Recent cultural studies have demonstrated the weakness of some of the fashionable theoretical positions adopted by scholars of imperialism in recent times. This book explores the diverse roles played by museums and their curators in moulding and representing the British imperial experience. The British Empire yielded much material for British museums, particularly in terms of ethnographic collections. The collection of essays demonstrates how individuals, their curatorial practices, and intellectual and political agendas influenced the development of a variety of museums across the globe. It suggests that Thomas Baines was deeply engaged with the public presentation, display and interpretation of material culture, and the dissemination of knowledge and information about the places he travelled. He introduced many people to the world beyond Norfolk. A discussion of visitor engagement with non-European material cultures in the provincial museum critiques the assumption of the pervasive nature of curatorial control of audience reception follows. The early 1900s, the New Zealand displays at world's fairs presented a vision of Maoriland, which often had direct Maori input. From its inception, the National Museum of Victoria performed the dual roles of research and public education. The book also discusses the collections at Australian War Memorial, Zanzibar Museum, and Sierra Leone's National Museum. The amateur enthusiasms and colonial museum policy in British West Africa are also highlighted. Finally, the book follows the journey of a single object, Tipu's Tiger, from India back to London.
‘To turn round a
dead … or a living mummy … touch and twirl the
proper Spring’. In the eighteenth century, detailed
instructions were given to help you make a mummy inside the
BritishMuseum come to life.
for other objects, but the
present example is unusual in having been carved in a single piece, without
a cavity. Its date and possible function will be considered below. It is a
pleasure to dedicate this article to Rosalie David, whose pioneering multidisciplinary research has inspired a generation of younger scholars to apply
innovative scientific methods to the study of mummies and grave goods to
enhance our understanding of life and death in the ancient Nile valley.
The figurine entered the collections of the BritishMuseum, London, in 1915,
before its mild god, the BritishMuseum.
(Daljit Nagra, ‘Meditations
on the BritishMuseum’, 2017) 1
In June 2011 I found myself at
the Yushukan military and war museum in the heart of Tokyo, before a
glass case containing a hanayome ningyo or ‘bride
doll’. The Yushukan
consequences. Finally, I consider the way
Dalziel’s work has been collected by two major memorialising
institutions, the BritishMuseum and the Victoria and Albert Museum.
The archive – it’s about time: from
Alice to Ally Sloper
The archive sustains that which time
threatens and attacks. It also functions through temporal structures,
producing a complex form of narrative that is
. Wherever they are
located, however, these objects and the changing interpretations they have been subject to
over the intervening period clearly illustrate how the meanings of objects are modified and
altered in response to external influences and changing political priorities. The process of
understanding these shifting patterns highlights the fact that ‘curating empire’
is still a pertinent concern for museum professionals today.
The BritishMuseum and the National Maritime Museum, Greenwich – the
two national museums
Children’s encounters with ancient Egypt in the long nineteenth century
The anonymous author of ‘At the BritishMuseum’, published in Charles Dickens's All the Year Round in August 1869, describes the visit of a group of working-class families to the BritishMuseum: adults and children alike are bewildered, perplexed and puzzled.
The author asserts that while the ‘man of education is thoroughly provided for at the BritishMuseum, to the less well-educated, the Museum is an appalling enigma.’
The diverse origins of the municipal art gallery movement
substantial state subsidy and become part of a national network
of art education, there was no provision for central support of regional museums,
however large and successful they were. For a time the Salford museum claimed
more visitors than South Kensington and the BritishMuseum, yet unlike these
metropolitan institutions, it had to rely entirely on local sources of support.5
For smaller towns, a halfpenny rate generated insufficient funds to cover annual
costs, let alone the necessary capital expenditure. Even in Warrington, a relatively wealthy town with established
The continuing rise of the British Museum (Natural History)
Henry A. McGhie
11 The 1890s: the continuing
rise of the BritishMuseum
enry Dresser was fifty-two in 1890; through the decade, he and Eleanor
lived a comfortable life in Farnborough. They suffered a great tragedy
when their nine-year-old daughter Phyllis died of mumps in 1893. This had
a tremendous impact on both Henry and Eleanor: she often spent time away
from home in London on charitable work (‘mission work’), while he would
take trips away (to Lilford Hall in 1895 for example) so as not to be left alone at
Topclyffe Grange.1 The Bowling Iron Company
BritishMuseum, the World Museum in Liverpool and
the Rijksmuseum van Oudheden in Leiden) that were previously examined
during the 1960s (Gray 1967; Gray and Slow 1968) and which appear to demonstrate radiographic evidence of osteoporosis. By looking for radiographic
skeletal markers of ageing, this chapter seeks to determine whether the condition occurred at a younger age in ancient Egypt than in present-day individuals.
There are two types of osteoporosis. The first is post-menopausal osteoporosis, which is the result of a decrease in oestrogen levels accompanying the