London-British Libra..ngs Collection Cube8
The large, glass-enclosed 'Kings Collection' at the British Library
aperture=f2.8 focal length: 18.0 mm exposure 1/15 sec ISO: 2000
London-British Museum-11
From the Nineveh palace reliefs
aperture=f4.0 focal length: 18.0 mm exposure 1/60 sec ISO: 2000
London-British Museu.. groveling prisoner6
From the Nineveh palace reliefs
aperture=f3.2 focal length: 60.0 mm exposure 1/125 sec ISO: 2000
London-British Museum-Archangel Panel7
This magnificent ivorty is the single largest piece of ivory to have survived from Byzantium and almost certainly represents an imperial comission. It depicts an archangel holding a secptre and an orb that he offers to a second figure, presumably an emperor, perhaps Justinian I, on the now lost left leaf of this suptych. The Greek inscription at the top probably reads, 'Receive this suppliant, despite his sinfulness'. Constantinople, About 525-550 CE (OA 9999)
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museu..cking a walled town8
From the Nineveh palace reliefs
aperture=f3.5 focal length: 23.0 mm exposure 1/50 sec ISO: 2000
London-British Museum-Aztec Mask6
1400-1521 A pair of serpents is entwined around the eyes, nose and mouth of this mask. Two serpent tails meet at the top and a feathered plume hangs down on either side. Snakes were used metaphorically to represent the attributes of two well-known Aztec deities: the Rain God Tlaloc and the Creator God Quetzalcoatl.
aperture=f2.8 focal length: 60.0 mm exposure 1/25 sec ISO: 3200
London-British Museu.. Engraving Machine12
Used for creating the fine-line work in the backgrounds of banknotes.
aperture=f2.8 focal length: 60.0 mm exposure 1/60 sec ISO: 3200
London-British Museu..attle and Civilians9
Battle scene to the left, and refugees fleeing to the right From the Nineveh palace reliefs
aperture=f4.0 focal length: 18.0 mm exposure 1/60 sec ISO: 2000
London-British Museum-Bird spoon bowl19
Spoons with Christian symbols and inscriptions, Hoxne treasure Two spoons have a personal name on the handle, Aurelius Ursicinus, the commonest name in the whole hoard. In the bowl of these spoons is a Christian chi-rho symbol, combined with an alpha-omega. This sugests that A.U. was a Christian. Two other spoones have a chi-rho but no personal name. P&E P.1994 4-8 89-91, 109, 135
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museum-Breguet Chronometre1
1813 This chronometre never went to sea. It was used for expariments by Breguet, its maker, and then given to the Bishop of Cambrai in 1822. The dial shows the hours and minutes(left) and the seconds(top center). An inscription translates "The first piece in which the transmission from the train to the regulator occurs without friction. Made in 1813 by Breguet for Mr Belmas friend of the author No. 2741" Breguet and sons, Paris
aperture=f4.0 focal length: 60.0 mm exposure 1/160 sec ISO: 3200
London-British Museum-Bronze Hand6
The right hand was traditionally regarded as a powerful symbol of good fortune. The inscription on this hand says that it was dedicated to the god Talab Riyam in a place called Zafar. This is the first example to be discovered in Yemen of an inscription on a body part. The hand is very realistic and may have been modeled on an actual hand, perhaps that of the person making the offering. About 2-3rd century BCE, Yemen (ME 139443)
aperture=f2.8 focal length: 60.0 mm exposure 1/25 sec ISO: 2000
London-British Museum-Carved Steel Hand1
Thomas Mudge 1765 By about 1750, precision regulators were relatively common. Here, the dial has 2 minute hands. The gilded hand shows true solar time -- the time indicated by the apparent passage of the sun in the sky, as shown by a sundial. The blued-steel hands show mean solar time, or clock time, which is constant. The disc in the arch shows the daily difference between the two, called the equation of time.
