Recalling a Museum Theft

“Sadly, the best candidate for him, the beautifully carved [head] 3, facing right, was stolen from the Agora’s dig house in 1955, while the Stoa of Attalos was under construction.” This sentence caught my attention while reading “Classical Sculpture from the Athenian Agora, Part 2: The Friezes of the Temple of Ares (Temple of Athena Pallenis),” published in Hesperia 88 (2019) by Andrew Stewart and seven co-authors (E. Driscoll, S. Estrin, N. J. Gleason, E. Lawrence, R. Levitan, S. Lloyd-Knauf, and K. Turbeville). Further below in the catalog entry for the head, the exact date of the theft is also mentioned: August 22, 1955.

Stewart et al. refer to a fragmentary male head of high craftsmanship that was found in the Athenian Agora near the northeast corner of the Temple of Ares in 1933. Carved around 430-425 B.C. and identified as Hermes, the small head (H.: 0.147m) is one of forty-nine half-size marble fragments which once decorated the friezes of the Temple of Ares in the Agora (originally the Temple of Athena Pallenis at Pallene). A plan of the Agora with the findspots of the sculptures is included in the Hesperia article, and is also available at https://ascsa.net.

Some of the marble heads that belong to one of the friezes of the Temple of Ares at the Athenian Agora. Source: Stewart et al. 2019.
Proposed reconstruction of one of the friezes of the Temple of Ares by the authors of Stewart et al. 2019.

Thefts occur in even the best guarded museums and libraries.  Every institution has its own story (or stories) to share or hide. And at least some thefts are committed by those who have “hands-on” access to the collections. A recent example was the return of two valuable journals of Charles Darwin, which were stolen two decades ago from the library of Cambridge University. Others remain lost–the paintings stolen from the Isabella Gardner Museum in Boston in 1990, or the Telephus head, an original by Skopas, removed from the Tegea Museum in 1992.

But back to the little head of Hermes that was inventoried as S 305. I was curious to discover more about its theft. A search in the Archives of the American School of Classical Studies at Athens (ASCSA or the School hereafter) yielded considerable information about the event and its aftermath.

On September 6, 1955, the School’s Director, John L. Caskey, found himself in the unpleasant position of reporting to the Chair of the Managing Committee, Charles H. Morgan, that “one of the fine small marble heads from the Altar of Ares in the Agora was stolen recently. You will remember that a series of these heads was on a window sill in the inner courtyard. The head was twisted out of its plaster base. The loss was reported to the Ephor, the Symvoulion discussed it (not unsympathetically, according to George Mylonas), the police were notified, and small notices appeared in the papers. Modiano, who is very alert, picked it up immediately and put a bit in the Times of London. I wonder whether the story reached America. There’s nothing more we can do except, as Homer [Thompson] says, hurry up and move to the Stoa” (AdmRec Box 318/5, folder 8). [The photo on the left and its title are reproduced from Stewart et al. 2019.]

There was a delay of about two weeks between the theft (August 22) and Caskey’s report to Morgan because the School’s Director was not informed immediately. Apparently the staff members of the Agora were slow to convey the news either to the School’s Director or to the Ephor of the Acropolis, John Meliades. Eugene Vanderpool, who was in charge of the Agora Excavations when its Director Homer Thompson was in America, wrote to Thompson on August 29 (seven days after the theft). “Meliades came down this morning and I told him all the details. He was sympathetic and helpful. Later in the morning I took him a written account of the affair drawn up by Kyriakides [Aristeides Kyriakides was the School’s lawyer]… [and] I enclosed several pictures” (Homer A. Thompson Papers, box 68, folder 4).  

John (Jack) Caskey, Charles Morgan, Ward Canaday, Homer Thompson in the inner court of the Agora dig house ca. 1955. ASCSA Archives.

Since the head had never been published, Meliades urged Vanderpool “to publish it as soon as possible so as to make public the claim to it.” The next day Vanderpool supplied journalist Makis Lekkas of Vima (BHMA) and Nea (NEA) with a short text and a photo which gave the appearance that the Hermes’ head had just been found during cleaning operations in the area of the Temple of Ares. Vanderpool further suggested to Thompson that the theft should be included in the School’s Annual Report, “so that it will become known in the scholarly world. Then if an attempt is made to sell it to a museum it can be identified. Meliades tells me that if a foreign museum buys it, the Greek Gov[ernmen]t can reclaim it as stolen property under existing international agreements.” As planned, on August 31, a short piece appeared at NEA, titled “Σημαντικά ευρήματα εις την Αρχαίαν Αγοράν” (Important finds at the Ancient Agora).

Meliades immediately reported the theft to the Archaeological Council. An off-the-record note by Mylonas, who was present at the Council’s meeting, suggested that members were understanding and “that while it was too bad, such things do happen occasionally.” The Minister of Education, who presided over the Council, personally telephoned the police and reported the theft (Homer A. Thompson Papers, box 68, folder 4, Vanderpool to Thompson, Sept. 1, 1955).

The Cat’s Out of the Bag

Just as he was about to mail his letter, Vanderpool rushed to add a last-minute postscript: “It looks as though the cat were out of the bag. Today’s NEA reports the theft, having gotten it from police bulletin. Modiano [the Greek correspondent in London] called up at 12.10 for more details… and it will be in London Times.” On September 2, the London Times published a note together with a photo of the stolen head: “500 B.C. Bust Stolen from Museum.” By then the Director of the School must have also found out about the theft although there is no mention of Caskey in the dispatches that Vanderpool sent to Thompson or in all their dealings with the Archaeological service. 

After that initial interest, the press dropped the matter quickly, but not the Archaeological Service. On September 9, Spyridon Marinatos, Director of Antiquities, Christos Karouzos, Director of the National Archaeological Museum, and Ephor John Meliades visited the “scene of the crime” and met with Vanderpool. Three days later Caskey received an official reprimand signed by the Minister of Education, Achilleas Gerokostopoulos. In it, the School was accused of having inexcusably delayed, almost by a week, in informing the Service of the theft. As a result, the police had lost valuable time. The School was also reproached for not storing such a prime piece of sculpture in a safer location; instead it was in an exposed and unsecure location. Finally, by not publishing it for twenty-two years, the School had made repatriation more difficult in case it had already been smuggled outside Greece (Homer A. Thompson Papers, box 111 folder 1, enclosed in a letter from Caskey to Thompson, Sept. 16, 1955).

John Meliades (1895-1975). Source: Chatzi 2018, 56.

“The School gets a black eye out of this, which could have been avoided if we had reported the loss to Meliades at once. In the future I’d like to hear from the Agora staff immediately whenever anything happens that may affect our standing or relations with the officials and the local public,” Caskey rebuked Thompson. The rest of Caskey’s letter referred to the animosities between Greece and Turkey “over the Cyprus business,” and the progress that had been made concerning the reconstruction of the Stoa of Attalos: “The fluting of the eight columns is a fine sight.”

Morgan writing to Vanderpool from the other side of the Atlantic was more sympathetic about the theft. “It is a pity it has gone. I remember it well and believed it to be by one of the sculptors of the Parthenon frieze. Unfortunately this is the kind of thing that happens in the best of regulated museums, one of these things that no number of special guards or protective devices can entirely obviate… such as Princeton three years ago with three Rembrandt prints stolen during a commencement exhibition” (AdmRec 318/5 folder 8, September 13, 1955).

Eugene Vanderpool (1906-1989) lecturing at the Agora excavations, Dec. 1951. ASCSA Archives, Martha Heath Wiencke Papers

There is one last mention of the stolen head in the School’s records. On September 24, 1955, Vanderpool writing again to Thompson referred to some fake news about the missing head: “A clue which led to the Elsa Maxwell cruise proved false. Someone on the cruise had indeed bought a small head but it was not ours. It is a long and rather amusing story. Dick [Richard Hubbard] Howland knows it and would be glad to tell it if he sees you. I may write it someday.” Vanderpool also added that the Agora staff had “closed the courtyard to the general public: too bad, but really much better so” (Homer A. Thompson Papers, box 68, folder 4).

Maxwell (1883-1963) was a famous gossip columnist who was known for entertaining high-society guests at her parties and being friends with celebrities such as the Duke and Duchess of Windsor, Aristotle Onassis and Maria Callas. In late August 1955 Maxwell together with actress Olivia de Havilland organized a 15-day cruise in the Aegean for 113 members of European royalty and other high-society types, aboard the luxury yacht Achilleus, lent by the Greek shipping magnate, Stavros Niarchos. Although Maxwell’s cruise was not connected to the theft, cruise boats or merchant ships were the main vehicles for smuggling antiquities out of Greece before and after WW II, including the famous New York kouros in the Metropolitan Museum.

