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.
The exhibition Excavating Archaeology presents a look back at the history of archaeological explorations undertaken by the University of Michigan. It was guided by the work of Carla Sinopoli, who co-edited the book Object Lessons and the Formation of Knowledge (with Kerstin Barndt; University of Michigan Press, 2017). This book presents the fabulous history of how the materials that came to make up the various libraries, archives, and museums at U-M — including the Kelsey Museum — arrived here in the first place.
The collections at the Kelsey have had their own books detailing their histories. Artifacts from excavations are thoroughly discussed in the book In the Field (Talalay and Alcock; Kelsey Museum, 2006), while Passionate Curiosities (Talalay and Root; Kelsey Museum, 2015) gives us the background of the objects that were collected by individuals.
Books like Object Lessons, Passionate Curiosities, and In the Field owe much to the many people who have, in their own way, written about the collections at Michigan. One of these is the focus for this month’s “From the Archives.”
For this month, we present a report written by Museum of Classical Archaeology curator Orma Fitch Butler. Butler, a native of Fitchburg, Michigan, and high school student in Mason and Lansing, received her bachelor of arts in 1897 from the University of Michigan. In 1901, she earned her master of arts, and then her doctor of philosophy in 1907, both also from U-M. After some time away, she returned to Michigan in 1912 as Francis Kelsey’s assistant in Latin and Roman Archaeology. In 1928, after several other promotions, Butler was named Curator of the Archaeological Collections, a position she held until her death in 1938.
As part of her duties, she wrote a report on the collections that was presented to the University president. This particular report is from 1930, and covers the time period when the Museum first opened (not yet named the Kelsey Museum). Dr. Butler writes about the collections and how they came to be in Ann Arbor. She tells us about the various people involved in procuring the artifacts, starting with Francis Kelsey. From there, she speaks about other U-M professors, friends from Ypsilanti, and friends from Tunisia, Italy, and elsewhere in Europe, Africa, and Asia. What she writes gives us greater insight into the objects we admire in the galleries every day.
Butler writes more than just about the history of the collections in her report. She speaks about the aftermath of Kelsey’s death (in 1927), and how the collections and Museum owe much to him and his legacy. She writes that, with little to no publicity, the Museum still received over 100 people in its third and fourth months. This interest that the public has in classical archaeological materials, Butler notes, is a great sign for the future of the collections. She stresses that the University has a duty to maintain and care for the collections.
Elsewhere, Butler writes about Newberry Hall, and how, even so early on, it is acknowledged that it is not adequate for a museum. However, the museum staff are using the space as best they can, with certain rooms dedicated to different exhibition themes (the long room in the back what is now the gift shop and classroom, long before the elevator was installed).
Ultimately, the collections are in good and sound condition. The future seems bright. The University needs to invest in the collections and care for them. By doing so, they will ensure they can continue being used for two important purposes: exhibitions and instruction. Butler would be heartened to know that, nearly 90 years later, this vision remains true.
Summer is upon us, and with it come a number of summer blockbusters at the movie theaters. Movie companies put out some of the biggest draws of the year during summer, in order to appeal to children and families not in school, and too hot to be outside. But people haven’t had movies to distract them for very long, only since the end of the 19th century and beginning of the 20th century. Only then did films become a normal part of culture.
Prior to that time period, people would find entertainment in other manners. Theater, music, reading, newspapers, and so on. However, there was still another form of entertainment available, now known as pre-cinema. This genre was an attempt by many inventors and entertainers to use technology to trick the eye into seeing something that was not there.
Some used effects, such as mirrors to create illusions. While others knew the eyes sees in stereo. The stereoscope was an early 1800s invention that showed two images side-by-side, but both at ever so slightly different angles. Using mirrors, or a barrier between the eyes, the devices would trick the eye to think it was looking at the same image from different angles. The eyes would see this as a three dimensional image, and the contents of the photographs would pop. It was an early form of 3D.
