Exhibition posters in BMC’s special collections

Today’s post is by one of our summer interns, Elizabeth Reilly:


Bryn Mawr’s Special Collections has an interesting set of posters and prizes from many world’s fairs, but the bulk of the posters come from the Louisiana Purchase International Exposition of 1904 held in St. Louis. You might recognize this fair’s name from the movie musical, Meet me in St.Louis, starring Judy Garland.This fair commemorated the centennial of the 1803 land purchase, focusing on themes of imperialism and technological advancements. It was also the first fair to have an entire building dedicated to education and social issues, the Palace of Education and Social Economy, which is where Bryn Mawr’s installation was. The fair spanned 1,272 acres and ran from April – December of 1904, attracting approximately 20 million visitors.

In this day and age, fairs and expositions seem obsolete, so what’s the big deal about Bryn Mawr at a fair? Today, thanks to social media, ideas, writings and images can be spread around the world in a matter of seconds. But in the past, World’s Fairs and Expositions served as gathering places for these ideas, inventions and people from all over the globe, so it was important to have an exhibit at one of these international fairs. M. Carey Thomas helped to carefully design Bryn Mawr’s exhibit for the fair to promote the value of women’s education. I use the word ‘carefully’ intentionally, for Bryn Mawr was trying to convey a particular image of what a women’s college was and why women’s education should be supported. In Thomas’ letters, she explains that the St. Louis exhibit was going to be much more elaborate than any of Bryn Mawr’s prior World’s Fairs exhibits. Thomas was also chosen to be a speaker at the fair’s Congress on Education, which she viewed as an “important occasion because not only so many American scholars but a large number of European scholars will be present.” Below is a picture of what Bryn Mawr’s exhibit looked like in the Palace of Education and Social Economy.

Genevieve Thompson expo picture

The entry way is reflective of the many archways that decorate Bryn Mawr’s campus. Archways are symbols of power and the design of the exhibit help to frame the perception of the space as more important, or impressive, to visitors.



A portion of the posters from 1904 are dedicated to marriage rates of alumnae and from the Department of Physical Training. An award winning chart from the fair is an Anthropometric chart that measures girth, height, depth, breadth, and length of students over the course of their undergraduate career at Bryn Mawr. Weird, right? Can you imagine if this was a part of Customs week: move in to your dorm room, awkwardly talk with your brand new roommates and then head over to the gym to be measured together! I’m pretty sure the student body would riot. But you know what’s even crazier? The fact that the Bryn Mawr administration included posters about female students’ physical well-being in efforts to prove to the world that women were physiologically capable of receiving an equally rigorous education as men and that they, as some believed, would not become infertile and die.
Let me explain more. In 1873, Havard and University of Pennsylvania educated Dr. Edward Hammond Clarke wrote “Sex in Education; or, A Fair Chance for Girls.” In this controversial but widely discussed essay, he promoted the idea that women will become sick, weak, unable to become pregnant and possibly die if they receive a similar education to men. Here’s a sample from his essay: “Those grievous maladies which torture a woman’s earthly existence, called leucorrhoea, amenorrhoea, dysmenorrhoea, chronic and acute ovaritis, prolapsus uteri, hysteria, neuralgia, and the like, are indirectly affected by food, clothing, and exercise; they are directly and largely affected by the causes that will be presently pointed out, and which arise from a neglect of the peculiarities of a woman’s organization. The regimen of our schools fosters this neglect. The regimen of a college arranged for boys, if imposed on girls, would foster it still more.” Click here to read his essay in its entirety. Warning: May cause you to throw blunt objects at your computer screen. Read with caution.

