UNIVERSITY MUSEUMS Views and New Perspectives of Teaching & Learning Inside the Galleries

UNIVERSITY MUSEUMS Views and new perspectives of teaching & learning inside the galleries

A conceptual Exhibition Model for the Allard Pierson Museum - Amsterdam

Belinda Hajdini Thesis Project in Interior Design MA - Politecnico di Milano a.a 2016/17 UNIVERSITY MUSEUMS Views and new perspectives of teaching & learning inside the galleries

A conceptual Exhibition Model for the Allard Pierson Museum - Amsterdam

Politecnico di Milano Scuola del Design Corso di Laurea Magistrale in Interior Design a.a. 2016/2017

Student Belinda Hajdini

Supervisor Prof. Francesco Scullica

Co-Supervisors Prof. Andrew Jamieson Wessel Reinders për Nëna Neta dhe Nëna Pia. INDEX./

0. Abstract 3

1. Research 5

1.1. University Museum 6

1.2. History of University Museums 8 1.2.1. Introduction 10 1.2.2. Teaching Collection 12 1.2.3. Teaching Museum 18 1.2.4. Study Collection 20 1.2.5. The first University Museum 22 1.2.6. Research Collection 24

1.3. Historical Case Studies 28 1.3.1. University of Bologna 28 1.3.2. University of Leiden 30 1.3.3. University of Paris 32

1.4. Past, Present and Future 34 1.4.1. Introduction 34 1.4.2. Museums and Collections today 37 1.4.3. Significance of University Heritage 41 1.4.4. Concluding Remarks 44

1.5. Archaeological Museums 46

2. Case Studies 55

2.1. Introduction 56

2.2. Penn Museum 58 2.2.1. Mission and Collection 58 2.2.2. History 60 2.2.3. Research and Teaching 61 2.2.4. Programs and events 62 2.2.5. Conclusions 66 2.3. Peabody Museum 68 3.4. Continuous Circulation of artefact(s), 2.3.1. Mission and Collection 68 outside the storage rooms 134 2.3.2. History 70 2.3.3. Research and Teaching 71 3.5. Co-creation and co-collaboration 2.3.4. Programs and Events 73 between different disciplines 136 2.3.5. Conclusions 74 3.6. Student’s and visitor’s attitude 138 2.4. MAA Cambridge 76 2.4.1. Mission 76 3.7. Promotion of questions and dialogue 2.4.2. History and Collection 78 within the gallery 140 2.4.3. Research and Teaching 79 2.4.4. Programs and events 81 3.8. Relationship with social media? 143 2.4.5. Conclusions 83

2.5. Ashmolean Museum 84 2.5.1. Mission 84 4. Exhibition Model’s Concept 145 2.5.2. History and Collection 86 4.1. Context 146 2.5.3. Research and Teaching 88 2.5.4. Conservation 91 4.2. Museum 148 2.5.5. Programs and Events 93 2.5.6. Conclusions 95 4.3. Concept 150 2.6. Ian Potter Museum 96 4.4. The Museum-Lab 156 2.6.1. Mission 96 2.6.2. History and Collection 99 4.5. Plasters and Casts Gallery 170 2.6.3. Research and Teaching 100 2.6.4. Programs and Events 101 2.6.5. Conclusions 103 5. Curatorship Appendix 175 2.7. Allard Pierson Museum 104 2.7.1. Mission 104 5.1. Introduction 176 2.7.2. History 105 2.7.3. Collection 107 5.2. From Alexander to Cleopatra, 335-50 BC 177 2.7.4. Research and Teaching 119 2.7.5. Programs and Events 122 5.3. From Rome to Romano, 35 BC - 500 AD 181 2.7.6. Conclusions 123

3. The Exhibition Model 125 6. Bibliography & Sitography 187

3.1. Introduction 126 6.1. Bibliography 188

3.2. The Model 129 6.2. Sitography 195

3.3. Object-based and hands-on learning 132 6.3. Image Refrences 197 00.0 ABSTRACT./

The thesis document ‘Univer- Museum (University of Amster- sity Museums: Views and new dam, NL) and Ian Potter Muse- perspectives of teaching & um (University of Melbourne, learning inside the galler- AUS) led to the formulation ies’ analyses and studies the of an Exhibition Model capa- long life of the University ble of combining the figure Museum, as an institution at of the student/researcher and the service of the student the visitor inside of museum and of contemporary society. spaces. The concept, therefore, The research and considera- translates into a physical tions on an institution that place of study and research has contributed and helps to inside the galleries: where shape the university academic verbal communication and body of knowledge, leading to student-visitor involvement reconsidering its method of with the museum’s collection action towards the wide pub- is promoted. Thus, a globally lic to which it is addressed applicable model postulat- today, and on the consequent ed on the values of sharing museum experience. and exchange of knowledge in After a thorough historical a heterogeneous environment and contemporary investiga- based on inclusivity. tion, a series of case studies from around the world Facing a universal discourse relevant in the Archaeolog- on the identity of the Uni- ical field have been ana- versity Museum, the lysed. These institutions Exhibition Model present- have served to trace the idea ed here, aims primarily to of possible future scenarios bring attention and re-open in which the figure of the a debate of international student returns to be central importance on the role that in the museum institution. this institution plays today Specifically, the collabora- in the social and academic tion with the Allard Pierson sphere.

3 01.0 RESEARCH./

Fig. 1

5 01.1 UNIVERSITY MUSEUMS./

Like any other museum, a Often University Museum’s - knowledge combined with en- University Museum is an in- exhibitions are thought ac- tertainment stitution engaged with the cording to the Faculties or - participation and self-mo- collection, conservation, ex- Department curriculum. tivation development hibition, study and research. - personal contact with A place concerned about ser- Therefore, the student/visi- professionals working in the vices of permanent or period- tor-exhibition is a fundamen- museology and museography ical exhibition of artefacts, tal educational relationship fields, besides teachers and objects, papers and ideas. inasmuch is provided: researcher.

‘Yet, it is differentiat- ed from other museums as it is dominated by a Universi- ty School or Department and supports academic teaching. As a result, its collections (objects or archives) are constituted according to special programming, since not only the communication aspect of each individual is taken into account (Lumley 1988), but also the special audience to which they refer to (the students of the School or De- partment)’. (Geladiaki 2014)

Fig. 2

6 01.2 HISTORY Fig. 3, ‘The Archduke OF UNIVERSITY MUSEUMS./ Leopold Wilhelm in His Gallery at Brussels’ by David Teniers the Younger (1610-1690) 1651. Kunsthistorisches Museum, Vienna.

The late history of museums, from the wunderkammer of the sixteenth and seventeenth centuries to the present, is to some extent well doc- umented. In stark contrast, the prehistory of university museums remains widely unexplored. This is an important point, because if the origin and uniqueness of these institutions remain unknown, their role in the society and their scientific purposes will remain undervalued, their identity will remain in crisis and their existence itself will be threatened.

In this document there will be five historical landmarks that have shaped the complex identity of contemporary museums and university museums:

- the teaching collection - the teaching museum - the study collection - the university museum - the research collection

8 9 01.2.1 Fig. 4, ‘Il pesce di Rimini’ Studies of Ulisse Aldrovandi, 1557 Introduction

Widely regarded as the first exhibited a limited number of museum in a modern sense, collections that were already the Ashmolean Museum first accessible to the public via opened its doors to the pub- some European universities. lic in 1683. The Ashmolean The collections of Ulisse was a university museum which Aldrovandi and Ferdinando included a school of natu- Cospi were displayed in the ral history with lecture and Palazzo Pubblico in Bologna demonstration room facili- in 1617 (Impey 1985). ties, including a laboratory for chemistry and an exhibition room (Bennett 1997). Once established, the Ash- molean model was gradually implemented by thousands of university museums throughout the globe (Boylan 1999). However, before museums existed collections did. Ob- Fig. 5, jects grouped for teaching A Private 17th c. Museum purposes have been recorded annexed to Aldrovandi’s to date back to at least 2000 Studio, Illustrated with BC, with archives dating even Numerous Woodcuts of further back. Specimens and a folding engraved Frontispiece of Within universities, the the Museum’s Interior. heritage of teaching and Per Giacomo Monti, 1677. research collections is regarded as important if not more important as the history of museums. Upon opening to the public, the Ashmolean,

10 01.2.2 Teaching Collection

The teaching collection has authors collectively known and Law. Within the fields [sic]” (Ridder-Symoens 1996). a long and rich history in as Physiologus (Ritterbush of medicine and arts teach- Some instruments were used university collections, how- 1969). Importantly, notions ing collections would have for teaching such as the ever, the origins of its of ‘scientific progress’ and been of useful for teaching quadrant, basic models of foundation cannot be directly ‘research’ were absent in me- support, some academics ar- astrolabes, solar clocks and traced. Some academics argue dieval universities. Enlight- gue that such collections may the equatorium (used to study that there were a very lim- enment and the establishment have existed. While the term Euclidean Astronomy). ited number of collections of nation states carried ‘collection’ is not appar- in medieval Europe outside engagement of the universi- ent there is evidence of of the royal treasuries and ty with the advancement of middle age teaching relying collections belonging to the knowledge (Rudy 1984). Fur- on objects for support. The Church (Thompson 1994). Medi- thermore, pedagogy as it is calculators of Merton Col- eval universities specifical- known today was quite differ- lege (Oxford) pioneered the ly, hold records of archives, ent them. In early universi- application of mathematical portraits, sacred art, man- ties, students were expected laws to understand motion in uscripts, and eventually, to become accustom with the the first half of the 14th printed books (Ridder-Symoens ‘authorities’ via lectio century, they also studied 1996). which was undertaken at the and measured the physical start of a typical class properties of bodies. Some Although, the period was whereby students would read academics argue that “the not characterised by direct passages of sectioned text Oxford calculators created observation and experimen- which was followed by com- mathematical and mechanical tation. Instead, the Middle ments of the teacher. instruments”, as such if in- Ages celebrated the rare, Exploring, the subjects deed such instruments exist- the peculiar, the wonderful taught at universities in ed that would most probably and the miraculous. Nat- medieval times begs the ques- be used for teaching. A wide ural history was largely tion of why collections had array of instruments devel- dominated by mermaids and not been established earli- oped to serve the studies of Fig. 6, Equatorium from Johannes unicorns, predominately beer. Universities adopted the music, optics and astronomy Schöner Mathematicus, cause of the second to fifth classical four faculties mod- and physics for “both prac- 16th c. centuries texts of unknown el: Theology, Arts, Medicine tical purposes and research

12 Fig. 7, The Anatomical Theater of Bologna, built in 1637.

In the case of Medicine, medical students had to read “practical demonstrations and study Aristotle’s libri existed ever since the first naturales’ (Ridder-Symoens medical schools in Saler- 1996). no [Italy]” (Ridder-Symoens 1996). Bologna’s public dis- As such, it is evident that sections started as early as objects, props and instru- 1316 while Montpellier stat- ments were indeed used to utorily established dissec- stimulate ideas and facil- tions in 1340 (Ridder-Symoens itate learning in medieval 1996). The dissection lessons universities. These objects were more focused on teaching were likely used repeatedly human anatomy than master- and may have been used indi- ing dissections themselves as vidually or in larger group- this was more so the work of ings – however understanding surgeons. Although the first the exact nature and explic- record of a hortus medicus ity what instruments were established in a university used would require a detailed dates from the 1450s, these primary source analysis. The probably existed earlier in a Renaissance universities were more basic form: more open to pedagogical innovation the previous medi- ‘a) in Europe, herbs had eval mentality (Verger 1973) been cultivated for medical – ‘models, maquettes, casts, purposes at least since the and reproductions, but also ninth century, b) the Arab real objects like specimens treatises used in medieval and instruments, were assem- university teaching explic- bled and used to illustrate, itly considered botanical demonstrate and explain’ pharmacology as an independ- (Clercq 2003). ent area of treatment, and c)

15 Fig. 8, Hortus Botanicus Padua, Plan of the 17th c. of the “Horto dei Semplici”.

Such teaching collections are the advent of the study col- tion techniques originated in still actively and extensive- lection. their context”, and secondly, ly used in today’s univer- “because they represent the sities. The hortus medicus In line with the history of first organised attempt to and the theatrum anatomicum: medieval universities, the congregate objects in a per- laid the foundations for the oldest organized collec- manent location for a specif- teaching museum Renaissance tions were chiefly struc- ic audience”. cabinets of curiosities and tured around the teaching of Geological specimens were private collections which medicine; the physic garden also collected, as these were have been duly acknowledged (hortus medicus or hortus considered to have healing and studied (Belk 1995). simplicium) and the anatomi- power as well as symbolic cal theatre theatrum anatomi- meaning (Impey 1985). Materia Firstly, it should be noted cum (Impey 1985). The first medica teaching collections that many private wunder- garden was established 1540s, during the late sixteenth- kâmmer, despite symbolic and located in either in Padua or and early seventeenth-cen- mannerist constitutions, were Pisa, and the first anatomi- tury at the Universities of considered valuable by uni- cal theatre in Padua in 1594. Cambridge, Oxford, and Leid- versity teachers and schol- Whilst originating in Italy, en, among others, included a ars, who frequently stud- they were quickly adopted by large proportion of minerals ied and visited them (Impey the universities throughout and fossils (Impey 1985). 1985). Furthermore, many Europe, retaining their un- wunderkâmmer became universi- derlying roots in medical ties. teaching and practice. Physic The connection between the gardens and anatomical the- history of university collec- atres play a primary role tions during the Renaissance in the history of university were significantly impacted collections and museums for by three important innova- two important reasons: first- tions, being: the botanical ly, because “several types garden, the anatomical thea- of collections and the de- tre (and teaching museum) and velopment of early preserva-

16 Fig. 9, 01.2.3 Hortus Botanicus Leiden in 1610. Print by Jan Cornelisz. Teaching Museum

In order to be easily ac- 1958). In a manner similar- cessed by students and ly adopted by the anatomical scholars, the botanical and and botanical counterparts, materia medica teaching col- the art teaching academies lections required carefully presented originals, repro- considered locations. Exhibi- ductions, maquettes, and tions were first mounted in pedagogical models. Teaching universities in the neigh- museums were also created borhoods of botanical gar- near chemical laboratories, dens and anatomical theatres. astronomical observatories, Whilst differing from museums and physics cabinets, par- in the modern ICOM sense, ex- ticularly after the high- hibitions of teaching collec- er education reforms of the tions became known as ‘teach- nineteenth century. Many ing museums’, an expression established regular opening still in use today (Poulot hours and facilitated public 2001). access, thereby becoming mu- Having existed since the seums in the current sense of 1600s, teaching museums the term. are clear predecessors of The onset of the Enlighten- the Ashmolean. Built in the ment saw the complexity of 1590s, Pisa’s Botanical Gar- museums and collections in- den is the first record of a crease; the ability to dis- teaching museum (Alexander tinguish between the two 1979). Another similar was became more difficult. built in Leiden in 1600. Re- cords suggest that the first anatomical teaching museums, located near anatomical theatres, were constructed in Leiden in 1597 (Roseboom

18 19 Fig. 11, Fantastic Marine Creature, Unisse Aldrovandi, 1557.

01.2.4 Study Collection

As was the case for teaching fessors from their personal study and document objects in museums acting as the seeds interests and travels were an organised manner through of for the university muse- used for teaching purposes direct observation and ex- ums, the study collection is are of primary interest. The periment, supported by an the embryo of the research first of these was probably increasingly ‘natural’ clas- collection. Between 16th and assembled by Ulisse Aldrovan- sification (Ritterbush 1969). 18th century in Europe, the di (1527-1605), professor de Contrary to the wunderkàmmer, study collection underwent fossibilus, plantis et ani- where reality was symbolical- its golden age, belonging to malibus at the University of ly reconstructed, the study learned societies and acade- Bologna (Impey 1985). What collection was seen as an in- mies, merchants, the nobili- made these so relevant to strument for the exploration, ty, and the upper bourgeoi- the development of research documentation and comprehen- sie. The study collections collections was that, study sion of the world (Whitehead Fig. 10, closely associated with the collections probably repre- 1970). Aldrovandi’s collec- De Pescibus, Ulisse university collected by pro- sent the first attempt to tion, separated works of art Aldrovandi, 1557 from natural objects, while common objects - such as local animals and plants - were also represented (Impey 1985). Most authors, however, consider that these did not yet represent ‘real’ research collections. Symmetry and mannerism in the display were still the prevailing organisational criteria (Impey 1985) and most of the different classification systems were based on emphasising the living animal and its behav- iour (Impey 1985). 01.2.5 The first University Museum

The university museum as it’s munity was considered and archives. Essentially the and simply archived manner known today originates from sought after. Additionally, Ashmolean acted as a instru- with a broader target audi- 17th century Europe. The the teaching museum was merely ment to support teaching and ence and increased access. Ashmolean Museum has been the a location for the display of was designed to adopt an Evidently the primary concern object of in-depth studies teaching collections; having active role in describing, of the Ashmolean’s architect (Bennett 1997) and two aspects no structure, no specifically explaining and documenting and first curators was to are of specific significance: appointed staff, essentially, nature. There is a subtle, combine everything under the firstly, the differences no institutional existence. but clearly traceable line same roof and ensure easy ac- between the Ashmolean and The Ashmolean was the first from the Ashmolean to teach- cess for: teaching, research, prior teaching museums; and institutionalized museum as ing and study collections display. The Ashmolean model secondly: the organisational we know it today. Although, which can be followed all the was imitated by universities structure of the Ashmolean. the underpinning aim of the way back to the Museion in throughout the world, in what From the very beginning, a Ashmolean was ultimately the Alexandria. In essence, the might at first seem to be un- broader audience extending same as earlier collections Ashmolean presented ancient expected disciplines (Boylan beyond the university com- and inevitably libraries and objectives in an integrated 1999).

Fig. 12, Engraving of the Ashmolean Museum, 1845

22 01.2.6 Research Collection

Exactly when and where the collections therefore flour- first research collection ap- ished in zoology, palaeontol- peared is impossible to say. ogy, botany, mineralogy and Distinguishing between study geology, archaeology, anthro- collections and research pology and ethnography, and collections is difficult if medicine. not impossible. Included in Research collections in ar- the collection of the Anatomy chaeology were developed Museum at Oxford University after 1836, when C.J. Thom- as late as the 18th century sen introduced the three-age was: “a Moor’s ear cut off; a period (Stone, Bronze and frightful large Indian Bat; a Iron), Jens Worsaae divided Mermaid’s hand; the teat of a the Stone Age into Palaeo- witch” (Whitehead 1970). Such lithic, Mesolithic and Neo- objects are emblematic of the lithic, and it was recognised complexity of collections in that regional variation with- the eighteenth century, how- in these periods existed. ever, are hardly typical of The representative role of what we would call a research objects in collections was to collection. Whereas study a considerable extent adopt- collections thrived on diver- ed and adapted by archaeology sity, research collections and anthropology, and even developed only in fields that by other disciplines, as art Fig. 13, required objects in order to collections represent par- Mermaid, British Museum, produce new knowledge, or, to ticular styles or periods 1882 use the expression of (Rud- (Boylan 1999). wick 1976), “in disciplines that share an interaction between theory-building and the accumulation of ever-richer stores of evidence”. Research

24 25 The birth of teaching collec- the high historical value of with the university history, tions coincided with that of accumulated objects, build- the breadth and history of the first universities and ings and teaching equipment its subject disciplines and have stayed remarkably con- gradually became apparent to faculties. stant until today. Teaching the universities. With the collections paved the foun- realisation of this heritage While the history and singu- dations for the evolution of and the continued accumula- larity remain unstudied, the research collections whose tion of donated art along social and scientific roles origins date back to the mid- with social and academic of the university collections to late- eighteenth century. factors came the birth of and museums will continue to In the interim, study col- different types of museums. go undervalued, their iden- lections were born, acting Focusing now more on histor- tity will ‘remain in crisis’ as precursors to the more ically significant objects and risk their heritage. The refined research collections. displayed in narrative forms, history of university collec- The dawn of university mu- these new museums are less tions and museums is there- seums was marked by the Ash- dedicated to research or fore an urgent and much need- molean in 1683. teaching, but more so informed endeavour. (Lourenço 2003) The complexity of this time- ing and appealing to larger line is rich when we reach portions of the public. To the 19th century; teaching date, universities exhibit and research collections the vastest and probably old- developed inside and out- est diversity of museological side museums. Objects were institutions in contemporary frequently switched from society. Unlike general mu- Fig. 14, research to teaching col- seums and their origins (the ‘218. Sculpture on the lections and collections to cabinets of curiosities), the angle of Ducal Palace, Venice. M’ museums, and the meanings and prehistory of university col- John Ruskin, Ashmolean values between these two have lections and museums remain Museum, 1875 been shifting and evolving as largely unstudied. The enor- civilisations have. mity of the task is compound- During the twentieth century, ed by its inextricable ties

26 27 01.3 HISTORICAL CASE-STUDIES./

Universita’ di Bologna

The University of Bologna, university. tion, conservation and cata- Alma Mater Studiorum, located The exhibited objects are loguing activities, extending in the city of Bologna (Ita- kept like treasures in the then the research area and ly), is considered the oldest rooms linked to them and tell the related exhibitions. university in Europe. The the story of human develop- For these reasons the Univer- year of foundation, accord- ment, knowledge, approach to sity has always provided the ing to some historians, is different disciplines, dis- museums with a broad range 1088: year in which the first coveries, methods of inves- of autonomy in the organiza- juridical school was estab- tigation and representation. tional and preservation as- lished. All very important aspects pects, aware of the knowledge The Alma Mater is organized both for historical and sci- and educational actions that Fig. 15, in a multi-campus structure, entific point of view. these institutions had always Archaeological University with offices spread all over The university museum sys- given to the community. Museum of Bologna, 2017 the Emilia Romagna region. tem exercises its functions Rimini, Cesena, Forlí and in public interest with the Ravenna, and the foreign of- aim of valorisation of its fice in Buenos Aires belong heritage and the educational to this institution. Further- purpose on the public. It is more, the university includes indeed an open encyclopaedia some high schools, institutes available to everyone, both and colleges. In 2017 the students and visitors, that university had a total number gives the opportunity to get of 79.138 students. knowledge of a wide range of The University Museum System disciplines. of Alma Mater starts ide- The Museum System is organ- ally with the date of birth ized in 14 different museums, of the institution, but in a all dedicated to different wider prospective it’s birth disciplines. The main activ- should be placed to the date ities, behalf on the educa- in which scientific courses tional purpose and teaching, were introduced first in the are concentrated in restora-

28 29 01.3.2 University of Leiden

The University of Leiden, elements are represented in a founded in 1575 by William, permanent exhibition, through Prince of Orange, is the old- different sections that host est university in the Nether- the diversity of the special lands. collections, such as medie- During the Dutch Golden Age, val manuscripts, Dutch East the university hosted fig- Indies’ photos, Asian draw- ures as Christiaan Huygens, ings, maps of the known world Descartes, Rembrandt, Ba- in different times and much ruch Spinoza, Hugo Grotius more. The museum provides a and Baron d’Holbach. At the service of online consulta- time Leiden was considered an tion of the collections and international intellectual books that the library hosts. capital of Europe, due to its tolerance and avant-guard in many disciplines. The university houses more than 40 national and international research institutes, and has a total of seven faculties, and more than 50 departments. The Historical Museum is a real view into the past of academic and student life; with paintings, portraits, tools and any subject that recount the history of the Fig. 16, University, since its first Astronomical Collection of ever lesson in the Acade- the Boerhaave Museum in my Building, in 1581. These Leiden

30 Fig. 17, Zoological Collection, National Historic Museum of the Sorbonne University, Paris

01.3.3 University of Paris

Sorbonne University formerly - Minerals: over 1500 miner- tion of stuffed specimens, tographic plates created by lection of Fossil plants called the University of Par- als on display in 24 cases, skeletal mounts, fluid parts, Gabriel Lippmann in his stud- - Musée Dupuytren: moved from is, is the oldest university open to the public anatomical casts and insect ies of photography and the Cordeliers, will be open to in the Francophone world, and - Physics experiments models boxes physics of light the public occasionally, after the University of Bolo- built by professors from the - Palaeontology: research - Charcot library: Research features wax anatomical items gna, is the second oldest in Sorbonne and UPMC in order to collection of fossil inverte- collection of the person- and preserved specimens il- Europe. demonstrate different princi- brates al library of neurologist lustrating diseases and mal- Founded around 1150, first ples of physics - G. Lippmann collection: Re- Jean-Martin Charcot formations. as a corporation of students - Zoology: teaching collec- search collection of 46 pho- - Palaeobotany: Research col- and masters, existed until the French revolution in 1793, and again between the First French Empire in 1806 and 1970, after the May ’68 events. The reestablishment was agreed just in April 2017 and took place on 1st January 2018. The university museum is organized in eight scientific collections, opened to researchers and students, and in specific cases also to the open public. The collection includes minerals, physics experiment modes, zoology, palaeontology, palaeobotany, Charcot Library, Museé Depuyrten and G. Lippmann collection.

32 01.4 PAST, PRESENT AND FUTURE./ Fig. 18, ‘La scuola di Atene’ Rffaeollo Sanzio, 1509-11 Introduction Citta’ del Vaticano

University Museums are a at some university’ (Rodeck present institution all 1952). around Europe since the Mid- dle Ages, although no one University collections cov- knows the real extent of er all possible disciplines their scientific, artistic and subjects, comprehending and cultural heritage. both ‘traditional’ (zoology, Unfortunately, not just the botany, mineralogy, geology) number of these museums is and historical fields (histo- imprecise, but there’s a lack ry of the university, history of information also on the of medicine...). In most of collections that universities times, as already said, these held within their depart- artefacts are not housed in a ments. museum, but in departments, institutes, astronomical Therefore, even if we recog- observatories or other facil- nise the heritage of univer- ities. It is not easy then to sity museums and collections have a uniform understand- in Europe, these institutions ing of the public access to don’t receive the attention these collections, precisely that deserve. They remain in- because depending from the accessible to a large portion building in which are includ- of public, students included, ed. and then unknown and unappre- ciated. (Lourenço 2004) University Museums are unique among museum, in that they ‘There is every possible reach wide audiences while combination and almost every simultaneously making impor- imaginable subject, from tant contributions to schol- dentistry to church histo- arship and the education of ry, represented by a museum students. (Burritt 2010)

34 35 01.4.2 Fig. 19, Simon Fraser University, Department of Archaeology, Museums and Collections today Canada ‘If university collections recent decades, when their are so diverse and important, purpose was questioned by why are they so little known, their parent-university. It so little valued? What is was only in the 1960s that the problem with university many university museums and museums and collections?’. collections began to look at (Lourenço 2004) non-university museums in search for alternative organ- The problems relating the isational models, roles, and university museums are mul- in many cases, in search for tiple and complex, since the an identity.’ (Lourenço 2004) solution is at the same time held in their structure as This category of museums academic institutions. There cannot be understood if not are theoretical and practical related to the university of issues that involve percep- which is strongly connect- tion and role. ed. Every university museum University museums are and held the historical, econom- have always been compared to ic, cultural complexities and the classical museums (na- modus operandi that the alma tional, regional or private), mater university does. not counting the diversity of Although, today it is not their role inside the socie- clear the relationship be- ty, especially in the univer- tween these two institutions. sity life. If in the past the connection was visibly strong, today ‘For the large majority of happen the opposite. They university museums and col- tend to search an independ- lections, the influence of ence from each other that can the museum sector has only just be a destructive behav- become truly significant in iour in terms of cultural

36 37 heritage and knowledge for Some important universities have been required to raise a A particularly illustra- Therefore, became the start- the students and the academic and related museums (e.g. significant portion of their tive case is represented by ing point for inquiry into life in its complexity. Ashmolean Museum; Peabody annual budgets themselves. In the University of Amsterdam the development of archaeo- Museum) have been able to addition, since the Lisbon (UvA). In this case, sadly, logical practice, in particu- ‘What is the use of collec- maintain pace in this pro- Strategy (European Council natural history collections lar for students undertaking tions if they are no longer cess of development, but the of Lisbon, March 2000) was has been eliminated from the the undergraduate ‘Practical used for teaching and re- discussion is still open for adopted, universities have ‘80. Some disciplines were Archaeology’ unit. Unlike search?’ ‘What are collec- the majority of universities, been asked to actively com- abolished, for example Geol- traditional classroom-based tions for, if what we need is in which there is an ongoing pete in the international ogy in 1983 and consequently subjects, ‘Practical Archae- state-of-the-art laboratories gradual disinterest to the arena, especially with Amer- the related collections re- ology’ provides students to recruit the best students theme. ican universities. In other located in other cities such with hand-on experience in and researchers, enabling Universities, nowadays, must words, they are being asked as Maastricht and Nijmegen. surveying, excavating and us to compete in the global answer to multiple questions, to do more with less money.’ (Clercq 2003) artefact analysis. This pro- higher education sphere?’, such as decrease in number of (Lourenço 2004) By contrast, an interesting vided students with a unique ‘Of course collections are students in some disciplines example that demonstrates the opportunity to access three important - they are our jew- and consequently adaptation Although, the use of arte- difference between univer- different learning approaches els, our treasures – but who of courses and working staff; facts and objects, belonging sity museums in the world, - museological, archaeolog- pays for them?’, ‘Who pays pressures from regional forc- to the research and study according on the availabili- ical and historical – within for the preservation, study es in the development of the collection, for teaching ty of funds, is the ‘Jericho the same class and learning and public interpretation of geographic areas, establish- purposes, have had a signif- to Jerusalem’ exhibition (23 environment. (Jamieson 2017) our collections, museums, ing link with local indus- icant decrease in the past October 2013 to 6 April 2014) astronomical observatories, tries. decades. Consequently, some at The Ian Potter Museum in gardens and libraries?’ All these factors, then, courses such as archaeology, Melbourne. weight on the remaining at- anthropology, life sciences Marta C. Lourenço, again, tention placed on the museum and medicine have suffered This exhibition was a key considers other important collections. profound alterations. instance in which artefact we questions concerning the Other disciplines were re- chosen non-only for display collections and their signif- ‘Moreover, and most impor- moved from graduate cours- purposes, but as a teaching icance when not used as an tantly, the majority of Eu- es or became optional, with resource on Middle Eastern instrument of research and ropean universities suffer grave repercussions on col- Archaeological field work teaching. These questions from chronic underfunding and lections’ life. practices and techniques.