For this month’s “From the Archives,” we present a stereoscope and stereoscopic views found in the archives. The details on how we acquired this item and views is unknown, though collecting such materials in the early 1900s was quite common. Much like other photographs from the era, they were sold to people wanting to see Europe and northern Africa and Palestine. This was before tourism took off and people began traveling to those destinations themselves. This particular stereoscope, a Holmes stereoscope, was perhaps purchased by Francis Kelsey himself.
The stereoscope is here shown with various views of daily life from Palestine. These were created by Underwood & Underwood, a popular photographs distributor from the era. Aside from the views, the cards come packed in a box that looks like two books, simply titled “Palestine.” These views could have been used to educate students on what Palestine looked like at the time, maybe as they learned about ancient Roman life in the area, or the times of Jesus Christ. Whatever the original intention, the views and device remain at the Kelsey Museum. Though broken, they remind us what entertainment people had, and they remain educational for us, but in different ways.
Photo caption: A collection of stereoscopic views from Palestine showing scenes of daily life, front and back sides. Also seen is the stereoscopic viewer itself, along with the “book” box containing the collection of stereoscopic views from Palestine.
Photo caption: A collection of stereoscopic views from Palestine showing scenes of daily life, front and back sides. Also seen is the stereoscopic viewer itself, along with the “book” box containing the collection of stereoscopic views from Palestine.
Photo caption: A collection of stereoscopic views from Palestine showing scenes of daily life, front and back sides. Also seen is the stereoscopic viewer itself, along with the “book” box containing the collection of stereoscopic views from Palestine.
BY SEBASTIÁN ENCINA, Museum Collections Manager, Kelsey Museum of Archaeology
December 5, 1919: “Typical view on one of the modern streets. At this time, signs in French were allowed.” (KS43.05)
December 5, 1919: “Up the Golden Horn from the Galata Bridge, ferry steamer in the foreground.” (KS043.07)
December 5, 1919: “The Galata Bride, looking toward Pera.” (KS043.12)
December 5, 1919: “From the Galata Tower, toward Stamboul, into the light. Mosques on sky line. Glint of Sea of Marmora in distance.” (KS044.09)
December 9, 1919: “Young man having a letter written by the old public letter writer. Near the Egyptian bazaar.” (KS047.10)
June 17, 1920: “Views. Also from Galata Tower, more to right. Golden Horn below bridge at right. St. Sophis on sky line in Stamboul at the right. Mountains beyond are in Europe.” (7.0610)
Istanbul is a beautiful city. For the readers who have had the pleasure of visiting this majestic city, you will know the wonders to be found around each corner. The Hagia Sophia standing iconically in Sultanahmet, not far from the Blue Mosque. In between a park where people gather at all times of day, but that comes to life at night. The area of Sultanahmet, though touristy, is ripe with colours and glamorous views from atop hotels that look out over the Bosphorus.
A few minutes away one can get lost in the Grand Bazaar. Various corridors will take the visitor to shops of all kinds. If you need a souvenir, you can find it in the bazaar. Fresh fruits, fish and meats, nuts, spices, including Iranian saffron, are all there for the picking. Jewelry and household adornments. Clothing and housewares. An ornate tea set that would look great in your parent’s house. Hours later, you might still find yourself going down paths that are new to you, and keep finding new goods you cannot live without. The shopkeepers eager to encourage you to buy.
Walk long enough in the bazaar and you might come to an exit eventually. Though you entered coming from Sultanahmet, you find a new exit. This one brings you directly to the Bosphorus and the Galata Bridge. There is still much to see on the old side of the city, but you wander onto the bridge. Here, along the lower level, you can stop for lunch at one of the numerous restaurants clamoring for your patronage. Enjoy the fish coming off the boats and wash it down with the local brew, Efes.
