the common will beleft with nothing. That is why the green bicycles provided in Cambridgefor free common use all disappeared straight away, and why fish stocksin open oceans everywhere are pursued to extinction by individualcompeting boats or national fleets. The 'tragedy of thecommons' may be true of human nature in our late century, but itwas not always so and need not be. Common holdings, with common rightsheld over common land has been a good system of land tenure land tenure:see tenure, in law. forcenturies.Perhaps the problem is that things held 'in common' haveincreasingly come to be held by the state and its agencies. The state,elected by the people for the people, should stand for and carry out thecommon cause, but in reality seems too often concerned to invent and toprotect its own bureaucratic interests. State ownership becomes justanother appropriation, the taking of something which should be a'common good held in public trust' into the possession of someremote agency, which is theoretically public but acts as if private.Peter Fowler and I, worrying a few years ago about the style in whichStonehenge is looked after, asked for an effective local management; theplace needs -- we thought and we think -- to be run by someoneavailable, accessible and on the spot, not by a remote style of'telephone-line management'. This is a real challenge toEnglish Heritage English Heritage is a non-departmental public body of the United Kingdom government (Department for Culture, Media and Sport) with a broad remit of managing the historic environment of England. It was set up under the terms of the National Heritage Act 1983. , present proprietors of Stonehenge on behalf of theBritish people See : List of English people List of Scots List of Welsh people List of Northern Ireland people List of Cornish people List of Black Britons List of British Asians List of British Jews Outwith UKBritish Overseas Territories , and to all those state and quasi-state bodies thatcontrol archaeology in most countries. Avebury, sister site toStonehenge, has been owned half by the National Trust; now EnglishHeritage, following its controversial policy of divesting some of itsmonuments to local or community-based groups, has transferred itsportion to the Trust. The Trust has its critics -- sometimes for thesame reasons of centralized directions and remoteness -- but it seems tobe to have the right essentials for an archaeological custodian: avoluntary non-profit association, independent of state control, with amass membership, a genuinely democratic structure, broad and deepexpertise, a proven and effective management method that is regionallyorganized and in touch with local concerns. Somewhere in this middleground, neither state monopoly nor private commerce, business-like butnot profit-motivated, is the ethos that has served museums andarchaeology well in the past, and remains the directing need for thefuture.Up the freeway from Disneyland is the J. Paul Getty Jean Paul Getty (December 15, 1892 – June 6, 1976) was an American industrialist and founder of the Getty Oil Company. BiographyBorn in Minneapolis, Minnesota, into a family already in the petroleum business, he was one of the first people in the world with a Museum at Malibu,one of the most striking museums of the 1970s and quite the best ofthose I have seen. I first spotted it in perhaps 1987, from a jumbo jeton the long non-stop from London to Los Angeles Los Angeles(lôs ăn`jələs, lŏs, ăn`jəlēz'), city (1990 pop. 3,485,398), seat of Los Angeles co., S Calif.; inc. 1850. ; after hours Adv. 1. after hours - not during regular hours; "he often worked after hours" above thecloud, we came down, down, down through blowing rain. Suddenly, alreadylow, we came out through the cloud. Close below was the Californiacoast, the Pacific Ocean a sullen blue, and the purple-red hills of thecoast sodden sod��den?adj.1. Thoroughly soaked; saturated.2. Soggy and heavy from improper cooking; doughy.3. Expressionless, stupid, or dull, especially from drink.4. Unimaginative; torpid.v. with water. Long streaks of dark red sediment runningoffshore from the canyon washes showed where the soft soil of Malibu wasgoing. Then, under the wing on one of the slipping hill-tops, a crispand perfect building, with long symmetrical court, white walls, redroof, against intense green plantings. It could only have been, and wasthe Getty. (An equally audacious second centre for the Getty complex ofart institutions is now being built on the mountain immediately north ofLos Angeles, a mass of buildings which will cascade down Verb 1. cascade down - rush down in big quantities, like a cascadecascadecome down, descend, go down, fall - move downward and lower, but not necessarily all the way; "The temperature is going down"; "The barometer is falling"; "The