British Museum blog

Telling the human story of Pompeii and Herculaneum

Telling the human story of Pompeii and HerculaneumVanessa Baldwin, exhibition project curator, British Museum

Many of the objects on display in the exhibition Life and death in Pompeii and Herculaneum, are not artefacts, they are people’s possessions. The people living in these two cities saw them and used them every day; they commissioned them or bought them for each other, and for themselves.

After years of researching, planning, designing and building, the exhibition is now open and it’s all about the people – people going through their daily lives with no idea of what was coming; the volcanic eruption in AD 79 that destroyed their cities, their lives over in an instant.

My favourite object, at the moment – because it does change from moment to moment – is a marble plaque from Herculaneum. It was set up between two houses and on one side it reads: ‘this is the property of Marcus Nonius Dama, private and in perpetuity’. And on the other side it reads, ‘this is the wall of Julia, private and in perpetuity’.

Marcus and Julia were ex-slaves, and they were living next door to each other. They must have had some sort of dispute about the boundary between their houses and this plaque was set up to resolve it. The extraordinarily human stories like this one are what I love most in the exhibition: to know people’s names, know who they were living next door to, and how they might have lived.

Seeing the trucks full of objects arriving from Italy really took our breath away. To then see them emerge from their crates to become part of a design that we’d only ever seen on paper has been the most special experience.

Over the 15 months I’ve been working on the exhibition, it has been a privilege to share the process of staging an exhibition with the curator Paul Roberts and the many fantastic people in the Museum who’ve worked alongside us. To go from object research and selection to their arrival and installation has been a whirlwind that I’ll never forget.

And now we get to share the stories, the objects and the people of Pompeii and Herculaneum with everyone.

Life and death in Pompeii and Herculaneum is open from 28 March 2013.

The exhibition is sponsored by Goldman Sachs.
In collaboration with Soprintendenza Speciale per I Beni Archeologici di Napoli e Pompei.

Tweet using #PompeiiExhibition and @britishmuseum

If you would like to leave a comment click on the title

Filed under: Exhibitions, Life and death in Pompeii and Herculaneum, , , , , , , ,

Receive notifications of new posts by email.

Join 15,614 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

In 2000, the Queen Elizabeth II Great Court designed by Foster and Partners transformed the Museum’s inner courtyard into the largest covered public square in Europe. We love this striking photo by @adders77 showing this incredible space at night #regram #repost
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum This wonderful photo by @what_fran_saw captures the stunning Great Court #regram #repost
The two-acre space of the Great Court is enclosed by a spectacular glass roof made of 3,312 unique pieces!
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum The roaring lions on the walls of King Nebuchadnezzar II’s palace represented the Babylonian king himself and were intended to astonish approaching visitors. Nebuchadnezzar commissioned major building projects in Babylon to glorify the capital of his empire. Glazed bricks in bright shades of blue, yellow and white were favoured for public monuments in order to emphasise both divine and royal power. These works displayed the might of the city and its king, who commanded unlimited resources.
Glazed brick panel showing a roaring lion from the Throne Room of Nebuchadnezzar II, 605–562 BC. From Babylon, southern Iraq. On loan from Vorderasiatisches Museum, Berlin.
Share your photos using #mybritishmuseum and tagging @britishmuseum.
#lion #art #history #BritishMuseum Lions have perhaps been adopted as a symbol more than any other animal. They are seen as proud, fierce and magnificent – characteristics that made kings and countries want to associate themselves with these charismatic big cats. As well as being the national symbol of England and Scotland, the lion is in many ways the symbol of the British Museum. Lions guard both entrances to the building. At the Montague Place entrance are the languid lions carved by Sir George Frampton, and on the glass doors of the Main entrance are the cat-like beasts designed by the sculptor Alfred Stevens in 1852.
This lion can be found on the wooden doorframe at the south entrance to the Museum, and its nose is polished smooth by the many visitors who rub it for luck on their way in. Share your photos using #mybritishmuseum and tagging @britishmuseum This colossal lion in the Great Court is one of the most photographed objects in the Museum. It weighs more than 6 tons and comes from a tomb in the ancient cemetery of Knidos, a coastal city now in south-west Turkey. The tomb stood on the edge of a cliff overlooking the approach to Knidos harbour. The building was 18 metres high and the lion was on top of its pyramid roof. The hollow eyes of the lion were probably originally inset with coloured glass, and the reflection of light may have been an aid to sailors navigating the notoriously difficult coast. It is carved from one piece of marble, brought across the Aegean Sea from Mt Pentelikon near the city of Athens. Opinions vary as to when it was built. One suggestion is that it commemorated a naval battle off Knidos in 394 BC.
We’ll be sharing more lovely lions this week! Share your photos using #mybritishmuseum and tagging @britishmuseum. Our next special exhibition will explore the remarkable story of Sicily. Discover an island with a cosmopolitan history and identity – a place where the unique mix of peoples gave rise to an extraordinary cultural flowering.
Norman Sicily was a centre of multiculturalism and its art reveals a unique mix of influences. The Norman kings invited Byzantine mosaicists from Constantinople to decorate their cathedrals and palaces. Spectacular golden mosaics can still be found in Roger II’s palace chapel and the cathedrals at Cefalù and Monreale. This mosaic, depicting the Virgin Mary, is all that remains of the extensive mosaics that once decorated Palermo Cathedral.
Book now for #SicilyExhibition, opening 21 April 2016 at britishmuseum.org/sicily 
Mosaic of the Madonna originally from Palermo Cathedral. Sicily, AD 1130–1189. © Museo Diocesano di Palermo.
#Sicily #Italy #art #mosaic #exhibition #BritishMuseum
Follow

Get every new post delivered to your Inbox.

Join 15,614 other followers

%d bloggers like this: