British Museum blog

A Renaissance cover-up

Hugo Chapman, Exhibition Curator

I’ve been ducking in and out of press previews as the opening day approaches so in a rare spare moment, I’m taking the opportunity to catch-up on our progress over the last week.

Inspecting the drawings

Before being carried up from the basement storage to the Reading Room to be hung, the 50 drawings from the Uffizi gallery were given some rest time to get over their long journey from Italy.

The handmade rag paper on which the majority are drawn (the exceptions are a couple of works on parchment made of animal skin) has the quality of a living organism. It expands and contracts according to the level of humidity in the atmosphere. Such minute changes need to be monitored and the first thing that happens when a drawing comes out of the crate is a thorough examination by a paper conservator from the British Museum.

As in the medical records that our doctors look at when we go for a check-up, the drawing’s condition is compared against a detailed report written by a paper conservator of the lending institution. Usually this consists of a photograph with the stains, tears, repaired holes, undulations and other scars of 500 years of existence marked.

The British Museum conservator and the Uffizi courier (the person who has overseen the transport of the works) check this condition report to see that nothing has altered during the drawing’s journey.

Drawing with a paper cover

Normally the toughness and resilience of paper means that it adjusts to the change in atmospheric conditions. In the rare cases where changes have occurred: for example the surface has become fractionally more undulating; the drawing will be put on a list to be monitored closely during the run of the show.

The condition checking over, the drawings were ready to be put on the walls. The position and spacing of each work has been worked out by the exhibition designer and once they’re on the wall, each of them is covered over with paper to protect them from light so that the inks and washes do not fade in the bright lights needed for the installation.

For a time the exhibition had the air of a contemporary art installation piece. With all the works on the wall and the lighting at the right level, we could start taking the covers off and with just days to go, I’m looking forward to seeing if our visitors are as excited by the result as I am.

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Images:
Inspecting the drawings
A drawing with its paper cover

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In 2000, the Queen Elizabeth II Great Court designed by Foster and Partners transformed the Museum’s inner courtyard into the largest covered public square in Europe. We love this striking photo by @adders77 showing this incredible space at night #regram #repost
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum This wonderful photo by @what_fran_saw captures the stunning Great Court #regram #repost
The two-acre space of the Great Court is enclosed by a spectacular glass roof made of 3,312 unique pieces!
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum The roaring lions on the walls of King Nebuchadnezzar II’s palace represented the Babylonian king himself and were intended to astonish approaching visitors. Nebuchadnezzar commissioned major building projects in Babylon to glorify the capital of his empire. Glazed bricks in bright shades of blue, yellow and white were favoured for public monuments in order to emphasise both divine and royal power. These works displayed the might of the city and its king, who commanded unlimited resources.
Glazed brick panel showing a roaring lion from the Throne Room of Nebuchadnezzar II, 605–562 BC. From Babylon, southern Iraq. On loan from Vorderasiatisches Museum, Berlin.
Share your photos using #mybritishmuseum and tagging @britishmuseum.
#lion #art #history #BritishMuseum Lions have perhaps been adopted as a symbol more than any other animal. They are seen as proud, fierce and magnificent – characteristics that made kings and countries want to associate themselves with these charismatic big cats. As well as being the national symbol of England and Scotland, the lion is in many ways the symbol of the British Museum. Lions guard both entrances to the building. At the Montague Place entrance are the languid lions carved by Sir George Frampton, and on the glass doors of the Main entrance are the cat-like beasts designed by the sculptor Alfred Stevens in 1852.
This lion can be found on the wooden doorframe at the south entrance to the Museum, and its nose is polished smooth by the many visitors who rub it for luck on their way in. Share your photos using #mybritishmuseum and tagging @britishmuseum This colossal lion in the Great Court is one of the most photographed objects in the Museum. It weighs more than 6 tons and comes from a tomb in the ancient cemetery of Knidos, a coastal city now in south-west Turkey. The tomb stood on the edge of a cliff overlooking the approach to Knidos harbour. The building was 18 metres high and the lion was on top of its pyramid roof. The hollow eyes of the lion were probably originally inset with coloured glass, and the reflection of light may have been an aid to sailors navigating the notoriously difficult coast. It is carved from one piece of marble, brought across the Aegean Sea from Mt Pentelikon near the city of Athens. Opinions vary as to when it was built. One suggestion is that it commemorated a naval battle off Knidos in 394 BC.
We’ll be sharing more lovely lions this week! Share your photos using #mybritishmuseum and tagging @britishmuseum. Our next special exhibition will explore the remarkable story of Sicily. Discover an island with a cosmopolitan history and identity – a place where the unique mix of peoples gave rise to an extraordinary cultural flowering.
Norman Sicily was a centre of multiculturalism and its art reveals a unique mix of influences. The Norman kings invited Byzantine mosaicists from Constantinople to decorate their cathedrals and palaces. Spectacular golden mosaics can still be found in Roger II’s palace chapel and the cathedrals at Cefalù and Monreale. This mosaic, depicting the Virgin Mary, is all that remains of the extensive mosaics that once decorated Palermo Cathedral.
Book now for #SicilyExhibition, opening 21 April 2016 at britishmuseum.org/sicily 
Mosaic of the Madonna originally from Palermo Cathedral. Sicily, AD 1130–1189. © Museo Diocesano di Palermo.
#Sicily #Italy #art #mosaic #exhibition #BritishMuseum
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