British Museum blog

One Leonardo – to go

Hugo Chapman, Exhibition Curator

For the last couple of weeks we’ve been carefully installing the exhibition in the Reading Room. It’s been an exciting – if slightly nerve-wracking – time as the plans we’ve had in place for so long are finally realised.

Statue of Bacchus

Perhaps strangely for a drawings exhibition, the first work to be installed was a first-century classical marble sculpture of the Roman wine-god, Bacchus. He’s one of the star pieces in our Greece and Rome department and has just returned from a world tour of British Museum masterpieces.

The revival of classical art and learning is central to the artistic revolution that occurred in Italy in the 1400s – the French word Renaissance that we use to describe the period means rebirth and was coined by artists and scholars of the period to claim that they had revived the ancient civilisations of Greece and Rome. In truth the classical world had never disappeared, but it is true that artists began to look at ancient sculptures with a new intensity.

Marble figures like Bacchus encouraged artists to recognise the sensuality and beauty of the human body. The sculpted Bacchus presents an idealised vision of the perfect male body. Such are his charms that lipstick has had to be cleaned off him more than once – I’m hoping he will continue to cast his spell without us needing to wipe off the lip gloss.

But now we’re turning our attention to paper – so much part of our lives that we tend to take it for granted, but this exhibition transports us back to the 1400s when it was a new and precious material.

The Chinese invention of papermaking had been brought to Europe via the Islamic world. The invention of the printing press in Germany in the 1450s gave a huge impetus for papermaking, above all in Italy which was the most literate and urbanised region of Europe.

Renaissance paper was handmade from cloth fibres (not wood pulp as today) obtained from old clothes, sails and ropes.

Drawings in storage

Fortunately for us paper’s durability makes it possible for centuries-old drawings like those we’re displaying in this exhibition to travel safely. However, like the venerable voyagers they are, the Renaissance drawings from the Uffizi need time to rest after their journey from Florence. After a few days to acclimatise the Uffizi drawings will be ready to be hung on the walls of the Reading Room.

I can’t wait to see them out of their crates and on the walls.

Click on the title to leave a comment

Marble statue of Bacchus (Dionysus)
Drawings in storage, ready for display

Filed under: Exhibitions, Italian Renaissance drawings, , , , , ,

3 Responses - Comments are closed.

  1. Paul says:

    This is a great initiative (the blog) and an interesting insight into how an exhibition is put together. Look forward to reading more. Will there be more than one contributor?


  2. Naval Langa says:

    Leonardo da Vinci was like a magician. Wherever he touched, he turned that thing looking bathed in a golden glow. May it be a simple structure of weed or a curvy section of a skull, Leonardo turned that into an eternal beauty.


Enter your email address to follow this blog and receive notifications of new posts by email.

Join 14,499 other followers


Follow @britishmuseum on Twitter

British Museum on Instagram

#todayimet goddess of love, Aphrodite. In this statue the voluptuous Aphrodite crouches down at her bath and turns her head sharply to her right, as if surprised by her audience. This Roman copy from the 2nd century AD is based on an original sculpture from Hellenistic Greece. This statue is lent to the British Museum by Her Majesty the Queen.
You can fall for the goddess of love in Room 23, one of our Greek and Roman sculpture galleries.
We’re celebrating @instagram's 5th birthday by sharing portraits of some of the characters you can find in the Museum #WWIM12 For @instagram's 5th birthday we’re sharing portraits of some of the characters you can find in the British Museum.
#todayimet this Ming Dynasty figure, who helped judge people in the underworld! The belief in Hell entered China with Buddhism during the early 1st millennium AD. This figure of a judge’s assistant is holding records of evil deeds under his left arm. Meet this fearsome figure (if you dare!) in our Asia gallery (Room 33) #WWIM12 We’re celebrating @instagram's 5th birthday by sharing portraits of some of the characters you can find in the Museum.
#todayimet Ramesses II, who ruled Egypt for 67 years over 3,000 years ago. This colossal statue is one of the largest pieces of Egyptian sculpture in the British Museum. Like all Egyptian statues, it was originally painted. Traces of pigment remain: black for the eye pupils, red for the skin, and blue and yellow for the stripes on the headcloth.
Meet the pharaoh for yourself in our Egyptian Sculpture Gallery (Room 4) #WWIM12 Our #Celts exhibition opens today! It brings together the incredible Iron Age, Roman and early medieval collections of the British Museum and @nationalmuseumsscotland.
Roman control of southern Britain broke down around AD 410. New leaders established Anglo-Saxon kingdoms in England, and Roman towns and cities were largely abandoned. Neighbouring communities in Scotland, Ireland and Wales continued to develop their own unique identities. Monasteries in these areas stood out as European centres of art, learning and literacy, perpetuating and reinventing local traditions. Communities here spoke languages that we now call Celtic, and practiced a distinctive form of Christianity.
Striking stone crosses, such as this one found in Monifieth, Scotland, combined ancient Celtic curves with Anglo-Saxon knotwork and interlace designs to express these distinctive Celtic identities in Scotland, Ireland and Wales. This sculpture may have been a personal memorial or grave-slab.
Slab of grey sandstone with a cross on one side. From Monifieth, Angus, Scotland, c. AD 800–900. National Museums Scotland.
Find out more about #Celtic art and history and book tickets at Our #Celts exhibition opens today! It brings together stunning objects from the British and Irish Isles as well spectacular loans from across Europe.
This magnificent cauldron is one of the most important and intriguing finds from ancient Europe. It reveals connections between communities thousands of miles apart. Although it depicts objects used in central and western Europe,
it was found in a bog near Gundestrup in Denmark, beyond the northern edge of the Celtic regions. The style of the designs suggests that it was made further east, in Bulgaria or Romania. The strange animals and cross-legged pose of
the antlered figure hint at even wider influences, from as far afield as Asia. The scenes on the panels give a glimpse into a world of ancient myths, and the stories of gods and heroes whose names are now lost.
The Gundestrup cauldron was probably reserved for important rituals. It is likely that most people would have viewed it from a distance, seeing only the forbidding faces of gods and goddesses on the outer panels. The fantastical scenes on the inside would have been revealed to those allowed to experience the cauldron close up.
Gundestrup cauldron. Iron Age, c. 100 BC–AD 1. Found in Gundestrup, northern Jutland, Denmark. @nationalmuseet, #Denmark.
Find out more about #Celtic art and history and book tickets at Our major new #Celts exhibition is now open! Come on a 2,500-year journey tracing what it means to be Celtic...
The peoples first referred to as Celts lived across much of Europe north of the Alps, in villages or fortified hilltop settlements. Although not a single distinct group, they were interconnected, sharing cultural ideas across the continent. The objects they made for feasting, religious ceremonies, adornment and warfare were both stunning works of art and powerful ways to convey shared values and beliefs. Their unique abstract style set them apart from the classical world, but their technological accomplishments stand on par with the finest achievements of the ancient Greeks and Romans.
2,000 years ago valuable objects like this were cast into rivers. This magnificent shield was found in the River Thames at Battersea Bridge. It was not made for serious warfare as it is too short to provide sensible protection. Instead, it was probably made for flamboyant display. The highly polished bronze and glinting red glass would have made for a great spectacle.
The Battersea shield. Iron Age, c. 350–50 BC. Found in the River Thames, London, England.
Find out more about #Celtic art and history and book tickets at

Get every new post delivered to your Inbox.

Join 14,499 other followers

%d bloggers like this: