Dissertations / Theses on the topic 'Nicholson Museum of Antiquities'

During 1984 I carried out an Internship in Materials Conservation under the supervision of Mrs. Patricia Johnson, the Conservator of the Nicholson Museum of Antiquities, the University of Sydney. My area of specialization was in the conservation of artifacts. The majority of artifacts examined and treated during the Internship were from archaeological excavations in the Middle East, at the site of Pella, in Jordan. The site of Pella has produced artifacts from a wide chronological range ; Neolithic, Bronze Age, Iron Age, Hellenistic (Greek), Roman, and Arabic historical periods. A selection of these artifacts has been granted to the University of Sydney by the Jordanian government, and constitute the present Pella Collection. Most of the materials are inorganic, i.e. ceramics, metals, glass, and stone, although bone and ivory artifacts, as well as skeletal material, form a part of the collection. Upon an initial examination of the collection, conservation problems were identified and a program of conservation work for the collection was formulated. Priority treatment was given to the metals in the collection, particularly to the small bronzes which were found to be suffering from "bronze disease" (active corrosion), to ceramics needed for study and display, and to glass with unstable surfaces. Improvements in storage conditions for the Pella Collection, particularly in the packing of small finds and the storage of metals, were also given a high priority. Taken altogether, the Pella Collection has proved to be a wellbalanced collection, covering almost every period of Kiddle Eastern Archaeology, and containing artifacts representative of most types of materials and of ancient technology. Planned as a research and teaching collection for the students of the Department of Archaeology, the University of Sydney, it also proved to be an excellent teaching collection for a student of materials conservation. The following, therefore, is a report on my Internship in Archaeological Conservation, and includes a description of the institution which sponsored the Internship, a description of both the program of work and the program of instruction for the Internship, detailed descriptions of all conservation work and other activities which were undertaken as part of the: Internship, and a final evaluation of the Internship.

Master of Philosophy
The following paper will present a study of 76 impasto and bucchero ceramic artefacts that form part of the collection of the Nicholson Museum at the University of Sydney. These artefacts have not been previously studied in any detail and while some have been published, publication was limited to a brief description. The paper is divided into three sections: impasto, Caeretan stamped ware and bucchero. A preliminary discussion of the ceramic type is followed by a catalogue. The catalogue provides a detailed description, any provenance and publication details, parallels and provides a date and possible geographical context of each vessel.

This thesis examines the invention of Cyprus’ ancient history through the diaspora of Cypriot antiquities in the latter half of nineteenth century and the role of the modern museum in it (1860-1900). It maps the movement of the objects from their excavation sites, to their circulation in metropolitan museums and, finally to their display in museum galleries. In doing so this thesis explores the emergence of archaeology as a field-based discipline in the broader colonial, imperial and geopolitical context. The research of this project was conducted mainly at the Cyprus State Archives, the Greek and Roman Departmental Archives (British Museum), Dartmouth College Archives (NH). The first part of the thesis provides the theoretical framework in which this research is situated. Chapter 1 introduces the project, its research questions, its research questions and outcomes. Chapter 2 discusses the literature providing the main concepts that formed the arguments of this thesis. Chapter 3 contextualizes the diaspora of Cypriot antiquities within the broader history of archaeology and Chapter 4 overviews the methodology followed and the archival sources that were used for this project. The second part consists of my empirical work and maps the diaspora of the antiquities. It is thematically divided in three chapters. Chapter 5, Law, looks at the colonial and legal context of the excavation and exportation of the objects. Chapter 6, Excavation, discusses the every-day conduct of Cypriot archaeology in the field. Chapter 7, Circulation, examines the practices of collecting Cypriot antiquities, their exportation and circulation in metropolitan museums, and their display in museums (particularly in the British Museum). Chapter 8 brings the thesis into a conclusion and highlights the main findings and arguments of this project. The thesis explores the production, circulation and display of scientific knowledge regarding the ancient past of Cyprus by following the antiquities in their various forms (texts, impressions, photographs, objects). By following the objects’ social lives it addresses the issues of the circulation of scientific knowledge, of the criteria for asserting its authenticity and credibility and of the local/global nature of archaeological science. It will demonstrate that the methodological tenor of writing the objects’ biographies links the different scales of science’s making and illuminates its hidden stories, such as the practicalities of collecting in the field.