Clarke goes on to refer to puberty as a “critical voyage” for women and he finds it ludicrous that America’s educational structure doesn’t pay attention to the fact that this passage takes place during a large portion of a girl’s educational life. Basically, Clarke thought that the female body was not strong enough or wired correctly to receive an education while also experiencing puberty. This idea was prevalent in the educational world for quite some time. But M. Carey Thomas and other people at Bryn Mawr were trying to turn this notion on its head by providing ample amount of evidence to prove that not only could women thrive at college, but they continued on to graduate school, received fellowships and some even got married, too! The Anthropometric chart won a bronze medal award at the 1904 Exposition, serving as validation that the International Exposition committee was receptive to Bryn Mawr’s assertions that women could succeed in academia without it affecting their physical well-being. According to the charts, many women even improved their physical health while at school. Although, the marriage rate of Bryn Mawr alumnae was down to 18.9% in 1903 from 40% in 1889…Uh-oh, better warn the patriarchy! (hey, hey, ho, ho…)

Over 70 posters about the graduate school program, the Self-Government Association, all of the academic departments and plans for the residence halls were displayed at the St. Louis World’s Fair. Bryn Mawr College received a grand prize for its general exhibit illustrating courses of instruction, and methods and results of college work in various departments as well. Below is part of a letter to M. Carey Thomas from Evelyn Winchester, a student native of St. Louis who had been chosen to oversee the exhibit, informing the President about the award of the Grand Prize. Next to it is an image of the photogravure Grand Prize.Untitled-1_MG_2498

There are also several posters that have students blue book exams mounted on the poster. In true honor code spirit, the names are cut out and yes, these blue books look almost exactly like the ones we still use today. Even through 109 year old posters, I can still feel a connection with Bryn Mawr students of the past who also stressed over their finals and were constantly trying to prove their intelligence and validity of their presence in the academic world.

Triptych, is that you?

Triptych, the repository for special collections materials from the Tri-Colleges, got a new look last week, as we just completed an upgrade to CONTENTdm, the software that makes the site run. Triptych features materials from Bryn Mawr College Special Collections, Haverford College Special Collections, Swarthmore College Peace Collection, and Friends Historical Library at Swarthmore College. Triptych’s updated look and feel will allow for enhanced searching and browsing of collections.

Though the site includes collections such as the Catt Collection Suffrage Photographs, the Castle Collection of Natural History Illustrations, and the Early Advertising Collection, we have more recently been adding a number of archival collections. Highlights include:


Biological laboratory, Taylor Hall (from the Photo Archives)



Postcard of the New Gymnasium (from the BMC Postcard Collection)

A History of the Deanery in Bryn Mawr College Publications.
Currently, the site appears very much “out of the box,” meaning that little customization has been done to give it a look-and-feel unique to the Tri-Co. However, because the software is fully functional, we’ve made the decision to roll out the site as-is for now, with plans for small improvements in the coming months. Using this kind of “agile” development model means that users can benefit from the new features of the site right away while we learn more about what’s possible and what’s desirable from our users. Look for  more improvements soon – in the meantime, have some fun browsing the archival, historical and manuscript collections.

Early Alumnae Bulletins now online!

Early issues of the Bryn Mawr Alumnae Bulletin (1921-1940) are now available online at the Internet Archive!

Funding for this digitization project was provided by The Albert M. Greenfield Digital Center for the History of Women’s Education and scanning was done by the Internet Archive with funding from LYRASIS members and the Sloan Foundation.

These items now join other materials from the College Archives online at the Internet Archive, including yearbooks (through 1949), annual reports, college calendars and catalogs, literary magazines and student publications (The Lantern, Fortnightly Philistine, Tipyn o’bob, Counterpoint, The Title). The collection at the Internet Archive also include some volumes from the Rare Books & Manuscripts collections that are in the public domain.

Questions about the Internet Archive resources should be directed to Cheryl Klimaszewski, Digital Collections Specialist at cklimaszew [at] brynmawr [dot] edu.


