Associates Newsletter Spring 1990 Kelsey Museum of Archaeology

NarES FROM THE DIRECTOR

Another busy academic year at the Kelsey for Amy Rosenberg as project supervisor. The opening of this exhibition gave us an draws to a breathless close. There is, as Unfortunately, lingering health problems occasion to celebrate another significant always, much more to tell than I can con­ have prevented Amy from returning to event-the return of David Slee to the dense into a few columns of text, but I will work at the Kelsey. Jerrie Clarke of Salt Lake Kelsey after a year's leave of absence. The attempt to highlight the main projects and City is the conservation intern who will elegant installation design bears the hall­ events that have kept us occupied during carry out the survey under Brook Bow­ marks of imagination and craftsmanship the past few months and tell you a little man's direction. Jerrie will be with us for six that we have so long admired in David's about what we anticipate for the spring and months until September 30th. The third work. It is a regal setting fit for a Persian summer months. member of the project team is Kristen Han­ king. nold, an undergraduate major in classical Terenouthis: An Update archaeology who has been a faithful volun­ A Presidential Celebration March 1st marked the beginning of the sec­ teer in the Kelsey'S registry. Her job is to On May 19th we will open another new ex­ ond year of the Musuem's two-year Getty­ catalogue all of the objects included in the hibition as part of the sesquicentennial funded project which is aimed at publish­ survey. Her work will be supervised by celebration of the campus residence of the ing the results of the University's 1935 exca­ Robin Meador-Woodruff, our coordinator University President-Presidenfs Choice: vation of the necropolis of Terenouthis in of collections. The project will result in a Selections from the Ruthven Collection of the Egyptian Delta. Dr. Roger McGeary, much clearer picture of what treatments Antiquities. (See Exhibition News.) The who has been Visiting Assistant Curator at will be necessary to stabilize and conserve opening of the show is one of the events the Kelsey since the fall of 1986, is nearing each of the objects in the two collections scheduled for President's Weekend. We are completion of his work on the funerary and what conditions should be provided grateful to the Office of the President for a stelae and small finds from the site and will for housing them. generous grant that permits us to mount be leaving Ann Arbor at the end of July to this exhibition in connection with the ses­ return to his home in Toronto. Roger has quicentennial celebration. been the driving force behind the Terenou­ this project. Both his erudition and his con­ Coptos Excavation and viction that a comprehensive study of the results of the 1935 season would provide Field Survey unique information about burial practices In May, Sharon Herbert, our Curator of Ex­ and beliefs in Egypt during the Graeco­ cavations, and Henry Wright, Director of Roman period motivated us to undertake the Museums of Anthropology, will go to the full publication of the excavation. Egypt with a small team of specialists to We will miss Roger. During the past four map the exposed remains of Coptos and set years he has played a vital role in the life of up a pottery classification system in prepa­ the Museum as our resident Egyptologist, ration for three full seasons of excavation contributing generously of his time, knowl­ A Grand Opening for and survey at the site. The first season is edge and friendship to students, docents, scheduled for January and February of 1991. staff and faculty. Happily, Roger will be Crowning Glories The project is intended to amplify our back in Ann Arbor from time to time to see On March 30th we celebrated the opening understanding of the trade between the the Terenouthis manuscripts into print. We of our new exhibition, Crowning Glories: Mediterranean and the Indian Ocean via look forward to his visits and wish him well Persian Kingship and the Power of Crea­ the Nile and the Red Sea. Coptos (modern in the next phase of his career. tive Continuity, prepared by Margaret Root, Qift) flourished as a major emporium along Associate Curator of Collections and Exhi­ this trade route for many centuries. Our Work on the IMS­ bitions. For the occasion Margaret gave a project, which is co-sponsored by the Uni­ Conservation project splendid lecture on Persia's imperial city, versity of Assiut, centers on the Roman and Persepolis, which piqued an enthusiastic early Byzantine periods of the site and In the fall issue of this Newletter, I an­ audience's interest in the art and ideology Rome's complex trade relations with the nounced that the Kelsey had received a of the Persian Empire. The