The Kelsey Blog – Page 3 – Behind the Scenes at the Kelsey Museum of Archaeology

Ugly Object of the Month — May 2022

By Suzanne Davis, with Dr. Laura Motta

Welcome to springtime, Ugly Object fans! It’s for reals this time! It hasn’t snowed for at least a week, and after a million months of winter, that feels like a miracle.

You know what else is a miracle? Seeds. I’m getting ready to plant some in my garden now that the ground isn’t frozen. Every year when I stick them in the dirt, I feel like, “there is just no way this is going to work.” But then it does! 

Because it’s that time of year—a time of minor miracles and new beginnings—our object this month is a sample of ancient coriander seeds.

Coriander seeds from Karanis, Egypt, 1st–4th centuries CE. 3.5mm x 4mm. KM 20355b.

My involvement with these seeds, which were excavated at Karanis, Egypt, is pretty limited. It consists mostly of making sure they don’t get damp or catch a fungus. But the Kelsey does have a real-life research expert in this area: archaeobotanist Dr. Laura Motta.

Dr. Laura Motta, seated at one of her research microscopes in the Kelsey Museum Bioarchaeology Lab, shows us a reference book with images of coriander seeds.

Dr. Motta’s research explores social complexity through food production and redistribution patterns, and much of her work focuses on the early phases of the world’s first cities. And yes, seeds help her do this! She agreed to sit down with me to answer a few seed-focused questions.

S.D.: Are these seeds for real? Were people at Karanis really eating cilantro and cooking with coriander 2,000 years ago?
L.M.: Yes! Coriander was very popular, and we know for sure that it was cultivated 2,000 to 3,000 years ago. But it’s also native to the Mediterranean region and to parts of Asia, so it would have been around even before it was cultivated. Coriander seeds have been found in large quantities in archaeological contexts much older than Karanis, such as King Tutankhamun’s tomb. The oldest known context is a Neolithic site about 7,000 years old. By Roman times, coriander was a very common cooking herb. One of the cool things about it from a culinary perspective is that the entire plant can be eaten, from the leaves—which, by the way, are called “cilantro” only in the United States—to the seeds.

S.D.: If I planted these seeds in my garden, would they grow?
L.M.: They probably wouldn’t grow. Not only are these “seeds” very old now, they’re not actually seeds. Technically, what we call coriander “seeds” are the plant’s fruits. The real seed is inside the small capsule you see, like it is for similar plants such as caraway, fennel, and dill. So you’d really be planting very old, very dried fruit.

S.D.: That sounds pretty dubious! So what kinds of information can you learn from seeds, or dried fruits, that are this old?
L.M.: You can learn a lot. Most of what we have preserved in the archaeological record is not spices or herbs like coriander, it’s major crops like legumes and grains. Karanis is unique because the preservation is so good that you get both major crops and things like herbs. For archaeological research, the great thing about seeds of any type is that everyone has to eat. Unlike objects, which often tell you more about the elite people who could afford to amass wealth, seeds tell you about everyone. Seeds can tell you what people at all different levels of society were eating and what crops they were importing and exporting. At places like Karanis, they can even show you differences between what people have in their houses for their own consumption, and what they are officially recording and reporting in letters to Rome.

S.D.: What’s one important, specific thing you’ve learned by studying ancient seeds?
L.M.: One of my most amazing discoveries was four tiny millet seeds that I found when collecting flotation samples at a Middle Bronze Age site (ca. 1400 BCE) in the Carpathian Mountains. “Flotation” is a technique where you mix soil samples with water, and then strain out and examine any organic materials that float to the top. It’s a way of discovering tiny seeds and other archaeological plant remains that would normally be missed during excavation. The four tiny millet seeds I found in this flotation sample were extraordinary because the Carpathian Mountains are part of a big system of mountains that historically created a boundary between Europe and Asia. We know that millet was hugely popular in Asia and then, at a later point in time, also became popular in Europe. When I took that flotation sample I was expecting to see the same European crops I was used to at the site, like legumes, barley, and wheat. Instead, I found millet! Those four seeds are some of the earliest evidence of millet making its way into Europe. I was very excited when I found them!

