Wim Hupperetz

Women, mostly young and elegant and often merged with nature, are everywhere in art nouveau: from commercial poster girls to allegorical figures, from conservative role models to icons of feminism—but rarely women of flesh and blood. The female artists who were able to stand their ground in the male-dominated world of art nouveau also used allegorical female figures. The fin de siècle was a period of incis ive change: urbanisation, the rise of mass consump tion and advertising, industrialisation, the class struggle, the women’s movement, the large-scale distribution of print. Artists and designers went in search of new forms; the new art, art nouveau, became popular throughout Europe as it was distributed through magazines and posters, but also through the world expositions which presented the latest applied art for the modern bourgeoisie to embellish their lives with. Goddesses of Art Nouveau sheds new light on an extraordinary era and on the question as to how the image of woman was used in paintings, spectacular jewellery, the Rolls-Royce mascot, advertising posters and book covers, made by women and men. The book also contains a selection of the most striking art-nouveau objects from the collections of the Allard Pierson in Amsterdam, the Badisches Landesmuseum Karlsruhe, and the Braunschweigisches Landesmuseum Braunschweig.

In Kastelen in Limburg. Burchten en landhuizen (1000-1800) worden van ruim 270 kastelen de bewoningsgeschiedenis en de bouwgeschiedenis beschreven. Vele prenten, foto`s en kaarten geven een beeld van de rijkdom aan gebouwen en geschiedenis van Limburg. De kasteelbeschrijvingen worden voorafgegaan door inleidende artikelen van deskundigen over de staatkundige geschiedenis van Limburg, de bouwkundige ontwikkeling van kastelen, de inrichting van kastelen en de ontwikkeling van tuinen en landschap rond de kastelen. Met dit ruim 500 pagina`s tellend gebonden boekwerk, dat voorzien is van vele kleur en zwart-wit illustraties, beschikt u over een prachtig standaardwerk over het kastelenerfgoed in Limburg.

Het museum moet worden gezien als het medium van het geheugen. Dat betoogt Wim Hupperetz, directeur van het Allard Pierson Museum in Amsterdam, in zijn oratie als bijzonder hoogleraar Nederlandse Cultuurgeschiedenis.

Er moet meer aandacht komen voor de biografie en herkomst van museale collecties vanwege het feit dat deze bepalend zijn voor de betekenis en impact. Daarvoor moet meer aandacht worden geschonken aan de biografie van objecten en verzamelaars en kan er een beter begrip ontstaan van de complexiteit van waarden die juist verbonden is aan museale objecten. Daarnaast is het voor musea van belang om de impact van nieuwe technologie zoals ‘The Internet of Things’ op de positie van de curator/conservator te onderzoeken.

Rol van de curator verandert
Dit zijn de twee belangrijkste uitdagingen die Hupperetz in zijn betoog benoemt. De eerste is sterk verbonden met de actuele gebeurtenissen in Nederland zoals het naast elkaar bestaan van verschillende waardesystemen, die bijvoorbeeld tot uiting komt in de zwartepieten discussie. Hupperetz: “In feite is dit een overgang tussen de uitgangspunten van onze moderne samenleving en het postmoderne gedachtegoed, waarbij begrippen als ‘’waarheid’’ en ‘’werkelijkheid’’ geproblematiseerd worden en dat leidt tot veel onzekerheid en frustratie.” De andere uitdaging is verbonden met technologie zoals The Internet of Things, waarbij de rol van de curator onherroepelijk zal veranderen. Hupperetz: “Als museale collecties onderdeel worden van dat internet der dingen, dan wordt het selecteren en beoordelen overgenomen door de zoeksystemen die achter Amazon, Google en Facebook zitten en krijgen we een heel andere dynamiek.”

Vertaling post-moderniteit naar museale praktijk
Hupperetz bouwt voort op de ideeën van zijn voorganger Ad de Jong, die zich in 2009 al afvroeg wanneer de volgende kentering in het museale domein zou komen. Hupperetz: “Naar mijn mening zitten we nog steeds middenin die kentering tussen modernisme en postmodernisme. De reflectie op de aloude moderniteit is cruciaal maar ook problematisch als het gaat om de vertaling naar de museale praktijk.” De leerstoel betreft in het bijzonder de studie der voorwerpen vanwege het Koninklijk Oudheidkundig Genootschap (KOG). In zijn onderzoek wil Wim Hupperetz duidelijk maken dat voorwerpen het voertuig zijn van ons collectief geheugen en als dynamisch erfgoed is de betekenis daarvan altijd in beweging. Hupperetz: “Het is simpelweg met de tijd meegaan. Dat klinkt eenvoudig, maar het betekent dat we ons open moeten stellen voor verandering, dat we nieuwsgierig zijn naar de ander, gevoelig zijn voor de biografie en diversiteit die besloten ligt in mensen en voorwerpen om ons heen. En dat is wat ik bedoel met het museum als medium van het geheugen.”

