This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. i Museum, Exhibition, Object: Artefactual Narratives and Their Dilemmas in the National Museum of Scotland Alima Bucciantini Doctor of Philosophy University of Edinburgh 2009 ii Abstract National museums are spaces where stories of the past are told through the display and interpretation of material culture. The narratives that are created in this way reflect the ways in which the nation wants to be seen at that particular moment, and are often embedded in the larger political and social contexts of that time. This thesis looks at the National Museum of Scotland as having three levels of narrative: that of the museum as a physical space and national institution, that of the temporary exhibitions it hosts and develops, and, most crucially, as a collection of important and iconic objects. By tracing the artefacts that were given a central role in various exhibitions over the life of the museum, the narratives of nation and history which were most valuable at that time can be uncovered. The two permanent and five temporary exhibitions profiled in this work act as windows into the life of the museum, and the goals and challenges it had at that moment. The thesis begins with the story of museum history in Scotland, from the 1780 formation of the Society of Antiquaries of Scotland to the debates in the 1990s about the potential form and contents of a new Museum of Scotland. From there we look at two temporary exhibitions in the 1980s which inspired the Museum of Scotland, before examining some more recent temporary and touring exhibitions – a pair that came to Scotland from Russia, and one that left Edinburgh to travel among other Scottish museums. The final chapter returns to the realm of what it means to have a national museum, as it investigates the 2006 rebranding that changed the Museum of Scotland into the National Museum of Scotland, and what the new nomenclature signals about the objects and narratives within. All together, this work is both the story of a particular national museum and an investigation into the ways in which national history is continuously made and remade for the public through the display of artefacts from the past. iii Declaration I declare that this work was composed entirely by me and is completely my own work. No part of it has been submitted for any other degree. Alima Bucciantini 30 October 2009 iv Contents Acknowledgements v List of Images in Appendix vi Introduction 1 1: 1780-1998 – Building a Nation: Creating the Museum of Scotland 33 2: 1984 – Iconic Connections: Treasures from the Smithsonian Institution 71 3: 1989 – Politicising the Nation’s Artefacts: The Wealth of a Nation 110 4: 2005 & 2006 – Forging New Links: The Hermitage Exhibitions 140 5: 2007 – What, and Where, is Scotland?: Fonn’s Duthchas and Highland 2007 177 6: 2006 & 2008 – A New Image of the Nation: Rebranding the Museum 211 Conclusions 242 Visual Appendix of Images 253 Bibliography 270 v Acknowledgements This thesis would not have been possible without the help, expertise and support of many different people. First among these has to be my supervisors, Dr. Stana Nenadic and Dr. Nick Prior, who each brought their considerable knowledge and experience from two distinct subject areas together for my benefit. They have seen me through both the highs and lows of the last years and have never failed to be patient and helpful, even when I was being neither. Much credit for the final form of this work must go to them, while the remaining failings are all my own. My examiners, Dr. Graeme Morton and Dr. James Kennedy, put a great deal of attention and effort into reading the thesis, and because of that the viva examination was both intense and exhilarating. Their questions and comments have been very useful as I began to contemplate the end of the long process of study, as well as the gaps that still remain in my work. I hope that I can live up to their very complementary vision. The curatorial staff at the National Museums of Scotland have taken time out of their busy schedules to answer endless questions, and have talked with great grace about their jobs and passions. Thanks is especially due to Dr. David Caldwell, Dr. George Dalgleish, and Hugh Cheape from the Scotland and Europe department, Dr. David Clarke, keeper of Archaeology, and Geoff Swinney of Natural History. Jane Carmichael, Director