British Museum blog

Sir William Hamilton and the wreck of the HMS Colossus

Red-figured wine bowl (volute-krater), attributed to the Baltimore Painter, Greek, around 325 BCIan Jenkins, curator, British Museum

Sir William Hamilton (1730-1803), if remembered at all, is primarily known as the person who shared his second wife Emma with Admiral Lord Nelson in the late eighteenth century. Their ménage a trois was a notorious target for British satirists of the time. It ended with the death of Sir William in 1803, and two years later in 1805 the tragic death of Nelson at the Battle of Trafalgar.

Jasper ware portrait plaque of Sir William Hamilton, by Josiah Wedgwood I and Thomas Bentley, Etruria factory, Staffordshire, England, AD 1779

Jasper ware portrait plaque of Sir William Hamilton, by Josiah Wedgwood I and Thomas Bentley, Etruria factory, Staffordshire, England, AD 1779

Hamilton is celebrated in the British Museum for his collection of Greek and Roman artefacts, which acquired by the Museum in 1772, changed its course from its origins as a rather old-fashioned cabinet of curiosities to starting it on the way to becoming the great collection of world cultures it is today. The founding collection of Sir Hans Sloane had very few ancient objects of merit, but Sir William’s vision for the Museum would change that and for this reason he has his own showcase in the Enlightenment Gallery.

The story of the wreck of the HMS Colossus and the loss of its cargo occurred in the dramatic last years of Sir William’s life. He had been British Ambassador to the court of the king of Naples and Sicily for 34 years. However, when Napoleon’s army occupied Rome in 1796, Sir William was forced to evacuate Naples and return home with Emma to Britain.

One of his last acts was to oversee the packing of his vase collection. But back in England, Sir William not only had to suffer the wrench of his sudden departure from his beloved Italy, but also had the appalling news that his vase collection was lost at sea. It had been packed in an unfit vessel, which grounded off the Scilly Isles where it broke up, and the packing cases washed overboard.

Red-figured wine bowl (volute-krater), attributed to the Baltimore Painter, Greek, around 325 BC

Red-figured wine bowl (volute-krater), attributed to the Baltimore Painter, Greek, around 325 BC

But fortune smiled on the old knight as by accident his finest vases were not on the HMS Colossus. When another vessel arrived laden with Sir William’s property, he discovered the collection he thought he’d lost, and he delighted in preparing them for sale.

Sir William died in 1803 with Emma and Nelson at his bedside.

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Britain’s Secret Treasures is broadcast on ITV 1 Thursdays at 20.30, 17 October – 5 December 2013

Filed under: Archaeology, Portable Antiquities and Treasure

2 Responses - Comments are closed.

  1. Reblogged this on History of Britain and commented:
    #AceHistoryNews says ” Sir William Hamilton and the Wreck of the HMS Colossus ” #History2Research

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  2. Peter Donnelly says:

    “The” His Majesty’s Ship Colossus? You ought to know better.

    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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