Eight Months Later and a Riddle

In search of more information about the stolen marble head, I continued to read correspondence between Caskey and Morgan, whose main concern was the progress of work on the Stoa of Attalos and plans for its inauguration in the late summer of 1956. There I came across a letter titled “Confidential” that Morgan sent to Caskey on May 15, 1956 soon after the May Meeting of the School’s Managing Committee (AdmRec 318/5 folder 9). While in New York, Morgan paid a visit to Christine Alexander (1893-1975), Curator of Greek and Roman Art at the Metropolitan Museum. Morgan was on a mission (sent by Caskey) to see Alexander about a delicate matter, the return to Greece of some object. “Not knowing exactly what approach to take I said ‘I am at your service if you need me’.” Morgan was surprised not so much by the position Alexander took but “from the indomitable conviction with which she spoke.” “Her opinion is that the Metropolitan bought the article in good faith, that the Metropolitan’s funds are charitable funds, invested for the benefit of the people of New York, that it would be improper to ask the citizens of New York to pay for the carelessness of a local museum.” For a moment I wondered if they were talking about the Agora marble head.

But then Alexander further pressed her arguments by pointing out “that the figure had not been published in anything that seems to have reached this country [America], that when the figure was stolen, though everyone knows that such material drifts to the New York market, no notification was received by the Metropolitan nor so far she [knew] by any other museum or private collector.” It was obvious that she was talking about something else, a figure, not a head, that had been stolen from a Greek museum.

Morgan tried to counteract her arguments by saying that if he were a Trustee of the Metropolitan faced with such a problem “I would immediately dig into my own pocket and the pockets of my fellow Trustees to reimburse the city for the cost of the figure and restore it to its original position.” He further added that “this was the time for American institutions to make such gestures and [he] would strongly advise that it be done with the greatest possible attendant publicity.

To which Alexander strongly disagreed believing that it would have had the opposite effect. “Well, we made the rascals give up the swag” Morgan quoted her saying. Morgan promised Caskey that he would continue to press the matter: “I will do everything I can to effect what seems to me a solution indicated morally if not legally.”

I found Caskey’s response in Morgan’s files. In a long letter written from Lerna on May 27, 1956, about a host of issues concerning the reconstruction of the Stoa of Attalos, Caskey finally came to the matter of dispute with the Metropolitan Museum.

I consider it of the greatest importance that the piece be returned. I had not supposed for a minute that there could be any doubt about that. It was published in an extensive study with three clear photographs… And if the funds of the people of New York were misspent by accident –for goodness sake that is no reason for being righteous.

AdmRec 310/14, folder 10, Caskey to Morgan, May 27, 1956

The School’s good name was at risk: “… unless the bronze is returned promptly and gracefully, the good name of American archaeologists in Greece, and so of the School, is going to suffer a sharp blow. The French acted just right, asking no credit for returning the bronze that had been stolen (by others, of course) from Samos; and they received a lot of credit and good will from the Greek Ministry, and archaeologists. By contrast, we should look worse than Elgin,” concluded Caskey.

But what was the apple of discord? The only bronze figure that the Met acquired in 1955 was a small Hellenistic statuette of a rider wearing an elephant cap, and this seemed to have originated from Egypt. It does not seem that this was the figure that Greece wanted back and the Met refused to return. I have not been able to solve the riddle of the bronze figure. It also appears that the issue had not been resolved by April 1957, when Caskey, in another letter to Morgan, confessed that “just now I have had to report failure in my attempt to intercede in the matter of the missing work of art, about which you know, and this news of American irresponsibility [Caskey must be referring to the Met] made a really dismal impression on my Greek colleagues” (AdmRec 318/6, folder 2, April 18, 1957).

Bronze statuette of a rider wearing an elephant hide in the Metropolitan Museum. Source: Met Collection API.

Afterthoughts

Although seemingly unrelated, the two cases point to the widening gap between art historians staffing American museums and field archaeologists, such as Caskey and Morgan, working in Greece in the 1950s. The former still operated under 19th century colonial terms, while the latter, especially Caskey, understood that following WW II there was a new world order in Greece to be taken into account and respected, despite his father having been Curator of Classical Art at the Boston Museum of Fine Arts. Although even he occasionally found the situation frustrating, he observed that both leftist archaeologists such as Meliades and conservatives such as Marinatos were justified in their belief that the foreign schools continued to be unreasonably critical of the work of their Greek colleagues.

It is of course easy enough for the [foreign] schools to criticize the Greek service in turn and point out its weaknesses, as well as the good that the foreigners do for Greece. But ultimately the Greeks are right; this is their country and they must make their own decisions.

