Expedition Volume 62 No. 2, Summer 2020

SUMMER 2020 | VOL. 62, NO. 2

THE MAGAZINE OF THE UNIVERSITY OF PENNSYLVANIA MUSEUM OF ARCHAEOLOGY AND ANTHROPOLOGY

Remembering Bob Dyson ARCHAEOLOGIST, TEACHER, DIRECTOR

RECONSTRUCTING A NEANDERTAL • NASKAPI VISITORS • NEWS FROM THE MUSEUM

WELCOME TO THE PENN MUSEUM AT HOME. At a time when we are connecting to one another from a distance, the Museum invites you to travel the world and explore our galleries and resources from your own home.

Virtual programs and experiences for all ages expand the possibilities for creativity, learning, and fun.

Visit us at www.penn.museum/athome.

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Contents

12

Remembering Bob Dyson

By Colleagues and Former Students

26 Revealing Ancient Faces: The Reconstruction of a Neandertal

By Christina Griffith

36 Connecting the Present to the Past: Silent Objects Speak to Naskapi Visitors

By Louisa Shepard

ON THE COVER: Dr. Robert H. Dyson, Jr., Williams Director of the Museum from 1982 to 1994, was a beloved teacher and mentor. Our cover story describes his life and work. Many former students and colleagues responded to our request for memories of Bob, which are included here as well. Photograph taken at the National Museum of Iran.

ABOVE: In early 2020, the Museum hosted Indigenous Naskapi visitors from Canada.

SUMMER 2020 | VOLUME 62, NUMBER 2

DEPARTMENTS 2

From the Editor

3

From the Director

4

At the Museum

48

Research Notes

52

Field Trip

54

Sneak Peek

56

In the Labs

58

Global Classroom

60

Member News

62

Museum News

PENN MUSEUM 3260 South Street, Philadelphia, PA 19104-6324 Tel: 215.898.4000 | www.penn.museum Hours Tuesday–Sunday: 10:00 am to 5:00 pm.

Open until 8:00 pm on first Wednesdays. Closed Mondays and major holidays.

Admission Penn Museum members: Free; PennCard holders (Penn faculty, staff, and students): Free; Active US military personnel with ID: Free; K-12 teachers with school ID: Free; Adults: $18.00; Seniors $16.00; Children (6-17) and students with ID: $13.00; Children 5 and under: Free

Museum Reopening We are planning for the Museum’s reopening, with all necessary safety protocols and guidelines in place, including hand sanitizer stations, timed tickets, and Members-only hours. Stay tuned for updates in the e-newsletter and on our website.

Museum Library Open to the general public with ID. Call 215.898.4021 for information and hours.

Summer 2020

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FROM THE EDITOR

Working Remotely

T

he Summer 2020 issue of Expedition was edited and designed entirely in our homes. Thanks to Remy, Alyssa, Alex, Page, authors of the articles, and all those who contributed content. Thanks also to our printer, CRW Graphics, who continued to work with a reduced crew. I hope by the time you read this we are safely back at work at the Museum. If not, we will continue to produce the magazine remotely, and you can be assured that you will receive the Fall 2020 special expanded issue on Philadelphia Gardens.

Robert Dyson, Williams Director of the Museum from 1982 to 1994, was a remarkable man. When he passed away in February, we asked his former Photo by students and colleagues to Michael Furlong. send us memories and photos of Bob. Reading the reminiscences sent to Expedition confirmed the affection and respect with which he was regarded. Dyson, a renowned Near Eastern archaeologist, is perhaps most remembered for his groundbreaking excavations at Hasanlu in Iran, which are featured in our Middle East Galleries. Over the 40 years he taught at Penn, he trained many students who went on to esteemed professorships and to run their own excavations. A mentor and friend to many, Bob lived a full life, and we were lucky to have had him as our director.

Two other articles are included in this issue: the fascinating story of the forensic reconstruction of a Neandertal head which is now displayed in the Sphinx Gallery, and a visit to the Museum by members of the Naskapi Nation of Canada. As always, look through this issue for news of the Museum and short pieces such as Research Notes, Field Trip, Sneak Peek, and In the Labs.

And please write to let us know the stories you would like to see in your magazine.

EDITOR

Jane Hickman, Ph.D. GRAPHIC DESIGNER

Remy Perez

COPY EDITOR

Page Selinsky, Ph.D. PUBLISHER

Amanda Mitchell-Boyask ASSOCIATE PUBLISHER

Alyssa Connell Haslam, Ph.D.

PHOTOGRAPHY

Francine Sarin Jennifer Chiappardi Kristen Hopf Julianna Whalen (unless noted otherwise) CONTRIBUTING EDITORS

Jessica Bicknell Marie-Claude Boileau, Ph.D. Jill DiSanto Kate Fox Therese Marmion Ellen Owens Alessandro Pezzati Kate Quinn Tena Thomason Stephen J. Tinney, Ph.D. Julianna Whalen INSTITUTIONAL OUTREACH MANAGER

Darragh Nolan

ACADEMIC ADVISORY BOARD

Simon Martin, Ph.D. Janet Monge, Ph.D. Lauren Ristvet, Ph.D. C. Brian Rose, Ph.D. Stephen J. Tinney, Ph.D. Jennifer Houser Wegner, Ph.D.

Š The Penn Museum, 2020

JANE HICKMAN, PH.D. EDITOR

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ExpeditionÂŽ (ISSN 0014-4738) is published three times a year by the Penn Museum. Editorial inquiries should be addressed to the Editor at jhickman@upenn.edu. Inquiries regarding delivery of Expedition should be directed to membership@ pennmuseum.org. Unless otherwise noted, all images are courtesy of the Penn Museum.

FROM THE DIRECTOR

A Source of Inspiration Dear Friends, I hope that this issue of Expedition finds you well. While the Museum’s building has been closed during this public health crisis, we’ve welcomed you online instead, and have been delighted to see you for specialists’ talks from their living rooms to yours, for craft workshops, for Digital Daily Digs, for Great lectures, and much more. Thank you for joining us there, and we look forward to welcoming you back to our Museum when it is safe to do so.

In these uncertain times, I know that we can look to our own institution for inspiration. Our galleries and the objects we are privileged to care for attest to humanity’s resilience, empathy, and ingenuity in the face of hardship.

These are the tales we continue to tell hundreds, even thousands, of years later: we remember not just the hardship but also, and just as importantly, the human response to it.

How we respond to and relate to one another has been at the forefront of Museum discussions over the last few weeks, as recent events have highlighted once again the racial injustices and systemic violence confronting Black individuals. We are entirely committed to continuing to provide a forum for difficult and important conversations—to broadening this forum, and to participating in those conversations while welcoming a diversity of voices. Through the Living Room Lecture series, Dr. Tukufu Zuberi engaged recently in an evocative and powerful conversation about his work, racism, and the shared commitment we must make to social justice.

Our community Between the Lines book club began in June with a rich, timely discussion of Chimamanda Ngozi Adichie’s Americanah; I hope that if you didn’t have a chance to join, you will participate in next month’s exploration of Zora Neale Hurston’s Barracoon: The Story of the Last “Black Cargo.” These conversations will be ongoing and represent part of the work that, as a museum deeply invested in our shared humanity, we must lead. We are listening, and we are working to be the Penn Museum our community needs.

Julian at home with his dog Daisy.

The Museum has long been a source of inspiration for me. This is one of the many reasons that my recent decision was bittersweet: as you’ve heard, I have accepted a position as President and CEO of the Field Museum in Chicago, beginning after Labor Day. I will write more in the fall issue of Expedition about how very much the Museum has meant to me both professionally and personally; in the meantime, I continue in my wholehearted commitment to seeing the Museum through this time in partnership with you.

The vibrancy of our Museum has not dimmed—it has relocated, for the moment, to the homes of our members and friends who continue to engage with us. Thank you for your support, now more than ever.

Warm regards,

JULIAN SIGGERS, PH.D. WILLIAMS DIRECTOR

Summer 2020

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AT THE MUSEUM

Caring for the Museum and Our Penn Community during COVID-19 THE MUSEUM WAS CLOSED TO THE PUBLIC and most staff beginning on March 14. During the closure, our beloved building, with its galleries and collections storage, has been very well cared for by dedicated members of our Building Operations and Security teams.

Chief Building Engineer Brian Houghton shares his experience keeping an eye on the Museum until it can welcome back staff and visitors once more: Working in the Museum during this downtime has been very intriguing. With so many centuries of artifacts and a historic building added to those, it sometimes seems that something is watching you as you roam through the dark galleries (and not just the security cameras!). It gives me a sense of purpose to look after such a Museum with deep history, as well as a sense of appreciation for what is on display for the world to admire. I enjoy ensuring that all mechanical and operational systems are functioning properly to maintain the galleries until the day the visitor experience is reopened for the world to see.

Emergency lights remain on throughout the Museum.

Our commitment at this time extends beyond the walls of our Museum. With the shortage of personal protective equipment (PPE) facing hospitals across Philadelphia and the country, the Museum wanted to contribute assistance to Penn Medicine. Head conservator Lynn Grant collected and donated all PPE from the Museum, including 49 boxes of gloves, 37 pairs of protective eyewear, four boxes of respirator masks, several protective disposable gowns, and an air-purifying respirator. These materials usually utilized by Museum conservators and other staff as they work on objects will in this unprecedented time protect our community’s healthcare professionals instead.

The Museum donated all PPE, including gloves like those used in The Artifact Lab, to Penn Medicine hospitals.

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Community Spotlight Special Exhibition Underway THE MUSEUM’S SPOTLIGHT GALLERY, the intimate circular display space adjacent to the Sphinx Gallery, features a few very special objects at a time. The first rotation displayed two striking pairs of moccasins.

The next display was planned to highlight objects in the collections that connect to the Olympics; with the Olympics rescheduled for 2021, however, the Museum Exhibitions department is working instead on a “Community Spotlight” exhibition using input from our own Museum and across the globe.

At a time when we face a shared global challenge, many of us are looking for connections to one another.

The Museum seeks to celebrate these connections through a new exhibition series that displays one special object at a time to represent one facet of our shared human experience—and each object will be chosen by you, our community.

Community votes selected “love” as the theme for the first Community Spotlight. Follow along through the exhibition development process at www.penn.museum/ spotlight as votes are cast for the winning object!

The winning object will be highlighted in the Spotlight Gallery, adjacent to the Sphinx, in a 360-degree display.

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AT THE MUSEUM

A Wikithon for Women’s History Month FOR WOMEN’S HISTORY MONTH in March, a group of 14 Penn students and faculty and Museum staff planned to gather at the Museum for a “Wikithon”: they would edit articles on Wikipedia about women who were or are affiliated with the Museum. Penn Museum Fellow Regina Fairbanks, C21, had participated in a Wikithon through the Science History Institute for women in science and wanted to do something similar for women of the Penn Museum. She reached out to Heather Sharkey, Ph.D., Professor in the Department of Near Eastern Languages and Civilizations, who together with Museum Research Liaison Sarah Linn, Ph.D., helped to organize the event and to assist the students.

When the Museum closed due to public health concerns around COVID-19, the group went ahead with

their editing by meeting virtually using a Zoom video conference on March 26. For three hours, students used information from the Museum and its Archives to add information to 20 existing Wikipedia articles on Penn archaeologists, scholars, and donors, along with artists whose work is displayed in the galleries, and created three new entries: on R. Jean Brownlee Professor of Anthropology Deborah Thomas, Ph.D., philanthropist and photographer Sophia Wells Royce Williams, and artist and registrar Mary Virginia Harris. Currently, only 18% of Wikipedia biographies focus on women, and this provided a welcome opportunity to shed more light on a few of the remarkable women associated with the Museum. The group hopes to hold more Wikithons with the students and faculty throughout the Penn community.

When the Wikithon participants couldn’t gather at the Museum due to COVID-19, they met over Zoom instead. Photo courtesy of Sarah Linn.

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above: The Wikithon created a new article on Museum volunteer Mary Virginia Harris (1911–2004), who served in World War II and then later joined the Museum as a volunteer from 1962 to 1997. Her work included serving as registrar and archivist for the Museum’s excavations at Hasanlu Tepe (Iran), directed by Robert H. Dyson, Jr.; they are shown here together on a 1982 trip to Kourion, Cyprus. PM image 180316. For a tribute to Dyson, see p. 12 in this issue. bottom left: Activist, photographer, and philanthropist Sophia Wells Royce Williams (1850–1928) received a new Wikipedia entry during the Wikithon. She traveled to Morocco from 1897 to 1898 with her husband Talcott Williams; they collected and donated hundreds of objects to the Museum, including this ceramic drum on display in the Africa Galleries. Goblet drum, ca. 19th century, Morocco, 29-291-682. bottom right: The Wikithon participants expanded entries on artists such as Native American Pueblo pottery artist Maria Montoya Martinez (1887–1980). The Museum houses eight pieces of her work, including this clay bowl, on display in Native American Voices. Photo courtesy Maria Martinez and Julian Martinez, ca. 1925–1943, San Ildefonso Pueblo, New Mexico, 59-14-10.

