Our newly announced special autumn exhibition looks at how artists and craftspeople from Europe and North America were inspired by – and represented – the Islamic world, especially the Middle East and North Africa. Exhibition co-curators Julia Tugwell and Olivia Threlkeld discuss how these artistic traditions and connections continue to stretch across the world and connect cultures.

Rembrandt is one of the most well-known artists in the world, equally adept at rendering sensitive portraits as producing show-stopping compositions. Curator Olenka Horbatsch explains what made the artist such a good storyteller and takes a closer look at the details in his work you might have missed. 

Exhibition curator Giulia Bartrum interviews the Norwegian novelist Karl Ove Knausgaard on all things Edvard Munch in an exclusive excerpt from the exhibition catalogue.

You may have heard of the city of Troy, the Trojan War, the wooden horse, and Helen, the most beautiful woman in the world. But there’s much more to the ancient myth of Troy. Get ready for our upcoming exhibition with a run-through of one of the greatest tales ever told.

The myth of the Trojan War has captivated people for thousands of years and has led pilgrims, explorers and archaeologists to search for the location where the famed conflict took place. But did the city really exist? In anticipation of our major autumn exhibition, curators Lesley Fitton and Alexandra Villing explore the reality behind the myth.

As we open the Citi exhibition Mangaマンガ,  exhibition curator Nicole Rousmaniere explores eight very different genres of manga, from boys’ love to adventure and explains why there’s a manga for everyone…

Over the past months, conservators, curators and scientists have had the challenge of preparing an imposing Tahitian mourning costume, now on display for the first time in over 40 years, marking the 250th anniversary of Captain Cook’s first voyage.

Tim Clark discusses the origins of manga, and debates whether Hokusai could actually be said to be the father of modern day manga…

Artists have subverted the common postcard for decades. Discover both the politics and playfulness of a unique collection of postcards recently gifted to the British Museum by the artists’ postcard expert Jeremy Cooper.

It is art’s most haunting and iconic face. A universal symbol of anxiety. It even has its own emoji. Discover more about the fascinating story behind The Scream, and maybe a few things you didn’t know..

With its exquisite palaces, vast libraries and lush gardens, Nineveh was one of the most important cities of the ancient world. Carine Harmand explores the 19th-century quest to locate and unearth the great lost city…

This year the British Museum will present the largest exhibition of manga ever held outside of Japan but what exactly is Manga, when did it originate and how do you read it? Exhibition Curator Nicole Rousmaniere tells you what you need to know about the Japanese phenomenon that has taken the world by storm.

Co-founder of the Pussyhat Project, Jayna Zweiman, talks about how the Pussyhat escalated from an object of protest to a cultural icon and symbol of women’s rights. 

Exhibition co-curator Tom Hockenhull has created an original playlist of songs that challenge, question and mock the status quo – and rightly take their place alongside the dissenting objects in the Citi exhibition I object: Ian Hislop’s search for dissent.

In our upcoming spring exhibition, we lift the veil on one of the most remarkable artists and printmakers of a generation – the Norwegian artist, Edvard Munch. He was the creator of art’s most iconic face – but who was the artist behind ‘The Scream’?

Delve into this great king’s world with Curator Gareth Brereton as he lifts the lid on the ancient sport of royal lion hunting.

From manga to Munch, the myths of Troy to the realities of feeding the world, see what’s coming up in our 2019 exhibitions programme!

Modern manga is a global phenomenon, but its roots stretch back further than you might imagine. Ryōko Matsuba and Alfred Haft introduce the history of the genre in 12 key works.

Ashurbanipal’s Library is one of the most important archaeological discoveries ever made. But what actually is it? Jonathan Taylor, Middle East Curator and expert on the Library of Ashurbanipal, takes a closer look…

King Ashurbanipal might have been a fearsome warrior but he was also a keen gardener! We take a look at how the Assyrian kings created a slice of paradise on earth with their exotic botanical gardens.

The Private Eye editor talks about a handful of favourite objects from his new exhibition.

Bénédicte Garnier, Musée Rodin, Paris, shares her passion for an unexpected aspect of Rodin’s art, rarely shown during his lifetime.

In advance of our major autumn exhibition, curator Gareth Brereton gives a run down of what you need to know about the Assyrians, from luxury palaces and lion hunting to libraries and letters.