Caskey confided to Morgan in late 1956 (AdmRec 318/6, folder 1, December 29, 1956)

As for stolen antiquities, such as the Hermes head from the Agora, the more publicity they receive the better it is. It is unclear how widely news of this loss circulated in 1955. Besides the short note in the London Times, I could not find a single reference in the newspapers.com database. The first time that a photo of the Hermes’ head appeared in a scholarly publication was in 1986 (Harrison 1986). Even if some of the large American museums were aware of its theft in the late 1950s, it is almost certain that, as curatorial staff retired or died (and with them institutional memory), the Hermes head moved from the top of the museums’ “hot list” to the bottom, when its photo was transferred to some institutional archive as an inactive record. It is laudable that the authors of the recent Hesperia article flagged its lost status several times in their essay. It remains out there somewhere, waiting to be repatriated to Greece.


References

Chatzi, G. (ed.) 2018. Γιάννης Μηλιάδης. Γράμματα στην Έλλη. Αλληολγραφία με την Έλλη Λαμπρίδη 1915-1937, Athens.

Harrison, E.B. 1986. “The Classical High-Relief Frieze from the Athenian Agora,” in Archaische und klassische griechische Plastik. Akten des internationalen Kolloquiums vom 22.–25. April 1985 in Athen 2: Klassische griechische Plastik, ed. H. Kyrieleis, Mainz, pp. 109–117.

Stewart, A., E. Driscoll, S. Estrin, N.J. Gleason, E. Lawrence, R. Levitan, S. Lloyd-Knauf, K. Turbeville, 2019. “Classical Sculpture from the Athenian Agora, Part 2: The Friezes of the Temple of Ares (Temple of Athena Pallenis),” Hesperia 88:4, pp. 625-705.


The Cretan Idyll of Harriet Boyd and Charles Henry Hawes

BY CURTIS RUNNELS – PRISCILLA MURRAY

Curtis Runnels, Professor of Archaeology at Boston University and an expert in Palaeolithic archaeology in Greece, and his wife Priscilla Murray, an anthropologist and Classical archaeologist, here contribute to From the Archivist’s Notebook a story about their purchase of a sketchbook from the early 20th century with watercolors depicting places and people on Crete.

We visited an antiquarian bookfair in Concord, New Hampshire, about twelve years ago and a booth belonging to a dealer from Vermont, who specialized in original artwork, caught our eye.  Sorting through piles of miscellaneous materials, we found a few things relating to Greece, and a small (8 by 4 inches; 20 x 10 cm) artist’s sketchbook grabbed our attention.  It was displayed on a table opened to a watercolor view that seemed familiar.  Surely it was the entrance to the harbor at Herakleion on Crete!  And indeed, penciled in one corner was the inscription “Candia,” the older name for the city which both confirmed the identification and provided a clue that the sketchbook, as dealers in antiques like to say, “had some age.”  There were other artworks in the sketchbook that are dated to April 1905, and still others with various dates in 1915, and one dated to 1916.  The artwork from 1905 was the most interesting for us.  Turning the pages of the sketchbook we saw line drawings of dancers at Knossos and a man drawing water from a well in Siteia, pastels of houses labeled Knossos and “Sitia, as well as watercolors and line drawings of Mykonos, Ios, and other Cycladic islands, Sounion, and Athens.  The unknown artist was interested particularly in the new Minoan finds from Knossos as is evident from the line drawings of wall paintings and artifacts in the “Candia Museum.”

Although there is no artist’s signature, we guessed that the artist must be someone interesting, perhaps even someone we would recognize.  After all, how many Americans or British travelers (the fact that the titles are in English is the reason for assuming the nationality of the artist) were sufficiently interested in Knossos and the Minoans to visit Crete in 1905 at a time when there was much unrest on the island?  We bought the sketchbook and took it home to do more research. 

Watercolor of Candia

We were right in thinking that there were few Anglophone visitors to Crete in 1905.  The island was experiencing political unrest that year as the result of the Theriso Revolt by Eleutherios Venizelos against the government of Prince George, which led to the imposition of martial law in March and armed clashes with rebels in April.  It was not an inviting situation for casual visits by tourists.  There was one group of people, however, who had strong reasons to visit the island.  There was an International Congress of Archaeology being held in Athens in April of that year and at least one group of attendees, including the young American archaeologist Harriet Ann Boyd (1871-1945), was escorted to the island by Sir Arthur Evans to inspect the excavations at Knossos.  This fact suggests a hypothesis.  It is known that Harriet met her future husband Charles Henry Hawes on this trip and our sketchbook may possibly have belonged to him.  There are two reasons for thinking so: the dates written on the front cover, 1905 and 1915 (see below), and inside the front cover the initials “ChH.”  Other indicia of ownership are the penciled purchase price of “dr [drachmes] 3-25,” and the inscription “Crete, 1905.”

