Nicholson Museum Research Articles

Unexpected legacies

Abstract William J. Woodhouse was honorary curator of the Nicholson Museum, University of Sydney, from 1904 until 1937. During his curatorship he undertook a significant acquisition of plaster casts to enhance the representation of Greek and Italian sculpture alongside the existing ceramics collection. At its height the collection included well over 250 plaster casts and reproductions. Today the majority of the cast collection has been deaccessioned and, instead, his personal collections of ceramic sherds and photography, donated after her father’s death by his daughter Liska Woodhouse, have become Woodhouse’s curatorial legacy. This paper introduces Woodhouse’s role as curator, and examines each of his unique collections to analyse how Woodhouse himself conceived of his legacy and the reality represented in the Nicholson collection today. Central to this paper is an exploration of how collecting priorities and the perception of authenticity and narrative value changed in museums of antiquities during the twentieth century.

‘The Wrestlers’: A Roman mosaic from North Africa

In 2018 the Nicholson Museum, The University of Sydney, acquired a small Roman mosaic known as ‘The Wrestlers’ (NM 2018.135). The mosaic is of North African origin and is almost certainly the product of a local Tunisian workshop during the 3rd century, a period of intense urbanisation and wealthy local patronage in the Roman provinces. The mosaic depicts two athletes in the final stages of a pankratic competition and is framed by a distinctive red and black border, parallels for which are found in mosaics from Gightis near modern Boughrara in southeastern Tunisia. This paper analyses the mosaic within the context of decorative mosaic art and places it chronologically and stylistically within the broader scope of the mosaic industry in Africa Proconsularis.

CVA – NICHOLSON MUSEUM 2 - M. Turner, A. Cambitoglou Corpus Vasorum Antiquorum. The Nicholson Museum, The University of Sydney. Red Figure and Over-painted Pottery of South Italy. The Nicholson Museum Fascicule 2. Pp. 111, b/w & colour ills, pls. Sydney: The Nicholson Museum, The University of Sydney, 2014. Cased, AUD$100. ISBN: 978-1-74210-329-7.

<i>CVA</i> – NICHOLSON MUSEUM 2 - M. Turner, A. Cambitoglou Corpus Vasorum Antiquorum. The Nicholson Museum, The University of Sydney. Red Figure and Over-painted Pottery of South Italy. The Nicholson Museum Fascicule 2. Pp. 111, b/w &amp; colour ills, pls. Sydney: The Nicholson Museum, The University of Sydney, 2014. Cased, AUD$100. ISBN: 978-1-74210-329-7.

The value ofCTimaging ofHorus in determining the method of mummification and the sex of the mummy

Radiology was used to determine the sex of a child mummy who had conflicting records based on two different translations of a name written in a section of papyrus inserted into the mummy wrappings and also to determine the type of mummification used to preserve the body. Ancient texts of Herodotus and Diodorus Siculus were consulted for references to mummification, and Nicholson Museum records provided details of the mummy which was examined at Central Sydney Imaging using Toshiba Aquilion 64 CT machine (Toshiba Medical Systems Corporation, Tochigi, Japan). The original CT scan data were loaded into a Vitrea 2 (Vital Images, Minnetonka, MN, USA) workstation at the Victorian Institute of Forensic Medicine, Melbourne, Australia, for further study. The scans showed that the child had been elaborately mummified according to ancient descriptions albeit with one variation. The provenance of the child was unknown but stylistically appeared to be from the Greco-Roman Period of ancient Egypt. Interpretation of the CT images determined that the child was male, had died of unknown cause and had been excerebrated and eviscerated post-mortem when the heart was removed. Unexplained inclusions were identified within the abdomen and thorax. Broken and displaced ribs showed evidence of a previous endoscopic investigation. This study provided evidence that CT scanning was an excellent non-invasive modality to evaluate ancient mummies in its ability to demonstrate fine anatomical detail and identify post-mortem changes. The study underlined the role of using current medical practice to determine sex rather than relying on ancient texts and uncorroborated opinion.

From Tarporley to Dolon: The Reattribution of the Early South Italian “New York Goose Vase”

From Tarporley to Dolon: The Reattribution of the Early South Italian “New York Goose Vase”

Who's That Lying in My Coffin? An Imposter Exposed by 14C Dating

In the 19th and early 20th centuries, many museums acquired Egyptian coffins containing mummies from private donors who bought them from dealers in Egypt. Owing to the unknown context of such acquisitions, it cannot be assumed that the mummified individual inside the coffin is the same person named on it. Radiocarbon dating is a key diagnostic test, within the framework of a multidisciplinary study, to help resolve this question. The dating of an adult mummy in the Nicholson Museum at the University of Sydney was therefore checked using 14C dating. For over 150 yr, mummy NM R28.2 was identified as Padiashaikhet as per his coffin, dated to the 25th Dynasty, about 725–700 BC. 14C results from samples of linen wrappings revealed that the mummy was an unknown individual from the Roman period, cal AD 68–129. The mummification technique can now be understood within its correct historical context.

Chocolate-on-White Ware: Further Observations and Radiocarbon Dates

Aus dem Inhalt: M. Bietak, Two Ancient Near Eastern Temples with Bent Axis in the Eastern Nile Delta; M. Bietak, I. Forstner-Müller, Ausgrabungen im Palastbezirk von Avaris. Vorbericht Tell el-Dab´a/´Ezbet Helmi Frühjahr 2003; P. M. Fischer, Chocolate-on-White Ware: Further Observations and Radiocarbon Dates; P. Fuscaldo, The Base-Ring Wares from the Palace Complex at Tell el-Dab´a (´Ezbet Helmi, Areas H/III and H/VI); H. Huber, M. Bichler, A. Musilek, Identification of Pumice and Volcanic Ash from Archaeological Sites in the Eastern Mediterranean Region; P. Kaplony, "Er ist ein Liebling der Frauen" - Ein "neuer" König und eine neue Theorie zu den Kronprinzen sowie zu den Staatsgöttinnen (Kronengöttinnen) der 1./2. Dynastie; R. S. Merrillees, The First Appearances of Kamares Ware in the Levant; E. P. Pusch, St. Jakob, Der Zipfel des diplomatischen Archivs Ramses´ II.; Th. Schneider, Foreign Egypt. Egyptology and the Concept of Cultural Appropriation; A. Spalinger, The Battle of Kadesh: The Chariot Frieze at Abydos

An Analysis of Human Skeletal Remains from two Middle Bronze Age Tombs from Jericho

Hundreds of tombs have been excavated at Jericho yet publications of the osteological findings remain minimal. This paper presents the results of osteological analyses of two Middle Bronze Age tomb groups from Jericho currently curated by the Nicholson Museum, University of Sydney. Following a brief description of the burial practices implemented during the Middle Bronze age at Jericho, the excavation and subsequent curation of the human remains are outlined. The impact of burial practices and post-excavation treatment of the remains on skeletal preservation is discussed. While assessment of the remains is limited due to relatively poor preservation, evidence of joint disease, neoplastic disease and oral pathologies are noted. The findings augment our current understanding of people's health in the past at Jericho.

APHRODITE AND HER BIRDS: THE ICONOLOGY OF PAGENSTECHER LEKYTHOI

Abstract Five previously unpublished fourth-third century BC black figured Pagenstecher lekythoi are the catalyst for this iconological interpretation of the purpose and decoration of these enigmatic little oil vessels. Two are in the Nicholson Museum in Sydney and three in the Ure Museum in Reading (Figures 1–5; for their details see Appendix 1). All five are decorated with birds of various types and sizes. This paper discusses the prevalence of birds on Pagenstecher lekythoi and looks to identify them. In so doing, it looks at the problems associated with traditional iconographic approaches to such identifications. It then argues for a connection between the birds on Pagenstecher lekythoi and Aphrodite. Finally, it proposes a link between the goddess and the iconography of the lekythoi in general, as well as with their suggested contents and purpose.

Classical Art in the Nicholson Museum, Sydney. By Alexander Cambitoglou and E. G. D. Robinson.

<i>Classical Art in the Nicholson Museum, Sydney</i>. By Alexander Cambitoglou and E. G. D. Robinson.

A Late Eighteenth Dynasty Statue in the Nicholson Museum, Sydney

Publication of a little-known private statue dating to the late Eighteenth Dynasty, donated to the University of Sydney's Nicholson Museum.

A Late Eighteenth Dynasty Statue in the Nicholson Museum, Sydney

A Late Eighteenth Dynasty Statue in the Nicholson Museum, Sydney

A Geometric Greek Horse in the Nicholson Museum

Although its origins are unknown, this small bronze statuette could well have come from Olympia, judging by its patina and by eight very similar figurines found in this sanctuary. These animals, which are distinguished by an exaggeratedly large head, and by the very noticeable contrast between the substantial body and the feet, which are considerably wider than they are thick, are typical products of the craftsmen of Olympia.