aperture=f2.8 focal length: 60.0 mm exposure 1/60 sec ISO: 3200
London-British Museu..Professor Munakata21
aperture=f2.8 focal length: 60.0 mm exposure 1/80 sec ISO: 2000
London-British Museu..ron Clock Movement26
This iron clock is a rare survivor from the early 1500s. It probably started life as a small turret clock which drove a dial on the outside of a building. Later, it was converted for domestic use and the painted dial was added. Just beneath the bell is a swinging bar called the foliot, which controls the rate of the clock. Adjustable weights on the foliot are moved to achieve the best timekeeping. Unknown maker, north-west Europe Weight-driven, foliot, hour-striking (P&E 1967.0601.1)
aperture=f2.8 focal length: 60.0 mm exposure 1/20 sec ISO: 2000
London-British Museum-Clockwatch5
1755 Thomas Mudge made some of the most intricate watches of his time. His patrons included King Ferdinand VI of Spain. This watch is minute-repeating: when the pendant is pushed in, it strikes the current hour and quarter, then the number of minutes past the last quarter. Thomas Mudge, London Fusee, duplex escapement (originally cylinder), balance with spring (P&E 1984.0301.1)
aperture=f4.0 focal length: 60.0 mm exposure 1/160 sec ISO: 3200
London-British Museum-Clockwatch Movement2
1600-1610 This watch strikes just one blow on the bell every hour. The case is decorated with the biblical stories of Elijah and the prophets of Baal, and the sacrafice of Issac. The watch was made by Goldsmith Issac Simmes for Sir John Weld of Wiley, Stropshire, Town Clerk of the City of London. Issac Simmes, London Fusee, verge escapement, balance, alarm (P&E 1894.07-20.1)
aperture=f5.6 focal length: 60.0 mm exposure 1/400 sec ISO: 3200
London-British Museum-Cyrus Cylinder14
This dates from the reign of Cyrus the Great who rules Iran between 550 and 530 BCE. It describes this kings peaceful capture of Babylon in the year 539 BCE and how he rebuilt the main temple there. The text, written in a script called cuneiform, claims that Cyrus restored temples in neighboring cities and returned deported people to their homes. With his reference to his just and peacefule rule, this has been referred to as an early 'charter of human rights'. Mid 6th century BCE, Babylon, Iraq (ME 1880.0617.1941)
aperture=f2.8 focal length: 60.0 mm exposure 1/13 sec ISO: 2000
London-British Museu..ed Silver Necklace10
From the Cuerdale Hoard
aperture=f4.5 focal length: 60.0 mm exposure 1/200 sec ISO: 3200
London-British Museum-Dance3
Signed and Dated 2011 The large brush-written calligraphy and all of the seal impressions on the right are renditions of the character 'wu', meaning 'dance'. On the top right is Li's rendition of oracle bone script, the oldest style of writing in China.
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 2000
London-British Museum-Dance Seals4
Signed and Dated 2011 The large brush-written calligraphy and all of the seal impressions on the right are renditions of the character 'wu', meaning 'dance'. On the top right is Li's rendition of oracle bone script, the oldest style of writing in China.
aperture=f4.0 focal length: 60.0 mm exposure 1/200 sec ISO: 2000
London-British Museum-Death of St Agnes2
The Royal Gold Cup was designed for ceremonial use or for display at royal feasts. It depicts scenes from the legends of St. Agnes who is thought to have been martyred in Rome during the reign of Diocletian (284-305 CE). Two medallions showing Christ and St. Agnes are inserted inside the cover and the bowl of the cup. The foot is decorated with the symbols of the Evangelists. 1370-1380 Paris France Gold and Enamel (PE 1892.0501.1)
aperture=f5.0 focal length: 60.0 mm exposure 1/250 sec ISO: 3200
London-British Museu..top Alarm Mechanism3
1800-1850 This cleverly constructed device turns an ordinary pocket watch into an alarm clock. The bell is released when the falling weight reaches the spring. (P&E CAI-2200)
aperture=f4.5 focal length: 60.0 mm exposure 1/200 sec ISO: 3200
London-British Museu..k Fleshhook Segment8
Originally oak shafts linked the three bronze sections. A surviving fragment is inset with small strips of bronze in a herringbone pattern. The two sets of birds may be drawn from mythology. One represents two adult birds, resembling ravens, and the other a family of two adult and three young water birds. Bird images were used on a wide range of artefacts in Late Bronze Age Europe. Late Bronze Age, about 1090-900 BCE, Dunaverney, Co. Antrim Ireland (PE 1856,1222.1)
aperture=f2.8 focal length: 60.0 mm exposure 1/50 sec ISO: 2000
London-British Museum-Duck Rhyton5
Three pottery rhyta with duck's head or with elephant's head Northern Central China Tang Dynasty 7th or early 8th C CE (OA 1937.7-16.34)
aperture=f4.5 focal length: 60.0 mm exposure 1/200 sec ISO: 2000
London-British Museum-Duck Weight10
Mesopotamian duck weights Mesopotamia, about 2000-500 BCE Official weights in the shape of a sleeping duck were common in Mesopotamia from about 4000 years ago. On some an inscription gives the king's name and the weight, for example: 'half standard mina belonging to Ahhiya, son of Mudammiq-Adad, the diviner'. excavated by Hormuzd Rassam at Sippar, Southern Iraq.
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 3200
London-British Museum-Ear Cameo4
Onyx: hand holding an ear with the Greek inscription 'Remeber'. Roman, 3rd C CE. (GR 1814.7-4.1630) (BM Cat Gems 3692)
aperture=f5.6 focal length: 60.0 mm exposure 1/400 sec ISO: 3200
London-British Museum-Flame Pot20
This flame pot is about 5000 years old, the same age as stonehenge, and was made by Japan's oldest known culture, the Jomon people. It takes its name from the elaborate flame-like protrusions around the rim. The rims and mouths of these pottery vessels held special importance for the Jomon, as the would have been the focal point for the family gathered around the hearth. Middle Jomon period, about 3000 BCE. Iwanohara site, Nagaoka City, Niigata Prefecture, Japan. Earthenware
aperture=f2.8 focal length: 60.0 mm exposure 1/80 sec ISO: 2000
London-British Museu.. and braided Torcs11
Ken Hill, Snettisham, Norfolk Buried about 100BCE Snettisham is one of the key sites of British prehistory. Occupying a wooded hillside near the north-west coast of Norfolk, near Hunstanton, it first began to reveal its secrets in 1948 when five torcs were uncovered during ploughing. Further finds were made at the site in subsequent years. Some of these objects are now in Norwich Castle Museum. The objects now in the British Museum were discovered in 1950 and 1990. At least 12 groups of objects, known as hoards (hoards A-L), have been found at the site. They were buried in shallow pits, some barely large enough to contain a large torc. In adition to complete torcs, fragments of broken torcs, coins, rings and ingots were also deposited.