Over the course of this discourse, I have outlined in brief certain significant challenges facing the museum of the 21st century. My predecessor, Ad de Jong, in 2009 queried when the next turning point in the museum domain would arrive. In my view, we still find ourselves on the turning point between modernism and postmodernism. Reflecting on now well-entrenched modernity is crucial, but also problematic when it comes to interpretation into museum praxis. The example of the clay seal with its likeness of Caesar makes clear that an entire world may lurk behind an apparently arbitrary object.
The differing value systems of modernism and postmodernism exist alongside each other to a significant extent, but also regularly collide. How do we deal with this: do we want to go back to the past, do we cleave to what we have, or do we go with the times? I hope to have clarified that we constantly create our own past by whatever means, that we link that past to places and objects, and that this is inevitably and irrevocably bound up with collective memory. I have used Caesar’s clay seal as example. It reveals the different types of historical awareness and the difference in evaluation. That awareness is significant because it may be an ordering principle for museums.
This chair concerns the study of objects and I have aimed to clarify that objects are the vehicle for our collective memory. Their meaning in terms of dynamic heritage is always in motion. I spoke about ‘going with the times’. That sounds so simple, but it means that we open ourselves to change, that we are curious about the other, sensitive to the biography and diversity locked up in the people and objects around us. We then arrive once more at the many-voiced and layered nature of our own identity.
Our amnesia is irrevocable, and the things we do gather up or preserve seems arbitrary. When the temple archive in Edfu burnt down hundreds of documents were lost. The clay seals that remained and were preserved after the fire in my view symbolise the balance that we should strive for in heritage management. Here the three stations of past, present and future form a simple guideline.
In the first place, the clay seal is an historical source, unlocking as an object different perspectives on Julius Caesar. At the same time it is important that we try to link this clay seal with the here and now. Just last year the seal was exhibited for the first time during the MuseumCamp at the Allard Pierson Museum. A publication is currently being prepared, and in the near future everyone will soon be able to make a 3D-print of it.
This object will thereby provide inspiration for new generations, and new layers of meaning will grow. What is important is that we have to allow ourselves a reservoir. It took more than a century before the relevance and meaning of this clay seal were perceived. But here we confront another paradox: that of the digital storage of our recollections. The more we store digitally, the more vulnerable and evanescent our digital memory turns out to be.
At the end of this lecture, I am afraid I have to confuse you a little. The clay seal with Caesar’s likeness has been the leitmotiv in my argument. But we do not know what Caesar really looked like by any means. Yes, we have coins depicting Caesar, but they are not uniform. And the likeness of sculpted portraits is still debated. Nevertheless, there is an image of Caesar in our collective memory, and so also in this museum object. In any event, this clay seal impression participates in our perception. And that is what I mean by the museum as medium of memory.

Rome has always been synonymous with an immense empire built on conquest and military power. It is our historical touchstone in a political, administrative and military sense, and lies at the foundation of our culture. When we think of Rome, we think of emperors (preferably mad) and gladiators (usually exotic). But what does Rome look like if we try to escape these stereotypes?
This book wants to show readers a different image of Rome, an image characterised first and foremost by the diversity of the Roman world. We can only understand that diversity if we study the Roman world as a whole – not split into east and west or into provinces – and in the context of world history. We will do so by looking into seven themes that together offer a comprehensive overview in which dynamics and change are the central concepts. In order to shed light on the local aspect, we will focus on three regions which are Roman in their very own and unmistakeable ways: the Italian peninsula, Egypt, and the Low Countries.

The Roman Empire has many faces. Some of the more important ones will be singled out here, creating a kaleidoscopic image of a changing world and a new image of the Roman Empire that will help to set rusty views in motion again.

"Etruscanning was a close collaboration between museum curators, archaeologists,software developers, interactive designers, exhibition designers,specialists in storytelling, consultants in digitization and digitalrestoration, evaluation specialists and many others who contributed their knowledge and expertise to the project. This list of collaborators shows how this innovative project went beyond many traditional borders and domains. Within the project, we were able to establish an international cooperation in digital acquisition, digital restoration, and 3D representation.
Through exhibitions, blogs, videos, and publications, we were able to realize a new approach to the communication of Etruscan tombs and collections in exhibitions in the Netherlands and Belgium. At the end of the project, the final resulting applications will be installed for permanentuse in the Vatican Museums, Villa Giulia (Rome, IT) and Museum Formello (Veio, IT). Furthermore, this project proved that it is possible to enable and support cultural heritage institutions to create, run and exchange digital 3D reconstructions."

Wim Hupperetz, The memory of a street. Eight-hundred years of living in the Visserstraat in Breda
Summary [PhD thesis 2004 published by Matrijs (2004)

This research project is aimed at telling the story of the residents of a street located in an historical city centre. For this purpose, the history of the occupants of the houses in the Visserstraat, located in the city of Breda, has been studied. What have been the changes that the Visserstraat has been through in a spatial-fysical matter, in a social-economical matter or in the sense of the housing culture since the establishment of its first residents in the twelfth century, through to the commencement of the twenty-first century? These research questions are to be addressed in this dissertation.

The conducted study did not only yield interesting results with respect to the content of the findings – these will be elaborated upon in chapter seven – but it also led to a methodological quest aimed at answering four main questions. First of all, research efforts were aimed at establishing the size and span of the memory of one specific street, the Visserstraat in Breda. Two aspects can be distinguished for this purpose: the social-cultural proceedings and the spatial-fysical objects. Of both aspects sources are provided that can be used as the fundaments of a memory. In turn that memory can give rise to specific recollections that are closely related to historical notions. Three sorts of historical notions can be specified, which can be linked to three different time-levels, as described by Braudel. In the description of the history of residence in this street I will use this specification for providing structure. This study thus also provides insights into the availability of different sources. Because of the current academic tradition the possibilities of combining research results provided by distinct disciplines remains under utilized.

While establishing the size and span of the memory, the possibilities for gathering information on the micro-level of houses and street facts were also assessed. Following a micro-historical approach, the street and two construction blocks were studied in detail. Limiting the scope of research is an analytical principle that has a special added value if data are collected from different disciplines. Archaeological findings and historical data regarding construction then allow a much more precise dating as well as a more precise meaning. Naturally, these sources regarding the micro-level of houses and streets were not available for all periods. For this reason, the developments in the twelfth and thirteenth century are described at a city-level.