Special Collections staff at American Association of Museums annual conference

This week, Marianne Weldon, Collections Manager for Art & Artifacts, attended the American Association of Museums (AAM) Creative Community in Minneapolis-St. Paul, Minnesota. Marianne represented Bryn Mawr in two events: by participating in a panel discussion called “Out from Behind the Scenes: Bringing our Work Forward” and in the Marketplace of Ideas, a poster-type session called Collaboration and Education, where she shared our work on digital workflows and collection documentation using digital photography.

Well done, Marianne!

Happy May Day!

It was 100 years ago today (or thereabouts):

Click here to browse more historical photos of Bryn Mawr College from the Photo Archives collection at triptych.brynmawr.edu

The Albert M. Greenfield Digital Center for the History of Women’s Education announces its first undergraduate essay competition!

Want to win $500? Got something to say about studying at a women’s college? Then enter the inaugural undergraduate essay competition for a chance to express your views and win a prize!

Bryn Mawr College was recently awarded funding from The Albert M. Greenfield Foundation to initiate an exciting new venture in digital humanities – the launching of the Digital Center for the History of Women and Higher Education. The Digital Center will comprise of an online portal to promote and support original research, teaching, and the exchange of ideas about the history of women’s education, both in the United States and worldwide.

Given recent media attention to the issue of single sex-education (see President McAuliffe’s recent piece in the New York Times http://www.nytimes.com/roomfordebate/2011/10/17/single-sex-schools-separate-but-equal/bucking-the-trend-at-womens-colleges) we want to hear what current students think about the impact of studying and living at a women’s college in the twenty-first century. Does it matter whether an institution is single-sex or co-ed? What is the impact for young women attending a single-sex college? What do you think is the future? We want to know!

So, for this competition we invite you to address the following topic in 1,000 words or less:

‘Why single sex education matters today’

Agree? Disagree? Have a persuasive argument either way? Write it down and be in to win.

The winner will receive a $500 cash prize, kindly sponsored by Friends of the Bryn Mawr College Library, and the winning entry will be posted on The Albert M. Greenfield Digital Center’s website. The deadline is Friday 27th January 2012 and all entries should be emailed to me, the Director, at jredmond@brynmawr.edu

This competition is open to current undergraduates of Bryn Mawr College only, but please check back for alum related events and get in touch if you are an alum with an idea for the Digital Center

Get involved! Have your say!

Learn more about the Greenfield Digital Center on the History of Women’s Education at http://greenfield.brynmawr.edu/.

Bryn Mawr College’s Collection of Roman Terra Sigillata

This post was authored by Nickie Colosimo, graduate student in archaeology at Bryn Mawr College.

Over the summer, I have been privileged to work in Bryn Mawr’s Special Collections thanks to an NEH internship awarded to me for the study the College’s Roman Terra Sigillata.  Terra Sigillata, a slightly inaccurate term meaning ‘stamped clay’,  refers to a fine quality ceramic with a red-slipped glossy surface that could be decorated, but also include plain vessels as well.  The ware was first produced in Italy and then later in France and the Rhineland, having a very long lived production period which extended from ca. 40 BCE to the early fourth century CE.  Currently, the Collections at Bryn Mawr houses over 600 fragments of Roman terra sigillata, many of which were lacking information that could make this collection useful to the College and outside scholars.  I spent my internship this summer analyzing the various fragments to determine aspects such as the center of production, vessel shape, date of manufacture, identification of the potter and workshop, method of decoration, etc.  Despite their incompleteness, these fragmentary vessels are still able to provide insight into the importance of terra sigillata during the Roman Empire.

