Report on the Ernst Herzfeld Gesellschaft in Hamburg

ISLAMIC ARCHAEOLOGY, MATERIAL CULTURE, AND ART HISTORY INTERSECTIONS AND RESEARCH AIMS. 10th Colloquium of the Ernst Herzfeld-Gesellschaft in Cooperation with the Asien-Afrika-Institut at Universität Hamburg, 3-6 July 2014 

Unlike the previous meeting held in Berlin 2011, which concentrated on Samarra and other early Abbasid sites, this colloquium was more broadly based (click here to see the full programme). Following a Graduate Student conference in the afternoon, it began with a Keynote Lecture given by Lorenz Korn of the Otto-Friedrich-Universität Bamberg, entitled 'On the Interdependence of Archaeology, Art History, and Written Sources'. He illustrated the numerous possible pitfalls in using archaeology to understand history, and how nothing must be taken too literally in either discipline. It is all a question of common sense, balance, a thorough analysis of the translations made of the written sources, and perhaps a reevalution of some of these. After a lively discussion we were free to taste the delights of Hamburg's open air restaurants and catch up with friends and colleagues.

Day 2: (from left to right) Stefan Heidemann, Vincenza Garofalo, Markus Ritter

         

The following day we received a warm welcome from the organiser, Stefan Heidemann, who outlined Hamburg's connections with Islamic archaeology and the link with Carl Heindrich Becker, who in 1908 was appointed Professor of History and Culture of the Orient at the newly founded Kolonialinstitut and Director of the Seminar for History and Culture of the Orient. He was a supporter of Ernst Herzfeld's and through his foundation of the journal, Der Islam, provided him with vehicle to publish his and Sarre's early studies on Samarra. 

We then progressed through recent research on various aspects of the conference theme's broad spectrum, flowing chronologically and thematically. Barbara Finster highlighted the importance of Southern Arabia and its influences on Islamic architecture, a topic totally ignored by Creswell, and one which Herzfeld confessed to knowing nothing about, but sensibly indicated that it might prove to be a possible source when it was studied in depth at some later date. 

As you will see from the programme, the two Samarra papers were included in this first session, with Arie Kai-Browne and Simone Struth giving a fascinating outline of Berlin's 3D visualisation project. The carved plaster panels take on a totally different form with this enhancement and you can immediately see how they would have resembled marble revetments in their original pristine state. With the crude mudbrick walls hidden by these you can easily appreciate how this vast palace city sprung to life so quickly and so impressively, achieving the Abbasid caliphs' desire to create an aura of wonderment and admiration. My paper was a brief overview of the V&A's 278-piece Samarra collection, outlining how different departments within the museum have been able to assist in conserving some of these fragments, analysing the materials employed, and how experts at the Royal Botanical Gardens, Kew have been able to confirm that two wood fragments are indeed teak, as stated in the written sources. (We eagerly anticipate a blog posting here on this analysis!)

Thereafter we travelled far and wide within the Islamic world and it was fascinating to learn of the diversity of current research. The day ended with a reception and a chance to catch up with more colleagues who had trickled in during the course of the day. I am sure that the highlight of the day for many of the participants were the two football World Cup quarter finals!

Ilsa Sturkenboom and Alexandra Plesa in foreground, Lorenz Korn, Claus-Peter Haase and others in background

Sadly the split programming on the Saturday morning meant that one had to choose between architecture and the art of the book and paintings, and I opted for the former. This entailed ongoing projects at Middle Islamic to pre-Modern sites, right up to the early 20th century. Ralph Bodenstein's contribution on 19th/20th-century industrial archaeology in Egypt was a very interesting account of the interrelation of strong leadership, economic unity, the ability to develop state-of-the-art factories and a viable infrastructure, and how his project has been fighting hard to preserve some trace of these. His project website can be found here.

The colloquium closed with an unprogrammed account by Julia Gonnella of the state of Aleppo and northern Syria's historical sites, and the horrific damage exacted by both the military and the rebels. The power of the internet means that so much more information is available, but there are certainly times when it is hard to face up to the reality of what is happening and this brave paper accentuated the ongoing horrors being perpetrated.

To end on a happier note, if you are on Facebook please turn to Stefan Heidemann's recent posting for many more images. Unfortunately I could not stay for the last day and missed the visit to the Museum für Künst Gewerbe led by curator Nora von Achenbach, although I did manage to take a brief look at the exhibits before the colloquium began.

Rosalind Wade Haddon

In the Louvre Galleries

Following on the visit to London of our Berlin colleagues, Dr Julia Gonnella and Simone Struth, in February, a joint trip to Paris was planned and kindly arranged by Dr Charlotte Maury. She had already provided us with an illustrated list of the Herzfeld material (pottery, steatite, glass, mosaic tesserae) despatched from the British Museum in 1922. This shipment was sent in exchange for a collection of comparative material excavated in the Islamic levels at the Iranian site of Susa or Shush in Khuzestan, formerly the Elamite capital, which lies to the east of the major Iraqi sites of Babylon, Kish and Nippur. The Louvre collections also hold 104 carved plaster fragments, most of which would appear to have been found in Samarra, some of which are illustrated in Herzfeld's archives in the Smithsonian and published in Henry Viollet's 1911 publication, Un palais musulman du IXe siècle. Charlotte proved to be a most enthusiastic guide and endlessly patient with all our questions.

In the Louvre Galleries. From left to right: Charlotte Maury, Julia Gonnella and Simone Struth

We met in the Louvre on Tuesday 29 April, when the museum was closed to the general public, so once we had emerged from the depths of their reserves, where most of the material is kept, it was a delight to have the Islamic galleries entirely to ourselves - although navigating the route to the museum was complicated by the heightened security imposed by the President's visit to the inaugural exhibition of the 'Louvre Abu Dhabi' (see here for details).

A mixture of red porphyry, yellow stone and some gold leaf-coated stone tesserae together with multicoloured glass millefiori tile fragments

Red porphyry tesserae, some of which were rounded rim fragments, indicating that these are recycled bowl fragments

Crude mosaic fragment with glass tesserae (some with gold leaf) embedded in a gypsum plaster base (accession no. OA7735/54). Unfortunately this does not have a Herzfeld

 I-N locus number.

There is apparently no record indicating who chose the 'representative collection' which was sent to the Louvre. Three media are conspicuously absent: wood, carved stone architectural pieces, and painted plaster. New aspects are revealed every time we delve into the Herzfeld collections. Many of the Louvre's tesserae are stone rather than glass. The red stones must be porphyry, and the yellow stones may be some form of chalcedony. Both need to be positively identified. A closer inspection of the red pieces revealed the rounded profile of a rim, indicating that these once belonged to a vessel, perhaps recycled as mosaic after breakage. The collection also includes several pieces of gypsum plaster with tesserae embedded in them, revealing a rather crude application. Unfortunately none of these have a Finds Journal number indicating their original find spot.

Lunch break at a traditional French restaurant.
From left to right: Simone Struth, Julia Gonnella and Yannick Lintz

Lunch in a traditional French restaurant behind the Louvre was a welcome break, hosted by Dr Yannick Lintz, the new Director of the Islamic Department. She is equally enthusiastic about the Samarra Finds project and graciously agreed to help us in our quest to bring all the information together digitally.

Seminar in the Université de Paris I.
Julia Gonnella being introduced by Alastair Northedge

The following evening we all met up again for a seminar organised by Professor Alastair Northedge at the Université de Paris I. He had invited Julia to present to his postgraduate students the talk that she had presented in Doha in 2011 (now published in the volume Godis Beautiful and Loves Beauty, edited by Sheila Blair and Jonathan Bloom). Several of his students are working on different aspects of Samarra's architecture and decoration: Fatma Dahmani on the wall paintings; Vanessa Rose on the tiles; Iraqi architects Emad al-Faraj and Ahmad al-Gribaoui on the architecture. Following this, we repaired to a nearby café for refreshments and to continue our Samarra discussions until the proprietors were no doubt wishing we would exhaust the topic and go home! 

Rosalind Wade Haddon

Audio recording of Samarra project lecture now online

On 27th February, Rosalind and I were hugely honoured to give the annual Mallowan lecture, following the 80th AGM of the British Institute for the Study of Iraq. It was a really successful evening, with a large audience and a jolly reception afterwards, in which we gave the traditional toast to Max Mallowan, former BISI director in its previous incarnation as the British School of Archaeology in Iraq, and his wife Agatha Christie. Details of the lecture can be found here. 

BISI recorded the lecture and this recording has just gone live on their Events Archive pages. You can find us on Page 5 or by following this link.

Samarra fans may also be interested in some of the other recordings on these pages - for instance, papers delivered at the conference "Gertrude Bell and Iraq: A Life and Legacy" in September 2013, or Robert Irwin's lecture on medieval Basra, from September 2012.

Mariam Rosser-Owen

Report on the conservation of a fragment of gypsum plasterwork from Samarra

This fragment of gypsum plasterwork (A.79-1922) from the V&A’s collection was found in a house north of the modern city of Samarra, probably by the French archaeologist Henri Viollet (1880-1955), who undertook unofficial excavations at the site in 1910. 

A.79-1922 before conservation (photo: Víctor Hugo López Borges)

The panel was photographed and documented later by Herzfeld during his Samarra campaigns (1911-1913). 

Herzfeld's photograph, taken on site at Samarra, showing the V&A panel at bottom right (photo from the Freer Gallery website: click here)

 

Panels illustrated in Ernst Herzfeld, Der Wandschmuck der Bauten von 
Samarra und seine Ornamentik (Berlin, 1923), p.66, fig.90a

The panel is a fragment of rendered wall, made from gypsum plaster with carved ornamentation. The plaster’s manufacturing technique corresponds to that used in the decoration of many buildings and palaces across the Islamic world, as far west as Spain and Morocco.

Preliminary observations with the naked eye and under a binocular microscope, together with the subsequent conservation treatment, helped to identify the materials present on the fragment and how they were used. It provides a glimpse of how the plasterwork would have looked originally and how the materials were applied and worked.

Description
The fragment is formed of several superimposed layers of gypsum plaster, with a carved front and several renders at the back. 

Layers of plaster in profile view of A.79-1922 (photo: Víctor Hugo López Borges)

There are up to three layers of coarse gypsum plaster renders at the back, measuring up to 4.5 cm in thickness. These layers would have corresponded to the first work over the wall, when the craftsman applied plaster to render the walls in preparation for the decoration. The layers decreased in thickness as they were applied, so that the thickest is the layer in contact with the wall, followed by two consecutive layers of medium thickness.

The plaster mixture shows large pores as well as voids or air pockets trapped under fresh plaster when it was worked and applied over the wall. The plaster shows numerous large inclusions or impurities, such as quartz, clay, unfired particles of gypsum, and soot. Such impurities and inclusions always indicate a gypsum plaster produced by traditional methods. They can have different origins: mineral impurities naturally occurring in gypsum rocks, the result of the combustion products when the gypsum was fired in the kiln, or contamination during the subsequent grinding and sieving process of the burnt gypsum.

The last layer of coarse plaster applied over the wall was textured to a rough finish, as seen in the top right area of the fragment where the carved plaster is missing. This was done to provide grip for the last layer of fine gypsum plaster, which is the one to be carved.

The design on the front of the panel is carved into a very white and fine gypsum plaster of up to 3 cm in thickness. The plaster mixture is of better quality and of purer gypsum than the type used in the underlying layers. Nevertheless there are still some impurities present, including quartz, unfired gypsum and a small amount of clay. This plaster was applied in two consecutive layers, the top one being the very thin. Once the craftsman reached the thickness desired, the fresh plaster surface was carved with metal tools creating a design in relief. There are marks on the surface that show how these tools cut the plaster and created shapes by dragging the tools along. This probably following an outline previously lightly incised on the fresh plaster surface. The carving goes as deep as reaching the underlying coarse plaster layer. The finer details were simply produced by superficial incisions of triangular section, as we can see on the half moon line carved across the fragment.

