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Home , British Museum, Greg Woolf, Hartwig Fischer, John Evelyn, Library of Ashurbanipal, Museum

British Magazine Autumn 2020 Magazine Autumn 2020 Issue 97 £3.50

Face to face Uncovering from around the world

Global responsibility The Director shares thoughts on the Museum’s future 11 36 Acquisitions What is ‘black goo’? Kate Fulcher and John 12 Taylor analyse a mysterious Gifts from the ritual that formed part of an Christopher Date recollects Egyptian funerary practice a remarkable gift of Japanese objects 39 Resilient 14 Greg Woolf follows the

Contents Digital discoveries of the most Michael Tame celebrates long-lived cities of the the Museum’s revamped Mediterranean online 42 16 The origins of writing A global vision Andrew Robinson outlines discusses various theories about the Museum’s past, present how writing frst came into and future with Clarissa Farr existence 22 46 Keisai Eisen, colour Behind the Recording our past woodblock print of two geisha, c.1820–9. Clive Gamble examines the Michael Lewis commends Bequeathed by Captain 03 Museum’s varied collections the continuing work of Collingwood Ingram. Editorial of face coverings the Portable Scheme 05 26 Black Lives Matter Living through ’s 50 Hartwig Fischer outlines contagion Finding the fakes the Museum’s policy Hilary Williams describes St John Simpson shows the 17th-century plague how the Museum helped to 07 identify a recent shipment Insight 30 of fake antiquities Lachlan Goudie enjoys Warp and weft the humour of the Lewis Pamela Cross gives the 53 Chessmen background to a collection reviews 08 of Sumatran textiles 56 32 Trustee’s choice The lost of the curse tells the moving 09 Stuart Vyse sheds light on story that inspired a Roman News ancient spells and sorcery memorial

The : +44 (0)20 7323 8000 British Museum Friends accept Cover Turquoise Mixtec-Aztec , London WC1B 3DG no responsibility for the content of mask possibly representing the god britishmuseum.org advertisements in this Magazine and , c.1400–1521. British Museum Friends: +44 (0)20 7323 8195 have no view on the authenticity or [email protected] legal status of any works that might be We aim to ensure that information about mentioned or illustrated therein. It is the British Museum Magazine: +44 (0)20 7323 8125 outside the British Museum is policy of the British Museum Friends to correct, but readers are advised to check Editor: Caroline Bugler accept antiquities advertisements only with venues before visiting. Editorial Assistant: Jessica Lane where we receive assurance from the Proofreader: Helen Knox advertiser that the illustrated object is Advertising: Maya Champaneri: +44 (0)20 7300 5675 documented to have formed part of a Catherine Cartwright: +44 (0)20 7300 5658 legitimate collection prior to 1970. Photography: BM Photography and Imaging (unless stated otherwise) : Tina Hall/Perfect Sky Repro: PH Media Printing: Precision Colour Printing

All images © 2020 The Trustees of the British Museum, unless stated otherwise All information correct at time of going to press.

British Museum Magazine Autumn 2020 1 Editorial

Clarissa Farr.

Different voices For the first time since the Second World the swimming, Stuart Vyse, writing on the lost art of the Museum has had to close its for an extended curse, reveals how bathers got their own back at the period of time, and the galleries which normally public baths during the Greco-Roman period. teem with curious visitors have fallen quiet. Behind It was a great privilege for me at the start of the scenes, with many staff working from home or on lockdown to spend an afternoon in video conversation furlough, the conservation team has been carefully with our Director Hartwig Fischer about his monitoring the condition of objects so they are ready extraordinary career and future ambitions for the for display on our return; the exhibitions team has Museum. A shortened version of our talk appears been preparing to resume our special here. The work of the Director and many others has programme while the senior staff have been planning continued apace. Michael Lewis explains, for example, the complex logistics of reopening. Everyone is focused that the Portable Antiquities Scheme, co-ordinated by on that much-anticipated moment when light will the British Museum in partnership with Amgueddfa flood the galleries and our visitors will return. Cymru-National Museum Wales, has continued its This edition of the magazine allows us to hear some painstaking work of recording new discoveries, with different voices and find new facets of the collection to 5000 new records created during lockdown. My explore. Pamela Cross of the Friends Advisory Council personal favourite? The copper alloy mount showing reminds us that objects are woven with their own story the fearsome white boar of Richard III found in as she describes how richly coloured and intricate Colyton, Devon. Toba Batak textiles have been passed down and used We hope you will enjoy these pages as they shed new in family rites of passage. Andrew Robinson, also a light on the collection. The loyalty of our Members member of Council, uncovers the fascinating and still who have continued to support the work we do evolving of writing: ‘the greatest in through this difficult time is cause for celebration and history since it made history possible’. At a time when gratitude. We look forward to the time when we will the longevity of communities is on our minds, Greg be able to gather together once again and share the Woolf writes about the ‘urban resilience’ of cities unique experience of engaging with the collections in such as Thebes, Corinth and and how they our wonderful building. are ‘the great survivors’ of the ancient world. And if this summer you are wondering how to take revenge Clarissa Farr on the person who pinches your towel while you are Chair, British Museum Friends Advisory Council

With thanks to our contributors

Mary Beard Hartwig Fischer Michael Lewis John Taylor Professor of at the Director, the British Museum Head of Portable Antiquities : and Sudan of Cambridge and Kate Fulcher and Treasure Stuart Vyse British Museum Trustee Scientifc researcher Andrew Robinson Psychologist and specialist Pamela Cross Clive Gamble Member of the British Museum in superstitious belief Member of the British Museum Emeritus Professor of , Advisory Council Hilary Williams Advisory Council University of Southampton and St John Simpson Offcer: Christopher Date former Chair of British Museum Curator: Greg Woolf Honorary Associate, Friends Advisory Council Michael Tame Director, Institute of Classical Powell Cotton Museum Lachlan Goudie Former Website and Collection Studies, School of Advanced Artist online Programme Manager Study

British Museum Magazine Autumn 2020 3 The panellists in a discussion on the ‘Era of Reclamation’, 10 January 2020. From left to right: Olivette Otele, Professor of the History of Slavery, Bristol University and Vice-President of the Royal Historical Society; , writer, playwright and former Deputy Chair of the British Museum Trustees; Dr Miranda Lowe, Curator at the Museum and founding member of Museum Detox; Dr Valika Smeulders, Head of History at the Rikjsmuseum. (Photograph: Benedict Johnson.)

Black Lives Matter

The killing of George Floyd in Minneapolis listening to conversations such as those at last richness and ambiguity, and thus to inform is shocking. The subsequent protests, the year’s National Programme conference held and contribute to the current debate. Shortly explosion of pain, indignation and rage in at the Museum, which explored equality and before lockdown, the Museum started a America and across the world, have brought diversity in UK . We will broaden series of public discussions on the ‘Era of home how deep the experience of racism is the diversity of voices present in the Reclamation’, led by former Deputy Chair for so many in our societies. The British interpretation of objects in the collection, we of the Museum’s Trustees, Bonnie Greer. As Museum stands in solidarity with the British will explore new forms of curation and Bonnie remarks in a blog she published to Black community, with the African American further improve accessibility of the Museum accompany the series: ‘Here, inside the British community, with Black communities and its many ofers. We will continue to Museum, a theatre of human connection, throughout the world. We stand with research, acknowledge and address the reclamation can fnd the seeds that can begin everyone who is denied equal rights and colonial history of Britain and its impact on the process of an even deeper, more profound protection from violence and discrimination our institution in exhibitions like the recent engagement. We need now to see and know in the fullest sense of these terms. These are and Reimagining Captain that we are the same species, with the same challenges that we as a society must address, Cook: Pacifc perspectives (supported by Stephen stories. And that we have always been in injustices that must be overcome. and Julie Fitzgerald), but also in specifcally search of what we ultimately are seeking to The events must sharpen our awareness of dedicated projects. And although it will take reclaim: ourselves.’ Bonnie has also written a how much more we, as a major public time to realise, the Museum’s developing blog refecting on current events which can , need to do in the fght masterplan project – the Rosetta Project – be read on the Museum’s website. against inequality and discrimination. We provides a unique generational opportunity Working with partners across the world need to embrace the fact that diversity of to reconsider, rethink and rebalance the and listening to both friends and critics, we background, thought, ability and skills is display of the collection, introducing greater will continue to strive for the right ways to essential for the success of our Museum, and diversity of collections on display, expanding allow the Museum to better refect our for the heritage sector as a whole. museum narratives and collaborating on a societies and our complex, contentious and Respect, inclusion and diversity are at the global scale. blended histories, and become more than heart of our values. We continue to put our In the midst of this debate, the ever that ‘theatre of human connection’. best eforts into making them a reality, extraordinary breadth and depth of the knowing that a remains to be done by us. collection continues to challenge us to Hartwig Fischer We will work to diversify our own staf, discover our common human past in all its Director, The British Museum

British Museum Magazine Autumn 2020 5 Insight

Lachlan Goudie, Coastline, 2015. Pencil on paper, 21 x 59 cm. © Lachlan Goudie. This was drawn on a beach on the west coast of Lewis, the island where the Chessmen were discovered after a retreating sand dune exposed them.

Game for a laugh The famous Lewis during the 12th century – a period when startling graphic impact, something Chessmen always the Hebridean islands formed part of which is enhanced by the levels of detail the Kingdom of . that are revealed on close examination. raise a smile, says These chess pieces represent the As the game demands, there are Lachlan Goudie fluid exchange of materials, ideas knights, bishops, kings and queens, and creative inspiration between but what I find most striking is not the As a Scottish artist I have long been communities, which drives the course medieval craftsmanship which is on fascinated by the art and artefacts of art history. Art doesn’t belong to any show here – it’s the humour. Often associated with my homeland. But while one tribe, country or . It is the when we discuss history, we envisage our writing my new book The Story of Scottish product of collaboration across time and po-faced ancestors trudging through a Art I learned one important truth – that borders. The techniques and aesthetics life of conflict, manual labour and poor the very identity of ‘Scottish’ art is of Scandinavian craftsmanship are sewage. What the reveal multi-layered and complex. folded into the history of Scottish is that our ancient brothers and sisters The Lewis Chessmen form part of decorative art. This exchange dates as loved a good laugh too. I am unable one of the most iconic collections of far back as the Age, when trade to contemplate these artefacts without artefacts ever discovered in Scotland. routes across the North Sea allowed cracking a smile; there’s the king with The 93 chess pieces have excited new techniques and ideas to spread his wild stare, the bishops’ faces bursting fascination and an inordinate amount between social groups from as far afield with bug-eyed horror, the pawns depicted of public affection since they emerged as and . as shield-munching berserkers. Across on a beach on the Island of Lewis in The individual chess pieces themselves nine centuries, in spite of the relentless the Outer Hebrides in 1831. It’s likely, are talismanic in other ways too – progress of and time, I however, that these startling objects charged with a kind of power and find myself still getting the joke. We all were not crafted in Scotland at all but in presence which feels unexpected for do, which is why the Lewis Chessmen , Norway. They were carved such modestly sized items. The design remain some of the best-loved exhibits using walrus tusks sourced in Greenland, and decoration of each piece has a in the British Museum.

A selection of pieces from the British Museum’s collection of Lewis Chessmen, c.1150–75. Other pieces are held by National Museums Scotland, , and six are on long-term loan to the Museum Nan Eilean, Stornoway.

The Story of Scottish Art by Lachlan Goudie will be published by Thames & Hudson in September.

