Category: Collections

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Culture Areas of North America-the Peabody’s Stuart Travis Mural

Contributed by Ryan Wheeler

The central staircase of the Peabody includes a mural of American Indian life and history titled “Culture Areas of North America” by Stuart Travis (1868-1942). Travis was an accomplished and prolific American artist, illustrator, and designer who studied at the Académie Julian in Paris. His works—mostly drawings and watercolors—appeared frequently in magazines, books, and advertisements in the early twentieth century. Travis first came to Phillips Academy in 1928 to create the mural “History and Traditions of the School and Vicinity” in the Oliver Wendell Holmes Library. He continued to work at Phillips Academy, where he painted a total of three murals; he also designed the stone and wood gate that now leads to the Moncrieff Cochran Sanctuary.

Image of the Stuart Travis mural and central staircase.
Stuart Travis Mural at the Robert S. Peabody Museum of Archaeology. Photography by Gil Talbot.

The Peabody mural measures 13’11” by 10’2” and reflects ideas about anthropology and archaeology in the 1930s and 1940s. Major elements include the Maya Pyramid of the Magician at Uxmal on the left and a totem pole of the Northwest Coast on the right, with a map of cultures areas of North and Middle America occupying a central position, surmounted by six portraits across the top of the mural. Details and insets abound, illustrating artifacts, archaeological sites, ethnographic items, and scenes from Aztec and Maya codices. Illustrations of artifacts are drawn from the British Museum, the Museum of the American Indian (now the National Museum of the American Indian), the American Museum of Natural History, the Robert S. Peabody Museum of Archaeology, as well as several other prominent institutions.

Major Maya archaeological sites are labeled on the central map, but the majority of the map surface only depicts watersheds and topography, suggesting that Travis may have planned to add even more detail to the mural. The shadow of a thunderbird is painted over the central map, with a note explaining the widespread belief in supernatural birds in the Americas. Other details include an inset illustrating details of the Cahokia, Etowah, and Hopewell sites—likely a nod to long-time Peabody Director Warren K. Moorehead’s work. In all, there are over 30 American Indian artifacts illustrated (some in low relief), ranging from an example of Mi’kmaq writing on birch bark to a Tlingit “raven hat.” Many of these artifacts were probably drawn from contemporary books and articles on archaeology, while some may have been suggested by Museum staff. Detailed notes about the artifacts were likely included so the mural could be used as a teaching tool for visitors.

Travis dated the mural 1938, but continued with additions through 1942. The mural was restored in 1997 by Christy Cunningham-Adams through the generous support of the Abbott Academy Association.

Jill Clerkin 2011 Stuart Travis: Artist and Artisan Mismatched with Time. Andover: The Magazine of Phillips Academy 104(3):28-29.

Peter Hastings Falk (editor) 1985 Who Was Who in American Art. Sound View Press, Madison, CT.

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Jacob’s Cavern

Detail of breccia

This blog represents the third entry in a blog new series – Peabody 25 – that will delve into the history of the Peabody Museum through objects in our collection. A new post will be out with each newsletter, so keep your eyes peeled for the Peabody 25 tag!

Contributed by Marla Taylor

The unassuming and muddled looking object below is a piece of loosely formed breccia from Jacob’s Cavern in McDonald County, Missouri.

Breccia from Jacob's Cavern
Breccia from Jacob’s Cavern

Breccia is a type of rock that is composed of broken fragments of other rocks that have been cemented together by a fine-grained matrix – this process can take thousands of years. While this piece is not yet solid rock, it is on the way.  In this case, the matrix (or glue) is ash from thousands of fires that sustained life in the cavern for hundreds of years.

Acting on a tip from a local named E.H. Jacobs, Charles Peabody and Warren Moorehead traveled to Jacob’s Cavern in April of 1903 to examine the site.  Upon arrival, they found a large rockshelter of limestone with hundreds of stalactites and stalagmites, and the floor was covered with a thick layer of fine ash up to 1.5 meters (nearly 5 feet) deep! This ash is most likely the direct result of untold numbers of small fires in the cavern to keep the occupants warm over the years of use.

Peabody and Moorehead excavated the thick layer of ashes in using a careful grid system and uncovered hundreds of artifacts.  The stone tools were primarily projectile points and blades with relatively few large tools like axes.  They also found a ‘considerable’ number of bone needles and awls.  These small bone tools are essential in daily life to create, maintain, and repair clothing and other basic equipment.  The sheer volume of ash and artifacts in the cavern indicates long-term occupation.

All evidence of human occupation – stone and bone tools, food debris – in the cavern was found in the layer of ashes and intermingled with breccia.  And, most notably, many artifacts are visible within the breccia (see the photo below).  This means that they were created, used, and discarded before the formation of the breccia and were left undisturbed for possibly thousands of years.

Detail of breccia
Detail of breccia with stone tools circled in green and bone fragments circled in yellow.

Peabody and Moorehead brought samples of the breccia and hundreds of collected artifacts back to the Peabody in 1903 while excavations continued by Mr. Jacobs for another couple years.  Published in 1904, the report of their work became the first Bulletin published by the Department of Archaeology.  The entirety of this report can be found here.

The work done by Peabody and Moorehead with Jacob’s Cavern became a foundation for later work at the Peabody.  Explore and excavate a little-known site, bring the materials back to Andover for study, publish about that work, and provide invaluable new research and insight into the field of archaeology.

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Reboxing project – Update

A storage bay with a mixture of drawers and boxes

Contributed by Marla Taylor

About six months in and the reboxing project is beginning to take off.  With the help of students and volunteers, 52 drawers have been converted into 86 boxes.  These first months have been spent ironing-out the kinks in the procedure and strategically identifying areas of the collection on which to focus.

The inventories produced from this project have already helped to identify areas of the collection for further attention and have made some objects available for education use.

I am excited to pick-up the pace over the winter!

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Tiny Phillips Academy Museum Harbors Clues to Ancient Origins of Corn

Contributed by Ryan Wheeler

Archaeologist Richard S. MacNeish—known as Scotty—devoted his career to untangling two of the biggest questions of archaeology: when did people begin domesticating plants and how did that act impact and influence the development of civilization? During his tenure at Phillips Academy’s Robert S. Peabody Museum of Archaeology MacNeish led multidisciplinary expeditions to Mexico and Peru to search for the heartland of domesticated maize or corn. Before his death in 2001 MacNeish had searched for the origins of rice cultivation in China, studied early cultures of Belize, and planned to look at wheat domestication in Turkey. Evidence for domestication often could be found in dry caves, where ancient plant remains were preserved. Speaking of his research in China, MacNeish quipped, “I’ve crawled in and out of more caves than a Neanderthal caveman.”

Image of Scotty MacNeish.
Scotty MacNeish reviews excavation profiles.

Despite MacNeish’s indefatigable quest for the origins of the world’s most important crops, answers remained elusive. In Mexico’s Tehuacán Valley, near modern-day Puebla, MacNeish and his team reconstructed ancient environments, devised chronologies, and documented a sequence of corn domestication from tiny, primitive cobs to those that look much like the corn that was growing in the area during the Spanish conquest in the sixteenth century. MacNeish’s suggestion of an early date for corn domestication, however, was met with skepticism, as many archaeologists believed that these crops were developed after significant strides in social organization, urbanism, and the other hallmarks of civilization. A debate ensued, but much of MacNeish’s Tehuacán research was sidelined as other scientists found evidence for even earlier sites of corn domestication in the Mexican lowlands, pushing the dates back to at least 8,700 years ago.

Image of excavators working in Coxcatlan Cave, Tehuacan Valley, Mexico, 1960s.
MacNeish’s 1960s excavations at Coxcatlan Cave, Tehuacán Valley, Mexico.

MacNeish’s collections, preserved since the 1960s at Phillips Academy’s tiny Robert S. Peabody Museum of Archaeology, have continued to attract the interests of scientists. A November 21, 2016 article in the journal Current Biology reconstructs for the first time ever the complete genome of an early domesticated plant, based on a tiny, 5,310 year old cob from MacNeish’s Tehuacán project (Catalog number 90.184.36). The specimen was removed from an old exhibit case several years ago and loaned to the Smithsonian Institution’s Bruce Smith, a co-author of the new study. Statistical analyses of the DNA data indicate that the study specimen, dubbed Tehuacan162, is “a step that links modern maize with its wild ancestor.” Of particular interest were genetic markers for domestication—some of which were already exhibited in this early specimen—while others were not. This challenges previous models for corn domestication that focus on two major steps, countering that the history of domestication is more gradual and complex than currently believed. In conclusion, the study finds that Tehuacan162 is an ancient form of maize that is closely related to the ancestor of all modern maize, yet distinct from teosinte, a wild grass that is the closest living relative to maize.

MacNeish’s Tehuacán exhibit featured hand painted images like these of early plant domesticates.
Part of Scotty MacNeish’s 1970s era exhibit about his work in the Tehuacán Valley of Mexico–note the corn cobs and kernels.
The tiny corn specimen 90.184.36, also dubbed Tehuacán162, used in the recent study.
Corn cobs from Scotty MacNeish’s projects in Tamaulipas and Tehuacán Valley, Mexico.

Today the Robert S. Peabody Museum of Archaeology provides educational programming to the high school students of Phillips Academy, ranging from classes to work behind-the-scenes with our significant collections. Researchers also are encouraged to use the Museum’s holdings and often share their results with students.

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The Greek Bird

This blog represents the second entry in a blog new series – Peabody 25 – that will delve into the history of the Peabody Museum through objects in our collection. A new post will be out with each newsletter, so keep your eyes peeled for the Peabody 25 tag!

We don’t know much about the relationship between our institution’s founder Robert Singleton Peabody and his son Charles, the museum’s first director. In fact both men remain a bit of a mystery as they were intensely private and left little in the way of memoirs, notes, or archives. Robert’s rather substantial gift to the Academy, for example, was to remain anonymous until well after his death. For years we assumed that Charles, like Robert, had attended Phillips Academy. We found recently, however, that he stayed a bit closer to home and completed his high school education at the Germantown Academy—a venerable day school not far from the Peabody home in Philadelphia. In one of the few pieces of correspondence that we have between the two Peabodys, Charles exhorts his father to help him secure a position at the new Phillips Academy Department of Archaeology and asserts that he will not be the architect of his own undoing. Charles was on hand for the grand opening of the Archaeology Building in 1903, as he had been appointed the “honorary director.” One object in the Peabody’s collection provides a little window into what may have been a fraught and complicated relationship.

Image of the note from Charles Peabody explaining the origin of the little ceramic bird with Robert Peabody's appended note.

Object 19661 in Robert Peabody’s original collection is a small terracotta bird, perhaps a swan or goose. A handwritten note in pencil on lined paper tells us part of the story. Charles, during his tenure at the American School of Classical Studies at Athens, received the terracotta figurine from the school’s factotum Nikolaki. Charles muses in the note that Nikolaki had “hooked” it from one of the American excavations, perhaps at Argos or Eretria. Excavation reports can be found for both sites. For example, Charles Waldstein excavated at Argos from 1892 to 1895, with some focus on the Sanctuary of Hera. During the same time, Theodore Woolsey Heermance worked at the theatre of Eretria. Some quick poking around suggests that the little figurine, handmade of attic clay and covered with a white slip, is likely a votive offering. Similar offerings, representing an array of animals and birds, have been found at many Greek sites. Waldstein’s report on the Argos excavations mentions a number of terracotta figurines—some human and others animal. These offerings would have been placed in a temple for some set period and then discarded as ritual debris. Many similar examples can be found in auction catalogs and in the extensive collections exhibited at the Met.

Image of the terracotta bird--likely a swan or goose--a typical votive offering from a Greek temple.

The elder and younger Peabodys did have a lot in common, beyond their interest in discretion and privacy. Both were united in a passion for archaeology. Robert’s interests were more antiquarian—during his life he amassed some 38,000 archaeological specimens, principally from North America, while Charles was devoted to the French Paleolithic and dabbled in stratigraphic excavation, when horizontal and vertical control was a new concept. In many ways the two men represented archaeology’s past and future. Robert’s interests as a student had leaned toward the classical and he was named the valedictorian of his class. His correspondence with his curator Warren Moorehead and the administrators of Phillips Academy are filled with Latin and classical references. Charles received his PhD in philology—sort of a combination of classical languages, Biblical studies, and archaeology—from Harvard in 1893. After this he spent some time in Athens at the American School where he picked up the little votive bird. Robert appended his own note—in blue pencil—to Charles’s, indicating that he had received the bird from his son in 1897. Not long after this Charles was becoming established as an instructor in European archaeology at Harvard. With the creation of the Phillips Academy Department of Archaeology in 1901 Charles spent more time in Andover, helping to make decisions about the construction of the archaeology building and ultimately teaching classes as he could. The little votive bird was shipped from Philadelphia to Andover as part of Robert’s burgeoning collections, forming the core of the Museum that we know now. With Robert’s death in 1904, Charles pursued his passion for prehistoric European archaeology, participating in and leading a number of expeditions during his career before ultimately moving to France permanently in 1924.

We can only assume that both men, well versed in classical languages and archaeology, knew exactly what that little ceramic bird was—an offering from a votary to a god.

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Baskets Explored

Contributed by Marla Taylor

Thanks to Catherine Hunter, Peabody Museum research associate, our full basketry collection of 329 is inventoried and described.  In September, Catherine turned over 7 binders of material including research into known artists, glossaries, information on weaving techniques, and a basic description of each basket.  This massive project took Catherine nearly a year!

The next phase is to photograph each of these gorgeous baskets and improve their storage and accessibility.  Last week, Marla Taylor, Samantha Hixson, and Catherine took a trip to the Peabody Museum of Archaeology and Ethnology at Harvard University to examine their basketry storage.  The visit was full of inspiration and incredibly helpful as we continue to work on this project.

Keep your eyes peeled for the inclusion of these amazing baskets in our online collection database!

Catherine Hunter with some of the Peabody’s baskets
Catherine Hunter, Samantha Hixson, and Marla Taylor visit the Harvard Peabody basketry collection.
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Welcome Samantha!

Contributed by Samantha Hixson

Hello everyone,

My name is Samantha Hixson and I am the new collections assistant here at the Peabody. I come to you from New Mexico where the weather is warm and has left me completely unprepared for New England winters (although Marla and Lindsay promise that they’ll get me through it).

I have previously worked at the Museum of Indian Arts and Culture in Santa Fe, New Mexico as well as the Smithsonian Institution’s National Museum of the American Indian in Washington, DC. It’s these places that got me excited to work within museums, focusing specifically on Native American collections. So you can imagine how excited I was when I was hired to work at the Peabody, it’s the perfect job for me! I’ve also had some other very interesting archaeological/ethnographic experiences, but those are for other posts.

I’ve started getting my feet wet in a couple projects already (with the promise of a lot more to come) and am most excited about the re-housing of the collection as well the Adopt A Drawer program. I think it’s great that these collections are getting new homes and more personal interactions, however brief.

If you’re in the neighborhood of the museum, come stop by; I’d love to meet you!

The new Peabody Collections Assistant, Samantha Hixson
The new Peabody Collections Assistant, Samantha Hixson
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No “Orphaned” Artifacts

This blog represents the first entry in a blog new series – Peabody 25 – that will delve into the history of the Peabody Museum through objects in our collection.  A new post will be out with each newsletter, so keep your eyes peeled for the Peabody 25 tag!

Contributed by Quinn Rosefsky  (Phillips Academy Class of ’59)

Robert Singleton Peabody (1837-1904) grew up in Muskingum County, Ohio—just outside of Zanesville—but attended an eastern boarding school—Phillips Academy—to graduate in 1857. After law school at Harvard he established a lucrative legal practice in Vermont before relocating to the Germantown area of Philadelphia. During much of his life, Robert nurtured an interest in archaeology and Native Americans and worked to amass a personal collection of artifacts. In 1866, Robert’s uncle, George Peabody (known as the father of modern philanthropy) gifted PA with funds to establish a “scientific department” to encourage scientific discourse be incorporated into the curriculum. At the turn of the 20th century, Robert sought to revitalize his uncle’s good intentions by re-establishing a program for the sciences, specifically archaeology.