Summer 2020

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AT THE MUSEUM

above: A new entry created during the Wikithon details of the work of R. Jean Brownlee Professor of Anthropology Deborah Thomas, Ph.D., who curated the Museum’s special exhibition Bearing Witness: Four Days in West Kingston. Photo by Raffi Berberian. bottom left: Wikithon participants added a section to contemporary Native American artist Roxanne Swentzell’s article referencing “Nested Lives,” her sculpture on display in Native American Voices. Figurine, 2000, 2000-19-1A. bottom right: Philanthropist and suffragist Phoebe Hearst (1842–1919) became a major donor to the Museum through her friendship with Penn Provost Dr. William Pepper. She donated more than 200 objects and funded the purchase of many more, such as this funerary coffin lid (3rd century BCE, MS2458B) on display in the Etruscan Italy Gallery. Hearst also facilitated the 1896 research and collecting trip to Russia of Penn scholar Zelia Nuttall, whose Wikipedia page was also updated.

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The Wikithon added details to the article on Zelia Nuttall (1857–1933), an Aztec scholar who traveled to Russia on behalf of the Museum in 1896 and collected more than 400 pieces for the Museum, including clothing, household utensils and furnishings, religious objects, coins, jewelry, musical instruments, pottery, and a set of photographs illustrating the manners and customs of the Kirgiz people of modern-day Uzbekistan. She also gifted to the Museum a set of color lithographs, including this one, from the coronation of Czar Nicholas II and the Czarina Alexandra of Russia. PM image 151048.

WIKITHON ACCOMPLISHMENTS 3

NEW ARTICLES

20 ARTICLES EDITED 130 TOTAL EDITS 14 EDITORS 11,800

WORDS ADDED

116 REFERENCES ADDED Summer 2020

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AT THE MUSEUM

Living with the Sea: Perspective from Student Curators EACH YEAR, three Student Exhibition Interns curate from start to finish a special exhibition to correspond with the Provost’s “Year of” theme. For the 2019–2020 Year of Data, Kia DaSilva, Ashleigh David, and Erin Spicola worked with Museum faculty and staff to create Living with the Sea: Charting the Pacific. The exhibition (originally scheduled to open March 26, postponed until staff can return to the Museum and complete installation) features objects from the Museum’s rarely displayed Oceanian collection. Here, each of the three interns shares what she learned through creating this exhibition.

KIA DASILVA Maria Kiamesso (Kia) DaSilva is a junior doublemajoring in Near Eastern Languages and Civilizations and Music. Growing up in Philadelphia, she started visiting the Museum when she was a child; when she came to Penn in 2017, she joined the Museum community as a student, volunteer, and employee. Kia also performs with the Penn Singers Light Opera Company and supervises the archives at the Philomathean Society.

The Penn Museum has been a fixture of my undergraduate career at Penn. I applied to be a Student Exhibition Intern because I wanted to see the back end of Museum operations, to contribute to the space I’ve been visiting since I was a child and to leave my personal mark.

Through curating this exhibition, I learned how to take a complex idea and distill it into something a wide variety of people can understand—without oversimplifying it.

I’m excited to share this collection that hasn’t been on display for a decade and will only be up for a short 10

EXPEDITION Vol. 62 | No. 2

period of time. Visitors can engage with a part of the world that Americans don’t often think about, and I think they’ll be surprised by how many things they connect with. My strongest connection is with the stick chart, both because I researched it and because I am very interested in ways to store and transmit data!

ASHLEIGH DAVID Ashleigh David is a senior from Pacific, Missouri, studying Cultural Anthropology, minoring in Theatre Arts and Philosophy. When she is not at the Museum for class or work, she can be found stage managing shows for the Penn Players theatre group (she’s vice chair on their board) or being an active executive member of the Zeta Tau Alpha sorority. After she graduates in May, she hopes to pursue a career in stage management.

Between my anthropology classes, work-study position in the Public Engagement department, and a summer internship with the Penn Cultural Heritage Center, I feel like I’ve spent every day of my undergraduate career at the Museum. It has really facilitated my personal growth. So I was excited about the opportunity to be a student curator and give something back to the Museum that has done so much for me!

Curating Living with the Sea has taught me that exhibitions can only contain so much information about objects—there will always be a deeper, more complex story available, and you should look for it when something interests you. That’s what I hope visitors will take away from this special exhibition. It features some materials which haven’t been on display in decades but

tell such a human story that it is impossible not to feel a connection to at least one element. For me, I really connected with the archival drawings we feature in our exhibition. I spent hours in the Museum Archives poring over the drawings and notes accompanying them; I love the human story they tell.

ERIN SPICOLA Erin Spicola, from Richmond, Rhode Island, is a senior studying Anthropology and Archaeological Science. She works with Dr. Meg Kassabaum on the Smith Creek Archaeological Project in Mississippi and in the Museum’s North American Archaeology Lab. When she’s not at the Museum, you can find her dancing with West Philly Swingers, Penn’s swing dance performance troupe.

I want to work in exhibits as a career, so I am always looking for ways to get more deeply involved with museums. Also, I co-curated and designed an exhibit in a very small museum, the Wilkinson County Museum, last summer as part of my work with the Smith Creek Archaeological Project. I wanted to learn about how the exhibits process works in a larger institution like the Penn Museum.

Learning the exhibits process through this internship has been very valuable because it has confirmed my career goals! I hope that visitors to Living with the Sea take away an understanding that even though Oceania is on the other side of the world, there are a lot of similarities between our lives and the lives of people who live there. It’s easy to connect with these objects.

I connect most with the statue of a man who has scarification patterns on his face. It was one of the first objects that we really liked, and it helped us narrow the focus of our exhibition. I also think it’s very cool that the scarification patterns match those in archival drawings and photographs in our Archives.

Student curators Kia DaSilva, Erin Spicola, and Ashleigh David work in Collections storage to select objects for Living with the Sea.

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Reme

embering Bob Dyson

BY COLLEAGUES AND FORMER STUDENTS

The Penn Museum is sad to report the passing of Bob Dyson, who served as Williams Director of the Museum from 1982 to 1994 and took part in many important excavations associated with the Museum.

He was a professor of Anthropology at the University of Pennsylvania for 40 years and founded the Louis J. Kolb Society, which provides financial support to graduate students who conduct research on topics related to the ancient world. Here, we review Bob’s life and the contributions he made to archaeology and to the Penn Museum.

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Memories A Wonderful Teacher in the Field Bob Dyson was highly respected

and we traveled after he retired.

as an excavator, with an incredible

His Penn students have

ability to document and explain

directed archaeological projects

complex stratigraphic processes.

in Iran (John Alden, C.C. Lamberg-

And he was a wonderful teacher in

Karlovsky, Louis Levine, Shapur

the field, showing us how to dig, how

Malek Shamir-Zadeh, Ilene Nicholas,

to understand what we dug, and

William Sumner, Mary Voigt, Harvey

how to run a field project. Dyson

Weiss, T. Cuyler Young), Turkey

was my dissertation advisor, and I

(Timothy Matney, Mitchell Rothman,

excavated with him in Iran at Dinkha

Elizabeth Stone, M. Voigt), Armenia

Tepe, Hajji Firuz, and Hasanlu. He

(M. Rothman), Syria (Michael Danti,

worked with me at Gordion, where

Gil Stein, H. Weiss), Iraq (Elizabeth

he appointed me as director of

Stone), Kurdistan (G. Stein), Pakistan

excavation and survey in 1988. I

(George Dales, Rafique Mugal),

was his research assistant at the

Tajikistan (C.C. Lamberg-Karlovsky),

MARY VOIGT, PH.D.

University Museum from 1982–1991,

the Arabian Peninsula (Chris

Chancellor Professor of Anthropology Emerita,

when he appointed me editor of

Thornton), India (Carol Kramer),

College of William & Mary

Expedition. We published together,

and Thailand (Vince Pigott).

Field Director, Gordion Project (1988–2006)

Photo taken at Hajji Firuz, Iran. Bob, in sailor hat, shows Mary and Bill Sumner (Director of the Malyan Project) how to dig. Photo courtesy of Mary Voigt.

Encouraging a Volunteer Bob took me to Hasanlu in 1959 as

working on collections management,

part of The Hasanlu Project team.

helping scholars and visitors

This was my first archaeological

access the collection, and helping

excavation. I was a raw “newbie,”

with and developing exhibitions

a volunteer at age 22, taken along

and publications. Currently I am

as an artist. When we arrived, Bob

completing publication of the

took me up on the mound to show

Hasanlu horse equipment, a task

me stratigraphy, then digging. He

Bob gave me some 25 years ago.

gave me his trowel and I dug into the

Bob’s kindness, insight, intuition, and

I was hooked.

encouragement of interested people

Back at the Museum I held

Bob Dyson and Maude de Schauensee in 1983 at the opening of Ancient Mesopotamia: The Royal Tombs of Ur. PM image 180304.

I see myself as an example of

baulk. Klunk!! I hit an object!

of all kinds—as well as the scholars.

several positions under Bob’s

We were all students that he taught

direction in the Near East Section,

so well.

MAUDE DE SCHAUENSEE Associate Editor, Hasanlu Publications Series Former Fowler/Van Santvoord Keeper of Collections, Near East Section

editor’s note: During the period Bob Dyson served as Williams Director, the Museum was called the University Museum. Those references have been left as written, although we are now the Penn Museum.

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REMEMBERING BOB DYSON

Robert H. Dyson, Jr., next to the seated Luohan statue (C66A) in the Museum’s Asia Galleries.

Photograph by the Philadelphia Inquirer, 1988. PM image 180300.

ROBERT HARRIS DYSON, JR., world-renowned Near Eastern archaeologist, scholar, educator, and Director Emeritus of the Penn Museum, died peacefully after a long illness on February 14, 2020, in Williamsburg, Virginia.

He was 92.

Dyson was born on August 2, 1927, in York, Pennsylvania, the only child of Robert and Harriet (Duck) Dyson. He was educated in the public schools of Forrest Hills, New York, and the Runnymede Collegiate Institute in Ontario, Canada. At 17 he enlisted in the U.S. Navy, serving in China.

Honorably discharged from the Navy, in 1946 he enrolled at Harvard University and graduated magna cum laude with a B.A. degree in 1950. A member of the Harvard Society of Fellows, he received his Ph.D. in Anthropology in 1966, specializing in Near Eastern Archaeology but with a broad interest in Asia under the tutelage of Professor Lauriston Ward. Once asked how he decided to become an archaeologist, Dyson replied that as a child he loved to find rocks and minerals and save them, and his grandmother sent him postcards from her travels. He wanted to visit those places and find out more.

ARRIVAL IN PHILADELPHIA

Bob Dyson with Sir Leonard Woolley, excavator at Ur in Iraq, when Woolley was in Philadelphia to receive the Lucy Wharton Drexel Medal, 1955. Dyson was 28 years old.

Dyson first came to the University of Pennsylvania in 1954 as an assistant professor in the Anthropology Department and assistant curator in the Near East Section of the Museum, where he was responsible for the installation of the Mesopotamia Gallery in 1954–1955. He was tenured in 1962 and promoted to Professor of Anthropology in 1967, when he also became Head Curator of the Near East Section.

In 1979, Dyson was appointed Dean of the Faculty of Arts and Sciences at Penn. He served in this capacity until 1982 when he was named the Williams Director of the Penn Museum, holding this position until his retirement in 1994.

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Memories Reaching Out to New Audiences When I wanted to start a pilot

same time Bob Dyson was working

radio series with voices from the

to improve the Museum’s internal

archaeologists and other key

structure and operations. He wanted

participants in major excavations,

to reach out to larger communities,

Bob helped me get funding and

to attract new audiences and

took the lead in the segment

supporters, while staying true to the

on Hasanlu, Iran. The result was

unique nature of the Museum. I was

“Buried Treasure: Newscasts from

part of that effort.

the Ancient Past” which premiered

Often, I would ask Bob to try

on WHYY/Philadelphia radio, aired

something “new and different”—a

on all the public radio stations in

big newspaper or magazine story,

Pennsylvania, and was distributed

an innovative radio series, a TV

to libraries throughout the state. The

project, a Museum community

complete, unedited recordings—truly

collaboration. He always said

historical!—are now in the Museum

yes and was both supportive and

Archives.

personally involved. He understood

In the early 1980s I was

it was part of his Museum leadership

establishing the University Museum’s

to be up front, so others would

Public Information Office at the

follow. It was an exciting time!

