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Chau Chak Wing Museum
THE UNIVERSITY OF SYDNEY'S NEW MUSEUM OF ART, SCIENCE, HISTORY AND ANCIENT CULTURES IS NOW OPEN TO THE PUBLIC.
The Chau Chak Wing Museum brings together the University Art collection, the Macleay collections (natural history, ethnography and science) and the Nicholson collection (antiquities and archaeology). Featuring 18 new exhibitions across four floors of galleries, engaging public events and hands-on learning programs for students.
The exhibitions combine a changing schedule along with dedicated spaces such as Mummy Room, Contemporary Art Space and the Ambassadors exhibition, located throughout the museum that brings voices of representatives from country into the museum to speak about Aboriginal and Torres Strait Islander artefacts.
Approximately 3% of the collections are on display and students can access the vast array of other material through interactions in the object-based Study Rooms on level 2. We hold the oldest natural history collection in Australia and we care for thehistorically rich collections of Aboriginal, Torres Strait and Pacific Islanders' cultural material. The scientific instruments and apparatus represent part of the story of scientific practice in Australia and beyond and the Historic Photograph Collection records 1840s – 1960s life in Australia and the Pacific region. The Nicholson Collection contains more than 30,000 artefacts representing ancient cultures from the Mediterranean, Middle East and Europe, spanning the early Stone Age to late medieval times. The Art Collection holds an impressive collection of Australian paintings – including Indigenous art – as well as significant holdings in European and Asian art.
Sounds Sydney cafe offers a unique dining experience on the Chau Chak Wing Museum terrace, overlooking Victoria Park. Stop in for a coffee or a meal, the menu includes brunch, lunch and a broad selection of coffee, as well as a carefully curated wine list.
The museum is open 7 days a week: Monday to Friday, 10am – 5pm; with Thursday open late, 10am – 9pm; and Saturday to Sunday, 12pm – 4pm. Closed public holidays. Please note that these hours are subject to change and visitors are advised to consult the website. https://www.sydney.edu.au/museum/
THE CHAU CHAK WING MUSEUM
The University of Sydney's new museum of art, science, history and ancient cultures is now open to the public.
The Chau Chak Wing Museum brings together the University Art collection, the Macleay collections (natural history, ethnography and science) and the Nicholson collection (antiquities and archaeology). Featuring 18 new exhibitions across four floors of galleries, engaging public events and hands-on learning programs for students.
The exhibitions combine a changing schedule along with dedicated spaces such as Mummy Room, Contemporary Art Space and the Ambassadors exhibition, located throughout the museum that brings voices of representatives from country into the museum to speak about Aboriginal and Torres Strait Islander artefacts.
Approximately 3% of the collections are on display and students can access the vast array of other material through interactions in the object-based Study Rooms on level 2. We hold the oldest natural history collection in Australia and we care for the historically rich collections of Aboriginal, Torres Strait and Pacific Islanders' cultural material. The scientific instruments and apparatus represent part of the story of scientific practice in Australia and beyond and the Historic Photograph Collection records 1840s – 1960s life in Australia and the Pacific region. The Nicholson Collection contains more than 30,000 artefacts representing ancient cultures from the Mediterranean, Middle East and Europe, spanning the early Stone Age to late medieval times. The Art Collection holds an impressive collection of Australian paintings – including Indigenous art – as well as significant holdings in European and Asian art.
Sounds Sydney cafe offers a unique dining experience on the Chau Chak Wing Museum terrace, overlooking Victoria Park. Stop in for a coffee or a meal, the menu includes brunch, lunch and a broad selection of coffee, as well as a carefully curated wine list.
The museum is open 7 days a week: Monday to Friday, 10am – 5pm; with Thursday open late, 10am – 9pm; and Saturday to Sunday, 12pm – 4pm. Closed public holidays. Please note that these hours are subject to change and visitors are advised to consult the website. https://www.sydney.edu.au/museum/
LOREM IPSUM
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CONTACT:
E-mail: Info@loremipsum.com
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CONTACT
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Tlf.: +11 111 111 111
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LOREM IPSUM DOLOR SIT AMET, CONSECTETUR ADIPISCING ELIT. MAECENAS CONGUE EROS MAGNA, ID BIBENDUM EROS MALESUADA VITAE.
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LOREM IPSUM DOLOR SIT AMET, CONSECTETUR ADIPISCING ELIT. MAECENAS CONGUE EROS MAGNA, ID BIBENDUM EROS MALESUADA VITAE.
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Please click on the object displayed in the cabinet below this hotspot.
Write a creative label that describes the function of this object in two short sentences.
Please click on the insect displayed directly beneath this hotspot.
1) What is the significance of this insect’s name?
2) Imagine you have just discovered the hypothetical animal pictured here – what name would you give it and why?
Alternate Name: Cerambyx giganteus
Family: Cerambycidae
Description: Pinned insect, wire in both antennae and a wire spine from mouth to ovipositor.
Collected: Collected by Baron Pierre Victor Malouet from Cayenne, French Guiana, c.19th century.
Titanus giganteus is the largest species of beetle in the world. Rare in collections, the Macleay Museum holds a single female specimen, measuring just over 16 centimetres from head to ‘tail’. Pushed through the wing case, a heavy set entomological pin holds this specimen in place.In contrast to most insects in museum collections, this beetle has extra supporting structures for its preservation: the antennae are secured by fine wires, and a thick wire runs internally from between the massive mandibles through to the tip of the abdomen.
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHEN.30671
Please click on the mummified human legs displayed in the cabinet below this hotspot.
List 3 words/statements to capture your immediate reaction to this object.
Family: Tachyglossidae
Place: Tasmania, Australia
Taxidermied skin and skull.
Measurements: whole: 9 (h/l) x 13 (w) x 25 (d) cm, support: 7.5 (h/l) x 16.0 (w) x 27.0 (d) cm
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHM.489
Fabricator
Name: Louis Thomas Jérôme Auzoux
Place: France
Full female body of papier mache, disassembling with parts painted in natural colours and annotated. Cast iron stand.
In 1822 Louis Thomas Jerôme Auzoux, aged 19, handed his examiners at the Paris Academy of Medicine a papier mâche model of a human leg. So impressed were they that he received a commendation for the work. It was the first of many national and international awards given to his models. Auzoux was motivated by the lack of access to anatomical detail for medical students and by the fact that dissections inevitably involved off- putting sights and smells. Other teaching models were available at this time, often made from wax, but their material meant that they were fragile and static. By using papier mâche in a sophisticated manner Auzoux made models that were clastic – they could be taken apart. Thus one model could contain within it smaller models of the heart, lungs, or musculature, each of which could be opened to reveal its individual details.
The educational potential of Auzoux’ models was quickly realized. By 1827 he had opened a factory in his home town to mass-produce his papier mâche inventions, which included not only plant and animal models but human models – complete and parts - as well. His works sold internationally and were used for teaching well into the 20th century.
Affectionately known as ‘Gladys’, the Macleay Museum’s female model is one of Auzoux’ masterpieces of construction. The structure is made from paper pulp supported with iron alloy rods. Over this basic frame were placed flat sheets of coloured brown paper, which provided a smooth surface for the paint layer detailing the muscular and nervous systems. The circulatory system is represented by thin bundles of iron alloy wire, sewn to the surface and painted blue, giving it a slightly raised profile. Tiny printed paper labels, identifying various anatomical details, were stuck to the outer surface before the final layer of transparent glossy varnish was applied. Gladys’ clastic parts include her arms and internal organs, which are attached to the torso by a system of interlocking iron alloy hooks and pins. The whole is supported under its left heel by a threaded iron alloy rod screwed into an iron alloy base, allowing the model to stand upright and to swivel 360 degrees.
Media: Mixed media - papier-mâché, iron alloy
Measurements: 143 (h/l) x 52 (w) x 36 (d) cm, overall: 154 (h/l) x 52 (w) x 36 (d) cm
CCWM Collection: Macleay Collections, Scientific Instruments and Apparatus
Museum Number: SC1998.24
Place: Egypt
Date: Unknown
The legs are preserved from the knees downwards. The skin is in very good condition. The object is mounted in an old glass display case.
Media: Mixed media - mummified remains, linen
Measurements:16 (h/l) x 10 (w) cm
CCWM Collection: Nicholson Collection, Human Remains
Museum Number: NMR.31
Alternate Name: appa-appa [general name for frog, Bougainville-Buka language]; kekereu (Buin, Bougainville)
Family: Ranidae
Place: Solomon Islands
Two frogs in a shared jar. Good condition. (why does this sound like a gumtree ad?)