From here, you can continue to the new side of the city, where modern shops with brand names litter Istiklal Street. You see more cafes, where artists gather to talk the hot topic. Restaurants and food vendors are found on every corner, and between. The Galata Tower towering over this area, and the steep steps leading you up to get a good view. Turn around, or climb the tower (which has a restaurant), and glance again at the Bosphorus and the old city. The minarets sprinkling the city from end to end. You see the bazaar waiting to greet you again. Maybe you continue to Taksim Square, or visit Galatasaray Lisesi, the high school on Istiklal. Or you do some shopping.
Eventually you return to Galata Bridge, but rather than head back into the old city, you take a ferry tour of the Bosphorus. A tour guide pointing out the famous buildings in landmarks, as you relax on the gentle waters. When done, you head back to Sultanahmet and you see a gathering of people. What is this, you wonder, and you come close to an outdoor theatre where whirling dervish dancers perform. They spin to the music, and you find yourself lost in the motion.
Nearby, as it is dark, you see families out playing with light toys that shoot up in the sky. Street vendors sell corn and other treats. Others, including locals and tourists, duck into hookah lounges, where they enjoy some chai and flavored shisha.
There is much to this city, and Francis Kelsey and George Swain found something quite similar when they visited. Back then, the city was still known as Constantinople, though in his photos, Swain refers to a “Stamboul.” The city has changed much since the 1920s. A comparison of photos shows the spread of buildings and new construction found everywhere. Still, locals will look over these photos and see much they recognize. And they speak to the changes to modern times. The photos Swain took are, quite literally, a snapshot of a bygone time, but one not that long ago.
Istanbul has been an important city for a long time. It is where Asia meets Europe. Much trade goes through this city, as it also controls access to the Black Sea. It is no wonder that Kelsey visited many times on his way back and forth between North Africa and Europe, with stops in Palestine and Syria. And many present-day Kelsey archaeologists go through Istanbul on their way to Notion, or Aphrodisias, or any number of sites where Michigan has a presence. Istanbul is a magical city, one highly recommended to visit. It is full of life and beautiful scenes. Nothing can detract from this.
BY MELISSA SOMERO, Graduate Intern in Kelsey Museum Registry
Hiding out in the Kelsey Museum Archives for the past semester I have come to appreciate the variety of documents that are housed there, such as those pertaining to the history of the museum, including Francis Kelsey and his expeditions, as well as excavations carried out by the University of Michigan. Perhaps some of the most interesting finds were the many photographs by George Swain documenting Francis Kelsey’s expedition to Europe, Near East, and Africa from 1919 to 1920. Kelsey’s expedition was documented by the Dangerous Archaeology exhibition, which also chronicled the history of archaeology in the Near East. It was from this collection of George Swain photographs I have chosen to highlight the photos from Syria. Swain gives us a rare glimpse into the lives of everyday people and refugees in the early part of the 20th century, as well as beautiful archaeological sites.
Aleppo, January 9, 1920: “Friday bazaar. Part of the crowd that gathered around the car.” (KS089.02)Aleppo, January 9, 1920: “Friday bazaar. Copper utensils in the foreground. Then the crowd, with some of the citadel in the distance.” (KS087.02)Aleppo, January 7, 1920: “Line-up at the entrance to the A.C.R.N.E. eye hospital, on the sidewalk. Dr. Tenner at right of door in back row at the left — man with moustache.” (7.0193)Aleppo, January 7, 1920: “The exterior of the inner entrance to the citadel, with a part of the inclined bridge over the moat.” (KS079.01)
Aleppo, January 8, 1920: “View of Aleppo from the roof of the Hotel Casino, the headquarters of the A.C.R.N.E. (later, Near East Relief). The railway station and modern part of the city are at left. OId part of the city at the right, and beyond this the rise of the Citadel. The low building in the left distance is a barrack. Note that house roofs are built nearly flat so as to collect rain water. A stream, not shown here, runs through the town from right to left. Size, 9 1/2 x 24 in.” (Cirkut005)
The panoramic photograph is from a collection of Cirkut photographs in the Kelsey Archives, some of which are on display in the main entrance to the Museum. In Aleppo, the Citadel, which dates back to the 13th century, rises above the city and remains a testament to the ingenuity and prowess of ancient civilizations but is also a reminder of nations at war with its impenetrable walls. The Ancient City of Aleppo and its Citadel are now a UNESCO (United Nations Educational, Scientific and Cultural Organization) World Heritage Site, it is through this international body, which seeks to promote awareness and protection of important cultural sites, that many other sites have been saved and began to promote a thriving economy to the area.
Aleppo, January 8, 1920: “Aleppo and its Citadel, seen from the roof of the Hotel Casino, A.C.R.N.E. headquarters.” (7.0203)
Aleppo, January 7, 1920: “Citadel, a nearer view of the moat and entrance bridge.” (KS080.05)
Although for many archaeology in the early 20th century stemmed from the desire to seek out objects for personal glorification, it is clear that Kelsey began a career in the field for educational and humanitarian purposes. Kelsey was not only an explorer and archaeologist but was also involved with the Red Cross and his foray into Syria is documented by the many photographs taken of refugees of the Armenian Genocide.
Aleppo, January 7–9, 1920: “Some of the 1500 orphans in the Armenian orphanage. Taken in the courtyard.” (7.0198)Aleppo, January 8, 1920: “The driver Zacke, two views, front and profile. Ethnic types. This is the driver that took us to Aintab, and who six weeks later, with Mr. Perry, was killed on the road.” (7.0202)Aleppo, January 7, 1920: “Armenian housekeeper. Two view, face and profile. Ethnic types.” (7.0200)
Because of people like Kelsey, the field of archaeology has not only introduced people to new cultures but has created a thriving enterprise that seeks to unite us in our common heritage. Along with the help of photographers like George Swain we may not only see the stoic archaeological remnants of past cultures but see the living ones that surround and add value to the ancient.
Lastly, I leave you with the images of the ruins of Baalbek which can attest to the grandeur of the structure and the beauty of the intricate design. It is clear from these images that there was a thriving artistic community which is indicative of a prosperous society.
Baalbek, January 13, 1920: “General entrance to Propylaea and present entrance to ruins. Mrs. Kelsey and Mrs. Norton near top of steps. Ancient steps to Propylaea missing.” (7.0212)Baalbek, January 13, 1920: “Corinthian Columns, Temple of Bacchus.” (7.0218)Baalbek, January 13, 1920: “Great portal, entrance to the Temple of Bacchus. Note the keystone of the flat arch of the lintel. Now held securely in position.” (7.0221)
*****
Guest contributor Melissa Somero is a graduate intern this semester for the Kelsey Museum Registry. She earned her Master’s degree from Eastern Michigan University in historic preservation. While Melissa has assisted with multiple projects, her focus for the term has been the Kelsey Archives.
BY SEBASTIÁN ENCINA, Museum Collections Manager, Kelsey Museum of Archaeology
The exhibition Leisure and Luxury in the Age of Nero has now been open at the Kelsey Museum for just over a month, and it continues to bring in large crowds of people who marvel at the luxuriousness of a Roman settlement at the time of the eruption of Vesuvius. That devastation wreaked havoc on a large swath of land across the Italian countryside. Entire towns were demolished, enveloped by the falling ash and pumice. Thousands of lives perished, buildings destroyed, the geography permanently altered. The aftermath left carnage, but it also provided an opportunity to freeze the city of Pompeii and the town of Herculaneum and surrounding areas in a manner that shows the modern viewer what life was like at that particular moment when the world ended for so many.
The site of Pompeii has fascinated the public and scholars for centuries. It is an opportunity to view the ancient world almost directly, without the inevitable change that affects every other society. There is still much to learn about the site, and about ancient Roman life.
In the 1890s, a young Latin scholar by the name of Francis W. Kelsey visited Pompeii, as it was an area of interest for him. There, he met renowned Pompeii authority August Mau, a German scholar who was directed by his doctors to move to a warmer climate for his health. Mau obliged, and moved to Italy. There, Mau and Kelsey formed a strong bond, such that Kelsey was invited to pose with Mau’s “Giro,” his group of students (From the Archives — September 2015).
Through this strong relationship, Kelsey was given the opportunity to translate Mau’s book on Pompeii into English. Kelsey proved to be quite an adept scholar, publishing the translation before Mau could publish the original. Kelsey even managed to insert additional materials into his edition, information not found in the Mau publication.
The Kelsey archives hold evidence of this work, and that is the topic for this month’s “From the Archives.” The holdings of an archives is often thought to be the papers of an institution, letters, manuscripts, photographs. In the world of archives, libraries, and museums (ALM, or LAM), there is increasing overlap in the materials held by each. All three could hold materials normally found in the others. In the Kelsey, we sometimes come across atypical archival items, such as this box full of copper plates. Francis Kelsey’s handwriting is found throughout the box and on notes found within. We know it was he who stored these plates that were used for printing the Pompeii book in the box originally. These plates, made of copper and wood, while some are rubber and wood, contain the images of Pompeii used during the printing process. A faint image of a scene from the site can be seen in the example.
Image of Pompeii copper plates and box.
While the original intent of Kelsey was to safeguard the plates, his act has a secondary function. The box itself, perhaps seen as nothing of note at the time, gives us a view of life at the turn of the century (from 19th to 20th). Chiozza & Turchi was a soap making company in Italy (Pontelagoscuro). From this box, we note the decorations used in commercial products. What were denizens of the early 1900s seeing when they went to market? What companies existed then, and what products were they selling?
A quick search for the company returns discussion of other Chiozza e Turchi advertisements, and how people are collecting them. There may be no value to the box itself, but it is interesting to hold an article viewed as commonplace then but so full of intrigue now. And this is how many museum workers and archaeologists feel when working with their collections. A chance to see a glimpse of life thousands of years ago, or even 100 years ago, is exciting. But these objects that were modern in 1900 depicting a time nearly 2000 years earlier, are now themselves historical artifacts. In time, the objects I use every day will meet this same fate, and a future archivist or archaeologist will marvel at something I overlooked every day. And the process will continue.
Detail of Pompeii plates’ box.
Image of Pompeii plates and box.
Detail of Kelsey’s note from the Pompeii plates’ box.
BY SEBASTIÁN ENCINA, Museum Collections Manager, Kelsey Museum of Archaeology
It is February, and Love is in the air. Though it is cold in Michigan, we can think about those warmer places around the world where they are enjoying more temperate weather and no snow. A location like southern Italy would be a nice place to get away just about now, where you can wear shorts and t-shirts and not worry about frostbite.
Unfortunately for many of us, our responsibilities keep us in Michigan, and we cannot fly off to Europe on a moment’s notice. Fortunately for us, Italy is now here in Michigan, for Kelsey visitors to enjoy. This month marks the opening of Leisure and Luxury in the Age of Nero: The Villas of Oplontis near Pompeii, our latest exhibition, curated by Dr. Elaine Gazda. With this exhibition, over 225 objects from Oplontis have been brought to the United States for a special showing, including fresco fragments, coinage, glass, bronze, and ceramic vessels, as well as sculptures of marble. Among those marble sculptures are Venus, Diana, a male and female centaur, two Hercules herms, and the stunning Nike landing softly on the ground. The exhibition runs through May, so be sure to stop by for a view of this magnificent show.
Oplontis brings the vision of Francis Kelsey to Michigan. Kelsey was a strong advocate of teaching with collections, giving students the opportunity to see, firsthand, the materials which they read in their Latin and Greek books. It was this push that started the collections that would one day be the Kelsey Museum. Materials purchased in Italy, or in Tunisia, or Greece, were collected for education purposes, and eventually found a new home in Ann Arbor.