The rhizome of the bracken fern was an important part of the subsistence base of the pre-contact Maori of Aotearoa. It provided an essential source of starch - especially to the southern Maori, who relied mainly upon wild resources for the vegetable component of their diet. The preparation of the rhizome (or fern-root) for consumption necessitated the beating of the cooked root upon a smooth stone anvil. The implement that was used to beat the fern-root is an important Maori tool which, until now, has had little detailed attention paid to it. Therefore, the aim of this research was to characterize the form of the fern-beater using morphological attributes. Through the combination of a comprehensive literature review of enthographic-historical accounts and more contemporary documentary research, along with a nationwide survey of implements labelled as "fern-root beaters" in museum collections, this thesis identifies a number of critical and common attributes that are inherent in a beating implement. It was found that wooden and stone beaters/pounders were dissimilar in size and proportions, with the majority of wooden implements displayed larger circumference dimensions, were shorter and considerably heavier, thus casting some doubt on their practicality as a beating implement. Four distinct morphological forms were identified for both the wooden and stone items surveyed, and it was found that metric variables were more significant in suggesting function than non-metric. Regional distribution analysis of the survey implements highlighted a northern North Island predominance, particularly in the Northland, Auckland, Taranaki and Waikato regions. A tenuous comparison with Simpson�s distribution of prehistoric dental attrition known as "fern-root plane" showed a loose regional correlation, however; the actual cause of this tooth wear is still a hotly contested issue.

The study of an architecture of autonomy consists of theoretical investigations into the realm of building types where a sole use or purpose is manifest in a structure that could, site provided, be constructed. However, provisions that conventional architecture traditionally provide are not present in these explorations. Technological advancements such as indoor plumbing, electric lights, and vertical conveyance systems in the form of elevators and escalators are excluded. Platonic geometric form-making are instead thoroughly investigated, imagined, and manipulated for the purposes of creating new spatial experiences. The desired resultant is an architecture of singularity, an architecture of fantastical projection.

Through a series of two theoretical ritual-based investigations, three-dimensional form manipulation and construction of proportioned scale models, the essence of elements that compose a spatial experience contributed to a collection of metaphorical tools by which the designer may use to build a third imagined reality: the re-imagination of the archetypal museum. A building whose purpose is not solely to house ancient objects in a near hermetically-sealed environment, free of temperature, humidity and ultra-violet light aberrations, but is a re-imagined. A structure meant to engage the presence of two seemingly divergent communities: the local patron/visitor and the extreme distant denizen.

This paper also examines key contemporary global artists’ work and their contributions to the fragmentation / demolition of architectural assemblages for the purposes of re-evaluating the familiar vernacular urban landscape while critically positioning the rôle of both the artifact and gallery in shaping contemporary audience’s museum experiences.

The power of the internet and live-camera broadcasting of images utilizing both digital image recording and full-scale screen-projections enable the exploration of “transporter-type” virtual-reality experiences: the ability to inhabit an art work’s presumed original in situ location, while remaining in Chicago as a visitor within a vernacular multi-tenant masonry structure: vacated, evicted, and deconstructed for the purposes of displaying art amidst a new urbane ruin. The complexities of this layered experience is meant to simultaneously displace and interrupt a typical set of so-called a priori gallery expectations while providing the expectant simulacrum that video cameras and screens provide, whetting a contemporary patron’s appetite.