Measurements: jar: 35.00 (h/l) cm; 13.00 cm (diam)
CCWM Collection: Macleay, Natural History
Museum Number: NHR.2445
Place: Thebes, Upper Egypt
Date: 21st Dynasty
This coffin consists of three components, a lid, a trough and a mummy board, and contains mummified human remains.
The lid trough and mummy board of the coffin are anthropoid in design and made from wood. The lid and trough are made from several pieces and dowelled together before being plastered and painted over. On the lid and mummy board figures of divinities are in relief, on the trough they are simply painted. On the underside of the board is a painted full-length image of the god Osiris. The interior of the coffin is brightly painted with images of deities and has several sections of resin stain from the original mummy. The titles given in the hieroglyphic inscriptions of Meruah are Lady of the house, chantress of Amun, adorant of Mut, and temple singer of Mut.
The mummified remains associated with this coffin have been partially unwrapped and the body itself is visible in the chest area. The body is wrapped in linen bandages which have sustained heavy insect damage over time. The bandages are discoloured to a dark brown colour.
DNA testing in 1999 revealed that the mummy is that of an adult male. Its jaw is dislocated and some of the teeth are loose and scattered throughout the skull (as can be seen on the accompanying CT scan). The left knee is disarticulated. Examinations show that its torso had been densely packed, possibly with mud or sawdust to fill the cavity left by removing the organs and to maintain the original shape of the body. Grafton Elliot Smith (see exhibition section) examined 49 21st Dynasty mummies in the early 1900s and found such packing of the body to be characteristic of the era. This suggests that even though the mummy in Meruah’s coffin is not her own it is highly likely that it is of a contemporary male.
For details of the DNA examination, see C. Matheson et al., ‘An Interloper Revealed: DNA Analysis and the Identification of an Egyptian Mummy’, Bulletin of the Australian Centre for Egyptology 16, 2005, 101–116.
Media: Wooden artefact - wood
Measurements: overall: 186.5 (h/l) x 53.7 (w) x 31.5 (d) cm
CCWM Collection: Nicholson Collection, Antiquities And Archaeology
Museum Number: NMR.27.1-9
Alternate Name: kokotu (Solomon Islands Pijin); Solomons Cockatoo
Family: Cacatuidae
Place: Solomon Islands
Date: circa 1880
Articulated skeleton on perch on varnished wooden plinth
Measurements: overall: 21.5 (h/l) x 8.5 (w) x 18.5 (d) cm
Acquisition Credit Line: Donated by Macleay Family 1865-1892
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHB.1642
Place: Saqqara, Lower Egypt
Date: 26th Dynasty (664 BC - 525 BC, Saite Period)
Anthropoid shape, with plinth and backpillar. Lid and trough were once decorated, but little pigment now remains, only shadows of the decoration. Traces of red pigment on the face, and on the wig, blue and white pigment is visible. Below the face, a wesekh collar and winged nut surmount vertical rows of hieroglyphs outlining a prayer to the deceased, including Spell 72 from the Book of the Dead. The artefact contains;
coffin lid; coffin base; human remains; textile; resin, wood and cartonnage; beads; sieve debris; modern packing material, wood and insects.
Media: Wooden artefact - Cedrus libani (cedar), Ficus sycomorus (sycomore fig)
Measurements: 188 (h/l) x 57 (w) x 50 (d) cm
CCWM Collection: Nicholson Collection, Antiquities and Archaeology
Museum Number: NMR.29.1-8
Production
Place: Thebes, Upper Egypt
Date: 25th Dynasty (725-700 BC)
Collection
Name: Sir Charles Nicholson
Place: Egypt
Date: 1856-1857
The coffin is carved from a single piece wood, then gessoed and painted. The coffin takes the shape of the human male figure, with a brown painted face wearing a striped tripartite wig. The lid is divided into zones across the body featuring panels of various gods. The main image represented on the chest area of the coffin is of the god Amun-Re. The name of the owner of the coffin, Padiashaikhet, is inscribed in painted hieroglyphs along with his titles which are ‘father of the god’ and ‘beloved of the god'. On the exterior of the base of the coffin is an excerpt from the Book of the Dead ( the text replicates spell 89) and below the text is the image of the Amentet, ‘Lady of the West’, who is depicted with wings and a distinctive headress. The colours are original apart from a slight repainting on the hair, part of the foot has been reconstructed with plaster where part of the wooden coffin has not survived. The mummy within the coffin is wrapped in a linen shroud which has been held in place loosely by a few strips of linen around the body.
