Ten-panel folding screen to be restored in Korea

A set of 19th century paintings depicting the Chilbosan (Seven Jeweled Mountain) mountain range in northeastern Korea now in the collection of the Metropolitan Museum of Art has returned to Korea for a comprehensive conservation and remounting treatment.

Chilbosan was famed for its distinctive natural features — high craggy peaks, deep valleys, waterfalls, unique rock formations — which attracted tourists going back to the 16th century. These paintings were made by an unknown artist in fine-line brushstrokes and washes of ink on cotton canvas. They are meticulously realistic, identifying 40 sites in the mountain range by name.

When it was acquired by the Metropolitan Museum of Art in 2020, the set was in ten separate scrolls, but it was originally a ten-panel folding screen. The Overseas Korean Cultural Heritage Foundation with the support of the Samsung Foundation of Culture intend to restore the work to its original format. The panels have been transferred to the Leeum Museum of Art in Seoul, which is renowned for its collection of traditional Korean art.

Chilbosan (Seven Jeweled Mountain), 19th century, Joseon dynasty (1392–1910), Korea. Set of 10 paintings previously in folding screen format; ink on cotton. Image (each): 47 5/8 × 11 1/8 in. (121 × 28.3 cm). The Metropolitan Museum of Art, Purchase, Friends of Asian Art Gifts, 2020, 2020.118a-j

17th c. Dutch cannon found in modern ship being scrapped

A 17th century bronze cannon made in the Netherlands and 11 cannon balls were discovered in a modern ship that was being dismantled in Izmir, Turkey. The cannon and balls have gone on display at the Izmir Culture and Arts Factory.

The modern ship had been transported to Izmir to be broken up for scrap. Workers found the cannon in the ship’s restaurant and notified cultural heritage authorities. Archaeologists from the Izmir Museum examined the cannon and determined that it was made in the Netherlands in the 17th century.

At that time, the Netherlands had a sophisticated, powerful navy and was at the forefront of European artillery production in cast bronze and later iron. Foundries in Rotterdam, Amsterdam, The Hague, Delft and Utrecht produced cannon for the Netherlands fleet and for export. The seals of their foundries on the barrel were valued as a mark of quality in their time, and today they identify the producers and year of production. The Izmir cannon bears the mark of the Ouderogge family foundry and dates it to 1634.

Once the origins were determined, Turkey’s cultural heritage ministry contacted their counterparts in the Netherlands to discuss whether the cannon and balls should be repatriated. The Netherlands decided they should remain in Turkey for conservation and exhibition.

Dutch Ambassador to Ankara, Joep Wijnands, also stated that he knew the artifacts were in safe hands, saying , “We have a 400-year relationship. This has become a beautiful example of solidarity between the two countries. It is wonderful that such an artifact has been recovered from the ship.”

Church coin hoard goes on display at diocesan museum

A hoard of 1,000 silver coins discovered in 2019 beneath the floor of a church in northeastern Poland is going on display at the Warmia Archdiocese Museum (MAW) in Olsztyn. The coins will be exhibited along with the glazed ceramic mug they were buried in under the northwest corner of the chancel of the church of St. Andrew the Apostle in Barczewo.

The coins date to the late 16th and early 17th centuries and include Polish silver groschens minted during the reign of King Sigismund III Vasa (r. 1587-1632), shillings from Ducal Prussia when it was a Polish fiefdom and coins from Riga, Lithuania. The oldest coins are three half-groschen crowns dating to the reign of King John I Albert (r. 1492-1501) The most recent coins date to 1628.

St. Andrew was a monastery church when the hoard was buried, and it was likely the monks who buried it. Barczewo was roiled by military conflicts between the Polish-Lithuanian Commonwealth, Sweden and Brandenburg-Prussia in the late 16th and early 17th century, which may have something to do with why the coins were hidden. The monastery survived the repeated burnings and battles Barczewo suffered, but one of the side-effects of war, disease, took a ruthless toll on the monks, killing most of them.

