My Favorite Artifact

When it comes to the Kelsey Museum of Archaeology’s collections, not all artifacts are created equal. Some call out to us intellectually, others emotionally. We wondered, “Which artifacts move our staff?”

Curator T. G. Wilfong and Conservator Claudia Chemello prepare the child mummy for installation in its simulated tomb.
Curator T. G. Wilfong and Conservator Claudia Chemello prepare the child mummy for installation in its simulated tomb.

BY TUNICIA ROSS, Custodian, Plant, Buildings and Ground Services, Kelsey Museum of Archaeology, University of Michigan. A 24-year employee of the university and mother of two, Ross has been taking care of the Kelsey for the past two years.

Favorite Artifact: Mummy of a child. Human body, cloth, resin, wood. Roman period (1st century AD). Fayum region (?), Bay View Collection 1971. KM 1971.2.179.

Why. When I thought about ancient times before I came to the Kelsey, I imagined adults living then, not children. So the mummy of a child was very eye-catching to me when I first saw it. As I cleaned the glass (Plexiglas) panel in front of the exhibit, I realized it was not just an ancient mummy. But a real child who had lived more than 2,000 years ago. As a mother, I connected immediately.

After two years at the Kelsey, this child mummy still draws me. It also draws a lot of children! Museum rules caution visitors against touching any exhibits, but children leave more fingerprints on the child mummy’s viewing glass than any other exhibit case (except for the Djehutymose coffin).

This means I am often at the child mummy’s side, cleaning the glass. To clean Plexiglas, we use a special cleaner that doesn’t leave scratches. I first spray cleaner onto a cotton cloth before using it to wipe off fingerprints. We never spray cleaner directly onto museum glass because some exhibit panels have open spaces between them. If we sprayed directly, the cleaner would squirt between the open spaces and damage ancient artifacts.

One of my position’s perks is the opportunity to catch up with ancient history as I work. And when the curators and staff work on a new exhibition, it’s kind of exciting to see their preparations and the artifacts up close before the opening.

About Artifact. The anonymous child mummy probably dates to the early Roman period (1st century AD). We know nothing of the circumstances of its burial or discovery. The mummy came to the Kelsey from the former Bay View Collection, where it had been since the 1890s.

This mummy is displayed with pottery from roughly the same period (from the U-M excavation at Terenouthis, Egypt) to approximate what the burial — perhaps made in a pit grave — might have originally contained. In doing so, we hope to have struck a balance between respecting the wishes of ancient Egyptians while accommodating visitors’ interest in learning from this mummy.

Child mummy about to undergo CT-SCAN.
Child mummy about to undergo CT scan.

In 2002, an undergraduate engineering student undertook a project that led to a new investigation of this mummy through CT scan, undertaken at the University of Michigan Hospital. The resulting images revealed the enormous amount of linen used to bandage the small child’s body, a wooden framework used to stabilize the body during embalming, possible postmortem damage of the skull, and the surprising fact that the child’s left hand had six fingers.

The CT scan images were further used to construct a virtual 3D model of the body beneath the bandages and an actual polymer resin model of the mummy skull. The technology has allowed scholars to investigate this mummy in a non-destructive and respectful manner.

Background. The anonymous child’s mummy hints at the sometimes harsh realities of life in ancient Egypt: child mortality was high, and children who did survive lived in a world that could be dangerous. Many artifacts from the University of Michigan excavations in Egypt (1924–1935), including dolls, toys, and images, show aspects of children’s lives: how they looked, dressed, played, ate, and learned — and died.

Find It. Look first for the Djehutymose coffin in the center of the first floor of the William E. Upjohn Exhibit Wing of the Kelsey Museum of Archaeology. While facing the coffin, turn slightly to the left, then slightly to the right. Now walk straight back to the wall where you’ll find a discreet glass panel built into the wall behind which the mummy of a child rests in a simulated cave burial.

Learn More. Life, Death and Afterlife in Ancient Egypt: The Coffin of Djehutymose, by T. G. Wilfong, is available in our Gift Shop or online at https://www.isdistribution.com/BookDetail.aspx?ad=34777.

Teaching with the Help of Ancient Objects

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Left: fragment of marble entablature, attributed to the Templum Gentis Flaviae in Rome (KM 2424, photomodel by Ariel Regner). Right: fragment of composite capital from Pozzuoli (KM 3049, photomodel by Evan Timm).

BY MARCELLO MOGETTA, Postdoctoral Research Fellow, Kelsey Museum of Archaeology, University of Michigan

As college teachers we are often encouraged to enhance pedagogy by engaging students in materially different ways. We are also reminded that University of Michigan museum collections represent an invaluable resource for teaching and learning. During my postdoc year based at the Kelsey Museum, I taught an undergraduate course on “Roman Imperial Architecture” for the Department of Classical Studies, so I had the unique opportunity to put these principles into practice. It worked!

At the beginning of the semester I decided to create a course assignment using Kelsey objects. Each student was asked to select an architectural ornament from the Kelsey collection (whether capital fragments, stone moldings, or stucco decorations), take pictures of it, produce a 3D model from photogrammetry (with the expert assistance of IPCAA’s Matt Naglak), and write a short catalog entry that should include an analytical description and interpretation of the piece. All the class participants signed up for this project, responding enthusiastically to the idea.

Perhaps what made the photomodeling assignment particularly exciting to the students was that they would be granted privileged access to areas of the museum that are otherwise restricted to normal visitors. Or that they had the chance to physically interact with archaeological materials from up close (by the way, thanks to Sebastián Encina and Michelle Fontenot for making this possible!), while at the same time experimenting with cutting-edge digital visualization methods. Whatever the reason, the results proved very rewarding. Using the Kelsey Museum database, the students extracted some basic information about provenance and dating, and in some cases were able to compare their objects with similar ones displayed in the galleries. Most importantly, they all tried to relate the artifacts to the lecture material seen in the conventional class.

3D Gabii: (Re)excavating the Past

BY MATT NAGLAK, PhD student, U-M Interdepartmental Program in Classical Art and Archaeology

Image
3D image of an excavated wall at Gabii.

One of the major problems of excavation is its innately destructive nature. Once a layer of dirt is excavated or a stone is removed, it cannot be put back. It is therefore vitally important to obtain all the information possible not only about the layer itself but also its relationship to all the layers around it. Unfortunately, it is not always possible for an archaeologist to know in advance what information is going to be needed to understand the site as a whole. Often no one realizes that significant information has been lost until the excavation is finished and analysis has begun.

In the past, the only way to combat this problem was to take photographs and detailed notes. The Kelsey and IPCAA projects at Gabii and Sant’Omobono, Italy, however, are using new technology to create 3D photomodels of layers that will in a sense let us “reexcavate” the site after the actual digging is finished, recovering valuable data and relationships otherwise lost. One of my jobs on the site of Gabii is to take pictures and then create the 3D models for each of the trenches. Then we are able to look again at the surface of a layer in all its detail, almost as if it had never been removed in the first place. With the click of a mouse we can excavate a trench again or reinsert earlier layers, moving in either direction through time in a way never before possible. This ability has proven invaluable to how we understand the results of excavation and is sure to be a staple of future archaeological work. I am very excited to return to Gabii this summer to continue this innovative work!