British Museum Magazine Autumn 2020 7 Exhibitions

The following exhibitions are due to open this autumn, but at the time of going to press it Archaeologist Sarah Carter Keeping the was not possible to give precise dates. Please check britishmuseum.org for updates. excavating a broken but Diary collections safe

The Citi exhibition complete store jar. News Arctic: culture and climate Photo by While the doors of the Museum have been closed, plenty of Carr. The Sainsbury Exhibitions Gallery, Room 30 safeguarding work has been going on behind the scenes, supporter Citi, supported by Julie and much of it through remote working. Stephen Fitzgerald and AKO Foundation Before we left the building in March, we took various measures to make sure the collection was as safe as possible The Arctic has been occupied for a very long while we were away. All light-sensitive objects on display at time, and the are remarkably old. risk of fading were covered and gallery lights turned of, and Today, four million people live there, spread certain objects were wrapped to protect them from across eight countries. This immersive potentially damaging dust. We carefully removed organic exhibition reveal the creativity and objects such as wood and ivory pieces from the galleries, to resourcefulness of the . avoid any risk of them cracking if there were extreme Developed in collaboration with Arctic olive oil changes in temperature and humidity. Some showcases communities, it celebrates the ingenuity and which contain organic material are specially sealed and resilience of Arctic Peoples throughout In November 2019, the British Museum conducted its contain equipment (humidifers or dehumidifers) which keep history, demonstrating how they have second season of archaeological excavations at a 4500-year- the internal environment stable. When we found that the harnessed the weather and climate to thrive. old olive oil ‘factory’ in Jordan. Known as Khirbet Um on the Lewis Chessmen case was not completely tight, for What happens in the Arctic will affect us all, al-Ghozlan (the ‘Ruins of the Mother of the Gazelles’), this example, we instructed the engineers who were on site to and this exhibition is a timely reminder of unusual site is yielding intriguing discoveries associated with wrap the case in plastic. Seven hundred environmental what the world can learn from those who Bronze Age oil production, including stone-cut olive presses, monitors placed around the Museum have been providing live there. storage jars, fint pruning saws and crushed olive stones. members of the Collection Care team with live data so they Olive oil gives the archaeological history of Jordan a highly can check on the condition of objects remotely. Pest monitors Andrew Qappik, , Pangnirtung, distinct favour. Wild olive trees were domesticated in Jordan distributed throughout the Museum and our stores have also Nunavut, , by 5000 BC. The emergence of the region’s frst cities enabled us to keep a close eye out for insect damage. Most of There’s Another One, around 3500 BC was partly based on a lucrative oil trade the 150 members of the Collection Care department were coloured stencil with Egypt. Around 2500 BC, however, these early cities placed on furlough, but of those ffteen who have remained , 2012 © Andrew Qappik. were abandoned and the oil trade collapsed. working some were allowed access to the building to observe Khirbet Um al-Ghozlan dates to this so-called ‘Dark Age’. the collection in person. We are looking forward to the time Excavations at the site examine how olive oil production was when we can all return, and make sure the objects are in the reconfgured for local demand. Ultimately, this research best possible for exhibitions and loans. : enlightenment been linked to successive Rivalling : Parthian French Impressions: investigates how a resilient olive oil industry underpinned a to revolution waves of revolutionary coins and culture prints from Manet to spectacular urban recovery in the second millennium BC Sandra Smith The Joseph Hotung Great thought, from its 6th-century Room 69a Cézanne that culminated in the emergence of the Canaanites. Head of Collection Care Court Gallery, Room 35 transformation of Hinduism Presenting coins and other Room 90 Leonora Baird-Smith, Head of Supported by the Bagri and , to the Indian objects, including belts and Supported by Ronald E. James Fraser Collection Management, carrying Foundation fght for independence and fgurines, this exhibition Bornstein Curator, Middle East out insect pest management checks on a textile. A originating in the rise of 1960s counter- offers a balanced view of Prints were all the rage Caroline Cartwright medieval , Tantra has culture. On display will be the Parthians, an Iranian among the art-loving public Senior Research extraordinary objects from people who came to power in the Impressionist era. On India, , and Japan. in 248 BC. The Parthian display are ground-breaking Empire became a major and lithographs by Events online : rival to Rome east of the artists including Manet, of exile river Euphrates. Degas, Pissarro and While the Museum has been in lockdown we have been Room 2 Cassatt. producing a number of videos specially for Members. We Supported by AKO The Asahi Shimbun have already covered a variety of topics including Foundation Displays Piranesi : conservation during the closure; the British Museum’s A library housing over 2000 in 2020: visions of antiquity excavations in ; and the Aztec world. These digital events, volumes by writers who emerging artists respond Room 90 which give Members a chance to ask the speakers questions, experienced exile is housed Room 3 Supported by the Tavalozza have proved very popular and we plan to organise more of in a specially built pavilion Supported by the Asahi Foundation them in future. whose external walls list the Shimbun The Museum’s entire Sapta Chakra: world’s lost . On the 500th anniversary collection of Piranesi Thomas Knowles the parts Alongside the bookshelves of Raphael’s death, drawings is on display, Membership Events Manager of the body associated with is psalm, a quartet of emerging artists respond to featuring the glories yoga, c.1800. vitrines containing de one of his spectacular of Roman To fnd recorded events, please visit . Waal’s porcelain vessels. drawings of a torso. alongside fantasy creations. britishmuseum.org/membership/members-events

8 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 9 The British Museum makes acquisitions to extend knowledge of different cultures and places. These works have Jet Schepp, Malala, 2018, bronze recently joined the collection medal, 75mm. Photo © Da van Daalen and VPK.

A Hampshire

More than 350 coin of 345 silver coins in three from the denominations, half-crown, Acquisitions Acquisitions (1642–9) have been shilling and sixpence recovered in modern times, (efectively the £20, £10 and a unique concentration in £5 notes of the age) of English history. Until now, English monarchs from however, the British Edward VI to Charles I, Museum did not hold a with remnants of the Medals honouring individuals for their complete hoard to represent stoneware jug in which they achievements have been made for centuries, this period of extraordinary were hidden. The value of but it must be admitted that only rarely have chaos and tumult, an absence the hoard was £13. 4s. 6d., young women received such treatment. It is that has long seemed an easily a year’s pay for a this that makes a recently acquired medal by anomaly. An opportunity to labourer at the time and Dutch sculptor Jet Schepp particularly remedy this came with the several month’s wages for a noteworthy. Issued by the Vereniging voor discovery of the Mapledurwell soldier in the Civil War. The Penningkunst (Art Medal Association), the hoard in Hampshire in latest coins present were medal pays tribute to the Pakistani human August 2018. It was found issued in 1641–3, so it is one rights activist Malala Yousafzai. The design by a metal detectorist who of the many hoards concealed on the back is based on an inspirational behaved in exemplary right at the start of the war by phrase from Malala’s address to the United and the hoard was an owner who never returned. Nations Youth Assembly, given in 2013 on Honouring Malala able to be lifted within the her sixteenth birthday: ‘One , one surrounding earth and Barrie Cook , one pen and one book can change systematically excavated by Curator: Medieval and Early the world.’ Appearing as pictograms, the BM conservators. It consists Modern Coins four elements referred to by Malala and the cursive script together embrace the globe. This is not the frst time that Schepp has seen ft to commemorate a young woman. Her statue of diarist Anne Frank can be seen on Amsterdam’s Merwedeplein.

Philip Attwood Honorary Research Coins from the Mapledurwell Fellow, Department hoard. of Coins and Medals

Mesopotamian pyxis

This small lidded container with a pair of rods passed report now that it has been was excavated in the 19th through projecting loops on very generously purchased century by Hormuzd the interior. Most of the on our behalf and presented Rassam at the ancient site of fnds from these excavations to us by Julia Schottlander. , modern Tell Abu were presented to the British It will go on display in the Habba, in southern Iraq. Museum, but in this case the Later Gallery Coloured with yellow and pyxis remained in private (Room 55). blue glazes, it is also hands until it appeared for decorated with a low sale in 1991. We were rosette on the knobbed lid, unsuccessful in acquiring it St John Simpson Mesopotamian which was originally secured then but are delighted to Curator: Middle East pyxis and lid.

British Museum Magazine Autumn 2020 11 Miyoshi Manabu, plate from Oka zufu (Picture Album of Cherry Blossom) a woodblock-printed illustrated book, 1921.

Gifts from the past past the Gifts from Round iron tsuba, with seven plovers over a moored boat.

Five case inrō, with a white-crested cockatoo on a bough. Black lacquered and mother-of-pearl inlaid wood.

Christopher Date Forty years ago, Captain Collingwood horticulturalist, afrming his innate love inspiration from the Natural History Antiquities) first visited the Ingrams at talking with measured passion about is inspired by ‘Cherry’ Ingram (1880–1981) was about for the natural world. Museum, where he catalogued bird skins. The Grange in 1973 and developed a his acquisitions and his iconic garden. a remarkable to celebrate his hundredth birthday. Recent publications have ensured In 1902, he set off on a birdwatching good relationship with them. By 1980, Later, as Museum , I realised This in itself was a great achievement, that Ingram’s lifework is appreciated expedition to Japan. This access to with increasing concern for security at even more how vital such information benefactor with especially as his early years were beset widely for future generations, especially new cultures would have a significant The Grange, it was decided that many was to and historians. a passion for by poor health. However, he enjoyed his mission to restore the traditional influence on his future. In 1907 he objects should be removed to the safety Retirement has taken me to the Japanese culture a full and varied life, receiving high flowering cherry tree to Japan. revisited Japan, this time with his young of the British Museum. These were Powell-Cotton Museum at Quex Park recognition as an ornithologist and Of equal significance is his legacy wife . During a three-month transferred formally to the Museum as a in . Here, my ongoing research to the British Museum – a collection stay he ventured far off the tourist trails. gift in January 1981, and the remainder is revealing interesting connections of Japanese decorative of over Family life was interrupted by war. were bequeathed later that year. between the Powell-Cotton and Ingram 1000 objects. Of particular importance Collingwood became a technician for As a junior member of the families in London and Kent. Percy is the fine metalwork, especially the the Royal Flying Corps, but managed department, I accompanied the late Powell-Cotton (1866–1940), explorer, fittings. Many of the tsuba (sword birdwatching during his time in . Victor Harris (Keeper of Japanese collector and naturalist, visited Japan a guards) and lacquered inrō (seal cases) In 1919 the family moved to The Antiquities, 1997–2003) to The Grange. decade before Ingram and was equally are decorated from nature. All are of Grange at Benenden, a late 19th-century Victor was a specialist in Japanese drawn to its culture. Collingwood and exceptional quality. Tudor-Gothic style house. The neglected metalwork. Collingwood Ingram Percy were painstaking at documenting Collingwood Ingram was the grandson garden was graced by two fine Japanese made us most welcome and soon we their experiences. Both enjoyed a close of Sir Herbert Ingram, founder of cherry trees, their blossom a reminder all climbed several flights of stairs to association with the British Museum, the Illustrated London News. When of his earlier travels. Inspired, he began his attic hideaway. Numerous objects ultimately as benefactors – a perfect way he was a boy, Collingwood’s health to collect many traditional varieties, but were brought to us, each with a story to to support the Museum and share life required home education away from on returning to Japan, he soon realised tell, especially the inrō, many decorated stories with the wider world. London. Life in Kent provided study that similar efforts were needed in their with birds, fish, insects and ornamental and leisure. There, especially at Quex country of origin. His future as ‘Cherry’ trees. I was impressed with their quality To fnd out how to support the British Museum through Park, he explored nature, recording his Ingram was assured, as was his lifelong and condition. After lunch, we were a donation or gift in your birdwatching with attention to detail interest in Japanese . introduced to the famous gardens. will, please contact the beyond his years. In 1970, Collingwood expressed an Then, with objects packed, we returned Development Department When his health improved, a self- interest in leaving his Japanese collection to the Museum. Collingwood at +44(0)20 7323 8933 ‘Cherry’ Ingram assured Collingwood became committed to the British Museum. Lawrence Smith This visit made a lasting impression or email development@ in 1980. to ornithology. He drew further (later Keeper of Oriental and Japanese on me. I often recall ‘Cherry’ Ingram britishmuseum.org

12 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 13 Images for 1.9 million objects appear alongside Digital discoveries detailed descriptions. As Museum objects On the new website, the most people, places and terms associated languished behind popular objects in the Museum were with the objects as soon as you start to also the most looked at online. The type. The layout of the screens enables closed doors, the , the Lewis Chessmen users to see the image and the associated newly revamped and the wonders of were data side by side, and each of the Collection online all favourites. The new virtual galleries different terms triggers new searches, offered exciting ways were also popular, and when it was which is both a blessing and curse as to explore them on clear that the Museum was perhaps you might be tempted to spend the website. Michael going to be closed for months, the front going from object to object, marvelling page of the website was revamped at their beauty and craftmanship. As Tame gives details to highlight the new story pages and our Director, Hartwig Fischer, says: ‘We school resources as well as the relaunch hope that these important objects can The Museum has been investing in its of Collection online among other new provide inspiration, reflection or even digital platforms for many years, including content and initiatives. just quiet moments of distraction during the launch of the brand-new website in When it was launched in 2007, the this difficult time.’ November 2019. When the Covid-19 Museum’s Collection online was at the The other great new feature is the crisis hit in February 2020, and the time one of the best in the world, but ability to ‘deep zoom’ into images Museum shut its doors a few weeks later, it became in dire need of an overhaul. where they are large enough, using we were well placed to offer our visitors Throughout 2019 teams from two the latest IIIF imaging functionality.

a virtual experience instead. It quickly companies worked on totally rebuilding The incredible detail shown is actually The latest became clear that this was something that the Collection online databases and greater in some cases than can be technology allows people craved in their lockdown lives, as search engine, and when the Museum seen within the Museum itself. On the users to zoom in on minute the number of online visits soared. was closed the decision was taken to Samurai armour, restored in 2018, it details, such as Perhaps fuelled by hunger for accelerate the launch even though there is even possible to pick out individual the threads on the certainty in uncertain times, or a sense was still some work to be done. threads and stitches in the cloth. Finally, breastplate of this set of Samurai of permanence when everything else Users can now search 4.5 million it all works on a mobile or tablet just as armour. was falling apart, it was clear that the different objects and an associated 1.9 well as on a laptop or desktop . harder the lockdown, the more the million images, including objects the The response to the relaunch desire for culture, art and beauty grew. Museum has acquired during the last 20 of Collection online has been Italians in particular visited in their months that were not previously visible overwhelmingly positive, and has also hundreds of thousands and for several on the site. The new search function gained extensive coverage in the media. weeks outnumbered all other countries. is much more intuitive and suggests As a Spanish browser said on Twitter,

Collection online can be accessed ‘This is so amazing! We’re lucky to be and display them – perhaps kitchen world which will be enabled through this at britishmuseum. able to enjoy this from home.’ utensils from across the centuries, technology; the possibilities are endless. org/collection. Different search What’s next? The new website and old master drawings and modern But above all, people from both terms enable Collection online is just the start, a reinterpretations, and hoards of hoards. nearby and around the world who, for visitors to navigate platform to build on. Curators will very We have only just started 3D scanning, whatever reason, are unable to visit their way round the collection in quickly be able to put together virtual and there are many collaborations with in person can see the wonders of the various ways. object groups from across the museum researchers and colleagues around the Museum we all know and love.

