British Museum blog

The future of the Norwich shroud

Faye Kalloniatis, Norwich Castle Museum and Art Gallery

The Norwich Shroud before conservation and research. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

The Norwich Shroud before conservation and research. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

    This is the latest in a series of posts about the unfolding of the Norwich shroud, a joint project between the British Museum and Norwich Castle Museum and Art Gallery

Well, this will be the final blog entry for the Norwich shroud and what a way we’ve come over the past few months

As the project got underway, one highlight followed another. The first was the initial unrolling, when we watched the small and crumpled scrap unfurl to become a good-sized fragment of shroud. Then we saw that it had not merely a few columns of text but, rather, was filled with it – an epigrapher’s dream.

John Taylor, British Museum curator, gives a lecture at the Norwich Shroud Study day. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

John Taylor, British Museum curator, gives a lecture at the Norwich Shroud Study day. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

Then came the cartouche of Menkaure, which sent us all into paroxysms of delight. No sooner had we come to terms with this when we discovered the name of the shroud’s owner – a certain Ipu, daughter of Mutresti.

Yet there was more to come.

We found that other fragments of her shroud existed at Cairo Museum. This was a key moment as it significantly increased what we would be able to learn about the Norwich portion. For instance, from that stemmed the very distinct possibility that the shroud came from the Royal Cache of 1881.

Had we written the script for the Norwich shroud project we couldn’t have devised anything more – or even as – wondrous as that. But with the shroud’s rarity comes a responsibility – not only to ensure that it is preserved and made accessible for future generations but also that we continue to study it and set it within the wider context of the religious and funerary practices of the ancient Egyptians.

Some of this work has already begun. The shroud is now stabilized; having been mounted on a fabric-lined board and secured with a semi-transparent net stitched over it. This has meant that it can be stored and studied safely, and even be displayed and loaned.

Visitors to the Study day examine the shroud as Melina Plottu (far left), British Museum conservation intern, explains the techniques used to conserve the shroud. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

Visitors to the Study day examine the shroud as Melina Plottu (far left), British Museum conservation intern, explains the techniques used to conserve the shroud. © Norwich Castle Museum and Art Gallery / Trustees of the British Museum

We’ve also worked to publicise the shroud as widely as possible – through this blog and through two study days reporting the findings of the project. The shroud has now returned to Norwich, and in the long-term, it’s hoped that it’ll be exhibited at Norwich Castle Museum and Art Gallery as the focus of a temporary exhibition.

Still to come are a couple of articles in various publications, and these are currently being written by several of us in the project team. But this, we hope, is only a start.

The Egyptological community is beginning to hear about the shroud and curiosity is being roused. In particular, members of the Totenbuch Projekt, based at Bonn, are keen to see the shroud and to study it.

This is very good news because they will bring their high level of expertise to the endeavour and will publish it further. Through such publication the shroud will find its place in the small corpus of such artefacts and will play its part in adding to our knowledge about the religious practices of the ancient Egyptians.

So, one phase is ending but another is beginning.

Much of what has been achieved has been thanks to Partnership UK – a scheme which made it possible for curators, conservators and scientists from the British Museum and the Norfolk Museums and Archaeology Service to share their skills and professional knowledge.

And thanks, of course, to all those who have followed the blog over these past few months.

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#August is named after the Roman emperor Augustus. Before 8 BC the Romans called it Sextilis! 
This head once formed part of a statue of the emperor Augustus (ruled 27 BC – AD 14). In 31 BC he defeated Mark Antony and Cleopatra at the battle of Actium and took possession of Egypt, which became a Roman province. The writer Strabo tells us that statues of Augustus were erected in Egyptian towns near the first cataract of the Nile at Aswan and that an invading Kushite army looted many of them in 25 BC.
Although Roman counter-attackers reclaimed many of the statues, they did not reach Meroë, where this head was buried beneath the steps of a native temple dedicated to Victory. It seems likely that the head, having been cut from its statue, was placed there deliberately so as to be permanently below the feet of its Meroitic captors.
The head of Augustus appears larger than life, with perfect proportions based upon Classical Greek notions of ideal human form. His calm distant gaze, emphasised with inset eyes of glass and stone, give him an air of quiet, assured strength. Coins and statues were the main media for propagating the image of the Roman emperor. This statue, like many others throughout the Empire, was made as a continuous reminder of the all-embracing power of Rome and its emperor. English sculptor Henry Moore was born #onthisday in 1898.
Drawing played a major role in Henry Moore's work throughout his career. He used it to generate and develop ideas for sculpture, and to create independent works in their own right.
During the 1930s the range and variety of his drawing expanded considerably, starting with the 'Transformation Drawings' in which he explored the metamorphosis of natural, organic shapes into human forms. At the end of the decade he began to focus on the relationship between internal and external forms, his first sculpture of this nature being 'Helmet' (Tate Collections) of 1939.
This drawing titled ‘Two Women: Drawing for sculpture combining wood and metal’ was based on a pencil study entitled ‘Ideas for Lead Sculpture’. It reflects his awareness of surrealism and psychoanalytical theory as well his abiding interest in ethnographic material and non-European sculpture; the particular reference in this context is to a malangan figure (malangan is a funeral ritual cycle) from New Ireland province in Papua New Guinea, which had attracted his interest in the British Museum. 
Henry Moore, Two Women: Drawing for sculpture combining wood and metal. England, 1939. Here's another fabulous view of the Great Court captured by @whatinasees at our instagramer event #regram #repost
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#BeatrixPotter Made in AD 700, the exquisite Hunterston brooch was found at Hunterston, Ayrshire during the 1830s. It is a highly accomplished casting of silver, richly mounted with gold, silver and amber decoration. It is sumptuously decorated with animals executed in gold wire and granules, called filigree. In the centre of the brooch is a cross flanking a golden ‘Glory’ representing the risen Christ #MedievalMonday
The Hunterston brooch will feature in our forthcoming #Celts exhibition, on loan from @nationalmuseumsscotland.
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