According to researchers Paweł Milejski, and Arkadiusz Koperkiewicz, the small denomination of the coins indicate they were donated to the order over a long period of time and cached under the church floor. They were either deposited in the hiding place gradually beginning in the 1620s and began later and was collected over a shorter time frame between 1625 and 1628. No more coins were collected after 1628, perhaps because the person collecting them died. There was heavy fighting and widespread disease in Warmia as a result of the Polish–Swedish War in 1628.

According to experts, the strict rules of the Franciscan order suggest that the money was not the property of a specific monk, but rather a deposit of alms. The value of the accumulated money is approximately 815.1 groszy. This sum, they estimate, would be enough to feed an adult male for 242–243 days.

“It is possible to hypothesize who managed the cache. It was someone who was still alive in 1628 and died no later than 1629. This reduces the list to four individuals: Teodor Popławski, guardian (1628), Ludwik Gruntowicz, preacher (1628), Benedict of Prague (1629), and Adrian of Kaunas, keeper (1629),” the authors of the book about the Barczewo treasure pointed out. In their opinion, “the most likely candidate remains the keeper – Adrian of Kaunas.”

A journey through the Ara Pacis in vivid color

The Ara Pacis Museum on the banks of the Tiber in Rome has opened a new immersive multimedia experience for visitors to the ancient altar of peace built by Emperor Augustus. Video mapping technology and 4K laser projection brings the altar’s original vivid polychrome back to life, accompanied by narration, music and sound effects.

The digital projection technique allows for the profiles and colors to be modified and modulated in real time. The bas-reliefs light up at the visitors’ observation point, revealing details, colors, and scenes that restore the original richness of the work.

The choice of individual colors for the Ara Pacis was based on laboratory analysis, comparisons with Roman paintings, especially those of Pompeii, and chromatic research on ancient Greco-Roman architecture and sculpture. The coloration of the plant elements was also possible based on a major study that in 2010 identified more than 50 plant species that actually exist in nature.

A study group formed in recent years to explore the original color scheme of the Ara Pacis has been working on this hypothesis for the past few years, as part of the new Museum’s construction. Specifically, a three-dimensional model of the altar was created, which was then color-rendered according to philological and historical-stylistic criteria. From this model, the idea arose to project rays of colored light directly onto the altar’s marble surfaces to hypothetically recreate the overall, realistic appearance of the original polychrome.

The narration takes visitors on a journey through time, starting with the commission of the Ara Pacis Augustae (Altar of Augustan Peace) by the Senate to celebrate Augustus’ triumphant return to Rome in 13 B.C. It walks viewers through the imagery in the friezes, its emphasis on the Augustan Pax Romana ushering in a new era of prosperity deeply grounded in Rome’s ancient traditions. Augustus incarnates that link as a religious leader presiding over the annual sacrifices performed at the altar and as a member of the gens Julia, descendants of Aeneas and the founders of Rome.

The audio guide also tells the story of how a massive altar was lost — it was in the Tiber flood plain and was ultimately covered in layers of silt 13 feet deep — and then rediscovered starting in the 16th century. It took centuries to find the surviving fragments of the reliefs and the reconstruction of the altar was only completed in 1938, 2001 years after the birth of Augustus.

This video has none of the narration or sound effects of the in-person audio tour, but you can see the reliefs illuminated by the glorious technicolor of the projection system.

Silver coin found from doomed Spanish colony on Strait of Magellan

A Spanish silver coin marking the spot of a doomed colony on the north side of the Strait of Magellan has been discovered on what is now the southern tip of Chile. The coin confirms the account of a ceremony performed at the founding of the colony written in 1584, and also confirms the accuracy of a map from the period.

The “real de a ocho” coin was discovered last month in an excavation at the site of the Ciudad del Rey Don Felipe. It was placed on a flat stone in the foundations of the colony’s first church. Leaving a coin on a stone was a common ceremonial practice for Spanish colonies founded in the New World. In this case, the coin ceremony and location were documented by Pedro Sarmiento de Gamboa, the navigator, explorer and historian tasked with colonizing the Strait of Magellan.