The Production of Terra Sigillata

Arretine Terra Sigillata Chalice (Krater, Bowl) Rim Fragment, Late Tiberian - Claudian (30-54 CE), P.1662

Manufacture of terra sigillata was on a massive scale and the vessels were widely exported all over the Roman Empire.  The production of Arretine Ware began in the main Italian production center called Arretium (modern Arezzo) ca. 40 BCE where many workshops have been located and which subsequently provided the term widely used to identify terra sigillata made in Italy.  Nevertheless, there were other production centers in this region, including Pozzuoli and Pisa, where many of the late Italian terra sigillata vessels were manufactured. The fabric tends to be fairly pale or buff in color and vessels tend to be thin-walled.  The slip is more often matte and more orange than red, allowing one to distinguish it more easily from vessels originating in Gaul.  Arretine vessels show a desire to mimic metal vessels in their angular and rigid designs. In 1895 Hans Dragendorff published a classification system of the various forms of terra sigillata, which has been expanded by subsequent scholars. A typical form from the major production period of the Arretine Ware is Dragendorff Form 11, a chalice or pedestalled bowl (formerly referred to as a krater), which died out around the middle of the first century CE.

East Gaulish Terra Sigillata Bowl Body Sherd, Late Antonine (180-192 CE), P.2420

Production of the ware shifted to the Roman provinces on the continent during the mid 1st century CE. This ware is commonly referred to as Samian Ware, another misnomer in the study of terra sigillata as it refers to the island of Samos where early scholars mistakenly believed this ware originated.  In fact, terra sigillata was manufactured in South, Central, and East Gaul throughout the first through fourth centuries CE.  The major periods of production rotated through these areas, beginning in South Gaul, then moving onto Central and finally to East Gaul.

South Gaulish Terra Sigillata Bowl Body Sherd, Claudian, ca. 50 CE, P.2428

The South Gaulish production sites of La Graufesenque, Montans, and Banassac largely replaced the Arretine Ware in the Empire during the mid to late first century CE.  In the early period, the vessels from this region are much darker than those of the Arretine Ware with a rather dull and brownish-red slip and a bright red-orange fabric. South Gaulish vessels in the Flavian period, however, had a fabric carrying tiny white flecks and a more glossy dark red slip.  Like the Arretine Ware early South Gaulish wares were angular and clear cut, requiring the detailed care of production to mimic the metal prototype vessels.  Over time vessel shapes in South, Central and East Gaul became rounded, heavier, and coarser, suggesting a desire for forms easier and quicker to produce.  The most characteristic form of this period is the carinated bowl, Dragendorff Form 29, which ceased to be produced ca. 85 CE and which was replaced with the very popular and long lived decorated hemispherical bowl, Dragendorff Form 37.

Vitalis of Matres-de-Veyre, Central Gaulish Terra Sigillata Plage Base Fragment, Late Flavian-Hadrianic (ca. 90-130 CE), P.2600

Central Gaulish terra sigillata reached the height of its production during the second century CE, taking over as the dominant production center.  Two major sites in the manufacture of terra sigillata include Lezoux and Les Martres de Veyre. The fabric is hard and dense with an orange-pink color covered in a lustrous orange slip which turns duller over the course of time. Dragendorff Form 37, the hemispherical decorated bowl, continued to be a popular form though it was much heavier and thicker than previous versions.

East Gaul took over the exportation of terra sigillata and became quite popular from the early second century CE onwards. There are a great number of production sites in this region which makes it difficult to speak of a specific fabric, slip, and decorative style. The most popular sites include Trier and Rheinzabern.  During this period, most of the standard forms tended not to be made quite the same as before.  Additionally, the application of relief molds in the production of terra sigillata phased out, but the use of barbotine and incision continued to be implemented widely.  The production of terra sigillata eventually came to an end, although a glossy red pottery similar to Samian Ware continued to be produced in the Mediterranean region in the 4th and 5th centuries, though it does not seem to have been on the same scale or as highly organized as before.

