British Museum blog

Small objects telling big stories

Anna Bright, Interpretation Officer, British Museum

Broadly speaking, museum interpretation is everything we do that helps visitors make sense of our collection. As the person responsible for interpretation on the refurbishment of the Money Gallery, I’m going to explain in this and later posts what my role involves on a project like this.

So what do I do? Alongside Catherine Eagleton, curator of the Money Gallery, I am working to help define the stories that will be told through the objects on display and to develop a structure for these narratives. As part of the core project team I also work with designers to ensure that the design helps communicate these stories and key messages. I will then edit the text that curators write for panels and labels.

To develop narrative structures around objects that successfully communicate with our visitors, we need to understand those visitors. This is a key aspect of interpretation work here at the British Museum – we carry out evaluation that informs and backs up everything we do. We find out things like who our visitors are, how long they spend in a gallery, and the ways they tend to move around the gallery space. All of this information helps us to plan where and how we can best communicate the key messages of our stories to our visitors.

As Catherine Eagleton mentioned in her last post, one of the big challenges we face in the gallery is how to cover 4,000 years of the history of money in one room. We are planning a narrative structure that is at the same time chronological and thematic. Each display case will contain objects that tell stories around a particular theme, typically with a number of case studies within each theme.

One of the very earliest coins, from Lydia (western modern Turkey), about 650-600 BC.

One of the very earliest coins, from Lydia (western modern Turkey), about 650-600 BC.

But that is not all. There will be over 1,000 objects in the room. Our visitors typically spend around three hours on a visit to the Museum, but on average they spend just three minutes in any one gallery. That’s three minutes to look at and read about more than 1,000 objects covering 4,000 years of history. Very challenging indeed!

Clearly it is crucial that we help visitors make sense of the gallery space and this narrative structure. To do this, we are planning a trail of key objects that visitors can follow that will tell them stories covering the key themes.

The idea is that, through the clever use of design, someone coming in to the gallery will immediately be able to spot this trail, and will realise that there are key objects throughout the gallery for them to look at. We call these ‘gateway objects’. This gateway object approach to gallery interpretation is something we have developed here at the Museum over the past few years and which I’ll write about in more detail in another post.

The Money Gallery project is supported by Citi and opens in June 2012.

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#todayimet goddess of love, Aphrodite. In this statue the voluptuous Aphrodite crouches down at her bath and turns her head sharply to her right, as if surprised by her audience. This Roman copy from the 2nd century AD is based on an original sculpture from Hellenistic Greece. This statue is lent to the British Museum by Her Majesty the Queen.
You can fall for the goddess of love in Room 23, one of our Greek and Roman sculpture galleries.
We’re celebrating @instagram's 5th birthday by sharing portraits of some of the characters you can find in the Museum #WWIM12 For @instagram's 5th birthday we’re sharing portraits of some of the characters you can find in the British Museum.
#todayimet this Ming Dynasty figure, who helped judge people in the underworld! The belief in Hell entered China with Buddhism during the early 1st millennium AD. This figure of a judge’s assistant is holding records of evil deeds under his left arm. Meet this fearsome figure (if you dare!) in our Asia gallery (Room 33) #WWIM12 We’re celebrating @instagram's 5th birthday by sharing portraits of some of the characters you can find in the Museum.
#todayimet Ramesses II, who ruled Egypt for 67 years over 3,000 years ago. This colossal statue is one of the largest pieces of Egyptian sculpture in the British Museum. Like all Egyptian statues, it was originally painted. Traces of pigment remain: black for the eye pupils, red for the skin, and blue and yellow for the stripes on the headcloth.
Meet the pharaoh for yourself in our Egyptian Sculpture Gallery (Room 4) #WWIM12 Our #Celts exhibition opens today! It brings together the incredible Iron Age, Roman and early medieval collections of the British Museum and @nationalmuseumsscotland.
Roman control of southern Britain broke down around AD 410. New leaders established Anglo-Saxon kingdoms in England, and Roman towns and cities were largely abandoned. Neighbouring communities in Scotland, Ireland and Wales continued to develop their own unique identities. Monasteries in these areas stood out as European centres of art, learning and literacy, perpetuating and reinventing local traditions. Communities here spoke languages that we now call Celtic, and practiced a distinctive form of Christianity.
Striking stone crosses, such as this one found in Monifieth, Scotland, combined ancient Celtic curves with Anglo-Saxon knotwork and interlace designs to express these distinctive Celtic identities in Scotland, Ireland and Wales. This sculpture may have been a personal memorial or grave-slab.
Slab of grey sandstone with a cross on one side. From Monifieth, Angus, Scotland, c. AD 800–900. National Museums Scotland.
Find out more about #Celtic art and history and book tickets at Our #Celts exhibition opens today! It brings together stunning objects from the British and Irish Isles as well spectacular loans from across Europe.
This magnificent cauldron is one of the most important and intriguing finds from ancient Europe. It reveals connections between communities thousands of miles apart. Although it depicts objects used in central and western Europe,
it was found in a bog near Gundestrup in Denmark, beyond the northern edge of the Celtic regions. The style of the designs suggests that it was made further east, in Bulgaria or Romania. The strange animals and cross-legged pose of
the antlered figure hint at even wider influences, from as far afield as Asia. The scenes on the panels give a glimpse into a world of ancient myths, and the stories of gods and heroes whose names are now lost.
The Gundestrup cauldron was probably reserved for important rituals. It is likely that most people would have viewed it from a distance, seeing only the forbidding faces of gods and goddesses on the outer panels. The fantastical scenes on the inside would have been revealed to those allowed to experience the cauldron close up.
Gundestrup cauldron. Iron Age, c. 100 BC–AD 1. Found in Gundestrup, northern Jutland, Denmark. @nationalmuseet, #Denmark.
Find out more about #Celtic art and history and book tickets at Our major new #Celts exhibition is now open! Come on a 2,500-year journey tracing what it means to be Celtic...
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The Battersea shield. Iron Age, c. 350–50 BC. Found in the River Thames, London, England.
Find out more about #Celtic art and history and book tickets at

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