14 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 15 Special interview Special interview

CF: Time has fown since your arrival which comes from nature – stone, wood, promised to tell me something about as Director in April 2016. What leather. So it also speaks to the relation myself, that I could defne myself surprised you about the British Museum of human beings to their environment. through them. There was a gallery in the in your frst weeks? suburb where I grew up, I would walk HF: What intrigued me frst of all was the CF: What do you think is the enduring past it on the way to school. I managed quality, intelligence and passion of the interest of museums? Why do people go to coordinate an exhibition for my uncle people working here – the colleagues to them? in that gallery, and made the across all departments and the Trustees. HF: I think they play a vital role in acquaintance of other artists. And so it The passion of the Members, their allowing us to tap into the experience of went on. I became friends with collectors in dedication to this institution, their critical others, to listen, to learn, to be inspired and through those friends I came eye, the way in which they have selected and better equipped for the future. to know curators and museum directors. this institution as a place to create experiences that are relevant for their lives, CF: Can you pinpoint the time when CF: Was there any one individual or any and to share them. And the way visitors that inspiration started for you? particular moment that was a turning come to the Museum from all over the HF: It was very early on. One of my point? Did you have mentors, people world expecting to have an important uncles is an artist, so as a child I had whose example was very important? experience; you see that in their eyes when access to his studio where there was this HF: Absolutely. I have been very lucky to they come through the . exciting of oil paint and the meet many inspiring people. I became And then the second was the miracle of seeing images slowly come friends with Gerhard Schack, a collector unfathomable, immense collection. The into being on the canvas. Also, there was of whose collection is now British Museum covers two million years that sense of beauty in everyday life at in one of Hamburg’s major museums. of like no other museum. home: a beautiful arrangement on a While he was organising an exhibition at In each object you have layers and layers table, beautiful fowers in the garden, the Kunsthalle in Baden-Baden I of experience, not only human the beauty of human beings. When I travelled there with him and saw for the experience, but also the experience of was about thirteen or fourteen I felt that frst time how a museum works, what Clarissa Farr and nature, because most of the objects in the there was something special about art, organising exhibitions means, how much Hartwig Fischer during their video British Museum are made of material , poetry, music – that they scholarly knowledge, work, fnesse and conference. A global vision The Gayer- Anderson cat, Hartwig Fischer had Hartwig Fischer was born in Hamburg and studied art history, history and Egyptian, Late Period, c.600 BC. a video conference archaeology in Munich, Bonn, Rome and . He began his museum career at with our Chair, Clarissa the Kunstmuseum , becoming Director of the Museum Folkwang in Farr, at the beginning in 2006 and Director of the State Art Collections in 2012. He took up his appointment as Director of the British Museum in April 2016. of lockdown, about the Museum’s future and its CF: Hartwig, we’re having our video talk community and spiritual wellbeing. global responsibilities during the lockdown due to Covid-19. Objects such as the Flood Tablet, for Does the collection have lessons for us in example, talk about people who had to how to manage challenges of this kind deal with a challenge beyond their that have occurred in the past? control, something which, at least for HF: The last thing I did before I had to some time, simply overwhelmed them. leave the Museum was to go through the This virus is just such a moment, when galleries. A ray of light falling through we realise that we do not control the one of the windows led me to an ancient world, we do not control nature or, as Tablet 11 from the Epic of Egyptian bronze cat. I wrote about it for Freud put it, we’re not master in our relating the story the British Museum blog. It is an object own house. The collection is a vast of The Flood, that had protective and healing powers. repository of human experience that from the Library of . You fnd thousands of objects that relate can help us navigate trying times and Neo-Assyrian, to menaces: threats to health, fertility, prepare for change. 7th century BC.

16 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 17 Special interview Special interview

Practical feldwork as part of the Iraq Scheme. John MacGinnis, leader of the excavation at Qalatga Darband, with colleagues (far left).

Sébastien Rey, leader of the project at Tello/ , giving drone training (left).

experience go into a successful display, a CF: Can you talk a bit about your work with colleagues in Iraq. The British beautiful catalogue. The director of the with communities and institutions Museum back in 2015 started to think Kunsthalle Baden-Baden, Katharina around the world? about how it could best help heritage Schmidt, whom I had the good fortune HF: The British Museum has a core specialists, archaeologists and museum of working with later on during my frst mission: to preserve and share the curators there to deal with the years as a professional (at Kunstmuseum collections. That was stipulated by our destruction of Basel in ) frst made me founding fathers. But what particular perpetrated by Daesh. The Middle East understand what the constellation of shape should sharing take? What does department has a renowned collection works and our dialogue with them mean access mean? Just providing factual and outstanding specialists. We invite in a museum space. information or embedding objects in a colleagues from Iraq to London to narrative to unlock their meaning? acquaint themselves with new methods In the recent BP exhibition : myth and reality Filippo Albacini’s Wounded Hercules, 1825 CF: Here at the BM, how do you Whose voice, and whose narrative and in rescue archaeology, (Devonshire Collection, Chatsworth) was placed balance your own time as director? Give should it be? Ideally more than one, and documenting and securing heritage sites. in dialogue with Thomas Banks’s Thetis and us a glimpse of your day, and how you from diferent backgrounds. And not After three months they return to their Achilles, 1789 (Victoria and Albert Museum). As Thetis dips her baby son in the river Styx, she manage your vast responsibilities. only in . We know that institutions and then join BM colleagues holds him by the heel, leaving him with a weak HF: In my position you direct a team of sharing and providing access means in two diferent excavation sites in Iraq spot that is later pierced by a fatal arrow. great professionals – from Security, to today that things have to be available to put into practice what they have Facilities Management, Visitor Services, digitally from wherever you are. We’ve learned in London. All this is funded by Photography, Conservation, Legal, just relaunched Collection online in a the British government, for which we together a lot of the strengths that are Curatorial, Communication, Finance, much improved and enhanced version. are extremely grateful. The way it the hallmark of British Museum Development, Scientifc Research, HR, We do a lot digitally and at the same combines knowledge exchange, skill exhibitions. It was based on the BM Education and so on. You set major goals time we all believe that there is sharing, practical training and collection, excellent scholarship, a after analysing the needs and defning something unique in the encounter with archaeological feldwork, is unique. fascinating concept and cutting-edge the ambitions. And you do that by the object itself. People come from the design. And it explored the subject taking in as much as you can of their Americas, from , , Asia CF: I’d like to ask you about temporary through narration, which came into play expertise in order to make access to the and Africa to study objects of their exhibitions. Obviously we’re in very on two diferent levels. One is that the collection as easy and rewarding as cultures, and of other cultures at the challenging times at the moment, but exhibition told you a story: the myth of possible to people from diferent walks British Museum. And a number of looking back over your time can you Troy, which is in the Iliad and the of life. And then you test and debate curators spend a good deal of time at give an example of an exhibition that of course and the Aeneid that followed your ideas, with the Trustees for the Museum exchanging with these stands out for you? later. How did the Greeks, Romans and instance, and you reach out to our groups, hosting them, sharing their HF: You must never ask that of a Etruscans relate to this epic poem? And national and international friends and knowledge and learning from them. museum person – I could do so much of course they related deeply to it. It Interactive partners, and generate support. My daily There are many ways to share. Take injustice! Let’s simply take the last one, allowed them to express ideas of virtue, displays in the Citi work is very much a work of dialogue. for example the work we presently do the Troy exhibition, as it brought of living together, of the vicissitudes of exhibition Manga.

18 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 19 Special interview Special interview

Examining the to see how people throughout the you way back in time. It is not so easy Rosetta stone in history of humankind have faced for us today to determine how people Room 4. challenges, tensions and confict and in felt and thought and how society was the end have prevailed, transformed structured. There are diferent theories themselves, or faltered. We have to keep and interpretations. The object probably developing both the physical and the relates to the moment when people digital presence of the collection, started to become sedentary and moved without blurring the fact that these are into farming and herding – a major shift diferent forms of existence. Covid-19 that brought with it a dramatic change has forced the Museum for some time of living conditions, forcing people to into a purely digital existence. We have think diferently about fertility. Is it all learned a lot about how to share the linked to a cult? Is it two human beings collection and the knowledge it or two spirits or divine fgures? Is it engenders more widely during these last somebody who at the same time put his months, and also about the need to or her own human experience into this engage in dialogue over contested representation? You touch upon so aspects of our institution. many diferent layers of human existence in all its fragility and resilience. CF: You give a fascinating glimpse of This little encapsulates so that global, globally accessible and fully much, it is a symbol of relationship, Stone sculpture, comprehensive museum of the world, tenderness, desire, exchange. probably from the but can you point to an object that has cave of Ain Sakhri, life and the deep ambivalence of human can only happen if it relates to their interconnectedness accessible. I think we particular meaning for you? CF: I’ll look at it again with new interest Wadi Khareitoun, south-east of existence. But then it also spoke about aspirations and their concerns. So you also need to explore our own history as HF: An object that has always intrigued and enlightenment when I next visit. . the history of discovery. How was the have to have a strong ongoing dialogue an institution within the wider context me is the Ain Sakhri stone, a large HF: Please do! We can’t wait to fnally myth handed down through the with young people in order to be able to of the modern world marked by empire pebble which was carved some 10,000 open the doors again and welcome you centuries, forgotten, then rediscovered create the sense that there is a much and colonialism. years ago. It shows two people and all our Members and friends back and reinterpreted by artists and bigger world to be discovered inside the embracing. It seems to be the frst to the Museum after these difcult scholars? And how was the ancient BM, and that you can make it your own. CF: Do you feel that the collection is representation of two human beings months. We will all discover afresh how of Troy rediscovered in the late 19th One recent example is the Manga too siloed at the moment? Do you feel making love that we know of, certainly much inspiration and learning this century? The double narrative of the exhibition, which explored this incredible that there’s a need to break down in the round. And the object is unique institution holds in store for us. epic poem and of the history of cosmos of images and imagination, divisions that are perhaps unhelpful? extremely sophisticated in the way this rediscovery formed two red threads taking especially for young people, but there were HF: Yes, I do. When you explore the embrace is shown as an intimate To read more from Hartwig you through the space and the fascinating also passionate older manga lovers who collection in the galleries today, moving moment between two people. It takes Fischer, please turn to page 5. constellations of objects. It enticed had followed its development from their from Egypt through and then on visitors to engage with the objects, to teens or early twenties half a century ago. to , the fact that those three areas look at details, to pause and refect. were closely interlinked over millennia CF: Could you give me – that is the entire eastern CF: As you said, the exhibition was very picture about how you see the future? Mediterranean all the way into the popular, and people of all ages went to What are going to be the key pillars of Middle East – is not something that you see it. What are your thoughts on the future vision for you? really grasp. So what I would like to younger audiences? How can we HF: We are a global museum. I think achieve with colleagues at the British encourage the new generation to really what we need to do in the future is to Museum and with our partners from engage with the Museum and to want to show that from the very beginning it’s outside the Museum (because it’s be a part of it? been the interconnection between something we need to do with others HF: I think the Museum has a very people that drives human development. from other parts of the world) is a new strong relationship with young people. The fact that human beings have narrative of our shared complicated For a great European museum we have exchanged ideas, objects and beliefs has history that everybody feels represented a fairly young audience. But of course, inspired developments that have led up in. I want us to show how complex and you always want to do more. You want to what we are today, creating inspiring these sometimes very painful to be sure that for young people this extraordinary cultural achievements on processes of exchange are, with many remains or becomes a place where they the way. We must put our best eforts to crises in between – , epidemics, The Great Court have important experiences, and that making that extraordinary story of natural disasters. I would want visitors busy with visitors.

20 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 21 A multi-material masquerade mask from Malawi collected in the late 20th century. Known as a chadzunda, it is a likeness of Behind the mask a village chief and was used by the secret Nyau societies during masquerades at Chewa funerals.

