British Museum blog

A vehicle of the soul?

The Pegsdon mirror. © Luton CultureJody Joy, curator, British Museum

Today we are so used to seeing images of ourselves in mirrors and photographs it is difficult to imagine a world without reflections. But just try.

Imagine a world in which you don’t really know what you look like, where the only way to see your own reflection is in a pool of still water. Using a mirror like the one found in Pegsdon, Bedfordshire, and featured in the ITV series Britain’s Secret Treasures, meant that for the first time Iron Age people, about 2,500 years ago, were no longer reliant on others to tell them how they looked.

The Pegsdon mirror. © Luton Culture

The Pegsdon mirror. © Luton Culture

Today the mirror is part of our everyday routine but cheap, mass-produced mirrors are a product of the past few centuries. Before that mirrors were rare and expensive social objects allowing people to monitor physical appearance and apply cosmetics. Their reflective surfaces were also perceived in different ways, taking on religious, medical and artistic functions. For example, a mirror allows you to see behind as well as in front, extending the realms of ‘normal’ human physical experience.

In the Greco-Roman world looking backwards was linked to looking into the future or the past and the reflection from a mirror was used in divination – attempts to predict events, or peoples fate. Mirrors were lowered into water and the reflections ‘read’. Alternatively mirrors were used to evoke light or the vehicle of the soul.

It is impossible to determine the true significance of the Pegsdon mirror. The fact that it is so beautifully made and decorated and that it was carefully placed in someone’s grave indicates it was a valued and treasured object. The association between mirrors and cosmetic sets in other Iron Age graves links them to the main function of mirrors today, as a means to monitor appearance.

However, there is no reason why mirrors did not also have other kinds of significance in Iron Age society. For example, even today we still see breaking a mirror as bad luck.

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

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Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum In 1991, BMW invited South African artist Esther Mahlangu to make a work of art in their Art Car project to mark the end of apartheid. Her work, with its brightly coloured geometric shapes, draws on the traditional house-painting designs of Ndebele people in South Africa. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves – their designs are an expression of cultural identity, and can be read as a form of protest against racial segregation and marginalisation.

See this incredible Art Car as part of our #SouthAfricanArt exhibition, which opens 27 October 2016. You can book your tickets now by following the link in our bio.

Esther Mahlangu (b. 1935), detail of BMW Art Car 12, 1991. © Esther Mahlangu. Photo © BMW Group Archives.
#SouthAfrica #history #art #design
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