Warrior. Scholar. Empire builder. King slayer. Lion hunter. Librarian. Take a closer look at the great Assyrian king Ashurbanipal.

Conservator Kasia Weglowska takes a closer look at ancient colour recently discovered on the Parthenon sculptures, some of which feature in our current Rodin exhibition.

Ahead of the Citi exhibition I object: Ian Hislop’s search for dissent, co-curators Tom Hockenhull and Ian Hislop take a look at a few of the fascinating stories of dissent that can be found in the show.

For our new exhibition we’ve invited historian and Private Eye editor Ian Hislop to rummage through the Museum’s collection on a mission to investigate stories of satire and subversion…

As the British Museum’s music festival Europe and the world: a symphony of cultures opens, Simon Broughton looks at how and why music is played across the world and has been for centuries.

A new exhibition focuses on the lives and work of three extraordinary men. Here, the curators provide a background to this fascinating story of art and friendship in post-war Greece.

Oungan (Vodou priest) and ethnomusicologist Gerdès Fleurant and Caribbean historian Kate Ramsey tell us more about a Vodou drum, on display now for the first time, in Room 3.

Professor of Anthropology and artist Gina Athena Ulysse reflects on her new commission by the Museum to respond to the current Asahi Shimbun Display A revolutionary legacy: Haiti and Toussaint Louverture.

Professor Charles Forsdick introduces the history of the Haitian Revolution, and discusses visual images of its leader, Toussaint Louverture, including the centrepiece of a new free display.

For two weeks this April, the British Museum will become a stage for music, with performances taking inspiration from around the world.

What it is like to hear voices that no-one else can? What does it mean? Professor Charles Fernyhough discusses the life of Margery Kempe, an English mystic who documented her experience with inner voices 600 years ago, and how her experiences can help to refine psychological and neuroscientific accounts of hallucinations.

In our new exhibition, find out how sculptures can complement one another, despite being created centuries apart.

Scientists Colin Blakemore and Tom McLeish examine how the cognitive impetus that drove the emergence of science might be considered to be the same impetus that fostered religion and other metaphysical beliefs.

Bioarchaeologist Eileen Murphy explains how examining the human remains from burials can help us to understand more about the Scythians.

To celebrate our special exhibition Rodin and the art of ancient Greece, here are 10 things you might not know about the great French sculptor Auguste Rodin.

Cultural anthropologist Veronica Strang, Executive Director of the Institute of Advanced Study, University of Durham, reveals the widespread role of water serpent beings in religious belief and ritual across the world.

Historian and author Tom Holland explains why the Museum’s latest exhibition is a revelation, bringing the Scythians alive from the pages of Herodotus.

Exhibition Curator Jill Cook provides a short introduction to some of the highlights of the exhibition Living with gods: peoples, places and worlds beyond.

Project Curator Chloe Leighton is given full rein to reveal how important horses were to the Scythians’ way of life.

Historian and broadcaster Dan Snow takes us behind the scenes of the Museum’s latest exhibition.

Curator St John Simpson gives us a glimpse behind the scenes of some of the many steps that go into producing a major exhibition on a large scale.

Sarah Jaffray, Project Officer for the Bridget Riley Art Foundation, talks about how drawing is enjoying a renaissance among art students, in part thanks to the Museum’s fascinating collection.

Curator St John Simpson takes a closer look at Scythian burial mounds and how they reveal what these nomadic warriors believed about the afterlife.

The Great Shrine of Amaravati was one of the most important Buddhist monuments in the world. Curator Imma Ramos explains the long history of this sacred site, and how we’re using new technology to help people find out about the people who funded its construction.

Angus Lockyer discusses the impact on modern art of Katsushika Hokusai – an artist whose work effortlessly moved between seen and unseen worlds.

If you’re excited about another fantastical series of Game of Thrones, you’re not alone. But George R R Martin’s vivid world has many real-life parallels. Here, take a closer look at the inspiration behind the bloodthirsty, horse-riding nomadic warriors, the Dothraki…

Laura Phillips, Head of Community Partnerships at the Museum, writes on the importance of institutions being bold with their LGBTQ histories, and why that can sometimes be a nerve-racking experience.

