Sustainable Preservation Initiative

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As both a Penn Anthropology PhD and a Museum Consulting Scholar, I am extremely concerned with saving our shared cultural heritage, whose study allows us to know so much about both the past and who we are today. And having worked in extremely poor communities where so many archaeological sites are located, I want to do everything I can to alleviate their poverty.

The primary cause of this loss of cultural heritage is economic-looting, agriculture, mining, home construction are frequently superior economic uses of archaeological sites, contributing more income to local communities. Archaeological sites often provide no jobs or revenues for their neighbors. And experience has sadly shown that if people cant eat their history and make some kind of living from preserving their sites, they will use them in other more destructive and profitable ways.

Having thought long and hard about both cultural heritage loss and alleviating poverty, I have started the Sustainable Preservation Initiative(“SPI”). Our People not Stones paradigm seeks to preserve the world’s cultural heritage by providing sustainable economic opportunities to poor communities where endangered archaeological sites are located. SPI believes the best way to preserve cultural heritage is creating or supporting locally-owned businesses whose success is tied to that preservation. thereby lifting communities from poverty and providing a powerful economic incentive to ensure that these sites remain intact, visitable and available for continued study.

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The potential of community-based economic development and preservation is enormous. In our first project at San Jose de Moro, Peru, we created over 40 jobs with an investment of around $40,000, a record that Reuters financial columnist Felix Salmon called “impressive”. Looting and encroachment have ceased, economic activity in the local community has increased, and for the first time local governments are utilizing the site to generate jobs and working to preserve their cultural assets.

Unfortunately, few people know of either the great poverty of these communities, or of the loss of their archaeological sites. And those that do know have few ways to help solve these enormous problems. So we have decided to try a crowdfunding campaign to generate awareness of the problem, allow people to contribute to its solution, and to track the actual results of the paradigm. We believe that crowdfunding has a critical role in saving sites, transforming lives, empowering entrepreneurs and alleviating poverty. A grassroots campaign to help people on a grassroots level.

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Special visitor in the Artifact Lab

If you ask me, there is always something interesting going on in the Artifact Lab, and yesterday was no exception. If you have been following the Artifact Lab blog, you will know that we have been working on one of the mummies in our collection, who we refer to as PUM I. PUM stands for Philadelphia University Museum, and he is PUM I because he was the first mummy from our collection to be autopsied, back in 1972. Although the autopsy was organized and sponsored by the museum, it involved many outside researchers, and until very recently, we hadn’t been able to track down any detailed reports or records about the event.

PUM I before (left) and after (right) his autopsy in 1972.

PUM I before (left) and after (right) his autopsy in 1972. He has since been removed from his coffin for conservation in the Artifact Lab.

This all changed a few weeks ago-thanks to input from Curator of Physical Anthropology Dr. Janet Monge, Head Conservator Lynn Grant, and assistance from Archivist Alex Pezzati, I managed to track down the person who performed the autopsy – well known paleopathologist Dr. Michael Zimmerman – and locate more records and some photos of the autopsy. I actually kind of stumbled upon the photos, along with a bunch of newspaper clippings from 1972, in the University Archives.

Photo from the 1972 autopsy. Dr. Michael Zimmerman (left) cuts into the mummy's wrappings with a Stryker saw, assisted by Dr. Aidan Cockburn (center) and Dr. Al Ryman (right).

Photo from the 1972 autopsy. Dr. Michael Zimmerman (left) cuts into the mummy’s wrappings with a Stryker saw, assisted by Dr. Aidan Cockburn (center) and Dr. Al Ryman (right).

One of the best parts of all of this is that Dr. Zimmerman lives in the Philadelphia area, and upon contacting him, he offered to visit us to answer some of our questions. A retired pathologist and professor of anthropology at Villanova, Dr. Zimmerman also teaches a class each year here at Penn. Yesterday, he paid a visit to the Artifact Lab, and to PUM I, who he hadn’t seen since the procedure over 40 years ago.

Dr. Zimmerman examines some of PUM I's remains, 40 years after the autopsy.

Dr. Zimmerman examines some of PUM I’s remains, 40 years after the autopsy.

A group of us from the Conservation department and the Egyptian section assembled in the Artifact Lab to greet Dr. Zimmerman.

Members of the Egyptian section speaking to Dr. Zimmerman around PUM I's remains.

Members of the Egyptian section speaking to Dr. Zimmerman around PUM I’s remains.

