British Museum blog

AD 79 in HD: broadcasting Pompeii Live

Preparations for Pompeii LiveTim Plyming, Head of Digital Media and Publishing,
British Museum

At time of writing we are under a week away from two live cinema events for the British Museum exhibition Life and death in Pompeii and Herculaneum, and I wanted to give you a bit more detail about what we are planning, as well as a glimpse behind the scenes at the huge amount of activity now taking place.

Pompeii Live presenters Bettany Hughes and Peter Snow

Pompeii Live presenters Bettany Hughes and Peter Snow

Our ambition from the beginning has been to provide an exclusive ‘private view’ experience of the exhibition. We realised the best way to experience the exhibition was to have a ‘private guided tour’ in the presence of experts able to bring the objects to life through the stories they tell. This ‘private tour’ experience is of course not one that we can offer every visitor to the Museum but through a special event such as Pompeii Live we can, for one night and using the power of live satellite broadcasting, bring that experience directly into cinemas across the UK.

We are thrilled at visitors planning to join us from as far afield as Thurso, Swansea, Belfast, Plymouth and Norwich. Over 80% of the available tickets have been sold, so we are telling visitors to make sure they have their ticket in advance if they want to join us live.

Preparations for the Pompeii Live broadcast

Preparations for the Pompeii Live broadcast

Over the 80-minute broadcast, visitors will be led by our main presenters, Peter Snow and Bettany Hughes. They will be joined by specialist contributors including historians Mary Beard and Andrew Wallace-Hadrill, chef Giorgio Locatelli and, broadcaster and gardening expert, Rachel De Thame. We feel very privileged to have such an amazing line-up who will take us much closer to the people of these tragic cities and what their daily lives were like. Giorgio Locatelli, for example, has been experimenting in his kitchen in central London with a recipe for the carbonised loaf of the bread – one of the star objects in the exhibition.

Chef, Giorgio Locatelli and broadcaster Peter Snow making plans for the event

Chef, Giorgio Locatelli and broadcaster Peter Snow making plans for the event

We have already started our rehearsals and preparations for the show and feel certain that audiences are in for a real treat when they join us live on the night. On Monday, the outside broadcast vehicles arrive at the Museum and we start the process of – overnight – building a live broadcast studio in the heart of the British Museum. On Tuesday 18 June we rehearse the event and are then live to over 280 cinemas across the UK at 19.00 BST.

Following the live broadcast, over 1,000 cinemas across the world in over 60 territories will show a recorded ‘as live’ version of the event. This will be shown in cinemas as far flung as China, India and the USA.

Preparations for Pompeii Live

Preparations for Pompeii Live

In addition to our main broadcast event on Tuesday 18 June, our team has developed a live cinema event for school audiences. This will allow schools across the UK to go to their local cinema and be transported live to the British Museum to explore the objects in the exhibition as well as content designed to link to Key Stage two subject areas. They’ll be guided by presenters Naomi Wilkinson and Ed Petrie, as well as a cast of specialist contributors.

You can find your nearest participating cinema, in the UK and across the world, on our website at britishmuseum.org/pompeiilive and follow preparations for both live events on Twitter using #PompeiiLive.

Life and death in Pompeii and Herculaneum is at the British Museum until 29 September 2013.

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

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Filed under: At the Museum, Exhibitions, Life and death in Pompeii and Herculaneum,

Herculaneum: the unknown city

Herculaneum: the unknown city Vanessa Baldwin, exhibition project curator, British Museum

For many people visiting the exhibition, Life and Death Pompeii and Herculaneum, it may be the first time they have encountered the smaller city which lay west of Mount Vesuvius.

General view of Herculaneum with Vesuvius in the background © Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei.

General view of Herculaneum with Vesuvius in the background © Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei.

While Pompeii became a household name, immortalised in books, television and cinema, Herculaneum has remained relatively unknown in popular culture. In the exhibition we felt it was important to show why Herculaneum is just as important as its famous neighbour. The cities were destroyed by the same catastrophic eruption of Mount Vesuvius in AD 79, yet at different times and under different circumstances. For these reasons Herculaneum differed from Pompeii, not only in its life as a smaller coastal city, but also in the incredible things that were preserved there. As a result it has different stories to tell.

Herculaneum was actually the first of the two cities to be re-discovered in the eighteenth century. In 1710 a well-digger chanced upon the theatre, where later finds included the bronze statue of the wealthy ex-slave and city benefactor, Lucius Mammius Maximus.

Bronze statue of Lucius Mammius Maximus © Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei.

Bronze statue of Lucius Mammius Maximus © Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei.

