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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  1. Pam Tracz says:

    the columbian museum, in Bogota Columbia which is tied to the Art Gallery of Columbia/ Botero museum and three others has a “money room” which although not as long, does cover the columbian/ spanish history of the nation. You might want to check with them if that’s possible.??…

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This photograph shows a mountainside in #Angola featuring large engravings which may be thousands of years old. This rock art is found at Tchitundu-Hulu Mulume, one of a group of four rock art sites located in the south-west corner of Angola, by the edge of the Namib desert. The area is a semi-arid plain characterised by the presence of several inselbergs (isolated hills rising from the plain). Of the four sites, Tchitundu-Hulu Mulume is the largest, located at the top of an inselberg, 726 metres in height. There are large engravings on the slopes of the outcrop, most of them consisting of simple or concentric circles and solar-like images.

Our #AfricanRockArt image project team have now completed cataloguing 19,000 rock art images from Northern, Eastern and Southern Africa, and will be completing work on sites from Southern African countries in the final phase of the project. Follow the link in our bio to find out more about our African #rockart image project and the incredible images being catalogued.
Photograph © TARA/David Coulson. Our #AfricanRockArt project team is cataloguing and uploading around 25,000 digital images of rock art from throughout the continent. Working with digital photographs has allowed the Museum to use new technologies to study, preserve, and enhance the rock art, while leaving it in situ.

As part of the cataloguing process, the project team document each photograph, identifying what is depicted. Sometimes images are faded or unclear. Using photo manipulation software, images can be run through a process that enhances the pigments. By focusing on different sets of colours, we can now see the layers that were previously hidden to the naked eye.

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Tanzania contains some of the densest concentrations of rock art in East Africa, mainly paintings found in the Kondoa area and adjoining Lake Eyasi basin. The oldest of these paintings are attributed to hunter-gatherers and may be 10,000 years old.

Follow the link in our bio to learn more about the project and see stunning #rockart from Africa. This week we’re highlighting the work of our #AfricanRockArt image project. The project team are now in the third year of cataloguing, and have uploaded around 19,000 digital photographs of rock art from all over #Africa to the Museum’s collection online database.

This photograph shows an engraving of a large, almost life-sized elephant, found on the Messak Plateau in #Libya. This region is home to tens of thousands of depictions, and is best known for larger-than-life-size engravings of animals such as elephants, rhino and a now extinct species of buffalo. This work of rock art most likely comes from the Early Hunter Period and could be up to 12,000 years old.

Follow the link in our bio and explore 30,000 years of stunning rock art from Africa. © TARA/David Coulson. Watch the incredible discovery of this colossal statue, submerged under the sea of thousands of years. This colossal 5.4-metre statue of Hapy was discovered underwater in what was the thriving and cosmopolitan seaport of Thonis-Heracleion. It once stood in front of a temple and would have been an impressive sight for traders and visitors arriving from the Mediterranean.

Come face to face with the ancient Egyptian god Hapy for yourself in our‪ #SunkenCities exhibition, until 27 November 2016.

Colossal statue of Hapy. Thonis-Heracleion, Egypt. About 380-250 BC. Maritime Museum, Alexandria. © Franck Goddio/Hilti Foundation. The discovery of this stela, which once stood at the entrance of the main entry port into ancient Egypt, was an extraordinary moment. Its inscription detailing taxes helped solve a 2,000-year-old mystery!

This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through the cities of Thonis and Naukratis, and it originally stood in the Temple of Amun-Gereb. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis.

A bilingual decree found in 1881 refers in its Greek inscription to ‘the Temple of Heracleion’ and in hieroglyphs to ‘the Temple of Amun-Gereb’. Together these objects revealed that Thonis and Heracleion were the same place.

Learn more about the deep connections between the great ancient civilisations of Egypt and Greece in our #SunkenCities exhibition.
Stela commissioned by Nectanebo I (r. 380–362 BC), Thonis-Heracleion, Egypt, 380 BC. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that the #SunkenCities of Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the ancient Egyptian cities were believed to be lost.

Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. The amazing rediscovery of these lost cities is transforming our understanding of the deep connections between the great ancient civilisations of Egypt and Greece.

See more magical moments of discovery in our #SunkenCities exhibition, until 27 November 2016. © Franck Goddio/Hilti Foundation.

#archaeology #diving #ancientEgypt
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