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Abstract Etruscan Colors? ABSTRACT ETRUSCAN COLORS? A MULTIDISCIPLINARY APPROACH TO THREE PAINTED ETRUCAN SARCOPHAGI Rachelle L. Wilson, MA Department of Anthropology Northern Illinois University, 2018 Dr. Kurt Rademaker, Director This multidisciplinary project focuses on the concepts of fakes, forgeries, altered objects, and authenticity. I applied non-invasive methodologies to study three Etruscan stone sarcophagi in the collections of the Field Museum of Natural History in Chicago. These techniques included detection of fluorescent pigments using ultraviolet light and portable x-ray fluorescence to determine the elemental composition of the pigments. Measurements suggest possible minerals used in original Etruscan pigments as well as subsequent non-Etruscan pigments and putty applied to these artifacts. Combined with the objects’ histories and iconographical analysis, this study provides a holistic and comprehensive analysis of these artifacts. Ultimately, this research reveals a new category of objects that are both authentic and modified, and they should not be eliminated from collections but serve to broaden our concept of authenticity and expand scholarly knowledge into new avenues. NORTHERN ILLINOIS UNIVERSITY DE KALB, ILLINOIS AUGUST 2018 ETRUSCAN COLORS? A MULTIDISCIPLINARY APPROACH TO THREE PAINTED ETRUSCAN SARCOPHAGI BY RACHELLE L. WILSON ©2018 Rachelle L. Wilson A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS DEPARTMENT OF ANTHROPOLOGY Thesis Director: Kurt Rademaker ACKNOWLEDGEMENTS I would first like to thank my advisor, Dr. Kurt Rademaker, and my committee members, Jennifer Kirker and Dr. Sinclair Bell. Your guidance and knowledge throughout this project have been immeasurable. My research would have been impossible without the approval and support of the staff of the Field Museum of Natural History in Chicago. I would also like to extend my gratitude to the museum’s curator, William Parkinson, and collections manager, Jamie Kelly, for approving this project and allowing me access to the collections. I would also like to thank the Elemental Analysis Lab of the Field Museum for loaning me equipment and Laure Dussibeux and Dani Riebe for their assistance and expertise throughout the analysis. In addition, I would like to express thanks to Dr. Christopher Nissen for assisting and ensuring the accuracy of Italian translations and Rachel Martiniak and Felicia Herzog for proofreading. I would also like to acknowledge the generous support I received from the Northern Illinois University Department of Anthropology’s Foundation Award for travel to Chicago. Lastly, my sincerest gratitude goes to my family and husband, Casey Loring, whose support and encouragement throughout this project motivated the completion of this thesis. I love you to the moon and back. TABLE OF CONTENTS Page LIST OF TABLES .................................................................................................... vi LIST OF FIGURES ................................................................................................... vii LIST OF APPENDICES ............................................................................................ ix Chapter 1. INTRODUCTION .................................................................................. 1 Research Questions ............................................................... 2 Chapter Overview ................................................................. 3 2. BACKGROUND AND THEORY OF MISREPRESENTATIONS ....... 4 Introduction ........................................................................... 4 Misrepresenting Artifacts: Who, Why, and How ................. 4 Misrepresenting Artifacts: A Modern Look at the Issues ...... 11 Defining and Understanding Fakes, Forgeries, Altered Objects, and Authenticity ......................................... 15 Authenticity in Context ......................................................... 17 Authenticity and the Museum ............................................... 20 Authenticity in Combinations ............................................... 22 3. HISTORICAL BACKGROUND OF THE ETRUSCANS AND OVERVIEW OF PIGMENT STUDIES ................................................. 25 Introduction ........................................................................... 25 iv Chapter Page Etruscan History and the Forging of Their Material Culture ................................................................................... 25 Etruscan Pigment Studies ..................................................... 34 4. METHODS ............................................................................................. 40 Object History ....................................................................... 41 UV-A Analysis ...................................................................... 41 pXRF Analysis ...................................................................... 42 5. RESULTS AND DISCUSSION ............................................................. 50 Description of Sarcophagi...................................................... 50 Object History of the Three Etruscan Sarcophagi ................ 55 Iconographical Analysis of the Three Etruscan Sarcophagi ............................................................................. 57 UV-A Analysis ...................................................................... 61 pXRF Analysis ...................................................................... 61 Blue Colors ............................................................... 61 Red Colors ................................................................ 63 Yellow Colors ........................................................... 66 White Colors ............................................................. 70 Black Colors............................................................... 71 Skin Colors ................................................................ 73 Discussion ............................................................................. 75 v Chapter Page 6. CONCLUSION ....................................................................................... 78 The Potential Application of Object Biography and the Itinerary of Altered Objects ...................................... 79 An Itinerary for the Three Etruscan Sarcophagi ................... 82 Final Thoughts ...................................................................... 87 REFERENCES ......................................................................................................... 89 APPENDICES .......................................................................................................... 98 LIST OF TABLES Table Page 1. Sarcophagus A: Results of pXRF Analysis .............................................................. 44 2. Sarcophagus B: Results of pXRF Analysis .............................................................. 46 3. Sarcophagus C: Results of pXRF Analysis .............................................................. 48 LIST OF FIGURES Figure Page 1. Map of Etruria ...................................................................................................................... 26 2. Sarcophagus A, Side A ............................................................................................. 50 3. Sarcophagus A, Side B ............................................................................................. 51 4. Sarcophagus A, Flank, Floral Motif ......................................................................... 51 5. Sarcophagus B, Side A ............................................................................................. 52 6. Sarcophagus B, Side B .............................................................................................. 52 7. Sarcophagus B, Flank, Floral Motif .......................................................................... 53 8. Sarcophagus C, Side A ............................................................................................. 54 9. Sarcophagus C, Side B .............................................................................................. 54 10. Sarcophagus C, Flank, Ketos .................................................................................... 55 11. pXRF Spectra for Points A22 and A1 ....................................................................... 62 12. pXRF Spectra for Points B32 and B4 ....................................................................... 62 13. pXRF Spectra for Points A6 and A1 ......................................................................... 64 14. pXRF Spectra for Points B16 and B4 ....................................................................... 64 15. pXRF Spectra for Points C44 and C4 ....................................................................... 65 16. pXRF Spectra for Points A21 and A1 ....................................................................... 67 17. pXRF Spectra for Points B7 and B4 ......................................................................... 67 viii 18. pXRF Spectra for Points C21 and C4 ....................................................................... 68 19. pXRF Spectra for Points A38 and A1 ....................................................................... 69 20. pXRF Spectra for Points A15 and A1 ....................................................................... 70 21. pXRF Spectra for Points C6 and C4 ........................................................................
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