Category: Museums

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Town exploration: 2 Brussels

Panoramic painting of Brussels c1665 by Jean-Baptiste Bonnercoy. 

So I arrived at the hotel in Brussels.  Got their free map and looked for likely Wall circuits.

Creased Map of Brussels

As you will see there is an extensive inner ring road or boulevard clearly marked in orange.    This is, I thought probably  the Renaissance wall alignment when the town had expanded and the old walls became useless in the face of cannons. 

A closer look at the map confirms it was a wall circuit as at junctions there is a grey label saying ‘Porte de Flandres’ or similar. 

So the next task is to find if there was an earlier wall circuit on the map.  I’m basically looking for curved roads that were originally just inside the walls or just outside.

modern map of central Brussels.  The Bourse is a red circle near the centre.

The two red lines coming from the top left point to a red rectangle which is my hotel and by chance is on a curved road which is my guess to be the early wall circuit.  It is called the ‘Vieux Marché aux Grains’. I had a quick explore before retiring for the night. But found nothing conclusive and St Catherine’s Church is astride it.

At breakfast, in the basement I failed to notice that 3 of  the 4 walls were ancient stone, and there was a picture of a wall and bastion tower.  These were pointed out by a staff member, and they suggested they were part of the wall.

Basement cafe of Hotel Atlas

The walls in the basement formed three sides of a rectangle so I had my doubts whether it was ‘the wall’ but it could be a tower or a building built up against the wall. But the picture certainly confirmed my guess that this curved street marked the route of the early wall.

Picture of the wall

So next I walked up to the ‘Porte de Flandres’ in the north east of the town on what I am calling the Renaissance circuit. I wanted to see if any gate or wall survived (no) and to look at the canal which runs alongside the wall. 

Then to visit Brussels amazing museums where in the Old Masters museum was found the view of the walls that you will find above.  The view is from the north east and at the bottom you will see the canal that linked Brussels to the main trade routes with triangular ramparts in front designed to withstand cannon fire, with the canal and the wall behind. Right in the centre of the bottom is the Porte de Flandres. It looks 15th Century to me, give or take a century but the triangular ramparts look 17th Century.

At the Museum were leaflets to a Porte de Halle museum, So I went from the Musee d’Arte et D’ Histoire, through the European Parliament to the old Wall circuit past several old gates which no longer exist and then saw the view below of the Porte de Halle.

Porte de Halle, Brussels

It looks like something from the Très Riches Heures du Duc de Berry which is early 15th Century. I couldn’t confirm because the gatekeeper of the Porte refused entry as, he said, last entry was at 4pm (1 arrived at 4.03pm) although the leaflet clearly says last entry is 45 mins prior to closing at 5pm.

So I went to confirm the existence of the earlier wall circuit. And I will post about that later.

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Plaque in the Roman Empire

Roman Skeleton Museum of London in Docklands Exhibition 2018 photo K. Flude

I was puzzled to find a message, from reader of this blog Harriet Salisbury, voicing interest in coming on my ‘Decline and Fall of Roman London’ Walk in order to find out about Roman Dental problems.

Harriet is not only a brilliant editor, but also the author of a great book on the oral history of war time London, so I had to follow up this puzzling comment. And my recent post on my upcoming walk said:

Faced with plaque, civil war, invasion, mass immigration,  industrial decline, reversion to barter; the authorities struggled against anarchy and descent into a Dark Age

Now there are many reasons for the decline and fall of the Roman Empire but I have never yet heard anyone, apart from me, blame dental plaque. So, I then spent a couple of hours changing the q of plaque to the g of plague in various places where the deadly dental disease was referred to. Of course, Harriet might equally have wondered whether a rash of information panels had been a contributory cause?

As you will know I have an interest in the history of health and medicine. A cursory glance at any of the skeletons you find in museums will normally show that pre-modern skulls have much better teeth health than modern people. And the reason for this is, mostly, because they did not have sugar to rot their teeth. Instead of sugar-created cavities, their problem tended to be wearing teeth out by the roughness of the grain they used. But I investigated more and found that recent work in Herculaneum and Pompeii had investigated Roman teeth health in a scientific manner. This showed that the diet of even the poor was much better than most modern diets because it was essential the much lauded ‘Mediterranean Diet’ with olive oil, no added sugar, lots of vegetables,fruits and smaller amounts of meat. In short, Roman society had a system in which even the poor had balanced nutritional diets, and therefore good levels of natural immunity.