In second place, this study has tried to explore the boundaries of an integrated approach. This refers to the fact that data have been gathered and interpreted from the scope of various disciplines, ultimately yielding to combined results that show the social-economical, living-culture and urban development. It is even one more step to arrive at an interdisciplinary approach which allows the combination of results beforehand. For the ordering of the different disciplines and ways of study a distinction was made between three approaches, namely an object-oriented approach, a society-oriented approach which emphasizes the human being, and an ethnological approach. The distinction between the first two will be evident; the difference between the first two and the last approach lies in the fact that the ethnological approach relates the found data to the current state, thus placing a greater emphasis on their contextual meaning. Besides, it is not likely to state that these approaches could be used independently, as ethnological studies are often based on studies of materials, or on the results of social-economical studies. Conversely, ethnological concepts and interpretations are often tested using the ‘hard data’ of the other two disciplines.

Thirdly, the long-term perspective was studied, as the gathered data refer to eight-hundred years of history. For ordering the data the classification as event-, conjectural- and structural aspects was restored. In the Chapters two trough six, different objects and events are described. Each chapter refers to a time-span of two-hundred years, allowing the surface of the most important conjunctures. These are described in Chapter seven using an integrated approach where possible. In the cultural-historical analysis the structural elements of the studied area were brought to light. With respect to the spatial-physical matters, the parcellation, the structure of the construction blocks and the body of the houses were used as structural elements. With respect to the social-cultural aspects, the usage of the residences is the structural element, which can change of meaning depending on the conjectural state.

The fourth question refers to the possibilities of implementation of the cultural-historical analysis for cultural urban planning of the historical city centres. With respect to this implementation, a gap can be stated between the work of the historians and the specialists from urban development. This gap is the result of a lack of attention for:
- the social-cultural perspective of the inhabitants on the part of the urban development specialists
- the built environment by the historians
The memory of a street and the cultural-historical analysis can be used to aid the enduring debate regarding tradition and modernization, as it is conducted within the sector of  the preservation of monuments and historic buildings and Urban Development, especially with respect to historical city centres. The tasks at the crossroads of these two disciplines, are currently being delegated to the discipline of Cultural Urban Planning. It is important to provide this relatively new discipline with a new content which ensures the conduction of studies from a truly integrated and multidisciplinary perspective.

CERAMICS FROM A CESSPIT BELONGING TO THE INN 'DE DRYE MOOREN' AT BREDA (1661-1663)
The cesspit was discovered during the restoration of a Breda house called 'De Drye Mooren', 'The Three Moors'. During the 17th century an inn was kept in the house, which was owned by the Breda Reformed Church and its 'Table of the Holy Ghost' (poor relief) from 1626 to 1703. In the church wardens accounts repairs and extensions to the building are mentioned. In the year 1663 the house was extended backwards. The outer wall of this extention closed the cesspit. That fact provides a datum ante quem. From the same accounts it appears that the pit was cleaned regularly, the last time before 1663 being after October lOth, 1661, the datum post quem. Apart from a small number of objects left behind by the cleaners, the vast majority of the objects must have been dumped between late 1661 and sometime during 1663.
As it is very likely that ceramic objects of an inn generally have a shorter lifespan than those from an ordinary household, many of the objects found were not much older than 1660. The numerous remains of the extremely fragile clay pipes is another corroboration of this dating. Of the 85 pipe bowls 49 bear marks, many of them of known local pipemakers.
The differentiation in pottery types found in the cesspit is rather typical for an inn: 50 out of 137 ceramic items were plates of one kind or another, 84 drinking glasses were counted (not published here), but only 11 pipkins. The number of stoneware jugs is not very large (13) which suggests that pewter jugs were used more frequently; an inventory of 1678 bears out this suggestion. In percentages: 70% of the pottery was used on the table, only 14% in the kitchen.

Countryside between Colonia Ulpia Traiana (Xanten) and Atuatuca Tungrorum (Tongeren): The Limburg Meuse Valley in the Roman Period.