Kelsey could not bring everything back, however. Many of the artifacts art historians study have permanent homes in their places of origin, and due to size, finances, and other constraints, they cannot travel outside of their country. And in the early 1900s, there was no Kelsey Museum where such materials could be stored and displayed. Instead, Kelsey did as many art historians do, which is to photograph museum collections with the aid of George Swain. And before Swain worked for the University, Kelsey purchased postcards on sale in, say, Italy that depicted the same works of art students were learning about.
For this month’s From the Archives, we present a few of these postcards. Shown here are two sculptures in Naples, a Diana and a Venus. Kelsey would use these postcards to teach, demonstrating the art of sculpture in the Roman world, much like Dr. Gazda does with her students today. Images such as these would be routinely sold to tourists, as not everyone had a camera then (the original Kodak was introduced just a few years prior, but was still not something everyone carried with them). Kelsey returned with these and in 1906 the General Library took them, and perhaps later the Latin Department acquired the set. Eventually they made their way to the Kelsey Museum, where they now reside in the Archives.
Reverse of postcard collected by FW Kelsey in Italy of Roman sculpture (Venus)
Postcards collected by FW Kelsey in Italy of Roman sculpture (Venus)
Reverse of postcard collected by FW Kelsey in Italy of Roman sculpture (Diana)
Along with the postcards themselves, we also have the original dividers Kelsey used to organize them. Run through the stacks and you will find a section on portraits, Cupid, Cupid and Psyche, Psyche, Diana, Artemis (“see Diana”), Laocoon, and many others. The interesting aspect for the archivist and historian is that these cards’ titles are in Kelsey’s handwriting. Knowing this, we can begin identifying other cards and letters and journals in the archives as Kelsey’s. Kelsey was a meticulous man, taking much time out of his day to organize materials, jot them in a journal, write letters, have meetings, dine, see a show, and still write an entry in his daily diary.
Postcard divider in FW Kelsey’s handwriting
Postcards collected by FW Kelsey in Italy of Roman sculpture (Diana)
The same organization manner Kelsey used has not been changed. Other than the container where the postcards are now stored, all remains as Kelsey left it. There is the archival philosophy of respect des fonds, that we should not change the organization method of the original material, but we also have no need to right Kelsey’s original work.
These postcards showing materials from Naples, near Oplontis, were collected for teaching, and now we are able to bring actual objects from the same region straight to Ann Arbor. Dr. Gazda will use these objects for her classes, but already there is interest from a number of other professors who want to use the exhibition in their own classes. In this way, Kelsey’s original mission has been fulfilled.
BY SEBASTIÁN ENCINA, Museum Collections Manager, Kelsey Museum of Archaeology
Halloween is upon us, and it is normally a time to dress up as monsters and ghouls and scare each other for candy and treats. But not all dressing up is solely for the purpose of frightening. Often we dress up for enchantment, amazement, and entertainment. The Kelsey family was no stranger to this.
Francis Kelsey was not only an influential force on the field of archaeology and the University of Michigan campus, he was also a caring father to three children. Easton Kelsey is often seen traveling with Francis to Egypt, Europe, and other points. Even Mrs. Kelsey would accompany her husband on occasion to Tunisia or Italy. Less visible in the Kelsey archives are Kelsey’s daughters, Ruth and Charlotte. However, they all were important in the life of Francis Kelsey. While overseas, Francis would write them letters and lovingly sign each “pater.”
The study of classics has a long history at Michigan, and even the Kelsey children were involved in the discipline. This month’s “From the Archives” showcases Charlotte Kelsey, then an undergraduate at the University of Michigan, performing in the play Iphigenia. In the 1 October 1917 performance, Charlotte plays the titular role of Iphigenia, the daughter of Agamemnon who was set to be sacrificed. Here we see Iphigenia praying at the altar.
Charlotte Kelsey acting in Iphigenia (GL00687)
It should not be a surprise that Charlotte was so involved in theater. In his book, The Life and Work of Francis Willey Kelsey: Archaeology, Antiquity, and the Arts, John Pedley demonstrates how important music and theater were to the Kelsey family. Ruth played violin; Isabelle (Mrs. Kelsey) played piano; Francis and Charlotte would sing. Kelsey himself was the president of the University Musical Society, and he and family would often be found at various performances both on campus and off. And Charlotte, according to Pedley, was at home on stage, always performing, even from a very young age. Iphigenia offered a merger of theater and classics, an endeavor that Francis surely appreciated.
This image is taken from a glass slide. Before PowerPoint, and even before 35mm slides, glass slides proved to be a useful means for teaching and entertaining. It was through the sale of such slides that Francis Kelsey met George Swain, who at the time sold slides depicting battle sites from Caesar’s time. Swain was hired by the university and accompanied Kelsey on his international voyages. Back in Ann Arbor, Swain continued his photographic practice as University photographer. Here we see Swain’s handiwork as he captured Charlotte performing, and his hand-coloring skills as well (photography at the time was still black and white).
Though most searching in the archives turns up archaeological evidence and work, we sometimes come across some more personal moments in people’s lives. The archives capture not only the business side of Kelsey, but also the lives of his family, friends, people he regularly interacted with. And sometimes we capture these familiar names and faces playing dress up and having fun.
BY SEBASTIÁN ENCINA, Museums Collections Manager, Kelsey Museum of Archaeology
Welcome to the inaugural blog post for the series “From the Archives,” where we will present special finds from the Kelsey Museum archives. Besides the magnificent collection of art and artifacts held by the museum, we also have a rich archival collection that is full of surprises. The archives help support the collections and the mission of the museum by documenting the institution’s past and activities. The archives house a vast collection of photographs, maps from excavations, correspondence and journals, the papers of individual collectors, even 16-mm silent film. Several lifetime’s worth of research and work occupy this space.
For our initial post, we dig far back, to 1893. Everyone begins somewhere, including our namesake, Professor Francis Willey Kelsey. Though our exhibition A Man of Many Parts showcased Kelsey’s early years in upstate New York and at the University of Rochester, the Kelsey archives only go as far back as 1893, when a newly hired young professor at the University of Michigan traveled to Italy to further his research. Kelsey worked with Pompeii scholar and specialist August Mau, a German art historian who wrote several renowned books on the site.
In 1893, Kelsey began collecting artifacts that would find their way back to Michigan and eventually be deposited at the Kelsey Museum. It was then that he visited Carthage and picked up a lamp fragment that would become Kelsey accession number 1, currently on display in the permanent galleries. That seed would usher in an era of collecting for Michigan that carried on over a century, forming the core of the Museum’s art and artifacts. As we look back on the numerous names that have formed the Kelsey collections, it is important to remember the young man who helped foster that collecting culture at Michigan.
Francis Kelsey and his circle at Pompeii, 1893. Kelsey is circled in red.
This photograph was “discovered” recently in the archives, as it had not been previously catalogued. Though we do not know who the photographer was, we do know this photo and others in the same series belonged, in some way, to Kelsey. His unique handwriting is found on the envelope holding this photo, and on many other photographs in the series. For this reason, these photos are called the Kelsey series and use the numbers he assigned. This particular picture is numbered Kelsey 132 II. Kelsey captioned it and two others like it “Pompeii. Dr. Mau and the ‘Giro’.”
The remaining photos in the Kelsey series show Mau and Mau’s wife, views of Pompeii, and other sites around the Mediterranean during Kelsey’s 1893 sojourn. They are all glass, quite fragile, as photography at that time, before the introduction of the original Kodak, was all accomplished using large cameras with glass plate negatives.
