If you’re like me, you have a bemused family that doesn’t really know what you’re doing but wants to be supportive. This support can take the form of accompanying you to museums and galleries while travelling or at home. Eventually, despite their best efforts, they get bored and fail to hide their disinterest in seeing another statue, another mosaic, or another religious painting. I even get a bit exhausted from the religious paintings after a while. But I have strategies to keep my family engaged with the artwork and make the trip more interesting for them.
Giorgio Schiavone detail of Madonna with Baby Jesus, c. 1450-1490 Oil on panel Correr Museum
1. Ugliest baby wins Art History is filled with babies that look utterly terrifying. I don’t like small children at the best of times but some of these children are reminiscent of the baby crawling on the ceiling in Trainspotting. So, the aim is to capture the souls of these evil critters in a photograph and then compare later to see who found the ugliest one. N.B. You can only photograph the babies in the artwork, it’s against the rules to photograph any particularly ugly children that happen to be in the museum or gallery that day.
I took this photo at the State Archive in Venice, but I don’t know its history.
2. Funny Lions I’m currently undertaking a research trip in Venice so the place abounds in lions. However, they are a recurrent theme in art so there won’t be any issues with your family or friends finding some odd-looking creatures. In this category, wonky cats and leopards are also acceptable.
Vittore Carpaccio Saint Peter Martyr, c. 1490 Oil on panel Correr Museum
3. Best Death This is a fun one if you have a dark sense of humour. I am particularly fond of paintings of St Peter where he has a huge blade stuck in his head but only looks mildly annoyed. Find and photograph the best death (or miracle) of a Saint depicted in the artwork.
Guido Reni The Martyrdom of Saint Sebastian, 1616 Oil on canvas Boston Athenaeum
4. Sexy Saint Sebastians This is the adults-only challenge. It’s a bit of a cliche that St Sebastian is generally depicted as hot and with the cloth covering his privates just about to slip off – much like Athena’s clothing in Hellenistic sculpture. So, to keep your museum-going family entertained, send them to find the hottest St Sebastian that they can among the plethora that inhabit any gallery with an okay-ish collection of Renaissance art. For bonus points, you can try to identify one of the lesser St Sebastians. The Correr Museum has one, you can find it for yourself.
There you go, four strategies (or missions) that you can keep your friends and family busy at the museum instead of asking when we are leaving, how long are you going to look at that one artwork, or don’t all those busts look the same?
The annual meeting of the Australian Society for Classical Studies was held in Canberra this year, at the start of February. As well as bringing many visitors to the Pompeii exhibit at the National Museum of Australia (which we absolutely recommend!), the range of papers lead to a jam-packed week of research and networking. From the relationship between history and game in tabletop gaming books, to the identification of marginalised identities in Roman frescoes, from Bronze age archaeology to Renaissance receptions, there was something of interest for everyone. But what really amazed me were the presentations of our postgraduates, whose amazing works inspired thought and passion! Below, Jaymie Orchard and Elizabeth Leaning (runner up and winner of this year’s OPTIMA (Outstanding Postgraduate Talk In a Meeting of ASCS) prize, respectively) present their amazing research.
(un)winding History: Queer Time and Fulvius’ Fasti
Jaymie Orchard (they/them) (University of Otago)
My paper entitled “(un)winding History: Queer Time and Fulvius’ Fasti” used queer approaches to temporality to explore the earliest attested Roman fasti, which exists now only in citations and quotations from later authors. This fasti, a Roman calendar, is attested to have been written by Marcus Fulvius Nobilior in the first decades of the 2nd century BCE. Though the study of this fasti has the potential to tell us about the development of later Roman fasti my talk focused on what it might tell us about the construction and experience of time during the mid-Republic.
Traditionally, scholarship has grappled with the combination of cyclical and linear time as represented in the fasti. However, as many queer understandings of time do not take linear chronologies as granted, their use allowed me to reintegrate previously discordant understandings of the calendar. The original combination of linear and cyclical elements was unprecedented at the time the fasti was written, and I thus, I demonstrated that viewing them as separate overlooks the important developments made in Fulvius’ fasti.
Queer time theories unsettle normative conceptions of linear time. They allow us to make visible the way institutions and social conventions influence individual’s use and experience of time. This allowed me to problematise the presentation of the calendar as reflecting a neutral vision of time and instead demonstrate how Fulvius’ fasti reinforced societal expectations of elite men’s life paths. By considering the constructed nature of time I was able to discuss how viewers of the fasti with different positionalities may have understood the calendar within their own experience of time.
My talk was a part of a panel which I co-organized entitled “‘An Open Mesh of Possibilities’ Queer Theory in Classics and Ancient World Studies,” and though my paper was a stand-alone talk, its success is deeply indebted to my fantastic co-panelists. Together Tobias Fulton, Trish Springer, and I showcased a wide range of applications of queer theories and highlighted the many benefits of their application to the study of the ancient world. Through a very intentional and extended collaboration we were able to present three papers that were much more than the sum of their parts. We created resonances across the three papers, laying theoretical groundwork for each other, returning to themes, and reframing previous conclusions. By queering the traditional panel structure we demonstrated how to put queer methodologies into practice. Through co-creation and collaboration we presented the audience with an open mesh of possibilities and invited them to lean into what is possible, rather than clinging to what is certain.
Meteor Showers and Cosmic Dust: Retranslating the Technical Terms of the Pyramid Texts
Elizabeth Leaning (she/her) (University of Auckland Waipapa Taumata Rau)
[From right to left: Snake, Toad, Partridge, Llama with Baby Llama, Fox, Shepherd]
The painting by the Cusco artist Miguel Araoz Cartagena shows the Milky Way over Cusco, in the months of July and August, when the sky is clear and most of the astronomical phenomena venerated by the Incas can be easily observed.