PHOEBE RESNICK Former Public Information Officer and Public Relations/Marketing Consultant to the Penn Museum

Bob Dyson and Persian Ta’arof One of the particular delights of Tehran

the final two seats that created

but since we each thought we could use

in the early 1960s was the wide range

a problem.

the conventions of ta’arof (the Persian

of small but distinctive restaurants

Bob and I were the two stillunseated members of the group. And

of another) to our own advantage, we

between seasons, Bob and I were

each of us had been, within the past

kept on arguing about who should sit

more than willing to lead small groups

few months, in the “suicide seat” beside

in the empty seat for the longest time.

of happy archaeologists to one or

a reckless taxi driver in the course of

In the end, the others in the back seat

another of these reputed hostelries. On

something approaching a head-on

literally pulled me into the cab through

one evening, the smooth progress of

collision. Naturally, the last thing either

the open back door, while Bob, a

a particular “expedition” was abruptly

of us wanted to do was to sit beside

perfect gentleman to the last, graciously

interrupted: although we were a party

the present driver! Normally, we would

occupied what could also be called “the

of five and had hailed a cab with five

have tossed a coin to see who was

seat of honor.” It was, after all, the only

empty seats, it was the distribution of

going to occupy the empty back seat,

conceivable outcome.

DAVID STRONACH, PH.D. Director of the British Institute of Persian Studies (1961–1980) Professor Emeritus, University of California, Berkeley

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art of piling one compliment on top

where one could dine. In the intervals

EXPEDITION Vol. 62 | No. 2

REMEMBERING BOB DYSON

In 1988, members of the Kolb Society gather for the first annual dinner.

From left to right front row: Jerome C. Byrne (Secretary/Director), Renata Holod (Senior Fellow), Eliot Stellar (Senior Fellow) middle row: Lada Onyshkevyech (Junior Fellow), Bien Chiang (Junior Fellow), Matthew Adams (Junior Fellow), John Lawrence (Junior Fellow), and Ruben Reina (Senior Fellow) back row: Robert Dyson (President), Bratislav Pantelic (Junior Fellow), Peter Paanakker (Treasurer/Founder), Bernard Wailes (Senior Fellow), and James Muhly (Senior Fellow).

During his years as Director, Dyson supported expeditions around the world. He also took on structural and internal improvements to the sprawling Museum building that had been neglected over the years. He established new ties with the University administration, reorganized the Registrar’s and Business Offices to make the Museum inventory more accessible to scholars, and developed a solid foundation for the Museum’s finances.

In 1987, Dyson founded, with Peter Paanakker and Jerome Byrne, the Louis J. Kolb Foundation and the Louis J. Kolb Society, which provide fellowships and financial aid to graduate students at Penn in disciplines related to the mission of the Museum (primarily in the departments of Anthropology, Classical Studies, History of Art, Near Eastern Languages and Civilizations, and East Asian Languages and Civilizations). Dyson served as president of the Kolb Society until his retirement from Penn.

Museum as anthropologist on the first Marshall Expedition to study the Kalahari Bushmen of southern Africa. (See Expedition 58.3 [2016]: 28–37 for an article by Ilisa Barbash on Dyson’s travels in Africa.)

Dyson conducted his dissertation research at the important Iranian site of Susa, where he constructed the first stratigraphic assessment of the prehistoric periods under the direction of French archaeologist Roman

WIDE-RANGING INTERESTS Dyson’s training and research extended over a broad geographical area. While a graduate student at Harvard, he participated in the Point of Pines archaeological field school in Arizona, and in 1951 he represented the Peabody

In 1951, Bob Dyson traveled to Africa to study the Kalahari Bushmen.

Foreground, from left to right, Robert Dyson standing, Lawrence Marshall, Elizabeth Marshall, and Lorna Marshal with unidentified Ju/'hoansi.

Photograph probably by John Marshall. PM image 2001.29.876 (99170061).

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Memories A Master at Stratigraphy Robert Dyson was my professor,

Bob created personal bonds with his

master at stratigraphy and made

mentor, and friend. He was

students, but we also understood that

sure we did not miss anything in our

knowledgeable and wise. We knew we

we had to deliver to his standards, not

squares. He made life on the dig

had to listen carefully when he talked

disappoint him.

enjoyable and from time to time,

as every interaction with him was a

As a teacher and mentor, he

learning experience. He was always

was dedicated to our professional

surreptitiously squeezed watermelon

thinking about things in new ways,

development. The Kevorkian Lecture

seeds across the dinner table, starting

always figuring things out, always soft

Series, which he founded, as well

water fights. He would just laugh, his

spoken, modest, and kind.

as his reputation as a distinguished

eyes tightened with a mischievous

scholar brought important people

look. As assistant director at Hasanlu I

was his survey on the archaeology of

in Near Eastern archaeology to

learned everything from Bob I needed

the Ancient Near East. We met one

Penn. Bob always made sure that

to know to run my own field seasons

evening a week in the refurbished

his students had an opportunity to

in time. Most importantly we worked

attic room in the home he shared

interact with these scholars and

hard, learned a lot, but also had fun.

with Urban Moss in Philadelphia’s

participate in various forums with

For me, these are the “good old days”

Society Hill. After the lecture, we ate

them, expanding our horizons as well

I shared with great friends, colleagues,

the dinner (on our laps spread around

as our contacts.

and the wonderful Iranians who

The first course I took with him

the house) that had been prepared by

Bob is responsible for the

to his (and our) great delight, he

worked with us on the site.

Urban and Mary Virginia Harris, and

development of archaeologists

discussion continued into the evening.

who went on to make important

thinker, scholar, and teacher, and I feel

Bob Dyson was an outstanding

This is one of the many ways in which

contributions to the field. He was a

very privileged to have known him.

VINCENT C. PIGOTT, PH.D., FSA Consulting Scholar, Asian Section Co-Director of the Thailand Archaeometallurgy Project Former Associate Director, Penn Museum

A World of Scholarship and Achievement I always liked seeing Bob. He represented another world to me—of scholarship, of achievement, of broad and mature perspective, of sagacity. As a student of Bob’s, he was always very kind to me, though I never quite got over being terrified of him. I always thought he was a nice man, and a good one. He had a lovely smile.

DAN RAHIMI Former Executive Director of Galleries, Penn Museum Former Vice President of Gallery Development, Royal Ontario Museum

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Daily life at Haslanlu, Bob standing on the photography tower.

PM image 300313.

REMEMBERING BOB DYSON

Daily life at Hasanlu, in the sherd yard.

PM image 303580.

Ghirshman. As a talented archaeologist, he participated in excavations in Iraq, Jordan, the Persian Gulf, Pakistan, and Turkey, and, in 1962, served as director of the Museum’s Tikal Project in Guatemala.

His most important contribution as a field archaeologist was as director of the Museum’s excavations at Hasanlu from 1956 to 1977 ( jointly sponsored by the Iranian Archaeological Service, and for many years by the Metropolitan Museum of Art). The site of Hasanlu in northwest Iran was destroyed during the late 9th or early 8th century BCE by what appears to have been a sudden military attack, probably by an army from the kingdom of Urartu in what is now eastern Turkey. Dyson and his team excavated a series of large buildings that had been burned, including a palace and what is probably a temple. Most of the buildings had not been emptied of their contents, preserving a range of artifacts in the places that they were used or stored.

Among the more than 7,000 items formally recorded by the excavation staff were household tools and pottery, seals, jewelry, weapons and armor, horse gear, and ivory right: Gordion, Turkey, 1987. Bob, wearing his first pair of blue jeans, measures a stratigraphic section. Photo courtesy of Mary Voigt and Chris Thornton.

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Memories How the Kolb Foundation Began

A Trip Not Taken

One day, I received a call from Bob Dyson with an

my arrival at the Museum in the fall of 1977. He was

invitation to go out to dinner to a Center City restaurant

particularly proud of the finds from the expedition to

with a special guest and a small group of colleagues. The

Ur of the Chaldees in which the University Museum had

guest’s name was Peter Paanakker. The dinner was tasty,

joined with the British Museum in the 1920s. Pointedly,

the company interesting, the conversation lively. Still, the

Bob drew my attention to the decaying state of some

most electrifying news was that Peter was thinking of

of the copper bowls from Ur, hidden from sight, as it

setting up a way to commemorate his mother, Katherine

were, in the drawers below the cases with the stunning

Paanakker, by establishing a foundation that would

artifacts. We agreed at once to get them conserved.

I always enjoyed Bob’s friendly presence. I well remember how he showed me around “his” galleries shortly after

provide fellowships to support students at Penn who

A later moment I particularly recall was in 1979. We

were engaged in the study of the material culture of pre-

had planned to go out together to see his site at Hasanlu

modern societies. The Kolb Foundation would be named

in Iran where he had been working with stunning results

in memory of Katherine’s father, Colonel Louis J. Kolb, a

for some 20 years. The airplane tickets had, I think, been

prominent Philadelphian and 1887 graduate of Penn. The

purchased. At least that was the plan—until the moment

model was the Junior and Senior Fellows organization at

when he looked round my door early on the morning of 11

Harvard University.

July: “I don’t think we’d better go, the Shah has just been

By 1990, a substantial addition was made to the

deposed.” We never did go on that trip. And I was not to

Kolb endowment, and the terms were changed to specify

get to Iran for many years and, sadly, never to Hasanlu.

that the Foundation would support graduate study in

I was delighted when he took over the directorship

pursuit of a Ph.D. degree. Furthermore, rather than simply

of the University Museum from me in 1982.

a jolly annual dinner with drinks beforehand, the tenor of the events changed to a more serious academic one, with

MARTIN BIDDLE, PH.D. Former Director, Penn Museum (1977–1981) Professor Emeritus of Medieval Archaeology, Fellow Emeritus, Hertford College, University of Oxford

some of the Junior Fellows presenting their work at one event, and a colloquium or seminar-type event organized around a topic such as “Places of Memory.” These events and a dinner now occur yearly and help to track the progress of the Junior Fellows as well as to develop larger topics of interest for the entire fellowship.

RENATA HOLOD, PH.D. Curator, Near East Section, Penn Museum College of Women Class of 1963 Term Professor Emerita in the Humanities, History of Art

a

Part of His Very Large Family With his very close connection to Edith Porada, the art historian, archaeologist, and authority on cylinder seals,

From left to right, Tim Matney (one of Bob’s Ph.D. students), Holly Pittman, and Bob Dyson attend the opening of the exhibition Before Persepolis: Anshan in Highland Iran on October 23, 1993.

Photo courtesy of Holly Pittman.

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Bob Dyson was a mentor to me from the beginning of my studies at Columbia University. He listened, asked the right questions, played out various scenarios, and gave me good and sensible advice. Bob really was the Father of American Archaeology in Iran, and I felt part of his very large family.

HOLLY PITTMAN, PH.D. Curator, Near East Section Bok Family Professor in the Humanities and Professor, History of Art Director, Lagash Archaeological Project

REMEMBERING BOB DYSON

Daily life at Hasanlu, at the excavation. PM image 301262.

plaques that depicted myths and palace life as well as warfare. More than 200 bodies were discovered buried in the ruins of the collapsed buildings and open courtyards, including armed men, women, and children killed in battle, murdered later as captives, or trapped by the fire that destroyed the settlement.

With the discovery of the golden bowl at Hasanlu in 1958, Dyson and the University of Pennsylvania team became famous through a multipage spread in LIFE magazine (1959). The bowl (now in the National Museum of Iran) is actually a large and unique gold vessel, beautifully decorated with mythological scenes—an important object for our understanding of belief systems in Iron Age Iran.

It also gave scholars a rare glimpse into a moment in the past: crushed in the collapse of a mudbrick building, the bowl was found in the skeletal hands of a warrior who appears to have been fleeing the second story of a building as it fell.

TEACHER AND MENTOR Most bodies found at Hasanlu laid where they died in the streets and in buildings. PM image 394487.