curtain fell on the the canyonslope like an Italian hill-village; accessed by a tramway, it will hangabove -- this is Los Angeles -- the concrete ribbon of the San Diegofreeway The San Diego Freeway (Interstate 405, and the part of Interstate 5 south of the El Toro Y[1]) is one of the principal north-south highways in Southern California, and the major beltway of I-5 running through Southern California. .)The famous eccentricity, when the Getty Museum was opened in 1974,was the single-mindedness of the design, an adapted reconstructionfollowing the Villa dei Papiri at Herculaneum, buried by Vesuvius AD 79and explored by Karl Weber For the Russian Empire's consul to China and Korea, see .Karl Jakob Weber (12 August 1712 — 1764) was a Swiss architect and engineer who was in charge of the first organized excavations at Herculaneum, Pompeii and Stabiae, under the patronage of Carlo III of Naples. in the mid 18th century; his plan, of 1754,provides the model. Mr Getty, not shy in his feelings about modernistarchitecture, wanted nothing to do with a 'tinted-glass andstainless-steel monstrosity' or 'one of those concrete-bunkertype structures that are the fad among museum architects.'(*) Hewent instead for a full pastiche pastiche(păstēsh`, pä–), work of art that combines themes and styles from various sources in such a way as to appear obviously derivative. :The notion of putting an art collection into an elaborate housedesigned partly for that purpose seems to have been a Roman invention,and indeed the original Villa dei Papiri, like many other countryhouses, was a kind of private museum. In the villa the owner and hisguests, having escaped the business of the crowded city, could refreshtheir sense and their intellects. Sculpture, portable paintings, andmurals were placed where they could give delight in concert with thegardens, peristyles, fountains, vistas through rooms, and other pleasantcontrivances of the builder. By adapting a villa for his collection, MrGetty was reviving an older and purer form of the house-as-museum.Changing taste and the return to classicism classicism,a term that, when applied generally, means clearness, elegance, symmetry, and repose produced by attention to traditional forms. It is sometimes synonymous with excellence or artistic quality of high distinction. and classical revivals ofthe 1980s swiftly took the museum building, as the Getty Guide happilynotices, 'from retrograde to prophetic'.The approach is marvellous. First a rising hill, with glimpses of ahigh building through the trees. The road is paved with irregular blocksof an opus reticulatum Opus reticulatum (also known as reticulated work) is a form of brickwork that uses diamond-shaped bricks of tufa that are placed around a core of opus caementicium.[1] , modelled on the lava blocks of Herculaneumstreets and widely spaced to catch your foot unawares. A tall screen.You mount the stairway at the screen's end, and emerge in theperistyle. A breathtaking long space, bounded by a white colonnade colonnade(kŏlənād`), a row of columns usually supporting a roof. Colonnades were popular with the Greeks and Romans, who employed them in the stoa and the portico; they have continued to be used throughout the Middle Ages, the ;central pool; geometric plantings of box and evergreen; shaped trees;bronze statues of fawn and athletes; along the colonnade, spaced bustson tall plinths, trompe trompe?n.An apparatus in which water falling through a perforated pipe entrains air into and down the pipe to produce an air blast for a furnace or forge. l'oeuil paintings with swags and pretendcolumns; painted coffered ceilings. I was lucky when I visited, a stillApril morning April Morning is a 1961 novel by Howard Fast depicting the Battle of Lexington and Concord from the perspective of a fictional teenager, Adam Cooper. It takes place in the 27-hour period from April 18, 1775 to the aftermath of the battle. ; cool and a little misty early on, then hot as the sunburned a clear blue sky: California, but just as one knows to expectfrom Italy.At the end, the villa. A vestibule vestibule/ves��ti��bule/ (ves��ti-bul) a space or cavity at the entrance to a canal.vestib��ularvestibule of aorta? a small space at root of the aorta. entrance, intense rich designs inmarble geometry, more wall-paintings, carved spiral-fluted columns;another courtyard, smaller, with water and plantings and antique bronzesagain. Around it the museum's classical galleries, grand-domesticin scale, mostly rather small rooms. It is full-blooded classical inmanner: not the restrained classical, grand but cool, undecorated andreticent, which is the routine setting for classical pieces in the20th-century museum; but the works, with lots of marble and strongcolours. When looking at the Classical painted pots in a gallery, youreye strays out through the doorway to the central garden, to the waterand its serene guardian women in bronze, and beyond to the bright whiteand washed-out colours of the villa courtyard colonnade.The whole is a triumph of original-cum-replica-cum-pastiche, meldedand reflecting each other; it seems to me wholly to follow and torepresent the spirit of Greek classical as it has been known in the Westsince Roman times -- the high ideal to be collected, revered andemulated. The special point of Classical is in how we have remade re��made?v.Past tense and past participle of remake. it andhow it has re-made us over so many centuries. Many of the pieces, Romanafter the Greek, encapsulate en��cap��su��latev.1. To form a capsule or sheath around.2. To become encapsulated.en��cap that history, especially the LansdowneHerakles, one of Mr Getty's favourites; found in Hadrian'sVilla Hadrian's VillaHadrian's country residence, built (c. AD 125–34) at Tivoli near Rome. A sumptuous imperial complex with parks and gardens on a grand scale, it included baths, libraries, sculpture gardens, theaters, alfresco dining areas, pavilions, and private at Tivoli in 1790/1, it went to an aristocratic British collector,the Marquis of Lansdowne, until Getty acquired it in 1951. From Greeceto Rome to northern Europe to America, each time leaving an Old Worldand going to a New World. (And in the next millennium it may movewestward with the money to a yet Newer World: Singapore, say?)Good displays at the Getty, too. Not too much stuff. Well anddiscreetly lit, really good labels. The Cycladic figures are displayedupright, in the modern affectation af��fec��ta��tion?n.1. A show, pretense, or display.2. a. Behavior that is assumed rather than natural; artificiality.b. A particular habit, as of speech or dress, adopted to give a false impression. , but there is a plain statement thatthey probably lay down in antiquity, and one of the larger ones isallowed to lie down so you can see how different it looks that way. Goodand fair-minded account, with casts and an identified fake shownalongside for reference, of the Archaic kouros kourosArchaic Greek statue representing a standing male youth. These large stone figures began to appear in Greece c. 700 BC and closely followed the Egyptian style of geometrical, rigid figures. , bought from Switzerlandin 1983; either genuine and of a most unusual hybrid kind, or abrilliant and compelling fake.(*)Los Angeles was not quite back to normal after the Northridgeearthquake The Northridge earthquake occurred on January 17, 1994 at 4:31 AM Pacific Standard Time in the city of Los Angeles, California. The earthquake had a "strong" moment magnitude of 6. of February. The Santa Monica freeway had just re-opened withnew bridges; two canyons north of the Getty Museum are the platforms ofthe many houses burned in the Malibu fires of last year; there have beenfloods too. The whole sprawling city is a fitting modern evocation of acivilization's consuming acquisition of fine things from the knownworld over and of the precarious basis for Roman civic wealth; rememberwhat happened to the Herculaneum villa on which the Getty is modelled.California museums need their earthquake precautions, not just in thebuildings, but on the shelves which have padded guard-rails so the stuffdoesn't just bounce off when they shake. A tiny incident at theGetty reminded me of a more original terror of Californian life, theperil of liability law-suits. I had put my notebook down, leaned neatlyagainst the wall, out of the way in the very corner of the room, so Icould photograph the Getty kouros. An attendant approached. <<Wasit my notebook? Would I move it please? Yes, it was small and right outof the way in the corner. But someone might slip and fall. Then therewould be liability. We have to be careful, you know. They are lookingfor opportunities.>> Somewhere in California is, or might be, thatperson whose specialized way of life depends on contriving to slip andfall in prosperous museums, and then suing the heck out of them.Locally famous is the practical eccentricity of getting to the Getty.When it opened, the streets round were packed with visitors' cars,so it now promises to cause no parking near by. If you plan to drive,then you must book in advance -- and usually that needs to be severaldays in advance (a colleague at the Getty Conservation Institute kindlyarranged it for me). There is no charge, and therefore no discriminationby ability to pay, which I like. And it is fitting, too, to theconception of museum as country house that you are an expectedindividual, known to the staff at the gate-house by your name on theday's guest-list. If you cycle, your bike is proof you did not parkand walk. If a taxi or a friend drops you, the gate-house staff see thecar in which you came. If