From his account of the founding of the colony:

The Governor, with a spade in his hands, cut the first sods for the foundation of the high altar, in the name of the most Holy Trinity, behind him being the Friars in their vestments. Then the captains and officers dug up earth, in the name of their saints and advocates. Pedro Sarmiento placed the first stone in the hole, and in the name of our Lord Jesus Christ and of your Majesty he put a large silver coin, with the arms and name of your Majesty, with the day and year, in a testimony or instrument written on parchment, with the testimony of possession, into a jar, tarred and sealed with charcoal, so as to make it imperishable.

The stone and coin were found in a metal detectors and geolocation survey of the site. The discovery pinpoints the location of the church, and gives researchers an accurate anchor point to understand the layout of the settlement. It verifies the map made by Sarmiento de Gamboa, but the other key structures of the settlement — palisades, dwellings, other churches — have yet to be archaeologically confirmed.

Sarmiento de Gamboa was appointed governor of the Strait of Magellan by King Philip II of Spain in 1581. His instructions were to establish forts on the strategic lands on both sides of the strait to anchor Spain’s control of what was then the only passage between the Atlantic and Pacific. That control was tenuous at best, thanks to Francis Drake’s activities. By command of Queen Elizabeth I, in 1578 Drake targeted Spanish interests on the Pacific coast of South America, attacking Spanish shipping and port cities on the coasts of Chile and Peru. Drake was so successful at disrupting Spanish operations that Francisco Álvarez de Toledo, Viceroy of Peru, ordered Sarmiento de Gamboa to chase him down and capture him.

Drake was already well out of reach when Sarmiento de Gamboa began looking for him, so he returned to Peru empty handed. The viceroy then dispatched Sarmiento de Gamboa’s two ships to explore the coast of the Strait of Magellan for suitable locations where Spain could found fortified colonies with artillery that could be trained on Drake’s or any other enemy’s ships. His orders were to map the area, make sure the English hadn’t founded any forts or settlements of their own and capture Drake dead or alive if they encountered him.

King Philip approved the Viceroy’s plan, granting Sarmiento de Gamboa the governorship of the Strait. After many losses from storms, desertions and illness, the expedition finally entered the Strait of Magellan on February 1, 1584, two years after they had set out from Spain. Sarmiento de Gamboa founded the first colony, Ciudad del Nombre de Jesús, where he made landfall in what is now Argentina. He founded the second colony, Ciudad del Rey Don Felipe, on the Punta Santa Ana near what is now the Punta Arenas in Chile, a location he had first explored in 1580.

Both colonies were ill-fated, the settlers assailed by disease, extreme cold and their inability to be self-supporting. They were dependent on the supplies from Spain but Sarmiento’s ships kept getting slammed by storms, forcing him to dump the cargo to save the vessels and lives of the crew. Eventually his crew refused to go back out, and the colonies were left to their own devices.

In June, 1586, Sarmiento headed back to Spain. That didn’t go smoothly either. His ships were attacked by Walter Raleigh’s fleet and he was taken prisoner, brought before Queen Elizabeth I herself who questioned him for two and half hours in Latin before sending him back to Spain via France. He was captured yet again by Huguenots in December 1586 and kept captive until Philip II finally agreed to pay ransom in 1589.

Meanwhile, back in the Strait, Ciudad del Rey Don Felipe was doing even worse than its founder. When English navigator Thomas Cavendish passed through the town in January of 1587, only 18 people survived of the 300 original settlers who had come with Sarmiento de Gamboa. Cavendish noted that the colony was very well situated, with easy access to firewood and water, and its four forts were still well armed. With almost everyone dead (and unfortunately unburied due to hardship), Cavendish helped himself to some of the artillery and gave one of the surviving colonists passage. The last colonist was rescued in January, 1590, by yet another English privateer, Andrew Merrick. Thus Spain’s attempt to control the Strait of Magellan against English incursions ended with English ships saving the few survivors of the colonization expedition.