Dyson was a skilled excavator and mentor. The Hasanlu Project served for two decades as the premier training ground for American and foreign archaeologists

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Memories Completing a Circle I admired and respected Bob so

One of the neatest moments

Once I became interested

much. He had an enormous influence

for me was when I was leading an

in Afghanistan and Central Asia,

in shaping my interests, my outlook,

Oriental Institute tour of Iran in 2016,

I realized how far-sighted he was

and the course of my life as an

and Jebrail Nokandeh, the director of

in seeing the importance of these

archaeologist. I still tell people stories

the museum in Tehran, let me see the

regions for understanding the Middle

about the way he taught me how to

finds in their basement “Gold Vault.”

East and the Iranian world. Bob was

read site reports, and his extremely

He allowed me to hold the Hasanlu

a truly great man, and he shaped

low tolerance for bullshit. I was very

gold bowl. When I held it in my

generations of students who will

intimidated by Bob, but over time I

hands, I felt such a strong connection

never forget him. I am proud and

realized that it was because he had

to Bob. I felt like my being there

grateful to have been one of those

high standards and that he wanted his

was completing a circle that he had

fortunate people.

students to live up to those standards.

begun decades before.

GIL STEIN, PH.D. Professor of Near Eastern Archaeology, University of Chicago Director, Chicago Center for Cultural Heritage Preservation Former Director of the Oriental Institute, University of Chicago

The Museum as a Research Institution Bob Dyson had a real vision of the

be more effective and enthusiastic in

Penn Museum. He saw it as a serious

promoting the Museum.

academic research institution, but also

Bob started out with a deep

a museum with exhibits, programming,

interest in prehistory. His earliest

and publications like Expedition

publications were on the domestication

magazine that interpreted and

of plants and animals. But, his

up selling socks in Wanamaker’s, once

presented its collections and research to

excavations at Hasanlu took him in

Philadelphia’s premier department store.

the general public. Bob supported field

other directions. He understood the

Of course, Bob also took pride in training

research with all the resources he had

importance of his work at Hasanlu and

future archaeologists, and the Ph.D.s he

available, and he told me in no uncertain

the surrounding region, but he also had

produced, as well as those he influenced

terms, when I first came to Penn in

some perspective and even a sense of

from afar, constitute a virtual “who’s

1986–1987, “Your job is to dig for me.”

humor about his work. He knew finding

who” of archaeology across continents.

Bob also believed in sending members

the gold bowl made his career, and

Bob was, in many ways, a seminal figure

of the Museum staff into the field, so

he once told me, in a rare moment

in archaeology, and I will be forever

they could gain a better understanding

of candor, that if he hadn’t found the

grateful for all the opportunities he gave

of what archaeology was all about and

Golden Bowl, he would have ended

me over the years.

RICHARD L. ZETTLER, PH.D. Associate Curator-in-Charge, Near East Section Associate Professor of Near Eastern Languages and Civilizations

22

Museum Curators’ dinner, 1994. From left to right: David Silverman, Ph.D.; Holly Pittman, Ph.D.; Robert Dyson, Ph.D.; Mary Virginia Harris; and Richard Zettler, Ph.D.

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REMEMBERING BOB DYSON

Mexico, 2011. Photo courtesy of Mary Voigt.

interested in pre- and proto-historic Iran. At sites such as Hasanlu, Dinkha, and Hajji Firuz, Dyson taught students how to understand the formation of archaeological deposits by examining processes in modern fields and settlements. Removing deposits during excavation required attention to soil color and texture, but also an understanding of events, some very small (soil washed off mud brick walls) and some very big (the collapse of two-story burned buildings). Perhaps Dyson’s greatest legacy will be his mentoring of multiple generations of archaeologists and art historians, both in the field and in the classroom. Many of these former students went on to illustrious careers and founded their own excavations at important sites throughout the Middle East and Asia.

Dyson was an active member of numerous scholarly organizations, often serving in leadership positions. He was president of the Archaeological Institute of America from 1979 to 1981 and president of the American

Institute of Iranian Studies in 1968 and from 1987 to 1989. He was a member of the Society of Fellows at Harvard University, the American Philosophical Society, and the American Academy of Arts and Sciences. He received honors from the Athenaeum of Philadelphia and the Instituto Italiano per il Medio ed Estremo Oriente, and was a Decorated chevalier de l’Ordre des Artes et des Lettres (France). He was awarded the Order Houmauyoun (4th Rank) by the Shah of Iran in 1977.

Dyson leaves no immediate family, having been predeceased by his partner of many decades, Urban Moss, but is survived by a large constructed family of friends and former students. After retirement, Bob Dyson spent his later years enjoying life in a 19th-century brick farmhouse in Essex, New York (surrounded by friends both human and animal); in a house on Capitol Hill in Washington, D.C.; and in a community of seniors in Williamsburg, Virginia. A memorial program will take place at the Penn Museum when circumstances allow.

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Memories Beyond His Own Specialization At the passing away of my great

the end of the visit. When I was at Penn,

teacher, I am reminded of his class

I was the only student who had the

“Urbanization in the Ancient Near

unique honor of living in his old colonial

East,” which inspired me to think of the

house in Philadelphia for two summers

Indus Valley and the concept of Early

when he went to Iran with students.

Harappan for my Ph.D. thesis in 1970.

Memories such as this and many

Since the discovery of Indus civilization,

more of his generous hospitality,

this was a major change in thinking,

supervision of my studies, and support

as acknowledged by international

even after I returned to Pakistan will

scholars. I and my colleagues in South

remain enshrined in my heart and of my

Asia and the world are obliged to Bob

family members forever. May Almighty

for his significant contributions beyond

Allah bless his soul. Amen.

Bob Dyson is briefed by Rafique Mughal on the restoration of the 17th-century CE tomb of Mughal Emperor Jahangir in Lahore, Pakistan. Photo courtesy of Rafique Mughal.

the regions of his own specialization.

At this very sad moment, I

MOHAMMAD RAFIQUE MUGHAL, PH.D., FSA, TAMGHA-I-IMTIAZ Professor Emeritus of Archaeology, Boston University Former Director General of Archaeology, Government of Pakistan Former Archaeological Advisor to the Government of Bahrain Hon. Director, Pakistan Heritage Society, Lahore

recollect his visit to Pakistan, a visit I had requested for 24 years. I had the honor of taking him to various places in 1994 and presenting him with an album at

Dr. Bob’s Last Graduate Student On my first day at Penn in 2002,

Central Asia.” As I sat down, I

the Department of Anthropology

looked nervously at Prof. Dyson,

welcomed the new cohort of

expecting to see some anger

graduate students by asking

or frustration that I had never

one of the emeritus faculty

thought to contact him before

members—Robert H. Dyson, Jr.—

coming to Penn. Instead, he

to speak about what Penn was

looked at me intently, smiled, and

like when he first arrived. Prof.

raised a hand in a friendly “hello.”

Dyson’s name was as mythical

entire time at Penn, eventually

Mead. I came to Penn to focus

writing my dissertation on

on Near Eastern archaeology,

excavations carried out by

particularly Iranian and Central

Dyson in the 1970s. We traveled

Asian prehistory, and Bob Dyson

to Iranian collections in Europe

was the first American to open

and worked on two publications

that area for study in the 1950s.

together. I only knew Bob Dyson

They asked all the first-

24

I worked with “Dr. Bob” my

to me as Franz Boas or Margaret

in the last two decades of his life,

year grad students to introduce

but even then, he proved to be

themselves, I confidently said

an excellent mentor and teacher,

“I’m Chris Thornton, and I focus

and I’m grateful for having

on the archaeology of Iran and

known him.

EXPEDITION Vol. 62 | No. 2

Bob Dyson and Chris Thornton in 2016. Photo courtesy of Ilisa Barbash.

CHRISTOPHER THORNTON, PH.D. Director, National Endowment for the Humanities’ Division of Research Former Co-Director, Bat Archaeological Project, Sultanate of Oman

THE DISCOVERY OF A LIFETIME T

DYSON TALKS TO LIFE MAGAZINE IN 1959

he chief sleuth of the Mannaean mystery is 31-yearold Robert Dyson, Jr., the Pennsylvania University archaeologist who headed the dig. After three months of dawn-to-dusk spadework, his team exposed most of the city’s palace. Then one evening a pickman uncovered a man’s hand and arm. “The finger bones were stained green from the verdigris of rows of bronze buttons under the skeleton,” Dyson recalls.

“The coin-size disks were a form of armor, unknown to us, made of buttons sewn close together on leather.”

With T. Cuyler Young, Jr. and Charles A. Burney, his assistants, he began brushing silt off the bones

and unexpectedly revealed a bit of gold. “Thinking it was a bracelet, I brushed some more. Our eyes got bigger and bigger as the sliver became a strip, and then a sheet, and then a golden bowl. Lifting it gently from the arm bones, I stuck it inside my shirt and went over to where our secretary, Caroline Dosker, was giving the workmen their day’s pay.

Pulling out the vessel, I held it high: ‘Here it is, men—the discovery of a lifetime!’

As the gold glowed in the sunset, the group stared in disbelief. We nicknamed it Baby. Before taking Baby to a vault for safekeeping, we washed it and filled it with wine. Then we all drank a toast: ‘From Mannaean lips to ours.’”

PM image 148612.

— From “The Secrets of the Golden Bowl: Unknown Culture is Unearthed,” LIFE magazine, January 12, 1959, page 60.

Courtesy of LIFE and Meredith.com.

editor’s note

Thank you to Phoebe Resnick, Mary Voigt, and Christopher Thornton for writing this tribute to Dr. Robert Dyson with assistance from Senior Archivist Alessandro Pezzati, Maude de Schauensee, and Vince Pigott. Thanks also to Richard Zettler, who provided many photographs from Hasanlu, and to Bob’s colleagues and friends who sent in additional photographs and memories.

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REVEALING ANCIENT FACES The Reconstruction of a Neandertal

BY CHRISTINA GRIFFITH

POST-MORTEM facial reconstruction is a technique that uses anatomical knowledge of the human skull to flesh out the face of a deceased individual. Forensic artists work with law enforcement to identify victims of crime when skeletonized remains are found.

Archaeologists use the same technique to learn what a person who lived and died long before photographs may have looked like.

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REVEALING ANCIENT FACES

F

or many people, skulls are an object of fear, a vivid reminder of inevitable death and decay. Skulls represent the universality of our mortality, and, without flesh, one may not look much different from another. It takes observational skill and specialized training to know whether a skeleton is male or female and what the age and lifestyle of that person may have been. Our detailed understanding of the human body, amassed over centuries, has allowed us to develop new

techniques that tell us more from bones than we have ever been able to learn before. Through the work of Dr. Janet Monge, Associate Curator and Keeper of the Physical Anthropology Section, and Pennsylvania Academy of Fine Arts (PAFA) artist and fourth-year student Kathleen Gallo, visitors to the Museum’s Sphinx Gallery will be able to view the face of a man who may have died 60,000 years ago.

THE “OLD MAN” OF SHANIDAR Shanidar Cave is located in what is today Kurdistan, in northern Iraq. It was here in the 1950s that archaeologist Dr. Ralph Solecki excavated the bodies of eight adults and two children, thought to have been buried during occupations in the cave between 45,000 and 60,000 years ago. Among some of the remains, Solecki identified evidence that changed our thinking about Neandertals and their culture.

When the first Neandertal bones were discovered in Germany in 1856, it was assumed that these thick-boned, heavy-browed hominins were more apelike than modern humans, lacking our cognitive abilities and unable to develop what might be thought of as culture. At the burial site at Shanidar, however, Solecki’s intensive study of the skeletal remains revealed signs of social relationships and ritual, exposing a cultural complexity previously thought to belong only to modern humans. Forensic evidence showed that Neandertals took care of each other, helping to heal injuries and tending to the sick.

The discovery of pollen around the remains of some of the individuals also suggested that Neandertals mourned their dead and ritualized their burial with flowers.

Solecki’s excavation uncovered a man known as Shanidar 1, who had lost part or all of the vision in The face of Shanidar 1, a Neandertal also called the “Old Man” of Shanidar. He lived and died around 60,000 years ago. His bones revealed a hard life and many old injuries.

To survive, he must have been supported by his community.

EP-2019-4-1.

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SHANIDAR

IRAQ

Shanidar Cave, in what is today Iraqi Kurdistan. Photo by Alamy.

his left eye due to a traumatic injury. Studies have also shown that debris and earwax impacted in his right ear would have made him deaf on that side. His right arm was amputated below the elbow and he suffered from arthritis. Yet he lived to what we could consider an advanced age for a Neandertal: while it is difficult to assess the exact age of an individual from skeletal remains, it is believed that he lived to be at least 50 years old. After being treated for his injuries, he must have been cared for by his community and provided with food and shelter despite being physically and sensory disabled. This required a social structure that was not previously thought to exist in Neandertal society.

