We have important news to share with you. First, we introduce with pride our new class of CAARI fellowship winners. Their work is exactly what CAARI exists to support, and we welcome them eagerly. Second, we have news of the Institute, with many new things to tell you about the preparations for CAARI's 40th birthday in 2018. And third, we share fresh scholarly insights about casts made from from Cesnola's Cypriot sculptures, by Ann-Marie Knoblauch, one of CAARI's truly distinguished scholar-trustees.
Welcome the 2017-2018 Fellowship Recipients
|Professor Nicholas P. Hermann
Professor Nicholas P. Herrmann
CAARI Senior Scholar In Residence
Texas State University, Department of Anthropology
Ayioi Omoloyites Bioarchaeological Project 2017
This research continues a collaborative project begun in 2014 with the Department of Antiquities. It focuses on the analysis of commingled human remains from Hellenistic-Roman period tombs identified in the Ayioi Omoloyites neighborhood of Lefkosia. It has progressed in three phases:
1) GIS development and context transcription (completed in 2014-2016);
2) inventorying burial contexts (ongoing); and
3) specific demographic, isotopic, and pathological analyses (ongoing).
This study will generate data on the tomb burials and gain a greater understanding of the health and the biological structure of the Hellenistic to Early Christian population of early Lefkosia.
Dr. London (left) is seen here with one of the Cypriot traditional potters with whom she has worked
Gloria London, PhD
CAARI/CAORC Postdoctoral Fellow
Scientific Adviser, Museum of Traditional Pottery in Agios Demetrios (Marathasa)
On Heritage Patrols in Cyprus: An Ethnoarchaeological Account of a Danish Peacekeeper
A Danish UN Peacekeeper in 1971 used his detective's skills to identify individual jar makers from Lazania village. Until 1972 male potters handmade the huge jars,
pitharia, which ferment up to 300 gallons of wine. Knud Jensen's notebooks (translated from Danish) and drawings, along with my study of
pitharia, will contribute to a publication about jar manufacture and use. The many archaeological implications of Jensen's research include production locations, potters' marks, longevity of ceramics, and jar distribution. Jensen was able to identify and talk with the last of the living potters.
Danielle Parks Memorial Fellowship
University of Michigan
The Roman Baths of Cyprus: A Study of Their Construction Materials and Techniques
I am proposing a study of the construction materials and techniques used in the Roman baths of Cyprus, in conjunction with similar research in Jordan, Israel, and Turkey. This project is in connection with my dissertation, which uses the construction of baths to investigate the poorly understood Roman construction industry in the East. I plan to visit as many of the Roman baths in Cyprus as possible to explore the degree to which geographic limitations affected the materials and techniques used in construction as well as the extent to which local methods were adopted and used in non-local building types.
|Experimental reconstruction of Kissonerga micro-brewery
Helena W. Swiny & Stuart Swiny Fellowship
The Reception of Ancient Cypriot Sculpture, 1850-1900: A European Perspective
My dissertation analyzes the initial scholarly reception of ancient Cyprus in Europe, examining the effects of preoccupations with Cyprus as a "missing link" between Near Eastern, Egyptian, and Greek cultures. I argue that the intellectual climate of this early period profoundly and lastingly shaped three fundamental issues: the development of vocabularies to describe the Cypriot style, the classification and chronology of Cypriot votive sculpture, and Cyprus's traditional place-or rather, absence-in contemporary art historical scholarship. I have worked with Cypriot material since 2009 but have not yet had the opportunity to visit the island, and have a great deal to do, see, and photograph.
Anita Cecil O'Donovan Fellowship
La Trobe University
The Archaeology of Value: Materiality and Identity in Chalcolithic Cyprus
Picrolite, a soft blue-green stone, was used in the Middle Chalcolithic to fashion anthropomorphic cruciform figurines and pendants, objects of personal adornment often thought to function as fertility charms. During the Late Chalcolithic, however, picrolite ceased to be used in this way, the combination of material fabric and cruciform morphology having apparently lost preeminence. My doctoral research develops archaeological approaches to the apprehension of value in prehistory through analysis of the use of picrolite in Chalcolithic Cyprus. Analysis of contexts of acquisition, production, use, consumption and final deposition within mortuary settings provides insight into mechanisms of value creation and the role played by value in negotiating changing identities in Cyprus during the Chalcolithic.
CAARI's 40th Birthday Plans
In June 2018, CAARI turns 40.
invited to join in the fun. For all who can be in Nicosia, we'll have a big
CAARI party at the time of the 2018 Summer Archaeology Workshop in the middle of June.
There will be great food and drink, and tee-shirts and memorabilia to take home. And there will surely be some necktie and high heels events, too.
|Second Floor construction work in progress, completion will be in June 2017
With the 40th birthday ahead, we've got another new enticement: The main house is being re-plumbed and re-wired. This was a big job, as you can see from this photo of the usually spotless foyer. But it will have great results: we'll have air conditioning on the second floor! Come and enjoy its results. CAARI will greet its 40th in really cool shape!
For those who can't come to Nicosia, there will be events in Boston at the 2018 ASOR meeting. No matter whether you can attend or not, please join us in word and image. Help us gather the CAARI community across the decades, and build a view across time of CAARI's place in Cypriot archaeology. We invite everyone to share in assembling a great compendium of memories, stories, photos, and memorabilia: a world-wide paean of thanks, appreciation, and funny stories. We already have some wonderful contributions, and Alison South is compiling an illustrated history of CAARI's earliest years in the apartment on King Paul Street.
Be thinking of your CAARI memories: anything you can send by snail or e-mail: messages, drawings, collages, photocopies, scanned or printed photos, letters, trinkets - anything you think will convey your enthusiasm and trigger recollections. Be thinking of the friends you made at CAARI and urge them to send us memories, too.
