British Museum blog

‘Gateway’ objects – storytelling in the Money gallery


Anna Bright, Interpretation Officer, British Museum

In redeveloping the Money Gallery at the British Museum we have been thinking about ways to help visitors make sense of a collection that will span 4,000 years of world history and comprise over 1000 objects. On average a visitor to the Museum may spend several hours here, but only three or so minutes in any particular gallery. Given that one of our aims is to encourage visitors to engage with the collection, we want to give them quick and accessible ways into some of the fascinating and important stories that these objects tell.

We have planned a trail of 12 key objects that have been designed to be as eye-catching as possible. Visitors can either follow the trail, or dip into it at any point. If someone reads the text that accompanies these 12 objects they will get an overview of the major themes in the gallery. We call these key objects ‘gateway objects’ as they can work as gateways into all or part of a gallery. This interpretative approach has been developed at the Museum over the last five years and we have found that it can be an effective way to help our audiences to engage with bigger stories and themes.

Maiolica offering box, Italy, sixteenth century

Maiolica offering box, Italy, sixteenth century

Gateway objects work on the principle that people are drawn to objects rather than text. By placing important contextual information in close proximity to a key object, we increase the likelihood that visitors will read that information. Ideally a gateway object would embody the following four qualities: it should work as an intellectual gateway into a section of the display; be an important object in the collection; be intrinsically attractive and eye-catching, and it should be an iconic object visitors have heard of.

One of the challenges we face in the Money Gallery is that many of the objects are small. It’s not that they are necessarily unattractive, but it is fair to say that they are less attention grabbing than, say, an ancient Egyptian mummy. We have worked closely with designers to make sure that our 12 key objects stand out as much as possible. As the design has progressed we are all getting excited about how the new gallery will look, and are looking forward to seeing whether our gateway objects do in fact entice visitors to spend more time engaging with the fascinating and diverse collection on display.

The Money Gallery project is supported by Citi and opens in June 2012.

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Legend has it that #onthisday in 753 BC Romulus founded Rome. Here's the myth on this coin
#history #coin #Rome #Romulus Happy birthday to #QueenElizabeth II, who is 89 today! Here’s a photo of her visiting the Museum in 1957
#history #Museum #BritishMuseum #Queen Odilon Redon was born #onthisday in 1840. This is one of Redon's (1840-1916) most famous coloured pastels, and was first shown in the gallery of Durand-Ruel - the favoured dealer of the Impressionists - in 1894. There it was seen by Tatiana Tolstoy, the daughter of the great Russian novelist Leo Tolstoy, who noted in her diary: 'One of them whose name I could not make out-something like Redon-had painted a face in blue profile. On the whole face there is only this blue tone, with white-of-lead.' Tolstoy quoted this in his diatribe against contemporary art, 'What is Art?', first published in 1898, as irrefutable evidence of the degenerancy of modern art.

One of many studies of female profiles in Redon's work, La Cellule d'Or ('The Golden Cell') suggests introspection, its golden glow embodying the power of thought. The intense colour and strict composition recall the portraits of the early Florentine Renaissance. Here however, the feeling dominates over objective representation; the blue and gold halo are the traditional colours of the Virgin Mary, but no further religious message intrudes.

The drawing is made on paper in oil paint over a white ground, which gives the colour its luminous intensity.
#art #history #drawing #artist Construction of St Peter’s Basilica began #onthisday in 1506. It was completed 120 years later. This print by Giuseppe Vasi was made in 1774
#print #art #history #Rome #Italy Happy 134th birthday @natural_history_museum! Here’s the British Museum before the natural history collection moved to South Kensington
#giraffe #history #BritishMuseum #museum Most Greek sculpture that survives from antiquity is carved from white marble, of which the Mediterranean has many natural sources. A relationship has often been assumed between the pure white of freshly cut marble and the idealism of Greek art. In fact, the opposite is true. Colour was intrinsic to ancient ideas of beauty. For centuries this has been a subject of fascination and controversy. The great Italian Renaissance sculptor Michelangelo revived the Greek idea of the human body but denied the use of colour. This was partly due to negative associations with the painted saints of the medieval period. During the European Enlightenment of the 1750s onwards, and increasingly into our own time, the preferred aesthetic was a truth to materials. Painting and gilding were seen as unnecessary and undesirable.

Sculpture in antiquity was often adorned not only with colour but also with different materials. The Greek marble statue of an archer reconstructed here was drilled and fitted with metal attachments. The figure originally held a bronze bow and arrow and a quiver was fixed to his left hip by a metal dowel. Individual locks of hair were made of lead. The colourful design of the man’s knitted all-in-one garment, often worn by peoples from the east, is clearly seen weathered into the marble surface under controlled lighting.

You can see this wonderful object in our exhibition #DefiningBeauty, until 5 July 2015.
#exhibition #BritishMuseum #ancientGreece #sculpture #art

Plaster cast of archer with reconstructed paint, based on a Greek original of about 490–480 BC, from the Temple of Aphaia at Aigina. Staatliche Antikensammlung und Glyptothek, Munich.
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