Wim Hupperetz

The region of the Limburg Meuse valley (Middenlimburgse Maasdal) was during the conquest excursions of Ceasar part of the civitas of the Eburones, which was led by the kings Ambiorix and Catuvulcus. A civitas was divided into pagi (Ambivariti?) who had a fairly autonomous political and religious position. The agricultural economy of the Eburones was vulnarable to internal warfare; the creation of reinforced settlements, stock shaping and the mobilisation of valuable resources was a way to limit this vulnarability
Reinforced settlements are not known from the Limburg Meuse valley. Both the settlement pattern as the burial ritual were uniformal which suggests an egalitarian social structure.
Due to the conquest raids of Caesar the Eburonian territory was depopulated and newcomers established themselves during the reign of Augustus in the valley of Rhine and Meuse.
According to the second century situation a mayor part of the Limbug Meuse Valley was part of the territory of the Cugerni or Ciberni and the Baetasii. This region was inhabited by German newcomers but there must have been some rest groups of Eburonians living there.
Furthermore was the Limburg Meuse valley (especially the surroundings of Tongeren) inhabited by immigrants from the Southern regions (the territory of the Treveri?) who were starting villa-farms.
From Augusteian time until the beginning of the second century the civitas organisation was established, strongly directed by the central government. The introduction of the Roman civitas model probably took place in the middle of the first century.
One of the causes of the poor interaction between traders (import goods) and the domestic consumers will have been the lack of a monetary economy. Whereas soldiers (Venlo and Ophoven?) more were more Romanized and had money and contacts, currency money in the domestic settlements played a marginal role.
A thorough adaptation of the agricultural system was still not the case in the first century. Probably the internal war sheathing and the fact that large parts of the male population had to serve in the Roman army had an important impact on the domestic economy.
The administrative and economic developments called undoubtedly large capacitances within the domestic society. It is however still unclear if the Batavian revolt can be considered primarily as a consequence of these capacitances.
Although the military presence at the Rhine border was increased directly after the Batavian revolt, the province Germania Inferior got gradually a more civil character; between 83-90 this province was transformed to a formal (border) province and in 98/99 the Colonia Ulpia Traiana were founded. This city formed the administrative and economic centre of the civitas Traianensium, to which the largest part of the Limburg Meuse valley belonged. Within the rural society in this area two socio-political entities can be distinguished.
The small group of villa-owners and soldiers were the most Romanized part of the population, and can be considered as the local elite. A number of persons and families from this group will have taken part in the governing board of the civitas. The strong Romanization becomes clear - among other things - from the fact that this elite was formed by Roman citizen who fulfilled administrative functions, had Roman names, who dedicated in the local sanctuaries and depicted themselves on wall paintings such as in the villa of Maasbracht.
Furthermore a large group of the domestic population can be distinguished. This group was organized within the pagus. The close link between the inhabitants of the pagus Catualinus and a villa owner and driver of the Colonia Ulpia Traiana, indicate that the pagani in this way had possibilities to enter directly to the levels of decision-making of the civitas government. It seems that this large group was dependent on the local elite. Within this group of native rural populations - on the basis of the settlement model - an overall bipartition can be made.
The inhabitants of the vici seem to take a different place beside the inhabitants of native agrarian settlements. Because of the economic position of the vici (local market function) the Romanizing influence was stronger. The quantitative comparison of the grave finds in the Limburg Meuse valley is suggesting a difference; the average number of given pieces pottery by grave lies in the vici three times as high as in the native agrarian settlements. It is possible that these vici were controlled by a number of magistri. The native agrarian settlements stood at the basis of the settlement hierarchy within the civitas Traianensium and were characterized by agrarian production on a small scale; these settlements were probably limited incorporated in the Roman market economy. In the local cult places - which functioned at the same level as native agrarian settlements - the smaller degree of Romanization is reflected. The introduction of the villae and the vici can be considered as a direct consequence of the economic changes. The villae rusticae produced for a central market and replaced the small scale farming partly. The vici played a role as local market and show the presence of specialized craftsmen as smiths and potters. Currency money seems to have played an important role in vici, in contrast to the native agrarian settlements where it fulfilled a marginal role. In the terra sigillata trade the Rhine played an important role as a supply route. Possibly the distribution of terra sigillata was centrally organized from certain points within the civitas (head places?). The import multiplied by five in the period 115-135 AD. in the middle of the second century terra sigillata was available in most of the settlements. Distribution of ordinary earthenware (mortars, goblets from Tongeren) and tiles was organized via the Meuse and seems to be organized in contrast to the terra sigillata trade, which was organized central. As from the end of the second century a decline of habitation of the Limburg Meuse valley is visible (grave fields). The exact causes (economic/ecological causes, raids?) are unclear; the disadvantageous impact of this development does not seem have touched the villa-system substantial. The most of the villae were abandoned during the Frankish raids around 275, which also marked the end of the villa economy in the Limburg Meuse valley. At the end of the third century a period of recovery and reorganizations followed under Diocletian. The administrative reorganization caused - among other things - that the civitas Traianensium became part of the province Germania Secunda; furthermore the taxes were regularly levied and had to be paid in kind. As a result of the new defense (depth) strategy along the Meuse some settlements were reinforced (Cuijk, Maastricht, Heel?, Stokkem?). The new Frankish raids from c. 340 resulted in 351/2 the end of the Colonia Ulpia Traiana and this caused also the end of the civitas Traianensium. The Roman governing board lost control of the Rhine area more and more during the middle of the fourth century and approximately 370 the province Germania Secunda was not functioning anymore. The areas of the Batavi and the Traianenses were opened for Frankish immigrants. The nature and the function of the new settlements in the Limburg Meuse valley are unclear. At the end of the fourth and the beginning of the fifth century there is increased activity at the border areas again; in 402 the Roman troops were called back to Italy and there came an end at 450 years Roman presence in northern Gaul. Probably the Limburg Meuse valley was depopulated in 402 in the same way as it was depopulated after Caesar left in 51 BCE. It would last up to the sixth century before the occupation increased in the Limburg Meuse valley as a result of Merovingian newcomers.

After the siege of Maastricht in 1673, in which some 1,000 dead and missing were recorded, the original garrison of around 5,000 men still consisted of 2,231 State infantrymen, 125 men of Italian infantry, over 400 Republic horsemen and 350 Spanish horsemen. One of the deceased was lieutenant William (or William) Norwood. He was part of a group of 229 officers who died during died during the siege. Senior officers from the army  of the Dutch Republic also died in Maastricht, such as William Sandilands, Johan van Paffenrode, Ferdinand Cary and Andries Commersteijn. Willem Norwood defended the fortress as an officer on the State side and was killed on 25 June 1673. He was about 50 at the time.

Worldwide about a thousand mummy portraits
mummy portraits from Roman Egypt, which have
have become scattered across hundreds of museum
and private collections. Most of the portraits
were painted on wood and placed in the place of the
face on the mummy. About 5%
of these portraits were painted on textiles,
usually canvas. The Allard Pierson owns six
Roman-Egyptian mummy portraits,
including one on linen. About that portrait is
this article.

Fragments &Frictions gaat over visies op archeologie. Archeologi­sche objecten zijn dragers van een ver en (ver)vreemd(end) verle­den. In enkele casestudies wordt op prikkelende en verrassende wijze de biografie van archeologische objecten blootgelegd.