you come on the bus and then walk up thedrive, you show a little ticket from the bus-driver to prove you camethat way. If you actually walk all the way to the Getty -- and I didenjoy walking in some parts of Los Angeles as the best way to see thedomestic architecture -- then how are you to prove to the admissionstaff you really did walk, and not just park sneakily sneak��y?adj. sneak��i��er, sneak��i��estFurtive; surreptitious.sneaki��ly adv. round the corner?I must try another time.Although the Getty's collecting has diversified into many newfields, such as photography, and much of its huge endowment goes intoother ventures such as the Conservation Institute, the heart of thecollection remains in Classical and therefore in a dilemma. How is a newmuseum to build a collection of first-rate Classical antiquities thatare of good history? Most first-rate Classical is in museums andpermanent collections inside or outside the countries of origin, andwill never be for sale. New finds from legitimate excavation are notpermitted to leave their country of origin. Only a little of the beststuff is nowadays in private hands, long exported from the country oforigin and therefore of good title. How often does a kouros of goodhistory come on the open market? The Getty's came from Switzerlandin 1983 with documents to show it was from an old collection there; theywere fake.The many problems of private antiquities collections were on show inLondon from January to April when the Royal Academy staged In pursuit ofthe absolute? The George Ortiz Collection <<Art of the ancientworld>>. This is part of what I wrote about it in a piece intendedfor the monthly Art Newspaper early in the year:The George Ortiz exhibition at the Academy is a remarkable show, 282most beautiful ancient objects, chosen with exquisite taste by acollector of discriminating passion, and handsomely presented withexceptionally good lighting in the Academy main galleries. There hasbeen nothing quite like it in London before, and may never be again.Mr Ortiz has been collecting since the 1940s. Like many collectors ofantiquities, he began with the familiar, with arts of the Classicalworld, perhaps hoping that by acquiring ancient Greek Noun 1. Ancient Greek - the Greek language prior to the Roman EmpireGreek, Hellenic, Hellenic language - the Hellenic branch of the Indo-European family of languages objects he wouldimbue im��bue?tr.v. im��bued, im��bu��ing, im��bues1. To inspire or influence thoroughly; pervade: work imbued with the revolutionary spirit.See Synonyms at charge.2. the spirit, the essence behind them. Over the decades, his tastebroadened, to include the precursors and kindred cultures to theClassical world, and ethnographic objects which declared the sameclassical and human feelings. So this is a show defined not by academiccriteria, or by some bracketed period or region, but by Ortiz'canny connoisseur's eye. It offers those things he regards as sofine and special that their artistic genius reaches beyond theparticulars of their time and place, those rare things which deserve aplace in his private collection that has been formed, as he puts it,'in pursuit of the absolute'.The largest piece is a stone lion, under half life-size. Many aresmall, a few inches or less. I could list many that engaged my eye andadmiration: a little frog just a centimetre high in gleaming silveryhaematite (Babylonian, 2nd millennium BC); a coiled cast-bronze snakewith outstretched head (Greek, 5th century BC); a little bronzestatuette of a warrior youth, naked except for helmet and boots (alsoGreek, 6th century BC). Many of the subjects are human or animal; theyinclude many subjects and types -- a Villanovan miniature bronze horse,a blue faience faience(fāĕns`, –äns`, fī–)[for Faenza, Italy], any of several kinds of pottery, especially earthenware made of coarse clay and covered with an opaque tin-oxide glaze. hippopotamus hippopotamus,herbivorous, river-living mammal of tropical Africa. The large hippopotamus, Hippopotamus amphibius, has a short-legged, broad body with a tough gray or brown hide. from Egypt -- one has seen before, butrarely in such compelling examples.The majority, presented in the central group of six rooms, are fromthe Graeco-Roman world or its neighbouring domains. I have rarely in anexhibition been so taken with so many individual pieces, even when theyare battered or broken, like the astoundingly handsome marble bust,perhaps of Prince Siddhartha, which is the show's only piece fromthe classically influenced Gandharan tradition of the Indian continentin the early centuries AD. That compulsion is tribute to the consistencyof vision evident in the collection and in its display, which Mr Ortizsupervised himself.The full catalogue, illustrated with superb colour photographs ofevery piece, is