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                  <text>Abandoned Villages</text>
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                  <text>&lt;p&gt;At the moment, this collection presents the contents of a list of sites abandoned in 1778 by various elements of the Christian population of the Crimean Khanate.&lt;br /&gt;&lt;br /&gt;Between July and September 1778, a grand total of 31,098 people (half the Christian population of the khanate) deserted Crimea and moved to Russian territory on the shores of the Sea of Azov. Empress Catherine II and a handful of powerful men on the ground clearly engineered this relocation, which has been described as everything from an episode of deportation to one of voluntary migration.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Catherine II's government spent 130,000 rubles in the process, but the results were priceless. The loss of thousands of Greeks, Georgians, and Armenians dealt a heavy blow to the khanate's economy (they tended lucrative gardens and orchards, cultivated vineyards, and dominated maritime trade through the Black Sea and beyond). Sahin Girey Khan's position was weakened beyond repair (already perceived as a lackey of the empress, his inability to halt the migration made clear Russia's lack of concern for the khan's ability to rule). &lt;br /&gt;&lt;br /&gt;An anxious Ottoman government deployed a fleet to Aktiar (the future site of Sevastopol) in August, only to be repulsed. Negotiations for a new peace settlement between St. Petersburg and the Porte got underway soon thereafter. &lt;br /&gt;&lt;br /&gt;The resulting Treaty of Ainali-Kavak secured the independent status of the khanate and required the removal of all Russian troops. This was no favor to the khan however. His position was tenuous at best; without the support of the empress's troops, he had precious little support. It wasn't long before the political situation in Crimea deteriorated, necessitating the return of Prince Potemkin and, by April 1783, the annexation of the khanate to Russia.&lt;/p&gt;&#13;
&lt;hr /&gt;</text>
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      <name>Abandoned place</name>
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                <text>Burunduk-Otar</text>
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                <text>96 Greeks and 38 Armenians abandoned this area in 1778.</text>
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        <name>Armenian settlement</name>
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                  <text>Demidov's Voyage Illustrations</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Illustrations from a volume held at the John Hay Library, Brown University</text>
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                  <text>Anatole de Demidoff</text>
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                  <text>Voyage dans la Russie Meridionale et la Crimee</text>
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                  <text>demidov-voyage</text>
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              <text>56 cm</text>
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              <text>John Hay Library, Brown University</text>
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                <text>Butcher and Other Tatar Merchants</text>
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                <text>View of Crimean Tatar butcher and other merchants, smoking and talking in the street outside their stalls. Meat hangs from hooks at the butcher's stall and a pack of dogs sit opposite the merchants. &#13;
&#13;
20 August 1837</text>
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                <text>Anatolii Demidov, &lt;em&gt;Album du Voyage dans la Russie méridionale et la Crimée, par la Hongrie, La Valachie et la Moldavie&amp;gt;, ed. Ernest Bourdin (Paris, 1838)&lt;/em&gt;</text>
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                <text>Denis Auguste Marie Raffet</text>
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                <text>1837</text>
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                <text>Image courtesy of the Anne S.K. Brown Military Collection, Brown University Library</text>
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        <name>Tatar culture</name>
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                  <text>Portrait of Antiquity</text>
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                  <text>Crimea was (and still is) uniquely studded with fallen slabs, old foundations, ancient walls, gravestones, and mounds of earth that have grown incrementally over the years to cover the bones of past lives. On my first visit to Sevastopol a friend explained that every good rain dislodged chards of pottery, the occasional coin, and other sundry treasures. And sure enough, when we went trekking in the mountains above Laspi later that week - keeping a sharp eye out for wild boar - I found three small bits of pottery, the edges worn smooth but the greens and blues of their surfaces still vivid. My friend chuckled and dismissed them as insignificant - the pieces dated to the fourteenth or maybe fifteenth century, after all - but I savored the extraordinary feeling of that small weight in my palm, sun-warm and heavy with historical memory.&lt;br /&gt;&lt;br /&gt;In 1837 the Academy of Sciences in St. Petersburg published a remarkable study&amp;nbsp;&lt;em&gt;On the Antiquities of the Southern Coast of Crimea and the Tavridan Mountains&lt;/em&gt;. The book's author,&amp;nbsp;Peter Keppen, spent 5 years living in Crimea while serving as assistant to the chief of silk production (shelkovodstvo). During that time he traveled almost obsessively, collecting material for his geographical and archaeological projects.