At a time when so many Breathtaking masks from Africa were Nixon which, in the movies, is the of us are adopting face described by the artist Peter Liversidge in bank robber’s mask of choice. Masks coverings, Clive Gamble the Winter 2019 issue of this magazine. transform identities. The weak become The Americas are equally mask-rich, as powerful, the young look old, and your takes us on a virtual tour shown by an elaborate mask-within-a- next-door neighbour, masked-up, is of some of his favourite mask made by a master Nuu-chah-nulth transformed into an spirit. masks in the Museum craftsman on Vancouver Island. When If masks have a common purpose, closed, the mask is an animal head. it is to hide and change the power of We love masks, or we did. They allow Opened, it dramatically reveals a face the face. That may be for reasons of us to be something else; by turns surrounded by a fan of thirteen plumes. protection as in a metal helmet or a strip fantastical, laughable, loveable and The diversity of masks presents of fabric to guard against air pollution. downright dangerous. Anyone who a challenge when it comes to their Masks might entertain as in Japanese wears a mask is a performer; sometimes classification and interpretation, but gigaku theatre that traces its origins to in a play or a dance but more often as above all they deal with the myriad Buddhist ceremonies. Indeed, there part of a ceremony of transformation identities that people fashion for is a common history between masks, where journeys between people and themselves. Masks take the form of entertainment and sacred ritual. worlds, real and imagined, are enacted. , humans or a mixture of the I wonder, however, why cultures The British Museum’s collection of two, the fabulous therianthropes. Masks across the world feel this need to hide masks is a testament to humanity’s love can be religious or secular, forces for their faces behind such diverse disguises. Japanese mask of a young Persian boy, Taikoji, used in a gigaku affair with these arresting objects. Often good or evil, or indicate power and Why conceal the quintessential performance, 8th century AD. Early spectacular and exceptionally beautiful, authority, as is evident in the mask- expression of our personal identity gigaku masks like this one are they are made from every material like helmet from Sutton Hoo in Room from some public performances? rare. On display in the Mitsubishi Japanese Galleries, imaginable, come in all shapes and sizes 41, or when breaking the , with Anthropologists have written extensively Room 93. and hail from nearly every continent. my favourite – a latex face of Richard about masks working as signs and

Nuu-chah-nulth mask, late symbols within a complex semiotic masks from a second-century series tells us more about the history of 19th century. scheme unique to a culture. Masks AD cemetery in were placed collecting than Aztec history. Known also have been likened to myths, where over the faces of the dead. They were as the ‘spotty mask’ because it is covered in the imagined takes material form. firmly tied in place, as shown by the tiny what seem to be boils, all we know is that Anthropologists conclude from their perforations in each corner. it was made in sometime between investigations that masks can only be These masks, possibly male and female, 1400 and 1521. Its pierced, elliptical understood in their cultural context. were the last faces these two people eyes fix us with a penetrating, mother- That is possible for the Nuu-chah-nulth presented to the world before their of-pearl stare. It is desperate to tell us mask because of oral accounts as well graves were closed. They undoubtedly more, but the threads were severed, as ceremonies today using comparable marked the height of local status and, like the strings which attached it to the wolf and lightning serpent masks. In the as John Curtis notes, point to a wearer’s head, when it came to , same way we can draw on the written tradition shared between the Eastern undocumented, in the 16th century. history of gigaku theatre, and attend a and its neighbours in What the spotty mask achieves, like performance, to understand that mask. Iraq. Local and international identities all full masks, is to conceal the eyes, But what about masks in deep history were hammered out in these face masks. mouth, ears and nose, and consequently where there are no written accounts However, the archaeological context is four of our five senses: sight, taste, and no oral testimonies? Archaeologists often lacking, as is the case with one of the hearing and smell. Muffled speech is understand objects by paying attention of the British Museum’s collection. still possible, as I discovered when I to their context of discovery. Two The mask in the Turquoise Mosaic acted once in Rex, a masked

22 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 23 Two gold foil masks from the site of the former Late Assyrian citadel at Nineveh, Iraq, 2nd century AD. On display in Room 52.

Mesolithic stag antler mask or headdress from , Vale of Pickering, Yorkshire. On display in Room 51.

performance with an abiding memory into containers such as bags and boxes, and thoughts that created a new variety of the smell of papier mâché. Masks pots and baskets. This interest in of humanity and a different history? For focus the attention of the onlooker on compartments existed before but not all the artistic diversity among the masks the hands and the subtleties of touch on the scale seen after 11,000 years in the Museum’s collection, they make and gesture. Take the mask off and you ago, when human containers such a simple historical statement about a return to the full sensory world. as small mud-brick houses increased world that changed forever. The oldest full mask in the British exponentially and, like so many little Are we still in love with masks? Museum, and still the oldest in the boxes, multiplied from small villages into Currently we cover our faces to protect world, comes from the waterlogged site towns and cities. People now lived, as against a pandemic. Fabric face masks Mixtec-Aztec mask, Mexico, of Star Carr in Yorkshire. Excavations we do today, within artificial worlds built first appeared during the Manchurian c.1400–1521. On display in in the 1950s uncovered red deer skulls from materials as varied as those used pneumonic epidemic of 1910–11 Room 27. with antlers attached and two holes to make masks, cocooned inside layers when the role of airborne infection bored in the frontlet. The stags were of cultural stuff. For archaeologists, was first established. I expect that these killed in autumn and large parts of the the history of these containers is like contemporary global objects will be antlers cut away to lighten the load. opening the layers of the Nuu-chah- added to the Museum’s collection to tell The tally for these remarkable objects nulth mask to find a fixed face and then a universal history contained in things. now stands at 24, the latest excavated the living person behind the mask. Although flimsy and seldom beautiful, by Nicky Milner and her team in The domestication of crops and they are masks like those from Star Carr 2015. They are the surviving parts of animals changed the world of the people because they aim to contain a force that shamans’ masks that made journeys who hunted stags at Star Carr. But our changes human lives. between spirit worlds possible. sensory experience also changed because The masked shaman at Star Carr These masks are 11,000 years old. culture was now increasingly categorised was also a healer as well as a traveller The Ice Age was over, and elsewhere and fitted into physical compartments. between worlds. Separated by many in the Old World the first steps towards Could it be that the Star Carr mask millennia, both this bone mask and the farming were taking place. This signifies the start of the trend to contemporary cloth mask address forces fundamental change was accompanied encapsulate our lives, envelop our senses that cannot be seen but remind us to be by a trend to put humans and things and contain our emotions, movements careful what we touch.

24 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 25 David le Marchand, ivory medallion of Sir Christopher Living Wren, 1723. through London’s contagion

Hilary Williams reveals how pestilence gave way to renewal in 17th-century London, which may have resonance with our own times

Image of a fea from Robert Hooke’s Micrographia, 1665. . Seventeenth-century Londoners had providing solutions to some of them, August 1665, he wrote: ‘The Contagion Fleas and plague went together, to endure a course through hellish was Sir (1632–1723). growing now all about us. I sent my wife because bubonic plague was an infection adversity. A political power struggle, During his unusually long lifetime, Wren and whole family … to Wotton … being (Yersinia pestis) among wild rodents, civil war, austerity, pestilence, fre, more survived plague, civil war, outbreaks of resolved to stay at my house my selfe … transmitted to humans by the bites of disease, international trade wars and smallpox and a succession of six very trusting in the providence and goodness fleas or from infected animals. After a massive rebuilding of infrastructure, different . In order to escape of God’. On 7 September 1665, he incubation of only four to six days, the all made for challenging times. The the Great Plague, in June 1665 he went noted: ‘there perishing now neere ten victim would endure a sudden onset Civil War, which lasted from August on his only trip abroad, to France, thousand poore creatures weekly’. of high fever, malaise and muscular 1642 to September 1651, had decided basing himself in and around Paris. He Evelyn also describes the grisly piling pain with tender, greatly enlarged a nationally divisive issue – the struggle stayed there until March 1666, meeting up of coffins in the streets as the dead lymph nodes, or buboes, in the armpits between the power of an anointed king renowned architect François Mansard were so numerous and were collected and groin, as the infecting organisms and an elected Parliament – which and visiting key ‘modern’ architectural at night. Wren’s colleague and close spread. Sepsis and pneumonia could had torn apart families, communities sites. He was even granted an audience friend, Robert Hooke (1635–1703), was ensue, together with the coughing and society. As we know, Parliament with the aged Gian Lorenzo Bernini, similarly a great polymath in an age of up of bloody, frothy sputum which triumphed and King Charles I was image-maker to the Papacy in Rome, brilliant, curious minds. Both men were would spread droplets of infection to beheaded in 1649. A Protectorate followed who was visiting Louis XIV with his founder members of the Royal Society, others. Purpuric spots would emerge before the was restored in 1660, for the new East Front of the of which Hooke was Secretary and on the skin and decide the diagnosis. when Charles II was invited to reign. The . Wren was educating himself Curator of Experiments, and Wren was It was thought in the 17th century that burst of energy, optimism and creativity about contemporary architecture with a its third President from 1680 to 1682. In the infection came from South East that ensued was soon challenged by the definite purpose in mind. He was then a 1665, Hooke published his spectacular Asia. Almost all major cities suffered Great Plague of 1665–6 followed by the revered mathematician and astronomer Micrographia, or some physiological descriptions high incidence of plague, which often (2–6 September but was mostly unproven in architecture, of minute bodies made by magnifying . came in waves of infection. Venice, 1666). The latter catastrophe was apart from his designs for two university Its dazzling of microscopic Amsterdam and urban were unexpectedly cathartic, cleansing much buildings in Cambridge and . creatures are on a large scale. On a especially prone. In 17th-century Spain, of the infested city of pestilence and While Wren was abroad, his friend the page measuring 43 x 33 cm, he shows plague killed over 1.25 million people. setting the scene for rebirth. diarist John Evelyn (1620–1706), was a flea, Xenopsylla cheopis, ‘this little busie In Venice, it killed 16,000 in 1630. James Hulett, The Plague in 1665, showing a plague victim being lifted One person who lived through the vividly recording the horror of London creature’ which sucks ‘out the blood of Amsterdam suffered several waves in into a cart and a man carrying a challenges, and was instrumental in afflicted by the pestilence. On 28 an animal, leaving the skin inflamed’. 1625, 1635 (when one in five of the woman in the background, c.1747.

26 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 27 population died), the mid-1650s and us a harrowing account of the horrors of infection and to prevent swooning at a new plan for the rebuilding of the City, named Christopher. Smallpox was German silver again in 1668 (when ’s only of 1665, probably based on an account the stench. with wider streets for greater health endemic in London. In 1736, Sir Hans pomander in the form of a skull son, , succumbed to it). Often, in his uncle’s journal. had The unexpected cleansing agent of and less risk of fire. Robert Hooke and Sloane, Royal and Secretary topped with an bodies could not be buried quickly discovered that the plague was greatest the Great Plague was the Great Fire John Evelyn also put forward their of the Royal Society, presented his , 17th enough and had to go from pesthouses in the impoverished parishes of Aldgate of London (2–6 September 1666), proposals for restructuring the City, Account of inoculation as prevention against century. into plague pits or mass graves, with and Whitechapel. He mentioned that famously starting at Thomas Farynor’s though none of the plans was adopted. smallpox (published in 1755), and the accompanying stench. The Ancient King Charles II and his court had bakery in Pudding Lane. It destroyed But the Acts for the Rebuilding of the inoculated the Royal family’s children Greeks had associated ‘miasma’ (bad moved from London for some eight or gutted most of the City of London City of London of 1667 and 1670 against it. Widely considered to be one air) with infection, a perception which months and Parliament sat at a safe on the north bank of the Thames aimed to ensure that all new buildings of the most lethal of human pathogens, had survived into the 17th century. distance in Oxford. but miraculously claimed only six were constructed of brick or stone to smallpox was eradicated only in 1980, Pomanders, usually decorative metallic Many stayed in London to help. lives. As John Evelyn recorded, ‘The guard against fire. In 1669, Charles II in spite of its spread having been containers filled with sweet-smelling tended to go with their Conflagration was so universal and appointed Wren as Surveyor-General of controlled by vaccination developed by herbs and spices, were a necessary wealthy patients whereas the people so astonish’d ... that they the King’s Works, a post he was to hold Edward Jenner in 1798. Wren’s royal accessory to help cope with the smell. remained to treat plague victims. hardly stirr’d to quench it’. He viewed for nearly 45 years. Replacing 52 City patron, Queen Mary II, succumbed to London, with its great density of ‘Treatments’ were available but most the fire from the south bank and saw churches, a cathedral and commercial ‘variola hemorrhagica’, a lethal form of population (estimated at 460,000 in were ineffective in every way. They how the flames engulfed old St Paul’s buildings was to preoccupy him for the smallpox, at the age of only 32 in 1694. 1664), officially lost some 68,596 lives, included blood-letting, heating to Cathedral, noting ‘the ruines resembling next three decades. The rebuilding was She died at Hampton Court, one of but the unofficial figure was nearer induce greater sweating and various the picture of Troy: London was but is funded by the Coal Tax levied on sea the enhanced by Wren for joint 100,000. (It is interesting to compare the potions. The latter included ‘white no more’ and that ‘the sky was like the coal coming into London. monarchs William III and Mary II. total number of deaths from Covid-19 arsenic’, ‘white Dittany and English top of a burning oven’. Wren must have been physically The challenges met and overcome by in London, which at the beginning of Saffron’, ‘Camphire and Euphorbium’, evacuated his household in great haste, tough, as he had survived close 17th-century Londoners, living in an July stood at just over 6000). The Great mixed with ‘Gum Arabick dissolved after burying his Parmesan cheese and encounters with the highly contagious era of great curiosity, pragmatism and Plague of 1665–6 (one of several waves in Rose-water’. Across the country, wine in his garden for safety. Over smallpox within his own family. Hooke creativity, laid the foundations for the in London), seems to have started in the linen drenched in vinegar was used as 13,200 houses, 87 churches, most of recorded in late August 1675 that city becoming ‘the of the world’ parish of St Giles-in-the-Fields, south- an antiseptic cloth. Vinegar was often the cathedral and many commercial Wren’s (first) wife, Faith, had been ‘five by the , when the foundation of , Prospect of the City west of the site of the British Museum. among the contents of the handy little buildings were all lost in those five days. days sick of smallpox’. She died on the British Museum, with Sir Hans of London before and after the Great Fire, Published in 1722, Daniel Defoe’s metallic boxes, in what we would know A few days after the Fire, the 3 September, barely six months after Sloane’s collection at its core, expressed 1666. The lower view, after the Fire, shows famous Journal of the Plague Year offers as vinaigrettes, held to repel the danger prodigious Wren presented to Charles II giving birth to their second son, also the insatiable curiosity of the age. the ruins of the majority of the 87 City churches, the fre-gutted roofess Old St Paul’s along with most of the 13,200 houses and commercial buildings reduced to rubble.

Rotherhithe pottery drug pot, 1652.