also written by Mr Ortiz, who offers a little of his owninsight and vision alongside scholarly accounts of each piece. He has ahigh ambition for the art in his collection:'The collection you will see is a message of hope, a proof thatthe past is in all of us and we will be in all that comes after us. Letthese works of art speak to you, hopefully some of them will move you bytheir beauty and reconcile you to your fellow men however differenttheir religions, customs, races or colour.'The objects themselves know and share the Ortiz vision and mission,he says:'Objects came my way, and some of them unquestionably un��ques��tion��a��ble?adj.Beyond question or doubt. See Synonyms at authentic.un��question��a��bil becausethey had to do so. It is as though, imbued with the spirit of theircreator, they came to me because they knew I would love them, understandthem, would give them back their identity and supply them with a contextin keeping with their essence, relating them to their likes.'As an archaeologist, I am not convinced by this mystical story,either for the collection as a whole or for individual pieces. When MrOrtiz calls three Mycenaean chairs, modelled in ceramic at a miniaturescale, 'thrones', or a Neolithic terracotta woman 'arepresentation of a goddess', he is offering a moderninterpretation, not a statement of ancient or eternal certainty. The oldconnoisseur's tradition, and some trends like Jungian in20th-century psychology, pretend that the deep meaning of an object, thethrill it must once have given to its artistic creator, will revealitself to the gifted and sympathetic eye however removed in time andcultural separation. I do not believe that. The real contexts andancient purposes of these pieces, as we can best divine them fromambiguous evidence, are much more varied, exotic and -- often -- more todo with the darker side of human societies. The artist as timelesscreative genius is the particular and peculiar fancy of our own recentculture. Indeed, the whole feel of the collection -- these small things,so exquisite, so lovingly conserved, so graciously presented, so verycivilized in their haut-bourgeois refinement -- is dismayingly congruentwith the cartoon vision held in rougher and poorer European lands of theother-worldly elegance of moneyed life in Switzerland, where Mr Ortizand the collection are domiciled. There are figures in the show ofstrong young warriors, but not one tells me of the force, brutishness,violence which is central to the ancient soldier's trade; there arefigures of savage beasts in the hunt, but not one conveys the blood andthe killing.When Mr Ortiz talks of his 'pursuit of the absolute', Ifully believe that is how he sees his vocation. But I see also how muchin the choice seems to speak to us either because it comes from acentral place within our own cultural tradition or because its ancientaesthetic happens by simple chance to coincide with what we revere Revere,city (1990 pop. 42,786), Suffolk co., E Mass., a residential suburb of Boston, on Massachusetts Bay; settled c.1630, set off from Chelsea and named for Paul Revere 1871, inc. as a city 1914. inthe art of our own century; in these ways, our eyes are already attunedwhen we look at these ancient objects for the first time. Anothercollector or visionary in another time -- a Hadrian, an Alberti, a JohnRuskin, a William Morris Noun 1. William Morris - English poet and craftsman (1834-1896)Morris , a J. Paul Getty (or, come to that, thisreviewer) -- when asked to define the eternal in 282 objects wouldselect some very different things. 'In pursuit of theabsolute' turns into 'pursued by the relative', asperhaps it always must.The Art Newspaper sensibly spiked my piece when a public controversyimmediately enveloped the show and some of my points were quickly madeby others. Mr Ortiz was eloquent in his belief that he is a saviour,rescuing pieces that are usually found by chance and would be discardedor destroyed if they had no market value. Colin Renfrew, in an energeticconfrontation on television, made the opposed case, that it is themarket which fuels the destruction. Others showed not much sign ofhaving thought through the issues. Piers Rodgers, Secretary of the RoyalAcademy, explained his fidelity to the interests of the original artistswhose art was being celebrated. But if respecting the motives of themakers of ancient things was the point, why was his Academy exhibitingin its secular rooms objects made for and placed in ancient graves andsanctuaries, which have been taken from them with no regard for ancientintent? I agreed with Renfrew's closing remark: may Mr Ortiz be thelast of the great private collectors of Classical antiquities as well athe latest.Two notes in this number, by Peter Cannon-Brookes and by CorneliaIsler-Kerenyi, further address the many