This thesis is an aetiological investigation of the Hellenistic and Roman figural bronze statuettes in the round that form part of the Ashmolean Museum's antiquities collection. The collection serves as a lens through which to study aspects of ancient and modern receptions of Classical sculptural forms. This approach is based on the premise that the collection's composition has been historically determined not only by how the modern parties responsible for its creation and growth responded to the sculptural forms and images recovered from antiquity, but also by how sculptural forms developed in Greece during the Classical and early Hellenistic periods were received by makers and users of bronze statuettes in antiquity. The thesis has three primary objectives: firstly, to produce a useful and informative catalogue of the Ashmolean Museum's collection of Hellenistic and Roman figural anthropomorphic bronze statuettes in the round; secondly, to determine not only how that collection came to have the characteristics that it does, but also how the reception of ancient sculpture has historically affected the formation of collections of bronze statuettes and their compositions; thirdly, to use archaeological evidence of bronze statuettes to reconstruct possible contexts and to determine in greater detail the reception of canonical sculptural figure types in the form of small bronzes during the Hellenistic and Roman periods. Part I of the thesis deals with the modern contexts for the statuettes, investigating the collection history, pulling out its salient characteristics and then comparing these to other major collections to make informed observations about how and why specific types of statuettes have survived from antiquity and the roles that modern reception of antiquity has played in shaping collections. This leads to Part II, which attempts to reconstruct possible ancient contexts for the Ashmolean bronzes by looking at the archaeological evidence for their production, movement use and display. Part III uses some of the figures of dwarfs, Herakles and Hermes in the collection to develop case studies that examine aspects of the visual relationships that existed between small bronzes and classical sculpture from the Classical and early Hellenistic periods.

This study of the establishment of heritage preservation in Sweden during the first half of the 20th century focuses upon Sigurd Curman (1879-1966), art historian, restoration architect and Director of Antiquities. Its purpose is to show how an older, more research-oriented form of heritage work grew to become a more socially-conscious vari­ant of cultural preservation. The period of establishment embraces organizational inquiries, government legisla­tion and institutionalization, and as Director of Antiquities between 1923 and 1946, Curman was a main actor. He had already become a key figure in debates on the official organization of preservation activities in Sweden well before this, whose early career dealt chiefly with the restoration of churches. Curman advocated the accentuation of aspects of cultural history. An opinion had been formed among cultural historians and museum curators against what they perceived as the obsolete manner of pursuing heritage efforts conducted by the Royal Swedish Acad­emy of Letters, History and Antiquities and its secretary, the Director of Antiquities, who was also head of Swe­den's main official museum, the Museum of History. Criticism was aimed at all aspects of official heritage preservation efforts, including legislation, restoration policy, the care of ancient ruins and treatment of finds, as well as the lack of understanding on the behalf of the central authority for local and regional interests. The latter referred to the emotive aspects of heritage preservation, which in contemporary verbiage was summarized by the term "piety". The central authority was accussed of not understanding "popular" heritage preservation outside the context of the museum and of displaying a lack of piety toward "the cultural memory of the Fatherland". These feelings were based primarily on two prerequisites: an established perception of a homogeneous national culture with ancient roots in the past, and an apprehension that it was in the interests of society that the government become responsible for the administration of this material cultural heritage. This ambition can be summarized by the term "preservation of cultural heritage" and its foremost exponent was Sigurd Curman. The dissertation fol­lows Curman from his childhood in a wealthy Stockholm family, to his early career in restoration and as lecturer in architectural history at the College of Art. In 1912, Curman was appointed to the first chair in these fields estab­lished at the College, which he held until 1918 when he became advisor in the cultural history of architecture at the new Royal Swedish Board of Public Building. When appointed Director of Antiquities he began concretizing the official organization of heritage preservation. During the 1910s he participated in a comprehensive, dual inquiry into the organization and legislation of the government's heritage preservation policy. When its final report was presented in 1922 it was tabled, but still acted as the basis for Curman's continued efforts. He created a modem bureaucracy out of the council of the Department of Antiquities and contributed to moving the central authority from the ground floor of the National Museum to its own premises in midtown Stockholm. Curman would also work to improve legislation to protect cultural monuments and developed museum activities by creat­ing a countrywide organization of county antiquarians and regional museums. When Sweden's new antiquities law was passed by parliament in 1942, Curman had not only led the inquiry leading up to it, but had formulated the draft of the legislation himself. By the time of his retirement in 1946 he was a legend in antiquarian circles, the very personification of Swedish cultural heritage preservation. The present dissertation shows how Curman achieved this status, though it also details the efforts of numerous other actors participating in the process and sees Curman as a bureaucrat who realized demands for a renewal of heritage preservation in the country.
digitalisering@umu

