Post on 10-Aug-2020
TEACHER GUIDE
Map of the world by Johannes Schnitzer, Hand-coloured woodcut on paper, 1482–1486 Germany © Trustees of the British Museum (2015). All rights reserved.
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INDEX
Introduction Page 2
School Information Page 3
Exhibition Map Page 4
Exhibition Themes Page 5
Exhibition Discussion Items Page 8
Glossary Page 11 This Teacher Guide was developed by Queensland Museum Learning and is intended to support teachers planning a class visit to the Medieval Power: Symbols & Splendour exhibition. Learning Resources produced by Queensland Museum cannot be reproduced or used for commercial purposes in any form. Material remains the property of Queensland Museum or other therein acknowledged sources, and normal copyright laws apply.
INTRODUCTION
The Middle Ages, or medieval period, in Europe encompasses over 1000 years of history
from the decline of Roman imperial rule in the 400s to the Protestant Reformation in the
1500s.
Medieval Power: Symbols and Splendour is an exhibition of over 250 objects from The
British Museum that explores this period when many of the states and cultures of modern
Europe were formed - a legacy that continues to the current day.
This exhibition will include objects from The following information in this guide will assist teachers in how to book a school visit
and understanding more about the exhibition itself.
Sword, Iron, 1200–1300 Europe © Trustees of the British Museum (2015). All rights reserved.
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SCHOOL INFORMATION Exhibition information for schools
Age suitability: This exhibition is recommended for ages 12+ (year 7 and above). Curriculum links: Australian Curriculum Links are available for download.
Exhibition map: Available for download. Book your visit For Teachers:
Teachers are invited to preview Medieval Power: Symbols & Splendour FREE of charge.
An exhibition preview affords the opportunity to assess ways this exhibition can best
meet the needs of teachers and learners.
Present your name, contact details and proof of current teacher registration at the
Medieval Power exhibition entry. Admission is at the discretion of staff and entry may be
delayed at peak times.
For School Bookings:
For school bookings and information please contact:
Web:
Go to Medieval Power: Symbols & Splendour - Visiting with a School
Phone:
Queensland Museum & Sciencentre Booking Office on 3840 7608.
(8:15am to 3:30pm, Monday - Friday).
Email: education@qm.qld.gov.au
Your whole visit may include additional experiences such as a facilitated School
Program and Sciencentre or Museum “general visit” (please indicate if these
preferences apply).
Cost: ADDED BY MV
Entry to Medieval Power: Symbols & Splendour is $10 per student/child (GST free).
You will be invoiced for any charged experiences including Medieval Power: Symbols &
Splendour after your visit.
Group size:
To optimise your visit experience, sessions of 65 (students + adults) will be scheduled.
Large groups may be required to view the exhibition in rotations.
Our Booking Officer will coordinate these to suit your group size and proposed arrival
time.
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EXHIBITION MAP After booking your visit, you will be sent a Visit Itinerary and Entry Ticket to the exhibition. This Entry Ticket will include a box to list actual student and adult numbers on the day of your visit.
During your visit, Visitor Services staff will
direct you to the exhibition on Level 3 as
per your booked time slot.
Ensure your students and supervising
adults are aware of any dedicated
instructions you have for their visit
experience. Please note there is a gift
shop at the exhibition exit and no toilets
inside the exhibition.
Download your exhibition map
.
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EXHIBITION THEMES
Medieval Symbols and Splendour is an exhibition divided into 7 themes. The following is a summary of the themes students will encounter when they visiting the exhibition.
Introduction The Middle Ages, or medieval period, in Europe encompasses
over 1000 years of history from the decline of Roman imperial rule
in the 400s to the Protestant Reformation in the 1500s.
All levels of society experienced change, and, as we will see,
Europe by 1500 was very different from the world of the 400s.
Magnificent castles and cathedrals were built across the continent
– many of which still stand to this day – and urban expansion
transformed the landscape. As rulers increased in power and
status, borders and cultures became more firmly established,
laying the foundations of Europe’s modern nation-states. The
Church dominated daily lives and attitudes, while expanding trade
routes within Europe and beyond increased cross-cultural contact.
Skilled craftspeople made precious objects of extraordinary detail,
creating a world of colour and light. But for all its brilliance and
evident wealth, many lived in poverty.