<p>’Ōi, Ōi!’ shouted Hokusai, ‘Hey, Hey you!’<br />
‘Hey, hey,’ his daughter, Eijo, replied, and with a cheeky grin, sang out like a street-caller, ‘Old man, how ‘bout it?’ (<em>ōi, ōi, oyaji dono</em>)</p><dl id=”attachment_13206″ class=”wp-caption aligncenter” style=”width: 2466px;” data-mce-style=”width: 2466px;”><dt class=”wp-caption-dt”><img class=”size-full wp-image-13206″ src=”https://blog.britishmuseum.org/wp-content/uploads/2017/06/Hokusai-and-Oi.jpg” alt=”” width=”2466″ height=”3505″ data-mce-src=”https://blog.britishmuseum.org/wp-content/uploads/2017/06/Hokusai-and-Oi.jpg” /></dt><dd class=”wp-caption-dd”>Tsuyuki Kōshō (Iitsu III, died after 1893), <em>Hokusai and Eijo in their lodgings</em>. Ink on paper, before 1893. National Diet Library, Tokyo.</dd></dl>Every time I think about this exchange between Hokusai and Eijo, I find myself amused at how cheeky she was. To call out ‘Ōi’ in Japanese was then, like it still is now, very informal and even rather impolite. When she replied with the lyric of a street-caller soliciting sales from passers-by, she must have been taking the mickey. Hokusai seems to have often called out ‘Ōi, Ōi’ when he wanted her. So Eijo used characters that replicated the sound of the word ‘Ōi’ into an artistic name for herself meaning: ‘Loyal to Iitsu’. She was referring to the name Hokusai used after he turned sixty, ‘Iitsu’, meaning ‘one again.’ With this new name she turned something kind of disrespectful – that ‘Hey you!’– into something that showed her deep connection to Hokusai, and she often signed her work with this name. But Eijo was something more than just loyal to Hokusai. She was his collaborator during the final two decades of his life and may have even worked as his ‘ghost brush’.Eijo was the most skilled painter of all of Hokusai’s children. She was, along with her sisters Miyo, Tatsu, and Nao, brought up assisting their father at his trade and in his workshop. Their brother fulfilled a family obligation by apprenticing in the mirror trade and became a successful artisan. But for Hokusai’s daughters, apprenticing in a profession outside the home was not an option – they were expected to help their family’s occupation until they married and worked for their husbands’ households. They became skilled in all the tasks important to being a painter, from preparing materials to composing pictures, working alongside Hokusai’s other students.Eijo left Hokusai’s workshop when she married one of his students, the painter Tsutsumi Tōmei (active 1804–1830), in 1824. She returned to the workshop just three years later when their marriage ended in divorce. It was rumoured that they fell out after Eijo commented, apparently too critically, on Tōmei’s lack of skill as a painter. (I can imagine that as the daughter of Hokusai she would have had an opinion about painting!) After her mother, Kotome, died in 1828, Eijo assumed the role of caring for her father, now in his late sixties. Neither she nor her father seemed to care much about keeping house. Rather, they preferred to draw and paint – it was, after all, the family business – and working together carried on the Hokusai brand through illustrated books, prints, and paintings.<dl id=”attachment_13209″ class=”wp-caption aligncenter” style=”width: 3987px;” data-mce-style=”width: 3987px;”><dt class=”wp-caption-dt”><img class=”size-full wp-image-13209″ src=”https://blog.britishmuseum.org/wp-content/uploads/2017/06/BM-JH558_04.jpg” alt=”” width=”3987″ height=”3063″ data-mce-src=”https://blog.britishmuseum.org/wp-content/uploads/2017/06/BM-JH558_04.jpg” /></dt><dd class=”wp-caption-dd”>Katsushika Ōi (about 1800–after 1857), <a href=”http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=779005&partId=1&searchText=1979,0305,0.558&page=1″ data-mce-href=”http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=779005&partId=1&searchText=1979,0305,0.558&page=1″><em>Treasury of Education for Women (Onna chōhōki)</em></a>. Illustrated book, woodblock, published by Suharaya, 1847.</dd></dl>Just as Eijo supported and collaborated with her father, Hokusai also acknowledged and appreciated her talent. Hokusai said that ‘when it comes to paintings of beautiful women, I can’t compete with her – she’s quite talented and expert in the technical aspects of painting.’ Looking at her illustrated book of instructions for women and its range of beautiful figures, we can see what Hokusai meant – these are very skilfully rendered beauties, indeed<em>.</em>We can see from her paintings that he was right about her exceptional technique. Her painting of a night scene in the brothel district is one of the most moving depictions of that quarter, capturing both its artifice and its artificiality. She has turned the courtesans who were so often shown as fashion plates into anonymous figures, obscured by the lattice, capturing the pathos of their existence as indentured prostitutes.