Disertacijoje, remiantis XIX a. Lietuvoje kolekcionuotų rinkinių ir jų raiškos analize, siekiama apibendrinti to meto visuomenės požiūrį į istorijos ir kultūros paveldą bei rekonstruoti jo sampratą ir reikšmes. Darbe tiriama, kaip ir kokius konkrečius savos praeities ir savos tapatybės vaizdinius kūrė XIX a. Lietuvos visuomenė, interpretuodama kaupiamą kultūros paveldą; kokios reikšmės buvo suteikiamos paveldo objektams; kaip šie mentaliniai konceptai keitėsi. Kolekcionavimas kaip reiškinys Europoje ypač išpopuliarėjo nuo XVIII a. II pusės. Šis procesas neaplenkė ir Lietuvos, kur XIX a. radosi privatūs ir vieši rinkiniai, formavosi antikvarinė rinka, o spaudoje apie paveldo objektus, jų rinkinius gyvai diskutavo, dalinosi informacija ir mokslininkai, ir kolekcininkai. XIX a. rinkiniuose kaupti istorijos ir kultūros paveldo objektai pavieniui atliko tik ženklo ar simbolio funkciją, o kaip visuma bylojo apie juos rinkusių asmenų pasaulėžiūrą, perteikė jų kurtus idėjinius naratyvus. Visuomenės dalyvavimas, kaupiant praeities objektus kaip kultūrinės savasties ir tradicijos dalį, tuo pačiu skatino pažinti ir interpretuoti šį paveldą, tokiu būdu išreiškiant bendrumo jausmą, konstruojant ir puoselėjant kolektyvinę atmintį, kuriant bendrą tapatybę.
The aim of dissertation – on the basis of the analysis of the collections compiled in the 19th century Lithuania and their expression, to generalise the perspectives of the society on the cultural heritage and to reconstruct perceptions about it and associated meanings. The research analyses how and what specific images of its past and its identity the society was creating through the interpretation of the cultural heritage, what changes these mental constructs had undergone over time, and what meanings were attached to the items of the relevant cultural heritage. As a European phenomenon, collecting became popular from the second half of the 18th century. Lithuania was also part of this process, where the compilation of both private and public collections, the formation of the antiquities market started in the 19th century. In the collections of the 19th century, the objects of cultural heritage, taken individually, performed only the function of the sign or symbol. Taken as a whole, they cast light on the worldview of their compilers, and recounted their ideological narratives. Conscious participation of the society in the accumulation of objects of the past as part of their cultural identity and tradition encouraged one to familiarise oneself and to interpret this heritage, thereby expressing the feeling of commonality in the construction and cherishing of the collective memory while creating a common identity.

The thesis concerns public debate on the public activities of The Swedish History Museum (Historiska museet) in Stockholm between the years 1992 and 2011. Moreover, the thesis contribute with knowledge on how basic didactic questions regarding a single national museum has been answered in the public debate over time. Standpoints on what should be exhibited, how this should be done, to/with whom the mediation of history should be addressed/communicated and, what mission in society The Swedish History Museum’s is considered to be, is summed up in the concept of “exhibition ideal”. The research concerns four public debates; the debate about the exhibition The Swedish History (Den Svenska Historien), the debate about Kristian Berg, the debate about the free entry reform and, a less extensive debate about the exhibition History of Sweden (Sveriges Historia). A further aim of the dissertation is to put the publicly expressed positions on The Swedish History Museum in a wider historical-cultural context. Also, the study is related to other museums and other history communicating arenas. The debates coincides in time with challenges for the museum sector to deal with new perspectives in museology and cultural heritage research. The emergence of a multi-cultural society and the questioning of grand narratives are mentioned as examples. The emergence and strengthening of a broader history didactic discipline in Sweden, where a basic starting point is that the story is communicated in several different arenas with their own competencies, are also brought into the analysis. Historians and archaeologists tend to become silent in the recent debates about The Swedish History Museum’s public activities as the debates are less focused on content. The debates tends to be more “museum internal”, even in cases where there is opportunity to debate specific historical and archaeological content in the exhibitions. It appears, nevertheless, that the overall conflict around the public museum activities has reached the public spotlight through newspapers, radio and TV. Alongside with visits to the museum public debate are assumed to contribute to citizens’ own view of what museums should exhibit, how this should be done, to/with whom the mediation of history should be addressed/communicated and what the museum’s mission in society is.

This study examines how women are represented in exhibitions about the ancient cultures of Greece, Rome and Egypt. The two museums which have been studied are the Museum of Mediterranean and Near Eastern Antiquities in Stockholm and the British Museum in London. Observations of the exhibitions, notes and interviews with museum personnel are the methods used in this study. The theory used is gender theory, focussing on Yvonne Hirdman’s gender system. The purpose of the study is to examine how the museums are working with representing women in ancient cultures, what objects are exhibited that relates to women and how museum teachers include women in tours. The study shows that women are represented in different degrees in the exhibitions and are much less included in texts. The Museum of Mediterranean and Near Eastern Antiquities have the ambition and interest from the personnel to review their exhibits to include a broader perspective where women are better represented.

Le musée des Antiquités nationales (MAN) a été créé sous l'impulsion de l'Empereur Napoléon III en 1862. Avec le projet de création du musée s'est imposée la nécessité de le doter d'ateliers de moulage et de restauration. Abel Maitre, sculpteur de formation, est le premier chef d'atelier de 1866 à la fin du 19e siècle. Rouage Indispensable du MAN, Il s'est avéré être un véritable précurseur de la restauration des objets archéologiques telle qu'on la conçoit de nos jours. Son successeur, Benoit-Claude Champion, dirige les ateliers durant toute la première moitié du 20e siècle et œuvre à la professionnalisation de cette discipline, à une période où la question de la formation des restaurateurs est au centre des débats. A travers l'exemple concret des ateliers du MAN, cette recherche se propose de montrer comment a émergé la spécialité archéologie dans l'univers très artistique de la restauration, et comment le développement de cette activité en discipline est Intimement lié à la politique Internationale de sauvegarde du patrimoine, qui prend toute son ampleur après la première guerre mondiale
The National Museum of Antiquities (MAN) was created at the instigation of Emperor Napoleon Ill in 1862. With the proposed creation of the museum has become the need to equip the workshops of molding and restoration. Abel Maître, a sculptor by training, is the first leader of workshop in the late 19th century. Indispensable part of the MAN, Il proved to be a !rue precursor of the restoration of archaeological objects as it conceives today. His successor, Benoit-Claude Champion, leads workshops throughout the first half of the 20th century and works to professionalize the discipline, at a time when the Issue of training for restorers is central to the debate. Through concrete example of MAN workshops, this research alms to show how archeology has emerged as a specialty in the highly artistic restoration, and how the development of this discipline is closely linked to International politics Heritage Preservation, which comes into its own after World war 1

This study concerns the false doors of Hershefnakht, Nyankhanty and Senetites that are currently on display in the Museum of Mediterranean and Near Eastern Antiquities in Stockholm. None of these doors has received much attention in the past, and certainly not their own dedicated study. Previously, these doors have only been roughly dated, and the status of their owners in society were practically unknown. This study seeks to narrow down the dating of these false doors and to more precisely make a judgement on their owners’ social standing within society. To more precisely date the false doors, relevant features are presented together with relevant information concerning the characteristic in question. As such, a more precise date is built from the various relevant elements of the door. The false doors are translated with appropriate commentary on the short texts. The most important parts of these texts are the titles and through comparisons to other holders of the same titles and discussion of what is known about these titles; a judgement of their social status is made. In the end, Hershefnakht’s and Senetites’ doors can be dated to, at earliest, the reign of Pepy II though their latest possible date is more difficult to establish with any certainty. Nyankhanty’s false door can be dated, at earliest to King Nyuserre Ini’s reign with the latest possible date being the end of the 5th dynasty. Due to only having a single title, Hershefnakht’s social standing is somewhat uncertain and it would be possible to both over- and underplay his status. On the other hand, Nyankhanty’s status can be established with more certainty and it seems he was a high-ranking priest and a commander of a force of men. Senetites can quite easily be placed in or close to the court, but the position therein is more difficult to define.
På Medelhavsmuseet står skendörrarna av Hershefnakht, Nyankhanty och Senetites utställda. Ingen av dörrarna har fått mycket uppmärksamhet tidigare. Det finns därför ingen tidigare dedikerad studie av dessa dörrar och deras ägare. Tidigare dateringar är endast approximativa och den sociala statusen av ägarna okänd. Den här studien siktar mot att datera dörrarna med mer precision genom att studera viktiga aspekter av dörrarna och att bestämma ägarnas sociala status. De relevanta aspekterna av dörrarna presenteras tillsammans med relevant information om aspekten i fråga. Genom denna process så fastställs en mer exakt datering av dörrarna. Genom översättningen av texten som finns på dörrarna presenteras de olika titlarna av dörrarnas ägare. Efter en diskussion om det som är känt om dessa titlar och jämförelse med andra titelhållare så dras en slutsats om deras status. Skendörrarna av Hershefnakht och Senetites kan båda dateras till, som tidigast, Pepy II:s regeringstid. Däremot är deras senaste möjliga datering svårare att specificera. Nyankhantys skendörr kan dateras till Nyuserre Inis regeringstid som tidigast, och senast slutet av 5:e dynastin. Det är svårt att bestämma vilken status Hershefnakht hade, då han endast har en titel vilket kan peka på både en högre och lägre status. Däremot går det att säga ganska säkert att Nyankhanty var en högt uppsatt präst och befälhavare över någon form av trupp. Senetites kan utan större svårigheter placeras i, eller nära hovet även om den exakta positionen är oklar.

La these analyse la collection de terre cuite de Raffaele Gargiulo (1785-après 1864), céramiste et restaurateur affirmé, personnage de première importance du Musée de Naples, marchand napolitain d'antiquité des années 20 et 30 du XIXe siècle. La proposition de vente de sa collection au Musée de Naples est faite en décembre 1852. Après deux années de dures négociations le 29 mai 1855 la vente se conclut pour 6000 ducats. Pour comprendre le personnage de Gargiulo en tant que marchand d'oeuvre d'art, 315 documents, conservés dans l'Archive d'État de Naples et la Surintendance de Naples, ont èté analysés. L'étude de 11 arrêtés royaux entrés en vigueur entre 1807 et 1852, ont permis de reconstruire le cadre législatif en vigueur de l'époque. La petite plastique, la classe la plus nombreuse, représente environ les trois quarts de la collection de terre cuite. En ce qui concerne les provenances, les Pouilles et la Campanie sont largement dominantes avec 578 objets (95.54% de la collection entière): dans le détail on note que les localités se trouvant aux premières places sont aussi bien les Pouilles (Gnathia, Ruvo et Canosa) que la Campanie (Capoue et Calès), plus célèbres pour les fabrications coroplastiques. Le matériel architectonique va de la fin du VIe s. av. J.- C. au I Ier s. ap. J.-C., le matériel coroplastique se situe entre la moitié du IVe s. et la fin du IIIe s. av. J.-C., la céramique à décoration plastique et polychrome et celle achrome entre le IVe et le IIIe s. av. J.-C., alors que la chronologie des vases modelés va de la fin du VIe et le IIIe s. av. J.-C. Enfin, les lampes à huile sont toutes datées entre la première moitié et le dernier quart du Ier s. ap. J.-C
The thesis analyzes the collection of terracottas of Raffaele Gargiulo (1785-after 1864), ceramist and restorer, leading figure of the Museum of Naples, neapolitan merchant of antiquity in the twenties and thirties of the 19th century. The proposed sale to the Museum of Naples of his collection is made in December 1852, but only after more than two years of hard deals it comes to the purchase on May 29th, 1855, for 6000 ducats. In order to understand the figure of Gargiulo as merchant of art 315 documents, kept in the State Archive of Naples and in the Historical Archive of the Archaeological Superintendence of Naples, have been analyzed. By the study of 11 royal decrees dated between 1807 and 1852 the legislative framework in force at the time was rebuilt, as part of the trade and export of archaeological and art objects. In the Gargiulo’s collection of terracottas the little plastic (443 specimens, 73.88%) is the most documented class, accounting for about three-quarters of the collection. About the provenances, Apulia and Campania with 578 items, the 95.54%, prevail. At the top lie the towns, both in Apulia (Gnathia, Ruvo and Canosa) and Campania (Capua and Cales), most famous for the coroplastic products. If the architectural material is dated from the end of the 6th century BC to 1st century AD, the coroplastic material lies mostly between the mid-4th century BC and the end of the 3rd BC. The pottery ranges between the 4th century and 3rd century BC, especially the plastic and polychrome decoration and the achromatic ceramic; the chronology of plastic vessels is more varied, between the late 6th and 3rd centuries BC. The lamps, finally, are dated to 1st century AD
La tesi analizza la collezione di terrecotte di Raffaele Gargiulo (1785-post 1864), ceramista e restauratore affermato, figura di primo piano del Museo di Napoli, grande mercante napoletano di antichità degli anni Venti e Trenta dell'Ottocento. La proposta di vendita al Museo di Napoli della sua collezione viene fatta nel dicembre del 1852, ma dopo oltre due anni si giunge all'acquisto, il 29 maggio 1855, per seimila ducati. Per inquadrare la figura del Gargiulo come mercante di opere d'arte sono stati analizzati 315 documenti custoditi nell'Archivio di Stato di Napoli e nell'Archivio Storico della Soprintendenza Archeologica di Napoli. Attraverso lo studio di 11 regi decreti tra il 1807 e il 1852 si è ricostruito il quadro legislativo in vigore all'epoca nell'ambito del commercio e dell'esportazione di reperti archeologici e oggetti d'arte. Nella collezione Gargiulo di terrecotte la piccola plastica (443 esemplari, pari al 73.88%) è la classe più documentata, rappresentando circa i tre quarti della collezione. Tra le provenienze prevalgono la Puglia e la Campania con 578 oggetti, il 95.54%. Ai primi posti si collocano le località, sia pugliesi (Egnazia, Ruvo e Canosa) che campane (Capua e Cales), più celebri per i prodotti coroplastici. Se il materiale architettonico va dalla fine del VI a.C. al I d.C., quello coroplastico si colloca per lo più tra la metà del IV e la fine del III a.C. La ceramica spazia tra il IV e il III secolo a.C., soprattutto per la ceramica a decorazione plastica e policroma e per quella acroma, più varia è la cronologia dei vasi plastici, tra la fine del VI e il III a.C. Le lucerne, infine, si datano nell'ambito del I secolo d.C

