Being a Roman archaeologist by trade, wherever I go in the world I seem to sniff out some classical antiquities. Some call it a talent, some call it an obsession (I’ll leave that to you to decide…). There’s something about the ancient civilisations that get me really excited and if I’ve had a tough day on a muddy site in the freezing cold New Zealand winter I go home and grab my copy of Tacitus (or watch an episode of the BBC’s ‘Rome’ – it’s all about balance, right?) to remind me why I fell in love with archaeology.
I was exceptionally lucky to grow up right next to Hadrian’s Wall in the North East of England, so I’ve been surrounded by classical influences my entire life. This is quite likely why I wanted to go on to study it at a higher level. When I was studying Roman archaeology at Newcastle University I actually got to dig on Hadrian’s Wall a few times, so I count myself very fortunate. Moving to the opposite side of the world (literally), I have encountered a very different type of archaeology, which I love experiencing in equal measure. But I need my classical fix. Que the Teece Museum of Classical Antiquities. If you haven’t heard of it, you’re about to.
Now Christchurch wouldn’t be the first place I would think of when I’m wistfully daydreaming of Ancient Rome or Athens but I was wrong (shocking, I know). The University of Canterbury offers an outstanding opportunity to get up close to artefacts from the Ancient World in the form of the Teece Museum, now located in the UC Arts Building in the CBD. While visiting the museum is free, donations are strongly recommended – not only because we need to keep funding our arts and heritage sectors (I won’t start ranting, don’t worry), but because the museum itself has its origins in just that activity; donating. The James Logie Collection came from a single donor, Miss Marion Steven, in 1957. And from here the story of classical antiquities in Christchurch has grown. The collection was the ‘brainchild’ of UC Classics staff member Marion Steven (pictured below, exploring Rome a bit like myself), whose passion for Greek pottery provided the foundation for the Logie Collection. She taught at the University between 1944 and 1977 and married James Logie, Registrar of the College from 1950 until his death in 1956. The collection was established as a tribute to her husband and since then has been a commemoration to both James and Marion.
The story of classical antiquities in Christchurch is, however, fairly different to most places. When the 6.2 magnitude 2011 Canterbury Earthquake struck, artefacts literally jumped and turned (apparently the CCTV footage is quite something). The quakes resulted in around three quarters of the collection being damaged, but (luckily) there was no water or fire damage. If there had been, I would be telling a very different story right now. What astounds me the most about Christchurch in general are the positive perspectives that people have taken from the rebuild process, and meeting with Terri Elder (the collection’s curator who joined the team post-quake), provided me with yet another example of this. What we often don’t think about when visiting museums is the stuff that’s kept in storage. Only a small proportion of a collection is shown at any time. New exhibitions are always being put together and the artefacts that aren’t currently on display are kept in storage. Whilst the earthquake caused major issues for collection, they’ve taken the time to learn from what happened and make improvements to the storage alongside the repair of the artefacts, many of which had historic repairs that were not up to current conservatory standards.
Storage units for museums and archives are usually large rolling units (seen below).This rolling design allows you to open one ‘corridor’ at a time and therefore doesn’t waste space in between shelves (like a library for example). While this method is a necessity to save valuable space, I’m sure you’ll agree that rolling units with valuable objects and earthquakes don’t really mix. While no significant damage happened to the collection that was in storage, lessons were nonetheless learnt. These lessons resulted in modifications to the storage, such as the straps across the shelves which are designed to catch and stop the boxes from falling to the floor in the event of another quake. In addition, the units all lock into place when you open them to prevent users becoming trapped between the units.
As an immediate reaction following the quake, the collection was to be packed away in its entirety. This, which could be perceived as a step backwards, oddly turned into a positive for the museum as it meant that schools visiting the collection in the period after the quakes got to handle the collection because it was in storage rather than on display behind a glass case. The collection began to be used in a more hands-on manner, which makes the artefacts (as well as the time period they came from) more real and vibrant to those learning about them. There’s often a perception that artefacts in museums aren’t to be handled, and while that’s true for the pieces on display in cases, artefacts are constantly handled when curators, researchers and archaeologists are learning more about them.
Another positive taken from this situation was the opportunity to remove historic repairs that weren’t up to scratch, which often included staples and discoloured glues. Since these original repairs had been done, the conservation industry has moved forward in leaps and bounds. The new repairs (an example of can be seen below) are all reversible. Now that’s pretty neat. And yes, the artefacts have suffered more fractures during the recent quake but in my humble opinion these new fractures are a new addition to the story; it was once whole, then lost and forgotten (and likely broken), then found by archaeologists (or collectors), repaired and put on display, and then caught up in the Canterbury Quakes. This is just another stepping stone in the life of an artefact.
If improvements to the storage and artefacts weren’t enough, the space in which we can now see the collection has had an upgrade too! Pictured below, the space at UC Arts Building now features cases fixed to the wall, with thick safety glass. The cases in the middle are moveable, but there are latches throughout the space that they can be attached to, so with every changing exhibition the space changes but remains safe. Within every case each artefact has a unique mount inside, invisible to the museum visitor, but designed hold the item steady in the event of more earthquakes. None of this was in place prior to 2011, so you’re able to see (or at least visualise) how hard Terri and the team have worked to make the space safe and useable.
I may be a tad bias, but I think we’re exceptionally lucky to have a collection such as this in Christchurch and, with it now being housed within the CBD, there’s really no excuse not to go along and have a look for yourself. The Teece Museum of Classical Antiquities is located on Level 1 of the UC Arts city building (Old Chemistry) at 3 Hereford Street, in the historic Christchurch Arts Centre. The museum is open to the public Wednesday through to Sunday from 11am to 3pm. See you there!
Contact the museum:
Special thanks to Terri Elder and the Teece Museum for their help in making this blog post possible.