Pompeii also had a high level of fluoride in the water. The Romans seem to have brushed their teeth with a flayed stick and used abrasives made of ‘ground-up hooves, pumice, eggshells, seashells, and ashes‘. They used a mouth wash of human and animal urine, and disgusting as this may seem, the ammonia would have acted as a cleansing agent.

To find out more about the science behind the story please go to: https://www.docseducation.com/blog/ancient-romans-had-healthier-smiles-we-do-today

This picture from ebay shows you a flayed stick toothbrush – I include the seller information so you can buy some!

Ebay Ad for natural toothbrushes

Harriet’s book was based on a wonderful oral history collection at the Museum of London. Worth having in you are interested in London history, the Blitz and ordinary people’s lives. And also for any lover of ‘Call the Midwife’.

This is a screenshot of ‘The War on our Doorstep’ so the link won’t work, but World of Books or any other online book seller (including the ‘evil empire’ but best not to boost the income of such stupidly rich people?)

I have updated and reposted my January 4th post to include what to look out for in the night skies in January.

Last chance to make the Twelfth Night cake & the night skies, January 4th
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Upton Lovell Shaman becomes a Goldsmith

‘Materials in movement: gold and stone in process in the Upton Lovell G2a burial’

Upton lovell 'shaman' display wiltshire museum
Screenshot from Wiltshire Museum web site

The journal Antiquity reports amazing discoveries in a paper called : ‘Materials in movement: gold and stone in process in the Upton Lovell G2a burial‘ and citing that the paper is

‘advancing a new materialist approach, we identify a goldworking toolkit, linking gold, stone and copper objects within a chaîne opératoire,

Setting aside what ‘new materialism’ and ‘chaîne opératoire’ are for the moment. Briefly, their analysis of the objects found in the Bronze Age burial of two people evidence that the person(s) identified as a ‘shaman’ on the basis of clothing/jewellery was (as well?) a gold worker. What is amazing is that they were using Neolithic axes which would have been hundreds of years old to make gold sheets. There was also evidence interpreted as tattooing instruments. As Upton Lovell is 12 miles from Stonehenge it means this is big news in the archaeological world, making most of the newspapers.

The authors dig deeper into the meaning of ‘New materialism’:

‘This approach advances on traditional technological studies in two ways. First, whereas materials are usually approached as having fixed properties, new materialists argue that these properties emerge relationally; they change through time and in combination with other materials, people and places (cf. Barad Reference Barad2007; Bennett Reference Bennett2010). Second, ‘making’ is seen not as the simple imposition of the will of a maker on an inert material but, instead, materials play an active role in the process.’

Widipedia gives a definition of chaîne opératoire

To put it more simply objects have complicated histories and contexts. You might also like to look at the original article (link below) which is written in a very strange style which gives the objects agency ‘an active role in the process’. Below is the conclusions of the article.

‘Conclusions

Drawing on microwear, residue analysis and new materialist theory, we have reassessed the Upton Lovell G2a grave assemblage. The empirical techniques attend to the materials, which are reinvigorated by situating them within this emergent theoretical landscape. These approaches reveal how the grave goods disclose an intertwining set of processes. Never static, these objects changed and shifted, requiring modification, repair and reuse. They speak to a complex interweaving of bodies—human and non-human—and their varied histories. There is far more complexity here, in relations, histories, gestures and processes, than could ever be captured under the label ‘shaman’, ‘metalworker’ or ‘goldsmith’. Grave goods are more than representations of a person’s identity. They are more even than critical relations in the construction of identity (cf. Brück Reference Brück2019). What these grave goods stress, when attention is paid to their stories, is quite different. They speak of material journeys, the colour of stone and the texture of gold capturing relations that flow across landscapes. Collectively, as an assemblage, these stone tools reveal a process of goldworking. But this goldworking involves as much the working of stone, in the shaping and upkeep of tools, as it does of metal. Here, we emphasise the repetitive and iterative nature of our chaîne opératoire, each action calling into being further moments of renewal of the polished stone surfaces so essential to the qualities other materials elicited. This goldworking chaîne opératoire is multi-material; it is as much a process in stone working as it is in the working of metal. From this perspective, the similarities in processing and working gold and stone mean that the former emerges as far more like the latter than our modern taxonomies would suggest.’