The initials “ChH” inside the front cover

Charles Henry Hawes (1867-1943), a well-known Cambridge anthropologist, met Harriet Boyd for the first time in 1904 when he visited Gournia on Crete where she was directing her excavations.  We do not know what happened in that first meeting, but in April 1905 Charles and Harriet found themselves on the steamer en route from Naples to Athens to attend the International Congress of Archaeology and we surmise that a romance bloomed as they renewed their acquaintance, for after the conference Charles (who was already on Crete measuring skulls for ethnological research) visited Harriet at Gournia for a second time.  Though Charles may have returned to Athens in April, he was back on Crete again at some point, because Harriet, who was in Herakleion studying the finds from Gournia, relates that she saw Henry, as she preferred to call him, “quite often.”  Whatever course their courtship took, things developed quickly because Henry (as we shall call him hereafter) proposed by letter (!) at the end of that summer, and soon after Harriet returned to the United States at the end of the year she announced her engagement.  Henry and Harriet were married in Washington D.C. in the spring of 1906.

The Boston Globe, December 31, 1905 – Harriet Ann Boyd, 1900s.

These facts are related in an informal biography by Harriet Boyd Hawes’s daughter, Mary Allsebrook, published 30 years ago (Allsebrook 1992), and now the sketchbook with its watercolors, pencil drawings, pastels, and a few line drawings may provide a glimpse of those idyllic days in Crete in April 1905 when Henry and Harriet were falling in love.  The locations and dates of the works in the sketchbook show that the artist was first in Candia and at Knossos about April 16 and made other sketches on Crete, the last in Sitia on April 18, whence we presume the artist sailed for Athens.  En route to Athens, drawings, sketches, and paintings were made of Thera, Ios, Mykonos, and Delos dated on the 19th and 20th and the final artworks in Greece (Sounion and Mt. Hymettus) dated April 20 when the artist arrived in Athens.  The chronology in Crete matches that of Harriet who reached Gournia on April 16 after her time in Knossos with Evans’ party.

Watercolor labeled “Knossos”
Watercolor from the “Candia Museum”

The clinching evidence in our view for the identity of the artist as Charles Henry Hawes comes from the other drawings and paintings in the sketchbook which were made in New England and are dated to 1915.  These include views of Manchester, New Hampshire (or possibly one of the other New England Manchesters in Vermont or Massachusetts), West Falmouth and Naushon Island in Massachusetts, and Mt. Desert in Maine.  We know that in 1915 Henry and Harriet were living in New Hampshire where Henry was teaching at Dartmouth College, and it is possible that these artworks were made during family trips to the coast.  We also think that it is highly improbable that there were two persons in Athens and Crete in April 1905 at the same time as Henry and Harriet who also ended up residing in New England in 1915.  Possible, but not plausible.  Henry and Harriet must be the strongest candidates.  Finally, we are confident the sketchbook was not Harriet’s but Henry’s because of the initials inside the front cover and from the dated artworks from April 18-20 reflecting a trip through the Aegean at a time when Harriet was still on Crete.

Sketch of “Cretan Dance at Knossos”

The draft images and finished watercolors and pastels are competent, if not inspired, and indicate that the artist had some training, otherwise the chief interest of the images is the depiction of the landscapes and people of Greece 117 years ago.  There is one other set of images that are perhaps of interest.  There are sketches and a pastel of two children (one dated 1916, the latest date in the sketchbook) as well as of a man and a woman.  It is these pastels that grabbed our attention.   One leaf in the sketchbook has two portraits of an adult woman.  Are they perhaps two views of the same woman?  And could this be Henry’s portrait of Harriet?

REFERENCES

Mary Allsebrook (ed.), Born to Rebel: The Life of Harriet Boyd Hawes. Oxford 1992.


Editor’s Note

Looking for more information about Charles Henry Hawes, I found that in 1903 he published In the Uttermost East: Being An Account of Investigations Among The Natives And Russian Convicts of The Island of Sakhalin, a lengthy account of a trip he made to Russia in 1901. Tessa Morris-Suzuki discusses Hawe’s journey to Russia in an informative article, titled Indigenous People Between Empires: Sakhalin through the Eyes of Charles Henry Hawes; she also reproduces many photos from his book, including one of Hawes (there are very few photos of his) clad in a long fur coat as he was preparing for his travels to Siberia.