Presenting at ASCS as an Egyptologist is always a heavy commitment. While steps have been taken in recent years to make the conference accessible, there is certainly a feeling among Egyptologists (and other scholars in non-traditional fields) that we have to go to extra lengths to make our work both understandable and appealing to the Classicists. This year, I presented on the part of my thesis I thought would best meet these criteria – a lexicographical study. Though Egyptology has its own unique quirks when it comes to lexicography (the visual element of communication springs to mind), it seemed the best way to explain my research to a non-specialist audience, as lexicographical research is very common in Classical philology. However, the lens with which I conducted this lexicographical study was not so commonplace at ASCS, nor in academia as a whole. After all, “archaeoastronomy” is not a field many people have heard of. However, as the study of ancient history increasingly looks towards interdisciplinary and transdisciplinary research, fields such as archaeoastronomy are beginning to shift from the peripheries of academia and into the limelight.
Archaeoastronomy – described by Clive Ruggles as “a field with academic work of high quality at one end but uncontrolled speculation bordering on lunacy at the other”1 – is the study of how ancient cultures observe and understand the night sky. A relatively recent field of study, archaeoastronomy combines an understanding of a culture’s literature, art, and architecture with mathematical and astronomical knowledge of the celestial phenomena that they were observing and reflecting. It struggles against preconceived notions of “astronomy = astrology”, theories about alien interference, and the ever-present colonial overtones that relegate complex astronomical thought to European cultures. My PhD thesis finds its place amongst this new and complex, but fast-growing, field of study – examining the astronomical data encoded in the ancient Egyptian Pyramid Texts.
Perseids is the Perseid Meteor Shower over Sahara el-Beyda by A. Waddah
N5 in Unas is the sign for the sun in the Pyramid Texts of Unas by Elizabeth Leaning
The Pyramid Texts are a corpus of mythological data that date back to the 24th century BC. They were inscribed on the walls of eleven tombs (six kings and five queens), and provide evidence of the earliest mythologies and beliefs of ancient Egyptian culture. However, while being inherently religious and mythological, it is a celestial afterlife for kings and queens that they depict. Amongst metaphors of ascending on falcon’s wings and devouring the gods, archaeoastronomers can find references to meteor showers, cosmic dust, and other astronomical events. The Pyramid Texts are an expansive corpus that are probably the most-studied text in Egyptology (so a terrible choice for a PhD thesis). However, since their discovery and publication in the 1840s, only five publications have considered their astronomy. There is a stunning dearth of scholarship on just how much astronomy ancient Egyptians encoded into this undeniable astronomical text.
The paper I presented at ASCS explored one of the ways in which I am attempting to uncover this “hidden” astronomical knowledge. Using lexicographical methods I examined the ancient Egyptian words traditionally translated as “iron of the sky”, “lake” and “horizon”, arguing that in the astronomical context of the Pyramid Texts they were better translated as “meteor shower”, “cosmic dust” and “syzygy of sun and earth”. In cases where these astronomical phenomena were documented in the Pyramid Texts, I suggest that the astronomical data is not so much “hidden” and “encoded”, but merely obfuscated behind the use of technical terms. After all, no modern scientific text that discusses “accretion disks”, “event horizons” and “black holes” could be accused of deliberately secreting away the astronomical knowledge behind these apparently mundane terms. This paper sits sits both in conversation with the interdisciplinary scholarship2 and Egyptological community3 of Australasia. Both it and my broader PhD thesis aim to network these influences together into what I can only hope is a coherent methodology through which to explore the astronomical knowledge of ancient Egypt.
Quoted in Carlson, J. (1999). “A Professor of Our Own”. Archaeoastronomy & Ethnoastronomy News 33. ↩︎
Postgraduate students in particular are crossing disciplinary barriers to see the ancient world through new lenses. At ASCS46 this included but was by no means limited to those papers by Jemima McPhee (Australian National University), Jaymie Orchard (University of Otago), Shona Edwards (University of Adelaide), Haydn Lea (Australian Catholic University), Fenella Palanca (University of Melbourne) and Chelsea Schwartz (University of Adelaide). ↩︎
Particular thanks must be given to Dr. Julia Hamilton, who provided guidance both for my ASCS paper and for this write-up! ↩︎
Whether you celebrate Christmas, Saturnalia, or one of the many other holidays of the season, it is the time of year for our last minute present ideas.
Shopping for Christmas presents can be difficult – it is often difficult to find something that we know our loved one will enjoy. We at Arke have put together a short list of gift ideas for the Classicist in your life – and a brief recap of the content so you know what you’re getting them!
Gifts that make us laugh
Saturn eating pizza t-shirt
This t-shirt draws on the iconic painting Goya, of Saturn eating a child. Saturn, or Cronus in Greek mythology, consumed his children to prevent them from overthrowing him. His wife, Rhea, eventually tricked the Titan, substituting a rock for their son Zeus (Jupiter in Roman myth).
In 79 CE, the volcano, Vesuvius, erupted, destroying the towns of Pompeii and Herculaneum. If your Classicist has a slightly darker sense of humour, this t-shirt is for them!
This decorative piece is a replica of a common artifact found across the Western Europe. To date, there is no definitive understanding of their purpose. This decorative replica will undoubtedly impress your Classicist!
Wax tablets were used in education from antiquity until well into the Middle Ages. This replica is one that you can make yourself for your favourite Classicist.
Cuneiform is one of the oldest forms of writing in the world, from the Near East. It was used for a variety of places, including for the Epic of Gilgamesh. This site provides instructions for how to create biscuits with decorative cuneiform shapes. A biscuit recipe is included, but you can use any recipe that will allow for shaping.
Leave a Reply