He told us a bit about his background, how he moved from pathology into paleopathology, and recounted details of PUM I’s autopsy and the scene (it was called a three-ring circus by one person) at the museum that day. As you can see from the old photos, was witnessed by a large crowd of people, including members of the media and even a class of visiting third-graders and their teachers!

Two different newspaper clippings from 1972-one taken during the procedure (left) and one taken just before (right)

Two different newspaper clippings from 1972-one taken during the procedure (left) and one taken just before (right)

Dr. Zimmerman told us that they learned a lot from this procedure and went on to autopsy several other mummies in our collection (PUM III and PUM IV). In his career, he has examined between 200-300 mummies from all over the world, and some of this work was recently featured in the Washington Post. He also spoke a bit about how these types of examinations have changed a lot since 1972 – much more information can be recovered today using almost completely non-invasive procedures, including CT-scanning. He said that if they had been able to CT scan PUM I’s remains, that they likely would not have performed the autopsy at all. CT-scanning technology was only being developed in the early 1970′s, and was used for the first time to examine a live patient’s head the same year PUM I was autopsied – it wasn’t used to examine ancient remains until much later.

This has been an exciting development, and we are grateful to Dr. Zimmerman for his willingness to visit us and to help us reconstruct the history of this mummy. All of this is important for our ongoing work to conserve PUM I for future examination, research, and exhibition.

 

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Un Gran Exito

Luis Reina, director of the Copan Sculpture Museum, accepts his Workshop Certificate from Dr. Loa Traxler

Luis Reina, director of the Copan Sculpture Museum, accepts his Workshop Certificate from Dr. Loa Traxler

That’s how they say “A big success” in Honduras.  I learned that last week in Copan, the site where Penn Museum has been involved for over 25 years.  I went to Honduras in mid February with other Museum staff members (Dr. Loa Traxler, Bob Thurlow, and Tessa de Alarcon) for two purposes:  to see the archaeological artifacts we’d borrowed for our Maya 2012: Lords of Time exhibition home safely; and  to present a three-day workshop on conservation to local cultural heritage professionals.

Penn Museum has a long, proud history of capacity building in host countries – providing logistic and material support to our colleagues in less-developed countries where we excavate or study.  The Penn projects led by Dr. Robert Sharer and those carried out by other foreign archaeological teams such as Harvard University have cooperated with local heritage preservation specialists to produce an archaeological park and study center which are showplaces of what can be done even with limited resources (see my colleague, Tessa de Alarcon’s recent blog post).  But now we were branching out beyond Copan.  Part of our loan agreement with the government of Honduras included a clause that we would provide a conservation workshop for staff from Honduras’ Institute of Anthropology and History; Loa, Tessa, and I were there to make that happen.  (Bob Thurlow who had had to spend three harrowing days shepherding the return shipment through customs got to come back to work a week earlier)

One of the Workshop sessions

One of the Workshop sessions

Twenty-seven heritage specialists (ceramics conservators, architectural preservationists, regional archaeological administrators, collections managers, etc) from all over Honduras spent three days with us in Copan, discussing material preservation (why artifacts deteriorate and how to slow it), field conservation (retrieving fragile artifacts safely from archaeological deposits), and collections management (how to store, study, exhibit, and travel artifacts in the best possible way for their future survival).  The Collections Manager from Copan’s Regional Center for Archaeological Investigation (CRIA), Norman Martinez, who helped us make all the arrangements was incredibly excited in advance of the workshop, insisting that we title it ‘the first Workshop on Archaeological Conservation .

Top right: Tessa de Alarcon prepares props for the 'excavation.  Top left: some of our fake Maya artifacts.  Bottom right: the excavation begins.  Bottom left: participant signaling her satisfaction with two successfully lifted fragile artifacts

Top right: Tessa de Alarcon prepares props for the ‘excavation. Top left: some of our fake Maya artifacts. Bottom right: the excavation begins. Bottom left: participant signaling her satisfaction with two successfully lifted fragile ‘artifacts’

Until we started talking to the participants, we hadn’t realized that Penn Museum was blazing a new trail.  Many of these life-long workers in cultural heritage had never before had a chance to share information or attend a professional development event like this; several had never before been to Copan, the country’s premier cultural attraction.  In addition to powerpoints on the workshop topics (presented in Spanish or (in my case) English with Spanish translation by Tessa de Alarcon), question-and-answer sessions, tours of storage and the archaeological site, we also did a little hands-on work.  Tessa and I produced an approximation of the kind of fragile painted stucco remnants that have been found in some Maya sites and let the participants try their hands at excavating them and then using conservation techniques to get them safely out of the ‘ground’ (or, in this case, foil cake pans full of soil).  Everyone had fun with this.  By the end of the three days we all agreed that we’d learned a lot.  Penn Museum has a lot to be proud of; initiatives like this one show that our future can be every bit as impressive as our past.  All in all, a great success.