<dl id=”attachment_13210″ class=”wp-caption aligncenter” style=”width: 5018px;” data-mce-style=”width: 5018px;”><dt class=”wp-caption-dt”><img class=”size-full wp-image-13210″ src=”https://blog.britishmuseum.org/wp-content/uploads/2017/06/130723太田記念美術館0159.jpg” alt=”” width=”5018″ height=”3340″ data-mce-src=”https://blog.britishmuseum.org/wp-content/uploads/2017/06/130723太田記念美術館0159.jpg” /></dt><dd class=”wp-caption-dd”>Katsushika Ōi (about 1800–after 1857), <em>Display room in Yoshiwara at Night.</em> Hanging scroll, ink and colour on paper, 1844–1854. Ōta Memorial Museum of Art.</dd></dl>She apparently gained a reputation for her skill as a painter during her own lifetime. The artist Keisai Eisen (1790–1848) wrote that she ‘is skilled at drawing, and following after her father has become a professional artist while acquiring a reputation as a talented painter.’ Her knowledge of painting was so complete that she wrote a letter explaining how to prepare the colour red in a letter to a distant pupil, illustrating the letter with fingers showing how to break the raw material down before beginning the process. We wonder, too, how much she might have contributed to Hokusai’s book on painting techniques.<dl id=”attachment_13212″ class=”wp-caption aligncenter” style=”width: 2600px;” data-mce-style=”width: 2600px;”><dt class=”wp-caption-dt”><img class=”size-full wp-image-13212″ src=”https://blog.britishmuseum.org/wp-content/uploads/2017/06/01542947_001-1.jpg” alt=”” width=”2600″ height=”1972″ data-mce-src=”https://blog.britishmuseum.org/wp-content/uploads/2017/06/01542947_001-1.jpg” /></dt><dd class=”wp-caption-dd”>Katsushika Hokusai, <em>Picture book: <a href=”http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3592336&partId=1&searchText=1979,0305,0.465.2&page=1″ data-mce-href=”http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3592336&partId=1&searchText=1979,0305,0.465.2&page=1″>Essence of Colouring (Ehon saishiki tsū)</a></em>. Illustrated book, woodblock, 2 vols, published by Yamaguchiya Tōbei and others, 1848.</dd></dl>Looking at her painting of legendary warrior Guan Yu having his arm bled to remove poison from an arrow might make us react at first with a little shock and horror, just as his companions do. But if we look beyond the action at the centre of the painting to consider the entire work, we come to admire how she has juxtaposed the violence of his ordeal with the order of the interior. We note how the room and its elements, with its straight columns, elegant furniture, and the still life of food and drink in the background, is designed to provide a counterpoint of quiet against the controlled chaos. What we might not notice right away is that this painting is on silk, replete with saturated pigments, both signs of expense. This painting would have been commissioned, ordered by a well-to-do patron. Unfortunately, the patron is not known, but we can surmise that it was due to her reputation, her skill, and her extraordinary handling of colour that she was asked to paint this scene.<dl id=”attachment_13211″ class=”wp-caption aligncenter” style=”width: 2007px;” data-mce-style=”width: 2007px;”><dt class=”wp-caption-dt”><img class=”size-full wp-image-13211″ src=”https://blog.britishmuseum.org/wp-content/uploads/2017/06/1998.178.jpg” alt=”” width=”2007″ height=”4169″ data-mce-src=”https://blog.britishmuseum.org/wp-content/uploads/2017/06/1998.178.jpg” /></dt><dd class=”wp-caption-dd”>Katsushika Ōi (about 1800–after 1857), <em>Hua Tuo Operating on the arm of Guan Yu</em>. Hanging scroll, ink and colour on silk, 1840s. The Cleveland Museum of Art, Kelvin Smith Fund 1998.178</dd></dl>We are lucky to have a sketch made by one of Hokusai’s students of a memory of a visit he made to the father and daughter in their rented lodgings in the 1840s (see the first illustration). By this time, Eijo would have been in her forties, and she is shown here leaning on her tobacco pipe watching her father at work. Hokusai, now in his eighties, spends his days under the comfort of his <em>kotatsu </em>(a heated table), drawing until he falls asleep, waking only to draw again. On the wall behind them a notice states that under no circumstances will they paint for fans or albums – for these were minor works for which they would have been paid little. We cannot know just what it is that Hokusai is painting, but we can see from Eijo’s look that she is attending to his process, perhaps conversing, sitting near enough that she could move to assist but not crowding him. It is a picture that shows how Eijo, as a daughter, caretaker and assistant, cared for and collaborated with her father. And she remained with Hokusai throughout the rest of his life, witness to his final words, ‘just let me live ten more years… just five more years…’ loyal to Iitsu to his very end.<strong>You can see many of Hokusai’s beautiful works made in the last 30 years of his life in the exhibition <a href=”http://britishmuseum.org/whats_on/exhibitions/hokusai.aspx” target=”_blank” rel=”noopener noreferrer” data-mce-href=”http://britishmuseum.org/whats_on/exhibitions/hokusai.aspx”><em>Hokusai: beyond the Great Wave</em></a>, on display at the Museum from 25 May to 13 August 2017 (closed 3–6 July), supported by Mitsubishi Corporation.</strong>