Media: Wooden artefact - plaster-coated painted wood
Measurements: lid: 177 (h/l) x 46.5 (w) cm, base: 174.0 (h/l) x 46.5 (w) x 37.5 (d) cm
CCWM Collection: Nicholson Collection, Antiquities and Archaeology
Museum Number: NMR.28.1-3
Alternate Name: Pilot whale; gawura (Sydney language)
Family: Delphinidae
Articulated skeleton. Was originally misidentified as a killer whale, or even as a false killer whale. Pilot whales are famous for beaching themselves, and nobody is sure why. These are not true whales; they are a member of the dolphin family. Like many dolphins, pilot whales live in groups called pods, which may number up to 100 or more. They may reach 5 to 7 metres in length when fully grown, depending on the subspecies. Pilot whales are exceptionally susceptible to infection from a range of oceanic parasites, including whale lice, cestodes and nematodes.
Measurements: 4000 (h/l) x 700 (w) x 950 (d) mm, head: 8.65 kg (wgt), part: 1.65 kg (wgt)
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHM.1116
Alternate Name: kokotu (Solomon Islands Pijin); Solomons Cockatoo
Family: Cacatuidae
Place: Solomon Islands
Date: circa 1880
Articulated skeleton on perch on varnished wooden plinth
Measurements: overall: 21.5 (h/l) x 8.5 (w) x 18.5 (d) cm
Acquisition Credit Line: Donated by Macleay Family 1865-1892
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHB.1642
Alternate Name: Pe'a vao [Samoan language]; Samoan Flying Fox; Pteropus samoensis nawaiensis Gray, 1870; fruit bat; Tongan fruit bat
Family: Pteropodidae
Place:Fiji
Date: 1865-1880
Skin Mounted with skull. Tears in both wings.
Although called the Samoan flying fox this sub-species is only found on the Fiji islands of Ovalau, Taveuni, Vanua Levu and Viti Levu and Nauai where it gets its name. The literal translation of the name Pteropus is wing-foot. Pteropus tonganus roost singly or in family groups (male-female and current year’s offspring) on the tops of forest trees and feeds on forest fruits and berries.
Measurements: 9 (h/l) x 68.2 (w) x 39 (d) cm
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHM.226
Something to consider: why are we often quick to blame bats for transmission of zoonotic diseases?
Alternate name: African black-bellied pangolin, or "ipi"
Family: Manidae
Place: Africa
Mounted skin and skull specimen. Interestingly, this species of pangolin is arboreal. It has a prehensile tail capable of supporting its own bodyweight when hanging from trees. Like all extant pangolins, it is an endangered species. Pangolins are the most trafficked animal in the world. They are sources of bushmeat in some African nations and their flesh and scales are utilised in traditional Chinese medicine.
Measurements: 13 (h/l) x 10 (w) x 81.5 (d) cm
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHM.1467
Designer
Name: Prof Frank Cotton
Place: University of Sydney, Sydney, NSW
Date: 1941-1944
Parts from prototypes of the Cotton Aerodynamic Anti-G (CAAG) suit, including leggings, shorts, boots, tubing, belts and other fragments, as well as a wooden test dummy (consisting of a torso and legs). The CAAG suit was designed by University of Sydney physiology professor Frank Stanley Cotton to counteract the effects of high G-force (including blackout) experienced by pilots during high-speed aerial manouevres.
For further information, see:
• Dr Peter Hobbins, 'Engineering the Fighter Pilot: Aviators, Anti-G suits, and Allied Air Power, 1940-53', The Journal of Military History 84 (January 2020):115-149
• Dr Peter Hobbins, 'The pigeonhole waltz: Deflating innovation in wartime Australia', Record: The University of Sydney Archives (2015): 3-11
Media: Mixed media - Rubber, metal, silk, cotton, metal components, wood
CCWM Collection: Macleay Collections, Scientific Instruments and Apparatus
Museum Number: SC1995.60.1-117
Alternate Name: Pe'a vao [Samoan language]; Samoan Flying Fox; Pteropus samoensis nawaiensis Gray, 1870; fruit bat; Tongan fruit bat
Family: Pteropodidae
Place:Fiji
Date: 1865-1880
Skin Mounted with skull. Tears in both wings.