points that arise.Jeremy Milln organized a session at this year's Institute ofField Archaeologists The Institute of Field Archaeologists is a professional organisation for archaeologists in the United Kingdom. Its headquarters are at the School of Human and Environmental Science, in the University of Reading. conference on another element of the heritage whichcan be looted without digging: the 'furniture' of the historiclandscape. Its individual papers noticed what has been happening toboundary stones and boundary markers, Cornish wayside crosses, sundials,public statues, ornaments and statuary stat��u��ar��y?n. pl. stat��u��ar��ies1. Statues considered as a group.2. The art of making statues.3. A sculptor.adj.Of, relating to, or suitable for a statue. in parks and gardens. All these,not intended to be portable, are movable given a man with a van andsufficient collectors' demand for them to be worth the shifting.One could add another dozen kinds of this quasi-portable heritage thatnow seem to be at risk -- lamp posts, burial markers, staddle stones Staddle stones were originally used as supporting bases for granaries, hayricks, game larders, etc. The staddle stones lifted the granaries above the ground thereby protecting the stored grain from vermin and water seepage. ,horse troughs, querns, street signs, wrought-iron gates, mile-posts,mounting blocks, drinking fountains, benches, plaques. As more and moreobjects join the spreading category of 'collectable', so ismore liable to be removed from that common good which is held in publictrust.A final point from the editorial bonnet, where this bee has buzzedloudly through several issues of ANTIQUITY, before the beast is made tostay silent for a while. It seems to me that two extreme positions arewidely held. On one side, that all this stuff should move freely aboutin a market which admits no responsibility for the looting, destruction,smuggling, faking and deception that have followed from themarket-making. On another side, that it belongs to the people of thestate of origin; fair enough and true in principle, but unhelpful whenthis ownership becomes an exclusive possession; in practice it justifieseverything disappearing into exclusive and excluding museums, as ifconfiscated, there to sit indefinitely in overcrowded store-rooms. Thereis actually much good precedent for happier compromise. A recent one ison show in the travelling exhibition, Royal tombs of Sipan, a Peru-USAcollaboration to present the astounding Moche treasures, especially inprecious metal, rescued before the looters got to it in an exemplaryexcavation by Walter Alva's team in 1987-90 from coastal Peru.(*)Once travelled, it will form the basis of a permanent exhibition inPeru. A museum like the Getty, with its enormous resources andconservation expertise, has so much to offer. It is absurd that we haveno framework to link its opportunity -- and the showcase it offers forClassical archaeology 'Classical archaeology' is a term given to archaeological investigation of the great Mediterranean civilizations of Ancient Greece and Ancient Rome. Nineteenth century archaeologists such as Heinrich Schliemann were drawn to study the societies they had read about in Latin and -- with the accumulations that overwhelm thereserve collections of the central museums in the countries of origin.One could do worse than look again at the deal that was talked about afew years ago; the Classical countries of origin would make long-termloans of major items to major museums in the acquiring countries; andthe museums would renounce the habit of buying from the marketplaceobjects of unknown history whose possible or likely souce was illicitexport from the country of origin.Not many readers of ANTIQUITY may know, or care much, just how theoutfit is structured, just who owns ANTIQUITY, and just how thefinancial arrangements work. Some formalities are printed at the end ofeach number in the Editorial notices, but it is right that we shouldsometimes say a little more to inform readers.ANTIQUITY was founded in 1927 by O.G.S. Crawford who edited itcontinually until his sudden death in 1958. From that sudden crisis, thehappy outcome was a new non-profit proprietor, the Antiquity Trust, aregistered charity. Its trustees are a group of senior archaeologists(current chaired, Professor Barry Cunliffe Sir Barrington Windsor Cunliffe CBE (born December 10, 1939), known as Barry Cunliffe, has been Professor of European Archaeology at the University of Oxford since 1972. , Oxford University. Thebusiness operations are run by Antiquity Publications Ltd, a companyowned and controlled by the Trust, with its own board (current chairProfessor Anthony Snodgrass, Cambridge University). Day-to-day businessas well as editorial matters are the responsibility of myself,Christopher