The Formation of Europe
Early Europe
The Knight
Later Medieval Europe Following the decline of the western Roman Empire, from about
AD 400, Europe changed considerably as people migrated to
new areas and settled. Over time kingdoms and principalities
emerged, led by powerful rulers. Although these territories were
born out of the ruins of the Roman Empire, their rulers often
aspired to the power enjoyed by Rome and saw themselves as
heirs of the classical past.
Once known as the Dark Ages, partly because of the lack of
written sources, the early Medieval period (about AD 400 to
1050) is now recognised as an age in which beautifully crafted
objects were produced. Using an array of materials, including
precious metals and semi-precious stones, artistic influences
flowed across Europe along the trading routes.
Such objects were status symbols, worn by people not only for
decoration, but also to demonstrate their wealth and ancestry.
Figurine of a knight, Stone, 1375–1425, England © Trustees of the British Museum (2015). All rights reserved.
Processional cross, Gilded silver, enamel, 1400–1450, Italy © Trustees of the British Museum (2015). All rights reserved.
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Royal Power Medieval monarchs ruled with absolute power. Although kings and queens could be
elected, the right to rule was usually inherited. Monarchs also held a spiritual role and
were seen as being chosen by God. The coronation ceremony, where they were crowned
and anointed with holy oil, demonstrated this divine appointment.
Royalty needed to maintain authority, lavishly
rewarding nobles in return for their loyalty.
Surrounding the royal family was its entourage,
the court, who lived in great wealth and
splendour. Across the kingdom the royal image
and authority was spread through coinage and
seals on documents issued in the name of the
king or queen. Though few people came into
close contact with their rulers, rulers did travel
around the country to try and connect with
some of their subjects.
Heavenly Treasures
Pre-Christian Europe
The Medieval Europe
The Liturgy
Personal Devotion
The decline of the western Roman Empire weakened the
influence of Christianity. However, through strong Church
organisation and the patronage of wealthy monarchs, it
regained its dominance, and by AD 1000 most of Europe was
Christian. God’s earthly representative was the Pope, who
governed the Church through a complex system of clergy.
The Papacy adapted and reinvigorated the administrative
structures of the Roman Empire, adopting Latin as its official
language. The Church affected not only the spiritual lives of
people, but as a wealthy institution and landowner it wielded
great power, which at times conflicted with the authority of
temporal rulers.
Crown fragment, gold, sapphire, ruby, emerald, seed pearl, 1250–1300, Hungary or France. © Trustees of the British Museum (2015). All rights reserved.
The Mass of St Gregory by Israhel van Meckenem, engraving on paper,1490–1500, Germany © Trustees of the British Museum (2015). All rights reserved
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Courtly Life
Leisure
Courtly Romance
Fashion
Medieval rulers were surrounded by their court, which was
the centre of the kingdom’s administration and made up of the
people who lived in the monarch’s household. Funded by
wealthy patrons, art flourished at court and nobles lived a life
of luxury. However, this closed social sphere was also a
hostile environment where both allegiances and enemies
were made. Courts were a place where representatives from
different countries came together to forge diplomatic links and
trade culture and gossip.
Urban Life
Medieval Towns and Houses
Trade
Drinking and Dining
The populations of towns and cities were tiny compared to
today. Most urban areas numbered just a few thousand
people since the majority of the population lived and worked
in the countryside. However, towns were densely populated
and could feel crowded. As towns grew people were
attracted to them for work, especially hoping to benefit from
wealth generated by trade. Craftsmen also gathered here,
organised into powerful guilds and companies. These were
set up to protect craftsmanship, regulate the quality of
traded goods and serve their members interests.
Medieval Legacy
Monarchy
Institutions and Honour
Pilgrimage
Although the Medieval period ended in around 1500, the legacy of the Middle Ages
remains with us to this day, even outside Europe. Many values considered to be modern,
such as safeguarding personal liberty, developed at this time, and have become
enshrined in laws across the world. The cultural impact of the period is also clearly
apparent through art and learning, especially through neo-Gothic architecture and
romantic literature. In this section we will focus on three areas of the Medieval legacy –
the monarchy, institutions and honours, and pilgrimage.
Drinking horn, Horn, gilded copper alloy, 1400–1500, Denmark © Trustees of the British Museum (2015). All rights reserved.
Maria Portinari (Maria Maddalena
Baroncelli, 1456–),
probably 1470, Hans Memling.
Bequest of Benjamin Altman,
1913. © Metropolitan Museum of
Art, New York
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EXHIBITION DISCUSSION ITEMS A selection of exhibition objects to stimulate discussion CHECKMATE
Object: King from the Lewis Chessmen, walrus ivory, 1150–1200, found in Scotland
© Trustees of the British Museum (2015). All rights reserved.
This is one of 78 chess pieces found in a buried hoard in
the Isle of Lewis, north west of Scotland.
You may have seen this figure before (in popular culture
movie: Harry Potter and the Philosopher's Stone or the
book/TV series Noggin the Nog).
Clues in the material and clothing of these figures have
helped archaeologists age these objects.
Find clues which may suggest where these figures came from. (What material was
carved to make them)?
From this, what can this object tell us about trade and cross-cultural influences?
What else can chess tell us about Medieval society? (Who do the figures represent?
How many of each are on the board? How is the game won?)
IN THE CLASSROOM: Research the origins of the game and the ‘evolution’ of the
figures as chess was introduced from East to West.
Further resources:-
Link to British Museum Lewis Chess video 1 of 2 (15:00 min)
Link to British Museum Lewis Chess video 2 of 2 (14:12 min)
RETURN OF THE KING
Object/s:
1. White Boar badge of Richard III gilded silver, 1472-85, England © Trustees of the British Museum (2015). All rights reserved.
2. Seal matrix of the future Richard III
(c. 1461)
3. Etching: Richard III and Anne Neville,
based on a Medieval original
(1800–1850)
King Richard III was the last English King to be killed in battle. He died aged 32 in the
Battle of Bosworth in 1485, ending the Plantagenet dynasty.
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In March 2015, a funeral was held for him, five centuries after he died.
Does anyone know why?
The White Boar was King Richard’s own personal emblem. These badges would
have been worn by Richard’s knights as part of their military uniform (“livery”). What
emblem would be used to represent you?
Find another member of the Plantagenet dynasty in the exhibition.
IN THE CLASSROOM: Mythology shrouds this King. Several sources describe
Richard’s reputation and appearance, from Shakespeare to historian, Horace
Walpole – and history is contested with each account. Create a forensic profiling
sheet or flow chart documenting what we know, identifying (and, where possible,
evaluating) each source of information.
Further resources:-
Link to BBC History web page (information, radio interview and links)
Link to Richard III Society web page
STARS IN THEIR EYES
Object: Astrolabe (1342) Copper Alloy, 1472-85, England © Trustees of the British Museum (2015). All rights reserved
Phenomena was investigated and explained since ancient
times – but the word “science” hadn’t yet been used to
describe these findings.
By Medieval times, Persian and Arabian astronomers had
advanced discoveries both in charting the skies and the
development scientific instruments. Astrolabes were used
throughout Islamic culture, for identifying the Qibla (direction of Mecca) for ritual prayer.
Why were the stars mapped by people in the past?
Was this Astrolabe made in the Middle East?
What does this suggest about trade routes? Were they responsible for introducing
more than commodities? What else was introduced (think about good and bad
things that were spread)?
Find other objects this exhibition with evidence of Islamic styles.
IN THE CLASSROOM: Middle Eastern societies had a significant influence on
Europe during the Medieval period. Research commodities and innovations were
introduced to Europe from the Middle East.
Further resources:-
Link to BBC documentary (extract) on Islamic Astronomy (4:11)
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ARTIST PROVOCATEUR
Object: Pilgrimage to the British Museum by Grayson Perry, ink and graphite, 2011 © Grayson Perry, courtesy the Artist and Victoria Miro Gallery, London.
This respected British Artist is known for exploring the concept of identity.
In 2011, Perry was invited to curate an exhibition, showing works from The British
Museum alongside his own.
Grayson’s exhibition was called “The Tomb of the Unknown Craftsmen” – in tribute to
those whose works are shown in museums all over the world - without credit to the
individual who forged the metal, stitched the thread, carved the timber, etc.
