It is August, when students and faculty are beginning their return to Ann Arbor for the new academic year. Soon all these people will settle into the familiar routine of classes and meetings and deadlines. It will all be different, and yet still the same.
During their time away, these people were off scattered about the globe. They were studying, excavating, visiting with colleagues, and advancing their research. However, during their summer, they took the time to find moments for themselves. To vacation, to enjoy the various locations where they found themselves. To live where they had traveled.
Many of the archival photographs the Kelsey Museum possesses were taken by University of Michigan people, such as Easton Kelsey, E. E. Peterson, but primarily by George R. Swain. These photos show the work they were undertaking in locations such as Antioch, or Karanis, or Carthage. However, not all the photographs in the archives are of buildings, artifacts, or of U-M people at work.
For this month’s “From the Archives,” we present a single roll of photographs taken in 1919 when George Swain was traveling for work. He turns his attention to the city he finds himself in, Istanbul. No longer simply photographing the work they are doing, he captures moments in the city, random events, interesting scenes. We see a train, the boats along the Golden Horn, people on the Galata Bridge, and an umbrella mender working on the street.
“Dining car with the metal letters in place, at least at the top.” KS043.02.
“The coat of arms, apparently, of the sleeping car company.” KS043.03.
“The umbrella mender sitting on the sidewalk on a typical street.” KS043.04.
“Typical view on one of the modern streets. At this time, signs in French were allowed.” KS043.05.
In those days, there were no digital cameras or cell phones to capture these views. Instead, Swain was using the equipment he brought with him. Most “professional” photographs were captured with a view camera using glass plates. These were heavy and cumbersome to carry. Swain also carried a smaller Kodak that used film. This was used for additional photographs, not the professional ones of artifacts and architecture, but everything or anything else. That choice is captured in the archival numbers given to these photographs (KS for Kodak Swain, KP for Kodak Peterson, KK for Kodak Kelsey, depending on who was using the camera at the time). For these, the “43” refers to the arbitrary film roll number assigned. At the time, rolls of film only had 12 frames. Swain knew he was limited in how many photographs he could take before he ran out of film.
No caption. Another view on the Golden Horn, to show number of small sailing craft. KS043.06.
“Up the Golden Horn from the Galata Bridge, ferry steamer in the foreground.” KS043.07.
“Another view on the Golden Horn, to show number of small sailing craft.” KS043.08.
“Down stream from the Galata Bridge.” KS043.09.
The first frame of this roll, KS043.01, is, unfortunately, missing from the archives, so there is no image to show. However, we do have Swain’s notes, and thus know he captured the following: “Dining car with all the metal letters removed to get brass in the war presumably.”
“Up the Golden Horn, to show multitude of sailing craft.” KS043.10.
“View toward Pera and the Galata Tower.” KS043.11.
Years from now, current students and researchers will go through their collection of photographs from their travels in the summer of 2019. Not everything was work-related, and memories will be rekindled of the adventures they went on this year.
“The Galata Bridge, looking toward Pera.” KS043.12.
On Monday, 15 April 2019, the world watched as the iconic Notre Dame Cathedral in Paris caught fire and burned. Thankfully, firefighters were able to stop the flames and keep the entire building from burning down. There was much damage, but over time repairs will be made.
As soon as news hit the world of this tragedy, social media was inundated with images of people’s experiences and visits to Notre Dame, bringing the world together.
For this month’s “From the Archives,” we share the Kelsey Museum’s connection to Notre Dame. On 23 March 1924, U-M photographer George R. Swain was in Paris and had the opportunity to visit the church. The images he took nearly a century ago are now in the Kelsey Archives. In addition to the iconic exterior views of Notre Dame, we get a glimpse of happenings outside as Swain turned his camera around to show canaries for sale in the bird market.
Notre Dame, Paris. Photographed by George R. Swain (undated). Kelsey Museum Archives GL00677.“Views. Facade of Notre Dame.” Photographed by George R. Swain, 23 March 1924. Kelsey Museum Archives KS234.02.“Views. Canaries for sale at the bird market near Notre Dame. Cité.” Photographed by George R. Swain, 23 March 1924. Kelsey Museum Archives KS234.01.
In time, Notre Dame will be rebuilt, and tourists and Parisians alike will continue to pose before it. There are many photographs to remind us of what this structure looked like at various stages in its long history. Archives around the world, including ours here at the Kelsey, will preserve these memories, and will continue to document this important history.
As a keepers of history and supporters of collections, museums, history, and culture, we here at the Kelsey are grateful that Notre Dame was saved and will survive for future generations to admire.
