The Past brought to Life
Can a National Museum Rebuild Its Collection Without Colonialism? This is a fascinating article in the New York Times brought to my attention by reader Roz Keller.
In 2018 the National Museum of Brazil in Rio de Janeiro suffered a devastating fire. The irreparable loss of its colonial period collection allowed the space for a new focus for the museum creating a display put together in cooperation with indigenous people.
This is a really interesting story because the scans for the replica were made in a guerilla intervention. The BM did not give permission for it, and the Oxford-based Institute for Digital Archaeology (IDA) undertook the scanning surreptitiously. Salon (see below) says ‘Roger Michel, the founder of the Institute and Alexy Karenowska, the Institute’s Director of Technology, used Lidar cameras to generate an accurate scan.’
I’ve heard it said that the robot created an absolutely faithful replica.
‘The sculptures are accurate to a fraction of a millimetre.’
Photo from Salon: The Society of Antiquaries of London Online Newsletter (see below) mage credits: Roger Michel watches as the head is carved, Institute for Digital Archaeology (IDA)
So, critics of the BM can then say ‘Why not return the original if you have faithful replicas?’
Well, yes but it is still a replica (albeit made of the same Pentelic Marble as the original) and museums are testament to the power of the original. I can see a great reproduction of the Mona Lisa anytime, but it didn’t stop me going to the Louvre to stand with the hordes to see the original. Further, the robot produced sculpture was then finished off with extensive work by a team of humans.
The issue has never been about the quality of a possible copy to replace the returned originals. It is about who owns the originals.
However, this is still a coup of propaganda that has created one more chip in the defensive wall the BM has put up around the issue.
Note: you can subscribe to Salon: The Society of Antiquaries of London Online Newsletter
This is the Podcast which is a taster for the Roman Walk on Saturday.
To find out about the three walks this Saturday click here
Is the question that Terry Cook asked me, and this is my answer.
So the Cutty Sark is twice famous. Firstly as one of the first Tea Clippers and secondly, on account of the Witch nicknamed Cutty Sark (short skirt) in Tam O’Shanter, one of Robert Burns’ greatest poems. written in 1791. And everyone knows of Robert Burns, Scotland’s national poet. Burns night has become world famous for anyone interested in Scotland.
The rest of this content has been reposted to March 27th
First Published 2022, moved March 27th 2026
So, my Halloween walks depend heavily on almanacs for at least some of their content. I explain almanacs on another page, but they were a way of helping people keep track of the year, both reviewing past events, and looking forward to future ones.
One third of books published in London in the Stuart period were almanacs, but if you could not read or did not have the money you could buy or make a cog almanac.
So, I was printing out some images to show my walkers and thought why not make one? So I did.
Bit of wood, saw off 35cms. Each edge needs to represent a quarter of the year, so each centimetre mark represents 3 days, and one day extra 30 * 3 +! = 91 days per quarter. Use bread knife or hacksaw to mark the days off. Buy wooden drawer knob and double ended screw, fit to end of the piece of wood, stain or vanish the wood.
Then I need to find out what all the symbols mean, but they represent notable days like Saint’s Days (Michaelmas, Martinmas, Candlemas etc. , equinoxes, solstices, Christmas, Easter etc. etc..
You count the days off as the year passes.
Simple.
ROMAN LONDON – A LITERARY & ARCHAEOLOGICAL WALK
Saturday 30 October 20/22 11.30 am Monument Underground Station
This is a walking tour features the amazing archaeological discoveries of Roman London, and looks at life in the provincial Roman capital of Londinium.
To book
Myths, Legends & Halloween Walk
Sunday 30th October 2022 2.30pm Tower Hill Tube
The walk tells the story of London’s myths and legends and the celtic origins of Halloween
To book
Myths, Legends & Halloween Virtual Tour
MONDAY 31st October 2022 7.30pm
The tour tells the story of London’s myths and legends and the celtic origins of Halloween
To book
This is a project I had a small part in.
I didn’t know the full story of the birth of Athena until I went to the Feminine Power exhibition at the British museum.
So Zeus eats Athena’s mum, Metis, who is pregnant with her. Sometime later he has a cracking headache. Hephaestus, the disabled artificer God hits Zeus over the head to clear the headache.
Zeus gives birth to a fully formed Athena from the split in his head.
The point, I think, is that Athena being partially a clone of Zeus had both male and female virtues and is thereby the most powerful Deity.
And even the most elite families are deeply f***** up.
There is a lesson in there somewhere.
Posted earlier today on Facebook.
AKA the Elgin Marbles. All my life it seems as if we haven’t been talking to Greece about sending them home. Recently, there was a strong dismissal of any such hope. But today, I read that the British Museum is open to discussion. Statements from the Deputy Jonathan Williams and even the Chairman, ex Tory Chancellor of the Exchequer, George Osborne, have expressed optimism that there is a ‘deal to be done’.
Reading between the lines, the position appears to be based on the ‘fact’ that we own them legally, and that, by discussion of mutual loan arrangements, some, if not all, of the stones, can go home on loan, in exchange for other loans from Greece coming to the UK.
Nearly, all ‘restitution’ cases are settled by the realisation that there are mutual benefits to be had for the return of items. The Horniman is leading the way with its announcement to return 72 Benin Bronzes to Nigeria.
The statement from Nigeria suggests that mutual loans are a part of the deal here too.
Abba Tijani, director-general of Nigeria’s National Commission for Museums and Monuments (NCMM), said: “We very much welcome this decision by the trustees of the Horniman Museum & Gardens. Following the endorsement by the Charity Commission, we look forward to a productive discussion on loan agreements and collaborations between the NCMM and the Horniman.”
As a keen boat user of the River Thames, I am distressed to read that the source of the River Thames has ‘dried up’ for the first time. It is now five miles further down the River than it was.