28 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 29 Funeral of Theodorik L. Tobing, Sadum with weft in 1972. The man side-on to the patterning woven camera is wearing ragi hotang and by Ernestina around holding sibolang; granddaughter 1910 and given Vera standing to the left of the to her daughter, post is wearing surisuri; daughter Oloan, who wore Helena standing to the right of it at her father the post is wearing ragi hotang na Theodorik’s funeral marsimata, and Oloan next to her is wearing sadum, both woven by Ernestina. Women with backs to Ulos namarpisoran camera are mainly wearing sadum. woven by Ernestina at the end of the frst decade of the 20th century.

Detail of ulos namarpisoran illustrating , Warp and weft beads incorporated on weft threads and supplementary warp.

Pamela Cross traces political systems, art, architecture and cloths, as was then fashionable, focus the family story behind textiles. They wove cotton cloths on more on supplementary weft patterning. back-tension looms. Often a larger The Tobing family textiles came a group of textiles cloth was wrapped around the waist to be owned by Vera Tobing, the from North Sumatra and a narrower cloth was worn on the granddaughter of Ernestina and shoulder. The Tobing family were of the daughter of Tianur. Vera did not weave I have been obsessed by textiles from Toba Batak culture from villages in the herself but, in the 1980s, established childhood, fascinated by traditional Silindung valley, south of Lake Toba. ‘Vera’s Ulos’, a weaving business for techniques, especially for textiles used Ernestina br. Hutagalung (1893–1985) which female relations gave her family as clothing and as a marker of identity, wove four of the textiles in the first textiles as inspiration. As in many wanting to know the how, who and why. decade of the 20th century before she cultures in South there is a As an adult I have built a collection of married Theodorik Lumban Tobing strong Batak tradition of using textiles textiles mainly from ethnic minorities (1891–1972). His grandfather was in rites of passage both for wearing and with distinct cultural identities in South Raja Amandari Tobing who, legend gift exchange from the bride’s family, East Asia and South West . A group has it, in 1864 saved the life of the often woven by weaving professionals of Toba Batak textiles have a special German Christian missionary Ludwig rather than family members. Such cloths place because of the Tobing family story Nommensen, and gave land for the first in the group include a ragidup – the ikat textiles, thought to be the earliest I had originally planned to purchase associated with them, illustrating the Christian church in the region. Three primary cloth of the Toba Batak – given style of Toba Batak textiles, and three one or two cloths and assist Vera with role textiles play in their culture. later cloths were woven before 1942 by by the parents of the bride, Tianur, ragi hotang, important ceremonial men’s the sale of the rest, but as I became The Batak consist of six ethnic Tianur br. Hutabarat (1923–1994), the to the groom’s parents, Ernestina and shoulder cloths. aware of their quality and the story of groups – descendants of the first wife of Ernestina’s eldest son Tahi. Both Theodorik, to unite the two families. Vera’s daughter, Maria, was my the family behind them emerged with Austronesians migrating perhaps 6000 women wove these shoulder cloths in There is another ragidup given by intermediary in the textile sales. She photo documentation, I felt strongly that years ago from South West China a period of their lives before marriage. Tianur’s parents to her as a protective worked hard to discover the family they should be kept together, and ideally and to the region around Ernestina’s weavings incorporate stripes soul gift at the traditional ceremony background to the textiles and locate go to a museum. Over three years Lake Toba, in the mountainous Bukit and fine but simple traditional Batak when she was in the seventh month several family photographs taken since I managed to buy them all and I am To fnd out more about the Barisan range of North Sumatra. They warp ikat, with some supplementary of her first pregnancy, carrying Vera. 1952, including the textiles being used pleased to say they have been accepted Tobing textiles visit www. had mutually unintelligible languages, weft patterning including beads Other cloths include a sibolang and a in ceremonies such as funerals and as part of a promised bequest to the tribaltextiles.info/articles/Batak/ dialects, different religious concepts, threaded onto weft threads. Tianur’s surisuri, two of the three traditional blue bone reburials. British Museum. Vera_Tobing_collection.htm.

30 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 31 Stuart Vyse explains fgures of bound Nubians found in Egypt, probably how people in the used in a cursing ritual. c.20th– The lost ancient world laid 19th century BC. hexes on those they art of the wished to harm You’ve probably had the urge. There may be a co-worker who’s making things difcult for you, a friend who curse has betrayed you, or a relative who’s always picking fghts. Just once you’d like to have the power to cause them some discomfort. Perhaps you indulge in fantasies of freak accidents, sudden fnancial downfalls or prison time. Alternatively, when a player on an opposing team was about to make a game-winning kick, you imagined him tripping and falling on his face. We’ve A lead tablet found in West Hill, , Gloucestershire, written in all had these thoughts. Admittedly these . In it, Canacus complains urges are not our fnest moments, but to the god that Vitalinus most of us have had the occasional and his son, Natalinus, have stolen a draught animal and asks that malevolent daydream. neither enjoy health until the animal Dark wax fgurine found in Egypt Unlike today, the ancient world is returned, c. AD 200–400. used in a binding spell. Human hair has been attached to the navel of provided a ready outlet for these urges. the fgure, and a spell written on Throughout the Mediterranean region is inserted into the back, from at least the BC to c.1st–3rd century AD. approximately the 8th century AD, a person who had been harmed in some way or who hoped to gain advantage in a sporting competition or legal proceeding could employ a binding curse. Although some curses or spells went so far as to call for the death of a reviled person, most simply sought to bind the target person in some way and alter their behaviour. When a figurine was employed in the casting of these spells, the targets were commonly depicted with hands and feet bound behind them. ancestors in the afterworld by heating to whom, and these details were often the figure consistent with the contagion From the beginning of human bone or turtle shells and interpreting written out. Customers who were principle of sympathetic magic – the civilisation there have been a variety of the meanings of the resulting cracks. illiterate relied on the help of literate belief that if things were once in people who offered services we would But through much of human history magicians who typically supplied the contact, they have a lasting connection. now consider magical or superstitious. there have been many freelance mystics, materials needed and helped compose In addition, doll-like objects such as this Soothsayers, prophets and diviners used magicians and shamans, and generally the incantation. As a result, the majority were fashioned to resemble the intended a range of methods to tell the future. they have been viewed with disdain by of curses were accomplished with the target, consistent with the magical law Others used spells to treat disease. Some the local elites. For example, Plato in help of a local magician. of similarity: objects that look alike of these practices were accepted or The Republic refers to ‘beggar-priests’ Some binding curses involved the use share an association. On the reverse even administered by the local elites. who take advantage of wealthy patrons. of a figurine, not unlike the dolls and side of the doll, a spell (unintelligible) Clay female fgure used in a love For example, Egyptian priests often kept Binding curses did not require an poppets associated with voodoo and has been written out on papyrus and curse. The fgure was found with a lead tablet written in Greek inside of spells and performed a number expert. Anyone could execute a curse, witchcraft. An Egyptian wax figurine inserted in the figure’s back. an earthenware , 4th century of magical functions. In China, during as long as they had the necessary dating from the Roman period (c. AD A 4th-century AD Egyptian clay AD. Musée du Louvre, Paris. the (c.1560–1050 BC), materials and knew how to conduct the 100–200) provides several hints about figurine in the Louvre is thought to members of the ruling family practised spell. Most curses were quite specific, how these objects were used. Human be part of a love curse. It is somewhat , asking questions of the describing exactly what was to happen hair has been attached to the navel of disturbingly pierced with 13 needles,

32 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 33 Reverse of a magical Sulis Minerva at Bath, no fewer than 130 medallion with inscriptions lead-alloy curse tablets were discovered. in Roman, Hebrew and The tablets date from the period when Greek. Such pendants were worn as protection southern Britain was part of the Roman against misfortunes, and as Empire and, as a result, were inscribed a countermeasure against in Latin. The overwhelming majority binding curses. sought to punish thieves who had taken a bather’s clothing or other possessions. Defixiones have been a remarkable source of information about ancient and early Roman-era magical beliefs, and more of them continue to be found. In February this year, 30 tablets were discovered during the excavation of an ancient well in . The tablets were probably placed at the bottom of the well due to its proximity to the underworld and the gods who would carry out the hexes. Although all this magical stuff sounds a bit silly to us, when they were in use binding spells were widely believed to be effective. Like today’s superstitions, they undoubtedly benefited the user by providing an illusion of control. If your A tablet written in Greek and A Romano-British tablet found in was stolen at the baths, buying found in . In it Soterianos London. The Latin inscription reads Limbaros curses Ariston, his ‘I curse Tretia Maria and her life a tablet and having it inscribed with a adversary in law, c. AD 200–300. and mind and memory and liver and vengeful spell undoubtedly made you lungs mixed up together, and her feel better merely because you had taken words, thoughts and memory; thus may she be unable to speak what some action: ‘You may have got away things are concealed, nor be able...’ with my , but you will pay dearly for It is unclear what the motivation for your treachery!’ this curse might have been. As the centuries passed, binding curses and other forms of black magic were increasingly discouraged but rather than injure the target, these around their graves before ultimately cursing a business rival in an effort to throughout Europe, especially during needles are thought to be part of the taking up residence in the underworld, gain advantage in the market place; the later Middle Ages when these incantation process, during which and as a result they were available to and curses aimed at winning in court practices were associated with witches. the user would insert a needle while transport curses to the gods. proceedings. In ancient Athens, people Only the magic of the Church was speaking each section of a spell. As was Most of what we have learned about were required to defend themselves sanctioned, and people – women, quite common for magical dolls of this these ancient spells comes from the in court and skilful orators had an primarily – suspected of being witches type, the woman is sculpted with her many lead alloy curse tablets or defixiones advantage. These judicial curses were so were tried and often put to death. But hands and feet tied behind her – a literal that have been discovered throughout typical that, when articulate advocates the urges to harm others have never expression of the binding curse. This the Mediterranean area. Typically, a underperformed in court, it was often gone away, and the art of the curse figurine was found in a clay pot, along curse was written on a flat sheet of assumed that they had been under the is not entirely lost. If you search the with a flattened piece of lead – a curse lead or lead alloy – sometimes covering control of a curse. pages of Amazon or Etsy, you will find tablet. The Greek inscription invokes both sides – after which the tablet was Some binding spells were designed a variety of kits that purport to help you the aid of several gods in an effort to gain rolled up into a tube and, similar to the to right a perceived injustice, and a cast a spell (often a love spell) or protect control over the target woman. curse figurines, pierced with nails. Over substantial group were associated with against curses. However, these items Figures like these and curse tablets 1300 curse tablets have been found, and one aspect of ancient life. Throughout don’t seem to be jumping off the shelves were typically buried in or near the many have been translated, revealing the Greco-Roman period, people visited because, unlike the ancient Greeks and grave of someone who died young or their most common purposes. These large public baths, and unattended Romans, we know they don’t work. suddenly. The binding curse process include love curses (usually the party clothing and other possessions were involved recruiting spirits of the dead authoring the curse aimed to separate frequently stolen. Local magicians Gilt bronze head from a cult to summon the gods of the underworld the object of desire from their current took advantage of the bathers’ ire statue of Sulis Minerva found at to execute the curse. The spirits of the lover in order to redirect the target’s by providing on-the-spot binding Stuart Vyses’s Superstition: A Very the Temple at Bath, 1st century AD. Many of the curse tablets young or the unexpectedly deceased attention to them); cursing a competitor curse assistance. In 1979, during an Short Introduction is published by found at Bath were addressed were commonly thought to linger in sport or theatrical competition; excavation of the spring at the temple to . to Sulis Minerva.

34 British Museum Magazine Autumn 2020 What is ‘black goo’?

Mummy case and coffn of Kate Fulcher and what it was made from, we can learn Some of the ingredients were Djedkhonsiu-ef-ankh, priest in more about why the Egyptians used it. probably sourced from within Egypt. the temple of at . John Taylor throw His painted and gilded light on an ancient We have analysed more than 100 Plant oil, animal fats, and beeswax were case was covered in a black liquid samples of black goo from twelve coffins all readily available. Other products before the coffn was sealed. Egyptian funerary ritual and mummy cases, all dating to the we have identified only occur naturally 22nd Dynasty (c.900–750 BC). To do outside Egypt, indicating that special Several cofns and mummy cases in this, we take tiny samples, no more than products were imported. The two tree the British Museum bear evidence of a a few milligrams, and conduct chemical resins we often find in black goo come mysterious ritual that took place during analysis using Gas Chromatography/ from the pistacia tree and the conifer the funeral of the deceased. Mass Spectrometry, commonly referred tree. Resin is a liquid that some trees After these individuals died, they were to as GC/MS. This technique separates produce in response to injury, which mummified, wrapped in fine linen and the individual molecules in the sample hardens to a brittle solid. sewn into a plaster and linen mummy as they pass through a column. As the Pistacia trees grow around the case. This case was beautifully painted components in the mixture emerge Mediterranean, from Greece to the in bright colours and in some cases from the column, they pass into a mass Levant. Amphorae that contained resin gilded with gold leaf over the face. spectrometer where they are ionised, from pistacia trees have been found at At the time of the funeral, they were producing many ions for each molecule. , royal residence lowered into the coffin, and carried to The abundance of the ions is plotted from 1347 to 1332 BC, and in the the tomb. Then a warm black liquified according to its mass-to-charge ratio Uluburun shipwreck (off the coast of west substance, perhaps best described as and the mass spectrum produced can ) from approximately the same ‘goo’, was poured over the mummy be compared and identified through date. Analysis of the ceramics shows that case, sometimes covering it completely, comparison with libraries of known these pots were most likely made in the effectively cementing the case into the molecules, the use of authentic region around Haifa in modern Israel, coffin. The lid was then placed on the standards and alongside published and which is probably also where the resin was coffin, and the deceased was left to unpublished data. collected. Pistacia resin was also used as journey forth to the underworld. We have discovered that the black incense in , and as a golden There are many texts that deal with substance is made of a combination of varnish on painted coffins. spiritual preparations for death in plant oil, animal fat, tree resin, beeswax Conifer resin may come from a variety ancient Egypt, but very few deal with and bitumen. The exact ingredients of trees, including pine, cedar, fir and the practical aspects. Knowledge about vary from one coffin to the next, but it juniper, but it is difficult to distinguish

the burial practices appears to have was always made from some of these between these resins after thousands of Scientist Kate Fulcher analysing been restricted, so one of the best ways ingredients. It is possible there were years of degradation. The furthest south black goo samples in the to learn more about this ritual is to other ingredients as well, which we can that these types of tree grow is Lebanon, laboratories at the British Museum. chemically analyse the black substance no longer detect because they were which indicates that this resin was also to find out what it is. We can do this volatile and had evaporated, or have imported into Egypt from somewhere Mummy case with gilded face (cleaned in the 1970s) containing in our labs underneath the degraded to undetectable levels over the further north. Conifer resin has also been the mummifed body of a young girl Museum, and hope that if we find out 3000 years since the goo was applied. found in jars relating to other ritual or called Tjayasetimu.