Materials in movement: gold and stone in process in the Upton Lovell G2a burial

If we analyse this conclusion based on the literary idea of ‘Point of View‘ you will see that the POV of the piece above is just bonkers. There is the ‘we’ of the authors, and the ‘they’ of the objects. ‘They’ are speaking to ‘bodies – human and non-human’. ‘They’ even have the ability to ‘stress’ an issue once ‘attention is paid to their stories’ and to be ‘reinvigorated’.

But its a very interesting find and analysis and does remind us that things are much more complicated than we realise.

I have republished my post of the Chinese New Year which you can see here:

Chinese New Year February 10th

I have republished my post of the Chinese New Year which you can see here:

Chinese New Year February 10th

I have republished my post of the Chinese New Year which you can see here:

Chinese New Year February 10th

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The Great Museum of London Reunion! (and closure)

The Great Museum of London Reunion

The Museum of London is reverting to its ‘original name’ the London Museum and moving to Smithfield. The problem is that they have decided to close the old Museum while they build the new one, which I think, sucks. To my mind a Museum’s job is to present its collection to the public: some of the objects are unique and need to be seen. To hide them all for four years because of convenience and cost savings is, I think, an abrogation of its duty. Of course, the Museum also runs the Museum of London in Docklands which is some compensation but all the same – four whole years!

So, today, it closes its doors. Then in the evening it hosts, what I imagine will be a ravening hoard of archaeologists and museum staff, for the greatest of all reunions. I’m very excited. I will be looking out for 2 wives, several ex-girlfriends and loads of old friends and colleagues many of whom I have not met for a very long time. I split up with Julie, my first wife, in our first few months as archaeologists at the Museum and a few years later met Poppy, the mother of our children, who worked as a Conservator at the Museum.

As I was a trade union representative while at the Museum, and co-edited the scurrilous archaeological ‘fanzine’ called ‘Radio Carbon’ I was, therefore, more often than most archaeologists to be found at the Museum. There I got to know quite a few of the Museum staff. So its going to be a blast. The original invitation was for a 2 hour event, which was then increased to 3 hours, and yesterday it was increased to 4 hours with live showing of England’s world cup game.

Radio Carbon (the author is to the left with finger up his nose)

Photos: Left: Kevin Flude in the Museum’s Library, One of my few claims to fame is that I introduced computers to the Museum of London (and the V&A)

Centre: Archaeologists at the GPO site (near St Pauls) the author in the front row with glasses surrounded by so many friends!

Right: Dig Party held at Trig Lane with home made fairground attractions and cocktails such as the Portaloo Flush (as I remember it vodka dyed blue with added raisins.) The author is in the foreground to the left. (photo Derek Gadd)

The original museum for London was called the Guildhall Museum, founded in 1826 and the repository for treasures found in the ‘City of London and suburbs’, and founded by the City Corporation. The foundation of the London County Council changed the balance of power in the metropolis and in 1912, the ‘suburbs’ struck out on their own and the London Museum was founded as a museum of the whole of London. It was encouraged by the Royal Family, particularly Queen Mary, and found a home in the Royal Palace of Kensington.

the London Museum (I think!)

In 1965 an Act of Parliament merged the two museums from which emerged the Museum of London which was purpose built, and it was to be funded one third each by the Government, the City and the Greater London Council. This was changed when Mrs Thatcher abolished the London Council and the funding was swapped to 50% City and 50% the Government.

The Museum of London
The Museum of London at night (photo K Flude)

In the interim before the new museum was built, the Guildhall Museum set up a temporary display at the Royal Exchange, and then moved into a building on the new Barbican High Walk. (thanks John Clark for information on the information on the merger.) The new museum was opened in December 1976, in a brand new building designed by Philip Powell and Hidalgo Moya. Instead of rooms with multiple exits, it was designed to allow only one route through – from the Prehistoric, through to the Romans, and then through a dark tunnel to the Dark Ages, and medieval, then downstairs down a ramp with a ceiling that echoed the Crystal Palace into Modern London. Its ethos was always to tell the story of London rather than highlight the ‘treasures’ and had people friendly, narrative driven displays of great clarity.

It will be much missed.

Roman Gallery, Museum of London
Roman Gallery, Museum of London. Mosaic to the left was excavated with the help of the author.

Aftermath

The Great Reunion was very noisy with competing sound systems and was very jolly. So great to see so many old faces (and still recognise them!) and sorry to miss so many who could not, for one reason or another, attend.