Thanks to the cleaning treatment, it was possible to observe on the surface of the panel remnants of a white priming layer. 

Traces of fine white priming layers on surface of A.79-1922 (photo: Víctor Hugo López Borges)

These were found in deep recesses of the carved decoration where it had managed to survive. The surviving fragments were uniform and thin in section, applied as a wash of fine and pure gypsum probably diluted with water and an organic binding medium. This priming layer  would have provided a white and uniform finish to the whole carved wall. It was surprising to observe under high magnification that there were up to 5 superimposed layers of this priming wash, interleaved with reddish particles. This would indicate that the plasterwork was regularly maintained by applying new white layers to refresh the wall and hide the progressive build-up of dirt. This practice of whitewashing gypsum plaster is widely used across the Islamic world even today.

This priming layer would generally have been left unpainted but on occasions could receive a paint layer. It is difficult to establish if such was the case with this fragment, but the reddish particles observed between the priming layers are more likely to indicate dirt deposition on the surface rather than pigment.

Conservation Condition
The fragment was stable although a few fine cracks were observed across the carved plaster layer. These cracks seem to be stable as no movement was evident. Some of the edges are very abraded with loose plaster. The panel has suffered many losses through its history; it has remained in almost the same state since it was documented by Herzfeld, except for a small area of carved plaster at the bottom left corner which is now missing. There are also two areas that seem to have undergone an intervention just after they were found, since they already appear in Herzfeld’s picture (visible on the lower right and middle left sides). They were probably unstable plaster consolidated by applying new plaster and toning it to match the surrounding surface.

The surface was very dirty with heavy superficial and ingrained dirt which obscured the real colour of the plaster. The thicker and more ingrained deposits were red soil resulting from burial, and the clay cemented materials built up by insect activity. The surface was covered with an overall grey dirt layer, from the accumulation of dust and pollution, probably from display in V&A galleries from soon after the fragment reached London in 1921. 

The panel also showed numerous small cylindrical holes of different diameters, some associated with the build up of consolidated clay material in the recesses. After careful examination they were identified as the result of termites burrowing through the plaster and building channels along its surface. In some of the carved recesses, the white priming layer was heavily mixed with the deposits of clay and soil particularly from the termite channels.

Conservation Treatment
The surface was cleaned from superficial dirt with the aid of a soft sable brush and a vacuum cleaner with adjustable suction to ensure the surface was not damaged. After this the surface condition of the plaster became more apparent, revealing more areas with abrasions and relatively recent losses where the plaster was powdery and loose.

The areas with powdery plaster were consolidated with Aquazol® 500, a neutral synthetic resin with good penetration properties normally used in the consolidation of gesso grounds. It was diluted in ethanol at 3% in order to minimise the impact on the plaster, as water tends to dissolve gypsum. Several applications with a brush were made until the surface became stable and cohesive.

Some of the thick clay deposits and residues of termite activity were removed mechanically with small tools under magnification. In some recesses more remnants of the original priming layer were found underneath; they were slightly detached from the plaster but still held in situ by the cemented clay deposits. These areas had to be also consolidated with Aquazol® 500 to make them more stable and allow the removal of as much clay as possible. In the end not all the clay could be removed in some areas without running the risk of losing the priming layer.

The surface was then cleaned of ingrained dirt with Anjusil®, a latex poultice containing small amounts of ammonia and surfactants with minimal amount of water. The poultice was applied to the surface with a brush and left to dry. 

Víctor applying the latex poultice (photo: Miriam Orsini)

The latex poultice left to dry (photo: Víctor Hugo López Borges)

This method allows the cleaning of the plaster surface without the use of water, as well as minimising mechanical methods that can be abrasive. The latex releases solvents onto the plaster surface, dissolving pollution and ingrained dirt. Once the latex starts to dry, it reabsorbs the solvents along with the dissolved dirt, which ends up coagulated within the latex. Finally the latex is carefully peeled off.

