Could you tell us about your research at the EUI?
As a History researcher at the EUI’s History Department, I work on visual and material history and specifically on the global dimensions of Oriental art in early modern Europe and its influence of European perceptions of the "Orient".
I became interested in this area of research during my Masters at Leiden University, when I was working mostly in collections of oriental objects in the 17th century Netherlands. Continuing this research in Italy, where I am from, has allowed me to explore the topic in an entirely new context, even though we are still in Europe. In the Netherlands, the Dutch aristocracy and rising middle class had direct contact with China and Japan and thus were able to accumulate pieces of art, such as porcelain vases or lacquered pieces, directly from those areas. On the other hand, when Italy established one of the earliest porcelain factories in Europe in the 18th century, the factories were reproducing – virtually imitating – objects that were traded in the past centuries, or basing their work on writings from those regions that arrived in Italy through sources like the Jesuit networks. As such, the Italian view of the Orient is more imaginative, shaped by curiosity and, of course, a form of visual orientalism.
Where, when, and why have you done fieldwork in the context of your research?
I am currently doing fieldwork in Naples, as my topic focuses on the global dimensions of the Porcelain Cabinet currently on showcase at the Museo di Capodimonte. It is a room with walls entirely covered in porcelain slabs, assembled in its approximate current form in 1757 for the new King of Naples, Charles of Bourbon, and his wife, Maria Amalia of Saxony.
I work extensively in the State Archive of the city, and other cultural sites of interest in the area, such as the ancient palace where the room was initially crafted, the Archaeological Museum, and even the archaeological sites of Pompeii and Herculaneum, whose rediscovery in the 18th century highly influenced the decorative arts of the same period. When you work on a project that deals with historical art objects, you need to see them in their context, not just read about them.
What are you doing during your fieldwork?
My fieldwork mostly involves locating and transcribing documents related to the Porcelain Cabinet, which has a wider scope than most people would imagine – even myself. When I started this research, I thought it would be about chinoiserie: the representation of oriental figures in the decorative arts of the 18th century. But I found that, for example, the discovery of the archaeological sites of Herculaneum and Pompeii during that time played an active part in the making of palaces in that period. Decorative and archaeological pieces, which are usually kept separately in museums, were housed together and interacting with one another, allowing me to access different archives and sites that influenced the specific room I am studying.
What have you been learning from this experience?
I thought fieldwork would be more linear, and I realise now that it never is. I also do not have a traditional historian training – my background is in cultural studies – so I did not quite know where to start at the beginning of my fieldwork in the Archives. Fortunately, the Archives' staff were extremely kind, and helped me understand how it is shaped and organised. I now have a lot more awareness of how archives work; they are unique, complicated institutions, but there are a lot of mechanisms to work around issues. Also, since a lot of inventories have been digitalised, some documents are easier to access, and researchers like me can be more independent and autonomous compared to the past.
We are currently experiencing the digital transformation in Europe, which involves a push for digitalisation in institutions. How do you think that will influence the activities, including fieldwork, of researchers such as yourself?
I am not sure it will ever be possible to digitalise all documents, but even the indexation of records – something the State Archive of Naples is doing a great job at – is already hugely helpful in making fieldwork more fruitful. In some institutions, mostly private ones, they are using AI to transcribe documents; it is still a bit tough for archaic forms of languages such as Italian, but it is progressing quite quickly. In the past, historians could do weeks of fieldwork and not retrieve a single document. Now, with digitalised and indexed records, I can search online and know what to request once I am there. So, for historians at least, digitalisation makes fieldwork more straightforward and increases our access to documents. On the other hand, although we have gained the opportunity to do a kind of "pre-fieldwork" before being onsite, we must also acquire a new set of skills to do it; namely, understanding how different archives are structured online and how to navigate them. Ideally, State archives would have a similar architecture, but in Italy we also have private and church archives, making the learning experience quite challenging at times.
How has being a researcher at the EUI facilitated your experience of fieldwork?
For one, the fact that I am able to study Spanish at the EUI’s Language Centre has enabled me to transcribe documents in archaic Spanish, which has been hugely enriching to my research. The EUI has also offered me the right kind of infrastructure to do fieldwork, particularly in terms of economic resources for missions. Last, but not least, although our campus library is not particularly well-furnished with books about early modern Naples – a very specific topic – the librarians have always been very helpful when it comes to acquiring books that are needed for my research. They also have assisted me in inter-library loans, reaching out to specialised libraries in Italy and internationally, and supported me in gaining access to very specialised material from around the world.
What do you believe is the added value of being a PhD researcher at the EUI?
The EUI is a well-known institution and has a standing in the international community that other universities do not necessarily have. It also provides a very stimulating environment to be in, intellectually speaking, as well as a supportive community that is eager to help you with your research. So, even if your topic is quite niche and perhaps even new to the Institute, everyone's willingness to support your research fills that gap quite thoroughly.
Francesco Montuori is an Italian researcher at the EUI History Department, where his PhD thesis will be on ‘The Orient in a Room. The Global Dimension of the Porcelain Boudoir of Maria Amalia of Saxony.’ At the EUI, Francesco is also a coordinator of the Visual and Material History Working Group.