The position of his body indicated that he died in a rockfall inside the cave; a collection of smaller stones on the fossilized remains suggested to Solecki that his companions covered the body with these stones afterwards. While Solecki’s work has been heavily critiqued, many scholars now believe—through the study of other Neandertal burial sites—that Neandertals did in fact intentionally bury their dead.

Shanidar 1’s skeleton remains in Iraq, but in the 1970s a mold of the skull was made by the Wenner-Gren

Front and side view of Shanidar 1’s skull. Dr. Ralph Solecki excavated the remains in the spring of 1957. The skull was found in pieces and had to be put back together in the lab.

Solecki’s work helped to change our perception of Neandertals.

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A Conversation with Janet Monge Dr. Janet Monge, Associate Curator and Keeper of the Physical Anthropology Section, is a renowned forensic anthropologist well known to Penn Museum members, students, and staff for her engaging lectures and her insightful research in Africa, Europe, and the United States. We sat down with Janet to discuss the reconstruction of a Neandertal head that is now on display in the new Sphinx Gallery.

In the Sphinx Gallery case, one object represents each of the Museum’s curatorial sections. How does the forensic reconstruction of the Neandertal head represent the work of Physical Anthropology?

Physical anthropologists are interested in human variation over time and space. We want to answer the big question: what does it mean to be “human”? This question relates to both human biological variation (the differences in each of us) and variation in human behavioral expression (how those differences are seen or expressed in individuals).

We also want to understand how “humanness” emerged in our evolutionary lineage.

Tell us about the reconstruction.

Why is it important?

This is a flesh reconstruction of the fossilized skull of a Neandertal, Shanidar 1, excavated in Iraq and dated to between 60,000 and 45,000 BP (before present). Because the skull is so complete (with an intact cranium and mandible), it is an excellent example of the morphology of an extinct member of the human evolutionary lineage.

Thus, this is a critical piece of evidence in the search for human 30

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evolutionary history. It gives us insights into the lifeways of very human-like ancestors from the distant past. Since this person was old when he died, he has many of the “scars” of existence, which detail episodes throughout his life. It is not that members of our lineage did not live into older age, but rather that our evidence of older folks is limited.

Why should this reconstruction matter to a Museum visitor?

Shanidar 1 illustrates two very important aspects of humanness: living with disability and compassion from community.

These two features are key in understanding the unique lifeways of humans. How do we know this?

Based on the bones of his skeleton, he had lost his arm many years before death, and we know that his arm was amputated probably right above his elbow joint. Wear on his teeth shows that he was using his mouth as a place to hold things.

He also had a scar across his eye which might have compromised his ability to see in that eye and reduced his depth of vision. He would have needed a helper or even a community of helpers to take care of him. In other words, dealing

with disability with kindness and compassion has been a deep feature of human evolutionary history.

How and why was the reconstruction made?

The reconstruction was made by Kathleen Gallo, a student at the Philadelphia Academy of Fine Arts.

She is an expert in putting muscle and flesh onto the bones of humans so that we can get a sense of what people looked like in the past. These very same techniques are used when skeletal materials are found in a forensic context and when we need to know more about the remains to aid in identification of the deceased person. It works in both contexts— evolution and law enforcement.

How does our understanding of Neandertal lifeways allow us to see similarities between the past and the present?

The analysis of Shanidar 1 and his reconstruction illustrate the basis of what makes us human and highlight the commonalities that unite us, which are much more important than our differences.

Humans are defined by belonging, family, community, connection, and overwhelming kindness and caring— traits we share with Neandertals.

REVEALING ANCIENT FACES

Foundation of Anthropological Research. This mold was transferred in 1980 to the Penn Museum, where a cast was made out of the mold. There are very few castings of this skull in the world, so this is a unique opportunity for the Penn Museum to display a pivotal discovery in anthropology.

THE SCIENCE AND ART OF FACIAL RECONSTRUCTION Modern facial reconstruction techniques can be traced back to the work in the late 19th century of German anatomists and physiologists Hermann Welcker and Wilhelm His, who analyzed the relationship between the bone structure of the human skull and the soft tissues of the face. Understanding where muscles and tendons connect beneath layers of skin is crucial to visualizing the contours of a human face.

One aspect of facial reconstruction that might be familiar is the use of depth markers: small pegs of specific length are attached to the skull at particular points to illustrate what thickness the tissue would have been in those places. The work of Wilhelm His, Julius Kollman, and W. Buchly in the late 19th century resulted in a comprehensive table of tissue thicknesses and enough data points to make the accuracy of facial reconstructions exponentially better.

It was not until the 1960s that law enforcement turned to this technique in an effort to identify skeletonized remains. Betty Pat Gatliff (1930–2020) was a pioneer in forensic art. Working with anthropologist Dr. Clyde Snow, she developed the Gatliff/Snow American Tissue Depth Method, which identified features on the skull that should be used as landmarks for building a face.

The skull is a map that tells the sculptor where the eyelids converge, where the lips begin, and the approximate length and width of the nose. The tissue depth markers are primarily based on ethnicity, and adjustments are made based on age. Gatliff’s work assisted in identifying victims of serial killer John Wayne Gacy and reproducing the head of President John F. Kennedy, which was used for trajectory tests during the 1978 House investigation into his assassination. Gatliff trained forensic artist Joe Mullins, who taught Kathleen Gallo facial reconstruction.

A more recent excavation of Shanidar Cave in progress, 2016. This was a joint effort by the Canterbury Archaeological Unit, several universities in the United Kingdom, and representatives from the Kurdish Directorate of Antiquities. Photo by Hardscarf, Wikimedia Commons.

Betty Pat Gatliff, pioneer in forensic reconstruction, pictured here in 1983 with her reconstruction of King Tut. Image courtesy of the William R. Maples Collection, held by the Wilson G. Bradshaw Library Archives, Special Collections, & Digital Initiatives, Florida Gulf Coast University.

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REVEALING ANCIENT FACES

WHAT DOES THE “OLD MAN” OF SHANIDAR LOOK LIKE?

A recognizable face begins to emerge, depth markers still visible and the mouth and chin ready to be built. The eyes in the skull are glass marbles. Once his face is complete, a plaster cast is made for the Museum display.

Photos on this page courtesy of Kathleen Gallo.

A cast of the skull is mounted on an armature built by the artist. The red straw protruding from the skull is a reference for the ear holes to guide the construction of the ear.

PAFA student Kathleen Gallo, who has provided forensic reconstructions to the Mütter Museum and the Pima County (Arizona) Police, worked under the direction of Dr. Janet Monge to reconstruct the face of Shanidar 1, the “Old Man.” This method of reconstruction involves attaching pegs to the cast indicating different thicknesses of tissue, and using clay to model the shape based on specific points that define the contours of the human face. For example, in the case of a Neandertal, anthropologists know that there is greater muscle mass around the mouth and jaw and larger teeth than in modern humans.

In the next step, the forensic artist reimagines the face, based on the structure of the skull, the position of various features, and what we know about the age and sex of this particular Neandertal. The artist uses oil-based plasticine clay, which will not harden, and adds details to the skin such as pores and wrinkles. She coats the piece with silicone, which will pick up the face in complete and meticulous detail, and a plaster cast is made.

on this page, clockwise: top left: The artist coats her reconstruction with silicone in preparation for making a plaster cast. The silicone picks up minute details such as wrinkles and pores in the skin. top right: A negative of the face is produced in the thin, flexible silicone, and a hard shell called the “mother mold� provides the support needed to cast the plaster copy. bottom: The detailed facial reconstruction is reproduced in plaster to be painted and given hair before being put on exhibit.

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REVEALING ANCIENT FACES

Shanidar 1 is an especially interesting individual with much character in his face. For Janet Monge, he is an example of “how life is embedded essentially in the body.” In recreating his face, Gallo had to take into account features that are the result of his life history: sagging skin, loss of collagen, and even a scar over his left eye. His complexion, that of a man from the Middle East who lived a life in the outdoors, was described

by Monge as “ruddy and craggy.” It is known that the gene for red hair present in Europeans came from Neandertals, so an auburn color was chosen for his hair, with some gray to indicate his age. The application of hair and skin details, eyes, and painting skin tone are the final steps that bring to life a distant relative who passed away in a cave tens of thousands of years ago. This work of scientific art, which took about 120 hours to complete, now resides in a case in the Sphinx Gallery.

Photos on this page courtesy of Kathleen Gallo.

right and below: A realistic skin tone, graying eyebrows, crows’ feet, and watery brown irises in the eyes: these details bring him to life and reflect the world in which he lived.

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This project enabled the Penn Museum to engage in a partnership with the Pennsylvania Academy of Fine Arts and a talented student, bringing together the creative and the scientific to provide a powerful experience for Museum visitors. Monge is pleased with the result: “Our visitors will have a good frame of reference when thinking about older individuals and relatives, and how their bodies are really a testament to their life history.” Seeing the face of Shanidar 1 can tell us so much more about his life than we might imagine from his bare bones. • Christina Griffith was, until her recent graduation from the University of Pennsylvania, Associate Editor of Expedition magazine.

Gallo with her freshly painted reconstruction, affectionately known as Neal Andertal. Photo courtesy of Kathleen Gallo.

“ The analysis of Shanidar 1 and his reconstruction illustrate the basis of what makes us human and highlight the commonalities that unite us, which are much more important than our differences.”

—Janet Monge The finished product is a life-like depiction of an individual who lived tens of thousands of years ago. This forensic reconstruction is only possible through the combined efforts of archaeology, anatomy, and art.

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Silent Objects Speak to Naskapi Visitors

By Louisa Shepard Photography of Penn Museum visit by Eric Sucar

THE AMERICAN SECTION collection is the largest in the Penn Museum, numbering about 300,000 archaeological and ethnographic objects from North, Central, and South America. Many pieces made and used by Indigenous peoples were brought to Philadelphia in the early 20th century by anthropologists on collecting trips for the Museum. For over a century, the American Section has hosted cultural specialists, artists, and scholars from Native American and First Nations communities, collaborated with Native experts on curatorial projects, and strengthened its collections by commissioning and purchasing work from Native artists and craftspeople.

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P

enn Anthropology professor Dr. Margaret Bruchac, who teaches a Museum Anthropology course focused on this collection, involves her students in the effort to connect objects to Native communities. She examines material details, cultural markers, and narratives, asking: “How can we listen to the stories painted into seemingly silent objects, consider the knowledges embedded here that could yet be recovered, the songs that could be reanimated, the relationships that could be restored?” In 2018, she and her undergraduate student Ben Kelser wrote a blog post about a caribou hide child’s coat and cap attributed to the First Nations Naskapi people of Labrador and Quebec. The phrase “First Nations” describes Indigenous nations situated within the bounds of the Canadian nation-state.

The post caught the attention of Jill Goldberg, Director of Naskapi Liaison for the Central Quebec

top: A child’s jacket and cap is made of caribou skin with painted decoration. 31-7-7, 30-3-8. Photo by Karen Mauch. bottom: This map shows the present-day location of Naskapi Nation territory, negotiated at the signing of the Northeastern Quebec Agreement with Canada in 1978. Orange lines show traditional caribou hunting routes. Dotted lines mark county and provincial borders. Rivers and lakes are identified in two languages: Naskapi (in the characters of the Cree syllabary) and English (in Latin letters). Map image courtesy of the Naskapi Nation of Kawawachikamach.

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The group from Jimmy Sandy Memorial School included, from the left, Rachel Nattawappio-Pien, Seth Nabinacaboo, Deleah Vachon, Laura-Louise Mameanskum, Joseph Whelan, Shannon Uniam, and Jill Goldberg.

School Board, who decided to bring a group of students from Kawawachikamach, Quebec, to Philadelphia to see these objects in person: “This is about giving students a chance to reconnect with their story.” With funding from the Naskapi Education Committee, Goldberg, along with principal Joseph Whelan and assistant principal Shannon Uniam, brought all four students in the 2020 graduating class of Jimmy Sandy Memorial School to Philadelphia, Washington, D.C., and New York City early this year, with two days at the Penn Museum as the centerpiece of the experience.

NEWFOUNDLAND AND LABRADOR SCHEFFERVILLE

ST. JOHN’S

QUEBEC

RECONNECTING WITH ANCESTORS Shannon Uniam and her students are all Indigenous Naskapi, members of a First Nations band that has occupied sub-Arctic hunting territories for generations.