Decoration and Potter’s Stamps
Terra sigillata vessel shapes were highly standardized forms such as cups, plates, and bowls used for serving rather than preparing food.  Plain ware terra sigillata was produced on pottery wheels much like other wares of the time.  Techniques of decorating terra sigillata include four processes: incising, barbotine, appliqué, and relief-molding.  Plain vessels sometimes received incision and barbotine decoration, though appliqué figures were slightly rarer.  It is the relief-molding, however, that is the most characteristic decoration of Roman terra sigillata.  The process of using relief molds to manufacture vessels first requires a series of stamps or punches that were used to impressing decorative motifs into the bowl-shaped molds which could include floral, faunal, figural, and abstract motifs.  The molds were fired and later would have soft clay pressed into it to form the actual terra sigillata vessel.  These new bowls would be trimmed, receive a foot ring, dipped into a prepared slip, dried, and fired.  As mentioned above, terra sigillata was produced in mass quantities. Excavations of kilns at La Graufesenque, a major production site in South Gaul, have produced tallies of single kiln loads reflecting numbers between 25-30,000 vessels at a time. Such endeavors demonstrate that the production of this ware demanded both an intense commitment on the side of the potter and workshop, but also those engaging in firing, transporting, selling, and buying.

Another aspect of terra sigillata that reveals the sophistication of this ware and it’s manufacture is the potter’s stamp. In many instances, potters impressed their name stamp upon the floor of the vessel or among the decoration, often accompanied by letters such as “F”, “FE”, and “FEC” (meaning, “made it”) or “M” and “MA” (referring to “manu” or “by the hand of”). Stamps often included the owner of the workshop, no doubt a free Roman citizen or freedman, but also could include the name of the slave.  A base fragment from an Arretine cup in the College’s collection has a slave’s name, Nicephorus, placed over that of his owner L. Calidius Strigo from Arezzo.  Combinations such as this one were quite common on terra sigillata and provide insight into the personnel of these various workshops.

The purpose of these stamps is not entirely clear. Scholars have suggested various reasons including the desire to quantity the output of individual potters in a workshop, to suggest a higher quality lacking in other unstamped and therefore unidentifiable products, and even to identify items made for a specific contract. Whatever their intention, potter’s stamps remain helpful to modern scholars not only in understanding the date of production and representative personnel of these workshops, but also patterns of production and consumption in the ancient Roman empire. This is apparent even in Bryn Mawr’s Collections in which we see the works of potters such as M. Perenius Tigranus, who owned a workshop in Arretium, Italy, appear in Antioch, Turkey.  Partnerships between two workshops was possible and exemplified in the Bryn Mawr Collection in the form of a Arretine cup base fragment, the potter’s stamp of which identifies two slaves by the name of Mahes and Zoelus and therefore shows a partnership of two potteries owned by Ateius. Though the nature of this collaboration cannot be certain, it shows an evermore complex picture of the production of terra sigillata.

The Roman Terra Sigillata of Bryn Mawr College

Bryn Mawr’s collection of terra sigillata has diverse origins, including all the major productions centers in Italy and Gaul, as well as a wide distribution pattern from ancient cities like Carthage, Antioch, Ostia, Vidy, and Silchester.  A number of fragments were collected in Rome in 1907 and others were donated from the collection of C. Densmore Curtis by Mrs. Lincoln Dryden.  A further large part of the collection is due to the scholarship and generosity of the Haverford Classics Professor Howard Comfort, who donated the terra sigillata personally collected over his career.  These various donated groups have been partly analyzed by Bryn Mawr graduate Kathleen W. Slane in her 1971 Honor’s Thesis and 1973 Master’s Thesis.  My internship this summer has supplemented Slane’s analysis of Bryn Mawr’s terra sigillata, completing the processing of these sherds and providing useful information to make these items meaningful to the College and to Special Collections.  For many of the fragments, I have been able to narrow down a production center, vessel shape, date, decorative motifs, and, with the aid of potter’s stamps, potters and their workshops.