Although called the Samoan flying fox this sub-species is only found on the Fiji islands of Ovalau, Taveuni, Vanua Levu and Viti Levu and Nauai where it gets its name. The literal translation of the name Pteropus is wing-foot. Pteropus tonganus roost singly or in family groups (male-female and current year’s offspring) on the tops of forest trees and feeds on forest fruits and berries.
Measurements: 9 (h/l) x 68.2 (w) x 39 (d) cm
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHM.226
Manufacturer :unknown
Date: c. 1920
This model depicts a dissected cuttlefish. Its mantle has been cut along the sagittal plane to reveal the organs underneath.
Collection: Macleay
Alternate name: African black-bellied pangolin, or "ipi"
Family: Manidae
Place: Africa
Mounted skin and skull specimen. Interestingly, this species of pangolin is arboreal. It has a prehensile tail capable of supporting its own bodyweight when hanging from trees. Like all extant pangolins, it is an endangered species. Pangolins are the most trafficked animal in the world. They are sources of bushmeat in some African nations and their flesh and scales are utilised in traditional Chinese medicine.
Measurements: 13 (h/l) x 10 (w) x 81.5 (d) cm
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHM.1467
Family: Sepiidae
One specimen in acrylic display jar. Sepia apama is a large cuttlefish found locally. It is an inquisitive and colourful invertebrate. The spoon shaped tips of the two longest tentacles are covered in suckers. These are used to catch prey and pass it to the mouth where it is ripped apart by the beak-like jaw.
Measurements: jar: 91.5 (h/l) x 30 (w) x 21 (d) cm
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHMO.1834
Family: Equidae
Mounted skin of juvenile horse with cyclopic deformation. This is the skeleton and skin of a "Cyclops", a deformed animal which is stillborn and has only one eye; there is a hole in the skeleton at the back of the skull, representing the second eye. This specimen is a foal.
Measurements: 23.0 (h/l) x 14.5 (w) x 30.0 (d) cm
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHM.45.2
Production
Place: Bubastis, Lower Egypt
Date: 1390 BC-1351 BC modified 1279-1212 BC
Collection
Name: Édouard Naville
Place: Bubastis, Lower Egypt
Date: 1887
The black granite head of Ramesses II originally came from a larger statue and is of monumental scale. The eyes of the head tilt downwards and he has a smile on his face. The head is supported by a back pillar which bears the remains of three hieroglyphic signs.
Media: Stone artefact - granodiorite
CCWM Collection: Nicholson Collection, Antiquities and Archaeology
Museum Number: NM62.657
Fabricator
Name: Louis Thomas Jérôme Auzoux
Place: France
Full female body of papier mache, disassembling with parts painted in natural colours and annotated. Cast iron stand.
In 1822 Louis Thomas Jerôme Auzoux, aged 19, handed his examiners at the Paris Academy of Medicine a papier mâche model of a human leg. So impressed were they that he received a commendation for the work. It was the first of many national and international awards given to his models. Auzoux was motivated by the lack of access to anatomical detail for medical students and by the fact that dissections inevitably involved off- putting sights and smells. Other teaching models were available at this time, often made from wax, but their material meant that they were fragile and static. By using papier mâche in a sophisticated manner Auzoux made models that were clastic – they could be taken apart. Thus one model could contain within it smaller models of the heart, lungs, or musculature, each of which could be opened to reveal its individual details.
The educational potential of Auzoux’ models was quickly realized. By 1827 he had opened a factory in his home town to mass-produce his papier mâche inventions, which included not only plant and animal models but human models – complete and parts - as well. His works sold internationally and were used for teaching well into the 20th century.
Affectionately known as ‘Gladys’, the Macleay Museum’s female model is one of Auzoux’ masterpieces of construction. The structure is made from paper pulp supported with iron alloy rods. Over this basic frame were placed flat sheets of coloured brown paper, which provided a smooth surface for the paint layer detailing the muscular and nervous systems. The circulatory system is represented by thin bundles of iron alloy wire, sewn to the surface and painted blue, giving it a slightly raised profile. Tiny printed paper labels, identifying various anatomical details, were stuck to the outer surface before the final layer of transparent glossy varnish was applied. Gladys’ clastic parts include her arms and internal organs, which are attached to the torso by a system of interlocking iron alloy hooks and pins. The whole is supported under its left heel by a threaded iron alloy rod screwed into an iron alloy base, allowing the model to stand upright and to swivel 360 degrees.