exhibition was Orient. In February, a lecture by Sharon grant from the Institute for Museum Serv­ planned to coincide with the Tenth Achae­ Herbert gave us an excellent introduction to ices Conservation Program (IMS-CP) for a menid History Workshop, an international the importance of Coptos in this interna­ condition survey of our glass and plant gathering of specialists which convened in tional trade network and the results that fiber collections. Work on this project is Ann Arbor on April 6th-8th. (For more in­ have already been obtained by the Michi­ now underway with Brook Bowman, Visit­ formation on Crowning Glories see Exhibi­ gan-Assiut team during two preliminary ing Curator of Conservation, substituting tion News in this issue.) field seasons. A New Field Project at l.epti Minus In May and June, a University of Michigan tion of the old storage shelves and clearing On May 1st, an intrepid group of travelers team will collaborate with the Tunisian In­ out of the old wood and hardware. Finally, will set off for Sicily under the expert stitut National d~rcheologie et d~t in a the crew from the University's Plant De­ guidance of Professor John Pedley of the pilot season at the port city of Lepti Minus partment arrived, leveled the risers, put in Department of Classical Studies and the on the east coast of Tunisia, about 35 km. a new floor and walls, painted, and in­ Kelsey Museum. Once again the Associ­ south of Sousse. Professors John Hum­ stalled new light fixtures and carpeting. ates are joining forces with the Classical Art phrey and David Mattingly of the Depart­ The transformed space now awaits the Society of the Chicago Art Institute for a ment of Classical Studies will serve with construction of storage and drafting units unique archaeological adventure. We will Drs. Hedi Slim and Jejib Ben Lazreg of the and the installation of appropriat~ furnish­ tell you all about it in the fall issue of the Institut National as directors. ings. We expect to have everything in order Newsletter. One of the goals of the first season is to by the time our archaeologists return from A tantalizing preview of Sicily was pre­ prepare an accurate topographic map of the the field. Thanks are due to the above sented by Professor Pedley on April 27th at area occupied by the ancient city with the named staff members, two graduate stu­ the Associates' annual Spring Membership aid of an Electronic Distance Measurer dents, Nigel Pollard and Lea Stirling, who Dinner at the Executive Residence of the (EDM). Corings will determine the geologi­ helped in the clearing operation, Henry Business School. His lecture, Selin us and cal configurations of the site, the depth of Halloway of the Office of the Dean of the Syracuse: Megarians and Corinthians in Eldo­ the archaeological levels, and recent coastal College of Literature, Science and the Arts, rado- Or-A Funny Thing Happened Once We changes. At the same time survey work will who took a keen interest in the project and Got to Sicily, left us all wishing we had focus on selected areas of the city. The moved it along expeditiously, and the staff signed up for the tour. survey team will locate all visible structures of the Plant Department who produced At the Spring Dinner members and their to be plotted on a master plan, collect pot­ such a high quality result. guests had a private viewing of a potential tery sherds that will indicate the periods of new acquisition for the Kelsey collection - a occupation in various quarters of the city, handsome Attic red-figure oil vessel (leky­ and look for evidence of industrial activity thos) of the fifth century BC attributed to such as metal working, ceramic produc­ the Bowdoin Painter which displays a bust tion, and the manufacture of olive oil or of the youthful Athena in a graceful profile fish-sauce. In future seasons the team will view. The Associates Board wishes to en­ gather information about the organization courage members to contribute toward this of trade, the producers and shippers of vase which would fill an important niche in goods, and the relative prosperity of the ci­ the Museum's collection. ty and region through the Punic, Roman, Our ever-energetic Docent-Associates Vandal, Byzantine and early Arab periods. are planning once again to hold hiero­ The work at Lepti Minus will comple­ glyphic workshops for children at the Ann ment the research that is being done on Arbor Summer Festival and to continue trade by our teams at Coptos and Tel Anafa. with their exciting suitcase project (see The project will run concurrently with the Kelsey Suitcase Project). work on the new cemetery site at Carthage I look forward to seeing many of you at which I wrote about in the last issue of this the Kelsey during the coming months and Newsletter. wish you all a happy, fruitful spring.