Since 2019 the University of Amsterdam heritage collec­tions are in the care of the Allard Pierson, the amalgamation of the Allard Pierson Museum and the uni­versity’s Special Collections. They include renowned collections in the fields of archaeology, the history of the book, cartography, graphic design, liter­ature, Jewish cultural history, natural history, and the performing arts. Espe­cially the Graphic Design and Perform­ing Arts collections abound with post­ers and other objects from art nouveau. During the preparations for the exhibi­tion Goddesses of Art Nouveau, the style was the subject of a search in and selec­tion from the collections for the first time. This led to amazing finds, some of which are now exhibited for the first time. Many of these objects were given a special conservation treatment first.

Women, mostly young and elegant and often merged with nature, are everywhere in art nouveau: from commercial poster girls to allegorical figures, from conservative role models to icons of feminism—but rarely women of flesh and blood. The female artists who were able to stand their ground in the male-dominated world of art nouveau also used allegorical female figures.
The fin de siècle was a period of incis ive  change: urbanisation, the rise of mass consump tion and advertising, industrialisation, the class struggle, the women’s movement, the large-scale distribution of print. Artists and designers went in search of new forms; the new art, art nouveau, became popular throughout Europe as it was distributed through magazines and posters, but also through the world expositions which presented the latest applied art for the modern bourgeoisie to embellish their lives with.
Goddesses of Art Nouveau sheds new light on an extraordinary era and on the question as to how the image of woman was used in paintings, spectacular jewellery, the Rolls-Royce mascot, advertising posters and book covers, made by women and men. The book also contains a selection of the most striking art-nouveau objects from the collections of the  Allard Pierson in Amsterdam, the Badisches Landesmuseum Karlsruhe, and the Braunschweigisches Landesmuseum Braunschweig.

The presentation of a certain period is always connected
with our own time. If we want to discuss the presentation
of the Early Middle Ages in museums, we will
have to take a closer look at the concept of that period:
what do we mean by ‘Early Middle Ages’? And we will
soon find ourselves in the nineteenth century. The concept
of ‘Middle Ages’ is, to a great extent, a nineteenthcentury
invention, a construct one cannot disconnect
from the rise of the Western European nation states.
At the time many European countries were looking
for originality and authenticity, and this movement was
strengthened by searching history for the beginnings
of the nation. As a consequence nineteenth-century
Western Europe saw the beginning of a large-scale
study of the medieval past, which was associated with
concepts such as community, identity and authenticity.

The inscription in Iberian script and the name indicate that legionary Bekon was from one of the Spanish provinces. We know that Julius Caesar as governor of Hispania Ulterior (Southern Spain) put together a legion in this Spanish province (the tenth) in 61 BC. That was one of the legions that he used to conquer Gaul and Britain. Caesar disbanded the tenth legion in 45 BC. The veterans were give lands and farms in the South of France and Spain.
On account of the model of the helmet and the Iberian inscription the helmet must date form the middle of the first century BC. That means that it could have been worn by one of Caesar's legionaries.

A small group of immigrant Batavian mercenaries lived in Rome in the first and second century. Along with other  soldiers from Germania, they established the Collegium Germanorum. The tombstone or Titus Aurelius Probus shows that he was part of this group. In germania Inferior, where they originated, stone monuments wre placed almost exclusively in the vicinity of army camps. These kind of tombstones are not found in Rome, showing how this collegium developed its own idiom. This Batavian tombstone shows many similarities with monuments of soldiers from other military units in Rome, after which the mercenaries undoubtedly would have mirrored themselves.

This coins was probably hidden during the conquest of the legions of Caesar, around 54 BCE. After the Gallic War, we see a drastic decline in the circulation of gold. This may be explained by the increasing flow of wealth to Italy in the form of war booty and tribute payments. It is likely that this coin survived because the owner has hidden it in the ground.

The helmet of Bekon, legionary under Caesar?
This bronze helmet is almost semispherical, with a protruding neck guard at the back. The knob on top has been lost. The helmet’s finding place is unknown, but the patina indicates that it was not found in a river and may have been a burial gift.
The inscription in Iberian script and the name indicate that legionary Bekon was from one of the Spanish provinces. We know that Julius Caesar as governor of Hispania Ulterior (southern Spain) put together a legion there (the Tenth) in 61 BC. It was to be one of the legions he used to conquer Gaul and Britain. Caesar disbanded the Tenth in 45 BC; the veterans were given land and farms in the south of France and Spain.
On account of the model and the Iberian inscription, the helmet must date from the middle of the first century BC; that means that it could have been worn by one of Caesar’s legionaries.

3D visualisation of the Regolini-Galassi Tomb will not
only prove an essential tool for obtaining more knowledge
about the tomb and Etruscan funerary customs, it also
supplies an attractive way to present research results. In
our multidisciplinary approach to the realization of this
3D visualization, we re-examined and reinterpreted earlier
publications on the find context, and reached new conclusions
regarding the location of the objects in the tomb. We
were able to place the objects virtually in the tomb, allowing
us to identify inconsistencies in the source material
and to determine the most plausible configuration. Using
3D visualization as our research instrument, we were able
to study the tomb on another level. We shall present our
results in the form of an innovative, interactive 3D experience,
based on natural interfaces (bodily movements and
gestures).

These eleven glass negatives were made by the 'wet collodium process', a photographic technique introduces in 1851. Their sizes also point ot production in the middle of the ninetheenth century. The picture from teh Forum Romanum can be dated to the spring of 1855 when young trees were planted along the Via Sacra. The photos were taken around the Capitol and a house (the photographer's?). Based on the technique, date and format, photographic quality and locations, the negatives have been attributed to the French photographer and painter Eugene Constant. He worked from 1848 to 1855 in Rome as photographer, and these photographs are probalby the last the took there. Apparently they were not meant for the market, and prints of the negatives are so far unknown, which makes it all the more mysterious how the box ended up in Amsterdam.

Until recently cultural planning was a term used to refer to a relatively new field of policy that had come into vogue since the Belvedere Policy Document. Since the Spatial Planning Memorandum (2006) this term has been deleted from policy idiom and replaced by the term 'spatial quality’.

The term cultural planning and now spatial quality is regarded as the universal remedy brought forward from the Belvedere point of view since 1999. But does a workable framework providing insight into an integral vision actually exist? It requires more than just a joint motto (conservation through development) and also more than joint projects.

In the first place, it requires that the worlds of cultural history and of the planners and designers communicate with each other in an unambiguous manner. As pointed out before, the concept of cultural history is a rather vague and defenceless concept without any formulation of the problems.

If we add up the gaps and lacks, there is too little attention on either side for the totality of objects and occurrences of acting man on the level of the historical town centre. Even though a house, a street or a building block has been torn down and even though the residents have moved or died, there is still a memory that may be the basis of a recollection related to such a place, such a building location. The odd thing is that archaeological traces - usually destroyed because of a new building plan - may demonstrate this quite concretely, while historical sources are also present, but all too often remain invisible.

The added value of multidisciplinary research into a historical town centre chiefly lies in relating research into the spatial-physical aspect on the one hand to the social-cultural aspect on the other. By linking this to a long-term perspective as well, more insight will be gained into the stratification and the various speeds at which processes are taking place. In addition, the step between research and design should also get more attention.

Consequently, the most important recommendations are relatively simple and refer to two things. In the first place, it concerns professionals, so both from the world of cultural history and from spatial planning, who wish to start the discussion on tradition and renovation in a historical town centre. In this respect it is crucial that both the spatial-physical aspect and the social-cultural aspect are taken into consideration and combined as much as possible, for they cannot exist independently. Obviously, this requires much effort from researchers, designers and more attention should be paid to it, notably in current training.

In the second place, this discussion should also get a formal context. In my opinion this can best be done by including a cultural-historical paragraph in the zoning plan by means of which cultural-historical research - at any rate in protected village and urban conservation areas - can be enforced if building permits and demolition permits are at issue. By analogy with archaeology legislation this multidisciplinary research should also acquire a legal basis.

Wat is cultuurhistorie? Enerzijds zijn dit de roerende en onroerende erfgoedcategorieën die via de Monumentenwetgeving kunnen worden beschermd. Anderzijds gaat het om sociaal-culturele aspecten (immaterieel erfgoed) en dat is veel lastiger te vatten. En dat gaat soms mis, vindt Wim Hupperetz, zoals bij de haven van Breda.

Political infighting and military defense hung in the sixteenth century closely together. On the basis of three different examples of fortification is illustrated for which solutions was chosen. Due to the changes in warfare, there was a relatively large adjustment in the sixteenth century. It must have been hectic times of great uncertainty for the residents in and around castles and cities. The increased firepower caused great efforts in order to ensure that the besieger was kept at safe distance. After the castle was not anymore a crucial part of the military-political defensive system this role was taken over by the main cities. In the Limburg Meuse Valley, this would mean that there are some important strongholds that would arise until the nineteenth century continued to play an important strategic role. Ultimately owes the province of Limburg here its elongated shape due to the fact that Limburg was no more than the corridor to the 'stonghold (Bolwerk) of the Netherlands': Maastricht. The eastern border of Limburg, from the fourteenth century on several places marked by ramparts. Until the seventeenth century these ramparts were reinforced from time tot time and had besides a symbolic some kind of a military function. Within the territorial power politics  these limits had probably no big significance. But it was ultimately for the castles and towns in the Limburg Meuse valley, from the Habsburg-Gelre War until well after the Spanish-Dutch Conflict that large parts of the Meuse Valley was experiencing war practices.

Within 17th Century Breda at least ten clay tobacco pipe makers can be distinguished through archaeological finds and archival records. Of six pipe makers marks are known, in addition, a large number of anonymous craftsmen were active within the trade and production of clay tobacco pipes in Breda.
Behind the White Lion (Molenstraat 22) was a furnace which may be initiated by Samuel Broen. This English or Scottish immigrants may have played an important initiating role. The pipe production at the Molenstraat started during or shortly after the Spanish period (1625-1637). In the furnace products were baked from at least three pipe makers, Samuel Broen, Christiaen Damman and Daniel Peyl. After the death of Christiaen Damman (1658) and Samuel Broen (1659), the furnace was no longer in use. Already in 1654 Daniel Peyl lived and worked as a pipe maker at the Haagdijk. Isaac Fovil, for some time working in the company of Daniel Peyl, put it on after Peyls death in 1676.  From Isaac Fovil and his son David we have no brand, but we have from their colleague Frans Leendertse Kint.
It seems that Louis Philips (Fieliep) in 1661 started his own business. That may to 1667 sought to Akkerstraat and then in the Boschstraat. Furthermore Reynier Anthonisz Wyngaerts made pipes certainly from 1659. Perhaps he worked with Daniel and Isaac Peyl Fovil; probably the disagreement between Reynier Anthonisz and Daniel Peyl it from their collaboration. Behind the house of Isaac Fovil were wasters and unsmoked pipes found by Reynier Antonisz (RA), Lowijs Fieliep (LF) and some unknown pipe makers (CDP, EB = Evert Bird?). It is noteworthy that the pipe furnace of Samuel Broen in the center of Breda was located. Flammable activities were mostly to the periphery of the city exiled. After the production of clay pipes in Molenstraat went out of order , we see that the other pipe makers lived and worked on the outskirts of the city (Haagdijk, Akkerstraat and Boschstraat).
With the ten pipe makers that are hitherto known, Breda remained far behind cities like Gouda and Amsterdam. The export order of 100,000 pipes to Amsterdam is probably not representative. It is unclear what kind of pipes were delivered; possible is was an illegal production of EB-pipes. It adds at least one important aspect to the local craftsmanship of pipe makers. The quality of the Breda pipes was in any case not far below that of the Gouda and Amsterdam pipes. It is unclear whether the Breda pipes, apart from the Amsterdam order, even outside Breda were deposited. A pipe of Christiaan Damman, found in Tilburg, might point to a regional distribution. The Breda pipe makers craft was decreasing sharply at the end of the seventeenth century. Perhaps the career of David Fovil is typical; in Gouda starting and later working as a carpenter in Breda. From written sources Breda pipe makers are unknown in the eighteenth century. There are some water pipes from around 1700 known from the Diest Street.
The first generation of pipe makers consisted of three immigrants from England or Scotland (Samuel Broen and Louis Philips) and Flanders (Christiaen Damman) and Breda (Daniel Peyl). More than 50% served as a soldier in the garrison. The tobacco seems from about 1635 to increase and the smoking habit must already be established. The sale of tobacco and pipes will have been largely ancillary to (Scottish and English) soldiers, in the first half of the seventeenth century. The Breda-based English and Scottish soldiers, with a more established smoking habit, undoubtedly played an important role in the increase of the tobacco and pipe making.

The present year will be marked by a notable programme of temporary exhibitions. Furthermore the Museum's renewal will be made more concrete, a process for which the Friends of the Allard Pierson Museum are greatly needed and in which they will continue to be closely ...

November 2011 saw the opening of the exhibition “Archeovirtual” organized by CNR ITABC and V-MusT Network of Excellence, in Paestum, Italy, under the general direction of BMTA(BMTA is the Mediterranean Expo on Archaeological Tourism directed by Ugo Picarelli and organised by Salerno Province.). The event, part of a wider European project on virtual museums, was a rare opportunity to show many different projects about Virtual Reality and Cultural Heritage. During the show, four types of evaluation tools were employed to examine user behaviour and usability of the interfaces, plus understanding the gap between user expectation and experience. First analyses revealed that the impact of interactive applications on the user seems to depend on the capability of technology to be “invisible” and to allow a range of possibilities for accessing content. To achieve this, virtual museums need a more integrated approach between cultural contents, interfaces and social and behavioural studies.

This publication complements and supports the work conducted as part of Etruscanning, a European project focusing on using innovative 3D multimedia technologies to support exhibitions on Etruscan culture. The results of the project described in this publication, namely the Virtual Reconstruction of the Regolini-Galassi Tomb interactive installation, can be experienced by the public in the permanent exhibition space of the Museo Gregoriano Etrusco, in the Vatican Museums.

The visual and material properties of cultural heritage artifacts provide important information about their history. For example, traces of wear and tear inform us about an object's use. However, changes caused by manual handling or corrosion might also result in loss of either geometric properties, such as the deterioration of fine inscriptions, or appearance properties, such as fading color. Often, heritage institutions wish to inform visitors about these lost physical properties. Traditionally, this is done through the separate display of the physical artifact and additional textual or visual information. However, this approach requires considerable cognitive attention from the visitor, who is expected to successfully link the information provided by both resources, and thus hinders the process of understanding. This demonstration showcases an exhibit currently on display in the Allard Pierson Museum in Amsterdam (the Netherlands) which contains a relief fragment from the wal...

There is a growing interests in integration of Internet of Things (IoT) in smart environments, which creates an opportunity to understand users' information needs using onsite physical sensor logs. However, the physical context creates numerous external factors that play a role in users' information interactions, thus creating new external biases in the collected information interaction logs. In order to provide an effective personalized experiences for users in smart environment, we need to take care of these external biases in the behavioral user models. Our general aim is to understand users' onsite physical behaviors for providing online and onsite personalized services like personalized tour guides. We focus on the cultural heritage domain and collect onsite users' physical information interaction logs of visits in a museum. This prompts the question: How to understand users' behavior in the existence of external biases? Our main finding is that users behave...

Urban archaeology in the Netherlands provides us with a constant $ow of excavation reports in which archaeological %nds and settlement traces are published. &e interpretation of archaeological %nds such as ceramics is still di'cult because a good theoretical framework is lacking. Cesspit %nds are ideally suited to give information on the social-economic position of the household that used the cesspit. Recently, there have been some critical remarks on the interpretation of cesspit %nds. In the 17th century a cesspit was a common phenomenon in most Dutch cities. But how did it function? How many times was it emptied and what was the meaning of waste in the economic system and in relation to the beginning of the consumer society in the 17th century?

"3D visualisation of the Regolini-Galassi Tomb will not only prove an essential tool for obtaining more knowledge about the tomb and Etruscan funerary customs, it also supplies an attractive way to present research results. In our multidisciplinary approach to the realization of this 3D visualization, we re-examined and reinterpreted earlier publications on the find context, and reached new conclusions regarding the location of the objects in the tomb. We were able to place the objects virtually in the tomb, allowing us to identify inconsistencies in the source material and to determine the most plausible configuration. Using 3D visualization as our research instrument, we were able to study the tomb on another level. We shall present our results in the form of an innovative, interactive 3D experience, based on natural interfaces (bodily movements and gestures)."