Posted in Americas, Conservation, Cultural Heritage Preservation, Maya | Leave a comment

Ur Digitization Project: February 2013

Archival documents of the month
Spotlight on Maps of Excavated Domestic Areas EM and AH
Published in Antiquaries Journal 1927, 1931, and in Ur Excavations volume 7

My last blog post concerned the questions of the standard house in the period most revealed in Woolley’s excavations. Now I want to cover the larger concept of town planning in that period, known as the Isin/Larsa – Old Babylonian, very roughly dated 2000-1700BCE. To do that, we have to look at the entire area and so I concentrate on two maps, one drawn up in the 1926-27 season of area EM, and the other in the 1930-31 season of area AH.

Ur excavation area EM, domestic architecture: published in UE7 1976, plate 122

Ur excavation area EM, domestic architecture: published in UE7 1976, plate 122

Area EM probably housed temple workers, as evidenced by texts found in the buildings. Area AH, however, may have been a kind of financial district. It was by far the largest exposure of houses at the site, revealing more than 50 structures over an area in the range of 8,000 square meters. Exact numbers are hard to determine since there are partial houses on the edges of excavation and the maps are at a scale that make it difficult to measure precisely. Nonetheless, the area is large enough to address questions of access, drainage, traffic flow and the like.

Ur excavation area AH, domestic architecture: published in UE7 1976, plate 124

Ur excavation area AH, domestic architecture: published in UE7 1976, plate 124

Woolley felt that the wandering streets with frequent blind alleys meant there was no municipal planning. This is almost certainly true. Buildings appear to have been constructed in an agglomerative fashion, being created to the space they could manage, leaving streets to wander as they might. Still, there was some concern for overall access and Woolley noted that when streets met, the buildings at the corner tended to have rounded edges. He believed this was in concern for pack animals that might be going through the streets – if a loaded donkey caught its wares on a sharp corner of a building, it could be disastrous.

Street levels were often much higher than floor levels inside houses. This was probably due to people sweeping their floors out onto the street, dumping dirt and refuse that then packed down into the street surface, raising it up over time. Eventually, house floors would also be raised and eventually, roofs as well. This is the general process that creates an ancient tell, a mound that builds up particularly as mud brick architecture is built and rebuilt through time.

During excavation, Woolley numbered buildings as they appeared. The notes show 18 original numbers in area AH (there may be others though at the moment I have not found one above 18), but in later analysis many of these were found to contain several individual houses (connecting rooms with an opening to the street, but not to rooms of a separate house). The final map of AH shows the houses as Woolley analyzed them. He numbered each house in this final analysis by doors onto the streets, with odd numbered houses on one side and even numbered on the other. This was the method found in a normal English village, and Woolley even named the streets of Ur mostly after streets in English towns.

Most analysts (for example Van De Mieroop in Society and Enterprise in Old Babylonian Ur 1992, p. 122) suggest that Woolley used street names from Oxford, where he attended university. But most of the names do not occur in that city. Many more do occur in the city of Bath, where Woolley bought a house in 1920. His father was from the West Country and wanted to move back there, so Leonard and his brother, Cathcart, purchased the house for him on Bathwick Hill. It became the family home for many years to come. Furthermore, Woolley’s sister Edith lived nearby in Midsomer Norton and Leonard was the godfather of her daughter, Margaret. He spent much time in Bath and surrounds, particularly between field seasons in 1926, because a general strike in that year made it difficult to travel between Bath and London. When he returned to excavations in the 1926-27 season, the year he uncovered area EM, he had the streets of Bath fresh on his mind.

Street names assigned by Woolley in area EM:
Oxford   Bath
Quiet St                   N             Y
New St                     N             Y
Gay St                      N             Y
Quality Ln              N             N
Closed Ln               N             N

Street names assigned by Woolley in area AH:
Straight St              N            N
Church Ln              Y             Y
Paternoster Row   N            N
Broad St                  Y             Y
Bazaar Alley           N            N
Boundary St           N            N
Store St                   N            N
Old St                      N            N
Niche Ln                 N            N
(letters Y or N indicate whether the street name appears in Oxford or Bath respectively)

Of course, not all street names at Ur came from Bath. Some were clearly designated for features found in or around the street itself, in particular Niche Lane where Woolley says “… there has been cut into the thickness of the wall of the Boundary Street house a semicircular recess which gives its name to the lane…” (Ur Excavations 7, p.17). Others, such as Store Street and Bazaar Alley were almost certainly so named because Woolley believed he had found commercial installations along those roads. These are in area AH. Most of the EM streets, however, match with the streets in the centre of Bath. Many in AH are common names, particularly Broad Street. There is a Broad Street that runs through Oxford University, so it is possible Woolley derived it from that city, and others he may have derived from London (Hackney and Bethnal Green) where he was born and raised.

Turning Ur into something of an English town may seem a little counter to the spirit of the ancient place, but it assisted in analysis, making it easier to locate a building as an analytical unit rather than using haphazard numbers scattered across the vast excavation space. The main problem now is that the old house numbers of the field notes are not always correlated to the newer analytical sequence. Woolley must have had correlations somewhere, but any such he wrote down are no longer in our archives. This is one of the challenges of the Ur project – placing the field notes into context with publications and with every object associated with that context.

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A Message from Copán Ruinas

I am in Copan Ruinas, Honduras along with Lynn Grant and Loa Traxler working on the final touches for a workshop on field conservation.  This is my first time in Honduras and therefore in Copan.   The site is certainly a marvel, but I expected it to be.  The real surprise has been the CRIA (Centro Regional de Investigaciones Arqueológicos).  Here are some of my favorite things so far wandering around this place.

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1)    Storage. This space is fabulous not only because the things inside are amazing but because of the space itself.  I’d show a picture if I could, but no photography, so you’ll just have to imagine from my description.  It’s sorted by material (so very smart) with climate-controlled areas (!!!) for fragile organic materials, and is extremely well organized.  It is also full of amazing artifacts.  My favorite is the stone storage because there is row upon row of beautifully carved stone blocks.

2)    The giant sandbox: this is used by a few projects here to assemble mosaic sculpture from the site.

The CRIA Sandbox

The CRIA Sandbox

 

The CRIA Sandbox in use

The CRIA Sandbox in use

 

3)    The conservation lab: that’s right there is a real conservation lab, with lots of space, good light, and a lot of the basic infrastructure already in place.

The Ceramic Lab

The Ceramic Lab

4)    All the work left to be done.  So that might sound like a silly thing to include, but there is a plethora of sample material, and objects just waiting for someone to look at.

Storage boxes with sample material

Storage boxes with sample material

Posted in Conservation, Cultural Heritage Preservation, Maya, Museum, World | Tagged , | 1 Response

Mr. Kintner meets TedX

Recently the Archives department had a request for footage of Morocco, which turned out to be for a film about current day and historic use of water in Rabat. Once again Watson Kintner’s beautiful Kodachrome footage (1951, etc.) has had another outing in the world, this time returned to Rabat where the filmmaker has presented his film at a TEDX  Morocco talk.

Posted in Archives, Cultural Heritage Preservation, Museum, Tech, The Mediterranean, video, Web | Tagged , , , , | Leave a comment

Digital Archaeology – Uncovering a Website

Digital-Archaeology

Sometime in 2009, before I came to the museum, there was a major migration in both server, platform and URL of the Museums’ website.  These were necessary and progressive moves in the ever changing technological landscape, however, it was not without cost.  In the same way time and earth might cover  over the traces of an extinct civilization we had to throw an assortment of great (but dated) websites into archival mode in our /sites directory. Many, if not all, of these websites were now completely or partially broken due to the change in URL and directory structure and some rendered quite differently in modern browsers.

Knowing we have some 30 research and exhibit websites with fantastic content, dating back to 1996 or before, languishing in relative obscurity I’m hoping to dig one up each month, perform some digital conservation and put them back on display in the digital museum that is the World Wide Web.

For my first foray into Digital Archaeology I chose to dig up our “A New Look at Ancient Egypt” website. After years of neglect, browser advances and server upgrades this website no longer functioned properly. It had rollover images that didn’t work, scores of broken links and most recently a 404 error message before and after content due to some faulty Server Side Includes.

