British Museum blog

When the Pharaohs came to town


Victoria Page, Great North Museum: Hancock

When thousands of years of Egyptian history came hundreds of miles from the British Museum to the Great North Museum: Hancock in Newcastle, it wasn’t just the artefacts that needed extra care; I nearly burst with excitement when the crates were popped open.

A statue of Ramesses II on display in Newcastle-upon-Tyne. Photo: Great North Museum: Hancock

A statue of Ramesses II on display in Newcastle-upon-Tyne. Photo: Great North Museum: Hancock

My role throughout Pharaoh: King of Egypt has been that of publicity, marketing, events management, print production, social media and any other ad hoc duties that arise. Being a provincial museum employee has its advantages! The regional broadcast and press have been regular advocates, as has BBC History magazine.

As the resident lay person among many highly specialist professionals from both museums – Egyptologists, conservators, curators, designers, learning officers, marketing and public relations experts, builders, and administrators – I had the luxury of prowling around the curatorial team as they put the exhibition together. I got so close to the two-metre tall tomb guardian statue from the tomb of Ramesses I that I could smell the wood and bitumen on him. It gave me goose pimples: he’s over 3,000 years old.

The Great North Museum has a strong family audience; generations of north easterners have enjoyed visits to this museum, and I myself used to come to see the mummies as a child. Pharaoh: King of Egypt has been a delight for the people of this region; so far, over 120,000 people have visited the museum since opening on 16 July.

Two participants at a mask-making workshop. Photo: Great North Museum: Hancock

Two participants at a mask-making workshop. Photo: Great North Museum: Hancock

Our learning teams have welcomed 2,000 children to their exciting and innovative free events programme to celebrate Pharaoh, which included historical re-enactment, Egyptian jewellery crafting, making Egyptian masks, and learning about mummification.

The ‘make your own mummy’ session was a particular favourite with a flurry of social media activity generated by a Facebook competition about which was the best mummy. We had over 400 children come to make masks one day too – our learning officer Stephen had his hands full.

Thinking about the entire exhibition process, the word that springs to mind is illumination; I have learnt so much, from playing witness to the talents of my Great North Museum colleagues (and feeling mighty proud of them too), to having the professional support from the staff of one of the best museums in the world.

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The mummy case of this temple doorkeeper called Padiamenet is covered with hieroglyphic inscriptions and religious images. The inscriptions on this brilliantly painted cartonnage tell us that he was the Chief Doorkeeper of the Domain of Ra, the Chief Attendant of Ra, and also Chief Barber of the Domain of Ra and of the temple of Amun. This largest scene shows Padiamenet, dressed in a long fringed robe, adoring the god Osiris, who is grasping the royal crook and flail. Behind him stands his sister, the goddess Isis.
Gain a unique insight into the lives of eight people over a remarkable 4,000 years in our #8mummies exhibition, closing 12 July #MummyMonday
#history #mummies #BritishMuseum Peter Paul Rubens was born #onthisday in 1577.
This is a magnificent drawing in both scale and style. It is drawn in black and yellow chalk, though Rubens also used a grey wash and some white heightening in order to bring the animal to life on paper.
The lioness is drawn from behind. Her front paw is raised and her mouth open, the fangs clearly visible. White heightening brings out the lighted area around the tail and the joints of the back legs. Both short and longer chalk strokes are used to suggest the different textures of the fur and mane.
Rubens used this drawing for a lioness in his painting of 'Daniel in the Lions' Den' (1613/15; National Gallery of Art, Washington, DC). The vividness of the drawing is even more remarkable given that Rubens probably based his drawing on a bronze statue of a lion and not a living animal. The strong contour line in black chalk around the animal suggests that he was studying a model. However, Rubens had the gift and genius to invest an unmoving object with both life and movement, even if the highlights give the impression of a metallic sheen.
#art #artist #Rubens #history This striking photo taken by @charlesimperialpendragon shows the colossal limestone bust of Amenhotep III in the Egyptian Sculpture Gallery (Room 4). #regram #repost

Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum A #ThrowbackThursday from our #archives!
It is early morning in 1875 in the Main Entrance Hall of The British Museum, and staff are preparing for the public. Until 1878 the Museum was open on Mondays, Wednesdays, Fridays and until midday on Saturdays. Tuesdays and Thursdays were reserved for students. The visiting hours varied with the seasons and during the summer months the Museum stayed open until 8 o'clock in the evening.
Staff stop work as the photographer Frederick York sets up his camera. Two men sit comfortably on a bench at the foot of the stairs. Another two, noticing the photographer, stop halfway down the stairs. As the long exposure needed for this early photograph has already started, their images appear faint and ghost-like. In the foreground is the Piranesi Vase which is now displayed in the Enlightenment Gallery.
#photograph #archive #throwback #tbt #BritishMuseum The @britishlibrary opened at St Pancras #onthisday in 1998!
The British Museum held library collections from 1753 until the British Library was formally established in 1973. In 1759 the first Museum Reading Room opened in Montagu House, the original home of the British Museum. However, as the Museum building developed and the number of readers increased, a series of improved reading rooms were built. Finally, in 1998 the British Library moved out of the Museum’s Bloomsbury site to its new home at St Pancras.
This engraving, from a watercolour by Thomas Hosmer Shepherd (1792–1864), shows the sixth Reading Room, designed by Sir Robert Smirke and completed in 1838. It was used until 1857 when the famous domed Round Reading Room opened.
The sixth Reading Room was in fact two connected rooms, each with an iron gallery at window height. More than 10,000 books were stored on the bookshelves. Originally space was available for 168 people seated at 24 tables. As the number of readers increased another 40 spaces were provided. In 1930 an extra floor was built at gallery height to increase storage space. The lower part of these two rooms has now been converted into the galleries of Mexico and North America (Rooms 26 and 27).
#history #BritishMuseum #books #library #archives This amazing photo of the Great Court was captured by @alexxxs 
#repost #regram 
#architecture #BritishMuseum

Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum
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