November 2011 saw the opening of the exhibition “Archeovirtual” organized by CNR ITABC -Virtual Heritage Lab - and V-MusT Network of Excellence, in Paestum, Italy, under the general direction of BMTA1. The event, that was part of a wider European project focus on virtual museums, turned to be a great opportunity to show many different projects, applications and installations about Virtual Reality and Cultural Heritage. The four-days exhibition was an occasion to get in touch with the newest experiences with virtual reconstructions, 3D models, interactive environments, augmented reality and mobile solutions for cultural contents; at the same time, it was an opportunity for organizers to directly face the audience’s impact towards projects. That because of the necessity to investigate more on social and behavioral aspects in order to positively affect the learning benefits of public. So doing, we could build in the future applications much more tailored on the final costumers, closer ...

The existence of different biases in logged users' behavior makes it difficult to extract realistic topical and social information from users' interaction logs (e.g., query logs). To understand users' behavior and their interests in the cultural heritage domain, we have logged onsite user interaction logs of visits in a museum. This prompts the question on the reliability of the social information being gathered from the onsite logs: How does the position of museum objects affect users' behavior in the museum? How does order of visiting point of interests affect their dwell-time in front of each point of interest? How do different users' characteristics affect their behavior in the museum? In short, what are different kinds of biases that should be considered in the on-site logs? Our main findings are the following: First, there is a considerable position bias, which is due to the design of the exhibition and should be considered during extraction of social signals from the log. Second, there is a bias in the amount of time that users spend for interacting with the point of interests and the order of picking them to visit. This shows a fatigue on users' interactions while they are reaching to the end of the exhibition. Third, we find out some variations among the users' visit, which shows context is an important factor to consider while using onsite logs for different purposes.

The present year will be marked by a notable programme of temporary exhibitions. Furthermore the Museum's renewal will be made more concrete, a process for which the Friends of the Allard Pierson Museum are greatly needed and in which they will continue to be closely ...

On September 23rd 2014, after 2000 years from Augustus death, 13 countries have met in Rome, Amsterdam, Alexandria and Sarajevo, for the opening of an extraordinary exhibition, “Keys to Rome”: an interactive journey to discover Roman Culture, starting from the city of Augustus and reaching the entire Roman Empire, through the visit to 4 fascinating venues, 4 museums with their archaeological collections, more than 10 different technologies supporting and enhancing this global experience. This is more than an exhibition on Roman archaeology. "Keys To Rome" is a unique international exhibition, that, for the first time is organized in parallel in four locations:Rome, in the wonderful setting of the Imperial Fora Museum (Museo dei Fori Imperiali); Alexandria, in the Antiquities Museums of the Bibliotheca Alexandrina; Amsterdam, in the recently renovated Allard Pierson Museum; and Sarajevo, in the newly restored CityHall (Vijecnica) and in the Sarajevo Museum. This Catalog, wi...

On September 23rd 2014, after 2000 years from Augustus death, 13 countries have met in Rome, Amsterdam, Alexandria and Sarajevo, for the opening of an extraordinary exhibition, “Keys to Rome”: an interactive journey to discover Roman Culture, starting from the city of Augustus and reaching the entire Roman Empire, through the visit to 4 fascinating venues, 4 museums with their archaeological collections, more than 10 different technologies supporting and enhancing this global experience. This is more than an exhibition on Roman archaeology. "Keys To Rome" is a unique international exhibition, that, for the first time is organized in parallel in four locations:Rome, in the wonderful setting of the Imperial Fora Museum (Museo dei Fori Imperiali); Alexandria, in the Antiquities Museums of the Bibliotheca Alexandrina; Amsterdam, in the recently renovated Allard Pierson Museum; and Sarajevo, in the newly restored CityHall (Vijecnica) and in the Sarajevo Museum. This Catalog, wi...

Page 1. Session F1 – Virtual Museums Visitor's Evaluation. Digital Restitution and Public Communications. 3 A Touring Exhibition: The North Church of Bawit Monastery (Egypt) Sahar Ghaderi and Olivier Bouet In the Mirror of the Wonder of Luca Giordano. 11 Multisensory Experience Itinerary with Impact Assessment at Palazzo Medici Riccardi (Florence, Italy) Perla Gianni Falvo Temporary Made Permanent 19 Turning Temporary Exhibitions into Fixed Memories Giorgia Morlando, Luca Lamera and Gabriele Guidi Archeovirtual 2011: 25 ...

Hoog tijd voor een leuk boek. Een proefschrift, maar o wat een leuk proefschrift en het ziet er ook zo mooi uit. Vol met foto's, stadsplattegronden, huizendoorsnedes en oude prenten. Een boek om in te bladeren en zomaar stukjes uit te lezen. Wat kostte in 1672 een overnachting in een herberg? Twintig cent en nog eens vijftien cent voor het stallen van een paard. Wanneer kon je voor het eerst subsidie krijgen voor de aanpassing van een huis? Al in 1480 gaf het Bredase stadsbestuur huiseigenaren geld als ze hun huis van een leien dak voorzagen. Ook toen al werd er natuurlijk meteen misbruik van gemaakt. Ook na 500 jaar stijgt uit de archieven de vertrouwde geur van een bouwfraude op. Wim Hupperetz-conservator aan het Limburgs Museum, geen Bredanaar-heeft er jaren aan gewerkt, maar het resultaat is er dan ook naar. Het gaat over niet meer dan één straat, een nu onooglijk straatje van enkele tientallen huizen in het oude centrum van Breda, maar van die ene straat wordt een allesomvattende geschiedenis van bewoning en bewoners geschreven. Hupperetz wil zelf het woord allesomvattend of integraal uitdrukkelijk niet gebruiken, maar dat is toch al te bescheiden voor wie naar eigen zeggen in zijn studie een groot aantal disciplines in de driehoek geschiedenis, economie en sociologie met elkaar weet te combineren.