S.D.: Would you agree that ancient seeds are extremely cool and worthy of a place in museum collections?
L.M.: Yes, of course! Museums show interesting things and help us see how the past is relevant, but with archaeological objects we can often still feel like they are very separate from us. A painted Greek vase is recognizable, yet most of us don’t have anything like it in our homes today. But seeds don’t change! They are so relatable. We still use them today in the same ways our ancestors did thousands of years ago. Seeds can tell us all kinds of interesting stories, and we should absolutely make more room for them in museums.

Geoff Emberling To Give Lecture About Jebel Barkal

Jebel Barkal: The jebel (mountain) in the background with the Amun Temple (B 500) in the foreground. 2019 drone photo by Kate Rose.

This Wednesday, Kelsey Museum Associate Research Scientist Geoff Emberling will give a lecture about current archaeological work at the site of Jebel Barkal (ancient Napata) in northern Sudan. The site is being investigated as a joint project of the National Corporation for Antiquities and Museums of Sudan and the University of Michigan.

The lecture, “Collaborative Archaeology of Kush in Northern Sudan: Recent Work around Jebel Barkal,” will present the results of the project’s first seasons of work on Meroitic levels of settlement at the site, contemporary with the Roman occupation of Egypt (1st century BCE–1st century CE). Dr. Emberling will also discuss how the long histories of colonialism and structural racism have distorted our understanding of the ancient cultures of Africa and diminished their contributions to world history.

Visit Stanford University’s Archaeology Center website for more information and to register to attend this free lecture, which will be live-streamed from Stanford University on Wednesday, May 4, at 3:00 PM ET.

News from the Conservation Lab—analyzing ancient portraits and panel paintings

By Caroline Roberts, Conservator

Every time I walk through the first-floor galleries I like to pay a visit to KM 26801—the remarkable portrait of a woman on display in the museum’s Egyptian galleries. This arresting painting is a type of funerary object that was popular in Roman Egypt: a painted wooden panel that would have originally been secured via linen wrappings over the face of a mummy. Portraits like this one can be found in collections worldwide. They are often separated from their mummy, with their original findspots unrecorded and now no longer known.

We are taking a closer look at the Kelsey’s collection of panel paintings as part of the conservation lab’s ongoing NEH Color Research project, with the goal of adding what we learn to our growing color dataset, as well as to the APPEAR mummy portrait database. Multispectral imaging has allowed us to reinterpret the imagery of one panel painting (featured in an earlier blog post), and it has allowed us to identify pigments on mummy portraits in the Kelsey collection. On one painting (KM 26574, pictured here), the sitter wears a purple clavus (a decorative strip of fabric worn on the shoulder) that is painted in a way remarkably similar to the purple robe of the woman in KM 26801. On another, Egyptian blue appears in unexpected places in the figure’s skin—something we see in portraits from other collections. We also found another blue pigment—indigo—in the hair of a mummy portrait fragment that was discovered in a house at Karanis.

Fragment of a mummy portrait. Roman Egypt (Minia?), 2nd century CE. gift of Peter Ruthven. KM 26574.

All of this provides us with more evidence about the materials and techniques artists were working with when they painted these wonderful panel paintings and portraits. Just another day in the Kelsey conservation lab!

Ugly Object of the Month — April 2022

By Suzanne Davis

Welcome to springtime, Ugly Object fans! Or wait, maybe it’s still winter? The huge piles of snow have melted, campus is basically completely flooded, and daffodils and tulips are beginning to show us that they still live. And yet … it keeps freakin’ snowing and it’s hard to remember when we last saw the sun.

So I am keeping myself sane by doing the same things that got me through winter, namely cooking, knitting, and reading mystery novels, but mostly cooking. This ugly object is for all my fellow cooks and bakers who are staying sane the same way, and also for people who like a cozy ancient mystery where no one gets murdered.

“Bread” (but not really—see below) from Karanis, Egypt, 1st–4th centuries CE. 12.7 x  8.7 cm, 2.4 cm thick. KM 22492 and 22493.

Excavated in 1935 from the Roman Egyptian town of Karanis, Egypt, these objects are the remains of ancient flatbread … or so the excavators thought. Even at the time, there were some clues that they might not be bread. For example, they were found in huge stacks in a sort of warehouse-y space, which is odd, because—even back in the day—you would not expect bakers to warehouse their finished loaves. Typically you bake and sell on the same day (which is why you can get Zingerman’s bread on sale at the Produce Station after a certain time every afternoon—bread is a “one-day item”).