36 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 37 funerary uses, again suggesting it was a Seated wooden fgure with the material imported for special uses. head in the form of a turtle, from Bitumen is an umbrella term for the tomb of Ramesses I or . The black goo was analysed 20 crude petroleum products. There are years ago and found to be made many sources known to have been used from pistacia tree resin. in ancient times, some liquid and some solid. Bitumen is made from living things (like plants, animals and single-celled organisms) that have died and been compressed over millions of years in geological deposits. Because these living things vary due to the local environment, bitumen also varies from place to place. By examining the chemical signals or ‘biomarkers’ associated with these organisms, we can determine the geographical source of the bitumen. In this case, we found that the biomarkers are consistent with a Dead Sea origin. This makes sense, as texts refer to solid blocks of bitumen floating to the surface of the Dead Sea and people rowing out to these to hack pieces off and sell on to Egypt. We can’t say for certain but – significantly – previous analyses of mummification balm (used on the bodies themselves) have shown it to be made of the same ingredients as the black substance that we have been studying from the outside of coffins and interlinking concepts of black, Osiris substance was also available to non- mummy cases. This means it was being and regeneration, and it could be royals, but the family had to be able to used at different times in the burial reasoned that the practice of coating afford the treatment. Even within social process – during the preparation of the coffins in black goo links the coffins to elites not everyone used this ritual, and it dead body, and then again during the regeneration associated with Osiris. seems to have been a matter of personal funeral when it was poured over the top In addition to mummy cases, black choice. Examples of the use of black of the mummy case or coffin. substances were also painted on anointing fluids are more common in the When someone died, they were said funerary statues of deities. There are Third Intermediate Period (c.1086–664 to become a form of the god Osiris, several examples of this in the British BC), which may be related to changes who is associated with death and Museum from the tombs of New in funerary practices, or because more rebirth. Osiris was called ‘the black one’ Kingdom kings dating to around 1300 coffins are preserved from this time. in various funerary texts and is often BC. Many statues from the tomb of There is more to be discovered. Most depicted with black skin and in the guise were also covered in of the research so far has been into of a mummified body. Black is also the black goo, although these examples have later examples; we hope that looking at colour associated with the fertile not been analysed. So it appears that the examples from earlier periods will tell us mud deposited by the annual flood – the goo was a ritually important anointing how the ingredients changed over time. source of Egypt’s agricultural wealth. fluid used for a range of purposes, all We also hope to make some of the black Since this fresh and fertile soil provided relating to the burial of the deceased goo to enable us to think more about the ideal environment in which seeds and their transformation into Osiris. how it was stored, transported and for crops could germinate and grow, it But not everyone received the goo poured, what it smelt like and how hot it was viewed as inherently magical and treatment. Evidence suggests that it was had to be. This will help us to reimagine regenerative. Clay and wooden seed likely to have been reserved for social what a funeral might have been like in beds in the shape of Osiris, filled with elites. Some of the earliest examples ancient Egypt. black soil from the Nile and sown with are from royal – Tutankhamun’s germinating seeds, were sometimes innermost gold coffin was cemented into This project is a collaboration with included in the funerary equipment in the middle coffin with ‘bucketfuls’ of Margaret Serpico and is supported New Kingdom burials. Thus we have black goo (since cleaned off). The black by the .

38 British Museum Magazine Autumn 2020 Greg Woolf When Alexander came to the throne Silver coin of Thebes of the kingdom of Macedon in 336 BC showing Herakles considers the stringing his bow, surprising longevity at the age of 20, many of the peoples c.446–26 BC. subdued by his father Philip took the of the ancient opportunity to revolt. Among them were cities of the the inhabitants of the ancient city of Mediterranean Thebes in central Greece. Wishing to make an example of them Alexander seized the city. Six thousand Thebans died in the battle, another 30,000 were sold into slavery. The city was levelled down to its foundations. Alexander went on to invade the Persian Empire the next year, and before his death in 323 BC his armies had campaigned as far as Afghanistan and the Hindu Kush. But the destruction of Thebes left a bad taste. His biographer Plutarch wrote It is no real mystery why Thebes was that in later years whenever things went reborn. The city had a deep history. It wrong for Alexander, he blamed it on was not just the birthplace of , the anger of Dionysus, the god born but also the city of Oedipus and the in Thebes, and that no Theban survivor Sphinx; the story of Seven Against who came to Alexander with a request Thebes, celebrated by the dramatist ever went away empty-handed. In fact, Aeschylus, was one of the few rivals to the destruction of Thebes was soon the Tale of Troy. Classical Thebes was a

Resilient cities reversed. The citadel was rebuilt in 316 major military power. Its generals led the BC by Cassander, one of the generals who campaigns that finally defeated Sparta. had inherited part of Alexander’s empire. Other ancient cities were also Thebes was never again a great political revived after destruction. Corinth and power – few Greek cities were under the Carthage were both levelled by Roman rule of frst Macedonian and then Roman armies in the same year, 146 BC, their emperors – but it became a comfortable populations scattered, their monuments provincial town, with famous games demolished, their treasures plundered. dedicated to Hercules, and was visited Almost exactly a century later both were by the emperor among others. refounded, this time as Roman colonies,

Hugh ‘Grecian’ Williams, View of Thebes, 1819, Benaki Museum, Athens. The painting captures the enduring romantic appeal of the ancient city.

British Museum Magazine Autumn 2020 39 Francis Arundale, but still with temples to the same old of Bronze Age kings. Walking in More mundane geographical factors with the gods, and a strong sense of their own the centres of Rome, Lucca, Istanbul also applied. Once a network of roads forum and tourists roots in and myth. And or Seville, it is easy to find oneself and ports had been established, if a key in the foreground, c.1835. One of the they all survive today, Corinth and following an ancient street grid. It is a city was removed it was almost always few disasters from Thebes with their ancient names, while sign that most cities underwent gradual replaced. Corinth was at the southern which cities could the ruins of Punic, Roman and Vandal rebuilding and renewal, rather than end of the isthmus that linked the not recover were volcanic eruptions. Carthage lie under the great medieval catastrophic remodelling. Morea or the Peloponnese to the rest of Pompeii contained and modern city of Tunis. Several factors explain the resilience Greece, and its ports on the Saronic and hundreds of urban These are just the most famous cases of ancient Mediterranean cities. Most Corinthian gulf connected the eastern vineyards and fruit and vegetable of urban resilience. Most ancient cities obvious is a sense of the past. Thebes and western Mediterranean. The fortress gardens before were founded more than 2500 years and Carthage were entangled with above the city, the Acrocorinth, was its destruction in ago during the early , and a myths and history, their absence was felt known as one of the ‘fetters of Greece’, a AD 79. few, including Thebes and Athens, were like an unhealed wound. For the same key strategic position. The site of Corinth already 1000 years old by then. Even reason natural disasters such as tsunamis could not remain empty for long. today their historic centres display traces and earthquakes were answered with Then there was the logic of resources. of their long histories. The district relief efforts. When twelve famous The city of Sybaris in southern of Plaka in Athens preserves traces cities of Asia were struck by a violent grew (infamously) rich from the of Ottoman, Byzantine and classical earthquake in AD 17, the emperor agricultural plains of which it controlled Athens, beneath the acropolis which Tiberius made them a gift of two part. When it was destroyed by its has been the seat of mosques, churches, million sestertii and remitted five years neighbour, Croton, it opened up a very temples to the Greek gods and the of tax revenue to help reconstruction. attractive niche for new settlers, in this case the city of Thurii founded in part by Athens. Fertile agricultural land was scarce in most parts of the ancient Mediterranean. Dry summers and thin soils meant that there were only so many good places to build a city. There created by Roman rule, probably three security were crucial. Most city dwellers At the end of antiquity most of the were occasional attempts to build in in four had populations of fewer than probably farmed a little, either close larger cities shrank in size, but they Archaic from the lost city of bad places too, but these projects failed 5000 people, no more, in other words, to the city or even sometimes inside it. certainly did not vanish. Some became Sybaris, c.520 BC. early on, their populations moving than villages created by the Pompeii had vineyards and productive capitals for new kingdoms created to more successful locations. If a city first farmers thousands of years before. gardens within its walls. Small cities were by German kings and Arab caliphs. was thriving in the middle of the last A small number of large cities existed, also less vulnerable to the epidemics that Gothic kings repaired the Coliseum millennium BC, it was generally still mostly the capitals of empires or else swept through the ancient world every in Italy. and Damascus thriving a millennium later. major centres of trade. But most were so often. Plagues ravaged port cities flourished under their new rulers. Importantly, most ancient cities were microcities, tiny islands of urbanism and the densely populated imperial The ecological logic of small- small. Compared to the cities of Bronze scattered across rural landscapes where capitals, where populations were already scale urbanism was not altered by Age Egypt or Mesopotamia or the Indus eighty per cent of the population lived. weakened by malnutrition and endemic political or religious transformation. Valley, most Mediterranean cities were Being small had many ecological disease. Small cities were healthier and Mediterranean cities were the great tiny. Even in the prosperous conditions advantages. Food security and water more self-sufficient. survivors of the ancient world.

Late Roman silver bowl from Carthage, c. AD 400.

The Life and Death of Sestertius commemorating Ancient Cities Tiberius’ earthquake relief to by Greg twelve cities in Asia Minor, Woolf is published by AD 22–3. Oxford University Press.

40 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 41 Sandstone sphinx The earliest Neolithic Chinese found in Serabit Chinese pottery marks from el-Khadim in characters the Banpo culture Sinai, with Proto- inscribed on a of the Yellow River Sinaitic signs Shang Dynasty valley, 5000–4000 on the left base, , BC. some of which c.1200 BC. resemble (inscribed on the sphinx’s right shoulder and base – not shown), 1800–1500 BC. The Proto-Sinaitic signs are thought to be part of the world’s frst alphabet, inspired by Egyptian hieroglyphs.

When and how did Late people frst begin to proto- from write down ideas? Mesopotamia, Andrew Robinson 3300–3100 BC, with a human head investigates and a triangular object representing bread in front of it, and three different types of numerical The origins of writing symbols.

