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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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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