1935 photo caption: “Piles of bread as found in a top layer granary on the eastern side, A411. One pile reserved for the Department of Antiquities, Division, May 31, 1935. The other pile at the University of Michigan.”

The “bread” story never seemed quite right, and there was speculation about this material for decades, but what else could it be? The idea that it was flatbread persisted until the mid-1990s when a crack team of forensic scientists (paleobotanists) sampled the “loaves” and discovered that they are … wait for it … the crushed pits and skins of olives. In other words, these are what’s left over after you make olive oil. Just like me, the people of Karanis were crazy for olive oil, and they not only made their own, with large olive presses scattered throughout the town, but they also imported it from many locations around the Roman world. (Sometimes you’re just in the mood for a nice one from Andalusia, right?).

Now, why were these olive pressings stacked up in a warehouse? Were they going to be recycled/reused? Was there some other plan? As far as I’m aware, that’s still a mystery. 

Giving Blueday is here!

Today is Giving Blueday, the University of Michigan’s 24-hour celebration of giving. A donation to the Kelsey Museum anytime today supports the conservation and study of our collection of exceptional ancient objects, the development of interpretive and educational programming in our galleries, and the continuation of our active archaeological field projects.

Any amount helps! Visit the Kelsey Museum Giving Blueday webpage to make your donation.

Thank you!

Ugly Object of the Month — March 2022

By Caroline Roberts, Conservator

This month we are celebrating Women’s History Month with an uncharacteristically handsome Ugly Object: a sestertius coin featuring the indomitable empress Julia Domna.

Bronze sestertius. Septimius Severus for Julia Domna, 193–211 CE. Gift of George Monks, 1991. KM 1991.2.657.

Julia Domna was born in modern-day Syria to a family of Arab priests and became empress of Rome when her husband, Septimius Severus, defeated multiple co-contenders to the imperial throne in 197 CE. Julia Domna was a highly visible and powerful political figure who influenced the reigns of both her husband and her son, Caracalla. Her image appears in a range of marble carvings, in painted wood on the famous Severan Tondo, and countless coins—including KM 1991.2.657. Julia Domna appears on the obverse side of this coin draped with hair coiled and waved, encircled by her honorary title, Julia Domna Augustus. The goddess Juno, accompanied by a peacock, appears standing on the reverse.

These powerful images of women—one historic, one mythical—would have played an important role in amplifying the authority of the emperor by circulating the empire as currency. We don’t know where this coin was found, but I like to imagine it was carried around in the pocket of someone outside Rome—maybe as far afield as Julia Domna’s own hometown?


Attention, Ugly Object devotees! Giving Blueday is Wednesday, March 16!

Announcing 2022’s Giving Blueday, the University of Michigan’s 24-hour celebration of giving. Every March since 2014, the global U-M community has come together on Giving Blueday in support of programs and causes they care most about.

We know that the Kelsey’s Ugly Objects are uppermost in your mind when you consider making charitable donations with your hard-earned money. Any donation you make to the Kelsey Museum on Giving Blueday will support our broadest goals—including the careful conservation of these unique beauties. Gifts to the Kelsey are like the artifacts we care for: even if they seem small or insignificant, we love and appreciate every one.

So mark your calendar and give a dollar on March 16! Give two dollars! Give five whole smackers in commemoration of the love we know you feel for Franken Horse!

Learn more about what your donation to the Kelsey Museum supports at our website.


News from the Conservation Lab — Exploring bronze corrosion under the microscope

Harrison Biggs at the microscope.

This month we’re excited to welcome Harrison Biggs as our Conservation guest-blogger! Harrison is interning in the Conservation lab as part of the Museum Studies Undergraduate Program.

By Harrison Biggs, Conservation Intern

This semester I’ve been given the opportunity to work with Carrie and Suzanne as an intern here in the Kelsey Conservation lab. As an intern, I’ve been doing a lot of multispectral imaging and XRF analysis for the ongoing NEH Color Research project, but the project I’ve been most excited about lately is the treatment of this little bronze statuette (KM 3090).

Bronze Isis and Eros figurine. Graeco-Roman Egypt. Purchased from David Askren, 1925. KM 3090.

Even though treatment in this case just means picking harmful materials off the object with a pin (it’s more fun than it sounds), this has been a great opportunity to learn about the ways that bronze objects age. Bronze corrosion is an incredibly complex process where even small environmental changes can lead to the generation of drastically different minerals and patterns, but there are a few minerals that appear more than others.