Our Renovated Choir Loft Elaine K. Gazda I am delighted to report that we have re­ claimed a significant amount of work space for excavations, publications and other re­ search activity from what was originally the David Ross of The Olivia Street Stampers performs choir loft of the building. (You may recall on cornet. that the Museum building, Newberry Hall, was built in 1888-91 to serve as the center for the then very active Students' Christian Association.) Last summer Robin Meador­ Associates Activities Woodruff, Dana Buck and Helen Baker Those of you who were able to attend the undertook the Herculean labor of clearing 1990 Kelsey and All That Jazz on January out what had come to be a version of the 26th know what a gala event it was. Thanks Augean Stables - a heterogeneous mass of to the imagination, organizational skilt material stored for decades in the dark, and hard work of Janice Beatty, Chairper­ dusty, and crowded choir loft. The Mu­ son, and Elyse Rubin, Coordinator of Pub­ seum archives were transferred to the lic Programs, this year's benefit was once Bentley Library (224 boxes of them!), wood again a grand success. Delectable Roman and rope from Karanis were moved to the desserts provided a novel treat (some of us range area on the second floor, records of had all three of them!) while the Stompers early excavations were sorted and put in played their bacchanalian best. The Asso­ Elyse Rubin, Editor more accessible quarters, and piles of trash ciates are already planning for next year's Meredith Klaus, Contributing Editor were hauled away. Then came the demoli- party which will be held on February 1st. David Slee, Designer EXHIBITION NEWS March 30th saw the opening of the new ex­ of ancient and modern Egypt. At the mo­ hibition Crowning Glories: Persian King­ ment Thelma is hard at work on the exhibi­ ship and the Power of Creative Continuity tion scheduled for Fall 1990, Dangerous curated by Professor Margaret Root. Pro­ Archaeology: Francis Willey Kelsey and fessor Root delivered a lecture that evening Armenia (1919-1920). in Angell Hall entitled, Pictures of Persepolis Assistant Curator of Educational Pro­ Persia's Imperial City. The lecture was fol­ grams Lauren Talalay recently returned lowed by a reception at the Kelsey. This ex­ from a lecture tour sponsored by the Ar­ hibition portrays the Persian Empire as a chaeological Institute of America. She vis­ pivotal period in the Ancient Near East. ited Boulder, Tuscon, San Diego and Oeve­ Works of art are combmed with texts to land where she delivered lectures on document critical elements of creative con­ Karanis and A Nw Interpretation: Stone Age tinuity in the imagery of kingship and in Figures from Greece. She has a forthcoming the exercise of culture from pre-Empire article in Archaeology Magazine entitled times to the Hellenistic era following the "The Case of the Silent Figurines." conquests of Alexander the Great. Crown­ Robin Meador-Woodruff, Coordinator ing Glories runs until August 28, 1990. of Collections will be curating an exhibition On Friday May 11th The President's on French Eighteenth Century Textiles at Choice: Selections from the Ruthven Col­ the University of Michigan Museum of Art lection of Antiquities will open. Organ­ in June 1990. ized by Marti Allen, Assistant Curator of Director Elaine Gazda chaired a meeting Exhibitions, this exhibition presents high­ of the Classical Society of the American lights from a collection of more than 3000 Travel poster for the Near Eastern Railroad, Academy in Rome during the annual meet­ antiquities donated to the Kelsey (between from the exhibition Dangerous Archaeology. ing of the Archaeological Institute of 1957 and 1970) by President Emeritus Alex­ America and American Philological Asso­ ander G. Ruthven. The collection, acquired East, his goals, and his frustrations. Photo­ ciation in Boston in December 1989. At the in Egypt by the President's son Peter while graphs of ancient mounds and temples, same annual meeting, the book she co­ he was working with the University's exca­ mediaeval fortresses, modern refugees, authored withA. M. McCann, J. Bourgeois, vation at Karanis (1925-1935), consists of