Media: Mixed media - papier-mâché, iron alloy
Measurements: 143 (h/l) x 52 (w) x 36 (d) cm, overall: 154 (h/l) x 52 (w) x 36 (d) cm
CCWM Collection: Macleay Collections, Scientific Instruments and Apparatus
Museum Number: SC1998.24
Place: Egypt
Mummified left foot of a human. Foot is desiccated from the mummification process. The skin appears in colour and stringy in texture. The bones are similarly desiccated, and are greasy in appearance. The foot is wrapped in at least five layers of a coarsely woven linen fabric. The first four toes are visible, either not being wrapped or having protruded through the wrappings. The toenails of these toes are extant. A black, resinous material (presumably bitumen) appears to have been applied to the wrappings, penetrating throughout the layers of linen.
Measurements14.0 (h/l) x 7.0 (w) x 21.00 (d) cm
CCWM Collection: Nicholson Collection, Human Remains
Museum Number: NM62.587.2
Place: Saqqara, Lower Egypt
Date: 26th Dynasty (664 BC - 525 BC, Saite Period)
Anthropoid shape, with plinth and backpillar. Lid and trough were once decorated, but little pigment now remains, only shadows of the decoration. Traces of red pigment on the face, and on the wig, blue and white pigment is visible. Below the face, a wesekh collar and winged nut surmount vertical rows of hieroglyphs outlining a prayer to the deceased, including Spell 72 from the Book of the Dead. The artefact contains;
coffin lid; coffin base; human remains; textile; resin, wood and cartonnage; beads; sieve debris; modern packing material, wood and insects.
Media: Wooden artefact - Cedrus libani (cedar), Ficus sycomorus (sycomore fig)
Measurements: 188 (h/l) x 57 (w) x 50 (d) cm
CCWM Collection: Nicholson Collection, Antiquities and Archaeology
Museum Number: NMR.29.1-8
Place: Thebes, Upper Egypt
Date: 21st Dynasty
This coffin consists of three components, a lid, a trough and a mummy board, and contains mummified human remains.
The lid trough and mummy board of the coffin are anthropoid in design and made from wood. The lid and trough are made from several pieces and dowelled together before being plastered and painted over. On the lid and mummy board figures of divinities are in relief, on the trough they are simply painted. On the underside of the board is a painted full-length image of the god Osiris. The interior of the coffin is brightly painted with images of deities and has several sections of resin stain from the original mummy. The titles given in the hieroglyphic inscriptions of Meruah are Lady of the house, chantress of Amun, adorant of Mut, and temple singer of Mut.
The mummified remains associated with this coffin have been partially unwrapped and the body itself is visible in the chest area. The body is wrapped in linen bandages which have sustained heavy insect damage over time. The bandages are discoloured to a dark brown colour.
DNA testing in 1999 revealed that the mummy is that of an adult male. Its jaw is dislocated and some of the teeth are loose and scattered throughout the skull (as can be seen on the accompanying CT scan). The left knee is disarticulated. Examinations show that its torso had been densely packed, possibly with mud or sawdust to fill the cavity left by removing the organs and to maintain the original shape of the body. Grafton Elliot Smith (see exhibition section) examined 49 21st Dynasty mummies in the early 1900s and found such packing of the body to be characteristic of the era. This suggests that even though the mummy in Meruah’s coffin is not her own it is highly likely that it is of a contemporary male.
For details of the DNA examination, see C. Matheson et al., ‘An Interloper Revealed: DNA Analysis and the Identification of an Egyptian Mummy’, Bulletin of the Australian Centre for Egyptology 16, 2005, 101–116.
Media: Wooden artefact - wood
Measurements: overall: 186.5 (h/l) x 53.7 (w) x 31.5 (d) cm
CCWM Collection: Nicholson Collection, Antiquities And Archaeology
Museum Number: NMR.27.1-9
Place: Thebes, Upper Egypt
Date: early 2nd century AD
The body is wrapped in a shroud secured with diagonal pattern bandages. The cartonnage mask is in situ, placed over the face and secured by the bandages. The mask features a moulded face of the deceased which has been gilded (parts of the plaster now missing), with the eyes and curls of the fringe painted on to the surface. Around the head and over the rest of the cartonnage are painted deities and other symbolic funeral images. From papyrus R26b the name of the child was Horos, born to Ta-[en]-per-wer.
"In early 2009, Melbourne forensic Egyptologist Janet Davey requested to CT-scan Horus for a major research project into mummified children in collections around the world. The scan took place in June 2009 in front of TV cameras, film units and the press.The results were conclusive - a very visible penis. It was a boy. Horus was aged about five or six when he died. The cause of death is still unknown, but research is ongoing in Melbourne. It's hard not to be very moved when you look at the scans and notice the one baby front tooth still in place and imagine the gap-toothed smile of a little boy nearly two thousand years ago." (Turner, 2012).
CCWM Collection: Nicholson Collection, Human Remains
Museum Number: NMR.26.1
Manufacturer: Hemmi Bamboo Slide Rule Company Ltd
Demonstration linear slide rule; Hemmi No.101. Square brackets are used in the description to denote scales which appear on the slide, rather than the stock. While calculators may perform multiplications and divisions directly, slide rules are used to add or subtract numerical exponents to reach an answer instead. Inputs need to be converted to logarithmic values before calculations can take place.
Measurements: 21.2 (h/l) x 24.5 (w) x 2.6 (d) cm
CCWM Collection: Macleay Collections, Scientific Instruments And Apparatus
Museum Number: SC2014.216
Something to consider: is it feasible or even ethically acceptable to bring back extinct species through cloning?
Alternate Name: Tasmanian Tiger
Family: Thylacinidae
Place: Tasmania, Australia
Taxidermied skin over a resin internal support. Possibly collected by James Pettard in Tasmania c. 1875. Once ranging from New Guinea and the Australian mainland, by the 1800s Thylacinus cynocephalus was restricted to Tasmania. It is thought that the demise of this carnivorous marsupial was due to the introduction of dogs 3000 years ago. The animal became extinct within one hundred and forty years of European colonisation through the colonisers erroneous fear that they would destroy livestock.
National Threatened Species Day was first held in 1996, to commemorate the death of the last Tasmanian Tiger in captivity in 1936 in Hobart. By focusing attention on the plight of many of our threatened animals and plants, Threatened Species Day aims to encourage greater community support and hands-on involvement in the prevention of further losses of Australia's unique natural heritage.
Measurements: 60 (h/l) x 30 (w) x 135 (d) cm, stand: 1.0 (h/l) x 25.0 (w) x 120.0 (d) cm
CCWM Collection: Macleay Collections, Natural History
Museum Number: NHM.496
Manufacturer: Hemmi Bamboo Slide Rule Company Ltd
Demonstration linear slide rule; Hemmi No.101. Square brackets are used in the description to denote scales which appear on the slide, rather than the stock. While calculators may perform multiplications and divisions directly, slide rules are used to add or subtract numerical exponents to reach an answer instead. Inputs need to be converted to logarithmic values before calculations can take place.
Measurements: 21.2 (h/l) x 24.5 (w) x 2.6 (d) cm
CCWM Collection: Macleay Collections, Scientific Instruments And Apparatus
Museum Number: SC2014.216
Ten small mechanical pieces, part of the Macleay Museum's Science collection, link to one of the great intellectual achievements of 19th century, the conception and design of automatic calculating engines by English mathematician Charles Babbage. The figure wheels, gear wheel, and spring coils also link to Australia and New Zealand, as Babbage's descendants migrated in the 1850s, many taking Babbage relics with them. The Macleay Museum pieces were donated by Babbage's great-great-grandson, Dr Neville F Babbage in 1993.
Charles Babbage (1791-1871) was an inventor, mathematician and polymath. He is famous for his conception and design of two automatic calculating engines, now seen as icons in the prehistory of computing - the Difference Engine and the Analytical Engine.
The interpretation of the Macleay Museum's small pieces, and which engine they relate to, was made by University of Sydney computer scientist and historian Allan G Bromley (1947-2002), who extensively researched Babbage's machines and archives.
DIFFERENCE ENGINE NO. 1 & 2 - the first successful automatic calculator.
Charles Babbage was frustrated by errors in published mathematical tables, made by the human 'computers' who did the routine calculations, then copied them, all by hand. He began work on his Difference Engine no. 1 in 1822 - a machine to calculate and print mathematical tables, removing human error. There was a high need for accurate tables for navigators, astronomers and actuaries amongst others
A small section of the Difference Engine was built as a demonstration piece, with the assistance of engineer Joseph Clement. Babbage gained government backing to construct a complete machine. By the end of 1832, one seventh of the whole machine was complete, comprising about 2,000 pieces, when work halted following on a dispute between Babbage and Clement. Government funding was eventually axed in 1842. 12,000 pieces had been made, most later melted for scrap. The finished demonstration model is held by the Science Museum, London.
Babbage designed an improved version of the first, known as Difference Engine No. 2, between 1847 and 49. This design would require only a third of the number of parts. Between 1985 and 1991 the Science Museum built a working version of the No. 2 Difference Engine in time for the bicentenary of Babbage's birth.
Parts in the Macleay Museum c. 1830: SC1993.3.6 coil spring possibly intended by the Difference Engine No. 1; spring cases from the Difference Engine No.1, SC1993.3.7, SC1993.3.8, SC1993.3.9
ANALYTICAL ENGINE
"The whole of arithmetic now appeared within the grasp of mechanism." -Charles Babbage, (1864) Passages from the Life of a Philosopher.
In 1834 Babbage ambitiously conceived of a general-purpose machine which was to be a fully automatic and programmable calculating engine. The engine was to have a 'store' and a separate processing 'mill', a logical structure which anticipated modern computing's separation of memory (the store) and the central processor (the mill). Only part of the machine, a trial piece, was ever completed before his death, now held by the Science Museum London.
Parts in the Macleay Museum c. 1860-c.70:
SC1993.3.1 die cast figure wheel possibly intended for the Analytical engine c.1870 SC1993.3.2 and SC1993.3.5 two die cast components from a model of the calculating mechanism of the Analytical Engine under construction when Babbage died in 1871. In the late 1860s Babbage pioneered pressure die casting technique as a way to produce repeatable parts for his calculating engines.
SC1993.3.3 and SC1993.3.4 stamped figure wheels made for the Analytical Engine c. 1860.
SC1993.3.10 small die cast gear wheel from the Analytical Engine c.1870.
Production
Place: Jericho, West Bank
Date: Levantine Pre-Pottery Neolithic B, 8000- 7000 BC
Collection
Name: Dame Kathleen Kenyon
Place: Field no. D117/2000, Jericho, West Bank
Date: 1956
Fragments of a skull, missing the mandible, plastered together. Traces of pigment visible on the surface. The plaster moulds a schematic face: shallow nose and ears are visible, and shell inlay has been used for the eye.
Jericho lies in a lush oasis near the floor of the Jordan Rift Valley and it was here that some of the earliest farming villages in the world first developed. During the change from a hunting and gathering lifestyle to one of settled agricultural communities, societies experienced profound transformations as people had to learn new ways to live together and to organise their social relationships. This resulted in new forms of spiritual practice and ritual. Among these were elaborations of burial cults.
In certain cases skulls were removed from their bodies after death, usually when the body had decomposed. The skulls were then decorated with plaster modelling and various kinds of ornament to resemble a living face. Several plastered skulls of this type have been found at Jericho, as well as at other sites in the southern Levant.
The Nicholson skull is that of a juvenile. The lower jaw is missing, which is a common feature of similar Pre-Pottery Neolithic B skulls, but the plaster has been applied regardless, in the shape of a complete living head. This has created an unusual impression of foreshortening. Bivalve shells have been placed to indicate the eyes and the plaster was originally decorated with red pigment.
It is believed that the practice of plastering human skulls was carried out to bridge the gap between the living and the dead. It was common in the Neolithic periods in Western Asia for people to integrate the dead with their own communities by burying the body within the village, often under the floors and benches in the houses where they may once have lived. It seems that the ornamentation of skulls was a continuation of this practice which may have served an important social function by creating the 'return' of selected ancestors back into the world of the living. – Dr Alison V.G. Betts
Media: Human material - human bone, clay, shell, pigment
Measurements: 14.9 (h/l) x 16.6 (w) cm; 20.15 cm (diam)
CCWM Collection: Nicholson Collection, Human Remains
Museum Number: NM57.3
Rosie Rodji Dhawurpu
1929-1990, Djlnan Manim clan
Yirritja moiety
worked Ramingining
c. 1984
Bark fibre and ibis down-feather
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Alternate name: sardine fishing equipment
Weres. Cone shaped open basketry with six bands of cane anchoring bamboo struts. The struts are tightly and decoratively bound to form the handle. Some small coconut ties at specific points.
Museum Number: ETH.593
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