British Museum blog

Will the penny drop?

Gold medal of Elizabeth I by Nicholas Hilliard. England, c. 1580–1590Barrie Cook, exhibition curator, British Museum

Perhaps there should be an official warning: working in a museum can spoil your fun. Well, not really and I don’t want it put anyone off a museum career, but while a little knowledge can be a dangerous thing, too much knowledge can sometimes put a damper on things.

I spent the autumn and winter of 2011 preparing the exhibition running now in Gallery 69a until 25 November 2012, Crowns and ducats: Shakespeare’s money and medals, and the accompanying book. As a result, I have moved from having a vague awareness of Shakespeare’s use of coin and money references to, at least for a while, a pretty comprehensive knowledge of the subject.

So now I can’t see a Shakespeare play without a constant internal running commentary – and it’s usually: ‘Oh no! They’ve cut that out!’ But, in way, this points up why the exhibition is there in the first place. Shakespeare uses the coins and monetary units of his time constantly (native and foreign): angels and ducats, drachmas and doits, groats and crowns, dollars and pennies. He also makes metaphoric use of the ways in which coins are made, used and abused and he does this in every play he wrote. And all this was to help the audience, to give them an idea of value, to demonstrate character (Falstaff makes money-jokes constantly), to make a joke about what they had in their purses and what they all knew so well.

But, what was put there to help the audience is now more of an obstacle. Jokes based on what a three-farthings looks like are hardly going to bring the house down and will instead be utterly baffling. So it’s hardly a surprise when a performing edition trims them out on the ground that we don’t know that an angel is a coin, let alone how much it is worth; that we don’t routinely weigh our coins or check if the metal content is right. But if you come to the exhibition, you will know this and have the chance to get frustrated too.

Crowns and ducats: Shakespeare’s money and medals is on display at the British Museum until 25 November 2012.

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Filed under: Exhibitions, Shakespeare: staging the world

3 Responses - Comments are closed.

  1. Hope to come visit your museum next year. :)

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  2. James Coyle says:

    Do any of your exhibtions go on to other places ?

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Discover some of the amazing wearable treasures in our new #Waddesdon gallery on @Pinterest at pinterest.com/britishmuseum
The Grenville Jewel. Dating from about 1635–1640, this superb locket contains a portrait by David Des Granges of Sir Bevil Grenville, a Cornish Royalist General who died during the English Civil War in 1643. The case is a bravura demonstration of enamelling on gold. Minute pansies, marguerites and green leaves stand out against a black background. A large square sapphire adorns the centre, surrounded by rubies, opals and diamonds. A pendant pearl in an enamelled setting completes the piece.
Gold enamelled pendant jewel with a ruby-studded parrot. The top of the base is enamelled with shields and flowers. Two pendant pearls complete the jewel. The parrot itself may have 16th-century Spanish origins, but the rest of the jewel is largely a 19th-century construction by the French jeweller Alfred André (1839–1919). A similar parrot pendant is in the Museo Arqueológico Nacional, Madrid, where the bird is also modelled in the round and white enamel used to highlight the eyes. Here's another great photo from our instagramer event, a #tired_portrait in the Great Court by @zoecaldwell.
Check out #emptyBM to see all their amazing photos! US artist John Sloan was born #onthisday in 1871. 
John Sloan, painter, printmaker and teacher, first took up etching as a self-taught adolescent.  Moving to New York in 1904, he became part of a group of eight artists, better known as “The Ashcan School”, who focused on creating images of urban realism. Between 1891 and 1940 Sloan produced some 300 etchings. He was also one of the first chroniclers of the American scene and wrote about printmaking and the etching technique.
This etching comes from the series of 10 prints entitled 'New York City Life', recording the lives of the ordinary inhabitants in less affluent areas of Manhattan. The prints had a mixed reception at the time and a number were rejected from an exhibition of the American Watercolor Society as ‘vulgar’ and ‘indecent’. #August is named after the Roman emperor Augustus. Before 8 BC the Romans called it Sextilis! 
This head once formed part of a statue of the emperor Augustus (ruled 27 BC – AD 14). In 31 BC he defeated Mark Antony and Cleopatra at the battle of Actium and took possession of Egypt, which became a Roman province. The writer Strabo tells us that statues of Augustus were erected in Egyptian towns near the first cataract of the Nile at Aswan and that an invading Kushite army looted many of them in 25 BC.
Although Roman counter-attackers reclaimed many of the statues, they did not reach Meroë, where this head was buried beneath the steps of a native temple dedicated to Victory. It seems likely that the head, having been cut from its statue, was placed there deliberately so as to be permanently below the feet of its Meroitic captors.
The head of Augustus appears larger than life, with perfect proportions based upon Classical Greek notions of ideal human form. His calm distant gaze, emphasised with inset eyes of glass and stone, give him an air of quiet, assured strength. Coins and statues were the main media for propagating the image of the Roman emperor. This statue, like many others throughout the Empire, was made as a continuous reminder of the all-embracing power of Rome and its emperor. 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
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