This week I went through and fixed all the glaring issues on the some 49 individual pages of the Ancient Egypt website. I also added links from the objects cited in the website to their records in our collections database for further information about the objects.  One thing I didn’t fix is the cringe-worthy homepage of the website , I left that in tact in honor of the website creator and for the sake of our museums’ digital heritage.

Once you get past the intro page of the website you will find that the site is full of great content about ancient Egyptian life, pharaohs, Egyptian Gods & Goddesses, Penn Museum expeditions to the region and the objects they brought back here to Philadelphia. The Gods & Goddesses main page is a fantastic visual guide to the pairings and offspring of the Ancient Egyptian Gods & Goddesses.

I hope you find the website informative and educational and I’ll be back on the blog to discuss my next website dig and my further adventures in Digital Archaeology.

Photo above: Archives # 80966

 

Posted in Collection, Egypt, Exhibits, Web | Tagged , | 1 Response

A Q&A “In the Artifact Lab” with Molly Gleeson

Molly GleesonOne of the most interesting new Museum projects is our current exhibition, In the Artifact Lab: Conserving Egyptian Mummies. It’s unique in a number of ways, but notably for the fact that you can actually talk to the experts as they conduct live conservation work right before your eyes. As a coordinator for our social media at the Penn Museum, I’ve been having a great time sharing stories and photos from this exhibition, and wanted to learn a little more about its background. I spoke about it with Molly Gleeson, Project Conservator in the Artifact Lab – here’s what she had to say.

Can you tell me what “In the Artifact Lab” is, and how it got started?

“In the Artifact Lab: Conserving Egyptian Mummies” is an exhibition that highlights the conservation of Egyptian mummies and related funerary items. The main feature of the exhibit is a glass-enclosed conservation lab, which allows visitors the opportunity to see a conservator (often me!) at work examining objects and carrying out conservation treatments. Twice a day, the conservator is available to answer questions and to talk about the ongoing work in the lab. Outside of the lab, there are artifacts on display and several interactives, including a digital microscope station and a Smartboard, which we update regularly with information about what we’re working on.

How did this get started? Well, the museum currently has five conservators on staff, including one Fellow, as well as several interns. Most of our department’s work is being carried out in temporary spaces until the museum’s conservation labs are renovated. There isn’t really enough room in these temporary spaces to conserve one mummy or one coffin, let alone a big group of these objects. So, this led to the idea for this project—use a gallery as a temporary conservation space to treat some of these bigger items, and allow the public to view the day-to-day work. This “open conservation lab” concept is a recent trend in museums, and we’re really excited to offer Penn Museum’s unique version to our visitors. Our Head Conservator, Lynn Grant, wrote a bit more about this in a previous post.

How did you get involved in artifact conservation?

I am a conservator with a Master’s degree in Art Conservation. In graduate school, I specialized in “archaeological and ethnographic objects” and most of my professional experience is related to working on these types of materials. I also have an undergraduate degree in art conservation, and several years of experience working in museums and on archaeological excavations. I first became interested in this field because I was interested in art and archaeology, but also in pursuing a career in the sciences-art conservation seemed to be the perfect combination.

What about “In the Artifact Lab” have you enjoyed the most so far?

It has been a lot of fun getting to talk to the public every day. I’m used to working “behind the scenes” and often in the basement or a space tucked far away in the museum. So being front-and-center, working in public view, is a huge change. Talking to people on a regular basis has also made my experience working on these artifacts very enriching-conservation always involves research, but usually directed towards specific details about objects. Here, in the Artifact Lab, I’m asked questions every day about all sorts of things, and I’m inspired and challenged by our visitors to dig deeper into details I would otherwise not focus on. We’re featuring some of these FAQs on our companion blog.

If you’re curious to learn more, you can come and have your own Q&A with Molly or one of her fellow conservators. Stop in for their Q&A periods Tuesdays through Fridays, from 11:15 to 11:45 am or 2:00 to 2:30 pm, or Saturdays and Sundays, from 1:00 to 1:30 pm or 3:30 to 4:00 pm.

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Uncrating a Masterpiece: The Lod Mosaic has Arrived!

This past Saturday, January 26th, the centerpiece of our new exhibit, Unearthing a Masterpiece: A Roman Mosaic from Lod, Israel arrived and work began to set the pieces into place.

Head Conservator Lynn Grant observes from the 35 ft. platform over the Warden Garden.

Head Conservator Lynn Grant observes from the 35 ft. platform over the Warden Garden.