View of A.79-1922 during the cleaning process (photo: Víctor Hugo López Borges)

Several Anjusil® applications where required. In between applications, some of the thickest clay deposits remained slightly wet, becoming softer and more visible, allowing them to be more easily removed mechanically with small tools under magnification. Not all the clay could be completely removed but most of the dirt was lifted off.

The conservation treatment improved the structural and superficial stability of the object, but it also has finally revealed the right colour of the gypsum plaster as well as the remaining traces of the priming layers. 

A.79-1922 after conservation (photo: Víctor Hugo López Borges)

The treatment as a whole has enhanced our appreciation and understanding of the original characteristics of the materials and techniques present on the fragment. It takes us closer to the craftsman that worked the plaster and to the appearance of the plaster when it originally decorated a wall within the Abbasid palace complex of Samarra.

Víctor Hugo López Borges
Senior Sculpture Conservator, V&A

Iraq to build museum in Samarra

A bulletin that will be of great interest to Samarra fans (you can find the original announcement here):

The Iraqi Ministry of Housing and Construction on Tuesday (February 25th) announced the start of construction on a 17.2 billion dinar ($14.6 million) historical museum in Samarra.

The museum will encompass 27,000 square metres and will feature three buildings dedicated to antiques, artefacts and precious stones from various eras, a theatre and a conference hall, a ministry statement said.

The museum also will feature green spaces, fountains, restaurants, a library and a cinema hall, the statement said.

The project is slated to be completed within 18 months.

Bookings open

Bookings are now open for the BISI Annual Mallowan Lecture: "A New Look at Samarra: Small Finds from the Herzfeld Excavation in the Victoria and Albert Museum", by Dr Mariam Rosser-Owen (V&A) and Dr Rosalind Wade Haddon (Independent Scholar), at the British Academy on 27 February. You can find further details of the lecture here, and if you would like to book, click here. Tickets are free, but pre-registration is required.

Save the date!

Dear Samarra fans - a belated but very Happy New Year to you all! We can now announce that we will be giving the annual Mallowan lecture, following the BISI AGM on Thursday 27th February at 6pm. The details of the lecture are copied below and also available on the BISI website. Booking will be open to BISI members first and foremost, but may then open out more generally if there is space, so please keep an eye on the website for updates. We will also post a report here afterwards, and the content of the lecture will eventually be written up for publication in the BISI journal, Iraq.

Wall painting fragment from Samarra, V&A: A.30-1922

A New Look at Samarra: Small Finds from the Herzfeld Excavation in the Victoria and Albert Museum

BISI Annual Mallowan Lecture
By Dr Mariam Rosser-Owen (V&A) and Dr Rosalind Wade Haddon (Independent Scholar)

Date: Thursday, February 27, 2014 - 18:00 to 20:00.
Location: The British Academy, 10 Carlton House Terrace, London, SW1Y 5AH.
In 2013, BISI granted the Victoria and Albert Museum the annual pilot project award to research, catalogue, photograph and conserve the museum’s collection of 285 objects excavated at Samarra by Ernst Herzfeld in 1911-1913. This material encompasses architectural ornament in plaster, stone and wood, as well as objects in steatite, glass and ceramic. It forms a representative typeset of the finds from this landmark excavation, which are now widely dispersed across international museum collections; this project forms the first phase in an attempt to research and virtually reunite the Samarra finds. This lecture will outline the work undertaken over the past year, the discoveries that have been made, and how the Samarra material is now accessible through the museum’s website. It will also sketch out the ambitions that remain for this collection, and the project’s next phases. 

The lecture will be immediately preceded by BISI's Annual General Meeting at 5.45pm. All audience members are also warmly welcomed to join us for a reception after the lecture.

Tickets: free, but pre-registration is required. Bookings to open shortly.