Chippindale, as the journal's editor, with the help ofCyprian Broodbank as assistant editor responsible for the reviewsection, and of Anne Chippindale as production editor. (The editorialstaff are paid, and work under fixed-term contracts.) Any surplus thecompany may make in a year goes towards the Trust's capitalreserve, and that reserve is drawn on when the company operates indeficit. Oxford Journals, part of Oxford University Press, market anddistribute the journal under contract -- which is why subscribersreceive it from Oxford -- but have no involvement in editorial matters.In some recent years, the company (whose annual turnover is about[pounds]100,000) has made a small surplus, so we are returning thebenefit to the archaeological community in three ways. We do not knowhow long this happy state will continue, for financial reverses can beabrupt, and we therefore can make no promise as to whether theseinnovations will be -- as we hope -- permanencies.We have a reduced student subscription rate (this year of[pounds]19.99/US$39.99, rates we will hold constant for 1995) to benefitnew and future members of the profession.We are supplying free copies to libraries in university departmentsand other institutions in countries whose resources or availability offoreign currency do not permit them to buy a paid subscription. Most ofthese copies are going to central and eastern Europe The term "Central and Eastern Europe" came into wide spread use, replacing "Eastern bloc", to describe former Communist countries in Europe, after the collapse of the Iron Curtain in 1989/90. , to Africa, and toSouth America, where the need seems greatest. A friend of ANTIQUITY,hearing of this, has kindly paid for another of these specialsubscriptions, and we would welcome gifts to provide for more, either toadd to the general list or intended for a specific institution.And finally, we are creating an ANTIQUITY PRIZE, which for 1994 willbe of [pounds]1000. Research funding is more fought over than it was,and time to write is harder for most of us to find; yet really goodwriting is as rare and as precious as ever. The prize is intended torespond to these facts; it will be awarded to the author(s) of acontribution to each volume of ANTIQUITY which is chosen for its specialmerit. The prize-winner may be in any part of the journal; commissionedreviews are eligible as well as papers and notes, for one of those mayequally be of special merit beyond the obligations of a reviewer. Thechoice will be made at year's end by a group of four (the editor,assistant editor, a member of the trust board and a member of thecompany board). The first winner, for this volume 68, will be announcedin the March 1995 issue.ANTIQUITY does not carry obituaries; it is invidious in��vid��i��ous?adj.1. Tending to rouse ill will, animosity, or resentment: invidious accusations.2. to notice someof those in our community who pass on, like Marija Gimbutas thisquarter, who 'deserve' a mention, and to overlook others, likeChristopher Raven who do not. Who is to say who matters, on the longarchaeological time-scale of these things? One wishes each spirit well,feels for those who are left behind, and hopes every archaeologist isburied in an archaeologically useful manner, interred with informativegrave-goods and certainly not burnt and scattered in a manner calculatedto leave a slight or ambiguous blur by way of archaeological trace. Andas Glyn Daniel robustly said at the passing of Margaret Murray in her101st year, it would be a terrible world if all archaeologists lived tobe a hundred.Another loss this year is J.K.S. St Joseph, master air-photographerat Cambridge University, heir in TALZIE, HEIR IN. Scotch law. Heirs of talzie or tailzie, are heirs of estates entailed. 1 Bell's Com. 47. the field to O.G.S. Crawford thefounder of ANTIQUITY. I wish now I had paid more attention to hisundergraduate classes, the way one does when it is too late. From 1964to 1980, he contributed a series of 50 reports of recentair-photographic discoveries to ANTIQUITY, and we reprint one classicphotograph from that series here, together with the interpretativedrawing that was published alongside (ANTIQUITY 34 (1965): 60-64, plateXIIIa & figure 1). It was taken in 1959 of crop-marks on gravelsouth of Radley in Berkshire, where Major Allen had in an earlier aerialgeneration recorded ring-ditches. Time moves, knowledge grows. The roundfeatures are still read as ring-ditches of ploughed-out barrows, and thecurious shape like a double pie-dish at bottom right is indeed aprehistoric feature. The feature at top right -- 15 marks in a goodcircle, with more dark marks inside -- was identified by St Joseph as apossible henge monument of pits or post-holes like that at Dorchester;it is now recognized as something else, the holes made for tree-plantingwhen