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Magical Tomes and Witch Hunting Manuals at the Ashmolean Museum

Magical Tomes and Witch Hunting Manuals at the Ashmolean Museum

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Last week I looked at the new exhibition at the Ashmolean Museum in Oxford, Spellbound: Magic, Ritual & Witchcraft. It’s such a compelling collection of folk magic through the ages that I wanted to look a bit more in detail at a few of the magic books that were included in the exhibition, along with some of the art that belief in witchcraft inspired in pre-modern times.

Microcosmic man (c) Wellcome Library, London

The “microcosmic man” in a German manuscript, c. 1420. © Wellcome Library,
London. The idea that man is a smaller reflection of the greater universe
goes back to Plato and Aristotle, and in the Middle Ages was developed by
astrologers into a system in which certain parts of the body correspond
to signs of the Zodiac. Medical texts used these charts to know whether
or not to bleed a patient. If the moon was in the sign corresponding to
the body part, it was unhealthy to bleed them.

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Magical Items at Oxford’s Ashmolean Museum

Magical Items at Oxford’s Ashmolean Museum

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 Bull's heart (c) Pitt Rivers Museum, University of Oxford

Bull’s heart pierced with iron nails and thorns as a protection
against witches. Found in a chimney at Shutes Hill Farm, Somerset,
date unknown (c) Pitt Rivers Museum, University of Oxford.

A new exhibition at Oxford’s Ashmolean Museum showcases 180 real-life magical items.

Spellbound: Magic, Ritual & Witchcraft explores the history of magic from the early modern era to the present day through objects ranging from Renaissance crystal balls to folk charms against witchcraft. It looks at basic human needs such as fear of death and desire for love, and how people have used magic to try to get what they need.

The exhibition also turns the question of magic and superstition back on the viewer. In the entrance hallway, you are invited to step under a ladder or go around it. The museum is counting how many people dare to tempt fate. I did, and I hope they post the statistics when the exhibition is over!

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Tolkien Manuscripts and Artwork On Display in Oxford

Tolkien Manuscripts and Artwork On Display in Oxford

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bilbo-comes-to-the-hut-of-the-raft-elves-recoloured - 300 dpi

Bilbo comes to the Huts of the Raft-elves, a watercolor Tolkien
painted for the first edition of The Hobbit, published in 1937.
Bilbo is seen sitting astride a barrel floating down the forest river,
having helped the dwarves (who are hidden inside the wine barrels) to
escape from the dungeons of the Elvenking. This was Tolkien’s favorite
watercolor and he was disappointed to find that it had been omitted from
the first American edition. Credit: © The Tolkien Estate Limited 1937.

The University of Oxford’s Bodleian Library has launched the largest exhibition on J.R.R. Tolkien in a generation.

Tolkien: Maker of Middle-Earth showcases the library’s extensive collection of Tolkien’s papers, manuscripts, letters, and artwork, the largest of its kind in the world. The exhibition, which includes some 200 items, also brings together items from private collections and Marquette University’s Tolkien Collection.

J.R.R. Tolkien (1892–1973) spent most of his adult life in Oxford. He came to Oxford University in 1911, aged nineteen, to study Classics at Exeter College, but later switched to English. After serving in France during World War One, he returned to Oxford to work on the New English Dictionary (later the Oxford English Dictionary), while tutoring in English. After five years at Leeds University as Reader and then Professor of English Language, he returned to Oxford in 1925 and remained there for the rest of his working life, first as Professor of Anglo-Saxon from 1925 to 1945, and later as Professor of English Language and Literature from 1945 to 1959. He is buried with his wife, Edith, in Wolvercote Cemetery in Oxford.

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Competition in Ancient Greece

Competition in Ancient Greece

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Marble statue of a discus thrower. Second century A.D. copy
of a fifth century B.C. Greek original. Said to have been found
in Hadrian’s villa in Tivoli. The Emperor Hadrian had quite a
thing for beautiful young athletes. His favorite youth, Antinous,
was immortalized in numerous statues. Antinous didn’t have
those awesome deltoids, though.

It’s autumn, and that means here in Madrid the summer art shows are wrapping up and the autumn exhibitions are upon us. Madrid has several fine galleries and world-class museums to choose from, and the line-up this year is looking pretty good. Stay tuned for some fun shows here on Black Gate.

In the meantime, one of the last of the summer shows to finish is Agon! Competition in Ancient Greece at the Caixa Forum, a private gallery owned by one of the big Spanish banks. The show brings together dozens of objects from the British Museum in London, some of which are usually on permanent display there and others that I’ve never seen before.

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Medieval Treasures on Display in Madrid

Medieval Treasures on Display in Madrid

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estuche-para-espejo-1370-1400-francia-marfil-c-the-trustees-of-the-british-museum-2016-all-rights-reserved

Mirror case, France, 1370-1400. Ivory. It depicts a love scene in a
garden where the happy couple hold a heart as cupids hover
overhead holding a shield and a hooded figure looks on.

One of Madrid’s leading private galleries is hosting a major exhibition on medieval art. The Pillars of Europe: Middle Ages in the British Museum brings together more than a hundred objects ranging from 400 to 1500 at CaixaForum’s Madrid branch.

The exhibition aims to show through objects and images how Europe transformed from the fragmentation after the fall of the Roman Empire through the Middle Ages and into the emerging nation states at the beginning of the Renaissance. An excellent map shows how borders shifted over the century, and a slideshow gives period depictions of Europe’s cities as they grew and became more prominent. The objects are grouped into four themes: Royal Power, Heavenly Treasures, Courtly Life, and Urban Life.

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Saddam Hussein’s Basra Palace Becomes An Archaeology Museum

Saddam Hussein’s Basra Palace Becomes An Archaeology Museum

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I’ve spent a fair amount of time here on Black Gate bemoaning the loss of some of the places I’ve visited. ISIS wrecked Palmyra, Mosul, and Hatra, three of the most stunning archaeological sites I have ever seen. Witnessing historical wonders disappear at the hands of savages has become such a regular thing for me that my first reaction to the terrible destruction of the Nepal earthquake was, “Well, at least people didn’t do it this time.”

Luckily, this week I have better news.

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Underwater Archaeology at the Ashmolean Museum

Underwater Archaeology at the Ashmolean Museum

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3. Amphora with coral. Lent by Soprintendenza del Mare -® Ashmolean Museum, University of Oxford

Roman amphora with coral, from the Levanzo shipwreck AD 275‒300

Sicily has been the center of Mediterranean history for centuries. Positioned at the halfway point between the western and eastern halves of the sea, and between Europe and Africa, it has been a nexus of trade and warfare ever since humanity started sailing. Now a major exhibition at Oxford’s Ashmolean Museum looks at the discoveries by underwater archaeologists around Sicily’s shores.

Storms, War & Shipwrecks Treasures from the Sicilian Seas brings together more than 200 objects for a variety of civilizations to highlight Sicily’s importance in ancient shipping.

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Roman Lusitania Opens at the Museo Arqueológico Nacional, Madrid

Roman Lusitania Opens at the Museo Arqueológico Nacional, Madrid

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Statue of a Lusitani warrior, 1st century AD.
Note the torc and arm bands, indicating high rank

It’s the start of the summer exhibition season here in Madrid, and the National Archaeological Museum is offering a free exhibition called Lusitania Romana, about the Roman province that took up much of what is now western Spain and Portugal.

The province got its name from the native Lusitani, who were either a Celtiberian people or an older ethnic group culturally influenced by the Celts, depending on which historian you read. The Romans fought these people from from 155 to 139 BC, eventually defeating them. The Lusitani continued a guerrilla war for another century.

When the province was created in 27 BC, the capital was set as Emerita Augusta, now the modern city of Mérida in Spain, which still retains some fascinating Roman ruins including a well-preserved theater, plus an excellent museum. With pacification came acculturation, and soon the region had several sizeable cities with all the usual Roman public works, and the countryside had numerous villas with some fine mosaics that have survived to this day.

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British Museum Presents Egypt: Faith After The Pharaohs

British Museum Presents Egypt: Faith After The Pharaohs

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Seated figure of the ancient Egyptian god Horus, wearing Roman military costume, limestone, Egypt, 1st–2nd century AD © The Trustees of the British Museum
Seated figure of the ancient Egyptian god Horus, wearing Roman military costume, limestone, Egypt, 1st–2nd century AD © The Trustees of the British Museum

Ancient Egypt is famous for its elaborate religion with a multitude of deities and an obsession with the afterlife. While there have been many exhibitions on ancient Egyptian religion, it’s rare to see one that traces Egypt’s transformation from a land that was mostly pagan to one that was mostly Christian, then mostly Muslim, with a strong tradition of Judaism running through it.

Now a major exhibition at the British Museum, Egypt: Faith after the Pharaohs, uses about 200 objects to explore the history of religion in this fascinating country. The first gallery emphasizes that Egypt still has a sizeable Christian community. While that community has been targeted by extremists in recent years, there is also a large amount of cooperation between the two faiths. Photos from the Arab Spring show Christians making a protective ring around Muslims as they pray, and the Muslims returning the favor around churches on Sunday. The Western media tend to skip these stories of tolerance for more ratings-friendly tales of bloodshed, thus giving a skewed picture of the situation. As one of my old newspaper editors said, “If it bleeds, it leads.”

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British Museum Explores Celtic Identity

British Museum Explores Celtic Identity

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The Battersea Shield. Bronze, glass. Found in the River Thames at Battersea Bridge, London, England, 350-50 BC. © The Trustees of the British Museum
The Battersea Shield. Bronze, glass. Found in the River Thames at Battersea Bridge, London, England, 350-50 BC. © The Trustees of the British Museum

 

For many of us, the Celts are an enduring fascination. Their art, their mysterious culture, and the perception that so many of us are descended from them makes the Celts one of the most popular ancient societies. So it’s surprising that the British Museum hasn’t had a major Celtic exhibition for forty years.

That’s changed with Celts: Art and Identity, a huge collection of artifacts from across the Celtic world and many works of art from the modern Celtic Revival. The exhibition is at pains to make clear that the name ‘Celts’ doesn’t refer to a single people who can be traced through time, and it has been appropriated over the last 300 years to reflect modern identities in Britain, Ireland, and elsewhere. “Celtic” is an artistic and cultural term, not a racial one.

The first thing visitors see is a quote by some guy named J.R.R. Tolkien, who wrote in 1963, “To many, perhaps most people. . .’Celtic’ of any sort is. . .a magic bag into which anything may be put, and out of which almost anything may come. . .anything is possible in the fabulous Celtic twilight.”

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