In her article, we also learn that Harriet was his second wife: “in 1889 he [Hawes] married Caroline Maitland Heath, a well-to-do school teacher who was 26 years his senior: he was 22 and she was 48 at the time. Despite the gap in their ages, the evidence suggests that this was a love match. When Caroline became terminally ill not long after their marriage, Henry ‘nursed her most tenderly through the dreadful, prolonged agony of cancer which ended her life’. On her death, Caroline left her young widower almost £5000 – worth over half a million pounds in today’s money – and Henry, then in his late twenties, chose to invest his new-found wealth in two things: education and travel.”


A PORTRAIT OF A (PAGAN) LADY: MABEL GORDON DUNLAP

In 1897 a young American woman announced in the newspapers her return to Chicago after a year in Europe. “Miss Mabel Gordon Dunlap of Michigan Boulevard, who has been in Europe for a year, will sail for home on Wednesday” (Chicago Inter Ocean, August 15, 1897). The same woman had also made an earlier announcement that she was still in London “spending most of her time at the British Museum” (17 July 1897). While in London she printed a handsome pamphlet, titled “A Critical Study of Sculpture and Painting,” that contained information about her as a teacher and a lecturer, and a summary of two art courses that she was “ready to deliver before ladies’ clubs and schools” in the winter: “A Course of Twelve Lectures on the History & Philosophy of Greek Sculpture,” and “A Course of Twelve Lectures of the History of Painting in Italy.” While in England she had attended lectures by Charles Waldstein, Professor of Fine Arts at Cambridge University (and former Director of the American School of Classical Studies at Athens), whom she quoted in her brochure: “There are those who make art, there are those who enjoy art, and there are those who understand art.” Dunlap’s courses, fully illustrated with stereopticon views, were designed to help people understand art.

The pamphlet that Mabel Gordon Dunlap published in 1897. ASCSA Archives, Ion Dragoumis Papers.
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Is this Julia Ward Howe?


BY CURTIS RUNNELS – PRISCILLA MURRAY

Curtis Runnels, Professor of Archaeology at Boston University and an expert in Palaeolithic archaeology in Greece, and his wife Priscilla Murray, an anthropologist and Classical archaeologist, here contribute to From the Archivist’s Notebook a story about the purchase of a miniature portrait of an elegant, young woman in an antique fair, their research to identify both the subject of the portrait and its creator, and, finally, their thrilling discovery.

Even from a distance, the small portrait of a beautiful young woman had a commanding presence. We bought the miniature watercolor on ivory (less than 10 by 8 cm) at an antique fair in Holliston, a town near Boston, Massachusetts, because the sitter was dressed a la Gréque with a Greek column in the background. The quality of the painting, which points to a very accomplished miniaturist, together with the appearance and accoutrements of the subject, suggest that the painting was an important commission by a socially prominent person. We loved the painting, and of course, we were intensely interested in the identity of the young woman.

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Francis H. Bacon: Bearer of Precious Gifts from the Dardanelles

I first came to know Bacon’s name when, as a student of the American School of Classical Studies at Athens (ASCSA or the School hereafter) in 1989-1990, I was asked to report on the Assos Excavations during the School’s trip to Asia Minor. Assos, an affluent, ancient Greek city in the Çanakkale Province and a colony of Lesbos, is known for having erected the only Doric temple in Asia Minor, where the dominant style was Ionic. Francis Henry Bacon (1856-1940) was the architect of the excavations, which were funded by the Archaeological Institute of America (AIA) and took place from 1881 to 1883, as well as one of the three co-authors (with Clarke and Koldewey) of a final publication that was not completed until 1921. Although Bacon’s name appears second, the publication would not have appeared without his dedication and persistence. Joseph T. Clarke (1856-1920) had given up on it long before, and Robert J. Koldewey (1855-1925) had dedicated most of his life to uncovering Babylon.

In 1878, Francis H. Bacon and Joseph T. Clarke bought a sailboat, the “Dorian,” in London and sailed to Athens by way of Holland, the Rhine, the Danube, the Black Sea, and the Aegean. Here a self-sketch by Bacon while examining a marble lekythos at the National Archaeological Museum. Source: MIT Libraries, Institute Archives and Special Collections.

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