&lt;br /&gt;&lt;br /&gt;In the dedication (addressed, of course, to Tsar Nicholas I), Keppen describes Crimea as "the most charming of all the countries prospering" under Romanov rule. His book lovingly documents the location, history, and status of inscribed stones, marble columns, churches, and tombstones, but the bulk of material details defensive towers and walls. Keppen saw Crimea - in antiquity - as a territory divided between a savage, predatory north and a luxuriously beautiful south hemmed in by the Tauride (or Tavridan) mountains on one side and the Black Sea on the other. The fortified line that separated one from the other was, to him, one of the two organizing features of Crimean space (or of its antique space anyway).&lt;br /&gt;&lt;br /&gt;The second feature was sedimentation. Keppen was acutely aware of the way in which the passage of time imprinted itself on the landscape. At one point he describes finding the remains of an ancient fortification with thick walls of "wild stone" on the heights of Ayudag. "And is it surprising?" Keppen asks. "One must remember that this place has not been inhabited since 1475. And since then the spring sun has warmed the mountain tops and new growth has sprung from the depths of the earth no fewer than 360 times. 360 times over autumn storms have torn the leaves from trees and ripped the grasses, each year creating a new layer to cover any traces of human existence!"(170)&lt;br /&gt;&lt;br /&gt;Keppen would tell you that to see Crimea, one had to dig.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;This collection contains all of the sites (though not all of the individual stones!) discussed in &lt;em&gt;On the Antiquities of the Southern Coast&lt;/em&gt;. &lt;/strong&gt;It includes 4 mausoleums, 9 Greek churches, and 58 fortifications. Each and every one was a ruin even before Keppen laid eyes on it.&amp;nbsp;&lt;br /&gt;&lt;strong&gt;&lt;br /&gt;Related gallery: &lt;/strong&gt;&lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/collections/show/19" target="_self"&gt;Uvarov's Antiquities&lt;/a&gt;&lt;strong&gt;&lt;br /&gt;Related narrations&lt;/strong&gt;: &lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/collections/show/37" target="_self"&gt;Among the Ruins&lt;/a&gt; &amp;amp; &lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/collections/show/40" target="_self"&gt;A Monumental Inscription&lt;br /&gt;&lt;/a&gt;&lt;strong&gt;Related source map&lt;/strong&gt;: &lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/item/898" target="_blank"&gt;Keppen's Antiquities&lt;/a&gt;&lt;hr /&gt;</text>
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      <name>Antiquity</name>
      <description>Building or item from the past. In most contexts, an antiquity belongs to the ancient, classical, or possibly medieval period. In Crimea and in the Russian south more broadly, archaeologists and collectors used the term to describe the material legacy of the ancient Greeks, Byzantines, Genoese, Karaims, Ottomans, and Crimean Tatars who inhabited the region prior to Russian conquest. </description>
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                <text>Buyuk Lambat</text>
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                <text>POINT(3823703.02186 5553442.692)</text>
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                <text>Petr Keppen, &lt;em&gt;O drevnostiakh IUzhnago Berega Kryma i Gor Tavricheskikh&lt;/em&gt; (Sankt Peterburg, 1837): 17-19. [&lt;a href="https://books.google.com/books?id=-PAKAAAAIAAJ&amp;amp;lpg=PA51&amp;amp;ots=5dsqBqEsOO&amp;amp;dq=%D0%BE%20%D0%B4%D1%80%D0%B5%D0%B2%D0%BD%D0%BE%D1%81%D1%82%D1%8F%D1%85%20%D1%8E%D0%B6%D0%BD%D0%B0%D0%B3%D0%BE%20%D0%B1%D0%B5%D1%80%D0%B5%D0%B3%D0%B0&amp;amp;pg=PA18#v=twopage&amp;amp;q&amp;amp;f=true" target="_blank"&gt;go to the page&lt;/a&gt;]</text>
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                <text>The Stanford Library copy of Keppen's work was digitized by Google Books.</text>
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                <text>1837</text>
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                <text>Ruins of a Greek church</text>
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        <name>Greek church</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Gardens</text>
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                  <text>&lt;p&gt;This collection describes 43 garden sites considered to be the property of the Russian state in the 1790s. The gardens described here contain&amp;nbsp;&lt;strong&gt;821 individually documented parcels&lt;/strong&gt;. Together they covered 351 acres along the prime southern coast and river valleys, and contained nearly 20,000 trees (19,193, to be precise).&amp;nbsp;&lt;br /&gt;&lt;br /&gt;17 species are documented in the reports: plum (слив), hazelnut (фундук), walnut (волошские орехи), pear (груш), European pear (дулина),&amp;nbsp;rowan (рябин), apple (яблон), cherry (черешен), cherry (вишне), aiva (айва), mulberry (щелковиц), olive (маслин), fig (инжер), date (фурма), medlar (мушмоль), peach (персик), and almond (миндал).&lt;/p&gt;&#13;
&lt;p&gt;The collection is based on a set of reports "&lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/items/show/939" target="_blank"&gt;on the composition of the lands and gardens of Tavrida Province held as quitrent properties&lt;/a&gt;" (freehold properties in return for which lessees paid a land tax) compiled between 1791 and 1794.&lt;/p&gt;&#13;
&lt;hr /&gt;</text>
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          <name>Ethnicity of owner</name>
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              <text>Greek</text>
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              <text>gardens: 32, parcels: 62</text>
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              <text>13129 square sazhens (14.77 acres)</text>
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              <text>plum, walnut, pear, rowan, apple, cherry, aiva, mulberry</text>
