British Museum blog

Perceptions of time

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode A Time of Change, a Change of Time explores the shifts in how time was measured and perceived.


Paul Glennie, University of Bristol

Most places had particularly elaborate ringing of the day bell, a period of continuous ringing for two or three minutes or more. It was an unmistakable marker of the day and it had important cueing information. It was a priming trigger, as it were.

There wasn’t a standard hour at which everything started but work very often started at a set time for a particular task or a particular workshop – and the presence of several people may have been necessary because work needed to be coordinated. If one imagines a Blacksmith’s, one needed to have a number of people working at the same time and in phase with one another so they all needed to be present once the forge was up and running, but those who were responsible for maintaining the fire need to be present earlier to get things started and so forth.

In Shakespeare’s time there would be plenty of sectors of the London economy in which workers were rather familiar with the idea of being driven hard to make sure that they worked a full day. But there was plenty of complaining about the volume and intensity of work and about hard task-masters long before time discipline comes in.

Although it might be very easy to blame the clock and the strong sense of urgency it brings, anyone who supposes that life in the pre-industrial countryside was an idyllic kind of existence doesn’t have a sense of how urgent it was to get the harvest in before it rained, for example.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme A Time of Change, a Change of Time

Filed under: Shakespeare's Restless World, What's on

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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
Check out all of the photos at #emptyBM Vincent van Gogh died #onthisday in 1890. Here's a print of his only known etching. It depicts his doctor, Dr Paul Gachet, seated in the garden of his house.
#vanGogh #etching Beatrix Potter was born #onthisday in 1866. Here are some of her flopsy bunnies! 🐰
#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. Encounter an African contribution to the global carnival tradition through contemporary artist @zakove’s Moko Jumbie sculptures in the Great Court. These spectacular 7-metre-high male and female figures in striking black and gold costumes are inspired by aspects of African masquerade. #ZakOve
Find out more about our #Africa season this summer with events and displays at www.britishmuseum.org/whats_on/celebrating_africa.aspx
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