Historically, the Naskapi and Innu people lived across present-day Quebec and Labrador. The combined pressures of European colonization and decline of the George River caribou herd eventually forced the Barren Ground band of Naskapi to settle on reserve lands near

QUEBEC CITY MONTREAL OTTAWA TORONTO

Historically, the Naskapi people lived in present-day Quebec and Labrador in eastern Canada.

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I WAS KIND OF SHOCKED. I FELT LIKE MY GRANDFATHER WAS THERE WITH ME. Schefferville in the 1970s. There is only one road to the community, and the area is surrounded by bodies of water.

The trip to Philadelphia was the first outside the country for Uniam and her students.

At the Museum, the group’s primary interest was the Naskapi material collected by Frank Speck, one of the founders of Penn’s Department of Anthropology.

As the group was escorted to a collections study room, Uniam looked through the window and gasped. More than 100 artifacts, made by her Naskapi ancestors nearly 100 years ago, were carefully laid out on a large table.

It was the first time she had seen such a wide variety of everyday items from her people, including hunting garments made of caribou hide painted with natural pigments, and the tools that created them.

“The first thing I thought about as I walked in was my grandfather, and the first thing I saw were the leggings. They were right there,” she said. “I was kind of shocked. I felt like my grandfather was there with me.”

WAKING UP SILENT OBJECTS The group met with several Museum staff, including Associate Curator and Sabloff Keeper of Collections Dr. Lucy Fowler Williams, who gave them a tour of the Native American Voices exhibition, and Bill Wierzbowski, Keeper of Collections in the American Section, who showed them behind-the-scenes storage of Native American objects. The visitors also learned about object conservation, the Museum Archives, and NAGPRA, the Native American Graves Protection and Repatriation Act.

“Group of Barren Ground Naskapi.” Portrait of Naskapi people wearing undecorated caribou hide coats. Hunting lodges are seen in the background.

Graphics 2348 in the Frank G. Speck Papers, Mss.Ms.Coll.126. Photo by Frank Speck, courtesy of the American Philosophical Society.

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But the main event was spending time with a large portion of the Naskapi collection. “These objects were silent, living dormant on shelves, observed by students or faculty now and then. But to have them with the descendants of the community who created them, literally wakes them up,” Bruchac said. “For me this work is not just research; it is about restorative relationships.”

Frank Speck was known for collecting not just fine finished products but also well-worn coats and clothing and things from everyday life: wooden paint pots and pigments, tools and brushes, tobacco pipes and pouches, jewelry and games. Stephanie Mach, a doctoral student in Anthropology and Academic Engagement Coordinator at the Museum, selected a variety of those items for the visitors to see and touch during their visit, encouraging them to take pictures.

Academic Engagement Coordinator Stephanie Mach, far left, showed the students how to best handle the objects.

Dr. Margaret Bruchac, in black, speaks with the students about the objects and how they were collected.

(1) Bone spatulas served as “paint brushes” to apply color pigments to various items of clothing.

31-7-48.

(2) This bottle contains red ochre pigment, used in the decoration of clothing. 30-3-200.

(3) A woman’s double neck charm is beaded in blue, red, and green, with a fringe of white, red, green, and gold beads. The connecting strips are leather. 30-3-65.

(4) A piece of wood with four carved circular areas was used as a paint palette. 30-3-145.

Photos by Karen Mauch.

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top: Stephanie Mach and Shannon Uniam pick up a thick winter hunting dress and cape. bottom: Shannon Uniam measures the sleeves of a garment against the length of her arms.

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above: Naskapi clothing and other objects were collected by Penn anthropologist Frank Speck in the 1930s. below: A pair of man’s white tanned caribou boots are decorated with paint. 31-7-11. Photo by Karen Mauch.

“Start by letting things speak to you,” Bruchac said to them. “You might even sense connections with the people who made them, in a way that isn’t always easy to explain.” The grandparents and great-grandparents of the visitors likely spoke with Speck, and it is quite possible that some of these objects were made or used by their ancestors. Gently picking up the hem of a coat, holding a moccasin, examining a wooden paint palette, for nearly two hours the visitors examined the dozens of objects. Mach helped Uniam pick up a thick winter hunting dress, with a fur-lined matching cape. “It’s so beautiful to see,” Uniam said as she held her arms out to measure the length of the sleeves.

The coat and cap described in the 2018 Museum blog post that prompted the visit were a favorite of student Laura-Louise Mameanskum. She explained her thoughts in the Naskapi language, translated into English by Uniam: “She can imagine what she saw like a young child, who is now an elder, or perhaps passed away. It could have been one of her relatives because she has a big family, really most of the community.”

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Girls of St. Augustine Band, Naskapi. St. Augustine River, Labrador, July 1935. Photo by Frank Speck. PM image 237280.

The school has 250 students in the town of about 900 people. But none of these students had seen Naskapi items like these, except for a few in a display case at school. “I am proud and happy that we had a chance to see the artifacts,” Mameanskum said. A small black canoe is what spoke to student Seth Nabinacaboo because it reminded him of when he goes out canoeing with his family. For Rachel Nattawappio-Pien, the high moccasins, or mukluks, reminded her of her grandmother.

“She used to make stuff like that all the time,” she said, overcome with emotion. Uniam explained that her Inuit grandmother was well-known in the community for her handmade artisanal works.

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wearing similar leggings when he was a young boy going to hunt in the midwinter, trudging through muck and slush, desperate to find something to feed the family. “I can imagine what he went through, looking at those leggings,” she said. “So soaked, so cold, and he was so young.”

Her grandfather had also told her about a dream he had as a boy, not long after his parents died: he was lifted by an eagle, and when he looked down, he was wearing snowshoes. Uniam also wears snowshoes, often when she goes hunting. She asked Bruchac and Mach if they could see some snowshoes.

Mach led the group to banks of floor-to-ceiling cabinets. Pulling out one drawer after another, marveling at the Naskapi objects, they found two pairs of round snowshoes from the early 1900s to hold and examine up close.

top: Shannon Uniam examines a painted moccasin. bottom: From the left, Mach, Uniam, and Bruchac examine a snowshoe from American Section storage. Photo courtesy of Stephanie Mach.

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CARRY IT FORWARD The experience was emotional for Bruchac as well, because so much of her research is directed at identifying and recovering Indigenous cultural heritage. She is especially interested in tracking collections she came to know through research for her book Savage Kin, which examines the relationships between Indigenous peoples and early 20th-century anthropologists, including Frank Speck.

She hopes the visit by the Naskapi is the beginning of a long-term relationship with that community and that perhaps they can help the Museum better understand the collection it is preserving. “So, what I’m really excited about is what happens next,” Bruchac told the group at day’s end. “Now these objects have been introduced to you, but it’s the technology to make them that needs young hands and young minds and young hearts to carry it forward and to help keep the stories alive.” • Louisa Shepard is a News Officer and Eric Sucar is a Photographer for Penn’s Office of University Communications. A version of this article appeared in Penn Today, the University’s newsletter and news website.

A student picks up a Naskapi paint palette, which was probably used in the decoration of clothing.

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A man’s shot pouch or fire bag is heavily beaded. 31-7-25.

Photo by the Penn Museum.

Frank Speck, Penn Anthropologist FRANK GOULDSMITH SPECK JR. (1881–1950), was born in Brooklyn and raised in Hackensack, New Jersey. As a youth, he enjoyed sojourns into the forests and swamps of New Jersey and rural southern New England during family vacations. Speck entered Columbia University in 1899, and received his master’s degree in 1905 under the tutelage of John Dyneley Prince and Franz Boas, while conducting fieldwork among the Mohegan Indians in Connecticut. He came to the University of Pennsylvania (Penn) as a Harrison Fellow in 1907, and was the first student to graduate with a Penn Ph.D. in anthropology in 1908.

From 1909 to 1913, he held a joint appointment as

Hudson Bay Post on frozen Lake St. John. Frank Speck rides on a sled led by a dog team. Lake St. John, Canada, April 14, 1930.

PM image 176689.

an instructor in anthropology and as an assistant in

Over the course of five decades, he worked with

ethnology at the University Museum (now the Penn

Indigenous informants from Algonquin, Cherokee,

Museum). In 1913 he was appointed as an assistant

Mohegan, Naskapi, Nanticoke, Penobscot, and

professor and designated anthropology department

other Native nations in the eastern United States

chair, a position he held continuously until 1949.

and Canada.

Speck was perhaps the most prolific ethnologist of his generation, with more than 300 publications,

—Excerpt from Margaret M. Bruchac,

including books, scientific monographs, and articles.

Savage Kin, page 141

for further reading

Armitage, P. “The Religious Significance of Animals in Innu Culture.” Native Issues 4 (1): 50–56 (1984).

Bruchac, M.M. Savage Kin: Indigenous Informants and American Anthropologists. Tucson: University of Arizona Press, 2018.

Bruchac, M.M., and B. Kelser. “Children Amongst the Caribou: Clothes for a Young Innu.” In Beyond the Gallery Walls. Penn Museum, Dec. 20, 2018. www.penn.museum/blog/museum/children-amongst-the-caribou-clothes-for-a-young-innu/ Burnham, D.K. To Please the Caribou: Painted Caribou-skin Coats Worn by the Naskapi, Montagnais, and Cree Hunters of the Quebec-Labrador Peninsula. Seattle: University of Washington Press, 1992.

Speck, F.G. Naskapi: The Savage Hunters of the Labrador Peninsula. Norman: University of Oklahoma Press, 1935.

Williams, L.F., W. Wierzbowski, and R. Preucel, eds. Native American Voices on Identity, Art and Culture. Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology, 2005.

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RESEARCH NOTES

High Volume Digitization BRINGING SOUTHWEST COLLECTIONS TO LIGHT

BY DAN LOMASTRO, JESSICA CARMINE, AND LUCY FOWLER WILLIAMS

OVER 17,130 Southwest archaeological and ethnographic objects in the Penn Museum’s American collection are now visible and accessible online to our audiences around the world. With some dating to 800 years ago and others as many as 10,000 years ago, these objects, made by Native peoples of southeast Utah, Colorado, Arizona, New Mexico, western Texas, and northern Mexico, showcase a masterful mix of knowledge and ingenuity, function and spirituality.

Directed by Associate Curator and Sabloff Keeper of Collections Lucy Fowler Williams, Ph.D., the Southwest Digitization Project was initiated in January 2019 through a generous bequest by the late Museum Overseer John R. (“Rick”) Rockwell, who loved the Southwest. The goals of the two-phase project are to improve access to the collections through comprehensive photography and to enhance the catalogue data of each object record. Since only a small portion of the collection is displayed in our galleries at any one time, digitization allows for broader access by the public and scholars.

Collections digitization specialists Jessica Carmine and Dan LoMastro were hired for the first year and completed the initial phase of photography in just ten months. Achieving this volume of results required extensive preparation. The computer catalogue records were first evaluated to ensure an accurate list of all objects; the data was continually combed throughout the project, and the photographic team made corrections when anomalies were found. With a clean object list in hand, object numbers were printed and cut for inclusion in each image, and then photography began. Forty thousand images were taken, edited, and uploaded; each object was measured, and searchable cultural information was reviewed for every record.

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Sun Spirit Katsina, cottonwood root, paint, Hopi Pueblo, Polacca, Arizona.

Made by Tino Youvella, ca. 2008. H 31cm, D 14cm. 2009-10-43. Katsina spirits are central to Hopi religion and continue to bring rain, health, and wellbeing to Pueblo communities today.

The Southwest collections are housed in six different storerooms throughout the Museum. Rather than arduously moving objects to the camera, it was more efficient to bring a portable photographic set-up to the objects. With an inexpensive portable backdrop and lights, the team moved from room to room, photographing in sometimes challenging situations. With careful handling, and support from Associate Keeper Bill Wierzbowski when needed, large and complicated statuary and textiles housed on rolls took longer to stage and shoot than small stone tools and pottery fragments. As a result, on some days 50 objects were photographed, and on others as above: Necklace, shell, silver, coral, turquoise, bone, hide, and cotton, Apache, Arizona, ca. 1875. W 8.5cm (silver concho). 70-9-137. This Apache necklace, owned by the wife of an Apache Chief, was collected by Major General Galusha Pennypacker (1844–1916) of Philadelphia. below: Basket, cottonwood, willow, devil’s claw, buckskin, and wool, White Mountain Apache, Arizona, ca. 1900. H 35cm, D 37.5cm. NA1859.