As part of his gift to Bryn Mawr College, Comfort included published material from Antioch, Turkey, and Angers, France.  This provides Bryn Mawr’s Special Collections with material from two known contexts, an aspect that is rare among the other terra sigillata fragments.  Comfort provided the analysis of the terra sigillata that was unearthed throughout the city during excavations in Antioch from 1937-1939 under The Committee for the Excavation of Antioch and its Vicinity. The material from Angers was found beneath the Church of St. Martin during the excavations of G. Forsyth and W. Campbell in 1930-1933.  The fragments from both of these sites show that the inhabitants of these cities were importing Roman terra sigilalta made in Italy and France from the Augustan period to at least the Antonine period, revealing that Arretine and Gaulish Ware was distributed widely and for much of the Roman Empire.  The fragments of terra sigillata from both of these sites point toward the extensive production and distribution of this ware during the Roman period.

The collection covers all the major production centers of terra sigillata and includes examples of all the major vessel forms representing cups, bowls, and plates.  From Italy, Arezzo, Pisa, Pozzuoli, etc. are all well represented and many of those contain potter’s stamps.  The prolific workshops of potters like M. Perennius Tigranus and Cn. Ateius are present, but also some of the less well known potters who are known only from their stamps, such as “SES” or C. Se( ).  Other vessels come from the continent and production centers in South, Central and East Gaul.  There are examples from the most important workshops such as La Graufesenque, Montans and Banassac and a varied group of potters including Calvus, Scotius of La Graufesenque, Cosius, and Primus. The Central Gaulish region is represented nearly entirely by Lezoux, with only a few other vessels of uncertain production sites.  Potters from Central Gaul have also been identified and include Doecus, Advocisus, the well known potter Cinnamus, and several others.  Eastern Gaul production sites include Trier and Rheinzabern, but due to the large varied nature of the production sites any further identification is uncertain at this time.  One potter from this region was identified, Maternianus of Westerndorf.

The Roman terra sigillata of Bryn Mawr College is an expansive collection of material from which both students and scholars of this community and others could benefit greatly.  Interested individuals could analyze this material from any angle and find it profitable. Bryn Mawr’s terra sigillata reflects production and distribution patterns, the complexity of pottery workshops and their personnel, the variety of decoration, a healthy collection of vessel forms, and many other topics. This material is a valuable resource regarding the ancient Roman empire and a boon to the Special Collections at Bryn Mawr College.

East Greek Wild Goat Style and Corinthian Pottery in the Art and Artifacts Collection

This blog post was written by Hollister Pritchett, graduate student in archaeology at Bryn Mawr College. Holly was awarded an NEH Internship to work with select pieces of Greek pottery in the Bryn Mawr Art and Artifact Collections in the summer of 2011. One style of pottery that she is focusing on was produced in Ionia (also called East Greek), an area located in what is now present-day Turkey, while another style was produced in ancient Corinth, situated on the Greek mainland.  Both styles of pottery were produced during the Greek Archaic period (ca. 800-480 BCE). Read on to learn more about her project:


South Ionian Wild Goat Style Fragment with Goat and Goose, Archaic (590-570 BCE), P.831

The East Greek Wild Goat Style, which flourished from approximately 680-570 BCE, originated mainly in the region of Miletus, an ancient Greek city located on the southern coast of modern Turkey. Generally the fired clay is light brown to reddish in color and the visible surface is covered in a cream slip.  In decoration, the Wild Goat Style is an animal style with the fauna arranged in files around the vase. The animals that appear on the vases include spotted deer and hare, dogs, and geese. The species that is depicted most frequently, however, is the goat; the head bent to the ground to graze and its long horns curling back over the animal’s shoulder. The ornamentation used to fill the empty spaces is typically abstract forms, for example, triangles, hooked swastikas, and half-circles. The lowest portion of the vases is usually decorated with a chain of alternating lotus flower petals and buds, although on some vases the decoration is a chain of pointed rays instead.

South Ionian Wild Goat Style Oinochoe (Wine Jug) Body Fragment, Archaic (630-610 BCE), P.840

The Wild Goat Style pottery was exported to other regions; excavations have turned up numerous examples from places that include cemeteries on the island of Rhodes, the ancient city of Tarsus in south-central Turkey, the Levant, and from Naukratis, an ancient Greek city situated at the Nile Delta in Egypt.