missionaries, and armies as well as visual J. P. Oleson and E. L. Will, The Roman Port late Classical, early Byzantine, and Islamic records of historic moments, such as Fei­ and Fishery of Cosa (Princeton, 1987), re­ antiquities dating from ca. 400 to 1300 A.C. sal's reception in Damascus, are telling im­ ceived the first annual James R. Wiseman These antiquities were originally displayed ages of an era when archaeologists abroad Book Award from the Archaeological Insti­ in the President's House where, along with wore many hats - scholarly, missionary tute of America. The book of essays which a number of other treasures, they were the and military. she is editing, Roman Art in the Private focus of frequent tours. The President's There will be a lecture series in conjunc­ Sphere, is scheduled for publication in 1991 House was open to any "students wishing tion with Dangerous Archaeology, and an by the University of Michigan Press. to call" during the celebrated "Ruthven exhibition catalog will be available. The ex­ Curator Margaret Root was principal in­ Teas" held two afternoons a month through­ hibit will run until February 1991. vestigator for the NEH-sponsored grant out the twenty-two years of Ruthven's pres­ In May 1990 Marti Allen will be welcom­ supporting an international congress on idency. The exhibition, which will examine ing Professor Keith T. Dix of the University Persian Studies. On April 6-8, 1990, the the collecting tastes of the Ruthven family, of North Carolina-Greenboro, Department Tenth Annual Achaemenid History Work­ will be mounted in the Museum's "Fire­ of Classical Studies to the Kelsey to work on shop convened in Ann Arbor. Previously place Gallery:' The installation will attempt an exhibition entitled Writing in the An­ gathered in Europe under the auspices of to recapture the ambiance of the Presi­ cient World which is scheduled to open late the University of Groningen in the Nether­ dent's House during the Ruthven's resi­ in August 1991 and run until February 1992. lands, this international group of some dency. It will be open for viewing during the con­ thirty specialists in ancient Persian history, The opening reception for the exhibition ference Literacy, Identity and Mind (October art history, and archaeology meet for dia­ will be held on Saturday May 19th at 4:00 3-5, 1991) sponsored by the University's logue on specific problems of the historiog­ p.m. in conjunction with the University's Program in Linguistics. raphy of the study of the Achaemenid Per­ "President's Weekend." sian Empire. The subject of this year's Mid-September of this year will see the workshop was the problem of understand­ opening of Dangerous Archaeology: Fran­ STAFF NEWS ing the Persian Empire as a filter of continu­ cis Willey Kelsey and Armenia (1919-1920) Assistant Curator of Collections, Thelma ity and change. Professor Root presented a organized by Thelma Thomas, Assistant Thomas, participated in a panel discus­ paper for discussion entitled Theories of Ar­ Curator of Collections. This exhibition will sion, Feminist Perspectives: Do They Affect tistic Transmissions: Implications of explore Francis Willey Kelsey's two year ex­ Methodology? during the national confer­ Historicism versus the Dogma of Eclecticism in pedition (1919-1920) to Europe and the ence of the Women's Caucus for Art which Achaemenid Persian Art. Near East during the fascinating moment was held in New York City in February. She Professor Root also presented a lecture in the history of archaeology, the tense then stayed on in New York City for the an­ AcropolisandPersepolis: Laboring in the Gothic years of fragile peace between the two nual College Art Association conference. Image, as part of a symposium entitled Em­ World Wars. Letters, diaries and news­ Her short book "Textiles from Mediaeval pire Builders sponsored by the Institute for paper articles, as well as antiques acquired Egypt, A. D. 300-1300:' based on the collec­ the Humanities in conjunction with its by Kelsey during his trip on behalf of the tions of the Carnegie Museum of Natural 1989-90 theme "Economies of Art:' The University of Michigan provide a star­ History, appeared this winter. It is part of paper relates to work which will appear in tlingly detailed glimpse of this one Ameri­ the Carnegie Series on Egypt which is a set of Professor Root's forthcoming book, Persia can archaeologist's perceptions of the Near nine booklets describing different aspects and the Parthenon: Essays on the Art of Emulation. FAREWELLS WITH MUSIC