Herculaneum was buried much deeper by the volcano than Pompeii, more than 20 metres in some areas, so the first explorations of the site were carried out by tunnelling through the hardened ash. Pompeii, on the other hand, was only buried by about 4 metres of ash in some places. This meant that in the months following the eruption people returned to the city to salvage statues, building materials and whatever else they could find. However, it also meant that when Pompeii was rediscovered in 1748, it was possible to excavate large areas relatively easily. Visitors preferred to wander the open-air streets, houses and public buildings of Pompeii, than clamber down dangerous tunnels in Herculaneum. So although many of the most impressive discoveries, such as the bronze and marble statues from the Villa of the Papyri, were made in Herculaneum, it was Pompeii that attracted the tourists. As Pompeii became the focus of the excavations of the Bourbon kings of Naples, the tunnels of Herculaneum were filled in and interest in the site waned until open-air excavations began years later. The creation of plaster casts of the victims of Pompeii by Giuseppe Fiorelli in the 1860s sealed its fate as the city which set imaginations alight.

Herculaneum was also the first of the two cities to be destroyed in AD 79. The initial surge of superheated ash, rock and gas, following the collapse of the 20 mile high cloud ejected by Mount Vesuvius, raced towards Herculaneum and wiped it out in an instant. The temperature during the eruption is could have reached 450°C in Herculaneum, which meant that organic material, like wood and foodstuffs, were preserved. At these temperatures, and encased in volcanic material which rapidly compacted and hardened to rock, wood did not burn, but was instantly carbonised – turned to charcoal. At Pompeii, where temperatures may only have reached a cooler 350°C, organic material has very rarely survived. It is Herculaneum that has yielded the furniture, the straw baskets and the loaves of bread.

Carbonised furniture and food © Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei.

Carbonised furniture and food © Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei.

The archaeological site open to visitors today presents a striking scene: lying metres below the current ground level, with the modern town of Ercolano perching above it and Vesuvius still looming in the background. There are two-storey buildings, wooden doors, staircases and even racks holding amphorae, still in situ. Once an ordinary city of the Roman empire, its destruction and preservation have made it an extraordinary place which truly deserves the same renown as its counterpart.

Life and death in Pompeii and Herculaneum is at the British Museum until 29 September 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

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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

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Pompeii and Herculaneum: two ordinary cities with an extraordinary story

Portrait of baker Terentius Neo and his wife. Pompeii, AD 55–79. © DeAgostini/SuperStock

David Prudames, British Museum

In AD 79, late in the year, two cities – Herculaneum and Pompeii – along with various small towns, villages, and farms in the south of Italy were wiped out in just 24 hours by the catastrophic eruption of the nearby Mount Vesuvius. This event ended the life of the cities, but preserved them to be rediscovered by archaeologists nearly 1,700 years later.

These were not extraordinary cities; they died in an extraordinary way, but they were ordinary ancient Roman cities, and because of this they have been able to become a lens through which we can see and understand a whole civilisation.

Portrait of baker Terentius Neo and his wife. Pompeii, AD 55–79

Portrait of baker Terentius Neo and his wife. Pompeii, AD 55–79. © DeAgostini/SuperStock

In spring 2013, these two cities and their unique story will be explored in a major exhibition at the British Museum, that will – in the words of Museum Director, Neil MacGregor – be a chance ‘to visit the cities and to visit the houses in the cities; to be inside a Roman household, inside a Roman street; to know what it felt like, to know what was going on.’

Through objects from the British Museum collection and an immensely generous loan of 250 objects from Naples, Pompeii and Herculaneum – many of which have never been seen outside Italy – the exhibition will focus on the daily lives of the ordinary people who lived there.

Exhibition curator, Paul Roberts explained how in exploring daily life we have a chance to see how people like us would have lived in an ancient reflection of our own lives:

‘Daily life; the home, and domestic life, it’s something that we all share. The home gives us a wonderful opportunity to explore how people like us lived in Roman times: perhaps they didn’t all go to the baths, or the amphitheatre, but poor or wealthy they all had a home.’

Through some of the most famous objects to have emerged from the two cities, and finds unearthed during recent archaeological work there, the exhibition will look at the make-up and activity of homes – and the people who lived in them – at both Pompeii and Herculaneum.

Gold bracelet in the form of a coiled snake, 1st Century AD, Pompeii

Gold bracelet in the form of a coiled snake, 1st Century AD, Pompeii

Often the stories revealed are surprising. For example, from Pompeii, the large industrial centre of the region with a population of around 12-15,000, comes a statue of a woman commemorating her funding – with her own money – of the largest building in the forum, the heart of the city. This, in a male-dominated society where women might not usually be known as the rich patrons of civic monuments.

While at the same time, the more mundane elements of life are revealed in objects such as an extraordinarily well-preserved loaf of bread that, in Paul’s words, ‘went in the oven in AD 79 and came out in the 1930s’.

But of course the reason we know this story and can see these wonderful objects is because of the tragedy which struck in AD 79. Incredible finds from Herculaneum, a smaller seaside town of some 4-5,000 inhabitants, include food, leather, and wooden furniture – from a table to a baby’s cot – and survive only because they were carbonised (turned into charcoal) by the 4-500 degree Celsius volcanic avalanche that engulfed the city.

