British Museum blog

Catching up with progress in the Money Gallery


Catherine Eagleton, curator, British Museum

It’s now a couple of months since the last blog post – so much has been going on that we haven’t had time to write anything about it all. Sometimes, when I talk to friends outside the museum sector, they are surprised at how long major exhibition or gallery projects seem to take, but when you’re working on one of these projects, you see the number and range of things that there are to do.

At the moment, there is hoarding up in what will become The Citi Money Gallery, and behind there, the cases have all been emptied, and the walls and ceiling have been repainted. Next, there’s work to do on cabling and other basic infrastructure, before we start to install the new displays. Before the scaffolding came down, I made sure I went up to the top, touched the ceiling, and took this picture.

The view above the hoardings

The view above the hoardings

At the same time, the final work is being done on the design of the gallery, including the layout of objects in the cases, and the text that will go with them. With so many specialist curators involved, each piece of text has to be edited, and checked, and re-checked, to make sure we have every detail right. Then, the text and images all go to our graphic designer to create the panels and labels for the new displays. As I write, we are expecting the first proofs of the panels to arrive, which means that it starts to feel like the new gallery is nearly ready to be installed.

The objects aren’t being neglected either, and the team of Museum Assistants in the Department of Coins and Medals are busy checking all the object lists, and getting all the objects ready for display. This preparation involves every object being individually checked by one of the Museum’s conservation team to make sure it’s in good enough condition to go on permanent display, as well as so they can advise on how objects are mounted. With more than 1000 to check, this is a big job.

It’s amazing sometimes what a gallery curator gets involved with – from paint colour choices to deep discussions about how to ensure consistency in our use of ancient place names, and from climbing scaffolding to talking about whether a plastic object would deteriorate if it was on display for five years. I’ll be talking more about this to the next generation of museum curators at a Museum Studies day in March, which I’m very excited about.

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

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Filed under: Collection, Money Gallery

4 Responses - Comments are closed.

  1. ritaroberts says:

    Thankyou for the last blog post.You have an awful amount of work to do which I am sure everyone appreciates, especially those who work at the wonderful British Museum.

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  2. Lauren Schofield says:

    It’s so interesting to get a glimpse of how it all works. So disappointed that I can’t make the Museum Studies day will there be another at any point?

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  3. Its really wonderful to see a behind the scenes picture. I actually used this today to inspire my kids to think about what happens behind the scenes at the British Museum! As a former museum curator my eldest boy is familiar with some of the practical stuff in a smaller museum and is very familiar with the galleries at the BM and it was really useful to show him what goes into putting on an exhibition on a bigger scale. We plan to make our own mini exhibitions at the weekend now. Thanks, more of this please :)

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  4. Daniel says:

    The Citi Money Gallery is very impressive. I’d be interested to know what colour you painted it. It makes an imposing sight and sets off the displays to wondrous effect.

    Like

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Although this gilded cartonnage mask of a mummy conveys vitality and alertness, the features are more bland and idealised than those of other masks. The eyes, ears, nose, mouth and chin are highly stylised and not fully integrated into the face. The collar, the wig and the necklace with an ankh (‘life’) pendant, are attributes showing that the deceased has entered the afterlife and been assimilated with the gods. A winged scarab beetle on the top and images of gods on the back also emphasise the funerary character of the mask.

The use of gold was connected to the belief that the sun god Re, with whom the mummy hoped to be united, had flesh of pure gold. The back of the wig is decorated in many colours, with a row of deities, a ba and falcon with outstretched wings and seven short columns of near-unintelligible hieroglyphs.

See this cartonnage mask in our exhibition #8mummies – now extended until 19 April 2015.
#MummyMonday #mummies Another #MummyMonday space: it's Room 63 – together with Room 62 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. As it's #MummyMonday here's Room 62 – together with Room 63 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. It's time for our next #MuseumOfTheFuture gallery space. This is Room 61, the Michael Cohen Gallery of Egyptian life and death (the tomb-chapel of Nebamun). The British Museum acquired 11 wall-paintings from the tomb-chapel of a wealthy Egyptian official called Nebamun in the 1820s. Dating from about 1350 BC, they are some of the most famous works of art from ancient Egypt.
Following a 10-year period of conservation and research, the paintings were put on display together for the first time in 2009. They give the impression of the walls of colour that would have been experienced by the ancient visitors to the tomb-chapel.
Objects dating from the same time period and a 3D animation of the tomb-chapel help to set the tomb-chapel in context and show how the finished tomb would have looked. (There is no Room 60 in the British Museum.) To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 59. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans. To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 58. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans.
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