A simple image of a seated musician active­ ly playing a two-reed flute (Greek: diaulos) is found on a Kelsey Museum stele (21183). This grave marker was found in the accu­ mulations of sand and wind-deposited debris along the southern edge of the high­ est surviving point, called the "High Place," at Kom Abou Billou. Situated in an area of rolling terrain, or KOm, along the edge of the Libyan Desert, Kom Abou Billou was the necropolis or "city of the dead" for the town of Terenouthis. Teren­ outhis, which will be familiar to readers of this Newsletter, was located about midway on the Rosetta Branch of the Nile. Founded towards the end of the Old Kingdom Period (ca. 2300 BC), its strategic position in the western Delta and its Nile-guaranteed agricultural wealth sustained the people of this riverine town for over three millennia and, indeed, down to the present day. It was toward the end of the Ptolemaic Period (304-30 BC) that the flautist on the Kelsey grave marker lived and died. He is shown by the relief engraver as he was known to his contemporaries in life, alertly perched on a folding stool (diphros) and performing for his public. His full profile pose as well as his Egyp­ tian bag-wig hairstyle are inspired by Egypt's ancient artistic tradition. In the context of artistic activity at Terenouthis, this stele is a late, vernacular example of the ancient canonic Egyptian style-a pale reflection of the glories of pharaonic art still practiced in the royal studios of the Ptole­ maic rulers. Our musician faces to the viewer's left, with his neck and head held erect. Such a positioning of the upper extremeties en­ sured that a contiunous column of air was delivered to the single (or double) reed of the flute's mouthpiece, which was re­ quired to vibrate the long pipes. A slight forward lean of the musician's torso sug­ gests that his mental and physical concen­ tration was entirely focused upon the in­ STELE OF THE DOUBLE-REED FLAUTIST PARESHY (KM 21183) the University of Michigan excavation tricacies of producing music, especially the at Kom Abou Billou (Terenouthis), 1935. Height: 32.0 em.; Width: 23.0 em.; Depth: 9.5 em. fingering of the holes or stops (up to six­ teen) on each pipe. The differing angles and heights of the long pipes might further pants in both the religious and secular one-piece, full-length Egyptian garment, suggest that our flautist was capable of spheres of life. For instance, they are often with wide vertical folds. It consisted of a simultaneously "speaking" through each recorded as members of the staffs of musi­ large, seamless rectangle of linen that was pipe, in two or more musical modes cians and chantresses who were attached folded about the body, with one end an­ (Greek: armonia). to temples. Further, these musicians par­ chored at the waist; the other end normally Notable too, is the precision with which ticipated in elaborate funerary obsequies draped over the left shoulder. the artisan depicted the flautist's fingers and numberous lunar festivals of the dead, Our musician, however, was actively en­ supporting the pipes. As the line drawing that took place in the local "cities of the gaged in supporting and playing the dou­ shows, the fingers are specifically poised in dead:' As today in the traditional societies ble-flute, and, to accommodate the upper what was probably rapid fingering (and of the Middle East, musicians were also body's gyrations, he placed the over-hang possibly cross-fingering) positions. available for private secular events, e.g. of his garment across his lap (his right to Depictions of musicians in later Egyptian weddings. left), from which it cascades almost to the art are rare, in spite of the fact that musi­ Two additional observations of this ground. This may have been his normal cians are mentioned on private monu­ musician's funerary image might be made. appearance while playing, and so it was ments and in the ancient authors as partici- First, he appears to be wearing a typical recorded for his funerary image. I suggest further that the engravflr' was" inspired by the visual implication of the images he had just created, as they sug­ gested the movement of the flautist's right foot engaged in beating time and he added foot No.2. Moreover, there appears to be a responsive interplay between the depic­ tion of the right foot and that of the musi­ cian's arms above. It is as if the musician's engaging performance is arrested in stone. One is tempted to see here a possibility of an isolated discovery of the idea of figure animation. Just below the lower of the two ground lines, at the base of the relief scene, there is a one-line epitaph in Demotic-the last stage of the cursively written hieroglyphic script. It reads: "Pare shy, who has made [that is, lived] 35 years:' His name is typical of late-period patronymns (ancestor­ \," derived naming of newborns), for it is com­ (-~ posed of two elements: pa -the Late Egyp­ tian masculine definite article, and r s h - l' an adjective with the basic meaning "joy­ ~ " ful" or simply "happy:' Reusing or, as the ancient Egyptians termed it, "making to live" the name of a recent male ancestor is likely found in this name, which in ex­ tended literal sense reads: "The-(son-of­ the )-happy-( one):' The Demotic name, the fully Egyptian dress and hairstyle and the traditional pharaonic style of depiction identify Pare­ shy as a native Egyptian who lived just before or during the transition to Roman rule, at the end of the first century Be. As a local musician he undoubtedly earned a precarious living participating in the sacred and secular life of his community, for which services he was honored by fam­ ily, community or both, by this grave monument. Indeed, the modesty of this stone would seem to be in keeping with the marginal economic existence of a musician. Pare shy's fate was no doubt closely tied to the ability of his fellow Terenouthians to Schematic line drawing of Stele of Pareshy. afford his services at sacred or secular occasions. We can hear neither the sounds of his sacred accompaniments within a temple The second observation, and one of By contrast, the representation of the precinct nor his plaintive dirges played in notable art-historical importance, con­ right foot is an intriguing series of related the "city of the dead" nor his dance tunes cerns the positioning of the flautist's feet. profiles: (1) flat on the ground, (2) at about that enlivened festivities; but this image of In contrast to the ancient artistic prescrip­ 15 degree3 and (3) a separately incised foot a music-maker evocatively conjures up the tion of feet flat on the ground, the engraver raised above the ground at an angle of reedy trills and strains of his intricate per­ of this relief subject shows the musician's about 25 degrees to horizontal. It appears formance art. left foot (closest to the chair's diagonal that the artisan erred in placing raised foot The subject matter of this offering affords brace) in a flexed position, with the ball of (no. 3 in the drawing) too high, in violation me the ambiguously welcome opportunity the foot acting as the weight-bearing ful­ of a basic tenet of canonic art: that the sit­ of saying farwell to all my friends at the crum of the body's precarious balance. The ting figure be shown with feet squarely Kelsey Museum. The many happy times, placement and flexion of the left foot might upon the ground. To correct this egregious I know, will echo through future recol­ also imply that the musician's torso error he then seems to have incised foot no. lections. swayed back and forth from the waist, re­ 1; but this time flat to the ground. Roger V. McCleary quiring this foot as a stable pivot to res­ pond to his shifting equilibrium. THE KELSEY SUITCASE PROJECT

Docents Ann Laura Von Buren and Dottie Sims display contents of the Egyptian Suitcase.