As Paul explained:

‘We can’t imagine the horror of that day, but we can see what people did. Some of them were practical, taking a lantern or a lamp to help them stumble through the total darkness of the volcanic blizzard. Other people took gold and silver in the form of coins or jewellery. One little girl took her charm bracelet with pieces from all over the Roman world and beyond, such as cowries from the Indian Ocean, amber from the Baltic, rock crystal from the Alps, faience from Egypt. She had this with her when she died on the beach at Herculaneum with hundreds of others.’

Some 2,000 years later that charm bracelet will be among the objects on display at the British Museum next year, allowing us as it does to recall and remember the real people whose lives we are so privileged to be able to see and understand:‘We had to have the death of Pompeii and Herculaneum to know so much about the people who lived there, but it’s their lives that we will be celebrating in this exhibition.’

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

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Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. 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 Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the cities were believed to be lost. After sightings from a plane, a diving survey was organised in 1933 to explore submerged ruins. But it was only from 1996, with the use of innovative techniques and a huge survey covering 42 square miles of the seabed, that underwater archaeologists rediscovered the lost cities. 
Thonis-Heracleion and Canopus were thriving cities long before the foundation of the great port of Alexandria in 331 BC. Finds suggest that they were still inhabited into the AD 700s. The cities’ disappearance was caused by gradual subsidence into the sea – much like Venice today – coupled with earthquakes and tidal waves. This triggered a phenomenon known as land ‘liquefaction’, when the ground turns into liquid. 
This reconstruction shows what the port of Thonis-Heracleion could have looked like, dominated by the Temple of Amun-Gereb. Follow the link in our bio to book your tickets to our #SunkenCities exhibition. © Yann Bernard. © Franck Goddio/Hilti Foundation. Recent underwater excavations at the mouth of the Nile in Abukir Bay, Egypt, have revealed two ancient cities, perfectly preserved beneath the sea. Our #SunkenCities exhibition tells of the extraordinary rediscovery of the international port Thonis-Heracleion, and the city of Canopus, famed for their temples which attracted religious devotees from Egypt and beyond. 
Since 1996, underwater investigation using state-of-the-art technology has uncovered spectacular objects, including colossal statues, religious offerings and ancient ships. The finds shed new light on the interaction between ancient Egypt and the Greek world at a crucial period in their history, from the arrival of Greeks in Egypt around 650 BC, to the reign of the Greco-Macedonian Cleopatra VII, the last pharaoh of Egypt (51–30 BC). With only a fraction of these sites explored so far, annual excavations are continuing to uncover the cities’ long-hidden secrets. 
This 2,000-year-old bust depicts Neilos, the Nile river god. Neilos appealed to Egyptians and Greeks alike – he was the Greek version of Hapy, the Egyptian personification of the annual Nile flood that brought prosperity and fertility to the land. This bust was once mounted into a large decorative shield and adorned a temple in the ancient Egyptian city of Canopus. It was discovered by underwater archaeologists at the base of the wall on which it once hung. 
Follow the link in our bio to find out more about our unmissable exhibition. 
Bust of Neilos. Canopus, AD 100–200. On loan from Maritime Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. This astonishingly detailed miniature altarpiece has been photographed by @micahfoundaquarter. Made in 1511 in the Netherlands, it’s only 25cm tall but contains incredibly intricate carvings that show Christian religious scenes in triptych form (in three parts). Aside from the masterful craftsmanship, this object is notable for its use of both Gothic and Renaissance stylings. It offers an insight into the spread of ideas and styles into northern Europe from the birthplace of the Renaissance, Italy.
Share your photos with us using #myBritishMuseum
#carving #Gothic #Renaissance #Netherlands #detail This photo by @ozemile captures the pensive expression of Marsyas, a figure from Roman and Greek mythology. Marsyas was a satyr, male companions of the Greek god of wine, Dionysus (Roman: Bacchus). Among other things they were associated with playing the aulos, an ancient type of wind instrument. In this Roman statue, Marsyas is portrayed making the fateful decision to pick up the pipes that had been invented and discarded by the goddess Athena. Later, he accepted a musical challenge against Apollo’s lyre (a small harp-like instrument). Unfortunately for Marsyas, he lost, and suffered a grisly demise for daring to challenge a god!
Share your photos with us using #myBritishMuseum
#Roman #statue #Greek #sculpture #mythology We’re highlighting some of our favourite photos taken by visitors. Don’t forget to share your photos with us using #myBritishMuseum. Here’s a great shot of the Discobolus – that means ‘discus thrower’ – by @everyjoon. The photo captures the majestic scale of the athlete, and his dynamic pose. Sculpted during the 2nd century AD in Roman Italy, the statue is in fact a copy of a Greek bronze original, made around 700 years earlier. It was found in Hadrian’s villa at Tivoli, near Rome. Among other things, it is famous for having a head that doesn’t belong to the original body. The head is very close in age and style, and uses marble that is exceptionally well-matched to the torso, but it has been attached at the wrong angle! Complete statues from the time reveal the head to be turned to look towards the discus, rather than the floor.
#Discobolus #sculpture #Roman #Greek #statue #discus
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