Museum history – Page 4

January 14, 2017February 14, 2023

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.

January 10, 2017September 7, 2022

Jacob’s Cavern

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 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.

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.

November 11, 2016

Processing the Richard S. MacNeish papers

Since October, I’ve been focusing on the largest collection at the Peabody, the Richard S. MacNeish papers. MacNeish donated about 220 linear feet of his papers and books to the museum in 2000, soon before he died. These papers span the length of his life and career, from childhood scrapbooks on the Maya to his MA and PhD theses, to field records and administrative files from his Tamaulipas, Ayacucho, Pendejo Cave and China projects, to research files on a variety of geographical regions and subjects, to records from his positions at Boston University, as head of the Andover Foundation for Archaeological Research (AFAR), and as director of the Peabody Museum itself. MacNeish, known as Scotty, was such a significant figure in American Archaeology in the 20th century that his papers are likely to have a high research value.

Color photograph of Scotty MacNeish, taken around 1980 — Scotty MacNeish, around 1980

An extensive amount of work was already carried out on this collection since it arrived at the museum. An item-level inventory was done, and about half of the boxes had their contents rehoused into acid-free folders (papers) and mylar sleeves (photographs). More recently, the museum decided to separate out the large number of books from the papers, many of which will be added to the Peabody library. Volumes that were annotated by MacNeish or bear a personalized dedication to him are being retained in the archives. After separating books from the archival materials the remaining papers now measure only 90 linear feet – a huge difference in terms of storage space.

Boxes of MacNeish papers

A typical box before sorting out the books

I’m now working on a few remaining steps: foldering loose items in boxes, determining date ranges for folders, updating the inventory to reflect those changes as well as the removal of the books, rearranging the materials into logical groupings, and rehousing contents into acid-free record cartons. Lastly, I’ll integrate within the guide to this collection the other Scotty MacNeish materials we have at the museum, his director’s records. MacNeish left about 20 linear feet of material at the museum at the end of his directorship in 1983. To preserve the provenance of these two groups of material, we decided to process them as separate collections – even though there is a lot of overlap between the two. I’m looking forward to having all of this material be easily accessible to researchers soon, and anticipate that this work will be completed and the collection guide available by mid to late January 2017.

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.

October 26, 2016September 7, 2022

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 20^th 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.”

October 5, 2016October 5, 2016

Dia de los Muertos

November 1 is still a few weeks away but Dia de los Muertos—the Mexican Day of the Dead—came early to the Peabody. On Thursday September 29 Dr. Marisela Ramos of the History and Social Sciences Department brought her History 200 class. The class has been learning about different civilizations from around the world and the Peabody’s Dia de los Muertos lesson is a fun and interactive way for the students to learn about a holiday that is still celebrated today, but which has deep roots to a time before Europeans came to the Americas.

The holiday is celebrated in Mexico and is a mix of traditional native beliefs (primarily from the Maya and Aztec cultures) that were combined with European Catholic traditions. It is believed that between October 31 and November 2—coinciding with Catholicism’s All Saints Day and All Souls Day—that the souls of loved ones return. Many homes have alters with images of the deceased. Marigolds are often placed on the alters, as the smell helps guide the souls home, and food is left out for the souls to eat after their long journey.

Our alter has images of notable people connected with the Peabody:

Robert Singlton Peabody – Our founder and PA class of 1857. His image is always in a place of honor.
Charles Peabody – Son of Robert and the first director of the Peabody Museum.
Warren Moorehead – Excavated many important archaeological sites and appointed by Theodore Roosevelt to the federal Board of Indian Commissioners.
Alfred Kidder – Considered the “Grandfather of American Archaeology” for his work at Pecos Pueblo.
Douglas Byers – Helped to professionalize the field of archaeology into a legitimate science.
Frederick Johnson – One of the first archaeologists to engage experts from other fields while investigating the Boylston Street Fishweir site in Boston.
Adelaide Bullen – Excavated the Lucy Foster Site in Andover, one of the first archaeological studies of a free Black
Ripley Bullen – Husband of Adelaide. Excavated many sites locally in and around Andover while doing graduate work at Harvard.
Richard “Scotty” MacNeish – Investigated the origins of agriculture and civilization in the Americas.
Gene Winter – Served as museum caretaker in the 1980s and served as honorary curator. He was associated with the museum for over 70 years.

Students in Dr. Ramos’s class helped arrange the altar and made paper flowers to decorate the shrine as they also enjoyed traditional Mexican candy given out during the holiday.

The completed alter as arranged by the students