Writing is generally agreed to be among from its frequent appearance in pictorial quality, whereas the second A century after Wells’s suggestive and all thought’ – to quote an influential China’s Neolithic pottery marks the greatest in human history, exquisite hieroglyphic inscriptions on frequently retained it. Furthermore, in outline, how much of it is still accepted? definition by Sinologist John DeFrancis dating from 5000–4000 BC – notably perhaps the greatest invention, since objects in the tomb. both of these neighbouring cultures, And how much further advanced is our in his book Visible Speech: The Diverse those from the Banpo culture of the it made history possible – as well as So where, when and how did writing the representation of ideas, words and understanding of the origin of writing? Oneness of Writing Systems. Yellow River valley found in 1953 today’s digital world. When H.G. Wells come into existence? Wells hazarded the syllables that could not be directly The answer is, broadly speaking, most However, Wells’s notion of the – have stimulated speculation about published A Short History of the World in following explanation, again perceptive, pictured was made possible through the of it. Writing began with pictures, then monogenesis of writing in Mesopotamia their connection with today’s Chinese 1922 he concisely expressed writing’s if inevitably far more speculative: ‘At use of rebuses (Latin for ‘by things’). came pictography, then rebuses, then (the ‘cradle of civilisation’) closely characters. The characters’ earliest signifcance to civilisation as follows: first writing was merely an abbreviated For example, according to Wells the two from c.3300 BC Sumerian cuneiform followed by Egypt, which was favoured clearly recognisable versions occur ‘The command of the priest or king and method of pictorial record. Even before syllables (so to speak) of the familiar and soon afterwards Egyptian by most scholars until the later 20th on the so-called ‘oracle bones’ of the his seal could go far beyond his sight Neolithic times men were beginning to Scottish name ‘Campbell’ might be hieroglyphs. Finally, in the mid-second century, has been progressively Shang culture dating from c.1200 BC, and voice and could survive his death’, write.’ Thus, in certain Palaeolithic cave represented in rebus writing by a picture millennium in Palestine, came the first abandoned. ‘Origin’ has tended accidentally discovered by Chinese citing the artistically carved sealstones of Europe, the artists created of a camp with tents beside a picture of ‘Proto-Canaanite’ alphabet, influenced towards ‘origins’. Generally speaking, scholars in in 1899. They record of early Mesopotamia impressed in full human figures but also abbreviated a bell. These two developments then led by the hieroglyphic signs. These stages the archaeological discoveries of the royal in sophisticated detail. clay. As if to confrm the truth of this human figures with just a vertical mark to the alphabet: ‘All the true alphabets are still widely seen by modern scholars past century – and the Certain Neolithic marks resemble observation, in November 1922, just and one or two transverse strokes. of the later world derived from a as being essential to the development of of ancient scripts such as of Shang characters, but the marks after Wells’s book was published, the ‘From this to a conventional condensed mixture of the Sumerian cuneiform writing, as it evolved from proto-writing, Crete/Greece and the Mayan glyphs of generally occur in isolation, not in tomb of an unknown who picture writing was an easy transition’, and the Egyptian hieroglyphic (priest capable of limited communication like Mesoamerica – have complicated, rather sequence like the characters, and the ruled more than three millennia ago Wells claimed, which occurred in both writing). Later in China there was to the earliest ‘proto-cuneiform’ tablets than simplified, our understanding of apparent resemblances may be simply was discovered in Egypt’s Valley of ancient Mesopotamia and Egypt, in develop a conventionalised picture and also modern airport symbols, to early writing. Let us look at just three coincidental, rather than definitive. the Kings. The pharaoh’s name was the cuneiform and hieroglyphic scripts, writing, but in China it never got to the full writing, that is, ‘a system of graphic scripts: in China, South Asia and Rapa Moreover, the gap in time between immediately identifed as Tutankhamun the first of which soon abandoned its alphabetical stage.’ symbols that can be used to convey any Nui (). the Neolithic marks and the Shang

42 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 43 culture – more than three millennia identification like the clay cylinder seals tooth of a shark, a flake of obsidian unprompted, or did they – seems implausibly long for the of Mesopotamia. A stone boss on the or a sharpened bird bone – some 25 borrow it from another place, perhaps developmental stages of a sophisticated back of sealstones with a hole drilled examples of this undeciphered script are or Mesoamerica (home of writing system: it is the same time span in it suggests that they were carried on scattered around the world’s museums, the less ancient Mayan glyphs), via in which cuneiform and hieroglyphs strings around the neck of the owner. including the British Museum. None trans-Pacific contacts? Or did it emerge both originated and operated as mature Intriguingly, a small number of Indus of the tablets is formally dated. The following the first visit of European writing systems. ‘At present, the most seals (20 in all) have been discovered at script is known as Rongorongo – the sailors on Spanish ships to Rapa Nui in that can be said for Neolithic origins excavations in Mesopotamia. There is name means ‘chants or recitations’ in 1770, after the islanders saw the sailors’ is that certain habits of drawing, also an Akkadian cuneiform cylinder the Rapa Nui language, referring to alphabetic writing? If the independent patterning and combining elements seal dating from c.2300 BC (the time of its former use by the islanders. Many invention of Rongorongo on isolated in Neolithic pottery marks might have Sargon) that may show a Mesopotamian of its fascinating glyphs are highly Rapa Nui were ever to be proved, endured for many centuries before they ruler in negotiation with Indus pictographic, including a ‘bird-man’. this would enormously strengthen provided some sort of basis for the first merchants, according to its inscription, Is Rongorongo proto-writing or full the argument that writing had several invention of writing signs’, wrote former which refers to Meluhha – the apparent writing? No one knows, despite more origins – as opposed to a single origin in British Museum curator Oliver Moore Akkadian name for the Indus region. than a century of debate and claimed Mesopotamia/Egypt. in his BM guide, Reading the Past: Chinese. Without doubt, the Indus civilisation decipherments, as with the Indus script. Current scholars therefore hold traded extensively with Mesopotamia Intriguingly, some of the Rongorongo Andrew Robinson is the differing opinions about the origin of by sea during the third millennium glyphs closely resemble 40–50 far-distant author of six books on writing, Shang writing and Chinese characters. BC. Such discoveries suggest that ancient Indus signs, leading to far-fetched scripts and . He Some favour a gradual development Mesopotamia could have played a role claims of Indus influence across oceans is currently researching the of full writing from 5000 BC – so far in the origin of the Indus script (as and millennia. Did the islanders invent origins of writing. undetected by archaeologists – from mooted above in the Shang culture). Yet the proto-writing of the Neolithic there is no proof, and the balance of the marks, viewing Chinese writing as evidence – including the utterly different wholly indigenous. But most continue appearances of cuneiform and Indus to support a much later emergence of signs – favours an independent Indus writing in the Shang culture c.1200 BC, origin of the script. without being able to account for how Our third mystery relates to Rapa this occurred. Might such an apparently Nui in the Pacific Ocean, one of the rapid emergence be explained by the most remote inhabited islands on the import of the basic idea of writing from planet, famous for its giant figures in

Mesopotamia via some forerunner of stone, the . In the 19th century, of a the Roads that operated between and possibly long before, Rapa Nui also tablet from Rapa Europe and China from the end of the had a script, although the script does Nui showing undeciphered 1st millennium BC until modern times? not appear on the moai. Engraved only Rongorongo script, Conceivably so – yet there is no clear on wooden tablets – maybe with the date unknown. evidence for such a long-distance link.

Classic Mayan In South Asia, an entirely unsuspected carved limestone civilisation in the Indus River valley lintel from Mexico (modern and north-west India) showing a bloodletting ritual dating from about 2500–1900 BC, performed by the was discovered by British and Indian king of archaeologists in the early 1920s. It used and his wife in AD 709, with an exquisite script inscribed mainly glyphs indicating on steatite sealstones, some of which the event and the are displayed in the British Museum. date, produced in 723–6. Unfortunately, the Indus signs have resisted an agreed decipherment for Wooden neck ornament (gorget) almost a century, notwithstanding from Rapa Nui dozens of highly imaginative proposals. with undeciphered They – along with enigmatic emblems Rongorongo inscription, date of objects, yogic figures and animals, unknown. Indus sealstone including ‘unicorns’, inscribed next from to many of the signs – resemble those with a ‘unicorn’ of no other contemporaneous ancient and undeciphered inscription, script. Probably Indus sealstones 2500–1900 BC. and signs were markers of personal

44 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 45 The Portable It is remarkable to think that many of Cup (now in the British Museum) professional archaeological excavations The front line of the Scheme in they can be viewed by anyone, and the Antiquities Scheme the most important archaeological fnds in providing new insights into ritual also happen across Britain these are is its network of 40 Finds data is being added to every day. These discovered in Britain are made not by ceremony in the early Bronze Age. mostly in response to development Liaison Officers (FLOs), archaeologists records include an image of the find, has now recorded archaeologists, but by members of the Other objects might appear less control work, whereas public searches trained to identify and record description, weight, dimensions and the over 1.5 million public – most by metal-. impressive – they can be bent, broken or are much more random, therefore finds. They are all locally based, all-important locational information archaeological Even more incredible is the fact that fragmentary, and can even be relatively (counter-intuitively) giving a better within museums and other heritage or find-spot; without a ‘good’ find-spot objects, and the to date 1.5 million public fnds have common – but they also offer clues about impression of the nations’ archaeology. organisations, but directed by a central a find has little archaeological value. work continues. been recorded by the British Museum’s our past. As a group, they represent the The PAS was established in 1997 unit at the British Museum. The PAS The finds can be of any material and Michael Lewis Portable Antiquities Scheme (PAS) in whole of human existence in Britain – to complement changes in Treasure is an essential part of the Museum’s from any period, but the vast majority England, together with our colleagues in from the Palaeolithic, through the use legislation. Since at least the 13th reach across the UK through its national are metal, and most date to the Roman presents some Wales at Amgueddfa Cymru-National of the first metals in the Bronze Age to century (maybe well before that), programme, but it is the partnership and medieval periods. Obviously more recent fnds Museum Wales. (pretty much) modern times. finders of gold and silver were nature of the Scheme that is key to its post-medieval (post-1540) objects are There is no doubt that these finds Importantly, finds recorded with the required to report these finds under success. The PAS not only benefits from found, but the FLOs focus on those that have transformed our understanding PAS also reflect what people were using the common law of . the expertise of colleagues at the British are considered most archaeologically of the history and archaeology of across what is now England and Wales, This law was essentially a way of Museum, especially in the curatorial important, generally handmade both nations, and that of Britain more from Carlisle to Dover and St Davids ensuring that ownerless precious departments and conservation, but also rather than industrially produced generally. Some of these items are to Wrexham, enabling archaeologists metals came into royal possession, but from the support given to it by those items unless they have a particular or spectacular – finds of a lifetime in fact. and other researchers to understand over the centuries, as people became working in archaeology and museums local significance. Although finders Who can doubt the significance of the differences between geographical areas more aware that ancient objects had a across the country, particularly in those can be selective in what they show for for bringing new and the transmission of ideas and historical value besides a bullion one, that host and manage the FLO posts. recording, our general message is that light upon the ‘dark ages’ of Anglo- culture from across Britain and beyond. the law was revised to enable museums All the finds recorded by the FLOs we wish to see anything they discover. It Saxon England, or the Ringlemere A crucial point here is that while to acquire important finds. Among are logged onto the PAS database where is an important part of the FLOs’ work several key changes, the Treasure Act 1996 gave a clearer definition of what constitutes Treasure, also providing a process to match. The main aim was Figure of a saint manufactured to ensure that museums across the in Limoges, late land could acquire the most important 12th or 13th archaeological finds for public benefit, century. PAS no. and that finders and landowners could OXON-B25524. be satisfactorily rewarded for their Silver denarius of discoveries. Clodius Albinus (r.193–197), a While archaeologists broadly Roman general and welcomed the new Act, concerns were Recording our past senator. PAS no. expressed that it focused too much on KENT-B9108F. precious metal finds (a criticism that remains), rather than those of base metal and other materials, which of course can also be archaeologically important. So pilot schemes were established for the voluntary recording of finds made by the public, including those found by metal-detector users. The Portable Antiquities Scheme proved to be a great success, not only ensuring that large numbers of finds were recorded, but also breaking down barriers between archaeologists and the metal-detecting community. In 2003, the PAS was extended across the whole of England and Wales, thanks to money from the National Lottery Heritage Copper-alloy Anglo-Saxon die Fund, and it is now funded (in England) stamp for making through the British Museum’s grant-in- ‘pressblech foils’, aid from the Department for Digital, late 6th to 7th Anglo-Saxon brooch, century. PAS no. Culture, Media and Sport (DCMS ), c. AD 530–70. PAS LIN-490483. with local partner contributions. no. IOW-92228F.

46 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 47 Silver penny Lead-alloy seal of Edward the matrix of David, Confessor Bishop of St (r. 1042-66). Andrews, 13th PAS no. NMGW- century. PAS no. 8C1521. GLO-031814.

