July’s News from the Conservation Lab

by Suzanne Davis, Curator of Conservation

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.

Temple of Apollo at Notion
Altar of the Temple of Athena at Notion, with view of the Aegean Sea.

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.

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The Temple of Athena at Notion.
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Wild oregano bursting forth from the blocks of the Temple of Athena.

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!

The Notionikos

Ingredients

  • 1 sprig fresh oregano* (additional sprig for garnish, optional)
  • 3 slices small cucumber, peeled (additional slice for garnish, optional)
  • 1/2 oz freshly squeezed lemon juice
  • 2 oz gin
  • ice
  • tonic water

Directions

  1. In a rocks (old fashioned) glass, muddle the oregano and cucumber slices with the lemon juice.
  2. Add the gin and fill the glass 2/3 full with ice.
  3. Add the tonic and stir gently.
  4. Garnish with the additional oregano sprig and cucumber slice, if desired.
*The oregano from Notion is STRONG – feel free to use more sprigs if you’re not getting enough of an herb-forward effect.

April’s news from the Conservation Lab: El Kurru 2018 season retrospective

BY SUZANNE DAVIS, Curator of Conservation

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.

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Amaris Sturm at work in the El Kurru funerary temple. Photo by Suzanne Davis.

 

March’s News from the Conservation Lab: Reconstructing Color on a Roman Marble Head

By Caroline Roberts, Conservator

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.

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Marble head of Bacchus, early to mid-2nd c. AD. Height: 32.5 cm. Joint purchase of the University of Michigan Museum of Art and the Kelsey Museum of Archaeology, 1974. KM 1974.4.1.
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Left: visible light image, proper left side; right, VIL image showing Egyptian blue under a leaf on Bacchus’s ivy wreath (the whitish spots in the middle of the image).

Ugly Object of the Month — March 2018

BY CAROLINE ROBERTS, Conservator

Greetings, Ugly Object fans! This month’s featured artifact is not really an object. It is, rather, a somewhat unseemly chunk of … any ideas? Here’s a clue: it is a thing greater than the sum of its parts. It is made up of large fragments of yellow marble, tufa, and travertine embedded in a gray pozzolan/lime mortar. In other words, it’s a mixture of aggregate and cement, which are the necessary ingredients for — you guessed it — Roman concrete! This particular fragment of concrete was brought to Michigan in 1901 by none other than Francis Kelsey, undoubtedly for the benefit of his students. Our records say that it is in fact a piece of wall core from the Diocletian baths in Rome. That is quite a pedigree!

Although this chunk is not much to look at, it is an example of a pretty remarkable form of Roman construction technology. You can visit this and other artifacts of Roman construction on the second floor of the Kelsey Museum’s Upjohn Exhibit Wing.

 

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Fragment of Roman concrete. KM 2373.

News from the Conservation Lab

BY SUZANNE DAVIS, Curator of Conservation

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.

IMG_4113
Carrie Roberts, Conservator, with a month’s haul of sticky bug traps from around the museum.

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.

 

News from the Conservation Lab: a fond farewell

BY CAROLINE ROBERTS, Conservator

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.

Thank you, Amaris!

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Amaris removes an old coating from a copper alloy dish.
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One of Amaris’s treatment projects: a reconstructed ceramic vessel from Karanis.

 

Investigating color on a Roman-Egyptian mummy portrait

by Caroline Roberts, Conservator

This week a team from the Detroit Institute of Arts conservation department traveled to the Kelsey to take a closer look at one of our Fayum mummy portraits. The portrait is normally on display in the Dynastic Egypt gallery and is dated to the Roman period of Egypt (79–110 AD). The woman featured in the portrait is clearly of means, as her gold earrings and necklace, colorful gems, and purple robe indicate. We were curious to learn more about the colorants that were used to paint her portrait and to look for painting details that have become harder to see over time.

Christina Bisulca, conservation scientist at the DIA, brought along a portable spectrometer to identify pigments on the painting. She found evidence of pigment mixtures in multiple areas of the portrait, including the flesh tones, the oval gem at the center of the woman’s pendant, and the drapery of the robe. It appears that the various shades of purple in the robe were likely created by mixing and laying blue and red pigments and dyes, for example. Further analysis is needed to verify these results.

Aaron Steele, the DIA conservation department’s imaging specialist, brought along their powerful infrared camera to see if underdrawing might have been used to sketch the sitter before paint was applied. Although underdrawing was not immediately visible, details of curls along the hairline and sectioning of the woman’s hair could be seen in the infrared images. Details of paint application next to the woman’s face are also much more visible in the infrared. I also had the chance to capture ultraviolet images and produce infrared false color images which provide good information on the distribution of certain pigments (including rose madder and Egyptian blue) over the surface.

We look forward to learning more about the Fayum portrait over the next year and to featuring the results in an upcoming Kelsey exhibition about color in the Roman world. Many thanks to our friends at the Detroit Institute of Arts for their support of this project!