the landscape was emparked in the early modern period, and relatingto the planted avenue of trees to the left.I asked David Wilson, the present director of air photography atCambridge, if the English landscape is now so smashed by development anddeep cultivation, its faint ancient features so smoothed and buffeted,that the golden age of aerial opportunity is at an end. Not so, hethinks; air photography is a chancy chanc��y?adj. chanc��i��er, chanc��i��est1. Uncertain as to outcome; risky; hazardous.2. Random; haphazard.3. Scots Lucky; propitious. business, depending so much on thecharacter of each season, and some classic areas, like the Wellandvalley are so well covered now that most of what is seen is not new, butthere are many more life-times to be spent in the business. And in otherregions like central Europe, where military suspicions preventedair-photo work, the opportunities are just beginning, as Martin Gojdareported from Bohemia in ANTIQUITY last year (67: 869--75).Noticeboard noticeboardnotice (Brit) n → Anschlagbrett ntConferencesThe Archaeology of Dartmoor: a conference to celebrate the Centenaryof the Dartmoor Exploration CommitteeUniversity of Exeter, England, 23-6 September 1994.Dr V.A. Maxfield, Department of History & Archaeology,Queen's Building, Exeter EX4 4QH, England.Heritage, education and archaeology: British Council seminarSouthampton, England, 12-19 October 1994.Application forms from British Council offices, or InternationalSeminars Department, The British Council, 10 Spring Gardens, London SW1A2BN, England.New professorsThe University of Nottingham The University of Nottingham is a leading research and teaching university in the city of Nottingham, in the East Midlands of England. It is a member of the Russell Group, and of Universitas 21, an international network of research-led universities. , said to be the most popular withundergraduates of all British universities, is strengthening itsarchaeology department by creating a chair in archaeology. The firstNottingham professor is Roger Wilson, Roman archaeologist of Sicily,formerly at Trinity College, Dublin For other institutions named Trinity College, see .Trinity is located in the centre of Dublin, Ireland, on College Green opposite the former Irish Houses of Parliament (now a branch of the Bank of Ireland). .Eva Margareta Steinby, student of the Roman brick industry and thetopography of Rome, Director of the Institutum Romanum Finlandiae, isappointed Professor of the Archaeology of the Roman Empire in theUniversity of Oxford.Roland Smith (New York University New York University,mainly in New York City; coeducational; chartered 1831, opened 1832 as the Univ. of the City of New York, renamed 1896. It comprises 13 schools and colleges, maintaining 4 main centers (including the Medical Center) in the city, as well as the ), author of Hellenistic royalportraits and Hellenistic sculpture, is appointed Lincoln Profesor ofClassical Archaeology and Art in the University of Oxford.Nicholas Postgate, archaeologist of Mesopotamia, is appointed to apersonal professorship in Assyriology at the University of Cambridge.* Intended to be published by the Society later in the year.I admit an interest; I was on the working group which sewed thistogether.* The J. Paul Getty Museum, Guide to the Villa and its contents(Malibu (CA): J. Paul Getty Museum, 1988). First rate, marvellouslyillustrated and printed. Its companion: The J. Paul Getty Museum,Handbook of the collections (2nd edition, revised; Malibu (CA): J. PaulGetty Museum, 1991). Ditto.* The Getty kouros colloquium col��lo��qui��um?n. pl. col��lo��qui��ums or col��lo��qui��a1. An informal meeting for the exchange of views.2. An academic seminar on a broad field of study, usually led by a different lecturer at each meeting. : Athens 25-27 May 1992 (Athens: Kapok kapok(kā`pŏk, kăp`ək), name for a tropical tree of the family Bombacaceae (bombax family) and for the fiber (floss) obtained from the seeds in the ripened pods. Editions for The J. Paul Getty Museum/Nicholas P. Goulandris Foundation[center dot] Museum of Cycladic Art, 1993). Obligatory reading for allwith any interest in these matters. The experts were divided; if oneabridges their considered comments into a single vote, the election thengoes: for authenticity 8, Sismondo-Ridgway, Holtzmann, Kleemann,Guralnick, Triantis, Rockwell, Podany, Preusser; against authenticity 6,Harrison, Lambrinoudakis, Marcade, Dontas, Trianti, Delivorrias;abstaining 4, Boardman, Kyrielis, Kozelj, Baer. The authentics have it,and they may be right. Another view on this most instructive little bookin Cyprian Broodbank's Among the New Books, below page 430.* See the catalogue: Walter Alva & Christopher B. Donnan, Royaltombs of Sipan (Los Angeles (CA): Fowler Museum of Cultural History,1993).