of Collections, and Catherine Holden, Director of Marketing, also allowed me to interview them, and gave important insights about the museum and its exhibitions. Dr. Michael Lynch has consistently provided me both with valuable archival sources and with his unique perspective as a historical consultant to the Museum of Scotland Project and trustee of the National Museum. The Librarians of the National Museums of Scotland provided invaluable assistance in navigating the large amount of historical and museological sources held in the Museum Library, and continually alerted me to useful uncatalogued materials. Help from archivists at the Smithsonian Institution was integral in allowing me to get the most use possible out of a fleeting visit to the US. While all the friends and colleagues I have met in Edinburgh have been supportive and helpful, special mention must go to Dr. Katharine Glover for her unfailing optimism about the process of creating a PhD and her willingness to share hints and tips. Dr. Bob Morris provided the initial impetus which inspired me to explore work in Economic and Social History, and that work could not have happened without the financial support of the School of History, Classics, and Archaeology which provided a Studentship and helped me develop a passion for teaching. Connections made with other students and scholars of museum studies through the NaMu: Making National Museums series have enhanced my ideas and supported me through the sometimes fraught project of interdisciplinarity. Many of them have seen and commented on parts of this work, and their perspectives have been invaluable. I must heap gratitude and apologies on all the friends who I have dragged on too- lengthy museum tours or deluged with too many ‘interesting’ facts. Thanks for only sometimes showing impatience. Finally, a huge thank you is due to my family, who have supported me throughout my academic career - even when it has taken me thousands of miles away. vi List of Images in Appendix 1.1: Plans of the Museum of the Society of Antiquaries 1.2: Royal Institution Building 1.3: The Findlay Building 1.4: Museum of the Society of Antiquaries, 1890 1.5: Museum of the Society of Antiquaries and curator, 1890 1.6: Museum of the Society of Antiquaries and curator, 1890 1.7: Future site of the Museum of Scotland 1.8: Museum of Scotland 1.9: Newcomen Engine on display 1.10: Newcomen Engine in Caprington Colliery 1.11: Newcomen Engine and other artefacts in exhibition gallery 1.12: Artistic plan of Museum of Scotland galleries 1.13: Engine being installed in half-built Museum of Scotland 1.14: Engine being lowered into place during construction 1.15: Engine as seen from ‘Victorians and Edwardians’ Gallery 2.16: Judy Garland’s ruby slippers from The Wizard of Oz 2.17: Ruby slippers on display at the Smithsonian 2.18: Benjamin Franklin’s walking stick 3.19: The Monymusk Reliquary 3.20: Reliquary on display at the Museum of Scotland 3.21: Reliquary on display at the National Museum of Antiquities of Scotland 3.22: Reliquary and St. Andrew statue in display cases 3.23: Silver canteen set of Charles Edward Stewart 4.24: Painting detail of Nicholas and Alexandra Romanov arriving at Balmoral 4.25: Icon of Nicholas II 4.26: Russian Imperial regalia copy made by Faberge 4.27: Bloodstained shirt worn by Nicholas II 4.28: Catalogue image from Beyond the Palace Walls 5.29: Highland 2007 logo 5.30: Lewis Chessmen 5.31: Chesspiece displayed with church artefact 5.32: The Union Brooch 5.33: Brooch in Museum of Scotland display case 5.34: Advertising card which accompanies the Union Brooch 5.35: The Cadboll Cup 5.36: Cadboll Cup in Museum of Scotland gallery 6.37: Stone from connection point between Museum of Scotland and Royal Museum 6.38: Old Museum of Scotland logo 6.39: Old Royal Museum of Scotland logo 6.40: New National Museum of Scotland logo 6.41: Mary, Queen of Scots locket 6.42: The Penicuik Jewels 6.43: Sarcophagus of Khnumhotep 6.44: Stela from the tomb of Khnumhotep 6.45: Advertising poster from V&A Museum 7.46: Display cases in Museum of Scotland 20th century gallery 7.47: Advertising image from Scotland-A Changing Nation 1 Introduction Artefacts are at the heart of any museum. Institutions may deal with them differently, but they remain the central reason for the formation of a museum, and for the public visits that the institution relies upon.