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RESEARCH NOTES

above: Seed Jar, clay, Hopi Pueblo, Kykotsmovi, Arizona. Made by James Garcia Nampeyo (1958–2019), ca. 1993. H 12.4cm, D 24.8cm. 94-5-2.

Many Southwest techniques, styles, and designs continue through time. James was influenced by his great grandmother, the famous potter Nampeyo (1859–1942), whose work is also in the Museum collection, 58-34-13. below: Bowl, clay, Ancestral Pueblo, St. John’s Polychrome, northeastern Arizona, ca. 1175–1300 CE. H 12.7cm, D 29.21cm. NA2229. Penn Museum’s collection shows the range in style of Pueblo pottery.

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many as 300 were completed. In general, two images of each object were taken, yielding 1,500–2,000 images per week. The files were edited for size and scale, labeled correctly, and prepared to go online. Progress was carefully tracked on spreadsheets recording different storerooms and any extraneous information; after the first few weeks, the photography and editing process was streamlined. Though the project scope—encompassing 17,136 objects—was daunting, it ran smoothly, and initial goals were achieved. With careful preparation and attention to workflow, we found that large-scale collections enhancement is indeed possible.

Accessibility through photography and accuracy in our object records promotes public interest, research, and use of the collection. For Museum staff, photography helps significantly in cataloging, tracking, and study, and aids in maintaining fragile collections easily damaged by handling. Our high-volume method now enables us to move toward enhancing the collections data for study and research by students, scholars, and the Native American community in support of future projects, exhibitions, and publications.

Rug, wool, Diné/Navajo, Arizona. ca. 1880. L 246cm, W 157cm. NA8435.

Diné design style incorporates a radiant and dynamic symmetry.

Folsom Spear Point, Edwards Chert, Clovis, New Mexico, ca. 8900 BCE. L 5.1cm, W 2.4cm. 36-19-26. Specimens excavated at Clovis, New Mexico in the 1930s by E.B. Howard provide evidence of early hunters and animals at the edge of an ancient lake.

Axe, wood and stone, Ancestral Pueblo, Southeast Utah, ca. 1200s CE. L 35cm, W 12cm. 29-44-63. The Museum’s archaeological collection offers rich insight into the materials and tools used by Pueblo peoples over hundreds of years.

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FIELD TRIP

A Penn Adventure in Turkey

BY C. BRIAN ROSE

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Students visit the Temple of Apollo Smintheus, who was known as the Lord of Mice. He was believed to have the power to protect his worshippers from plague, which is symbolized by mice. Notice the small lead mice on the steps behind the group.

Students delivered short lectures throughout the trip. The topic for this lecture was the Polyxena sarcophagus (on the left) in the Troy Museum.

All photos courtesy of Brian Rose.

IN THE SECOND WEEK of March 2020, during Penn’s Spring Break, my colleague Bridget Murnaghan and I took a group of 14 Penn graduate students to the site of Troy in northwest Turkey for an intensive week-long workshop. This trip was the centerpiece of a new teamtaught graduate seminar that focuses on the interface between the site of Troy and Homer’s Iliad, while situating them both within the context of current armed conflict in the Near East. Having co-directed excavations at Troy from 1988 to 2012, I was able to relive a part of my life to which I had devoted 25 years.

The site of Troy is located next to one of the easiest crossing points between continental Europe and Asia, and near the mouth of the Dardanelles, a strait linking the Aegean Sea to the Black Sea. As a result of this strategic location, the area around Troy has been politically contested throughout the last 3,000 years.

Besides the many Trojan Wars of the 2nd millennium BCE, one could cite episodes of the Graeco-Persian Wars (early 5th c. BCE), the Fourth Crusade (1204 CE), and the Battle of Gallipoli (1915 CE), fought across the Dardanelles from Troy.

Because of this history, Troy has increasingly been pulled into discussions of recent armed conflicts. Books such as Achilles in Vietnam and Odysseus in America, both by Jonathan Shay, and Ajax in Iraq, by Ellen McLaughlin, demonstrate that it is sometimes easier to understand modern wars by viewing them through the lens of antiquity.

In facilitated programs designed

by Theater of War Productions, ancient and modern combat trauma are interlinked, with

Students prepare for the afternoon production of Ellen McLaughlin’s The Trojan Women in the Odeion at Troy.

Iraq and Afghan war veterans reading from Greek plays to highlight the timelessness of post-traumatic stress.

Bridget and I hoped to incorporate all of these themes into the course.

After an orientation session in Istanbul, we drove along the Gallipoli peninsula to Troy, where the students reported on a series of Homeric topics at the site and in the museum over the course of several days. Also participating in the study tour were Dr. Peter Struck,

Dr. Peter Struck lectures on Aristotle at the Temple of Athena at Assos, with the island of Lesbos in the background.

did Ellen accompany us on this trip, she also directed rehearsals of the play during the evenings of our first three days at Troy. The final performance was incredibly moving, especially considering that there were Syrian refugees not far from Troy who were attempting to cross to Lesbos, and thus the European Union.

None of these experiences would have been possible without the support of the Penn Museum, the Charles K. Williams II Foundation, the Sachs Program for Arts

THIS WAS A JOURNEY THAT THEY WOULD REMEMBER FOR THE REST OF THEIR LIVES. chair of Penn’s Classical Studies Department, and his wife, Dr. Natalie Dohrmann, Associate Director of Penn’s Katz Center for Advanced Judaic Studies. During a side trip to Assos, 40 miles south of Troy, Peter reported on the life and work of the philosopher Aristotle, who had opened a philosophical school there.

A highlight of the trip was a performance by the entire class of the play The Trojan Women in the Odeion, or concert hall, of ancient Troy. This particular version of the play had been adapted by Ellen McLaughlin, whom I mentioned above as the author of Ajax in Iraq. Not only

Innovation, and Penn’s Department of Classical Studies.

As all of the students noted when it came time to depart, this was a journey that they would remember for the rest of their lives.

C. Brian Rose, Ph.D., is James B. Pritchard Professor of Mediterranean Archaeology and Curator-in-Charge of the Penn Museum’s Mediterranean Section.

Sheila (Bridget) Murnaghan, Ph.D., is the Alfred Reginald Allen Memorial Professor of Greek in Penn’s Department of Classical Studies.

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SNEAK PEEK

The Stories We Wear UPCOMING EXHIBITION DISCOVER THE STORIES behind ancient Mediterranean jewelry, tattooing tools from Borneo, Samurai armor, and much more. This exhibition will highlight objects from our collection, alongside ensembles worn by a Philadelphia Eagles player, stage performers, and royalty. Originally scheduled to open in September, we hope to open this exhibition early in 2021.

These are just a few of the objects in our upcoming special exhibition that tell stories about dressing for performance, battle, ruling, ceremony, work, and play.

top: Headdress of a Buddhist priest, A1285. middle: A rendering of the title wall features the exhibition logo and a Chinese Opera robe. bottom: This rendering depicts the Ceremony section of the exhibition. Renderings by Joshua Lessard.

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(1) Rank badge worn by a member of the royal family in China, 52-23-1. (2) Ancient Greek athletes like the ones on this vessel wore nothing but oil on their bodies when they competed, MS403. (3) Robe worn as a costume in a Chinese opera, 29-96-160a. (4) Pendant of a snarling jaguar found in the tomb of a CoclĂŠ chief at Sitio Conte in present-day Panama, 40-13-27. Note: objects not to scale.

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IN THE LABS

Teaching Geophysical Survey

BY JASON T. HERRMANN

IN THE FALL OF 2019, the Center for the Analysis of Archaeological Materials (CAAM) Digital Archaeology Lab acquired three new instruments for mapping surface and subsurface features: a pair of survey-grade GPS antennae capable of recording three-dimensional locations with one-centimeter accuracy, a magnetic gradiometer that measures fine variation in the intensity of local magnetic fields as they are affected by materials below the surface of the earth, and an earth resistance meter to map changes in soils by measuring how easily an electrical current passes through them. The magnetic gradiometer and the earth resistance meter are two of a number of instruments used in geophysical survey, now a common part of archaeological field research, in which investigators measure the physical properties of materials in the near subsurface to create a map of underground deposits. Maps created through geophysical survey can be used to inform excavations or be used to understand the arrangement of buried archaeological and geological features without excavation.

Geophysical survey as a method has a long history at the Penn Museum. Elizabeth K. Ralph, Ph.D.,

above, top: Anthropology major Taré Floyd works with the magnetic gradiometer at The Woodlands. bottom: Art and Archaeology of the Mediterranean World M.A. student Kacie Alaga uses Penn Libraries’ Artec Leo structured light scanner to create a three-dimensional model of a monument at The Woodlands.

former director of the Museum Applied Science Center for Archaeology (MASCA), was a pioneer in the use of geophysics in archaeological investigations, having led dozens of surveys at sites across five continents from the 1960s through the 1980s. Data from these surveys are preserved as handwritten numerical data in field notebooks and as hand-drawn maps in reports held in the Museum Archives. Students in the Spring 2020 class “Geophysical Prospection for Archaeology” explored and digitized these data to become acquainted with digital data structures, using software funded by the Price Lab for Digital Humanities.

Much of the research and training in the Digital Archaeology Laboratory during the 2019–2020 A page from Elizabeth Ralph’s 1963 field notebook includes magnetometer readings from Sybaris, Italy.

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academic year focused on archaeological applications of geophysics as a way to approach the development of archaeological landscapes and to practice integrating a variety of digital mapping techniques. Students had the opportunity to gain experience with these instruments at The Woodlands in Philadelphia, where we used these instruments to find the location of important structures associated with William Hamilton’s mansion and reconstruct the early 19th-century built environment of this site. The surrounding landscape and above-ground features were also recorded, some with the GPS system and a laser theodolite, others using aerial photographs taken with CAAM’s UAV (drone) and a handheld scanner provided by the Penn Libraries, to create threedimensional models of monuments at The Woodlands.

CAAM will expand geophysical surveys for teaching and research at The Woodlands and other historical sites in greater Philadelphia over the coming years.

We were also able to conduct geophysical survey farther afield. In spring 2020, students in the class had the opportunity to travel to Spain to map subsurface features at Siete Arroyos, an Iberian Bronze Age site (2200–1300 BCE) recently discovered on a promontory overlooking the Guadalquivir River, approximately 20 kilometers north of Seville. This trip, made possible by the Kowalski Family Digital Archaeology Teaching Endowment and the Penn Year of Data, contributes to the larger project “Landscape Use and Sociocultural Change in the Southern Iberian Peninsula” based at the University of Tübingen, Germany, and funded by the German Research Foundation (DFG SFB 1070).

In this project, the team from CAAM worked with an international group from Germany, Spain, and elsewhere to initiate scientific investigations and develop plans for a multi-year project in the surrounding landscape.

Jason T. Herrmann, Ph.D., is the Kowalski Family Teaching Specialist for Digital Archaeology in CAAM.

on this page, top: Classical Studies major RJ Hakes uses the magnetic gradiometer to map buried features at Siete Arroyos, Spain. Photo courtesy of Katherine Gamba Torres. middle: Ihintza Ruiz and Jason Herrmann prepare the resistance meter for survey at the Siete Arroyos Site, Spain. Photo courtesy of Marta Díaz-Zorita Bonilla bottom: Ihintza Ruiz and Jessica Watson collect earth resistance data at Siete Arroyos while archaeologists from the University of Tübingen excavate in the background. Photo courtesy of Marta Díaz-Zorita Bonilla.

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GLOBAL CLASSROOM

Lectures Go Digital THE GREAT CATASTROPHES LECTURE SERIES returned to the beautifully refurbished Harrison Auditorium in December. While we are looking forward to hosting there when the Museum is againopen to the public, these lectures have thrived in a new format.

The final three lectures have been hosted using a digital platform that allows experts to present live to a home audience and participants to ask them questions, just like our usual format. Speakers Dr. Cam Grey, Dr. Simon Martin, and Dr. Adrianna Petryna all did a masterful job at adapting quickly to the new format, reaching hundreds of households in Philadelphia and well beyond.

Our audiences love to chat with our curators and experts in a less formal environment as well, so the new Living Room Lectures series brings these speakers to your home, from their own couches.

In his Living Room Lecture, paleoarchaeologist and Adjunct Assistant Professor of Anthropology George Leader, Ph.D., talked about how and why ancient people made stone tools.

These casual weekly talks use Facebook’s live-streaming capabilities to feature the presenter’s research as well as the opportunity for participants to ask questions in the comments, for a fun and informative happy hour.

Digital Programs Support Teachers and Students AS MANY TEACHERS AND PARENTS have shifted their roles and looked for resources to keep their little learners busy, the Learning and Public Engagement Department created new tools for them, all offered for free.

At-Home Anthropology activities provide instruction and worksheets for kids to explore concepts of archaeology and anthropology in their own household using common materials. From recreating ancient buildings using pantry materials to recycling magazines into beautiful paper mosaics, these weekly activities have provided our youngest audience members with fun projects—and we’ve gotten a glimpse of completed projects through photos shared by parents!

Our Pinterest social media page has also become a depot of great hands-on projects for adults and children: inspiration “boards” offer many crafting activities, recipes for traditional cocktails and authentic cuisine from around the world, and popular culture references to archaeology and anthropology.

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Examples of an At-Home Anthropology mosaic craft for children.

Our Daily Dig program also went digital, with contributors across the Museum recording 3-minute mini-talks about a Museum object or connection, released every day on the Museum’s Facebook page and website.

Some of these Digital Daily Digs are becoming teaching tools for educators, as the K–12 team develops fun online worksheets and interactive quizzes that connect with teacher needs.

Interactive Virtual Learning Continues OVER THE PAST SEVEN YEARS, the Penn Museum has offered programming through virtual connections with schools and centers throughout the state, country, and even throughout the world. These programs are delivered live in a special teaching studio onsite at the Museum, through software that allows Museum educators to connect with learners. “Green screen” technology allows students to see the educator as if they were within the galleries and in front of artifacts, much like the presentations of weather forecasters on live television. Over 6,000 school “visitors” attended Interactive Virtual Learning programs last year, and demand has continued to grow.

The recent COVID-19 restrictions prompted our Outreach Programs Manager, Allyson Mitchell, to create a pop-up studio in her own home, allowing her to offer programs in the same way she usually does onsite at the Museum. Mitchell has been able to continue delivering programs to Connected North, which services a group of Indigenous schools scattered across remote parts of Canada and garners funding for the schools to receive these programs for free. She also continues to teach live programs for other schools across the United States.

In an interactive virtual visit, Outreach Programs Manager Allyson Mitchell teaches “Preparing for Eternity: Egyptian False Doors.”

Through our partnership with the Center for Interactive Learning and Collaboration (CILC), Mitchell has delivered free interactive programs to thousands of children and adults in their own homes, covering nearly every state in the United States and offering a range of topics that connect with early elementary schoolers to senior citizens. The Penn Museum holds awards from CILC for its quality Interactive Virtual Learning programs.

These programs continue to be offered as a means of bringing the Museum to homes.

The Learning and Public Engagement team all received special training to be able to teach Interactive Virtual Learning, allowing the Museum to have greater capacity to serve students and teachers during this time of need.

Find the resources featured here in Global Classroom in the special “Penn Museum At Home” section of our Museum website:

www.penn.museum/athome

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MEMBER NEWS

Curator’s Party AT OUR ANNUAL CURATOR’S PARTY on February 26, members of the Expedition Circle and Loren Eiseley Society enjoyed a behind-the-scenes glimpse into our upcoming exhibition The Stories We Wear.

Lead curator Lauren Ristvet, Ph.D., Dyson Associate Curator, Near East Section, led the event and provided object previews. For more on The Stories We Wear, see “Sneak Peek” on p. 54.

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Rebecca Butterfield views a 16th-century Vajracharya (Tibetan priest) crown selected for the exhibition, A1285.

Lead curator Lauren Ristvet and project conservator Debra Breslin.

Suchinda Heavener, Trudy Slade, Anne Iskrant, and Laird Slade.

Nina Vitow, CW70, WG76; Anna Hadgis, CGS70, G85; and Nicholas Hadgis, PAR.

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Meet Our Members JOSHUA LESSARD

Joshua is a member of the Loren Eiseley Society and an Exhibition Architect and Designer at the Museum.

AS WITH ALL GOOD STORIES, my first visit to the Museum began on a dark and stormy night. Shortly after moving to Philadelphia, I accompanied a mutually nerdy friend to an evening event. As we wandered from gallery to gallery, the sky continuously flashed with lightning, throwing the most ominous cast of shadows streaming into the depths of the historic building. Truly sublime— and I was hooked. So, like some scraggly perennial, I continued to come back season after season. Fourteen years later, I still walk the floors of the Museum and imagine my teenage self visiting for the first time; I think how different the world is, and how proud I am that our institution has risen to address such novel challenges.

When I joined the staff of the Museum in 2016, I had nearly a decade of experience working in private practice as an architect and exhibition designer. After working with hundreds of clients, I had come to realize that if I wanted to push the boundaries of artistic and cultural-sector design, I would have to make the leap to an in-house team. Institutions like the Penn Museum serve as incubators of ideas—it’s impossible to have a “private conversation” in the café without incurring 20 uninvited reactions from colleagues… and that’s the best part! Such proximity to world-class experts in every imaginable field gives us a tremendous opportunity to be thought-leaders and set the tone for the next era of museum design.

This same “hot-bed” of ideas is why I decided to join the Loren Eiseley Society. In this unique forum, I continue to learn about and celebrate the cutting-edge

Joshua Lessard at the 2019 LES dinner.

INSTITUTIONS LIKE THE PENN MUSEUM SERVE AS INCUBATORS OF IDEAS… of research and scholarship. I find design inspiration in Meg Kassabaum’s discussions of Tchefuncte sherds, and Simon Martin’s waxing philosophic about Classic Maya polities over cocktails. I revel in such informal moments of someone discussing their passion, when they expose their inner workings and let the façade fall, because that is when true creative collaboration happens.

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MUSEUM NEWS

The Penn Museum in Miami ON FEBRUARY 10, 2020, Williams Director Julian Siggers and Associate Curator and Keeper of the Physical Anthropology Section Janet Monge brought the Penn Museum to students, Penn alumni, and friends in the Miami, Florida area. Thanks to a new collaboration with the Miami Country Day School, Dr. Monge spent the day presenting to over 250 middle and high school students about human evolution and what we can learn from the Museum’s vast Physical Anthropology collection. The students even had a firsthand opportunity to see and touch objects from our cast collection that made the trip to Miami with Dr. Monge.

In the evening, Miami Country Day School hosted Dr. Siggers and Dr. Monge for a program that welcomed Penn alumni and friends called “Open the Doors to Discovery.” Dr. Siggers gave an update on the Museum’s Building Transformation and new galleries, and Dr. Monge shared recent developments in her research and work with Penn students through the Museum’s Center for the Analysis of Archaeological Materials (CAAM).

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above: Dr. Janet Monge lectures about human evolution at the Miami County Day School. below: Williams Director Julian Siggers updates Penn alumni on new developments at the Museum.

Renovating the Penn Museum: A Lesson in Creative Engineering FOR VISITORS AND STAFF ALIKE, the Penn Museum’s more than a century-old building is an attraction in itself—with distinctive and elegant spaces in which to take in its collections. To the team charged with renovating two of the older of its six wings, adding important visitor amenities and upgrading mechanical and structural systems—while remaining open with a full range of programming—it presents several fascinating challenges.

Attendees at the Mid-Atlantic Association of Museums’ Building Museums™ 2020 in Chicago in March had a chance to learn from the team’s on-the-ground experience during the first phase of renovations in the presentation “Creativity & Collaboration: Transforming the Historic Penn Museum.”

Moderated by Philip Steiner, Managing Engineer, Altieri, the complexities and wonders of the Penn Museum’s visitor experience, collections care and facility design, and existing infrastructure were presented by the Museum’s Chief Building Engineer Brian J. Houghton,

Brian Houghton (far right) leads a tour during the first phase of the renovation of the Museum.

with project architect Perry Whidden, AIA, Principal, Gluckman Tang Architects, New York, NY, and project structural engineer David Artigas, Senior Project Manager, Simpson Gumpertz & Heger, New York, NY.

Contribute to a New Penn Museum Exhibition!

SHARE YOUR STORIES for a chance to be included in the upcoming exhibition, The Stories We Wear.

Fashion has a purpose.

Jewelry has a job.

Tattoos tell stories.

What we wear matters.

above: Therese’s Story: My great-grandfather proposed to my great-grandmother with a diamond ring from Tiffany & Co. that was purchased in Manhattan in 1919. When my grandmother died, she left the ring to me, and Michael used it to propose to me on March 16, 2006.

This exhibition highlights Samurai armor, ancient Mediterranean jewelry, tattooing tools from Borneo, and much more. Your contributions will help connect objects from our collection to our contemporary lives. We are looking for stories about tattoos and body decorations OR jewelry and clothing passed down in your family.

To submit, post a photo of your tattoo or family heirloom to social media with a sentence about why it is important to you. Add #tattoo #storieswewear or #family #storieswewear. Or email us at stories@ pennmuseum.org. We may not be able to include all submissions.

Emailed stories may be posted online.

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Anne M. and Carl Ada xilbund Eugene W. B eier, HUP62, NU70 A nd Joy Gomez-Farrow .D., M50, RES55 Jea Curchack, Ph.D., and rancis J. Dollarton, Jr. nne Dollarton, CW63, Emore, CGS70 Gera . Gindele, CW51 Mar WITH DEEPEST GRATITUDE

The COVID-19 pandemic has created an extraordinary situation in our lives, and for our Museum. During our temporary closure, we have been able to sustain and shift our work in the service of our communities thanks in no small part to the support of our members and friends.

As the objects in our galleries remind us, humankind has through millennia weathered immense challenges—of war, disaster, famine, disease.

Each time, it is our commitment to one another that brings us through.

Thank you for your commitment to our Museum.

We especially thank the friends who have loyally supported us year after year, many of them for decades, and are grateful for this opportunity to recognize by name each member who has supported the Museum for 35 or more consecutive years:

Anne M. and Carl Adamczyk Jacqueline M. Axilbund

Eugene W. Beier and Virginia H. Beier, HUP62, NU70 Arlyn R. Bell, WG80, and Joy Gomez-Farrow

Mark P. Curchack, Ph.D., and Peggy L. Curchack

Francis J. Dollarton, Jr., WG78, and Barbara Anne Dollarton, CW63, CGS86, GGS94 Mary E. Emore, CGS70 Gerald J. Gallagher

John S. Carson, M.D., M50, RES55

Helen H. Gindele, CW51

Jean E. Craig, G76

Mary E. Golin, GED63

amczyk Jacqueline M Beier and Virginia H. Arlyn R. Bell, WG80, w John S. Carson, an E. Craig, G76 Mar d Peggy L. Curchack ., WG78, and Barbara 3, CGS86, GGS94 Ma ald J. Gallagher Hele ry E. Golin, GED63 Anna Sophocles Hadgis, CGS70, G85, and Nicholas J. Hadgis, Ph.D., PAR

Missy McQuiston and Robert E. McQuiston, CGS07

Gretchen R. Hall, Ph.D., CGS97

Carlos Moya and Francisco Moya, Ph.D.

Mary Meachum Hegarty

Alan W. Pense

Bill Johnstone

Gerald J. Porter, Ph.D., and Judith Porter

Bettie F. and Randall Kehrt

Francis B. Randall

Richard J. King, GED75

Grace E. Schuler and Thomas Tauber, Ph.D.

Jerry D. Levitt, M.D., C62, M66, FEL72, and Julie M. Levitt, Ph.D., C65

John R. Senior, M.D., M54, FEL59, and Sara Spedden Senior, CW52, PAR

Sandra Lovell

Marta Ullman

Bonnie Verbit Lundy, CW67, and Joseph E. Lundy, Esquire, W65

Patricia L. Squire and Elizabeth Jean Walker, SW74

A. Bruce Mainwaring, C47, and Margaret R. Mainwaring, ED47, HON85, PAR

Lorraine Warren and Alan Warren, C58

Mary Ellen Markovcy

James E. Wheeler, M.D., and Jenette Wheeler, M.D.

Carol B. and William L. McIntyre

Charles K. Williams II, Ph.D., GR78, HON97

Elizabeth Ray McLean, C78

Helen P. Winston and Richard E. Winston, G48, PAR

Barbara W. McNerney, CW52, and William R. McNerney

Laura L. Zaika, Ph.D., GR64

Thank you for your perennial support, and we look forward to welcoming you back to the Museum once more.

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3260 South Street Philadelphia, PA 19104 www.penn.museum/expedition

EXPEDITION GOES DIGITAL! Enjoy your magazine in your preferred format: Expedition is now available as a digital magazine.

And, as always, members access it first!