Le Cabinet des médailles et antiques de la Bibliothèque nationale conserve les « bijoux savants » aux origines du collectionnisme occidental avec son médaillier universel, des pierres gravées et des collections d’antiques d’une diversité étonnante. Si celles-ci proviennent pour les parties les plus anciennes, des collections de la maison royale et de trésors ecclésiastiques, cette thèse ne remonte pas aux origines du département mais s’occupe de son destin à l’âge des musées, entre la Restauration, avec l’arrivée au département en 1819 de Désiré Raoul-Rochette (1789-1854) et la période qui suit la première guerre mondiale jusqu’à la mort d’Ernest Babelon (1854-1924). Elle cherche à comprendre, comment ce « parangon des cabinets d’amateurs de jadis » s’est développé, pris comme il l’était entre une tradition antiquaire aristocratique et les exigences de la modernité, républicaine et spécialiste. Elle aborde les différents aspects de la vie du département à l’intérieur du quadrilatère Richelieu. Tout d’abord, comme le portrait d’un lieu d’histoire d’un point de vue institutionnel et architectural qui permet de comprendre la place accordée historiquement à la culture matérielle au sein de la Bibliothèque nationale. Ensuite l’histoire du développement des collections et puis celle de leur valorisation muséographique et scientifique sont examinées au prisme de l’expansion du domaine de l’archéologie et de l’essor des sciences auxiliaires de l’histoire au XIXe siècle
The Cabinet des médailles et antiques in the French National Library holds a particular place in the vast constellation of Parisian museums. Home to the so-called « bijoux savants » that founded western collecting culture since the Renaissance, it is at once a universal coin cabinet, one of the worlds foremost collections of cut stones and gems, but also a miscellaneous collection of antiquities representing all periods and places. As described in 1930 by one of its curators, it represents a « parangon of amateur cabinets from another time ». This thesis does not directly deal with its prestigious origins but tells one chapter of its long history, looking at how, from the period of the Restoration onwards (beginning with the direction of Désiré Raoul-Rochette in 1819) until the passing of Ernest Babelon in 1924, this cabinet of antiquarian culture and collections adapted and developed to the modern Republican museum age. The life of the department is first considered as a means of understanding the role of material culture and the place of the museum inside France’s national library in the nineteenth century. It then goes on to consider the development of the collections themselves and their scientific and museological exploitation in light of the rapidly expanding practice of archaeology and highly specialised auxiliary sciences of history