38 39 01.4.3

Fig. 20 Significance of University Heritage

‘If university collections careers and functions retired To understand the meaning are in “crisis”, then such and were not replaced or dis- of University heritage, we has been the case for quite continued. should first understand the a while. In fact, the “cri- In this direction, UK, the value and role of the Univer- sis” is probably less about Netherlands and Australia sity, as academic and cultur- collections and more about (Council of Australian Uni- al institution, in the con- universities. European university Museums and Collec- temporary society. versities are going through tions, CAUMAC, 1992) initiat- The importance related this a profound crisis of iden- ed national surveys of their category of museum can be tity and resources and it is museums and collections. found in two factors: their important to put the “cri- These programs are bearing strategic position and the sis” in its proper context.’ their fruits, and most sig- nature of the collection, (Lourenço 2004) nificantly are visible in UK, or more generally university in which university museums heritage. From the 90’ to now, there are sustained by a strong has been mobilization of pro- program of founds. The re- There has been a time in fessionals from both univer- sults are directly observable which university museums were sities and museums in order in the commendable job of the defined by ICOM, in the Gen- to answer to this ‘crisis’ Cambridge University Museum eral Assembly of Munich in situation, even if in multi- and the Ashmolean Museum. 1968, as the ideal type of ple cases traditional-based museum. (Rodeck 1970)

Today, mainly as political institutions, universities have an inconceivable power within our society, because they are the incubators of the future thinkers. Although, very little has been done to make a connection between their heritage

40 41 Fig. 21 and the students, then give have collected for at least in the laboratory notes of ings and gardens - in short, and define a clear position 450 years artefact, objects scientists, in the field space and time, form and for their university museums, and material. For these ac- notebooks of zoologists, in function, tangible and intan- as physical locations. tion of assimilation, all the way botanical gardens and gible.’ (Lourenço 2004) In fact, even master courses university collections can be herbariums are arranged.’ in museology make so little defined ‘scientific’, then (Lourenço 2004) All these, An integrated approach, then, use of the museums and col- directly or indirectly as- are factors of university can faithfully represent the lections; but also, computer sociated with teaching and heritage. history and significance of sciences, pedagogy, communi- researching. university heritage. cation... They hold the material evi- Heritage means culture, val- dence of knowledge and his- ues ways of living and con- ‘It is difficult to under- tory of knowledge, through nections between students, stand why so few university all the scientific equipment, researchers and city (Bo- museums across Europe truly that has been used countless logna, Montpellier, Uppsa- represent “windows” between times for many purposes gen- la...), including a wide the university and society, eration to generation. range on intangible factors, using people, laboratories Not just the artefacts then, that make every university and content available in the but also the tools are part different from the other. university as a platform for of this immense heritage. public projection. Recipro- ‘This is the multi-level and cally, what are universities ‘The history of knowledge is integrated approach we need waiting for to use their mu- embedded in hundreds of rocks to adopt towards university seums to effectively and ef- gathered for a research pro- heritage: ficiently reach increasingly ject or PhD thesis, it is in encompassing science, art and broader segments of society, these immense archives of nature, museums and collec- including potential future biodiversity, in wax models tions, artefacts and speci- students?’ (Lourenço 2004) used in anatomy teaching, in mens, ugly and art collections resulting beautiful, easy and diffi- The other factor relevant from students’ experiments cult, historical and in use, today, is the nature of these and development of the ar- savoir faires and values, collections. Universities tistic and creative process, books and documents, build-

42 43 01.4.4 Concluding Remarks

University museums and col- ty this cultural heritage. definition of universities present-day society as well lections exist thanks to the For this reason, the ongoing and academic curricula; un- as to generations to come. action of collecting, pursued trend is to look at other mu- fortunately, however, the Heritage is the single and through the centuries by dif- seums, regional or national, university museum is still most important resource uni- ferent actors, such as trav- often overlooking the dis- outside of the necessary pro- versities must promote in a ellers, professors, alumni... tinguishing mission, values, cesses of renewal. long-term and meaningful way. These objects are the foun- ethics, professional practic- As a pivotal point of in- dations of our societies and es and public services. formation and culture in Together with respect arrive represent our way of learning society, the university has expectations, therefore ac- and knowing. ‘There is a niche for uni- responsibilities towards its ademic institutions and mu- versity museums, but only collections, to make them seums must work together to Although the unique history if they manifest a distinct available and enjoyable for create that ‘window’ between and prestige of every univer- identity.’ the students and open public. society and knowledge, that sity, today there’s a signif- (Lourenço 2004) M. C. Lourenço talks about, icant issue in terms of iden- This is universities’ most maintaining an inclusive and tity. Precisely concerning, Thanks to the Bologna Pro- important legacy to the sharing approach. the ways of promoting and cess, much has been done world. Their responsibility communicating to the socie- to ensure uniformity in the is to explain this legacy to

44 45 01.5 ARCHEOLOGICAL MUSEUMS./

‘Archaeology is the science of our earliest human ances- that studies the civiliza- tors to 21st century build- tions and human cultures of ings, archaeology analyses the past and their relations the physical remains created with the surrounding envi- or modified by people in pur- ronment, through collection, suit of a broad understanding documentation and analysis of our human experience. of the material traces they have left (architecture, History of Archaeology artefacts, biological and The history or archaeology is human remains). Archaeology made of ideas, theories and is partly the discovery of points of view of the past. the treasures of the past, in It is the history of study on part the meticulous work of methods regarding research the scientific analyst, part- and development, that use ly the exercise of creative intuition and ideas to inves- imagination. It is also the tigate on the past. scrupulous task of interpre- It is also known as the his- tation so that we come to un- tory of the great discover- derstand what they mean these ies: the tomb of Tutankhamun things for human history. And in Egypt, the lost Maya cit- it is the conservation of ies of Mexico, the Painted heritage cultural heritage, caves of the Old Stone Age, against looting and negligent the Warriors of Terracotta in destruction.’ (Renfrew 1991) China, etc. Human beings have always Archaeology is the study of speculated on their past and our human past through the most of the cultures have Fig. 22 material remains and environ- foundation based on their mental data people have left material heritage, proofing behind. From the first traces fascination for what was be-

46 47 Fig. 23, Kunstkammer Frans Francken II, 1636

fore them. ed States: a discipline that the walls and ceilings, ward- During the Renaissance, among reaches geographically every robes and drawers of one or the cultural European élite, remote area of the globe and two bedrooms. The origin of began the practice of “cabi- takes it back in time at the the exhibits mostly derived nets of curiosity”: in which beginning of human existence, from purchases in flea mar- artefacts, exotic minerals to study and understand the kets, fairs and only rarely and animals, and all kinds present. from occasional and sporadic of objects classified “nat- The archaeological museum is findings made by the founder ural history” were part of an institution that host and of the same collection. a chaotic collections. It exhibits ancient artefacts, Different aspect gives the wasn’t until the mid - 19th from prehistory to the clas- collections of the early Century that the discipline sical age, even though often sixteenth century: artefacts of archaeology really became includes productions until and art-pieces arranged of- constituted, thanks also to the end of the eighteenth ten outdoors, in gardens or significant achievements of century and sometimes even in courtyards, as an image the newly developed science beyond. of a classic Christian Rome. of geology. The settings were perceived The geological idea of “uni- History and development of as inner landscapes in which formitarianism “could also be the archaeological museums each fragment used to became applied to the past human and The roots of the archaeo- one defined element, commu- marks a fundamental notion of logical museum can be found nicating values belonging to modern archaeology: that to in the private collections the past. an extend the past is very of wealthy nobles or wealthy From exhibitions organized by much related and compared to European merchants between collectors for one public, the present. the fifteenth and seventeenth the concept of museum set-up The 1960s sign a turning centuries, whom they loved to was born. In the following point in the development of show off curiosity, one of centuries the typical museum archaeology. The theory of the first incarnations of the attitude of a “staging” des- New Archaeology has been museum as known today. tined to strike the visitor proposed by a group of young Both natural and artistic ob- and to arouse his attention archaeologists in the Unit- jects were mixed together on and curiosity was gradually

48 49 built. Since the seventeenth 1820 the edict of Cardinal historian, is considered the From the work of Winckelmann, chitectural fragments has century the first edicts Pacca was promulgated (under father of the discipline of was established a conscience been fundamental to describe aimed to prevent the destruc- the pontificate of Pius VII), the history of art for his about the value of the an- a historic era: in the vil- tion and dispersal of master- generally recognized as the great contribution not only cient artefacts and a peri- la Klein Glienicke, outside pieces and testimonies of the first and organic legisla- to a new science of archaeol- odization of the exhibited Berlin, summer residence of past, particularly materials tive provision of protection ogy and history of art, but objects. From the end of the Frederick William of Prus- which were gathered in Rome, of artistic and historical also western painting, sculp- eighteenth century in fact, sia, architectural elements by the State of the Church, assets that inspired similar ture, art literature and even the collections began to take are inserted into the walls with the provision of strict provisions in the Kingdom of philosophy. He was a Hellen- on a purely educational role of the building, as if it was police checks on the conser- Naples, in Tuscany, in the ist discoveries pioneer which and no more mere exposure, a Roman dwelling of the six- vation and trade of antiqui- Lombard region of Veneto. first articulated the differ- aimed at the amazement and teenth century. ties and works of art. The One of the founders of the ence between Greek art, Gre- wonder of visitors. With the first major museums regulatory body of this state scientific archaeology, Jo- co-Roman art and Roman art, With the birth of the Louvre of the nineteenth century a it is rather large and volu- hann Joachim Winkelmann, the “the prophet and hero found- also opens the way to public clearer relationship is in- minous; especially on 7 April German archaeologist and art er of modern archaeology “. exhibitions, initially undif- stituted between content and ferentiated and starting from container, between the col- the following century, always lection and the architecture. more sectorized, thanks also When, at the beginning of to the different scientists’ century, Frederick William of laboratories who had small Prussia decides to donate his personal collections, for in- ancient art collections to stance the botanical gardens. the city of Berlin, entrusts The archaeological museum is the creation of the Karl developed precisely from the Friedrich Schinkel museum. latter, acquiring their own The aim is to reproduce in physiognomy and enriching ex- front of the royal palace a hibitions with acquisitions, real evocation of the Acropo- donations, exchanges. lis of Athens, with a garden Fig. 24, A View of the Eastern (Giambarda 2000) and a colonnaded temple. The Portico of the Parthenon, It is interesting to note result, beautifully accom- James Stuart and Nicholas how interpretations of ar- plished by Schinkel, it is Revett, 1787

51 Fig. 25, Altes Museum Berlin, Friedrich Thiele, 1830

the Altes Museum. society, that’s why is im- hastily devoted to a summary Another historical example portant to define a communi- perception of exposures and is the Pergamon Museum in cation medium and the con- their contents. It is certain Berlin, located in the Muse- sequents imparted values to that archaeological museums um Island. The building has the visitor. From the tra- are changing and as stated by been built in the 20s of the ditional point of view, the the historian K. Pomian, the last century to collect large museum plays an important archaeological museums are archaeological acquisitions role in the cultural system distributed around the world sites from the territories as a protector of the assets among two trends: those ones of the Near and Middle East. and identities of the socie- in which the main character Faces find works of Hellenis- ty. From an economic aspect is the single piece of art tic age from Turkey to Jordan though, is an important in- and those ones in which the up to those from the Persian stitution that increase the collection of objects like world. numbers of cultural tourism bones, metals, agricultural The peculiarity of this muse- and helps local communities tools etc. as a whole, pre- um is the re-composition of to preserve their cultural vails. the original architectural heritage. Therefore, these The two types of archaeolog- spaces of the sites, beauti- values need to be transmitted ical museums - “archaeologi- fully articulated in large in efficient exhibition mod- cal art” and “archaeological rooms that allow the visi- els able to guide the visitor technology” - do not show up tor to wander between roads through the museum and ex- as pure categories, but it is and squares, overcoming time plain in the most interest- true that the first one en- and space. Examples of these ing way the collection, as hances the individual object architectural fragments are: the archaeologic discipline from the setting, and the an- the altar of Pergamum, the is inevitably physically and other one creates a narrative Gate of the Market of Mile- cognitively incomplete. path through the organization tus, the Gate of Babylon and Archaeology is undoubted- of the objects, strictly re- parts of the Imperial Palace ly among the most difficult lated with the context. of Amman. to make it intelligible, to Museums reveals aspects of most visitors who have little the profound change of the expert knowledge, and who are

52 53 02.0 CASE STUDIES./

Fig. 26

55 02.1

Introduction

Some years ago, The Guardi- capacities and skills. the European continent, the Even though, European, Ameri- an published an article on significance and definition can and Australian Universi- the seeming decline of ar- University Museum represent of University change. ties, and consequently their chaeology throughout the UK a particular case of muse- In The Netherlands, for ex- university museums, differ in (Braddick 2013). Although, a um because strongly related ample, the higher education many aspects outside numbers number of projects and in- with the University and the system runs in a binary mod- and statistics. stitutions dotted around the academic purposes, such as el: consist 14 universities This is due not only to cul- world have attempted to re- direct training for the stu- and 44 hogescholen (polytech- tural aspects, but above kindle interest in archaeol- dents, internships or simple nics). Apart the 13 higher all to the economic ones, as ogy in various ways (Van De possibility to study within institutions, there are other there’s a difference between Ven 2014). the spaces of the museum. small ‘designated institu- “private” institutions and tions’ that are considered “public” ones. Even here, it Museums, as higher cultural A University Museum is a part of the university sec- is complex to make a homoge- institutions, embrace val- museum like any other and, tor: business administration, neous cataloguing on an in- ues of conservation, study at the same time, it is a institutes for theological ternational level, but it is and reflection on society’s different museum, since its training and humanistic uni- easy to deduce that some in- heritage. In here, objects function depends on the place versities, as stitutes have more funds than are presented as unique arte- in which it operates (Pradel well as several internation- others, and therefore better facts, entrenched in cultural 1987). al education institutes. services for their museum significance. Although, these are not in- structures. Although, museums are not The precise number of Univer- cluded in the educational In order to draw a clear simply containers of past sity Museums in the world, statistics and usually have overview, some of the most and present artefacts, but but most specifically in different higher education important university museums spaces of education as well. Europe, is yet unknown. It is policies. (Frans Keiser, in in the world were chosen as Then, communication becomes complex, in fact, to deter- litt. 12 April 2005). case studies. Analysing these an important aspect in the mine the number of these in- Accordingly, the theme is institutions, we can extract administration of these institutions, because of their rather controversial, given strong and weak points, use- stitutions, as visitors ap- strongly connected nature to that it doesn’t observe a ho- ful for tracing the path of proach the museum spaces in the universities. And, be- mogeneous system both in the the university museum of the different ways, according to cause of the different histo- european continent and Euro- future. their educational background, ry and traditions all around pean Union (EU).

56 57 02.2 PENN MUSEUM./

Mission & Collection

The Penn Museum of Archaeol- “The Penn Museum transforms Fig. 27, Sphinx of Ramses II, ogy and Anthropology is the understanding of the human Egyptian Gallery former museum of the Univer- experience.” (CERL 2017) Penn Museum, sity of Pennsylvania. Found- Philadeplphia. ed in 1887, brings together The museum brings together a artefacts from all the world large range of collections, and evidence the development well organised in eleven dif- and history of human being. ferent sections: This institution is one of - African the world’s great archaeology - American and anthropology collection, - Asian through own research mis- - Babylonian sions, and the largest Uni- - Egyptian versity Museum in the USA, - European Archaeology with nearly one million ob- - Historical Archaeology jects. - Mediterranean - Near East “The Penn Museum encapsulates - Oceanian and illustrates the human - Physical Anthropology story: who we are and where we came from. As a dynamic research institution with many ongoing research projects, the Museum is a vibrant and engaging place of continual discovery, with the mandate of research, teaching, collections stewardship, and public engagement—the four “pillars” of what we do.” (CERL 2017)

58 59 02.2.2 02.2.3 History Research & Teaching

The Penn Museum was found- by the architect Frank Fur- Penn Museum has an important ical Materials (CAAM), that ed between 1881 and 1894 by ness. research role in the Archae- provides the services, mate- William Pepper, to collect The major section of the ologic discipline of Uni- rials, equipment, and expert under one roof objects that collection, coming from the versity of Pennsylvania. A staff to teach and mentor describe the history of hu- Americas, was placed on the network of curators, project Penn students in their future manity from antiquity to the top floor of the cathe- managers, consulting schol- profession of archaeologist, present. Antiquities donat- dral-like nave, but it was ars across eleven curatorial through a different range of ed to the University were agreed soon that the Museum sections and two teaching and disciplines: natural scienc- grouped in a large room on would need its own building. research centres. The re- es, social sciences and hu- the upper floor of College This vision was made true search is mostly on active manities, to have the best Hall and presented to the when the City donated a rel- field around the globe and instruments to read the past. public just in 1889. evant portion of land to the in 2016-2017 Penn’s students As the collection started University, supporting the increased their knowledge in: rapidly to grow, the Museum birth of a new museum, com- Azerbaijan, Bulgaria, Canada, was transferred (1890) in the pleted eventually just in Fig. 28, Egypt, France, French Guia- Penn Museum, University Library, designed 1929. Philadelphia na, Germany, Greece, Israel, Italy, Mexico, Romania, Trin- idad, Turkey, United States, thanks to Museum-sponsored experiences. Therefore, the Museum offers opportunities for both undergraduate and graduate students to gain irreplaceable experience working as part of a team, with international and local experts, in the field. The research projects are supported by the Center for the Analysis of Archaeolog-

61 02.2.4 Programs & Events

University students to become Museum docents, of the Museum’s collection, dedicated to all the visitors volunteer for Museum program- exhibitions, and resources, are: The Penn Museum has a large ming, invite guest speakers, and host a wide variety of range of educational programs and join Clio-sponsored vis- programs and special events - Great Lecture Series that involves students since its to other museums. This specifically for students. - Culture Films at Penn Mu- the beginning of their Uni- network allows students to Members also collaborate with seum versity career. Through the have a wide understanding on other student organizations - The curator’s table Clio Society program, for ex- the museology and museography to host events at the Mu- - Unearthed in the archives ample, undergraduate students field and create awareness seum, including workshops, - The public Classroom @ Penn are brought in touch with the about the possible profes- readings, and performances.” Museum museum world in many aspects, sions in this cultural field. (CERL 2017) - Science and Race: history, Fig. 29 like organizing events, train “We promote student awareness Other interesting events, use, and abuse. Fig. 30