Identify some of the things that are significant to the artist.
Find
o Depictions of his teddy bear, Alan Measles (a comforting figure when Perry felt
isolated as a child).
o The British Museum. What is the symbolism of being high above the clouds?
o What are the souvenirs of Perry’s (the pilgrim’s) journey?
Perry referred to the British Museum as “a place of modern pilgrimage”. A
pilgrimage is a journey of spiritual significance. Do Museums or any special
sites/places other evoke this feeling in you?
Do you think there is a difference between an artefact and an artwork?
Can you argue your point of view?
Further resources:-
Link to British Museum Magazine article (PDF) featuring Grayson Perry’s exhibition.
Link to Tomb of the Unknown Craftsman video (2:17) The Artist describes his exhibition
which pays tribute to individuals behind the artefacts.
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GLOSSARY: List of terminology used in the exhibition Abbey A Catholic or Anglican monastery or convent
Alloy Blend of more than one metal
Anglo Saxon Peoples who inhabited Great Britain from the 5th Century
Aquamanile A water vessel used for hand washing, often in an animal or human shape
Armet helmet Helmet designed to fully enclose head of the knight, often with hinged or flexible components (15th Century)
Arms Shortened version of word “armaments” (military equipment) Coat of Arms is a symbolic design used to identify a family or organisation (sometimes referred to as “arms”)
Astrolabe An ancient “calculator” used in astronomy (study of stars, moons, planets, comets etc.)
Baton A stick-like weapon or ceremonial device
Brazier A metal basket or bowl used to contain a small fire (standing and hanging varieties)
Chalice Goblet (cup with a foot). Used in religious ceremony
Cremation urn Special vessel to store ashes of a deceased person
Cross shaft Carved tube or sleeve used to hold a cross upright
Crozier Ceremonial staff carried by a bishop. Spiral or hook shaped end to resemble shepherds crook
Dark Ages Earlier expression for Middle Ages. “Dark” refers to obscure – suggesting the scarcity of written records from this time.
Destrier War horse used by knights
Diptych Object with two flat components joined by a hinge
Frankia Kingdom of the Franks (Germanic tribes who occupied most of Western Europe in the Middle Ages)
Feudalism Social system of rural communities. The king granted large pieces of land (fiefs) to noblemen and bishops. Peasants (serfs) worked the land in exchange for rent and protection from invaders.
Funeral cortege A procession of attendants during a funeral
Herald Messengers or ambassador
Heraldic mount Display of a Coat-of-Arms
Intalglio Design engraved into a surface
Laver Jug used for personal washing
Liturgy Public worship
Lombards Germanic tribe who ruled Italy from 568 – 774
Mazer bowl A drinking cup
Middle Ages Generic term for period between ancient and modern times
Monogram – monogramist
Motif (shape) made by combining or overlapping two or more letters
Monumental brass
Engraved memorial used to mark a tomb. Often featured a portrait
Piedfort A coin sample
Pilgrim A traveller taking a journey for religious purposes
Polycandelon Hanging light. A metal frame with multiple oil lamps arranged a circle
Processional cross
Cross, usually extended on a staff to be visible above the heads of churchgoers
Pyx Small container for holding the Eucharist (symbolic bread) in the
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Catholic and Anglican Mass ceremony
Reliquary Ceremonial container purported to hold a body part or the belonging (‘relic’) of a Saint or other religious figure
Roundels “Roundel” is a graphic term that means circular disc
Rowel spur Spurs are attached to the footwear of a horse rider. Rowels were the part of the spur that made contact with the horse’s flanks
Sallet helmet Helmet typically without a visor or aventail (chain mail collar)
Seal Impression in wax, clay or paper used to ‘sign’ or authenticate something
Seal matrix Seal making device (used like a rubber stamp)
Shield boss Domed or conical fixture in the centre of a shield
St George Christian martyr, often portrayed as a knight slaying a dragon
Sword pommel Bulging shape at top of a sword handle
Vikings Scandinavian seafarers
Visigoth Nomadic Germanic Tribe
Wingham Brooch, silver-gilt, niello, garnet, glass and shell, 575-625, England. © Trustees of the British Museum (2015). All rights reserved