Over the years, U-M’s presence in Ann Arbor has expanded well beyond central campus. As the needs of the university and its students, staff, and faculty continue to expand, so too does the need for space. The Bentley Historical Library owns original maps of the university showing a very modest beginning, with a few buildings on what is now central campus, including the President’s House and a few other structures.
For this month’s “From the Archives,” we present this gem showing the U-M campus from 1914: the Index to University of Michigan Property Maps. The map highlights U-M property in the darker blocks, from which we can see locations we recognize from U-M campus now in 2019. We see central campus, or just “Campus.” Other blocks are also named, such as the Botanical Gardens, General Hospital, Ferry Field, and Palmer Field.
Though not named, we can also see a small block across from Campus, between State Street and Maynard, the future home of the Kelsey Museum. At this point, the property was not yet a museum.
“Index to University of Michigan Property Maps, Ann Arbor Mich., Sept. 1914.” Glass slide, photograph by George R. Swain. Kelsey Museum GL00788.
Around this same time, in 1914, Francis Kelsey hired a photographer named George R. Swain to photograph archaeological sites and artifacts in Europe and North Africa. Swain remained with the university until his death in 1947. After his visits to places such as Karanis, Carthage, and Pisidian Antioch, Swain dedicated his time at the university working for the Library, making copy prints and slides for use by professors and students. This glass slide was likely produced by Swain well after 1914. The reason is unknown; perhaps it was presented as an interesting find from the archives, much the same way we present it today.
Over 100 years after this map was created, the campus of U-M is vastly different, and it continues to change with each passing year. By 2114, a map of campus will undoubtedly look even more foreign to us. Students and archivists looking back on our current maps will see spots familiar to them, but still so foreign. Even a map produced today would would look very different from one produced in just a few months, given the news of Fingerle.
The archives provide for us a snapshot at a certain time period in both the Kelsey’s history as well as that of the university. Though constantly changing, we can see the progression of both, and how nothing remains static. In 100 years, a future Kelsey archivist may present this same image in the same manner we do now, showcasing the humble beginnings of the university and how much progress has been made since.
Spring has finally arrived in Ann Arbor, and with it our heavy parkas and snow boots have at last been stored away, not to be thought of for many months. Instead, we bring out the t-shirts and shorts and we venture outside to enjoy the sun and cool breeze.
During this time, we look to spend more time in nature, observing that which was covered in snow for so long. George Swain, back when he worked for the University, would do this as well. Of course, he would go outside with his camera, capturing whatever scenes he could.
For this month’s “From the Archives,” we present two Swain images saved in the Kelsey archives. Though the great majority of our archival photographic collections are of excavations overseas, we do find the occasional non-archaeology image as well. The two images highlighted this month depict a squirrel caught climbing up a tree and an owl peering down on Swain, perhaps posing for the photograph.
Animal photography by George Swain, possibly on Ann Arbor campus.
Animal photography by George Swain, possibly on Ann Arbor campus.
These two photographs are glass slides. These were often used in lanterns for teaching purposes. Swain spent a great deal of time after the excavations in the 1920s reproducing images for U-M faculty and staff to use in their classrooms. One means of this, prior to digitization and PowerPoint, was to replicate images on glass so that they could be projected on the wall using a lantern slide projector (sometimes known as a magic lantern).
Why he chose an owl and a squirrel is unknown. No caption accompanies these two. However, they seem to be posing for the camera, so what is a photographer supposed to do? We are unsure if these hail from Ann Arbor, but we think the squirrel would appreciate the attention and extra food squirrels receive on campus these days.
As you wander outside, be sure to appreciate the animals that are enjoying the same sunshine you are. Listen to the wisdom of the owl as it stares down at you, trying to pass along a message. She may have some sage words for you, such as “Enjoy Spring!”
Digital photography has made documenting our lives a much easier endeavor. Now, anyone with a cell phone can capture almost any moment with photos and even movies. Digital photography has become ubiquitous, and sharing these files becomes increasingly more feasible.
Archaeologists are using this tool more and more on their excavations, and even the Kelsey Museum has gone fully digital. The Kelsey used to insist on film photography when documenting its collections, but greater access to storage space and proper archival methods for digital photography has paved the way for this change.
The same option was not available, obviously, to those who came before us. George R. Swain, University of Michigan photographer from 1913 to 1947, had to use the methods available to him at the time. This meant taking his wood view camera with him on his travels through the Mediterranean, along with hundreds of glass plates. These plates were heavy, and he often needed help carrying them (often his son provided this service).
His view camera was not Swain’s only tool in the field. In the 1920s, easier means of photography were available, though they were of lesser quality. Thanks to the innovations of George Eastman, film photography had become popular. Film rolls were small and easy to carry, but one was limited by the number of frames on each roll, and the photographer couldn’t see what they captured until later, when the film was developed. Swain carried a film camera, likely a Kodak (the model is lost to us), and often he had others do the same. He would take meticulous notes about who shot what, when, and where. These notes are reflected in our current records.
The Kodak shots often captured scenes that are less formal but equally as important. The glass slides were reserved for artifacts and excavations; the Kodak captured everything else, including people, humorous moments, animals, and anything else happening during the excavations and travels.
For this month’s “From the Archives,” we present one roll of Swain’s film that reflects this. In April 1920, only 98 years ago, Swain and company traveled to Dimé, in the Fayum region of Egypt, likely on a reconnaissance mission to see where Michigan could excavate in years to come. Dimé was eventually excavated, but was not one of the original projects of the 1924 season. In this roll, we see what Swain encountered during this trip. People holding fish. The train and the train station. Farmers working the fields. A village scene. Dr. Askren posing. Hiking over the sands.
Fortunately for us, making this kind of trip is easier now without having to haul so much photography equipment (though we are lost without an energy source). Swain did not have the luxury, but we are thankful for the work he did to capture these moments.
Image KS175_08: April 28, 1920; George R. Swain; “Station and people at El Lahoun station.”
Image KS175_01: April 27, 1920; George R. Swain; Dimay trip. “Looking back toward the shore as we started out to cross the lake.”
Image KS175_07: April 28, 1920; George R. Swain; “Small group by a station of the railway — typical costumes.”
Image KS175_10: April 28, 1920; George R. Swain; “Typical village and palm trees by a canal.”
Image KS175_06: April 28, 1920; George R. Swain; “Engine and part of train of the Fayoum Light Railway.”
Image KS175_11: April 28, 1920; George R. Swain; “Winnowing grain on a threshing floor, village with scattered palms in the background.”
Image KS175_12: April 28, 1920; George R. Swain; “Another threshing scene — beans, bullocks and a drag.”
Image KS175_05: April 27, 1920; George R. Swain; Dimay trip. “Looking toward Lake Moeris, from the dock, on our return from Dimay.”
Image KS175_09: April 28, 1920; George R. Swain; “Man with string of fish, with several native bystanders. At El Lahoun station.”
Image KS175_03: April 27, 1920; George R. Swain; Dimay trip. “Hiking over the sands to Dimay. Porter first, then Professor [Francis W.] Kelsey.”
Image KS175_02: April 27, 1920; George R. Swain; Dimay trip. “Dr. Askren standing by clump of old reeds in the sand, not far from the lake, as we started for Dimay.”
Image KS175_04: April 27, 1920; George R. Swain; Dimay trip. “Dr. Askren standing by a spherical boulder, on the way from the lake to Dimay.”
The name George R. Swain is one that is familiar to many in the Kelsey community. His photographs dominate the archives, and they make the bulk of those from excavations such as Karanis. He was also instrumental in the photography of collections from overseas, and capturing people in the countries he visited. Through his lens, we see life as it was in Egypt and Turkey/Syria in the 1910s and 1920s.
Swain’s is not the only name that played an important role in the history of Kelsey photography, though. Starting in the 1950s, Fred Anderegg worked with the Museum on a number of excavations, including the project at St. Catherine’s on the Sinai Peninsula. In the following years, Mr. Anderegg spent time photographing the Kelsey artifacts in order to document them. What ensued was thousands of photographs, all done in black-and-white on 35mm rolls. Thanks to Fred, the Kelsey now has thousands upon thousands of these 35mm images cut up into strips, organized by year they were photographed, the roll number within that year, and frame within roll. Each 35mm strip envelope includes a key for which artifact was photographed, and which frame it can be found in.
Many of these photographs were then contact printed, where a similar size print was made in the positive. These were adhered to the accession cards that acted as the database before computers became such an integral part of our daily work.
Over the years, the Registry has worked to digitize some of these when we needed good, quality photographs of our collections. However, with tens of thousands of these strips waiting to be digitized, it has been a daunting task, to say the least. A few have been digitized as needed, but only a handful and quite sporadically.
Recently, the Kelsey Museum partnered with the History of Art’s Visual Resources Collection (VRC) to pilot test a project where these photographs will be digitized en masse, with the proper metadata and filenames attached to each file. This will save the Kelsey many person-hours, and will allow for a greater inclusion of photographs in our database and for other uses. Though they are still in black-and-white, they provide great photographs where we can easily distinguish each item from another. These are used for publications, but also serve as record shots of our collection.
