Next Friday, I’m giving a lunch and lecture at the Museum on the topic that has many times graced my blog: the science related to the research on the classical collection. What a fun learning experience that has been! The project is not completed by any means–it will culminate in the publication of said research in the collection catalogue–but we’re wrapping up the actual study of the artefacts.
A few days ago, I was told that the event was sold out! Now I just need to get cracking on that PowerPoint! I dump loads of very cool photos in it, I just have to organise them into a coherent narrative. No worries, it will get done by Thursday evening!
Just a few days after the study of the Roman mosaic, another consultant dropped by the NCMA to look some early Greek material. Bryan Burns’ visit was very short–a few hours–because we only have three Mycenaean figurines. They are small, but they are adorable! Not only that, the figurines are some of the oldest artefacts in the Graeco-Roman collection (they date to circa 1400-1150 B.C.E., way before Classical Greece.)
Bryan in action
Two ladies and a bull
I spy with my little eye…
Lovely detail of the hair falling down the figurine’s back.
Do you know what callipygian means? Look it up! :)
There was a flurry of activity related to the research on the classical collection during last week of August. Normally, the objects under observation are removed from the galleries so that we can study them in either the conservation lab (Corey) or the Scholars Room (the visiting consultant and I). However, it was the Roman mosaic that was the subject of the study session… and it could not be moved! So mosaic specialist Debra Foran, objects conservator Corey Riley and I worked in the galleries.
The study took place on Monday because the museum is closed to the public. We could work quietly and also study every single little tessera (tile) that makes up the lovely floral and geometric design of the mosaic. We all felt a little weird kneeling or sitting on blankets on the edge of the mosaic so that we could look at the middle of it closely! Tiles were counted, no loose ones were found, we looked at the colour of the glass and stone tesserae with the Munsell chart… every little detail was studied.
Last week, the objects under study for the classical catalogue were the ancient metals (bronze statuettes and gold finger rings). Ancient bronze specialist Carol M. visited the NCMA to examine our (very lovely) pieces and Corey was there as well for the conservation assessment. However, Noelle, our very tech-savvy conservator of record for the research project, had all the fun!
Some of the statuettes were x-rayed and the fabulous Head of a Woman in the Guise of a Goddess was zapped in the eye with the XRF (to obtain the composition of the silver used for her eyes). Noelle also brought the Head to the mail room this morning so it could get weighed!
Cue whatever heavy metal band you’ve got on your playlist and take a look at these cool pics!
Head of a Woman in the Guise of a Goddess
Noelle, Corey and Carol discussing the bronzes.
Yours truly and Carol looking at the printout of the x-ray of the Aphrodite-Isis.
Aphrodite-Isis is partially hollow inside and once broke her foot.
Look at the great shoes on that Amazon fighting a Greek!
Corey showing us the back of the mirror (like it is displayed in the galleries).
The other side of the mirror is a nice shiny silver surface in which to see your reflection!
Carol studying her favourite metal head!
Zapped in the forehead with the XRF.
Blinded by science!
She’s so heavy! (Head of a Woman on the scale in the mail room.)
Earlier this morning, the classical galleries were closed for ‘research and conservation.’ Bill, our chief conservator, and I were there to take samples of the bright pink pigment found on the South Italian ceramics. We have a good idea of what this pigment might be but we’ll send samples to a colleague in Italy for scientific confirmation.
Sampling is always a delicate procedure because it is destructive. Bill had to scrape some of that fabulous pink off the four vessels that use it in their decoration. We picked locations on the vessels that are less visible when you’re visiting the galleries and viewing the pots. You shouldn’t notice where the pink pigment was scraped off.
The results will be published in the NCMA’s upcoming catalogue of classical art.
Gallery temporarily closed!
Identifying sampling location
Sampling pink pigment
A very delicate operation.
Sampling the double jar.
Last week, the study of the classical collection continued when Laurel Taylor came to the Museum to look at the other Roman artefacts (not the Roman marble statues that have already been studied). Corey Riley was there as well, taking care of the conservation assessment. The collection of Roman ceramics is rather small and not of good quality compared to other ceramics we have from elsewhere in the ancient Mediterranean.
Two of the objects were not even Roman and two others were probably forgeries! The rest were cute if not spectacular. Although we had fun, I guess our Roman study session was more like VENI, VIDI, SED NON VICI.
A really weird package came for me in the mail a few days ago. It was from the marble guy with whom I’m working on the Museum’s marble sculptures. A gilded and pointy thing made out of wood. With it a simple note that said: Can you guess what this is?
As I walked back to my desk, it hit me like a bolt of lightning! It was a little ray of sunshine! Our statue of the Celestial god (possibly Helios, the Greek god of the sun) wears a headdress that has little holes in it. These may have held gilded metal rays to create a radiant crown (a bit like the Statue of Liberty). My colleague had send me the mock-up of a ray to insert in the headdress to determine the correct proportions. Once that is figured out, a set of twelve rays will be made to recreate the golden crown for a photo.
Our verdict: the ray needs to be thinner and shorter.