to reach out to members of the public, . A copper-alloy early to middle St Andrews between 1239 and 1253. Copper-alloy though outreach events such as ‘finds Anglo-Saxon die stamp for making However, it would be unusual for a mount showing recording days’, and talks, and ‘pressblech foils’ (thin gold plates for bishop’s matrix to be made in lead, so the white boar of Richard III to encourage them to show what they decorating jewellery and similar) dating perhaps this is a contemporary forgery. (r.1483–5). PAS have found. Obviously since April, with to the late 6th to 7th century. It was . A copper-alloy mount showing no. SOM-F219CB. the Covid-19 pandemic, that work has found at Whittington, Staffordshire and the white boar of Richard III, from changed significantly. is decorated with an interlace design Colyton, Devon. It is not known what From 23 March to 12 May metal- thought to be derived from an animal the mount was from, though it is detecting and other forms of searching ornament style. probably a belt or horse harness, but it were essentially prohibited under . A silver penny of Edward the is nicely made, as well as being gilded, lockdown. Even so, the FLOs were Confessor (r. 1042–66) found at silvered and enamelled. The white boar extraordinarily busy, often having to Llangathen, Carmarthenshire, known was the personal badge of Richard juggle finds identification and recording as the ‘bust facing/small cross’ type, III (r. 1483–5) and was in use by his with home-schooling and similar. In based on its obverse/reverse designs. household from at least the 1470s. this six-week period, a further 5086 It was minted by the moneyer Eadric at During lockdown the Scheme’s digital archaeological finds (made before Hereford in 1062–5, and was from the outreach became more important lockdown) were recorded from scratch, same die as a coin found within a hoard than ever, with increased output on the of which 339 records were made by from the Abergavenny area, which was PAS County Pages blog platform, with public recorders (metal-detectorists given a previously unrecorded variety. volunteers, FLOs and guest authors training to record their own finds on . A figure of a saint, manufactured sharing content on a range of topics, the database). A further 17,622 were in Limoges, France, in the late 12th such as Roman coins, medieval ampullae updated in some way, as the FLOs and or 13th century, which was found and ancient . In addition to their volunteers worked on the backlog. near Buckingham. These objects once the usual social media output, the PAS Among the finds recorded during this adorned , processional crosses started a weekly ‘Finders’ Showcase’ on period are the objects illustrated here: and similar, and perhaps found their Instagram, and created some National branch leaders teach children about the archaeology (so that a find, such as The PAS database can be accessed at . A silver denarius of Clodius Albinus way into the ground at the time of the -specific database searches PAS and finds. a coin hoard, remains undisturbed from https://fnds.org.uk/database. The (r. 193–197), a Roman general and mid-16th-century Reformation. for those who are home-schooling, Since the relaxing of lockdown rules the time it was deposited). It is possible to County pages blog platform is at https:// senator who claimed the imperial title, . A lead-alloy seal matrix (object used which were shared through Twitter. from 13 May, it has been possible for do some of the recording work virtually, fnds.org.uk/counties/. The Instagram being recognised by legions in Britain and for making a seal) of David, Bishop The Scheme also trialled its first- finders to go out searching again as but handling these objects ‘in the flesh’ is Finders showcase and Twitter account is Spain. This coin was found at Brabourne, of St Andrews, found at Dursley, ever virtual training session (on finds long as they maintain social distance. important to interpret and record them @fndsorguk. The Young Archaeologists Kent. On the obverse it shows the Gloucestershire. It shows a standing conservation) and several more are now This presents a challenge for the PAS, properly. Obviously things will return ’ pack and activities can be downloaded at www.yac-uk.org.uk/. Emperor, with the reverse depicting a bishop, surrounded by the legend planned. As part of the extension to the especially as its FLOs are used to to something resembling normal in due The Museum is also very grateful to the legionary eagle between two standards. DAVIT: DEI: ORA: SCIV ANDREE: PASt Explorers project, supported by meeting finders face to face, handling course. But it is essential, especially at Headley Trust for their funding of . An Anglo-Saxon brooch dating to EPISCOPVS (David, God’s Messenger, The National Lottery Heritage Fund, their discoveries and taking them this time, that finders follow the Code of Portable Antiquities Scheme Interns, and c.530–70 of a ‘radiate headed’ type, that Bishop of St Andrews). It is thought the PAS also worked with the Young in for recording. There remains a Practice for Responsible Metal-detecting to Graham and Joanna Barker who has been decorated on its head and foot the ecclesisatic in question is David Archaeologists Club (YAC) to produce a legal obligation for people to report in England and Wales (2017) before, generously support the work of the Finds plates, displaying signs of gilding. de Bernham, who was the bishop of resource and activity pack to help YAC Treasure finds, and stop if they find any during and after each search. Liaison Offcers.

48 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 49 Fake cuneiform tablets unwrapped Finding the fakes for assessment.

St John Simpson looks need to be swift in our response so that sites and periods. If real, these tablets circulation than genuine articles. It is at how British Museum cases can be investigated carefully by would simply have been sun-dried clay easier and cheaper to make copies than law enforcement. but these had all been fired deliberately it is to hire dozens of workers to look expertise has recently Every case is different and it is and consistently, and to a relatively high for originals. Fakes are conveniently helped to identify fake always exciting to open up trunks like temperature, proving that they were the complete, whereas almost everything antiquities destined for these and call in the most appropriate product of a modern workshop with from antiquity has been broken, unsuspecting collectors curator for detailed assessment. In a kiln. The clay itself was also of the either deliberately in episodes of this instance the tablets represented wrong variety. Moreover, the sizes and destruction or accidentally in the case a virtually complete range of types thicknesses did not match those of the of everyday items. There are also the On 1 July 2019 two metal trunks were known from Mesopotamia: school originals – a common error of forgers who simple economic of supply and opened at after texts, administrative documents, royal often work from photographs in books. demand. The large-scale looting of catching the attention of an eagle- inscriptions, mathematical texts and The cylinder seals were also made sites in Iraq which took place in the eyed Border Force ofcer. They were others resembling official documents of fired clay rather than stone, and immediate aftermath of the overthrow consigned from Bahrain to a private from temples and public buildings. It the figurines looked like ‘teasers’ of government, law and order after the UK address. The trunks were flled with was as if the whole genre of ancient for a prospective buyer interested in American-led invasion in 2003, ended been known for over 200 years and they A selection of the fakes what looked like objects from ancient Mesopotamian writing was on display: broadening their collection. Not long long ago, and today there is an efficient began to appear even before cuneiform will be briefy displayed Mesopotamia dating to between about an entire collection ready for a single after the first trunks were opened, two and armed archaeological police had been deciphered. However, this in Room 53 after the 2000 BC and 500 BC. There were buyer. But there was one glaring more arrived at Heathrow, this time with which patrols sites and guards museums is the first time that we have seen Museum reopens. as many as 190 cuneiform tablets, problem: none was ancient. Some many more figurines and some animal- and archaeological projects. fakes of this particular type – this is a fgurines and cylinder seals, all packaged contained real signs but the rest were a shaped pottery vessels. It immediately Someone had therefore chosen to new production line aimed at private in bubble-wrap. Photographs were jumble of signs, some invented, others confirmed our suspicions and made us find another solution to fuelling the individuals with little or no knowledge taken and sent to the British Museum, upside-down, a complete mish-mash realise that there are even more trunks market, and that is through making of the originals. They didn’t get far rapidly followed by the objects for closer which made no sense when read. of fakes out there. crude copies and passing them off and were stopped from reaching their expert identifcation. As readers of this The clay used was the same, which This is evidence of a side of the as originals. The whereabouts of the intended destination. The fakes will magazine are aware, this is an important would be impossible for such a wide antiquities trade which is rarely workshop is uncertain but it is within instead now be used for teaching and part of our job at the Museum, and we range of inscriptions from different discussed – there are more fakes in the Middle East. Faking tablets has training purposes. Some of the fake fgurines.

Looting causes terrible destruction to archaeological sites like this one in southern Iraq, where the illegal diggers were looking for cuneiform tablets and cylinder seals (photograph: St John Simpson).

50 British Museum Magazine Autumn 2020 British Museum Magazine Autumn 2020 51 Book reviews Bactrians, Samaritans and Vandals

Antiquity is dominated for most Westerners settled after emigrating from Europe in AD and enjoyed races, while by the civilisations of Egypt, and 429. It displays a horseman in front of a administering their territories much like the Assyria, followed by those of the Hebrews, Roman-style villa. Whether he is a ‘barbarian’ Romans. According to current historians, far Greeks and Romans. Other cultures are or a Roman is impossible to tell, because the from being bent on destroying Roman often relegated to single associations, for Vandals – despite their undoubted sack of culture, the Vandals respected it. example, Bactrians with their two-humped imperial Rome in 455 – were in many ways camels, Lydians with their extraordinarily highly Romanised. They spoke Latin, wore Andrew Robinson wealthy King or Samaritans with silk, built grand townhouses and churches British Museum Friends Advisory Council Jesus Christ’s parable of the Good Samaritan. ‘We call an uncultured lout a Philistine, but Vandal-era mosaic were the Philistines philistines, and come to pavement from Carthage, that, were the Vandals vandals?’, asks Philip 5th–early AD. Matyszak, historian of . His stimulating encyclopaedia of 40 ‘forgotten peoples’ from the Middle East, the Mediterranean area and parts of Europe begins with the Akkadians c.2334 BC and ends with the (‘White Huns’) in the 5th century AD. It brings most to life through a diverse mixture of archaeology, , legend and literature supplemented by a wealth of illustrations, showing works made by both them and Forgotten Peoples of the modern artists. These include a Vandal-era Ancient World, by Philip mosaic in the British Museum discovered Matyszak, Thames & near Carthage in Tunisia, where the Vandals Hudson, £24.95.

Joyful images for diffcult times

During the dark years of the Second World became particularly important to him – an arranged in chronological order, so that the War Matisse was working in his studio on the all-consuming passion that was to last until reader can trace a pictorial evolution from CÔte d’Azur, creating a series of very his fnal decade. the earliest projects – simple line drawings personal books – visual responses to the Matisse had achieved considerable fame as illustrating the poems of Mallarmé – to a poetry of Ronsard, Charles d’Orléans, a painter, but making books gave him the closer integration of word and image and the Montherlant and Baudelaire. He had started opportunity to experiment with special print fnal colourful explosion of Jazz, for which to illustrate books in the 1930s when he was techniques such as , lithograph, stencil Matisse wrote the text himself. A number of 61, but in difcult times of war, ill-heath and and linocut. Louise Rogers Lalaurie focuses on the illustrations reproduced here are familiar marital breakdown, this intimate medium eight of his major artists’ books. They are as they had an afterlife as independent prints, but Lalaurie places them back in their original context, exploring their relationship with the texts and the way they ft together in sequence. She also reveals how they contributed to Matisse’s work on a larger scale, as he moved away from painting in his later years towards paper cut-outs and massive decorative projects such as the Rosary Chapel in Vence.

Matisse, Title page Caroline Bugler of Jazz, Editor, British Museum Magazine Museum of Art. Purchased with the John D. McIlhenny Matisse: The Books, Fund, 1948. by Louise Rogers Photo © Philadelphia Lalaurie, Thames & Museum of Art. Hudson, £60.

British Museum Magazine Autumn 2020 53 New titles

From the British Museum

Arctic: culture and climate Tantra: enlightenment to revolution Edmund de Waal: library of exile edited by Amber Lincoln, Jago Cooper by Imma Ramos, by Edmund de Waal, Hartwig Fischer and and Jan Peter Laurens Loovers, Thames & Hudson in collaboration Elif Shafak, Thames & Hudson in collaboration with the British Museum, British Museum Press, with the British Museum, £35 hardback £10 hardback £35 hardback ISBN 978 0 5004 8062 5 ISBN 978 0 7141 2347 9 ISBN 978 0 5004 8066 3

Drawing on a wealth of objects, artworks Tantra is a radical philosophy that Published to mark the display of library of and voices, Arctic: culture and climate sheds light transformed the religious, cultural and exile at the British Museum, this beautifully on the history of the Circumpolar North political landscape of India and beyond. produced new book refects on the themes and its Peoples and, through the lens of Presenting sculpture, painting, prints and raised by de Waal’s thought-provoking climate change and weather, demonstrates ritual objects from all over the world, this installation, featuring a contribution by how cultural traditions have survived and book ofers new insights into Tantra, which Booker Prize-nominated Elif Shafak and continue to thrive. continues to capture our imaginations. stunning new photography by Hélène Binet.

Model of a Summer Camp The British Museum: 101 Stickers! Find Tom in Time: Ming Dynasty China by Tatiana Argounova-Low, Alison K. by Sophie Beer, illustrated by Fatti Burke, Brown and Sushma Jansari, Nosy Crow in collaboration Nosy Crow in collaboration British Museum Press, with the British Museum, with the British Museum, £6 paperback £5.99 paperback £12.99 hardback ISBN 978 0 7141 2488 9 ISBN 978 1 78800 639 2 ISBN 978 1 78800 657 6

The Model of a Summer Camp is an Children can use stickers to add statues to This fun puzzle book, packed with child- intriguing object from far north-eastern the Acropolis, fll the busy marketplace with friendly facts about Ming Dynasty China, , depicting a yhyakh celebration – a people and pots, and populate the ancient invites young readers to fnd Tom, Digby the festival of huge cultural importance to the Olympic games with athletes. They can also cat and over 100 objects in detailed puzzle region. This concise book takes a detailed curate their own museum exhibition with spreads, ranging from the Emperor look at the object and its journey from real-life photographic object stickers from entertaining guests in the Forbidden City to Siberia to the British Museum. the British Museum’s collection. a Kunqu actor who has lost their headdress.

54 British Museum Magazine Autumn 2020 Trustee’s choice

One of the most intriguing couples are two mini-life stories, his on the left, expected to live up to. My guess is that in the British Museum are Aurelius hers on the right (probably both actually Philematium worked her fingers to the Hermia and Aurelia Philematium written by him as she was the first to bone to make that butcher’s shop a (‘Little Kiss’), who lived together – man die). You can read the words in Latin success. But she is written up with all and wife – in central Rome, near where with the English translation on the the Roman clichés of female modesty, the main railway station now is, in the Museum’s website. But two things have chastity, obedience and submission. Her 1st century BC. We still know of them always struck me about it. First, it is one side of the text ends by summing up her thanks to their wonderfully loquacious of those very rare insights we get into life in these words: ‘He flourished in the tombstone, easy to overlook on the wall the life of Roman slaves from the slaves’ eyes of others due to my constant and of the Roman galleries, surrounded point of view, and into the relationships close support.’ by some of the most stunning ancient of care and protection that might grow Give them a wave when you next to have survived. This pair up among them. Philematium’s side of pass. And spare a particular thought for takes us into the world of the ordinary the stone explains that she and Hermia ‘Little Kiss’. people of the city: Hermia was a butcher, had been fellow slaves of the same and both he and Philematium had master, and had been freed together. Mary Beard started life as slaves, had later been freed, He, she says, had always looked out for Professor of Classics, The University of and had done well enough to aford this her, and even when she was just a child, Cambridge, and British Museum Trustee decent memorial to themselves. aged seven, he had taken her on his lap Here we can glimpse their lives and (chastely, we assume!): he meant even something of their ideas, priorities and more than a parent to her. prejudices. At the centre stands the Second, loving couple as they are, Inscribed funerary relief of Aurelius couple, looking very Roman indeed, they also shed a vivid light onto the Hermia and Aurelia whatever their origin. On either side stereotypes that Roman women were Philematium, c.80 BC.

56 British Museum Magazine Autumn 2020