Japanese woodblock prints in the 18th and 19th centuries were often produced using inks which can fade dramatically when exposed to light. Scientist Capucine Korenberg explains how she investigated the risks of displaying some of Hokusai’s most iconic prints.

Traditional Japanese woodblock prints are renowned for their exquisite detail and colour. Curator Alfred Haft reveals how the skilled block cutter and printer helped to create these beautiful works of popular art.

With the exhibition The American Dream: pop to the present approaching its final few weeks, Susan Tallman tells us why it is time to pay attention. 

A new film, the first documentary in English on Hokusai, brings the works of Japan’s greatest artist to the big screen across the UK and Ireland on Sunday 4 June. Director Patricia Wheatley discusses Hokusai’s lasting influence, and how 8K technology has provided greater insight into his immortal skill.

We’re assuming you probably don’t know very much about the Scythians. But that’s OK! Ahead of our major exhibition opening in September 2017 we’ve compiled a handy beginner’s guide to these nomadic warriors, who galloped into the pages of history…

Curator of the BP exhibition Scythians: ancient warriors of Siberia St John Simpson takes a closer look at some of the intriguing objects in the show – beautiful and exquisite, unusual and unexpected, but above all light and portable…

Desire, love, identity is a small exhibition that draws selectively from across the breadth of the Museum’s vast collection to highlight LGBTQ (Lesbian, Gay, Bisexual, Transgender, Queer) histories that have until recently been overlooked or underrepresented in museums and galleries.

People are living longer than ever before and society is constantly reevaluating what it means to be ‘old’. Exhibition Curator Tim Clark reveals why Hokusai: beyond the Great Wave focuses on the last 30 years of the artist’s extraordinarily long life.

What is a print? How do artists create multiple versions of their works? What does lithography actually mean? Well, wonder no more as we take you through three techniques of getting print onto paper!

Take a closer look at one of the most famous artworks in the world. The Great Wave was created in 1831 but has had a remarkable influence on art ever since. Here are some key facts you might not know about this iconic masterpiece.

Ali’s Boat by Sadik Kwaish Alfraji tells a personal story of exile and migration. Venetia Porter and Holly Wright discuss how this artwork became part of The Asahi Shimbun Display Moving stories: three journeys.

2017 has been a busy year for the Prints and Drawing Department with two exhibitions recently opened at the British Museum. Conservation Mounter David Giles discusses the conservation preparations for these two very different exhibitions.

When archaeologists found what looked like a collection of footprints on a beach at Happisburgh (pronounced Haze-borough) in Norfolk, they were unaware they’d discovered tracks of early humans that were a million years old.

The exhibition The American Dream: pop to the present is now open. Why is this extraordinary collection of modern and contemporary art at the British Museum?

Famous for far longer than 15 minutes, a lot has been said about Andy Warhol already. But whether you’re an art novice or a world expert, you might just learn something new about ‘the Pope of pop art’.