Young students cultures and people. Replica artefacts are given to the The Penn Museum dedicates young students as a primary important attention also to contact with the world of the the youngest students. In archaeologist and with the here, primary schools, middle practice of investigating and schools and high school stu- understanding. Some of these dents can approach archaeol- interesting programs are: ogy and anthropology through - Digging Up Rome different programs tailormade - Preserving the Past for them. - The Carbon Clock: Radio- These programs introduce the activity and Archaeological children and teenagers to Dating world cultures both far away - Touch Tours and close in time. A very And for the teens, the museum interesting one is Story- offers challenging intern- time Expedition, created for ships in which students can young children between 3 and develop career skills in the 8 years old. In this hands- museology world. An early on learning classroom, kids contact for scholars passion- receive an immersive learning ate about museums, archaeol- experience with myths, folk- ogy, anthropology and relat- tales and legends specially ed fields, in three intense selected to introduce tradi- weeks of knowledge and fun. tion and cultural themes in their knowledge of the world. Other initiatives, like the Interactive Workshops, investigate further into the ancient world through hands-on activities that explore past

64 65 02.2.5 Conclusions

This museum is very interest- chaeology and anthropology, ing for the role of awareness disciplines that have always it has towards its students, been strongly correlated, but in bringing them in direct distinguishing the branches contact not only with the of action. world of research and prac- The way in which this museum tical work on the archaeo- relates the collection-muse- logical field, but also with um-student through the study scenarios and real possibil- of replicas or research col- ities of work in the museum lections open to a relative- world, from the management of ly large pool of users, can the institution to the rep- be an example for many other resentation of the various institutions. collections present in it. A vast collection, but well organized, combining ar-

Fig. 31, High-School teaching program

66 67 02.3 PEABODY MUSEUM./

Mission & Collection

The Peabody Museum of Archae- one of the largest photo- ology and Ethnology engages graphic archives in the world in, supports, and promotes documenting indigenous cul- the study and appreciation of tures. ancient and contemporary peo- Peabody offers exhibition, ples from around the world. both permanent and temporary, The Museum collects, pre- for the public, but also serves, and interprets cul- specific programs and events tural and related materials for the Harvard’s students. and offers unique opportuni- The collection is organized ties for innovative teaching, in eight galleries, with a research, and enrichment at fraction of nearly 3000 ar- Harvard and with communities tefacts displayed, of over worldwide. (University 2017) 1.2 million objects in total. These numbers allow to have The Peabody Museum at Harvard many research and study col- University, is among the old- lections: important teaching est archaeology and anthro- instrument for the students pology museums in the world, of the university but also with one of the finest Native for the young scholars. American collections found anywhere. Founded in 1866 by George Peabody, the museum collects Fig. 32, Native American Totem mainly artefacts from Native Gallery, at Harvard’s American people, Maya and Peabody Museum Mesoamerican, but more recently also historical collections from the Pacific Islands, especially Hawaii, Fiji and Tonga. Therefore,

68 69 02.3.2 02.3.3 History Research & Teaching

The Peabody Museum was in- ades of the nineteen Century. The Peabody Museum is active- Harvard collection, as a high stituted by George Peabody Until today the end of the ly engaged in the research valuable tool of knowledge (1795-1869), founder on Mod- last Century, the Museum has and teaching activities of and formal-informal opportu- ern Philanthropy. Peabody do- been committed in expeditions the scholarly communities nity for a wide public, to be nated more than $10 million, around the world, specifical- studying its collections. The in contact with people and in his lifetime, to various ly in the unexplored areas of Conservation department, for nations both past and pres- institutions (e.g. Peabody New Papua Guinea (1961). example, has the important ent. Museum of Archaeology and Until now the Museum is syn- responsibilities of monitor- Hands-on learning classes are Ethnology at Harvard 1866 and onymous of innovation and ing the condition of items in a very important aspect of the Peabody Museum of Natu- research in the fields of the collections, recommending the teaching process, espe- ral History at Yale, 1866) to anthropology and human evolu- appropriate housing, evalu- cially with original materi- promote and improve education tionary biology, with impor- ating the condition of newly als, that provide concrete in society, with focus on tant founding all around the acquired objects or those concepts, provokes questions the conditions of those less globe, with a special atten- slated for exhibit or loan, and animate interesting dis- privileged. tion on the Native American and treating and stabilizing cussions, increasing the Fig. 33, Since its birth, the Peabody history. at-risk items. (University cultural level of the teach- Historic view of the represented a pioneer muse- Fig. 34, 2017) ing environment. Therefore, Peabody’s Building, 1899 um in the study of humanity, Today, the museum contin- University teaching Very important labs are the the Research Collection is a program even before it was called ues to collect, preserve, Mesoamerican, in which are very important instrument, anthropology. Has always been and interpret materials from conducted mainly archaeology as in certain circumstances a hub professionalizing and cultures all over the globe. researches on the collec- are necessary invasive test training anthropologists and The collections and our un- tion and their collocation; on the items, in order to archaeologists, with innova- derstanding of them continue the Paleoanthropology, that increase their research po- tive techniques and instru- to evolve as community rela- focuses on the evolution of tential not available through ments for these fields. tionships develop and schol- hominoids; and the Zooarchae- non-destructive examination. Innovations were brought also ars conduct research, reveal- ology one, that researches to the discipline of Eth- ing new understandings of our and analyses faunal remains nology when Alice Fletcher, collective cultural heritage. at archaeological sites. member of the museum’s staff, (University 2017) The museum encourages the studied and lived with the Harvard students and the Omaha people in the last dec- community, to make use of the

70 71 02.3.4 Program & Events

The Peabody Museum partners University students Teaching Displays in the past with other Harvard entities include: and scholars, as well as with The Harvard University - Pea- - Chocolate in the Americas, institutions beyond our cam- body Museum, is known world- created by Museum staff and pus to illuminate cultural wide for its dedication in supporting course themes of diversity and linkages from research and teaching pro- food, politics, and trade ancient times to the present, grams, involving the students - Archaeology of China, de- providing a place and context of the university but also signed by students based on for intellectual exchanges the external public audience, their course. among our multi-ethnic com- through youth and adult edu- munity. The Native American cational programs, workshops, In addition, the Museum pro- Graves and Repatriation Act exhibitions, seminars and vides interesting guides, (NAGPRA) continues to be an publications. as the A Guide to Looking: important part of the Muse- Researching Objects at the um’s research work. The Museum is also very ac- Peabody Museum of Archaeology (University 2017) tive in Teaching Displays and Ethnology to help stu- methods, with exhibit spac- dents in reading and inter- es directly designed by the preting artefacts. students of Harvard Faculty, This aspect in fact is often to enhance specific themes given for obvious for stu- and communicate the value of dents, but when talking about exhibited artefacts. very specific objects and Students-curated exhibition materials coming from other are an extraordinary way for era and cultures all around students to learn new meth- the globe, a guide can be an ods in the field, increase important tool. information on the materials and become familiar with the Fig. 35 museum atmosphere.

72 73 Fig. 36, ‘Digging Archaeology at Harvard Yard’ Program, 02.3.5 2016 Conclusions

The Peabody Museum is a valuable example of continuous innovation and evolution in research. In here students and researchers can share their work with the Harvard community and public, within an institution that gives them the opportunity to study on a wide Research Collec- tion. The museum is very much student-oriented, with various activities for all ages, with focus on the University students, giving them all the instruments to thrive in the archaeology and anthropology field. The Peabody is, therefore, a vibrant cultural hub in which visitors and students connect in a continuous learning and teaching process that expand knowledge for both parties.

74 02.4 MAA CAMBRIDGE./

Mission

The Museum of Archaeology and There is extraordinary range Fig. 37, Native American Gallery Anthropology of Cambridge of material on display and at Museum of Archaeology University, founded in 1884, much that is highly particu- and Anthropology is one of the most important lar and personal – objects in Cambridge University Museums in the UK. representing the acts, be- The Archaeological Collection liefs and creativity of peo- is extremely rich of elements ples. The collections also that comes from all around represent the stories of the world, specifically stud- collectors, and of British ying indigenous ancient pop- and European travellers, sci- ulations (e.g. Pacific and entists and collectors. The Fijian collections, from the Museum represents not just voyages of Captain James other places, and the remote Cook). The Anglo-Saxon mate- past, but recent British his- rial, also, is quite unique tories too, and the travels because of the Palaeolithic and migrations that shaped era. Nonetheless, MAA is a the global society we now in- very contemporary and inclu- habit. (Anthropology 2016) sive museum, that works with modern-days indigenous communities and artists, drawing an interesting dialogue with the prehistoric collections, through exhibitions, talks and seminars.

76 77 02.4.2 02.4.3 History & Collection Research & Teaching

Before the formally estab- were widely researched and Since 1844, MAA has been a The Cambridge Museum is a lishment of the Museum, in gradually developed in Cam- teaching and research Muse- cultural conglomeration of 1884, many collections al- bridge. Expeditions between um within the University of students and visiting re- ready existed and were owned 1888 and 1898 in Torres Cambridge. searchers from all around the both by the City and the Col- Strait, between Australia and world, that bring freshness leges of Cambridge. Between Papua New Guinea, set deep The Museum and Collection through new studies in ar- 1870s and 1880s the collec- researches in anthropology itself has been built by the chaeology and anthropology tions grew intensely and the and establish its official alumni who became colonial fields. local Cambridge Antiquarian recognition as an important administrators, missionaries These factors make the mu- Society Founded the origi- scientific discipline. and navigators, research- seum, still now, one of the nally University’s Museum of While our historic archaeo- ing and contributing on the most important institutions General and Local Archaeol- logical and anthropological growth of archaeological and in its category in the world. ogy.The history of MAA is collections will always be anthropological fields. Ex- mainly made in the late 19th central to the Museum, our perimentation and Innovation Century with the advantages major photographic collec- are adjective that have al- of the Imperial Age. Mission- tions are receiving increas- ways belong to this Museum, aries, travellers and coloni- ing curatorial attention, MAA until nowadays. al officers enriched the mu- is becoming renowned, not seum through the practice of only for our wide-ranging MAA holds a teaching collec- gathering objects, images and collaborations with Indige- tion of more than 1,500 ar- every kind of material con- nous communities, but also chaeological objects from the cerning the native people and for innovative exhibitions Museum’s reserve collection, histories of the ‘new worlds’ drawing contemporary art into known as the Keyser Teaching as for example the Pacific dialogue with the historic Collection. Practical ses- Colonies. collections. (Anthropology sions at the museum drawing Even though the discipline of 2016) Fig. 38, on this rich resource form a Native American Gallery archaeology was restricted to Today the Museum is a strong- at Museum of Archaeology core component of many under- the Classical antiquity and ly research-orientated insti- and Anthropology graduate courses offered by the new practice of anthro- tution that welcomes fami- in Cambridge the Division of Archaeology. pology was not yet taught in lies, the Cambridge community (Anthropology 2016) the University, these fields and students of all ages.

78 79 Fig. 39, Primary School Teaching 02.4.4 Program Programs & Events

University students specific programs of engagement student-museum (intended MAA is very active in pro- as physical place). One of moting and offering research the unique activities thought opportunities at Cambridge for the students inside the University, hosting under- Museum, is the Creative and graduate students and putting Writing Course, run by Sophie them in direct contact with Smiley. the collection, and enable them to gain practical expe- ’The richness, quirkiness and rience alongside their lec- delights of the museum will tures and seminars. provide the group with in- One of the strength of the spiration for creative writ- Museum is the large network ing over five sessions. Each with important institutions session will comprise of two worldwide, e.g. the European or three different writing Research Council, the Lever- exercises, often using ob- hulme Trust, the Arts and jects in the museum as the Humanities Research Council starting point. There will and the Economic and So- even be some opportunities to cial Research Council, that handle the artefacts. This found and sustain the Museum course is suitable for nov- through important research ices and experienced writers grants. In this way students alike; the aim is to create a have the possibility to work friendly, supportive group in on experimental thesis guided which everyone has fun lay- by the top quality of re- ing down words and trying out searchers in the world. different voices.’ (Anthro- Therefore, the main activi- pology 2016) ties within the museum are mainly theoretical with no

80 81 02.4.5 Conclusions

Young Students These activities accompa- Cambridge University Muse- pupils from a very young age; ny the growth of the pupils, um is a magnificent example and on the other side give The Museum welcomes also from a very young age, until of this category of insti- the ‘tools’ for researchers young students, with spe- they are ready for Universi- tutions. There is a lot to to formulate their new the- cific tailored programs for ty, engaging and giving them write about this University, sis, focusing on these two school groups of all ages, the possibility to formulate particularly about the his- extreme poles of the educa- from primary to high-school. their own ideas about archae- tory and prestige. However, tion pathway. The sessions, as in other ology and anthropology. perhaps what is most inter- museums, are gallery-based esting to remark on, is how and offer a direct contact the museum has, through its with the artefacts, leading international students and the young scholars to obtain academics, been able to main- knowledge, become curious and tain its mission of research be inspired by archaeology and production of publica- and anthropology. tions across the decades. Some interesting examples following the National Cur- This intercultural aspect riculum, are: acts as a continuous source - Explorers, for Kay Stage 1 of revolution, making the Mu- (between 5-7 years old) seum a hub of innovation to- - Stone Age to Iron Age, for ward the future, even in such Kay Stage 2 (between 7-11 traditional disciplines like years old) Archaeology and Anthropology. - Museum of Me, for Kay Stage 3 (between 11-14 years old) Another aspect is the youth - Anthropology, Archaeology education, with tailormade and Identity, for Kay Stage 4 programs for every step of (between 14-16 years old) students’ career. - The Modified Body: expres- Therefore, it is very inter- Fig. 40, sions of society and culture, esting to see how this insti- Primary School Teaching for Kay Stage 5 (16-18 yo) tution aims to deeply educate Program

82 83 02.5 ASHMOLEAN MUSEUM./

Mission

The Ashmolean Museum, founded The museum works in order in 1683, is the archaeology to ensure an inspiring dia- museum of the University of logue between the visitors Oxford. The museum’s col- and the collections, both in lection is extraordinarily the physical space of the diverse, hosting artefacts museum and online. It is from Egypt to contemporary very important to recognise art, and telling the stories the constant challenges that of people and cultures across the museum adopt, to make time. the difference as a cultural institution. It is a stable The Ashmolean is considered point of reference for the the world’s greatest uni- University of Oxford and for versity museum of art and its students, ensuring high archaeology, cornerstone intellectual ambition and of research and teaching. values.

Fig. 41,

84 85 02.5.2 History & Collection

The Ashmolean came into ex- cal, geological and zoologi- istry, Mineralogy, Geology, istence when the wealthy cal items. Zoology, Anatomy, Physiology antiquary Elias Ashmolean When Elias Ashmolean bought and Medicine departments on gifted his collection to the this collection, the Uni- the University. University in 1682. He did versity already had older Therefore, a significant part so ‘because the knowledge of collections, including Guy of the collection moved, and Nature is very necessary to Fawkes’s lantern and Jacob’s this caused to the museum human life and health.’ It Coat of Many Colours. somewhat at a loss. Things opened as Britain’s first started going better when public museum, and the When the Ashmolean had first the new keeper, Sir Arthur world’s first university mu- opened, the building in Broad Evans, acquired internation- seum. (Review 2017) Street was large enough for ally important archaeologi- laboratories and lecture cal collections and combined Even if the collection has rooms which fulfilled the the museum with the Univer- evolved through the years, University’s requirements sity Art Galleries in 1908, the founding principle re- in the teaching of natural giving birth to the current main unvaried: ‘knowledge of sciences. In the early 19th Ashmolean Museum of Art and humanity across cultures and century the explosive devel- Archaeology. times is important to every opment of these disciplines Today the collection is or- society’. called for expanded facili- ganized in four Departments: The Ashmolean collection is ties. This led, in 1860, to - Antiques the result of multiple ac- the University opening its - Western Art tors, of which the Trades- second museum, on Parks Road, - Heberden Coin Room cant family: father and son in the building that still - Cast Gallery. gardeners, that collected remains the site of the Uni- different kind of objects versity Museum of Natural travelling around the known History. (Review 2017) world. Tradescant family opened their own museum in This building still nowadays 1634, displaying all sorts of holds Astronomy, Geometry, Fig. 42, curiosities including botani- Experimental Physics, Chem- Ellenistic Collection

86 87 02.5.3 Research & Teaching

The heart of the activity of Ashmolean curators are also Oxford worldwide. (UEP), founded by the Andrew This program allowed, also, the Ashmolean is research. professors both for under- In fact, provides impor- W. Mellon Foundation. The UEP the development of new cours- The Museum works closely with graduate and postgraduate tant international scholar- promotes the teaching and es inside the University such the University of Oxford to courses: Archaeology and ships for works related to learning through the museum’s as an MPhil course for the guarantee engagement combined Anthropology; Visual, Materi- the museum collection. Then, collection in a multi-disci- Faculty of Oriental Studies with research, for all the al and Museum Anthropology, increasing the importance plinary environment. in Material and Visual Cul- visitors, especially stu- Prehistory, Egyptology and and value of the thesis’ and ture of South Asia; Medicine dents. The value of study and Ancient Near Eastern Studies; publications. Last year the programme pro- and Visual Culture in Clini- research within the physical Ancient and Modern History; vided more than 500 handling cal Medicine; and MSc option location of the Museum are Classics; History of Art; A very interesting project, and gallery sessions to 3,500 in Anthropology; undergradu- pursued and displayed through Fine Art; and Islamic, Indi- that supports the activities students in subjects ranging ate and Master Papers on the exhibitions, public talks, an, Chinese and Japanese Art of the museum is: The Uni- from Medicine to English to Eighteenth century in English publications and school vis- and Archaeology. This strong versity Engagement Programme Economics. Literature. its. Therefore, works active- academic mission makes the ly to communicate the value Ashmolean a real ‘archaeolo- of its collections to a wide gy lab’, intended as an ex- range of audiences. tension of the University’s The Ashmolean Museum is deep- locations. ly committed to providing In here students have a fur- access to its world class ther knowledge of art, ar- collections and expertise chaeology and history, thanks for teaching and research. to the use of real material Our collections are an ex- coming from the study and re- ceptional resource to enrich search collections. teaching across academic Therefore, the Ashmolean disciplines, and our curators plays a role of intellectual provide scholarly research leadership among the other and displays which act as a university museums, because Fig. 43, Dr John Naylor excavating bridge between the Universi- is strongly active in promot- with the Portable Antiquities ty’s academic community and a ing the research and activ- Scheme on the site of an broad public. (Review 2017) ities of the University of Iron Age hoard in Shropshire.

88 02.5.4 Conservation

The Ashmolean has a renewed including a delftware jug Conservation Department, converted to a vase and a responsible for the protec- Japanese dish in the opposite tion and care of the museum’s cabinet showing how a repair objects, papers, textiles and with gold lacquer has become painting. an integral part of a new design. The conservation department ‘Conserving the Past’ show- have available the most inno- cases the work of modern vative techniques, such as: museum conservators and em- x-ray, radiography and RTI phasises the critical role technology to reveal the se- that science and technolo- crets of the artefacts hosted gy play in today’s museums. by the museum. Possible dangers to objects Two galleries are dedicated through the effects of light to this theme: Restoring the and touch, amongst other haz- Past and Conserving the Past. ards, are highlighted and you These two innovative spaces can gain an insight into the deal with the technical is- highly technical and scien- sue of conservation and are a tific work of today’s museum unique example in the world conservators through informa- because open to the public. tion panels. (Review 2017)

‘Restoring the Past’ shows These galleries give the how objects and belongings opportunity to visitors and generally used to be repaired students to see how the ar- and adapted rather than dis- tefacts are studied and pre- carded, as are many items in served. Through different Fig. 44 today’s disposable society. interactive activities is Examples are on display from possible to see the conserva- various ages and cultures tor’s mock laboratory. It’s

90 91 02.5.5 Programs & Events possible to study objects and University students ‘There is something really paintings of the past through special about encountering the ultra-violet light, that The programs that the museum objects that may have been reveals areas of damage and offers are many and diverse: owned or made by people you repair. from the Highlights Tour to are studying, and becoming the Sketching in the Cast aware of a whole world that ‘Conservators see an object Gallery. But the Ashmolean’s is only vaguely present in in a completely different, main activity is focused on the texts, but must have been privileged view. Every con- the University of Oxford stu- hugely important to individ- servator intervention is a dents’ education. uals trying to make sense of research project in its own it. When I look at a drawing right.’(Review 2017) In order to follow this mis- of a specimen made by some- Mark Norman, former Head of sion, there are numerous one in the 17th century I Conservation, Ashmolean spaces dedicated to study have to recognise that their inside the galleries: science isn’t my science, and what they saw isn’t what - Western Art Print Room I see. That has fascinating - Eastern Art Study Room implications for the way I do - Coin Room Study Room research, and maybe for how - Antiquities Study Room subjective that research is.’ Y3 Undergraduate, Plant These Study Rooms and Print Sciences Rooms give the opportunity to the students to do their own projects and studies on the Fig. 45 collection directly in the spaces of the Museum. This, makes of it an incredible institution that continues to be innovative through the centuries.

92 93 02.5.6 Conclusions

Young Students Another interesting program The Ashmolean museum is the itors and students can live is: Handle Historical Coins. father of the University the galleries in different The Ashmolean has an exten- Here, 5+ years old children Museums and continues still ways. sive range of teaching gal- can see coins of different nowadays to be a point of lery sessions, that transport times and places, with the reference for research and Another interesting aspect pupils in other times, places help of museum’s volunteer innovation. Similarly, for is the communication on the and cultures. The museum of- team. the Cambridge Museum, there activities of conservation fers free school visit to the is much to talk about, espe- and preservation. The muse- Fig. 46 most important exhibitions, cially because of the pres- um has two entire galleries also downloadable online tige and cultural heritage of dedicated to these aspects and with the possibility of this institution, that has of the archaeology profes- teacher-training. given birth to almost all sion, showing through high The topics covered in our the principles of University tech solutions all the se- tailored training sessions Museums. crets of the artefacts. This include: innovative approach creates This is the most valuable ex- a strong connection between - Learning from objects; ample of a museum that exer- the single object and the - Using the Ashmolean col- cises its academic functions person that is looking at lections to teach Religious directly inside the galler- it. Depending on student or Education; ies; this is the most impor- general visitor, each detail - Using the Ashmolean collec- tant point that this thesis can have a difference signif- tions to teach Creative Writ- aims to further develop. icance, although it remains ing; In fact, the students can an absolute scientific truth. - Using the Ashmolean collec- study inside the museum, as This student/visitor-artefact tions to support Art & Design many study and print rooms rapport of awareness, is what sketchbook work; are made available for con- is interesting to look at to - Using tablets to support a tact with the different col- develop the university museum museum Art & Design visit lections that the museum of tomorrow. - Other topics on request. hosts. This transforms the museum into a big laboratory/ classroom in which both vis-

94 95 02.6 IAN POTTER MUSEUM./

Mission

The University of Melbourne The mission of Ian Potter is supporting the University of Classics and Archaeology offers a wide range of muse- to collect, preserve, dis- Melbourne as a leading teach- Collection has become one of ums and galleries exploring play, interpret and engage ing and research institution. the most accessible public everything from contemporary with contemporary and his- (Melbourne 2017) antiquities in Australia. The art, classics and archaeolo- torical works of art thereby Through decades of publish- collection includes approxi- gy, medical and dental histo- advancing appreciation of ing and displaying artefacts mately 25.000 objects: 20.000 ry, music and the sciences. Australia’s cultural her- acquired through fieldwork, in the ‘teaching’ collection, (Melbourne 2017) itage on a local, national procurements and donations, and 5.000 in the in the ‘mu- and international level, and the University of Melbourne’s seum’ collection. (Yule 2003) The collection, the exhibition and the programs are hosted at The Potter Museum of Art, University of Mel- bourne’s art museum. Founded in 1972, is the biggest Uni- versity Museum of Australia, hosting artefacts from Neo- lithic to contemporary. We are a cultural and educational facility, serving both the campus community and the public.

Fig. 47, Facade of the principal entrance of the Ian Potter Museum

96 02.6.2 History & Collection

The museum was originally figurines, manuscripts, born thanks to the expedi- sculptures, weapons, tools, Fig. 48 tions of Miss Amelia Edwards scarabs, seals, jewellery, (Egypt 1837), increasing an artefacts, bones, inscrip- interest in Egyptology, and tions, ceramics, bronze, leading to the foundation of stone, gold, silver, lead, the University of Melbourne’s iron, ivory, glass and paper. antiques collection. From Greece, Italy, Britain, The collection grew thanks to France, Egypt, Libya, Pales- the contributes of professors tine, Israel, Jordon, Syria, Jessie Webb and Cecil Scott, Turkey (Asia Minor), Iraq, that used the artefacts for Iran (Persia) and India. teaching purposes since the first beginning of the 20th From the initial donation of Century. five Egyptian papyri in 1901 From the 70’s until nowadays the collection has expanded the University has received through donations and pur- many donations, enhancing the chases from University funds, Classic Collection, Cypriot with significant accessions Collection, Middle Eastern in every decade of the twen- Collection, Arabic and Per- tieth century. Although the sian. Just some of these col- pattern of collecting has lections are displayed in the been unstructured, after a Ian Potter, while the others century the result has been are included in the Archaeol- the development of three im- ogy Department as study and portant collections contained research collection. within at the Ian Potter, The Classics and Archaeology namely the Classics, Cypriot Collection contains near- and Middle Eastern collec- ly 2,400 objects, including: tions. (Melbourne 2017) papyri, coins, vases, lamps,

98 99 02.6.3 02.6.4 Research & Teaching Programs & Events

Art provokes pleasure and to the activities of teach- Ian Potter offers an inter- with core teaching, learn- while examining the objects. reflection, inquiry and de- ing and learning, therefore esting variety of educational ing and research activities This makes the Classics and bate. Engaging with art en- an interdisciplinary degree programs both for Secondary across the University, by of- Archaeology Collection gal- courages learning and fosters structure that create a con- and Tertiary school, in con- fering links with coursework, lery a perfect setting for knowledge. As a laboratory nection between all the fac- nection with the Classics and assignments and higher degree exercises in critical visual for art and ideas, the Pot- ulties of the University. Archaeology Collection, in- research. (Melbourne 2017) analysis, as well as a start- ter contributes directly to cluding conferences, talks, ing point for individual or the University of Melbourne’s The Potter unites art with tours, special events con- Furthermore, rather than group projects focused on a research and teaching activ- the activities and environ- cerning future exhibitions, imposing a ready-made narra- specific theme or object. ities, to enrich the student ment of the University of internships and work place- tive upon the student, the (Jamieson 2014) experience, and to enhance Melbourne campus. We display ment experiences. exhibition suggests a range the cultural life of the cam- the University Art Collection The Academic Programs team of subjects and questions pus and the general communi- around the campus and form actively seeks engagement that students can engage with ty. (Melbourne 2017) academic partnerships link- ing art with the curriculum. The Ian Potter is a very Through our engagement with recent born museum, compared the arts community we con- to other international in- tribute directly to the cul- stitutions, therefore works tural life of Victoria State. mainly with living artists, (Melbourne 2017) participating directly in the development of contemporary art. The museum embrace values of research, discovery and debate, promoting public programs, students’ publications, social media engagement and most important exchange of ideas. The research spirit of the museum is to make art central Fig. 49

100 02.6.5 Conclusion

The gallery is often used in the artefacts in an interdis- the collection. Since the majority of the it is visible a gap between teaching modules at univer- ciplinary context, and even- Scholars will see the process collection is hosted at the the University students and sity, and the nature of the tually publish and talk about of excavation, conservation, Ian Potter, the museum focus- the physical location of the project can be tailored to their work with a wide range analysis and studies on the es events and programs mainly museum exists. This is an fit any curriculum (Jamieson of audiences. artefacts, to get closer with for young students. The rest interesting point, a weak- 2014). the archaeology field, and of the collection is direct- ness of the system, that can Young students understand why is so much im- ly studied in the Archaeology represent a new challenge in University students portant for us today. Department, as such, Uni- re-thinking the museum in Thinking through Ancient Cul- versity students don’t have terms of availability and The main project dedicat- tures is the educational pro- With more than 2,400 objects, the possibility to make use further connection with the ed to University students is gram designed from the expert the collection provides an and analyse the artefacts University. The Ian Potter Museum of Art staff at the University of opportunity for students to in the museum. In this way - Miegunyah Student Project Melbourne Centre for Classics explore the cultures of the Award, an annual program in & Archaeology with the Ian ancient Near East, Egypt, which students are in direct Potter Museum, for scholars Greece and Rome. Artefacts Fig. 51 contact with The Russell and between 13 and 18 years old. range from Pre-Dynastic Egyp- Fig. 50 Mab Grimwade Miegunyah Col- Is a fascinating experience tian vessels more than 6,000 lection. in which young students have years old to Bronze Age weap- In this project, scholars are the opportunity to put hands onry, Classical Greek ceram- given the opportunity to con- on ancient objects and learn ics and Roman coinage. (Mel- duct their own researches on the ‘behind the scenes’ of bourne 2017) The Ian Potter is very innovative for the idea of putting art as an interdisciplinary element that con- nects all the faculties of the University of Melbourne. It plays a particular role in its environment, thanks to the centrality of art as a University museum.

102 103 02.7 ALLARD PIERSON MUSEUMS./ 02.7.2 Mission History

The Allard Pierson Museum is The museum has a collection The Allard Pierson Museum is the museum, especially in the the archaeology museum of of about 17,000 original named after Allard Pierson direction aspects. From 1940 the University of Amsterdam archaeological finds from (1831-1896): first professor to nowadays, Prof. Dr. JM (UvA). Founded in the 1934, the Mediterranean. It shows of archaeology at the Univer- Hemelrijk, Prof. H. Brijder this institution is housed in a part of this in the perma- sity of Amsterdam in 1877. and Dr. Wim Hupperetz (from the former main building of nent departments Egypt, Near Pierson initiated the histo- 2016) have importantly con- De Nederlandsche Bank. East, Greek world, Etruria ry of the collection with a tributed in the enrichment of The museum’s main purpose and Roman Empire. In addi- small group of plaster casts. the Collection. is to connect students and tion, it organizes temporary Between 1926 to 1934 profes- From 1999, the museum became public to its collection, exhibitions on various topics sors J. Six and G. Snijder an organizational part of through the awareness of the in ancient times, held in the Fig. 53 enriched the collection with the University Library and immense archaeological Euro- special exhibition wing, the books, coins and other an- in 2007 the UvA Heritage was pean heritage, with focus on former executive wing of the tiques objects, founding the established, with the Collec- the Mediterranean area. ‘Dutch Central Bank’: previ- Allard Pierson Foundation. An tions managed directly from ous destination of the build- important donation was made the Allard Pierson Museum. ing. (Museum 2016) in 1929 by Museum Scheurleer Fig. 52 in The Hague, because of the The layout of the Allard global ’29 crisis. This Col- Pierson on the Sarphatistraat lection take the name of The was established in the 1940s. Hague banker Lunsingh Scheur- Housed in an old school leer, that wanted a public building, the starting point display of the artefacts at was that a museum interi- the museum. The museum, then, or should never dominate the becomes open to public from objects. However, museum and 1934. display case had to offer the Still nowadays, the Scheur- objects protection. Photo for leer Collection is important 1940, Archive Allard Pierson heritage of the Allard Pier- Museum. son Museum. Through the years, important professors have been part of

104 105 02.7.3 Collection

The building From 1954, starts of process The Allard Pierson Museum is approach to stimulate its use of expansion, in order to in- part of the University of Am- for study and research pur- The building on Oude Turf- clude the UvA and its related sterdam and therefore direct- poses. Therefore, not hier- markt 127, where the muse- services for the staff and ly connected with education, archical or systematic divi- um is currently housed, was students, such as adminis- research and valorisation. sion. originally built as the head trative offices and library. The collection of the museum The knowledge domains are not office of De Nederlandsche Nowadays the project is fol- started as a study collection directly related to quantita- Bank. It had been located in lowed by the Dutch architec- and still fulfils that task. tive or qualitative aspects a number of houses on the ture office AtelierPRO Ar- From the 1970s, the museum of the collections concerned, Oude Turfmarkt since it was chitekten. also acquired an important but to the degree of activity founded in 1814. In 1864 it public function, but the that is possible and desir- was decided to build a new connection with education and able in the various fields, bank building at this loca- research is still there. The for education and research. tion. (Museum 2016) most important collection (Museum 2016) components and current re- The display of objects and The guiding idea of the Ar- search projects are described artefact aims to encourage chitect W.A. Froger was econ- here. (Museum 2016) reflection about the ancient omy and therefore simplicity, civilities and, through dy- with a great Nordic-influ- With its permanent Collec- namic collection presenta- enced design. tion, the museum wants to tion, make clear that ideas create a profound knowledge and insights about these cul- On 10 May 1869 the building of the past, through chal- tures are constantly chang- was taken into use. It was lenging connections between ing. praised for its ‘cunning and the old European civilities sincere character’ and later and the contemporary ones. Near East described as ‘a product that Fig. 54 This various Collection is dominates in a very difficult organized in four distin- The Allard Pierson Museum has corner situation in front of guished domains: Near Eat, a rich collection of objects the broad Rokin without being Egypt, Classic World and coming from this area, and out of place.’ (Museum 2016) Middle Ages. This heritage is more precisely between the presented through a pragmatic Aegean Sea and Iran. In here,

106 107 about 9000 years ago the Middle Ages first cities arise, thanks to the agricultural boom and In the museum, the Middle Age Mediterranean navigators. collection, from the late In the museum, this civili- Roman to Christianity, is zation is recorded through represented through artefact cuneiform scriptures, admin- coming from various places of istration, laws, diplomatic the Roman Empire, including correspondences, poetry and the city of Rome, Syria (ear- religious prescriptions of ly-medieval) and the archae- thousands of years. ology and cultural history of Coptic culture in Egypt Egypt (around 300 - ca. 1000 AD).

The Egyptian civility is the Classic world earliest example of a uni- tary state, with the oldest This domain runs chronolog- scriptures in the world: the ically from ca. 1000 BC to hieroglyphs. In the museum 500 AD, and covers the Greek are displayed many aspects world, the Etruscans and the Fig. 55 of their daily life, includ- Romans. This area is tra- ing the complex way in which ditionally considered as the residents dealt with life the most important of the and death. Apart from mummies collection and is strongly and sarcophagi, in this de- linked for study and research partment is possible to see purposes with to the UvA’s a wide range of objects that courses of: Mediterranean testify these afterlife rit- archaeology, Ancient history uals. and Art history.

108 109 Greek World Highlights./

Fig. 56, Keros-Syros, Dokathismata group, 2400-2300 BC, Allard Pierson Museum Collection Fig. 60, Tombstone of Pentelic, marble, 420-410 BC, Allard Fig. 61, Peloponnese, ca. 460 Pierson Museum Collection BC, Allard Pierson Museum Fig. 58, Bronze horse, Fig. 59, Crater with Dionysus, Collection Fig. 57, Late Mycenaean, Peloponnese, around 750 BC, attributed to the Peloponnesian, 1300-1250 BC, Allard Pierson Museum Collection ‘Flying Angel’ Painter, Allard Pierson Museum Collection Athens, ca. 480 BC, Allard Pierson Museum Collection

Cycladic Idol Mycenaean Crater with Chariot Bronze Horse Crater with Dionysus Tombstone with mother, serv- Aphrodite, Erode and pigeons ant and child on a bronze mirror The Cycladic Idol is type The Mycenaean Culture comes For Greeks, horses represent- The Greeks never drank their The mother sits on a chair At the time, the mirrors are of sculpture representation up in Greece around 1600 BC. ed a status symbol. Just a wine undiluted. In a large and reaches for her child who made of polished bronze. present in the Cycladic Is- This well-organized combat- small group of aristocrats mixing vessel (crater) they is resting in the arms of a They are expensive and often land. Appears for the first ive ancient culture puts the could afford to owe one and lengthened one part of wine servant. This relief is part beautifully decorated. Small time in the early Bronze Age foundations to the Greek’s make war horseback. This with three parts of water. of the tombstone decoration bronze pigeons and flowers (3000-2000 BC), and is made epics and tragedies, such as bronze artefact was belonging This crater, because of the of an Athenian grave that adorn the edge of this mirror of local marble. Their func- The Trojan War, Herakles, the to the late-geometric period, shape of the handles called date back to the 5th century and Aphrodite, the goddess tion is yet unknown, but they Seven Against Thebes and many around 750 BC, was probably a ‘column crater’, was painted BC. This iconography repre- of love and beauty, serves could represent fertility other stories. The crater temple gift. in Athens around 480 BC. In sents the Athenian motherhood as a handle. The presence of goddesses as often founded on here presented (mixing vessel here is represented Diony- and could also mean a prema- Aphrodite contributes to the graves. for water and wine) shows a sus, the god of wine, riding ture death of the child. beauty and attractiveness of This characteristic styli- chariot, a horseman and some a mule and carrying a wine the person that will own the zation will have great in- soldiers on foot, and was branch in his hand. mirror. The simple folding fluence on the sculptors of found in Cyprus, where Myce- of Aphrodites peplos (wool- the 20th Century, such as C. naeans settled since the 13th len robe) indicates that the Brancusi with his pioneering Century BC. mirror was made in the ear- modernist work. ly classical period (480-450 BC).

110 111 Fig. 62, Aphrodite, Pentelic marble, Roman copy from the 2nd half of the 1st century BC. of a Greek original, Allard Pierson Museum Collection

Fig. 65, Wrrior in attack, Limestone, ca. 290 BC, Allard Pier- Fig. 64, Ephedrismos, Terracotta son Museum Collection figurine, Corinth, 300-250 BC, Allard Pierson Museum Collection Fig. 63, Apulian, Attributed to the Painter of the Birth of Dionysus, ca. 400 BC, Allard Pierson Museum Collection

Aphrodite Apollo inside and in front of Ephedrismos Playing Women Warrior in the attack his temple This sensual sculpture of the This artefact dates back to wine) shows the god of the This sculpture group repre- In the Late Classical and beautifully executed sculp- love goddess Aphrodite is a the 5th and 4th century BC arts Apollo holding a winch sents two dynamic woman fig- Early Hellenistic times, tures. In this representation good Roman copy of a Greek and was found in the south- for his own temple. Through ures. They are playing the small grave buildings rise up is possible to see an attack- original from ca 400 BC. by ern Italian city of Taranto. the opened temple doors, it Ephedrismos game, in which in the cemetery of Taranto. ing warrior fluttering cloak, the sculptor Kallimachos. In this prosperous period for is possible to recognize a one person has carry another These have the shape of tem- power and dynamicity of the The sculpture has several the city, the production of gilded bronze cult statue of person and reach a goal, with ples, complete with stage, body: typical characteristics missing parts, of which is red-figured earthenware aris- the god. the eyes covered. The spa- columns and sculpture groups. of the Hellenistic Period. thought could have been the es giving them forever to the ciousness of the figurine and The friezes and pediments are most precious ones, in terms history. The Allard Pierson the trivial content is typi- often decorated with relief of material. The drapery and has some of the very best ex- cal of the Hellenism Art. sculptures. transparency of the robe make amples of this material. This The Allard Pierson Muse- of this artefact a unique art large fragment of a crater um owns a large collection piece. (mixing vessel for water and of fragments of these often

112 113 Roman World Highlights./

Fig. 70 ,Allard Pierson Museum Collection

Fig. 68, Allard Pierson Museum Fig. 69, Collection Allard Collection Pierson Museum ca. 50 AD, Rome

Fig.66, Allard Pierson Museum Collection Fig. 67, Allard Pierson Museum Collection, c. 260 AC.

Mosaic, Syria Bronze portrait, Asia Minor Glasses of wine jug, ‘Autumn’ Marble Sculpture, Winged woman, Italy Rhineland or Gaul Italy The Romans often decorated Bronze is a precious materi- Glass has been around just These marble statues are This fresco fragment, dated their buildings with floor al largely used in monumental since the 4th millennium, often found in the city and 79 AD (during the eruption of mosaics. The small stones or Roman sculptures. For this but already in the 1st cen- houses’ courtyards around the Vesuvius), was placed on the tesserae were often of marble reason, not many pieces ar- tury BC. blown glass came Mount Vesuvius area. Oth- villa of Publius Fannius Sin- or other coloured stones. In rived integral to the contem- into circulation. This im- er marble sculptures include istor, in Boscoreale (close this fragment is represented porary days. This cast por- portant development resulted mythology, genre scenes or to Pompeii). a sheep with a thick tail (a trait is part of a life-size in a wide variety of forms, simply daily life. This boy The depicted woman represents fat-tailed sheep). This 5th bronze sculpture. The incised including this wine can from representation was probably a winged demon (or genius) Century mosaic has been part facial features and the guy the 4th century. part of a sculpture group presenting a bowl of fruit of a Syrian Church’s floor looking up are character- called ‘The four seasons’. with her left hand and prob- decoration. istics of the 3rd-century ably holding a cloth in her style. right hand. She wears a belt of ivy leaves over her pink- brown robe. 114 115 dining room. Fig. 71, Bronze, 2nd century AD, made in Italy, found at Carvium a washed-out castellum, near Lobith

Fig. 73, Allard Pierson Museum Collection Fig. 72, Marble, h 860 (mm) x 2295 (mm), 1st quarter of the 3rd century AD, Rome, Allard Pierson Museum Collec- tion

Bronze Mercury, Dionysus Sarcophagus Furniture leg decoration of the Netherlands bone The Roman ideal beauty is lands. This figurine is of From 100 AD the Romans start- Furniture pieces were often reflected in the well-propor- exceptionally high quality. ed burying dead, instead of beautifully decorated. These tioned anatomy of this statue The craftsmanship clearly cremating them. Wealthy peo- carved bovine-bone sculp- of Mercury. The god is recog- indicates the Italian prove- ple were sometimes buried tures represent the god of nizable by the two grooves nance. The hypothesis is that in marble sarcophagi, often love, Amores. This god occurs in his curly hair strands: this artefact would have been decorated with mythological throughout the empire and re- his wings were attached to owned by a senior military scenes. main popular until the end of them. Because both arms are officer, that devoted the In this case are represented Roman times. broken, we do not know if he figurine to Lobith as a river ecstatic maenads (the god of was holding something in his sacrifice in the Rhine. wine’s devotees) making mu- hands. sic. Bronze figurines of Mercury were popular in the Nether-

116 117 02.7.4 Research & Teaching

Special collections The Allard Pierson Museum is a fascinating topic to fur- part of the University of Am- ther develop in the exhibi- The Special Collection of sterdam and therefore direct- tion model that this thesis the APM include plasters and ly connected with education, aims to study. glass negatives. research and valorisation. When entering the museum, the (Museum 2016) The Digital Museum Lab is a visitor’s gaze is immediate- Although, the research ac- conducting research depart- ly captured by the monumental tivity of the Allard Pierson ment of the museum that stud- statue of Mausollos, which is Museum is conducted through a ies and applies the use of more than three meters high. series of interesting but at digital media and technology He looks unperturbed from his the same time shy programs, in a museum context. pedestal down to the unsus- such as the ArcheoHotspot, This project is a collabora- pecting visitor, who may view the Digital Museum Lab and tion between four partners: Fig. 74 the image as a real antique the COBRA Project. the Allard Pierson Museum, sculpture. (Museum 2016) DEN (Digital Heritage Nether- The museum hosts almost 300 The ArcheoHotspot is located lands), the Waag Society and of these plaster casts, pro- inside the museum and is a the Crossmedia research group duced in the period 1880- place in which visitors can of the AUAS. 1912. They are not displayed see the work of archaeolo- The lab wants to stimulate to the public and are availa- gists especially with potter- and facilitate experiment, ble just through reservation. ies and small artefacts. It reflection and evaluation, Their variety and monumental is an inclusive area, that through a permanent physi- presence could make any gal- permit to visitors and stu- cal lab space in the Allard lery of the museum flourish. dents to be in direct contact Pierson Museum and Meet-ups. with the archaeological pro- (Museum 2016) fession. This small-scale lab, that Although, the ArcheoHotspot doesn’t have yet a specific could be implemented in vari- location in the museum, is ous ways, for example making an open and flexible plat- it more visible and open to form where it is possible for the students. This aspect is makers and museums to test

118 119 specific applications, such Northern European top muse- visitors and the students of outside its institution, is as smart objects, augment- ums, scientific institutes, the University of Amsterdam. very clear. However, more ed reality, beacons, sensor outreach organizations, and job must be done, in order technology, 3D models and commercial parties. This Other research projects re- to guarantee a real, immer- environments. partnership with cultural gard: sive-research experience to Most of the experimental set- institutions in: Copenhagen, - archaeological research the students. This could ups of this program are test- Oxford, Bonn, Brussels, and (excavation Tell Ibrahim be achieved through labs, ed in the second floor, where Amsterdam (the COBBRA con- Awad) , material culture classrooms and various study the Greek and Roman galleries sortium), will result in a studies and art historical tools, as for example the Re- are located. blueprint for a new business research (see file catalogues search Collection. Even though, the Digital Mu- plan for museums, based on glass and terracotta) seum Lab remains a behind the the exchange of knowledge, - museological research and scenes project. Could be in- collections and staff. (Muse- evaluations for media studies teresting, then, to dedicate um 2016) into visualization and inter- more space and relevance to The motto within the partner- action technology in a muse- this area, as frequent meet ship, ‘sharing is caring’, um context (see V-MusT.net , ups and seminars are organ- perfectly describe this idea. meSch project , Tomb Reader) ized. Objects, knowledge, exper- - heritage research into This aspect is very interest- tise, staff members and (dig- biography of the collections ing in terms of exchanging ital) content are exchanged and scientific and museum and sharing innovative tech- in this platform, exchanged networks (the Petrie perspec- nological culture. in order to bring better at- tive); in collaboration with tention to recent research in General Cultural Sciences, The scientific sharing and the field of cultural her- there is regularly a working promotion is present also in itage, particularly within group on Museum Archaeology. the COBRA Network, in which archaeology. The results are published in the Allard Pierson Museum The Allard Pierson, then, the Allard Pierson Communica- Fig. 75 takes active part. becomes a great example of tions. The COBRA Network project University Museum that is The commitment of the Allard aims to realize a sustaina- dreaming for a change to im- Pierson Museum in creating a ble partnership between five prove the experience of the research network within and

120 121 02.7.5 02.7.6 Programs & Events Conclusions

Currently, as part of the The Allard Pierson Museum This thesis aims to research, programs offered to the vis- has started in 2017 a vision investigate and suggest an itors, the museum provides and mission renewal process, exhibition model thought for guided tours made by students that aims to create a strong- the Allard Pierson Museum, of archaeology and ancient er connection between UvA and but applicable to many dif- history or graduate archae- its Archaeology Collection. ferent University Museums ologists. This exchange ac- This renovation program will that are seeking a stronger tivity is highly valuable Fig. 76 undergo until 2020, creating connection between the Col- especially for the students, facilities and opportunities lection and the visitors. enabling them to be in con- for general public and stu- tact with the museological dents to get closer with the world and to apply what they Collection. study. ‘The museum has not been ex- - highlights of the permanent panded since 1976. The visit collection has increased in recent years - a tour of the temporary ex- from 40,000 to almost 100,000 hibition (if applicable) visitors per year. We want - a tour of the Egypt section to welcome our visitors hos- - a tour of the Greek and Ro- pitably and attractively and man sections at the same time want to show - a tour of the plaster loft how students and researchers with copies of famous Greek are working on that collec- and Roman statues tion’. Wim Hupperetz - a tour in consultation (different combinations pos- The reasons of this renew- sible) al process, open interesting questions and opportunities for the development of a different spatial organization within the galleries.