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                <text>Buyuk Lambat</text>
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                <text>&lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/items/show/939" target="_blank"&gt;Report on state-owned fruit gardens and vineyards along the Belbek, Kacha, and Alma rivers&lt;/a&gt;</text>
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        <name>aiva</name>
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        <name>apple</name>
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        <name>cherry</name>
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        <name>Greek property</name>
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        <name>mulberry</name>
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        <name>pear</name>
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        <name>plum</name>
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        <name>rowan</name>
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                  <text>Dachas</text>
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                  <text>In simplest terms, a&amp;nbsp;dacha was a portion of land given out by the tsar. &lt;br /&gt;&lt;br /&gt;The apportioning of land to servitors and favorites was hardly an innovation, but over the course of the eighteenth century the dacha became ever more closely associated with the expansion of the empire. Early in the century, Peter I imbued the dacha with a distinctly strategic character, distributing grants both as a form of incentive and a coercive strategy for affecting the physical transformation of his new capital at St. Petersburg. &lt;br /&gt;&lt;br /&gt;Devoid of any associations with wellness, leisure, comfort, or domesticity – this came later in the nineteenth century – the earlier iteration of the dacha referred to a plot of uninhabited, unbuilt, uncultivated land located some distance away from the proprietor’s primary residence. A diligent proprietor might convert it into an &lt;i&gt;usad'ba&lt;/i&gt; (country estate), with formal or mature gardens and permanent dwellings, or into an agriculturally-productive site – a farm, an orchard, a cultivated woodland. &lt;br /&gt;&lt;br /&gt;The essence of the dacha was that it implied a dynamic relationship between owner and property and the conversion of empty spaces into usable, definable places.&lt;br /&gt;&#13;
&lt;p&gt;&lt;strong&gt;Related narration&lt;/strong&gt;: &lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/exhibits/show/dachageo" target="_self"&gt;Dacha Geography&lt;/a&gt;&lt;/p&gt;&#13;
&lt;hr /&gt;</text>
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              <text>A dacha composed of 1,214 desiatinas (3,279 acres), of which 86% was considered suitable for cultivation.</text>
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          <name>Ownership Note</name>
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              <text>Admiral Joseph de Ribas</text>
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          <name>Dacha Grant Year</name>
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              <text>1787</text>
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          <name>Attestation</name>
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              <text>1802 Dacha Reports</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Buyuk Siuren</text>
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        <name>patchwork</name>
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                  <text>Gardens</text>
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                  <text>&lt;p&gt;This collection describes 43 garden sites considered to be the property of the Russian state in the 1790s. The gardens described here contain&amp;nbsp;&lt;strong&gt;821 individually documented parcels&lt;/strong&gt;. Together they covered 351 acres along the prime southern coast and river valleys, and contained nearly 20,000 trees (19,193, to be precise).&amp;nbsp;&lt;br /&gt;&lt;br /&gt;17 species are documented in the reports: plum (слив), hazelnut (фундук), walnut (волошские орехи), pear (груш), European pear (дулина),&amp;nbsp;rowan (рябин), apple (яблон), cherry (черешен), cherry (вишне), aiva (айва), mulberry (щелковиц), olive (маслин), fig (инжер), date (фурма), medlar (мушмоль), peach (персик), and almond (миндал).&lt;/p&gt;&#13;
&lt;p&gt;The collection is based on a set of reports "&lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/items/show/939" target="_blank"&gt;on the composition of the lands and gardens of Tavrida Province held as quitrent properties&lt;/a&gt;" (freehold properties in return for which lessees paid a land tax) compiled between 1791 and 1794.&lt;/p&gt;&#13;
&lt;hr /&gt;</text>
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      <name>Garden location</name>
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          <name>Ethnicity of owner</name>
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              <text>Greek</text>
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              <text>gardens: 15, parcels: 15</text>
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              <text>5581 square sazhens (6.28 acres)</text>
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              <text>293</text>
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          <name>Species present</name>
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            <elementText elementTextId="4787">
              <text>plum, walnut, pear, apple</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Buyuk Uzen</text>
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            <name>Source</name>
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                <text>&lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/items/show/939" target="_blank"&gt;Report on state-owned fruit gardens and vineyards along the Belbek, Kacha, and Alma rivers&lt;/a&gt;</text>