Middle Corinthian Amphoriskos (Storage Vessel), Archaic (ca. 600 - 575 BCE), P.51


Similarly, Corinthian pottery, flourishing ca. 725-550 BCE, can also be decorated with files of animals. Animals that typically appear are lions (with their heads in profile) and panthers (always looking out at the viewer).  Other species include geese and owls, mythological animals such as sphinxes and griffins, and unlike the Wild Goat Style, renditions of human figures.  The fired clay ranges in color from light brown, to yellow, to yellowish-green, although it also can be pinkish, and the exterior slip is usually cream. Corinthian fine-ware pottery tends to be colorful with pale clay and black glaze enhanced by added red and white. The filling ornamentation, unlike the abstract forms of the Wild Goat Style, is floral, for instance, lotus palmettes, while rosettes with incised details are by far the most common.  Often every available space on a vase can be filled with rosettes, crowding around the animals.  The lower portion of many Corinthian wares is decorated with a chain of pointed rays, and combined with similar clay color and slip it can sometimes be difficult to discern whether a fragment is Corinthian or Wild Goat.  Corinthian pottery was widely exported; vases have been discovered in excavations in all areas around the Aegean Sea.

Middle Corinthian Amphoriskos (Storage Vessel) Detail, Archaic (ca. 600 - 575 BCE), P.51

The pottery in the Bryn Mawr Collections includes both complete vases as well as fragments. I study them thoroughly with respect to clay color, coarseness of the clay, paint, and decorations. My work includes creating complete entries in the Bryn Mawr data base EmbARK, inputting keywords, which will enable students and other users to access the records, as well as including descriptions and measurements. Both styles of pottery have their own specific repertoire of shapes and it is possible in many cases, after examination, to determine the type of vase from a fragment, for example, an oinochoe (a wine jug) or a kotyle (a cup).  Additionally, by researching and examining the stylistic variations of the pottery’s phases, dates can also be assigned to each vase and fragment.  I have also studied some of the various methods and techniques of ceramic analysis, with the intention of choosing select pieces to be sent to a lab in order to determine the location of manufacture, which in turn can aid in the study of pottery distribution, trade patterns, commerce, workshops, and emigration.

Art & Artifact Collections Current Research – Peruvian Collections

On December 13, 2010, Dr. Ann Peters, Dr. Clark Erickson (Department of Anthropology, University of Pennsylvania), Dr. Anne Tiballi ((Department of Anthropology,  Binghamton University) and Jeanette Nicewinter (Intern, American Section, Penn Museum, University of Pennsylvania),came to Bryn Mawr College to look at examples in our Peruvian textile collection, which includes more than 400 pieces.The purpose of the visit was both to assist BMC in cataloging Peruvian textiles and to give these visiting scholars a sense of the scope of the BMC collections.Their expertise in Andean textiles was invaluable as they helped us catalog dozens of textiles

As a result of this meeting, BMC is going to launch a test OMEKA site during the Spring 2011 where outside researchers can access records for many of our Peruvian collections. This project will assist us in identification and cataloging the collections, and we hope our collections will also benefit other institutions searching for comparanda of similar objects.

From left to right: Dr. Ann Peters, Dr. Anne Tibali, Caitlin Fregoe, Marianne Weldon, Emily Croll, and Jeanette Nicewinter.

From left to right: Dr. Ann Peters, Dr. Anne Tibali, Caitlin Fregoe, Marianne Weldon, Emily Croll, and Jeanette Nicewinter.

From left to right; Dr. Clark Erickson, Dr. Ann Peters, Marianne Weldon, and Dr. Anne Tiballi looking at a Peruvian textile in the BMC Collection.
From left to right; Dr. Clark Erickson, Dr. Ann Peters, Marianne Weldon, and Dr. Anne Tiballi looking at a Peruvian textile in the BMC Collection.