British Museum blog

Museum of the world, for the World Cup

David Francis, Interpretation Officer

With the World Cup Final nearly upon us, I thought it would be interesting to search through the British Museum collection and see what footballing-related treasures could be unearthed. The Museum does not specifically set out to collect football-related objects; that remit falls to the National Football Museum in Manchester. However, the prevalence of objects related to football in the collection reflects the popularity of the sport, both in our current time and as part of our cultural heritage.

Greenstone yoke mould with relief carving in the form of a toad. Used to shape the protective leather belts worn by players of the Mesoamerican ballgame. From Veracruz, Mexico, AD 300-1200 (AOA Am,St.398)

Greenstone yoke mould with relief carving in the form of a toad. Used to shape the protective leather belts worn by players of the Mesoamerican ballgame. From Veracruz, Mexico, AD 300-1200 (AOA Am,St.398)

The story begins with objects related to ancient team ball games that had independently evolved in different parts of the world that act as football’s great ancestral forefathers. These include the Chinese game cuju and its Japanese equivalent kemari. However, the world’s earliest known team game, and perhaps most famous, is the Central American ball game, represented in the British Museum by the ceremonial ball game belt.

Like football, using your hands was prohibited in the ball game, but players were also restricted from using their feet or heads. Only the buttocks, forearms and the hips were allowed to touch the ball. To protect their hips from the rubber ball, which was heavy and could weigh as much as 15kg, players would wear padded belts made of cloth or basket work. The Museum’s stone version of the belt is thought to have been worn in ceremonies associated with the ball game. Points were scored through a system of faults such as if the ball left the court, or if it touched a prohibited part of the body. In many ways the ball game resembled keepy uppy rather than the modern game of football.

Liverpool manager Bill Shankly’s famously said ‘Some people believe football is a matter of life and death …. I can assure you it is much, much more important than that.’ His quote would have been more appropriate, however, if he’d been talking about the Central American ball game. Whereas in modern football a major penalty miss can result in a hate campaign from the tabloids, mistakes in the ballgame could be even more costly. Reliefs exist depicting the participants of the ball game being sacrificed after a match and some scholars think that playing the game was believed to be linked to the rising and setting of the sun.

Isaac Robert Cruikshank, print, 1825

Isaac Robert Cruikshank, print, 1825

The game at Football, satirical print

The game at Football, satirical print published by Matthew Darly. A sailor (left) has just kicked a Spanish don whom he holds by the hair; he looks towards another sailor and says, ‘Damme Jack lets have a game of football’. The Spaniard wears a cloak, slashed doublet, and spurred boots. His broken sword falls to the ground. The other sailor (right) stands with his arms folded, saying, ‘With all my heart, kick him up Tom’. 17 March [?]1780. (1868,0808.4587.+)

The Museum’s collection of prints and drawings also provides many 19th- and 20th-century depictions of the game. A print by Isaac Robert Cruikshank from about 1825, depicting a melee of jovial soldiers, some trampled beneath the feet of the mob that pursue the ball, captures the wildness of the game before it was formerly codified in London in 1863. Another print from 1780 depicting two English sailors kicking a Spanish lord around as a football, reinforces the link between footballers and violence. This association harks back to English football’s medieval origins when it was a game played en masse as part of Shrovetide celebrations and frequently banned by the authorities as a threat to civil order.

Paul Nash, Football game, illustration to 'Cotswold Characters' by John Drinkwater, Brush drawing in black ink, over graphite (1970,0919.89)

Paul Nash, Football game, illustration to ‘Cotswold Characters’ by John Drinkwater, Brush drawing in black ink, over graphite (1970,0919.89)

In stark contrast are the later modernist depictions of football in the collection, such as a 1921 Paul Nash illustration from John Drinkwater’s ‘Cotswold Characters’. Here, the players are faceless mannequins and the focus is instead on the dynamism of the spherical ball as it moves through a series of geometric rectangles beyond the outstretched arm of the diving goalkeeper. The print freezes the image at the crucial moment that the ball crosses the line, which would nowadays be captured by goal line technology. Although the print depicts a game in the rural Cotswolds, its depiction of the athleticism of the players and the skill and excitement of the game reflects the transition from football being viewed as a violent rabble to a professionalised sport.

Openwork 'football' made of rattan, in six strands. From Burma (As1981,Q.21)

Openwork ‘football’ made of rattan, in six strands. From Burma (As1981,Q.21)

Model group in the form of a skeleton football match (Mexico v Brazil). Inspired by Day of the Dead Festival. Mexico, 1980s. (Am1986,06.271)

Model group in the form of a skeleton football match (Mexico v Brazil). Inspired by Day of the Dead Festival. Mexico, 1980s. (Am1986,06.271)

Finally, within the Museum there is also an eclectic bunch of footballing paraphernalia and related objects that when combined creates a cabinet of curiosities of the beautiful game. These include a football woven from rattan palm stems from Burma, a nickel-chrome referee’s stop watch in the horological collections, and a Mexican model from the 1986 World Cup depicting an imaginary encounter between the Brazilian and Mexican sides as Day of the Dead skeletons. Here are objects that were not intended to last forever now preserved within the Museum for all time, waiting for a scholar of football and material culture to unearth them and unlock their secrets.

British Museum Football Club 1919-20

British Museum Football Club 1919-20

British Museum Football Club 2013 (author centre, back row)

British Museum Football Club 2013 (author centre, back row)

David Francis is a dependable, if unspectacular, right-back for the British Museum football team. The team plays in an annual tournament with others from across London, including the National Gallery, the White Cube and Tate. The current team is only the latest in a rich lineage of footballing talent, as can be seen in the photograph from the Archives of the 1919–20 season.

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7 Responses - Comments are closed.

  1. Helen Cordell says:

    The Burmese ball is used in a game known throughout South East Asia, known as Chin Lone in Burma, Takraw in Thailand and now played with a formal game system called Sepak Takraw, mixing the Malay and Thai names for the sport. The crucial thing is the ball should not touch the ground. See the Wikipedia article under Sepak Takraw

    Liked by 3 people

  2. ashokbhatia says:

    Museums are true repositories of our cultural and social heritage. Thank you for posting this.

    Like

  3. Catherine says:

    Reblogged this on Art History Ramblings and commented:
    Nice article, but I did not see any stop watches.

    Like

  4. Lisa Chesser says:

    Such love in the sport. Good to see there’s a place for it here.

    Like

  5. This year, I watched the most games of the world cup. It’s pretty cool seeing something unite the whole world. Well maybe not unite, but you know what I mean…

    Like

  6. I love that quote of Bill Shankly! I wonder what he would have thought of World Cup 2014…..

    Like

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By 1520, the date of this drawing, Dürer was deeply interested in the ideal, human form. He had made numerous life studies, both male and female. He had also travelled to Italy and studied classical sculptures and their proportions. For Dürer, the chief purpose of these theoretical studies was to discover the mathematical proportions of the ideal human body. These he would then use in his paintings (portraits, altarpieces and images of saints) and prints. 
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