I recently returned from a few weeks of work at one of the Kelsey Museum’s excavations — the site of Notion in Turkey. Notion is a beautiful, rugged, and windswept site on promontory jutting into the Aegean Sea, and it’s interesting from a research perspective because it preserves an entire city, albeit at ground level.
For the past three years, I’ve been working with Notion team to assess the site’s condition and the ongoing risks to its long-term preservation in order to develop a sustainable plan for its conservation. Conservation planning at Notion is interesting and challenging for many reasons. One is that the city is built from a few stone types that have inherent problems (translation: the stone is falling apart). Another is that Notion is poised to develop — and be conserved — in a way that’s uncommon for an archaeological site. Because the site has remained almost untouched, it preserves a large stretch of pristine coastline and is home to quintessential Mediterranean ecosystems. Unlike many archaeological tourism destinations in Turkey, Notion provides an opportunity for something closer to ecotourism, a type of sustainable tourism designed to benefit local communities at the same time that it encourages conservation and enjoyment of the natural environment. This poses a special conservation challenge: How can the site be preserved in ways that are unobtrusive and retain the value of its natural as well as archaeological features?
To give you a view into some of the difficult decision-making around this, here is one small example, focused on oregano. Yes, this star of summer cookery plays a major role at Notion! Notion’s wild oregano is incredibly powerful; it makes the site smell amazing, it’s attractive, and people come from all around the region to harvest it. But … it’s also a pesky condition risk to our falling-apart stone. It grows particularly well inside the blocks of the Temple of Athena. Not around them. In them. The oregano is literally breaking them apart.
So the question becomes, which is more important? The temple? The oregano? Thankfully it grows in other places on the site, too, so if we decide to remove it at the temple, we won’t doom this herb to destruction (but I secretly think the oregano from the Temple of Athena is the best on the site). At the moment, the Notion team is still in the planning phase for excavation and conservation, so we’re not yet ripping this herb out wholesale. We do, however, occasionally harvest small amounts for our own use, and I will leave you with one recipe for it — a cocktail created by the conservation and site management team at Notion. Enjoy!
Greetings, earthlings! Suzanne and I have just returned from two professional conference journeys — and boy, are we tired! The conference I attended was at the Getty Villa, located in beautiful Pacific Palisades, California. The hilltop replica Villa of the Papyri and ocean view beyond served as scenic backdrops for a conference focused on the study of Roman Egyptian mummy portraits. (Sadly, I have no photos from the Villa itself, only the one below from the Getty Center — also beautiful!) The talks were wide-ranging, from discussions about portrait workshops and artists’ materials to imaging techniques and binding media analyses. My own talk explored changes in the green pigment palette during the Ptolemaic and Roman periods, while looking at a group of painted shrouds as case studies. The conference brought together mummy portrait enthusiasts from around the world, and planted all kinds of new research ideas in my head. If you are wondering, How can I get my hands on the post prints? — fear not! They’ll be published online in fall 2019.
Suzanne attended the American Institute for Conservation’s 46th Annual Meeting in Houston, Texas. I say attended, but really, Suzanne was program chair and in effect the mastermind behind the conference’s academic program. The theme this year, Material Matters, explored the impact of material studies and issues of materiality on conservation principles and practice. One member-proposed session featured papers that discussed the preservation of cultural heritage through the transfer and transmission of materials and information from one medium to another. In a joint objects-architecture specialty group session Suzanne gave a talk about the preservation of ancient graffiti at El Kurru, Sudan. Suzanne’s research has also just been published in the Journal of the American Institute for Conservation, which you can read here. I think we both agree that while a conference is a great opportunity to share research and catch up with colleagues, nothing beats a good old-fashioned peer-reviewed publication for getting new information out there.
Last month, I returned from fieldwork at El Kurru, the Kelsey’s excavation project in Sudan. It was a good season overall, but also a bit odd. It felt to me like a season where almost nothing worked out the way we’d planned. For example, the conservation worklist included stabilization of cracked columns in the funerary temple with a lime-based mortar. I’ve done work like this on many other projects and expected it to go smoothly, but it didn’t. Amaris Sturm — conservation intern this year at El Kurru, and a National Endowment for the Humanities Fellow in conservation at the Winterthur/University of Delaware Program in Art Conservation — ended up testing twenty-six (!) different grout mixtures before hitting on one we were happy with. For other team members, equipment was delayed or couldn’t get through customs, supplies didn’t arrive, and work plans had to be altered mid-season.
In retrospect, it was a season of significant progress on multiple fronts, but at the time … at the time, I often felt like nothing was working and it was seriously frustrating. When I think about it now, my time onsite this year was a small lesson in persistence and a demonstration of the power of kaizen. This philosophy (which originated in the U.S. but became popular in Japan following WWII) advocates continuous improvement by making small changes or taking small steps. In Arabic, people often say, “shwaya-shwaya” to mean, “a little bit,” or “little-by-little.” For me, it was a shwaya-shwaya season, and in the end we accomplished most of what we’d set out to do.
Amaris Sturm at work in the El Kurru funerary temple. Photo by Suzanne Davis.
This month I’ve been getting to know Bacchus (Dionysos to the Greeks), a Kelsey Museum favorite normally on display outside the Villa of the Mysteries room. Bacchus’s head dates from the early to mid- second century AD. It is made of carved white marble and was once part of a larger standing figure which would have been pretty impressive given how great its noggin is! I’m examining the head because, believe it or not, there are traces of color on it. There is an abundance of red in the hair that is visible to the naked eye, but there are also traces of red in less noticeable areas. Using a Dinolite digital microscope I’ve spotted tiny deposits of red pigment in the tear ducts of Bacchus’s eyes and at the corner of his mouth. Using an imaging technique called Visible induced infrared luminescence (or VIL), I’ve also found traces of Egyptian blue on the leaves of the god’s ivy wreath. This could mean that the wreath was painted blue, or perhaps green if the blue was mixed with yellow.
Bacchus will return to display in the Roman galleries this summer and will be featured in the upcoming exhibition Ancient Color, opening February 8, 2019. Visitors to the exhibition will get a chance to see Bacchus’s colorful hair through digital color reconstructions that will illustrate how he might have appeared in antiquity, based on material evidence.
Here in the Kelsey Conservation lab, we started the New Year right by totally destroying a few things. Don’t worry — they weren’t from an ancient artifact or building! For conservation work at the Kelsey’s excavation in El Kurru, Sudan, we wanted to know how much weight the local sandstone bedrock could bear. Enter Bob Spence, from the Department of Civil and Environmental Engineering, who helped me perform compression or breaking strength tests on samples of the sandstone — by which I mean Bob graciously performed the tests, and I watched the samples be slowly pulverized. A good time was had by all, except maybe the sandstone.
I love many things about working as a conservator, but Integrated Pest Management (IPM) is not one of them. Thankfully, my colleague Carrie is quite into this activity, which is part entomology and part detective work. IPM is an important part of “preventive conservation,” a phrase that refers to the actions you can take to prevent conservation problems before they ever start. Like, for example, having your valuable library chewed up by book lice.
Once a month, Carrie collects bug traps from all around the museum and then examines them to see what critters are getting in and where they’re hanging out. We have some repeat visitors: silverfish, spiders, house centipedes…. But every now and then, look out!!! Stranger Danger! Carpet Beetle who could eat all our textiles! Wood-boring beetle who could eat up the wood! Where did they come from??!! Where are they going? How many are there? How close are they to the objects we don’t want them to eat?
These gripping questions – and more – can be asked and answered, all with the help of sticky bug traps and Carrie’s careful tracking. Yes, sometimes STEPS must be taken, and Carrie is on it. That’s IPM. Glamorous it’s not, but I’ll tell you – there’s never a dull minute here in conservation at ye olde Kelsey.
BY CAROLINE ROBERTS, Conservator, Kelsey Museum of Archaeology
Last Friday we said goodbye to our first-ever summer intern in conservation, Amaris Sturm. Amaris is a graduate student in the Winterthur / University of Delaware Program in Art Conservation, and has a special interest in archaeological conservation. During her two months at the Kelsey, Amaris treated twelve artifacts (many in preparation for the Museum’s upcoming Bicentennial exhibition), familiarizing herself with some of the “bread and butter” activities of a museum archaeological conservator. She brought thoughtfulness and skill to each of her projects, and approached each new treatment as an opportunity to learn. As is often the case with interns and fellows in the lab, we learned a great deal from her as well.
We will miss having Amaris in the lab, and wish her all the best as she moves on to her internship year at the Walters Art Museum in Baltimore.