This entry was written by guest blogger, Lauren K. DiSalvo. Lauren is a Ph.D. student in Roman Art History and Archaeology at the University of Missouri-Columbia, and her research examines the world of Classical reception in the eighteenth and nineteenth centuries, or the ways in which these cultures viewed, used, and were inspired by antiquity. She was a participant in the 2010 Summer Institute in Museum Anthropology (SIMA) offered through the National Museum of Natural History’s Anthropology Department. If you are interested in more information about SIMA, please visit http://www.anthropology.si.edu/summerinstitute/. Dates for the 2015 program are June 22 – July 17. Applications are accepted on a rolling basis, deadline March 1, 2015.
By: Lauren K. DiSalvo, SIMA Intern
Lauren DiSalvo excavating an inscription block in Sardis, Turkey.
Attending the Smithsonian Institution Summer Institute in Museum Anthropology (SIMA) as a second-year Master’s student has been one of the best decisions I could have ever made. As a student studying Roman art and archaeology I was not expecting to find much of anything relating to my discipline as I initially explored applying to the program. However, as I looked through the National Museum of Natural History’s (NMNH) object database, I was surprised to see that they had a large collection of plaster casts taken from Greek, Roman, Assyrian, and Egyptian sculptures. This immediately caught my attention since my institution, the University of Missouri-Columbia, also has a large plaster cast collection. I was also curious as to why a museum of natural history would have this kind of collection, as plaster casts of these subjects are normally found only in university or museum settings associated with European art and archaeology.
While familiar with the subjects of the plaster casts I was studying, their context at the world fair in the Department of Anthropology’s exhibit was uncharted territory for me. Puzzling through why these plaster casts, largely reflective of the European canon of fine arts, were displayed alongside “the entire range of arts and manufactures of the Native American peoples” (NAA. Letter: Holmes to F. W. True, December 16, 1902. Outgoing correspondence, BAE, 1902) was my new goal for my time spent researching at SIMA.
After I arrived in DC and began my research, I found out that the answer to my question was fairly straighforward. The collection of plaster casts I studied were acquired to exhibit at the 1893 World’s Columbian Exposition in Chicago and the 1904 Louisiana Purchase Exposition in St. Louis. Given my connection to Missouri, I decided to focus on the casts that were displayed at the 1904 Louisiana Purchase Exposition.
Fig. 1: View of casts on exhibit at the 1904 Louisiana Purchase Exposition. Image source: SIA Image Negative #2002-10619.
I spent many hours in the Smithsonian Institution Archives poring over files from the 1904 Louisiana Purchase Exposition. This was my first real exposure to archival research and I was struck by its similarity to archaeology. Archival work was something that required meticulous attention to detail and patience but the pay off was big when the right document surfaced, much like excavation work. Personally, what I found most fascinating was reading through letters of correspondence regarding the exhibit. One of my favorite discoveries was coming across a document about a plan to acquire a cast of the Column of Trajan that never was realized. A letter written by Samuel Langley, the secretary of the Smithsonian Institution, stated that he “want[ed] to have it in evidence that the Museum exists for art as well as for science, and such a thing as this column is a most suggestive reminder” (MSC. Accession record No. 42866). To find written documentation that the museum wanted to be recognized as an art institution was particularly exciting for me as I learned one of the reasons why the classical plaster casts were displayed in conjunction with North and Central American objects. The classical casts served to augment the status of the anthropological collections and place them within the realm of acceptable art. Adding to this idea of the promotion of art, was a letter I came across by the organizer of the exhibit explaining the purchase of an encaustic portrait from Egypt, the only non-plaster item displayed with the Greek, Roman, Assyrian, and Egyptian plaster casts, was because he “was very anxious to have a specimen of this lost art in the exhibition, as being something rare and unique and illustrating one important phase in the history of the arts” (SIA. RU 70, Box 61. Adler to Ravenel, Aug. 4, 1904).
Fig. 2: Encaustic portrait NMNH Catalogue no. 230149.