abstract: This thesis explores the implications that the outcome of a certain U.S. lawsuit involving antiquities could have on practices and programs in the United States, related to cultural heritage and history. This paper examines the Rubin et al case, which sought to attach a collection of ancient Persian artifacts (known as The Persepolis Tablets) as a source of legal compensation. Presented as a case study, and using primary and secondary research sources, this paper analyzes the Rubin et al lawsuit and the factors that led to its initiation, and seeks to determine how and why adverse consequences could result from its final ruling. This thesis demonstrates that the final decision in the lawsuit could leave a negative impact on a number of practices related to cultural heritage in the United States, especially with regards to cultural and academic institutions such as museums and universities.
Dissertation/Thesis
M.A. History 2011

This dissertation considers the Native North American repatriation movement as a sociocultural study, in which traditional knowledge and other information accompany returns to tribes. I engage this process with the Cayuse, Umatilla, and Walla Walla Tribes of northeastern Oregon (the Confederated Tribes of the Umatilla Indian Reservation) as they present, preserve, and perpetuate tribal history and culture at their museum, Tamástslikt Cultural Institute. I also explore self-representation and Native participation at the Pendleton Round-Up rodeo and "wild west" pageant in the neighboring town of Pendleton, Oregon. Investigating the connectivity between repatriation, collaboration, and representation, I ask how repatriation defines itself beyond the return of objects of cultural patrimony to influence the development of a tribal cultural and historical narrative. I argue that newly developed tribal perspectives are therefore a bi-product of repatriation. By presenting tribal perspectives based in negotiation, repatriation thus leads to self-representation via collaborative processes. Collaborative processes allow for anthropological research and knowledge to be shared, accessed, and controlled by Native communities, thus allowing for multiple forms of repatriation to manifest. Working within a collaborative framework based primarily in grounded and emergent theory, I also brought theories of the diaspora, historical memory, and trauma to bear on my research in hopes of exploring how return is further complicated in both a literal and a figurative sense. I am informed by Native American and Cultural Studies, yet rather than rejecting or discarding the historical relationship of contact between Anthropology and Native America, this dissertation favors a discussion of changes and adjustments within it. My work contributes to the anthropological literature on tribal museums and representation, and to new understandings of the repatriation of identity and knowledge. I also hope to contribute to growing collaborative action/advocacy-based ethnographic models for conducting research with Native North Americans. An applied and collaborative methodology was employed as I assisted in realizing projects initiated by the Tribes' and operating within a particular Native worldview, spanning from curation to interpretation, at Tamástslikt. While remaining separate and distinct, my own dissertation project was nevertheless structured, informed, and achieved alongside, and in conjunction with, tribally controlled projects.

This dissertation will critically analyse a gilded bronze Osiris statuette from the Middle Kingdom Period. An attempt is made to verify its authenticity, provenance and probable date of origin, while also gathering information which will help in placing the artefact and others like it in their proper cultural context. Furthermore the value of several investigative techniques employed during the course of this research is also explored.
Old Testament and Ancient Near Eastern Studies
M.A. (Ancient Near Eastern Studies)

Iraq is a country of great cultural significance as it is where civilization first began. As a result of its lengthy occupation, it is virtually one large archaeological site. In spite of numerous warnings to the governments of both the United States and the United Kingdom, no efforts were made to protect the Iraqi National Museum in Baghdad when the American-led coalition unlawfully invaded Iraq. Indeed, orders were given not to interfere with the looting. During the occupation that followed, the United States failed to take steps to protect Iraqi cultural property. In terms of international law, it was obliged to protect Iraq’s cultural property. The United States also chose to exacerbate its unlawful conduct by occupying archaeological sites and damaging them further by illegal construction. As a result many significant sites have been irreparably damaged or destroyed. Their conduct was the result of complete indifference to the Iraqi cultural heritage. Although their actions render them iin breach of international law, it is unlikely that the United States will ever be prosecuted for its actions.
Old Testament & Ancient Near Eastern Studies
M.A. (Ancient Near Eastern Studies)