We look forward to your reflections, recollections, and humor. Here are the addresses to send them:
11 Andreas Demitriou Street
1505 Nicosia, Cyprus
We also urge ALL who have known CAARI, stayed at CAARI, or relied on CAARI's facilities to make a
"$40 for 40" donation to help fuel its successful future. Click Click&Pledge on the CAARI website:
or send a check made out to CAARI to:
665 Beacon Street, Suite 200
Boston, MA 02215
Please note our new Boston address!
Cypriot Sculpture and the Tradition of Plaster Casts
Associate Professor of Art History, Virginia Tech
In 1902, the Metropolitan Museum of Art, under the directorship of Luigi Palma di Cesnola, published the Catalogue of Casts from Cypriote Statues of the Cesnola Collection, a slim volume featuring for sale casts of thirty limestone statues, made to order and ranging in price from ten to fifty dollars. In selling casts of its Cypriot sculpture collection, the museum was capitalizing on a trend that had started in Europe and spread to the United States: the acquisition and display of plaster replicas of famous statues from antiquity. As part of an ongoing project I have been asking the following questions: who bought these plaster casts of Cypriot sculpture, for what purpose, and where are they now?
First some background: in the nineteenth century many American museums (as well as colleges, universities and art schools relied on
plaster casts because stateside collections lacked the means to acquire original antiquities. Casts provided legitimacy for young American museums and educational institutions, as they brought the tangible, physical presence of the ancient world to visitors and students. The Metropolitan Museum of Art was an exception. The Met did not have to rely on casts because it possessed original ancient objects: the Cesnola collection of Cypriot antiquities, a major and foundational part of the Metropolitan's collection from its earliest days. When the Met opened the doors to its Fifth Avenue building in 1880, more than half of the of the floor space was taken up by ancient Cypriot artifacts sold to the institution by Cesnola. By offering for sale plaster casts of the Cypriot collection, the Met sought to elevate its collection of ancient art to the level of the great European collections of Greek and Roman art found in collections such as the Louvre, the British Museum and the Vatican.
Who bought the Cesnola casts? Tracking these down has been tricky. While in the nineteenth century there were hundreds of cast collections associated with museums, colleges, universities, and art schools, many of these collections have been disbanded, destroyed, discarded or otherwise decommissioned. Furthermore, even in their heyday, cast collections were created to reflect and highlight the physical embodiment of Greek and Roman classical ideals. Cypriot sculpture seems not to have factored into that model, as surviving records do not reveal that Cypriot sculpture was ever part of most known cast collections. Further research can reveal how many Cypriot plaster casts were ultimately sold by the Met (and to whom), but for now, it seems sales from the 1902 catalogue were slim.
That having been said, there
an exceptional and intriguing collection of Cypriot casts in the collection of the Slater Memorial Museum in Norwich, Connecticut. Slater is unique for its well-maintained collection of plaster casts, open and accessible to the public, and part of the campus of the Norwich Free Academy. The seven works of Cypriote sculpture currently on display can all be linked to originals in Cesnola's collection at the Met (although not all are included in the 1902 sales catalogue). Records indicate only that the casts were acquired by the Slater in 1963 from the Wadsworth Athenaeum in Hartford, and neither archives in Norwich nor Hartford provide any additional clues about their original acquisition nor their transfer to Norwich. Nevertheless, with some additional work these intriguing and unusual casts can shed light on the expectations of the Metropolitan in promoting its Cypriot collection during its early years and role that Cypriot sculpture played in defining the concept of the "classical ideal" in the nineteenth century.
Plaster casts in the Slater Memorial Museum, Norwich, CT
Original sculptures in the Metropolitan Museum, New York
Right now, an exhibition on Cesnola is on display at the Visitor's Center of the An
cient Kition Archaeological Site in Larnaca. It
es from the opulent volume of photographs Cesnola published in 1870 to publi
ze his vast collection of sculptures and ceramic vessels that he had extracted from the temple at Golgoi,
Antiquités de Chypre, photographies des objets trouvés dans
le Temple de Vénus à Golgoi par le Général L.P. di Cesnola, Consul des Étas-Unis, 1870.
Among them, with the number 1, 95, is the photograph at right, with Cesnola himself seated be
side the statue discussed in the text above. It is to the right of the window in the overview. Like the opulent volume itself, it announces the magnitude not only of the artifacts, but of Cesnola himself.
Exhibition of Cesnola's photographs at the Visitors' Center, Ancient Kition Archaeological Site, Larnaca
CAARI's Boston Office Has Moved
CAARI's Boston office moved across the street last week and we have a new address! Please send all future correspondence to:
665 Beacon Street, Suite 200
Boston, MA 02215
Let's Make CAARI's Birthday Great
But there is another side to the story. Cuts to U.S. government support promise serious challenges to CAARI's funding. So we really need to join in to keep CAARI's momentum surging ahead. It's more important than ever to help us make the 40th birthday celebration a triumphant success! Send us your reminiscences at firstname.lastname@example.org, and remember to donate $40 for our Fortieth at:
CAARI was founded in 1978,
just four years after Cyprus' catastrophic invasion of 1974. Its early years coincided with the Reagan-era funding cuts to cultural activity. Yet CAARI flourished. We're proud of its condition at 40, with newly expanded library and garden, new petrographic laboratory-the first in Cyprus-and a distinguished new Director due in June 2017. Our Fellows come from universities all over the globe; researchers from over 40 countries used CAARI's facilities this year; and the reading room tables are always full.
And know that ALL of us at CAARI are sending thanks to ALL of you for your generosity!