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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We welcome nearly 7 million visitors a year to the Museum and this photo by @zoenorfolk wonderfully captures the movement of people around the Great Court. Completed in 2000, the Great Court also features a quote by Tennyson: 'and let thy feet millenniums hence be in the midst...’
#repost #regram
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum 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.
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