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        <name>apple</name>
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        <name>gardens: state-owned</name>
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        <name>Greek property</name>
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      <tag tagId="175">
        <name>pear</name>
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      <tag tagId="172">
        <name>plum</name>
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      <tag tagId="183">
        <name>southern coast</name>
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        <name>walnut</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Portrait of Antiquity</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Crimea was (and still is) uniquely studded with fallen slabs, old foundations, ancient walls, gravestones, and mounds of earth that have grown incrementally over the years to cover the bones of past lives. On my first visit to Sevastopol a friend explained that every good rain dislodged chards of pottery, the occasional coin, and other sundry treasures. And sure enough, when we went trekking in the mountains above Laspi later that week - keeping a sharp eye out for wild boar - I found three small bits of pottery, the edges worn smooth but the greens and blues of their surfaces still vivid. My friend chuckled and dismissed them as insignificant - the pieces dated to the fourteenth or maybe fifteenth century, after all - but I savored the extraordinary feeling of that small weight in my palm, sun-warm and heavy with historical memory.&lt;br /&gt;&lt;br /&gt;In 1837 the Academy of Sciences in St. Petersburg published a remarkable study&amp;nbsp;&lt;em&gt;On the Antiquities of the Southern Coast of Crimea and the Tavridan Mountains&lt;/em&gt;. The book's author,&amp;nbsp;Peter Keppen, spent 5 years living in Crimea while serving as assistant to the chief of silk production (shelkovodstvo). During that time he traveled almost obsessively, collecting material for his geographical and archaeological projects.&lt;br /&gt;&lt;br /&gt;In the dedication (addressed, of course, to Tsar Nicholas I), Keppen describes Crimea as "the most charming of all the countries prospering" under Romanov rule. His book lovingly documents the location, history, and status of inscribed stones, marble columns, churches, and tombstones, but the bulk of material details defensive towers and walls. Keppen saw Crimea - in antiquity - as a territory divided between a savage, predatory north and a luxuriously beautiful south hemmed in by the Tauride (or Tavridan) mountains on one side and the Black Sea on the other. The fortified line that separated one from the other was, to him, one of the two organizing features of Crimean space (or of its antique space anyway).&lt;br /&gt;&lt;br /&gt;The second feature was sedimentation. Keppen was acutely aware of the way in which the passage of time imprinted itself on the landscape. At one point he describes finding the remains of an ancient fortification with thick walls of "wild stone" on the heights of Ayudag. "And is it surprising?" Keppen asks. "One must remember that this place has not been inhabited since 1475. And since then the spring sun has warmed the mountain tops and new growth has sprung from the depths of the earth no fewer than 360 times. 360 times over autumn storms have torn the leaves from trees and ripped the grasses, each year creating a new layer to cover any traces of human existence!"(170)&lt;br /&gt;&lt;br /&gt;Keppen would tell you that to see Crimea, one had to dig.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;This collection contains all of the sites (though not all of the individual stones!) discussed in &lt;em&gt;On the Antiquities of the Southern Coast&lt;/em&gt;. &lt;/strong&gt;It includes 4 mausoleums, 9 Greek churches, and 58 fortifications. Each and every one was a ruin even before Keppen laid eyes on it.&amp;nbsp;&lt;br /&gt;&lt;strong&gt;&lt;br /&gt;Related gallery: &lt;/strong&gt;&lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/collections/show/19" target="_self"&gt;Uvarov's Antiquities&lt;/a&gt;&lt;strong&gt;&lt;br /&gt;Related narrations&lt;/strong&gt;: &lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/collections/show/37" target="_self"&gt;Among the Ruins&lt;/a&gt; &amp;amp; &lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/collections/show/40" target="_self"&gt;A Monumental Inscription&lt;br /&gt;&lt;/a&gt;&lt;strong&gt;Related source map&lt;/strong&gt;: &lt;a href="http://dighist.fas.harvard.edu/projects/beautifulspaces/item/898" target="_blank"&gt;Keppen's Antiquities&lt;/a&gt;&lt;hr /&gt;</text>
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      <name>Antiquity</name>
      <description>Building or item from the past. In most contexts, an antiquity belongs to the ancient, classical, or possibly medieval period. In Crimea and in the Russian south more broadly, archaeologists and collectors used the term to describe the material legacy of the ancient Greeks, Byzantines, Genoese, Karaims, Ottomans, and Crimean Tatars who inhabited the region prior to Russian conquest. </description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="5588">
                <text>Cape Ay Todor</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Petr Keppen</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="5590">
                <text>Petr Keppen, &lt;em&gt;O drevnostiakh IUzhnago Berega Kryma i Gor Tavricheskikh&lt;/em&gt; (Sankt Peterburg, 1837)</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="5591">
                <text>1837</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="5592">