Author, playwright and self-confessed Baby Boomer Bonnie Greer takes a personal look at five of the works featured in the Museum’s exhibition on American prints from 1960 to the present. From Andy Warhol to Kara Walker, what does a nation’s art say about the state of its politics and its identity?

In 1991, to mark the end of apartheid, BMW invited Esther Mahlangu to make a work of art for their Art Car project. Her work, with its brightly coloured geometric shapes, draws on the traditional house-painting designs of Ndebele people in South Africa.

Presenting 100,000 years of history through art was always going to be an immense challenge. Here, the co-curators of the current exhibition South Africa: the art of a nation give their personal insight into the thinking behind this ambitious project.

The new special exhibition for 2017, Hokusai: beyond the Great Wave (25 May – 13 August 2017), explores the work of Katsushika Hokusai (1760–1849), considered by many to be Japan’s greatest artist.

The elephant-headed Ganesha is one of the most popular Hindu gods – the creator and remover of obstacles. Celebrating Ganesha is a Spotlight tour by the British Museum – as part of the tour a 13th schist sculpture of Ganesha will be touring six venues across the UK. In this blog post Antonia Harland-Lang interviewed members of the Oxford Hindu Temple and Community Centre Project about what it meant for an 800-year-old statue of Ganesha to travel to Oxford from the British Museum, and their experiences of being involved in the project.

Maggi Hambling talks to Hugo Chapman, Keeper of Prints and Drawings, about her exhibition ‘Touch: works on paper’ at the British Museum – a retrospective of Hambling’s prints and drawings, many of which have never been exhibited before.

Artist and designer Heidi Hinder together with the Citi Money Gallery Education Manager, Mieka Harris, and the Curator of the Citi Money Gallery, Ben Alsop recently led a workshop with a group of young people from the New Horizon Youth Centre as part of the Citi Money Gallery Education Programme. In the first workshop they explored the far-reaching significance of money.

2015 saw the ten-year anniversary of the Asahi Shimbun Displays at the British Museum. In this blog post Laura Purseglove and David Francis engage in a critical dialogue about the Asahi Shimbun Displays and the relationship to trends within museological and cultural theory.

The exhibition Egypt: faith after the pharaohs, examines religious identity in the first millennium AD, when Egypt became first a majority Christian population and later, Muslim. Today, Egyptian Christians, or Copts, are a significant minority. The extraordinary collections of the British Museum allow us to explore religious identities in Egypt up to the present, here through contemporary photography.

Art historian Frances Carey looks at the life of German artist Käthe Kollwitz and the inspiration behind some of her works. A selection of Käthe Kollwitz’s works will be on display in the exhibition Germany: memories of a nation running 16 October 2014 – 25 January 2015.

Joachim Whaley discusses the longest lived political system in German history, the Holy Roman Empire from its origin in Charlemagne’s Frankish realm to its destruction by Napoleon. 

Although Viking graves took certain standardised forms – in the detail of the rituals it was clear that almost every funeral was different giving the deceased a personalised send-off. Neil Price looks at the complexity of one particular burial site at Kaupang, Norway.

Gareth Williams is working on the BP exhibition Vikings: life and legend, the largest Viking exhibition in the UK for over 30 years. In this blog Gareth discuses what we can expect from the exhibition along with the challenges of incorporating a 37 metre-long Viking ship into the new Sainsbury Exhibitions Gallery.

Tom Williams explains how objects in the new exhibition, the BP exhibition Vikings: life and legend indicate that the Vikings were working their way up and down the river systems of Russia and Ukraine more than a thousand years ago.

At over 37 metres long, Roskilde 6, the highlight of the BP exhibition Vikings: life and legend  is the longest Viking ship ever discovered. Tom Williams talks us through the challenges of installation of this nature. 

Tim Plyming, gives you a preview of what to expect from the live screening of Life and death in Pompeii and Herculaneum coming to cinemas across the UK to bring you a ‘private view’ experience of the museum’s latest exhibition. 

In this blog, Vanessa Baldwin introduces us to the city of Herculaneum, often overshadowed by the city of Pompeii and explains why Herculaneum is just as important as its famous neighbour. 

A free exhibition, opening on 24 May 2012 at the British Museum will celebrate the epic story of the horse – a journey of 5,000 years that has revolutionised human history. Nigel Tallis gives us a preview of what to expect.