When is a suitcase not a suitcase? When it lesson plans that suggest to teachers vari­ features recent purchases from Archaeology is actually a large, red plastic container ous ways of using the suitcase. In addition, in Education, published by the Department (2' x 3'!) filled with books, videotapes, ac­ each suitcase contains a slide presentation of Archaeology and Prehistory at the U ni­ tivity folders and replicas of ancient art. with a script. The Egyptian one focuses on versity of Shefield, England: beautiful Ro­ The Kelsey docents have been hard at work mummies and the afterlife. man coin replicas, slide shows on Archae­ for the past year on this series of educa­ The Egyptian suitcase is now complete ology from the Air, Archaeology from the tional kits, a project funded by a very and has been loaned out to several area Ground, Dead Men Tell Tales, and a Roman generous grant from the Ann Arbor Area schools, including Bach School, Allen, villa kit. Another notable feature of the suit­ Foundation. Angell and Clonara, and the Webster case is a musical selection called Sounds of The suitcases focus on four areas of the School for the Gifted in Livonia. It has the Roman World. The Near Eastern suitcase ancient world - Egypt, the Ancient Near received an enthusiastic response from is still being assembled, but it already con­ East, Greece and Rome. There are two suit­ both students and teachers. A workshop tains many interesting replicas, including cases for each of these areas, one for for senior citizens at Domino Farms and a one of a cuneiform tablet with the world's younger users, (kindergarten through sec­ slide presentation for the Briarwood Ki­ oldest medical text. ond grade), and one for older students and wanis also used materials from this suitcase. When all four sets of suitcases are com­ adults. The Egyptian "baby" suitcase con­ The Greek and Roman suitcases are near­ pleted, they will greatly enhance the Muse­ tains books for young children, such as The ing completion, and have travelled in their um's ability to introduce archaeological Egyptian Cinderella, (the story of the Greek incomplete state to a conference in Detroit subject to the Ann Arbor and surrounding slave girl Rhodopis, who married the Phar­ for high school teachers of classics. The communities. aoh Amasis), a set of rubber stamps and ink Roman slide show had a preview at Bill Meredith Klaus pads for writing your name in Egyptian Johnson's Forsythe class, as well as one of hieroglyphs, and several activity books and the Brighton schools. The Roman suitcase THE ASSOCIATES OF THE KELSEY MUSEUM OF ARCHAEOLOGY

BENEFACTOR FAMILY Mrs. John Alexander Mr. & Mrs. John Beatty Mr. Guy Keeley Mr. & Mrs. Clan Crawford Mr. John D. Bowden Ms. Roberta C. Ke. .ston Mr. & Mrs. Cruse W. Moss Mrs. Marjorie Burnell Prof. Meredith Klaus Ms. Ann van Rosevelt Mr. & Mrs. David Cameron Prof. Glenn Knudsvig Prof. & Mrs. Charles Cares Prof. Ann O. Koloski-Ostrow PATRON Ms. Carol Carzon Ms. Michele Kotowicz Mr. & Mrs. Robert Hamilton Dr. & Mrs. Ivan F. Duff Ms. Peggy Ann Kusnerz Mr. & Mrs. David G. Richardson Mr. & Mrs. Don G. Fowler Mr. Richard J. Kwapich Prof. & Mrs. Bernard Galler Ms. Carolyn Lepard SPONSOR Ms. Lois Groesbeck Margo MacInnes Dr. & Mrs. Robert Aldrich Susan & Hayden Harris Dr. Laurence Matthews Dr. & Mrs. Ethan Braunstein Mr. & Mrs. J. William Holland Dr. Rowena Matthews Mr. & Mrs. Robert Campbell Mr. & Mrs. Frank S. Kuhlman Mr. R. C. McCollum Profs. Elaine K. Gazda & James McIntosh Mr. & Mrs. Leslie L. Loomans Mr. William R. Nifong Mrs. Ernest J. Gazda Mr. & Mrs. Carl J. Lutkehaus Mrs. Rosemary O'Brien Dr. & Mrs. Gregory L. Henry Mr. Chandler W. Matthews Prof. Roger Pack Earl & Donna Jacobs Ms. Barbara May Janet Parkes Mr. & Mrs. Keith Jensen Mrs. Rustin McIntosh Ms. Barbara Peacock Dr. & Mrs. M. Haskell Newman Dr. James A. Mclean Mr. Eugene Power Prof. & Mrs. Chester G. Starr Prof. & Mrs. George Mendenhall Prof. Andrew Ramage Mr. Helmut Stern Mr. & Mrs. David Osler Prof. Nancy Ramage Mr. Victor A. R. Stevens Dr. Donald C. Parker Mr. Maxwell Reade The Professors Root Mrs. Maxwell Reade CONTRIBUTOR Prof. & Mrs. Charles Sawyer Ms. Dorothy Rehak Ms. Sara L. Andren Dr. & Mrs. Courtland Schmidt Ms. Barbara Markana Riordan Dr. & Mrs. Garabed Belian Dr. Lucetta Stern Mr. Stephen J. Rogers Glenora & Deming Brown Mrs. Harold Wethey Ms. Jane Schwenk Mrs. Vic dan M. Bursley The Rev'd. Prof. & Mrs. Charles Witke Ms. Marilyn Scott Mr. & Mrs. Raymond S. Chase Prof. Gerda Seligson Mrs. Lola Gene Coombs INDIVIDUAL Miss Louise A. Shier Mr. Richard M. Cundiff Mr. Fred C. Albertson Ms. Dorothy Sims Dean & Mrs. John H. Dl\rms Mrs. Walter Alexander Ms. Joanne Stein Mr. & Mrs. Peter P. Darrow Mr. Joseph T. Arno II Dr. E. Marianne Stern Mr. & Mrs. George Forsyth Mr. Altan Balta Ms. Lorene Sterner Mr. Peter B. Frantz Dick Bank Ms. Edith Wacksman Mrs. William C. Grabb Rho Bank Mrs. Esther Warzynski Mr. & Mrs. John R. Griffith Mr. Lawrence Berlin Mr. Raymond Warzynski Mrs. Kirby T. Hall Mrs. Lawrence Berlin Prof. & Mrs. Peter Heydon Ms. Estelle R. Brettman Prof. & Mrs. Gerald P. Hodge Ms. Anita Burck Dr. Cyrus C. Hopkins Ms. Stephanie Buttrey STUDENTS Mr. Eric T. Laity Prof. T. V. Buttrey Mr. Douglas E. Godbold Mr. & Mrs. Thomas H. Laity Ms. Jean W. Campbell Ms. Kristin Hoffman Prof. & Mrs. Ernest McCarus Ms. Barbara S. Caruthers Ms. Adelaide E. Howson Prof. & Mrs. Horace M. Miner Prof. Carl Cohen Mrs. Carol J. Montpetit Mr. David C. Darr Dr. & Mrs. Robert Oneal Ms. Dorothy Davies Mr. & Mrs. Wade Peacock Prof. Richard Edwards HONORARY Dr. & Mrs. M. Joseph Pearson Mrs. Vee Ling Edwards Prof. Homer Thompson Prof. & Mrs. John G. Pedley Prof. Marvin Eisenberg Mr. & Mrs. M. H. Pryor Ms. Laurel Flentye Mr. & Mrs. Michael J. Radock Ms. Sandra Galvan Mr. Steven Roach Mrs. Irene B. Goudsmit Prof. David O. Ross Mrs. Frances H. Haidler Mrs. Richard Schneider Prof. Richard Hamilton CORPORATE SPONSORS Mr. & Mrs. Alfred Slote Ms. Mildred Jean Harter Aristoplay, LTD. Prof. & Mrs. Waldo Sweet Prof. Robert Iglehart Comerica Bank-Ann Arbor Mr. & Mrs. Terril Tompkins Mrs. Robert Iglehart Edward Surovell Co./Realtors Mrs. Rebecca Whitehouse Prof. Sheila M. Ingersoll Parke-Davis Mrs. Raymond A. Yagle Prof. Joel Isaacson Trustcorp Bank-Ann Arbor Kelsey Museum Staff Librarian Calendar of Events Director Nigel Pollard Elaine Gazda Security and Information Crowing Glories: Persian Kingship and Curators Angela O'Donnell the Power of Creative Continuity Marti Allen, Exhibitions Offtce March 30-August 30, 1990 Brook Bowman, Visiting Curator Helen Baker, Administrative Assistant Sharon Herbert, Excavations Jackie Monk, Office Assistant Tour of Sicily Roger McCleary, Visiting Curator Michelle Biggs, Associates Secretary May 1-10 Margaret Root, Collections & Exhibitions Amy Rosenberg, Conservation lecture by Professor Jadwiga Liphlska, Lauren Talalay, Educational Programs The Kelsey Museum Discoveries by Polish Archaeologists in Egypt Thelma Thomas, Collections Associates and the Mediterranean Research Scientists The Kelsey Museum Associates help the May 7, 5:00 p.m., Room 130, Tappan Hall Museum to acquire important objects, John H. Humphrey President's Choice: Selections from the John Griffiths Pedley sponsor outreach and development activi­ Ruthven Collection of Antiquities Ann Van Rosevelt ties and provide Museum support. The May 11-August 12, 1990 E. Marianne Stern public is encouraged to join the Associates and participate in Museum activities. For Coordinator of Collections further information call (313) 763-3559 or Dangerous Archaeology: Francis Willey Robin Meador-Woodruff 747-0441. Kelsey and Armenia (1919-1920) Exhibition Designers September 1990 - February, 1991 Dana Buck Associates Board Members David Slee Gerald Hodge, Chairman Development Offtcer Rebecca Whitehouse, Secretary Regents Deane Baker Philip H. Power Nellie M. Varner Giovanna Costantini Robert and Katherine Aldrich Paul W. Brown Thomas A. Roach James L. Waters Susan Darrow Neal D. Nielson Veronica L. Smith James J. Duderstadt Public Programs Coordinator ex-officio Elyse Rubin Gregory Henry Adele McCarus Photographer James McLean The Museum is open to the public William Wood Joseph and Zoe Pearson Tuesday-Friday 11:00-4:00 and Saturday­ Archivist Michael and Helen Radock Sunday 1:00-4:00. Admission to the Carol Finerman Ann Van Rosevelt Museum is free.

Kelsey Museum of Archaeology NON·PROFIT The University of Michigan ORGANIZATION 434 State Street U.S. POSTAGE Ann Arbor, Michigan PAID 48109-1390 ANN ARBOR, MICH. (313) 763-3559 PERMIT NO. 144