Cuprite (Cu2O), a red-orange-brown copper oxide, and Malachite (CuCO3-Cu(OH)2), a pale green copper carbonate, are fairly common corrosion products that often form protective patinas on ancient bronze objects. Azurite (2 CuCO3-Cu(OH)2) is a less stable copper carbonate that tends to manifest as small blue crystals on an object’s surface. Nantokite (CuCl) is a soft, waxy copper chloride that forms commonly under burial conditions. When it gets too moist, Nantokite transforms into powdery, light green Paratacamite (Cu2(OH)3Cl), commonly referred to as “bronze disease.” Paratacamite is the main target of the treatment because, if allowed to spread, it can reduce an object to powder.

Together with a pile of less common and similarly colored minerals, these form a beautiful little world that I have the privilege of staring at through a microscope for hours at a time. I hope you enjoy looking at it as much as I do!

The surface of the figurine under 10x magnification.

“Pompeii in Color” exhibition now open

The exhibition Pompeii in Color: The Life of Roman Painting is now on view at the Institute for the Study of the Ancient World at NYU. Presenting thirty-five frescoes from the National Archaeological Museum of Naples, this exhibition invites visitors to experience the vibrant world of the ancient Roman home as the Pompeians themselves knew it.

Maritime landscape from room 52 of the Villa San Marco, Stabiae.

If you can’t make it to New York before the exhibition closes on May 29, never fear. An online portal gives access to a number of digital features, including a fly-through video of a 3D re-creation of a Pompeian home, a video commentary by an archaeologist who currently works at Pompeii, and other interactive features that bring the paintings to life in novel ways.

For more information and up-to-date visitor guidelines, including COVID-19 protocols, visit pompeiiincolor.com/visit-us.

Ugly Object of the Month — February 2022

By Suzanne Davis

Hello, Ugly Object Fans, and welcome to February—a month of celebration. This is Black History month, and the theme for 2022’s celebration here at U-M is Black Joy. Carrie and I are super excited about the many events celebrating the lives and achievements of Black people of all backgrounds, and if you’re here at U-M and want to join us in attending some of these, you can see a list on U-M’s Black History Month webpage.

Thanks to St. Valentine’s Day on February 14, this is also a month when we focus on love; love of romantic partners, family, friends, favorite foods, and funky craft projects. The latter is what we are showcasing in this blog post—it is an extra special collage made of ancient textiles, cut and pasted to make a fantastical chimera-like creature that looks (sort of) like a horse in ancient war armor. I call him Franken Horse.

Wool textile fragment(s) from Roman Egypt, 5th to 6th centuries CE, possibly earlier. 22 x 21.5 cm. Purchased in Egypt from Phocion Tano. KM 94443.

Franken Horse is an exciting mash-up of two different tapestry-woven textiles. The beige wool background of the piece is ornamented with a vining floral design in dark blue, red, green, and yellow wool. This fragment has a large, irregular loss in the center, and into this, another fabric has been sewn. This second fabric has a dark blue ground decorated with small, fat cross shapes in pinkish-red, green, yellow, undyed linen, and light blue. Each shape has a central boss of a contrasting color, either red or yellow. This piece has been placed so that it appears to create the body of an animal, with an element of the background fabric appearing as the creature’s head (and this thing has a horn, like the armor for a warhorse would have). Although both fabrics appear to be ancient, their conjunction is the work of a more contemporary creative hand; they are stitched together with modern thread. Overall the effect is bright, highly patterned, and strangely attractive. You kind of can’t stop looking at it.

This textile comes from the collection of a famous twentieth-century Cairo antiquities dealer, Phocion Tano, and it tells us a little bit about what early antiquities collectors were interested in, namely color and exciting designs. If you feel as much love for Franken Horse as we do, you are in luck: he is on view now in the Kelsey in Focus mini-exhibition, Ancient Abstraction in Textiles from Late Roman Egypt. If you are willing to brave the frigid February weather, you can see him in person on the first floor of the Upjohn Exhibit Wing here in Ann Arbor, where is he is in good company with two of his abstracted horsey textile friends. To be frank, any of the three would qualify for this series but, in our view, Franken Horse is the winner by at least a nose. You won’t be sorry you visited.

Can’t make it to the museum? You can also visit virtual versions of this and all previous Kelsey in Focus exhibitions on the Kelsey website.

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