                <text>One of the trio of capes that mark the shift in topography from the southwesterly line to a westerly line along the coast to Balaklava. Anyone stationed here could see Ruskofil Kale, Palikaster, Yalta, Uchansu-Isar, and Orianda. Only the foundations of the walls remain, and traces of other buildings, along with a stand of junipers.(191-193)</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="5593">
                <text>The Stanford Library copy of Keppen's work was digitized by Google Books.</text>
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        <name>fortification</name>
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        <name>ruin</name>
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  <item itemId="1013" public="1" featured="0">
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="4145">
                  <text>Biographical Sketches</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="4146">
                  <text>&lt;em&gt;Brief biographies of men and women whose names crop up in the sources, in this project, and in the book. Please note that the mirzas described in the "mirza sketches" are not included here.&lt;/em&gt;&lt;hr /&gt;</text>
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      <name>Person</name>
      <description>An individual.</description>
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          <name>Birth Date</name>
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              <text>1815</text>
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        <element elementId="33">
          <name>Death Date</name>
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            <elementText elementTextId="5258">
              <text>1884</text>
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        <element elementId="32">
          <name>Birthplace</name>
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            <elementText elementTextId="5259">
              <text>Lugano</text>
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        <element elementId="34">
          <name>Occupation</name>
          <description/>
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            <elementText elementTextId="5260">
              <text>artist</text>
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        <element elementId="35">
          <name>Biographical Text</name>
          <description>Display Description</description>
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            <elementText elementTextId="5261">
              <text>A Swiss-born, Italian artist who spent much of his childhood in Odessa. Bossoli trained in Italy, but returned to Russia, spending two years exploring - and painting - Crimea.</text>
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          </elementTextContainer>
        </element>
      </elementContainer>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Carlo Bossoli</text>
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  <item itemId="663" public="1" featured="0">
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          <name>Dublin Core</name>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="35">
                  <text>Demidov's Voyage Illustrations</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="2941">
                  <text>Illustrations from a volume held at the John Hay Library, Brown University</text>
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              </elementTextContainer>
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            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="2942">
                  <text>Anatole de Demidoff</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="48">
              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
              <elementTextContainer>
                <elementText elementTextId="2943">
                  <text>Voyage dans la Russie Meridionale et la Crimee</text>
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              </elementTextContainer>
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            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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                <elementText elementTextId="3968">
                  <text>demidov-voyage</text>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
      <elementContainer>
        <element elementId="10">
          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
          <elementTextContainer>
            <elementText elementTextId="3406">
              <text>56 cm</text>
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          </elementTextContainer>
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        <element elementId="52">
          <name>Repository</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="3407">
              <text>John Hay Library, Brown University</text>
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        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="3400">
                <text>Chateau of Count Voronstov</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3401">
                <text>View of Count Mikhail Vorontsov's palace in the distance with Crimean Tatar men gathered in a circle in the foreground. According to Demidov, the (coastal) region around Alupka, "washed in sunlight and bathed by the sea," was quite the fashionable destination as a romantic realm of summer residences studded with "Gothic castles, English cottages, Swiss chalets, [and] American farms" [28]&lt;br /&gt;&lt;br /&gt;The image is dated 12 August 1837.</text>
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          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="3402">
                <text>Anatolii Demidov, &lt;em&gt;Album du Voyage dans la Russie méridionale et la Crimée, par la Hongrie, La Valachie et la Moldavie&amp;gt;, ed. Ernest Bourdin (Paris, 1838)&lt;/em&gt;</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3403">
                <text>Denis Auguste Marie Raffet</text>
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