Analyses of British and Irish Early Bronze Age Axes in the Nicholson Museum, Sydney

Analyses of British and Irish Early Bronze Age Axes in the Nicholson Museum, Sydney

Iranian Bronzes in the Nicholson Museum, University of Sydney

Iranian Bronzes in the Nicholson Museum, University of Sydney

Naval Epitaphs from Misenum in the Nicholson Museum, Sydney

Among the inscriptions acquired in Italy by Sir Charles Nicholson in the 1850's or 1860's is a small group of sepulchral texts referring to seamen of the Praetorian Fleet at Misenum.These texts were published in 1945, with a brief commentary, by Mr. G. R. Manton, to whom I am indebted for first drawing my attention to them. They had been previously published, very inadequately, by Reeves in the Catalogue of the Museum of Antiquities of the Sydney University (1870), and four of the seven which compose the group are included (in one case from a very imperfect copy) in CIL x. Of these two are described as found ‘in agro Puteolano’, one ‘in agro Neapolitano’, and one at Misenum. Of the provenience of the remaining three and their history before passing into the hands of Sir Charles Nicholson no record can be traced. It is reasonable to suppose that, like other inscriptions in the collection, they come from the Naples region and ultimately, directly or indirectly, from the naval cemetery at Misenum.

Attic Vases in Australia and New Zealand

A growing interest in the study of archaeology has led in recent years to very substantial developments in the several collections of antiquities in Australia and New Zealand. Pottery has perhaps made the greatest contribution to this expansion, and the total amount of available material here has reached a point at which definitive publication in the Corpus Vasorum has become well worth while. Provision for this has already been made, but in the meantime it seemed to me that some account of the Attic vases in this part of the world might be of service and interest to scholars, since our collections by reason of their remoteness are not well known, although they contain several distinguished pieces, including a few which have been lost to sight for some time. For the sake of brevity, and because they are likely to be of wider interest, I confine myself here to Attic black-figure, red-figure and white-ground.The main Australian collection of Greek vases is housed in the Nicholson Museum at the University of Sydney. The nucleus of this collection was acquired, some 90 years ago, by Sir Charles Nicholson, Chancellor of Sydney University from 1854 to 1862, during his travels in Italy and was catalogued by Miss Louisa Macdonald in 1898. Considerable additions have since been made by gift or purchase, as may be seen from a comparison between the vases listed by Miss Macdonald and those mentioned in the second edition of the Handbook to the Nicholson Museum, published fifty years later.

Handbook to the Nicholson Museum, Second Edition. By A. D. Trendall.

Previous articleNext article No AccessBook ReviewsHandbook to the Nicholson Museum, Second Edition. By A. D. Trendall.Dorothy Burr ThompsonDorothy Burr Thompson Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by American Journal of Archaeology Volume 53, Number 4October–December 1949 The journal of the Archaeological Institute of America Article DOIhttps://doi.org/10.2307/501066 Copyright © 1949 by the Archaeological Institute of America. All rights reserved.PDF download Crossref reports no articles citing this article.

A Sakonides in Sydney

Of the four cups signed by the painter Sakonides (ABS pp. 16–17 note 3; JHS 52 p. 201; Rumpf, Sakonides) two—those in Munich and Berlin—are lip-cups decorated on each half of the exterior with a female head in outline—‘ head-cups ’ (JHS 52 pp. 174–5) or ‘ little mistress cups ’ (AJA 1927 p. 346). Other head-cups, unsigned, are in the same style and must be by the same hand (ABS loc. cit. and JHS 52 p. 201). A cup in Sydney is also by Sakonides. It is described by Louisa Macdonald in the Catalogue of Greek and Etruscan Vases in the Nicholson Museum, University of Sydney (Sydney, 1898: no. 39), and I owe a photograph, and permission to publish it, to the kindness of Prof. J. Enoch Powell (Fig. I). It is specially close to the unsigned side of the Munich cup (Rumpf Sakonides pl. 28, d) and to cups in London (B 402 : CV He pl. 12, 10) and Orvieto (291: phot. Armoni, whence Rumpf pl. 28, b). One of the particulars it shares with them is the small reserved space right in the middle of the lower termination of the peplos: it represents the bare arm, as may be seen from the London cup B 401 (CV He pl. 14, 9), but seems strangely misplaced. The inscription on the Sydney cup, +ΑΙΡΕΚΑΙΓΙΕΙΤΕΔΙ, recurs on the signed cup in Munich, as well as on contemporary cups in Cambridge and the Vatican (see Raccolta Guglielmi p. 54).

An Egypto-Karian Bilingual Stele in the Nicholson Museum of the University of Sydney

One of the most interesting and valuable of all the objects-which were presented half a century ago by the late Sir Charles Nicholson to the University of Sydney, for the purpose of forming a nucleus of a “Museum of Antiquities”, is a stele inscribed in two kinds of writing, Egyptian and Karian.