I also had fun conducting detective work looking through the finances of the exhibit. I had a set of small plaster casts of Arrentine ware (Roman bowls decorated with relief scenes) which seemed anomalous to me, in comparison with the much larger sculptures. While looking through receipts, I found one that recorded objects being sent back from St. Louis to D.C., that proved unsuitable for exhibit. Based on the number of objects sent back, I was able to deduce that they were likely the Arrentine ware casts. It is little discoveries like this that make archival work so exciting and rewarding.
Fig. 3: Plaster cast of Arrentine ware.
I was lucky enough to also be able to examine the plaster casts in person. Thanks to Museum Support Center staff, the cumbersome statues were taken off their storage shelves for me to examine. One of the great advantages of looking at plaster casts that are not currently on display is that I got to see them while they were taken apart. This allowed for me to understand their interior construction and how the casts were pieced together. I was able to examine the interior construction of the plaster cast of the statue of two goddesses from the east pediment of the Parthenon.
Fig 4. Plaster cast of two goddesses NMNH Catalogue no. 229764.
Recently, I got to see the interior of a different cast of the same subject of the goddesses from the University of Missouri’s collection while their cast collection was being moved to a new location. Unlike the metal interior supports of the Missouri goddesses, the goddesses from the NMNH were constructed using wooden interior supports. Despite that these two casts were roughly contemporary, their interiors reflect different practices in production.
Fig 5. Wooden supports in the interior of one of the two plaster casts of goddesses seen above. NMNH Catalogue no. 229764.
One of my favorite anecdotes about my time working with in the Museum Support Center actually doesn’t involve the casts at all. Walking through one of the pods on my way to the casts I passed by a shelf full of large animal skulls. I happened to catch a glimpse of a tag and upon closer examination discovered that it was a specimen collected by Teddy Roosevelt from his time hunting big game in Africa! In this moment I was reminded about what a great privilege it was to be working in such an institution where one could simply happen upon an artifact collected by a president of the United States.
Figures 6 and 7: A specimen collected by Teddy Roosevelt from his time hunting big game in Africa, with label (click to enlarge).
After the time I spent at SIMA, I returned to Missouri to write my Master’s thesis. However, I simply could not get the plaster casts out of my mind. I ended up changing my thesis topic so I could continue my investigation of plaster casts. I expanded the topic to include the collection from the University of Missouri and a collection from Southeast Missouri State University that were both also associated with the 1904 Louisiana Purchase Exposition. Not only did SIMA give me the foundational start from which to begin this thesis, but it also had exposed me to the methods of archival research making further archival research for my thesis a much smoother process. Over the past several years, I presented the work I began at SIMA at several conferences, including one specifically on plaster casts at Cornell University and a graduate student seminar at the Art Institute of Chicago. Most recently I reworked part of the material from my thesis into an article for the journal Material Culture Review. All of these projects stemmed from my time at SIMA where I was given the opportunity to research the plaster casts in the National Museum of Natural History. Due to the interdisciplinary nature of the program, I had many opportunities to interact with the field of anthropology. I was introduced to many different research methodologies and subjects of study by Dr. Greene, Dr. Parezo, and the many guest speakers.
My time at SIMA had an instrumental impact on my course of study. After writing my master’s thesis on the plaster casts, I continued research on plaster casts into my doctoral program, working on eighteenth-and nineteenth-century plaster casts of gems that were connected with the Grand Tour. This interest in plaster casts exposed me to the larger world of the ways in which classical antiquity was received in the eighteenth and nineteenth centuries. They spurred not only an interest in the medium of plaster, but also the nature of antiquity-related collecting during this period. It was my initial exposure to plaster casts through SIMA that introduced me to classical reception, which will become the subject of my dissertation as I investigate the collecting of antiquities by Greeks in early modern Greece. If it were not for SIMA I would never have become acquainted with this topic of classical reception in the eighteenth and nineteenth centuries that I have come to be feel so passionately about.