122 123 03.0 THE EXHIBITION MODEL./

125 03.1

Introduction

The research and considera- rather reinforce this re- remains far from what is the to provide dig experience as tions on the university muse- lationship and communicate concept of in situ work and part of the degree course? In um’s life lead to reconsider- these values to a wider audi- the practical field of the absence of funds, many ar- ing the method of action that ence, involving it in those discipline. Therefore, in chaeology courses, including this institution performs to- processes of reading, analys- many cases the discipline that of our own university, wards the public it address- ing and understanding of the remains merely theoretical, have thus been forced to take es, whether it is general or collection itself. without possibility of prac- an exclusively theoretical student. tical investigation. approach to the discipline. The main idea behind this The actual excavation pro- Archaeology is after all not With this consideration, this model is that of: sharing cess, even within the univer- just history but incorporates thesis aims to re-open the and exchanging knowledge, in sity curricula, represent for elements of geography, aes- debate on the role of the a heterogeneous environment the student: time and money. thetics, chemistry, biology university museums in contem- based on inclusiveness. Should it then be the respon- and even computer science. porary society and broadly on sibility of the university (Van De Ven 2014) the academic world. Even though the museum is a The extensive study of the place dedicated to the ac- Fig. 77 past, present and possible quaintance of an inherited future of this institution knowledge, there isn’t so far and of the collections it a physical place dedicated to contains, led to the research students to further research and definition of an exhi- learnt during lectures and bition model able to call university seminars. into question some key points Although this concept is of the museum institution, applicable to a wide range so far, seen as an academ- of disciplines, perhaps it ic niche difficult to access is even more valid for the from the outside and reserved archaeological one. Espe- for a limited few. With this, cially in contexts far from we do not want to remove the excavation sites, as in the Museum and the Collection case of northern Europe, but from the academic world. But not limited to, the student

126 03.2

The Model

Annalies Van de Ven, re- requires attention, time and Unlike in Greece and other in any other museological searcher at the University of involvement. These components Mediterranean regions, the context for the purposes of Melbourne (AUS), describes can contribute to forming a northern European countries, academic learning. the current situation of the significant and useful over- seem to suffer from a scar- The exhibition model for the university museums, with all experience of the visitor city of extensive, well pre- APM was born thanks to the reference to the Ian Pot- within the gallery. served archaeological sites. collaboration with the archi- ter Museum, which houses the Herein lies the need for a One positive side to this is tectural design office Atel- Classics and Archaeology Col- real and meaningful expe- that archaeology is seen not ierPRO, based in The Hague lection of the University of rience inside the museum’s as a hazard but as a point (NL) and continues in the Melbourne. galleries, outside the clas- of interest, something that southern hemisphere with the The physical location of the sical driving patterns. Of should be preserved. Department of Archaeology of museum represents a tangi- which, instead provides and (Van De Ven 2014) the University of Melbourne. ble opportunity for study and proposes a tangible bilateral The exhibition model that The APM, as described in the research in the field, but communication, targeting the this thesis proposes was born dedicated case study, is a through a new communicative exchange of knowledge through in an international context, university institution in the and experiential language. different disciplines. between Italy and the Neth- heart of Amsterdam. In recent For a multitude of reasons, Fig. 78 erlands, continuing in Aus- years, the museum aims to archaeology today is a sci- tralia. The Allard Pierson expand its range of action, ence in need of rethinking Museum in Amsterdam (APM), creating more involvement of and re-evaluating the commu- which houses the Collection visitors with the collections nicative methodology with the of the University of Amster- and considering alternative visitor. Written information dam (UvA), was chosen as a ways to achieve this fulfil- is a useful tool and provides starting case study and phys- ment. The museum’s catchment dedicated support for un- ical place in which to apply area is currently limited to derstanding the collection. the principles that the mod- groups of mostly +50 years However, this is no longer el wants to accomplish. This old visitors, and young pu- enough in a fast society that localization aims to be an pils. There is a considerable spends just a few seconds in example of the applicability lack of student visitors from front of an artefact and its of an experimental exhibition the UvA. written label. Verbal commu- model. However, these princi- Therefore, this becomes an nication, on the other hand, ples can be ideally applied interesting element of re-

128 129 flection on the topic that search and conservation with- of sharing, exchange of lays the foundations for the in the museum galleries and a knowledge, heterogeneity and following thesis work. real involvement and exchange inclusiveness, the model lays The model aims at a 360-de- of knowledge between student the foundations on a series gree involvement of the muse- and visitor. of principles, which subse- um’s users, but with specific A study room and open re- quently form its identity: attention and focus on the search area equipped for the students and researchers of study and promulgation of - Object based and hands-on the University. Currently, artefacts belonging to the learning within the museum there is museum collection. - Continuous circulation of the Archeo-hotspot: a place Thus, not a temporary exhibi- artefact(s), outside the dedicated to the work of tion, but a concept conceived storage rooms archaeologists principally to become the permanent modus - Co-creation and co-collab- with pottery. The singularity operandi and museum’s layout. oration between different of this place is the attempt For these purposes, a spe- disciplines of involvement between the cific area of the museum in - Student’s and visitor’s professionals of the archae- which to locate the MuseumLab attitude ological discipline and the was chosen: the Greco-Roman - Promotion of questions and general public. So far, a gallery, on the second lev- dialogue within the gallery considerable number of uni- el of the building in Oude versity museums have fully Troufmarkt. This point of the The model aims to re-open the equipped conservation lab- museum itinerary is ideal be- debate on the role of the oratories, involving staff cause it represents the meet- university museums, with the and museum’s professionals, ing point between the Greek Fig. 79 hope of further studies and but none of them have a real and Roman collections. Here, considerations on the topic engagement of the student in students and visitors meet in by the competent scientif- relation with the other vis- the middle of the path, cre- ic community. The exhibition itors. ating a new space that aims proposal is born to serve and The idea for this experi- to promote dialogue and inno- facilitate the above-men- mental concept is to have a vation. tioned concepts in the best physical place of study, re- In addition to the concepts possible way.

130 131 03.3

Object-based and hands-on learning

The object is a very powerful ment that attracts and inter- world. The particulari- - Museum experience in pro- transmitter of information. ests the visitor. ty here, is the supervision viding direct interaction By removing it from the dis- (Jamieson 2017) of the student, supported with the object play case the object becomes by researchers and academ- - Pedagogical opportunities even stronger in its abili- The museological strategies ic experts. The activity is to explore innovative ways of ty to attract and engage the applied to the University particularly directed to the teaching and learning viewer. Offering ‘hands-on’ of Melbourne’s Classics and students themselves, in lieu - Issues of curatorship and opportunities with selected Archaeology Collection con- of lectures, study sessions custodianship in terms of works from teaching collec- struct a space that inspires or projects on the collec- conservation and exhibition tion in supervised settings, co-creation. Curriculum and tions, directly within the of the collection the Museum gives students community engagement through museum spaces. - Broad access for students, direct and immediate access, object based learning engen- staff and the public. Fig. 80 thus increasing the level of ders a feeling of familiarity The proposed configura- engagement and intensify- that engages the senses, both tions, thanks to the use of ing the learning experience. physical and emotional. a basic exhibition element (Burritt 2010) (Witcomb 2015) that can evolve in different The object as a key element ways, want to offer moments of teaching inside the mu- Through an equipped gal- of common work and sharing seum, it’s one of the main lery-laboratory space that (conf.a); or a configuration points of the model. Profes- accommodates students and in the ‘studio mode’ and more sor Andrew Jamieson, Depart- visitors, there is the real focused on the individual ment of Archaeology at the possibility of studying in work (conf.b). Given the in- University of Melbourne and depth the artefacts of the formal layout of the learning former curator of the Ian Research and Study Collec- environment, in both the con- Potter Museum, describes this tion. The action of physi- figurations, the professor’s approach as fundamental in cally touching the objects, presence is a participatory the learning experience, not creates an indelible memory role rather than a unilateral only for the student but also in the visitor’s background. process of teaching. for the visitor himself. Experiences of hands-on ac- Therefore, the approach that The use of object-based tivities are daily carried guides these activities is: learning offers deep engage- out in museums all over the

132 133 03.4

Continuous circulation of artefact(s), outside the storage rooms

With museum storage becoming ble system in which rotation This system then tries to saturated with under-utilized is guaranteed and exposure of stem this overabundance phe- collection, accessibility is all artefacts is possible. nomenon. Offering to the a key factor. This is accomplished thanks gallery as much material as (Van De Ven 2014) to an effective set-up exhi- possible in the form of study With this consideration, bition. The display modules and research, the collection starts the second point: the act at the same time as study becomes enjoyable also by the role that storage and rota- surfaces and containers for most inexperienced visitor. tion of artefacts have within the artefacts, which can be The fact of having large the university museum. consulted at any time. numbers of artefacts exposed The model offers a complete In many large museums, not and visible, creates in the exposition of the Research all object stories can be visitor a closeness with the and Study collection inside shared, as many artefacts object and consequently with the MuseumLab, using prefab that are not part of the per- the archaeological disci- metal shelves protected with manent display collection are pline, always perceived as a a glass closure. In this way, effectively reburied within niche and as something that students and researchers have storerooms. does not directly concern our direct availability of the Overabundance of materials own person. materials within the spaces hidden away in overcrowded By studying the often humble of the gallery. At the same storage facilities with lit- but sometimes extraordinary time, the ‘hidden’ collec- tle attention paid to their world of things, it is possi- tion becomes accessible for a curation and no long-term ble to shed new light on both broader audience of public, management plan. The exhibi- past societies and ourselves. allowing them to take part in tion foregrounded the fact The more methods provided for the analysis and conservation that objects are not stat- this search, the more connec- process. The debate on what ic; they are animated by our tion visitors and students is contained in the storage ongoing relations with them, will be able to find. (Jamie- room and what is exposed is Fig. 81 and they contain ample infor- son 2017) always very complex, and it mation about the past and the is dependent on the curator’s present cultures within which skill to create a sustaina- they reside. (Brusius 2013)

134 135 03.5

Co-creation and co-collaboration between different disciplines

A university museum can help well as the complex ethical exhibition. In the case of For these purposes, another of which the APM has. So far, to empower and inspire a problems that surround dis- Mummymania, we talk about a area of the museum has been the museum has never publicly broad spectrum of visitors playing human remains in a temporary exhibition. Howev- redesigned. From the orig- exhibited this extraordinary through establishing an en- respectful manner. er, this concept can be bet- inal function of corridor and important collection. vironment that facilitates (Tully 2015) ter applied to a permanent and additional distribution Throughout expert curatorship co-creation and collabora- situation that aims to create point, the central area of and periodic rotation, the tion. (Jamieson 2017) . This, above reported, is an long-lasting networks and the museum is used as a gal- collection becomes an ex- example of different disci- collaborations among differ- lery for the special collec- traordinary educational tool The postulates of the state- plines that meet in a museum ent disciplines. tion of Plasters and Casts, for Amsterdam’s art acade- ment above, are at the base mies; Laser-Scanner technol- of the new researches car- ogy teaching systems and 3D ried out in the museum field. digital representation; as Specifically, A. Jamieson and well as for introducing young A. Van de Ven find interdis- students to the representa- ciplinarity as a pivotal and tion of classical art. This innovative element in the theatrically enlightened gal- study of archaeology. lery thus creates an impor- In 2016, at the Ian Potter tant place of strong inter- Museum (University of Mel- disciplinary interest within bourne) tutors of different the museum. department were able to hold seminars in the ‘Mummymania’ exhibition on mummified objects and the mummification process, the history of exploration of Egypt, the use of mummies in medicine, the scientific analysis on tis- sue including the use of CAT scanning in order to understand ancient diseases, as Fig. 82

136 03.6

Student’s and visitor’s attitude

In ‘The Dead Don’t Bury Them- it regards the fitting as- The student in this context For this purpose, Silke de - Cross traditional bounda- selves’ exhibition, the ob- pects of the model. In fact, becomes a fundamental figure Smet was interviewed. Sil- ries jects selected for display each container represents a in the system, which has two ke, graduating in Museology - Challenge traditional and the accompanying infor- specific theme, previously main functions: at UvA, is currently (2018) thinking mation (text panels, object elaborated by the museum’s - informs the visitor by in- conducting a thesis on the - Integrate different and labels, archival documenta- curatorial team, directed by volving them in the activity Institution of the University non-traditional disciplines. tion, didactic elements and Dr. Wim Hupperetz (director of the laboratory; Museum. In her work she men- (Burritt 2010) curator-led floor talks), and head-curator).Therefore, - has spaces to dedicated tions an almost total absence As Burritt points out, the invited viewers to explore each container is thematical- them, to deepen understand of the student within the student needs a real involve- the various facets of our ly independent, but at the the archaeological matter, galleries of the APM, if not ment and familiarity with the engagement with the Middle same time strongly connected outside the university class- for individual internships at Collection. The primary in- Fig. 83 East, based on their own in- to others. The artefacts, are rooms. the Archeo-hotspot space. In strument, then, becomes the terests, whether they be in ‘discovered’ and ‘brought to The museum experience becomes this way, the relationship space dedicated and the men- archaeology, physical anthro- life’ thanks to the interest more than just an exciting between the University and tal attitude infused thanks pology, museum management, of the visitor who, inde- trip away from the classroom, the Museum is analysed, seen to the environment that sur- politics, conservation or any pendently, chooses whether to it is also a lesson in ana- as separate political insti- rounds them. other area. This flexibility go deeper in the history and lytical skills, an opportu- tutions, and their progres- in content and display ulti- meaning of the Collection, or nity for students to develop sive estrangement. mately allowed for a collabo- rather enjoy the highlights. their own interpretations of This leads to an even strong- rative creation of knowledge These elements significantly material, learning by praxis er analysis on the insertion and experience that is valued affect the visitor’s experi- rather than just memorising of the student inside the mu- by the visitor, rather than ence and his future approach by rote. seum, not for lucrative pur- a curatorial monologue with to a museum context. This is (Jamieson 2014) poses, but simply to give him no relevance to the visitor’s where the meeting with the As previously mentioned, this the possibility to utilise own reality. student and the discipline component is fundamental in otherwise empty and sadly (Jamieson 2017) they study takes place. The the countries of northern Eu- forgotten spaces. This interdisciplinary and uniqueness of this gathering rope, where the distance from The first primary objective collaborative aspect of the enriches the museum’s path the main excavation points is to make the Collection visitor, described in the with an even more effective does not allow significant meaningful to contemporary work done at the Ian Potter communication of the collec- practical work for the stu- students. To achieve this, Museum, is very important as tions. dents. it’s necessary to:

138 139 03.7

Promotion of questions and dialogue within the gallery

Promotion of questions and Progress and innovation occur Thus, the skills learned dialogue within the gallery only in a teeming and lively through encounters with the Museums frequently treat context of thoughts, words material and literary re- ancient artefacts solely as and people. Even archaeology, mains of the ancient world, art objects, inscribing them considered only as a disci- can help us to understand our into new context whereby pline that studies ‘dead’ own contemporary culture, our much of their original sig- things can instead turn out roots and how these have af- nificance is lost. There is to be a starting point for fected our present and may go often no consensus on these personal and society reflec- on to influence our future. complex issues, but the im- tion, if well communicated. (Jamieson 2014) portant point is to provide an opportunity to explore the questions and encourage an Fig. 84 informed dialogue. (Burritt 2010) Exploring questions and en- couraging dialogue are the ultimate goals that the model hopes to accomplish. This bilateral student-visitor exchange can become an un- stoppable flow of knowledge and cultural enrichment.

140 03.8

Fig. 85 Relationship with social media?

There are many studies done in this direction so far, from the channels of scientific promulgation through television and the mass media, to the more contemporary survey on social media. The latter, as seen recently, lead to a significant impov- erishment of the reasons for the work of art or museum collection itself, confining it to a photographic sharing as an end in itself. On the contrary, this act of sharing becomes interesting if it is oriented towards the promulgation of an experience: of which the visitor, whatever his cultural background, can have memories in the future, starting a new path in his interest towards the discipline.

142 143 04.0 EXHIBITION MODEL’S CONCEPT./

145 04.1 CONTEXT./

Allard Pierson Museum, University van Amsterdam.

The Allard Pierson Museum benefits of a central position in the historical urban fabric of Amterdam, NL. Overlooks Oude Troufmarkt, and the majestic Rokin Canal.

The close connection with the UvA, makes of it an optimal location for the students of the University.

Moreover, the museum is located 1km from Amsterdam’s Central Station. For this reason, not just international, but also dutch citizens are are visitors of the APM.