The entire process will take some time to complete, if it does go forward (we started with about 100 rolls to test out and see if we can continue it). However, it is a much quicker process than what we could do internally, and will result in higher-quality scans. In due time, these will be available to Kelsey staff, as well as researchers and students looking to get a glimpse of items often kept hidden out of view.
A selection of lamps photographed by Fred Anderegg in the 1970s
A selection of lamps photographed by Fred Anderegg in the 1970s
A selection of lamps photographed by Fred Anderegg in the 1970s
A selection of lamps photographed by Fred Anderegg in the 1970s
A selection of lamps photographed by Fred Anderegg in the 1970s
A selection of lamps photographed by Fred Anderegg in the 1970s
A selection of lamps photographed by Fred Anderegg in the 1970s
A selection of lamps photographed by Fred Anderegg in the 1970s
BY SEBASTIÁN ENCINA, Museum Collections Manager, Kelsey Museum of Archaeology
The Kelsey Museum Archives are quite an expansive collection. Though small in size, there are plenty of deep wormholes found throughout that will lead the researcher and archivist down a path they will be lost in for hours and hours. Every time a box is opened, a piece of the Kelsey’s history flows out and exposes the reader to new insight. Names only known through vague and incomplete notes are fleshed out, made into a more composite person. An occurrence in the past makes itself known to a group of people who would otherwise not know about it. Sites visited by Kelsey and Swain and others are exposed, informing us we have information from a location that had never been highlighted previously. The Kelsey universe expands, allowing us to share more stories about our past that will be of interest, both for research and for personal purposes.
With such a vast collection, on top of an already full collection of artifacts to care for, it becomes daunting trying to handle the archives and get it to a state where we would like. Better organization, greater knowledge of what the archives contain, more efficient access, are all goals we have. And as archival materials don’t have the same restrictions on them that artifacts do, the archives grow at a greater rate, meaning even more materials to parse through and organize.
Fortunately, the Kelsey has had a great team of interns and volunteers who have helped manage the archives over the years. Without them, much of the work would never have been completed. The archives are in a greater state today because of this team, focused and committed people who have taken their time to assist us in the day-to-day handling of materials, and the greater planning and organization of what we find within.
This page is not long enough to list all those people, but we can take the opportunity to thank one particular person who has worked with us since 2011. In that time, Randall McCombs has assisted the Registry and Kelsey Museum on a number of various projects. His work can be seen in nearly every exhibition we have hosted since 2012. His efforts have made their way to numerous publications. His assistance has led to greater organization of our digital assets, particularly those made as we have been scanning our photographic collections. It has been Randall all these years who has scanned photographs from Turkey, Egypt, Italy, in the various formats we find: glass, prints, negatives, slides, and others.
Sadly for the Kelsey, but a great step for him, Randall left the Museum in August to pursue his Master’s at the School of Information here at Michigan. We know that decision will pay off and will supply Randall with the skills and experience he will need moving forward. However, his presence will be missed.
Randall’s hands have touched a number of different collections, material types, projects, and themes. It would be difficult to limit our showing here to what he has done. Instead, this month’s “From the Archives” will highlight his most recent project. We’ve known for years we had a collection of panorama photos taken by George Swain in the 1920s with the use of a Cirkut camera. All this time those photographs sat in several drawers with barely a glance. One print, of the Athenian acropolis, hung in Kelsey director Christopher Ratté’s office. This daily viewing led Dr. Ratté to inquire into this collection, what else we had, and how could we get it on display. We tasked Randall with the project, for he is quite adept at many things digital. That and he had the skills to stitch together these images, as our scanners are not large enough to capture the image in one scan. Instead, each photo had to be scanned in sections, pieced together in the editing process. Randall was able to do this seamlessly and quickly. A selection of these photographs are now on display in Newberry hallway (Athens, Istanbul, Jerusalem, Giza). But the project exposed us to the greater collection of panoramas, well over 100 photographs, and all the sites and views Swain captured.
For your pleasure, we present a selection of these panoramas here. You will see images from throughout the Mediterranean, from Libya and Tunisia to Greece and elsewhere. The views show landscapes/seascapes, archaeological remains, current city views, even people as they gathered in a town square.
We owe a great deal of thanks to Randall for his years of service. We wish him the best in this new chapter of his life. Someday, a future archivist will read and learn about Randall and his contributions to the Museum. And they, like us, will be appreciative of what Randall did.