Steph, Paul, Louise, Julie
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How to decolonise a Museum

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.

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Parthenon Marble Replica – will it help the claim for repatriation?

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

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Athena – Clone Goddess of a dysfunctional family

Zeus (sitting) Hephastus to right (looking back with Axe) Athena just visible above Zeus’s head

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.

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British Museum is talking about a deal with Greece over the Parthenon Marbles

Copies of the Parthenon available in BM shop! Photo: KFlude

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.

https://www.museumsassociation.org/museums-journal/news/2022/08/british-museum-opens-door-to-parthenon-deal-with-greece/#msdynttrid=sQLCQs-9urbZY6tAcOyVSPE4FS0zrRWKh9OGeB5eDD0

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.”

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RESTITUTION OF BENIN BRASSES

The Society of Antiquities newsletter ( Salon: Issue 494) reports on a restitution deal of one of the major collections of Benin bronzes back to Nigeria.

The Bronzes, which are actually Brasses, are from the Royal Palace of the Kingdom of Benin which was looted by the British during the Benin Expedition of 1897 as part of British subjection of Nigeria.

Wikipedia reports that ‘Two hundred pieces were taken to the British Museum in London, while the rest found their way to other European museums. A large number are held by the British Museum[ with other notable collections in Germany and the United States.’

The Smithsonian has recently made a similar arrangement to restore their brasses to Nigeria, and UK collection The Great North Museum: Hancock, has followed suit joining Jesus College, Cambridge and the University of Aberdeen. (The Art Newspaper)The British Museum has refused and is indeed prevented from so doing by an Act of Parliament.

An interesting sidelight on the collection is that the wealth of the Benin Kingdom benefited from income from the slave trade.

This is what The Society of Antiquities newsletter ( Salon: Issue 494) says:

Two Benin Bronzes Returned

Last week, Germany signed a restitution agreement with Nigeria. The agreement covers 1,100 artefacts currently held by the Linden Museum in Stuttgart, Berlin’s Humboldt Forum, the Cologne Rautenstrauch-Joest Museum, Hamburg’s Museum of World Cultures and the State Ethnographic Collections of Saxony. The agreement immediately puts these objects into Nigerian ownership; the affected Museums will then negotiate directly with the Nigerian Government whether they return to Nigeria, or remain in Germany under custodial agreements.

Lai Mohammed, Nigeria’s Culture Minister, described the agreement as ‘the single largest known repatriation of artefacts in the world’. It was marked by the return of two Benin Bronzes – an eighteenth century 35kg head of an oba and a 16th-century relief depicting an oba accompanied by guards or companions. German foreign minister, Annalena Baerbock, said ‘It was wrong to take the bronzes and it was wrong to keep them. This is the beginning to right the wrongs.’

Image credits: The returned Benin Bronzes, Martin Franken

The Society of Antiquities newsletter ( Salon: Issue 494)
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PODCAST FOR A VIRTUAL TOUR THROUGH THE WHOLE ISLAND OF GREAT BRITAIN. NO.5 EDINBURGH

View From Edinburgh Castle
View From Edinburgh Castle

This is the Podcast for the Virtual Tour of Edinburgh

To find out or book for the Edinburgh walk and other walks this week end click here

A Virtual Tour Through The Whole Island Of Great Britain. No.5 Edinburgh

Monday 2 May 2022 7 pm

A Virtual Walk Through the Athens of the North

Borrowing my title from Daniel Defoe’s early chorography, my first Circuit is from Chester to Edinburgh. Now on the last stop on this first circuit we are taking a virtual tour of the most extraordinary City – Edinburgh.

Edinburgh is a very unusual City as it was built on the saddle of a hill so its main street runs down the ridge of a hill and the City falls away on either side. This lack of flat land and restricted space led to the City growing upwards. This gave the City an extraordinary density and an unique atmosphere that we will be exploring.

In the Georgian period the City was extended with the addition of a new town quarter which was rationally planned and made a marked contrast on the old Town. Together it gives the Capital of Scotland, a combination of atmospheric and claustrophobic town planning with the elegance of a City that was one of the great Cities of the Enlightenment.

We will begin the virtual walk in the shadow of Arthur’s Seat at the shiny new Scottish Parliament and walk up the Royal Mile from Holyrood to Tollboth, to the Netherbow and onto the Castle at the pinnacle of the City

To Book: