 |
| Dr Joanne Berry's book on Pompeii |
The discovery of historical artefacts isn't something that happens in a vacuum. That's the main thing I took away from a fantastic set of lectures on Pompeii and Herculaneum by Doctor Joanne Berry and Professor Nigel Pollard, who visited Australia from Swansea University in the UK thanks to the HTA. Said lectures were held at Glenmore Park High School, which was very nice for those of us based in Western Sydney and/or the Blue Mountains.
I can't say that I'm very knowledgeable about Pompeii as I'm more of a Modern History enthusiast than an Ancient History one, but from an Extension History standpoint both Berry and Pollard provided more than enough grist for the historiographical mill for anyone with even a passing interest in the past. Dr Berry, an archaeologist who has been working at Pompeii and Herculaneum for over 25 years, stressed the importance of context in relation to archaeological material, whilst Professor Pollard honed in on the status of Pompeii during WWII as a fascinating case study that would be very useful for Extension History. I'll write on Professor Pollard's talk in a future post as today I want to concentrate on what Berry spoke about.
In exploration of context, Berry described the initial conditions in which Pompeii emerged as an archaeological site in the mid-18th Century. King Charles VII, the Spanish monarch who controlled Naples at this time, was consolidating a new kingdom alongside already established royalty in neighbouring states. For a rube like me, who has never taught the mandatory Pompeii study, it was fascinating to hear about the context of Charles VII, the Spanish monarch who controlled Naples in mid-18th century - a new kingdom desperate to gain acceptance from surrounding royal families. Charles VII brought in poets, composers, artists, etc. in an effort to turn Naples into a cultural centre in Europe. He bought up the area where the Pompeii excavations took place, and the above portrait shows the artefacts around him - signifying the importance of these antiquities as conferring status onto the monarch.
Two years later, Horace Walpole arrived and recorded the discoveries made at Herculaneum. This was the birth of archaeology - seeing the arrival of military engineers, soldiers, and forced labour overseen by a military engineer. Walpole criticised the overseer for excavating artefacts at the expense of the ancient Roman city that was being uncovered, raising issues regarding the need to preserve the past. The things found at Herculaneum were selected, recorded and preserved only on the basis of what the engineers thought the King would be interested in - everything else was discarded, or destroyed. It was more like mining than discovery. It was only through recognition from foreigners like Walpole that people began to realise that an opportunity for learning was being lost.
This Peter Fabris painting from the time shows the excavation of the Temple of Isis - here the excavators were starting to become aware of impressing their financiers/benefactors, so that when they realised they had found something significant they would stop and then wait until a prestigious visitor arrived and then 'stage' the excavation. This led to important visitors (such as Maria Carolina) coming along and 'instructing' the excavators on what to do, believing that they themselves were directing the excavation. The benefit for the real excavators was that these important visitors would then also give money to them. Thus, the birth of archaeology as a practice supported by patronage.
The visiting of the Pope made it necessary to remove stepping stones in the Pompeii streets so that his cart could travel through, and often these stones were not put back. Our record of this now (and its delivery in Joanne Berry's lecture) shows the way history interacts with itself to create its own narrative - the early modern age interacting with the ancient world, as reflected through our contemporary perspective. In other words, the ancient streets of Pompeii were disturbed and restructured by the arrival of visitors such as the Pope in the 18th/19th Century, and now - in the modern day - we must contend with these restructurings of the site if we are to reach a better understanding of what it really looked like.
The Unification of Italy in 1860 politically required examples of Italy's past greatness as justification for nationalism, so Pompeii became emblematic of the new Italy, and this drew increased funding. Suddenly, anyone could visit the excavation (not just the rich and powerful), and an archaeological school was set up to train future excavators so that more glory could be uncovered. Fast forward to the 1930s-1940s, and the Italian fascists also poured incredible funds into Pompeii (in particular the excavations overseen by Amedeo Maiuri) with the expectation that he will find important things and will publish them under the aegis of the fascists.
Berry says that what we know about Pompeii/Herculaneum depends on when it was excavated and who was doing the excavating, and that these things are affected by political context. There's also the influence of romanticism and the desire to impress, things that have affected the archaeological approach to Pompeii in all periods. Berry describes this a 'circular'
process, the coming and goings of various regimes keen to use Pompeii
for their own political and cultural advantage.