Cirkut023, Egypt, Cairo and vicinity, Pyramids. Swain, George R. April 10, 1920. The first pyramid, Cheops, and the Nile valley. The pyramid is at the left of the view. To the right of pyramid, in eleven inches from the left edge, is the head only of Sphinx– the body is too low down to be seen from this point. A small cemetery is near the central foreground. Beyond is the flat expanse of the Nile valley. At the right third of the picture, in the far distance, is the faint line of the Mokattam Hills bounding the Nile valley on the east at this point. This shows well how the pyramids are on a natural limestone platform considerably above the Nile Valley.
Cirkut041, Greece, Athens. Swain, George R. June 25, 1920. From part way up the slopes of Lycabettus. At the left, the end of the Hymettus ridge; then the Stadium; palace gardens with the Temple of Zeus beyond; the Acropolis with its main buildings; in the foreground is the modern city and the site of Constitution square is easily seen. Beyond the Acropolis you can see, but not so very clearly, the harbor at Piraeus. The buildings of the University are at the extreme right. In the territory between the Stadium and the ridge of Hymettus, a very large number of buildings, mostly small, have been erected between 1920 and 1926, since this view was made.
Cirkut078, Tunisia, Carthage and vicinity. Swain, George R. May 7, 1925. This view was taken from the first hill west of Sidi-bou-Said. At the left the expanse of the Gulf of Tunis, with the height of Bou Kornein in the dim distance. Then comes the shore line from the foreground out to La Goulette. Toward the right is the Byrsa, with the cathedral of St Cyprian visible at the right.Almost directly beyond is the site of Damous-el-Karita.
Cirkut084, Tunisia. Swain, George R. March 29, 1925. Aqueduct on road to Zaghouan, about 20 km. from Tunis. General view; two archges in left foreground, then runs away off across the plain to the right toward Zaghouan. A few clouds.
Cirkut088, Tunisia, Dougga (ancient Thugga). Swain, George R. March 29, 1925. The theatre, seen from one end of the seats. At the left are the seats of the right end ( as you look from the stage) showing in great detail. AT the right is the stage, with the columns abd architraves of the stage building on large scale. Beyond is a glimpse of the wide valley down below and the hills beyond.
Cirkut097, Tunisia, Tozeur and vicinity. Swain, George R. April 17, 1925. Weekly market of a little town by a small oasis not far from Tozeur towrd El Oudiane. Donkeys, goats, camels; people standing and seated; low flat-roofed houses behind, with tops of palms beyond. Large tree at right. A few people moved a trifle, but not enough to hurt the effect of the picture. Decidedly typical of a desert village market day.
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
Merry Christmas and Happy New Year from the Kelsey Museum of Archaeology. As is customary for the University of Michigan, staff at Michigan are given the week between Christmas and New Year’s day off. The Museum is preparing for this break, and the staff will shut down for behind-the-scenes business (don’t worry, the galleries will be open during the break). There is much work to do before we all go away, and much to get accomplished as we prepare for our upcoming exhibition, Leisure and Luxury in the Age of Nero: The Villas of Oplontis near Pompeii (opening February 2016). This is a frantic time of year, as we catch up on work and projects that were set aside while working with students and classes.
Our predecessors worked hard during this time of year as well. Egypt is an extremely hot country, so the traditional dig season for many archaeologists, North American summer (when classes are no longer in session), is not ideal for excavations there. The extreme heat found in the deserts would be dangerous for the crew members on any dig. Instead, the Michigan team, as do many other projects then and now, opt for a North American winter season. Teams would arrive in Autumn, and due to the long trip to Egypt, they would stay a prolonged period of time. In many cases, the teams would be in Egypt over the holiday break, working from December (or earlier) into the new year and beyond. For the Karanis team, this meant being in Egypt, away from family, on Christmas. But they made the most of it. Pictures show decorations at the dig house as the team made their surroundings festive.
They, and the rest of the team, found other ways to keep entertained during the holiday season. And that is the focus of this month’s From the Archives. While at Karanis, the workers held a fencing contest on Christmas day (KM Neg #676). Unfortunately, our records do not indicate what year this took place, or if this happened every year, but we know that at least once in the life of the excavation, some fun was had with a fencing competition. The archives do not indicate if there was a winner, how many participated, or if this was just a random occurrence between two people having a little fun. The photographer is also unknown, though it would not be a stretch to assume George R. Swain was the man behind the camera.
Workmen fencing on Christmas Day. KM Neg #676.
On a Christmas day 90 years ago, the Karanis project team was preparing for their own holiday season just as we are today. They had decorations and games to pass the time. They were finding ways to make their current home as festive and comfortable as their permanent homes. Thousands of miles from Michigan, they just wanted the same comforts we will be enjoying soon.