The mosaic is so big, that it is shipped in 7 crates.  The crates themselves are so large, that they could not be brought in through the Museum’s loading dock because they are too wide to move through the museum.  Instead a platform, 35 feet above the Warden Garden Koi pond, was built that extended through the sliding wooden doors that lead to the grand staircase and the 3rd floor Pepper Gallery where the mosaic will be on display until May 19th.

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100 ft. tall crane lifts a crate from South St. to the platform.

The project required closing South Street in front of the Museum, so that a 100 ft tall crane could be positioned to lift each of the seven crates from the street to the platform.

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One of seven crates being skillfully lowered into place.

The entire process took approximately six hours (not counting the weeks of planning and preparation).

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The large sliding oak doors, original to the 1899 building, were restored in 2011.

Once inside, the crates were opened in the gallery, where a team of object handlers pieced together the oversized puzzle.  Two conservators from Israel then spent the next four days seamlessly fitting the pieces back together.

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The mosaic being uncrated and pieced together.

Come join us on Sunday, February 10th for the ribbon cutting ceremony at 1:00 pm followed by a lecture and family activities.

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Over the wall!

 

 

 

 

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Registrars in Action: Rock, Paper, Scissors, Sledgehammer

If you have been to our Museum, odds are you’ve seen people carting around objects or rolling large crates through galleries and mysteriously disappearing behind locked doors.  Most likely, those people were Registrars.  When I’m asked what Museum Registrars do, I usually say we deal with record keeping and moving objects in, out, and around the Museum—object donations, loans, exhibitions, and the like.  In the course of all that moving we sometimes run into obstacles–it’s not hard since our building is over 100 years old!

Here’s the story of how we got a 10-foot tall replica stela into the exhibition MAYA 2012: Lords of Time and back out again when the exhibit closed.

We began installing MAYA 2012 a month before the exhibition was set to open in May.  To save our backs and our time, we were lucky enough to have a crane haul several of the largest crates over the wall outside our main entrance.

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Lifting the crated stela over the Museum wall

Here’s the 10-foot tall stela inside a 13-foot crate being lifted from a flatbed truck and placed inside Warden Garden.  From there we put the crate onto dollies and rolled it into the gallery just inside the main entrance.  No problem.

The exhibition is now closed.  Most of the objects have either returned to storage or have been shipped back to their lenders.  One of the last objects to leave was this rather large stela.  Cue obstacles.

This weekend we are installing the Lod Mosaic a nearly 2,000 year old mosaic that is over 300 square feet.  To get the enormous mosaic into the building we have constructed a scaffolding platform projecting from the main entrance.  With the scaffolding in the way, the 13-ft stela crate cannot leave out the main entrance from which it came.  Instead it must exit via our loading dock.

Loading dock, you say? Then it’s equipped to handle really large objects, right?  Yes, in theory.  In reality, the space between our loading dock and the building behind the Museum prevents larger trucks from docking.  To combat this, we built a ramp from the lower-loading dock to the driveway–when the truck is too large we roll the crate from the dock to the truck.  It’s usually that simple.

Did I mention this stela crate is not only long, but also wide?  Too wide for our ramp–luckily the side rails of the ramp are removable. (Or so we thought.)  One rail comes off easily, the other refuses to budge.  As the shipping handlers watch, wait, and tap their wristwatches, we quickly gather tools and muscle-power.

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Loans Registrar, Anne Brancati, tries to raise the rail, while Collections Assistant, Stephanie Mach wields a sledgehammer

Borrowing a sledgehammer from Facilities we bang the rail hoping it will loosen.  It doesn’t of course, not even an inch.  Fast forward 20 minutes:  Someone has the bright idea that the socket in which the rail sits has fused to the rail with ice.  Mind you, it’s January and about 20 degrees outside. Ah ha.

We find a heat gun (basically a really hot blow dryer) and blast the base of the rail with hot air.  In less than a minute the ice melts, the rail loosens, and we pull it off effortlessly.  Finally, we are able to roll the crate up the ramp, to the truck, and watch that lovely stela as she drives off into the January sunset.

In the end, Paper beats Rock, Scissors beat Paper, and Heat Gun beats all for the win.  So next time you wander through our Museum, take a second to think about how some of those oversized, extremely heavy, or otherwise odd-shaped objects got there.  Chances are there’s a pretty good story behind it, and perhaps at that very moment there’s a Registrar wielding a sledgehammer somewhere behind the scenes.

Posted in Maya, Museum | Tagged , | 1 Response