Fig. 86

146 147 Roman MuseumLab Roman Collection Exhibition Model 500 BC - 200 AD

Gaeco MuseumLab 04.2 Graeco Collection Exhibition Model 2500 BC - 500 AD

MUSEUM./ Plaster and Casts Numismatic Collection Gallery and Central Gallery Routing Scheme Archeo - Hotspot

Current Situation Proposal

Above, The Second Floor of the APM, coherent path. The Numismatic spot: not immediately visible plasters and casts. Most student and visitor is made pos- and on the other page, plans off the scale. in which the Exhibition and Central Gallery infact, from the otuside of the room. important, thought it is the sible. Model is developed, hosts cuts the plan: creating a linearity of the path through the Graeco-Roman Collection. bumbling route and a sense Insteda, in the proposed the Gareco and Roman Col- Furthermore, this location of- From the Plan, it is possible of disorientation. Moreover, routing scheme the Central lection. Starting from both fers a visual connection with to see that, in the current the only place decated to Gallery it was closed (con- sides, the visitor arrives in the canal and the urban environ- situation, the route scheme students and archaeologist nection with the rest of the the core of the galleries: in ment. doesn’t follow a linear and is located in the Archeo-Hot- galleries), focusing on the which the gathering between

148 149 04.3 CONCEPT./

The Lab

The exhibition concept fol- Thus, it assumes the forms lows the guidelines of an of a scientific environment, archaeological conservation aimed at displaying and com- and cataloguing laboratory. municating the artefact rath- Principles of functionality, er than the exhibition it- rigor of the forms, visibil- self. ity of the materials (prefab metal shelves) guide the design of this exhibition model.

Fig. 87

Fig. 88

150 The Site

The theme of in situ work, and UV light for the photo led to the creation of a grid lab), the guidelines on the in the gallery’s layout. Just subject provided by the Ash- as the excavation archaeo- molean Museum in Oxford and logical sites are divided the UCL Archaeology in Lon- in a precise layout, here don, were consulted . the space is divided by vid- However, the MuseumLab, de- eo mapping, to allow greater spite the laboratory concept, compositional ease according remains a hybrid and polyva- to the needs. lent place within the exhibi- For the equipment and the tion system. As well as the study, analysis, cataloguing people who live it, it is a and conservation tiling mate- place in continuous renewal rials (microscopes; infrared and change. Fig. 89

152 The Worksplace

Fig. 90

155 04.4 THE MUSEUM-LAB./

Above, This gallery offers to stu- representation. In here, it plan off the scale. dents and visitors the possi- is possible to take session bility to be in contact with of artistic representation of plasters and casts of the the artefacts; laser-scanner early 20th Century. These fa- and 3D representation. mous copies represent an opportunity to know more about the Graeco-Roman sculptural

156 157 Above, MuseumLab Option A MuseumLab Option B and on the other page, plans off the scale. Common Workplace Lab. This create a linear and vaste Classroom Lab. This config- er has more indipendence and configuration allows the work workplace, in which the arte- uration is thought for prac- has the possibility to work on big projects, in which are facts can be displayed, stud- tical lectures and smaller on specific indipendent pro- involved multiple students ied and admired by a wider indipendent projects. jects. and researchers. The modules number of users. Here, the student/research-

158 159 B’

Section AA’

A’ A’

Section BB’ B

Infrared and UV Photo lab Exhibition modules Workplace lab Reserved access to students, Display modules for the Place of interaction between researchers and technicians visitors. student/researcher and visitors. 161 162 163 165 Exhibition Element: metal prefab shelving; glass

The exhibition element has been developed following as a reference the research and studies of the German architecture-exhibition firm Atel- ier Bruckner, for the Science Laboratory at the Herne LWL – Museum of Archaeology, in 2005.

Fig. 91

166 167 169 04.5 PLASTERS AND CASTS GALLERY./

Above, The Pasters and Cast Gallery sent an opportunity to know plan off the scale. is located in a central area more about the Graeco-Roman of the museum and offers to sculptural representation. In students and visitors the here, it is possible to take possibility to be in con- session of artistic rep- tact with plasters and casts resentation of the artefacts; of the early 20th Century. laser-scanner and 3D rep- Fig. 92 These famous copies repre- resentation.

170 171 A A’

Section AA’ 172 173 05.0 APPENDIX CURATORSHIP./

Fig. 93

175 05.1 05.2 Introduction From Alexander to Cleopatra, 335-50 BC

Each civilization can thus Collection is undergoing a The period from Alexander the The Ellenistic Cabinet be studied by its own specif- renovation process both cu- Great to Cleopatra, roughly ic material traditions, or ratorial and as regards the 335-30 BC, is known as the The Hellenistic Period has in relation to the artefacts exhibition system. The fol- Hellenistic Age (Hellene, given to the museum many im- of its neighbours within the lowing work has been faith- from Hellas, is another word portant collections of sculp- exhibit. (JAMIESON 2014) fully reported thanks to the for Greek). The conquests of ture, pottery, glass, bronze, collaboration with Laurien de the Macedonian king Alexander faience, gems and coins. The With this consideration, Gelder, Junior-Conservator at the Great spread Greek cul- sites have origin in Italy, start the curatorial analy- the APM. ture as far as Mesopotamia Greece, Minor Asia and Ptole- sis of the Allard Pierson’s However, the communication (now lraq) and India. In the maic Egypt and are co-de- current permanent exhibi- wants to remain mainly of a immense stretch of land be- termined by the Scheurleer tion. The curatorial project verbal type and the written tween the Tiber and the In- Collection, which already was achieved by the museum’s part is graphically reported dus, the Nile and the Oxus, contained a few items from curators team. Specifically, directly in the exhibition ideas and cultures are being the East Hellenistic. the part concerning the Ro- modules. exchanged thanks to trades, In the portrait gallery, man Collection and the Greek wars, diplomacy and migration here, are represented Al- of people from remote areas exander the Great and his such as Celts in Central Eu- Ptolemaic successors. Among Fig. 94 rope, Phoenicians in northern the terracotta figures in Africa, Scythians in Central Tanagra style, the rounder is Asia. a magnificent tomb vase from Cleopatra, the famous Mace- Canossa (Puglia) with a head donian-Egyptian queen, with of Medusa and centaurs, which Julius Caesar’s help, gains is linked with pottery coming the control of the eastern from the same tomb. Fig. 95 Mediterranean. Finally, Oc- The gallery continues in the tavian, the future Emperor left-hand display with a rich Augustus, unites the Mediter- variety of headings: young, ranean world under Roman rule old, male, female, European, in 27 BC. Egyptian, Persian, Indian. Within these themes, it is

177 possible to see small figures cult (worship) of Dionysus, be buried or cremated, mum- tions are being replaced by Trade: a luxury-oriented besides painted pottery, mir- the Greek god of wine and mified, or simply exposed to Buddhist rituals, consisting consumer society rors, colourful glasses and pleasures of terrain life. the natural elements. in rebirth: the return of the fences. On the right, there Alexander’s successors like- In the Hellenistic period the soul in a different body. The Hellenistic world trade are diverse themes represent- wise see themselves as im- Greek and Egyptian traditions Ideally the soul will final- is conducted over great- ed by many subjects: religion ages of Dionysus and are (inhumation, i.e. burial, and ly free itself, through the er distances. Goods from and mythology, wildlife and worshipped as gods on earth. mummification) are the most cremation ritual, from the north-western Europe, the daily life, sexuality and en- Yet the Graeco-Macedonian followed. endless cycle of rebirth, and Middle East, Arabia, India tertainment. This division in conquerors respect the cults In both cultures in fact the finally reach nirvana, an and Central Asia are trans- themes make clearer the daily they find and identify local cities of the dead lie out- eternal state of enlighten- ported to the Mediterranean life of these populations and divinities with their own. side the city walls. Here ment without corporeal suf- area by established naval and bring them closer to us. Dionysus, for example, in starts the tradition of fam- fering. caravan routes. For the first Egypt is identified with the ilies honouring their ances- Family members mourn the time, products come all the Religion: gods and their god of the underworld Osi- tors with visits on their deceased in honour of the way from China - the begin- worships ris, in India with the war graves and tombs. ancestors to support the re- nings of the Silk Road. The god Indra, and with the god In India, Hindu burial tradi- birth transition. import of luxury commodities As in the preceding centu- of Liber Pater in Rome. The and exotic products goes hand ries, most religions of the Ptolemies support the temples in hand with the rise of a Hellenistic Period are poly- and priests in Egypt and the veritable consumer society. theistic: believers worship Seleucid kings do the same in All kinds of goods are ex- many gods and goddesses at the Near East. changed: precious stones and the same time. The worship of metals, herbs and spices, a single deity is practised perfumes and oils, silk and only by the Jews in Palestine Death: daily life and funeral linen, elephants and slaves, (Yahweh), the Zoroastrians in rites Fig. 96 corn and olive oil, parchment the Middle East (Ahura Maz- and papyrus, beer and wine. da), and the Buddhist Indians The peoples surrounding the Viticulture and wine-drink- (Buddha). Mediterranean have diverse ing are omnipresent in the After his conquest of the traditions regarding death Mediterranean world. Various Persian Empire, Alexander and funeral monuments. The regions produce their own links his victories to the bodies of the deceased may specialties: cheap vinegar as

Fig. 97 178 05.3 From Rome to Roman, 35 BC – AD 500 well as quite palatable Mus- have one important trait in Diversity in the Roman Empire gions: Mediterranean, Egypt, cat wine from Egypt, excel- common: their art and court and the Netherlands. The lent Falerian from Italy, and culture are modelled on Greek Rome and its empire changed objects on display accentuate the best wine of all, from examples. over the course of time, from the diversity and the inter- Carmania (now the highlands Meanwhile, the Romans are the city’s foundation in 753 action between these regions of Iran). expanding their republic’s BC to the fall of the West- with a range of eight sub- power and influence extends ern Roman Empire in AD 476. jects. Power: kings, states and beyond the Italic borders to As the empire grew, so did armies the Ptolemies in Egypt, the the variations. Sometimes the Power: no empire without an Seleucids in Syria, and the Romans reacted against what army The death of Alexander the Phoenicians of Carthage (in they saw elsewhere; sometimes Great is followed by a se- present-day Tunisia). Like they adopted aspects of the The Romans are able to great- ries of conflicts, in which Macedonia and Greece, these new and foreign world. As in ly expand their empire thanks new kingdoms arise. From the overseas territories eventu- our time, there was tension to a strong and well-organ- region of Gandhari Mauryan, ally will become Roman prov- between being open to new ised army. In order to have kings rule the Indian sub- inces. ideas and holding on to the troops able to move fast, continent and most renowned old traditions. soldiers and slaves are asked among them, Asoka, converts When looking for connections to build an extensive road to Buddhism. within the Roman Empire, it system which also enables the In the Mediterranean, Alex- is immediately clear the inhabitants of distant prov- ander’s generals, known as multicultural aspect of this inces to travel more easily, his Diadochi (successors), time. After all, Rome was not conduct trades and even mi- fight each other to fill the just the centre of a bigger grate. power void. Ptolemy appropri- world, it was part of it as Roman soldiers are sent to ates Egypt as his kingdom, well. If we combine the local every corner of the empire, and Seleucids settles in the and the global perspective, to build forts but also mix Near East from Macedon Anti- both the differences and the with the locals, many of whom pater ruling the Greek city- similarities within the Roman decide to take volunteer part states, which are too divided world become clear. of the Roman army. So, it is to offer any resistance. All The presentation of the col- normal to find a Roman caval- these Hellenistic kingdoms lection focuses on three re- ry helmet in Hispania (Spain)

Fig. 98

180 181 or a silver cup made in Italy tyr plays. Gladiator fights, through Europe, northern Af- the Roman administration has in Germania. Etruscan in origin, are pop- rica and Minor Asia, and as a temples built or renovated in Throughout the empire, people ular throughout the empire consequence also architecture Egyptian style, while in the become more mobile. Batavi- as are chariot races, fights benefits form this. Provin- countryside grain farms are ans from the nowadays Holland with/or between wild animals, cial cities and towns change added. In the ancient Neth- enrol with the imperial bod- and musical contests. their aspect, combining the erlands stately stone villas yguard in Rome; Syrian mer- The tribes in the Low Coun- new architectural roman style with tile roofs rise up be- chants move their business to tries, already having a with the local existences. tween the simple farms built Britannia and so on. Soon strong musical tradition, now In Roman city design, the from clay. ideas and customs are being have more instruments and market place (forum) is the Food and drink: a taste for exchanged, and it becomes tunes to choose from. The heart of the city life. It the exotic less apparent who is local Egyptians discover new enter- is immediately surrounded by and who is foreigner. This tainment coming from Europe temples, theatres, amphithea- There’s a coming and going of cultural exchange, on which and combine it to their ex- tres, baths, public adminis- people and goods in the Ro- the Romans clearly left their isting love for temple festi- tration buildings and resi- man Empire, with busy trade mark, is called Romanisation. vals. dences; farther out there are everywhere. With the army, All those types of entertain- the grandiose noble villas. Roman cuisine - featuring Entertainment: more than ment lead to the construction Following the Greek example, wheat, wine, fish sauce, figs bread and games of new concert halls, the- villas are built around an and olive oil - spreads until atres, stadiums and amphi- inner court surrounded by a the most distant corners of Entertainment is part of theatres. Ulpia Noviomagus colonnade (peristylium), and the empire. human life: in this the in- (present-day Nijmegen) had the wealthiest have also wall The soldiers bring their own habitants of the Roman Empire an amphitheatre for at least paintings (frescoes) as a ‘Italian-design’ kitchen were no exception. The dif- c.12.ooo viewers. sign of upper social class of ware: a bronze wine strainer ferent cultures in it inspire the owner. to Ulpia Noviomagus (Nijme- one another and consequently Architecture: from temple to The Romans are inspired by gen), a hip flask to Asia Mi- create also new ones. amphitheatre Egypt as well: the emperors nor. Through the army camps, The Roman version of Greek I fact choose the obelisk, the local people are intro- drama was loved by all: come- Across the immense Roman a rectangular tapering col- duced to new foodstuffs and dy and tragedy (which includ- road system new materials umn, as one of the symbols of crops, which they sometimes ed songs), pantomime and sa- and techniques spread rapidly their power. In Egypt itself start to grow themselves.

Fig. 99

182 183 Egyptian farmers, too, start the roads leading out of the Fahion: expressions of the Hellenistic sculptures. temples: a tympanum and two to adopt Roman ways. Instead city. Only wealthy citizens identity That’s why, also the hair- columns. The niche of this of emmer, for instance, they can afford a stone urn in a style was very important to lararium is decorated with start sowing wheat, an im- funeral monument. From the In this multicultural empire, show and express a social ornate antique capitals. The proved cereal that produces a second century AD onwards, the way people dress and status. first of these are two Co- fluffier bread dough. In the there is a shift away from embellish themselves shows rinthian capitals, decorated prosperous city of Rome meat cremation to burial in a where they come from and who Lararium with acanthus leaves from is on the menu more often, stone coffin (sarcophagus). they are: rich or poor, Roman the Hellenistic Period (inv. and pig farming flourishes. The inhabitants of the Low or provincial, man or wom- A lararium was a home altar 1552. 1551). Second are the Well-to-do Romans indulge Countries are also used to an, farmer or civil servant. where offerings were present- two lonian capitals, also themselves with exotic prod- cremate the deceased. The Then as now, people also use ed to the Lares (household from the Hellenistic Period ucts from Indian rice to fla- remains are buried in graves clothing to express who they goods). Often a wall paint- (inv. 1558 and 1557/14.271). mingo and giraffe meat. marked by a simple post or a want to be. ing near the altar depicted stately mound. As Roman cul- Men from the provinces who two Lares with sacrificial Death: the jurney to the ture pervades the province, have many Roman acquaintanc- vessels in their hands. As afterlife burial gifts begin to include es exchange their tradition- tutelary divinities of the Roman pottery. The upper al dress for a Roman toga. household, they also played The Roman Empire is home of classes start using sarcoph- Prosperous men and women wear an important role in family different cultures, and the agi and tombstones after the exotic things such as lin- life. way in which these popula- Roman model. en from Egypt, cotton from Fig. 100 The lararium was placed in tions treat the theme of India, sometimes even silk the atrium, the central space death is different. Even The Egyptians faithfully keep from China. Precious stones of the Roman home. In small- though the ritual of buri- mummifying their dead. They and metals, also, are worked er houses without an atrium, al gifts for the afterlife bury them with pictures of using improved techniques to the household altar would be remain a constant in all of Osiris, god of the under- obtain the finest jewellery, beside the building itself. them. world, painted on the sar- coming from mines in Spain Lararia come in different Roman funeral rituals inter- cophagi. Every mummy in fact and Minor Asia. shapes and in the homes of mingle with local traditions is given a face: a finely In the Roman period portraits the wealthy we often find everywhere. In Italy the dead crafted plaster mask or even are strikingly realistic, altars made of marble, shaped are cremated, and their ashes a painted portrait. compared to the idealistic like a little chapel or niche laid to rest in grave along Egyptian mummy portraits or with representations of Roman

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