The archives of the Peabody Museum contain the letters and documents that reveal the evolution of Robert’s intentions. The primary correspondence is between Robert Peabody and Warren K. Moorehead. Moorehead was the man responsible for building, cataloging, and maintaining Robert’s artifact collection and would ultimately become the first curator of the Department of Archaeology at Phillips Academy.

Excerpt of a letter from Robert S. Peabody to Warren K. Moorehead in March 1898

Peabody then wrote in a letter dated March 3, 1898, that he was impressed with Moorehead’s cataloguing of the substantial collection Peabody had amassed (nearly 50,000 artifacts), which were “of sufficient value, to be cared for.” Adding, “I have known too well the fate of those Orphaned collections placed at the Mercy of a cold world…” Although what Peabody then proposed was to establish a department of archaeology, he also wrote that the financial situation at the time was not good. He was likely referring to the Panic of 1893, during which 500 banks closed and 15,000 businesses failed. The ensuing financial depression lasted from 1893 to 1898. Peabody’s conclusion was: “…I will not deliberately, add another to the list of failures…I want to make assurance doubly sure, if I go into it at all.”

Nevertheless, Moorehead’s letter to Peabody on April 4, 1898, continued to press the issue. He had spoken to the wife of Dr. Wilson, a Curator of Anthropology at the Smithsonian Institute, and conveyed her response to Peabody: “…It is fortunate for Andover and the public at large that you conceived the idea of preserving archaeological relics.”

The archives have a gap in the sequence of letters, but it is clear that Robert S. Peabody had been having discussions with Dr. Cecil F. P.  Bancroft (1839-1901), Andover’s fifth headmaster. Bancroft agreed to help push the project forward with the school’s Board of Trustees. By November 11, 1900, planning was well-advanced.

Excerpt of Robert S. Peabody’s letter to the Trustees of Phillips Academy in March of 1901

In a letter dated March 6, 1901 from Peabody to the Trustees of Phillips Academy, the amount and purpose of the donation were laid out. Specifically, Peabody wished his collection to have a home for preservation, the establishment of a Department of Archaeology which would be “self-supporting and independent.” Furthermore, this Department should be “disconnected from any other branch of Phillips Academy.” As for the museum itself, “…(it) should be, as far as consistent, tasteful and attractive on its exterior, with good proportions, not too high, and within, light and cheerful as possible, with some simple and tasteful decoration—as tinted walls, etc.” Peabody went on to propose that Moorehead be the first curator because “…Professor Moorehead knows every specimen in the collection, and its history.” Peabody also stipulated, “…that the building/museum be a pleasant place where students might find an agreeable relaxation during the broken events which occur in the lives of the most closely pressed.” In other words, the building would serve not only as a museum but as a social center.

It was no surprise that the amount of the gift to Andover, indicated in a letter dated March 8, 1901 from Peabody to Bancroft, was related to the amount given previously by his uncle in 1866. George Peabody had also dedicated the same amount—$150,000—to aid in founding the Peabody Museum of Archaeology and Ethnology at Harvard and the Yale Peabody Museum of Natural History. To differentiate himself from his uncle, Robert pointed out that his gift would also include a collection of artifacts. These artifacts amounted to one hundred thirty-two boxes containing nearly 50,000 items insured for $35,000 at the time of transportation by rail on July 10, 1901 from Philadelphia to Warren K. Moorehead in Andover. The actual endowment, anonymous by design, included $100,000 for the Peabody Foundation and $50,000 for the building. This amount would grow substantially at Peabody’s death, as he willed the residue and remainder of his estate to Phillips Academy in March, 1902. The total gift amounted to at least $500,000—approximately $12 to $13 million by today’s standards.

What did $50,000 buy in 1901? The future architect for Boston’s Museum of Fine Arts, Guy Lowell, was hired and he submitted plans for the projected museum at Phillips Academy. By the end of October, 1901, ground-breaking began on the site where formerly the First Classroom Building, the Farrar House, and then the Churchill House had been located. The building was completed in less than two years and was dedicated on March 28, 1903, the event was  memorialized in the mid-April 1903 edition of The Phillipian.“The building was tastefully decorated with potted palms and flowers…Mr. Frederick W. Putnam, L.L.D, professor of Ethnology and Archaeology at Harvard, said that students would learn to reason more for themselves, and would depend more upon their own powers than upon text books.”

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Shelving to the rescue!

Completed shelving

Contributed by Marla Taylor

As I began working this summer on the reboxing project, it immediately became apparent that the artifacts needed room to grow sooner rather than later.  Moving the objects from the wooden drawers into the boxes revealed just how heavy some of those drawers were – some too heavy to be supported by the new archival boxes.

What I needed was solid temporary shelving to support these materials.  Donnegan Systems, Inc. of Northboro, Massachusetts to the rescue!   Donnegan Systems has been consulting with us periodically to reimagine collections storage once all the artifacts have been boxed.  They saw our need and offered some spare shelving that was taking up space in their warehouse.  Delivered and installed in a single morning, these shelves will facilitate faster progress with the reboxing project.

Shelving installation in progress
Shelving installation in progress
Delivery down a tight hallway
Completed shelving
Shelving installation in progress
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Reorganizing the archives storage alcove

For the past two weeks, the museum staff (and one volunteer — thank you Quinn Rosefsky!) all pitched in to make the archives storage area neater and more manageable. This physical reorganization had been anticipated and discussed since I began my work here in May. At that time, many materials were still in filing cabinets, with boxes piled on top.

East wall, previous arrangement of the archives storage area: mostly filing cabinets and boxes piled on top.
West wall, previous arrangement of the archives storage area: mostly filing cabinets and boxes piled on top.

Though most of these cabinets and boxes were labeled, the exact nature of the materials and the period of the museum’s history to which they belonged were not necessarily obvious. Related materials could be spread out among different boxes and cabinets without that intellectual integrity being apparent. If a museum staff member was looking for a specific piece of information in the archives, say when a particular exhibit was on display at the museum, it could be challenging to find it!

As I reached the end of my collections survey, I began to understand which materials belonged together as collections. I boxed up several collections that were in filing cabinets, carefully labeling them as discrete groups of material: the Warren K. Moorehead records (1890s-1930s), the Douglas S. Byers and Frederick Johnson records (1920s-1960s), the Richard S. MacNeish records (1950s-1980s), the Tehuacan Archaeological-Botanical Project records (1959-1960s) and the Coxcatlan Project records (1960s-1970s). Other record groups such as the museum’s Education Department files were physically grouped together, and consolidated into fewer boxes. Empty filing cabinets were removed, new shelving was set up and boxes were arranged deliberately on the shelves.

Panorama of one side of the rearranged archives storages area.
West wall of the rearranged archives storage area.
Panorama of the east wall of the rearranged storage area.
East wall of the rearranged archives storage area.

Records that are still being consulted regularly by museum staff such as accession files and site files were left in filing cabinets. Other material, such as the Ayacucho Archaeological-Botanical Project records (1969-1980s), was left in filing cabinets because we don’t have enough shelf space to accommodate more boxes at this time. There are also a few stray boxes that don’t yet have a home. Further tinkering of the space and rehousing of material will likely occur throughout the year. For now, the focus of the archives project will turn to creating inventories for individual collections, so that the material within them is easily findable for museum staff and outside researchers.

The Temporary Archivist position is supported by a generous grant from the Oak River Foundation of Peoria, Ill. to improve the intellectual and physical control of the museum’s collections. We hope this gift will inspire others to support our work to better catalog, document, and make accessible the Peabody’s world-class collections of objects, photographs and archival materials. If you would like information on how you can help please contact Peabody director Ryan Wheeler at rwheeler@andover.edu or 978 749 4493.

 

 

 

 

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