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 2000
London-British Museu.. Graham Table Clock6
1730 Plain clocks like this were still fashionable in the 1730s. Either side of the maker's named are 2 small dials. One regulates the pendulum (left) and the other silences the clock's strike (right). Above the hands is a moch pendulum for starting and stopping the clock. The clock has a maintaining-power mechanism to keep it going during winding. This is activated by the unusual tapered winding key. George Graham, London 8 day duration, spring driven with fusees, verge escapement, pendulum, hour-striking (P&E CAI-2116)
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu..lt-brass Clockwatch1
1595-1605 Clock-watches strike the hours as a clock does. This case is finely pierced and engraved. The slotted disk (count-wheel) numbered 1-12 on the back of the mechanism determines how many times the hammer hits the bell. Bockelts was born in Aachen but later moved to Haarlem. Jan Janssen Bockelts, Aachen, Germany Fusee, verge escapement, balance (later replacement) (P&E 1888.1201.170)
aperture=f5.6 focal length: 60.0 mm exposure 1/400 sec ISO: 3200
London-British Museu..-brass Clockwatch1-2
1620-1630 David Ramsay was appointed by King James I as 'Keeper of all His Majesty's Clocks and Watches'. He previously worked in Blois, bringing French designs back to England. Here, the figure at the top of the dial holds a feather crown - perhaps a referecne to recent English settlement in America. David Ramsay, London Fusee, verge escapement, balance, alarm (P&E 1888.1201.171)
aperture=f5.6 focal length: 60.0 mm exposure 1/320 sec ISO: 3200
London-British Museu..ass Clockwatch dial3
1600-1610 This watch strikes just one blow on the bell every hour. The case is decorated with the biblical stories of Elijah and the prophets of Baal, and the sacrafice of Issac. The watch was made by Goldsmith Issac Simmes for Sir John Weld of Wiley, Stropshire, Town Clerk of the City of London. Issac Simmes, London Fusee, verge escapement, balance, alarm (P&E 1894.07-20.1)
aperture=f7.1 focal length: 60.0 mm exposure 1/500 sec ISO: 3200
London-British Museu..lt-brass wall clock2
1657 This clock is important and controversial. Not everyone thinks it is genuine. If it is, it would be the earliest known timepiece controlled by a pendulum, made by Jan van Call to Christian Huygen's design in 1657. The new pendulum technology radically improved timekeeping and was fundamental to the progress of science, astronomy and navigation. The upper half of the dial boldly shows the minutes and seconds, which can noy be measured accurately using the new pendulum technology. Jan van Call, Nijmegen 30-hour duration, weight driven, endless rope maintaining power, verge escapement, pendulum control
aperture=f4.0 focal length: 60.0 mm exposure 1/160 sec ISO: 3200
London-British Museu..ass wallclock, side3
1657 This clock is important and controversial. Not everyone thinks it is genuine. If it is, it would be the earliest known timepiece controlled by a pendulum, made by Jan van Call to Christian Huygen's design in 1657. The new pendulum technology radically improved timekeeping and was fundamental to the progress of science, astronomy and navigation. The upper half of the dial boldly shows the minutes and seconds, which can noy be measured accurately using the new pendulum technology. Jan van Call, Nijmegen 30-hour duration, weight driven, endless rope maintaining power, verge escapement, pendulum control
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu.. Enamel Cased Watch6
1645 This watch, signed 'B. Foucher Blois', has a spectacular case. It is enamelled with a depiction of the tragic story of Tancred, a Christian Knight, and his Muslim beloved Clorinda. Tancred baptized Clorinda using water from a stream carried in her helmet, after fatally wounding her in battle. Blaise Foucher, Blois, France Fusee, verge escapement, balance
aperture=f5.0 focal length: 60.0 mm exposure 1/320 sec ISO: 3200
London-British Museum-Gold Calendar Watch1
1764 This watch demonstrates Thomas Mudge's exceptional skill. It contains one of the first automatic perpetual calendar mechanisms. The extra day in Leap Years is shown automatically. If the watch is kept going, the date will be correct for 100 years. Thomas Mudge, London Fusee, ruby cylinder escapement, balance with spring (P&E 1977.0702.1)
aperture=f4.5 focal length: 60.0 mm exposure 1/200 sec ISO: 3200
London-British Museum-Gold Mounts20
A number of fine gold mounts were found in the ship burial. The most elaborate of these consists of a gold ring with an attached strip, all made from filagree and set with red garnet gems. It appears to have been made for mounting onto a narrow rod or wand. Anglo-Saxon, early 600s (1939,1010.30)
aperture=f5.6 focal length: 60.0 mm exposure 1/400 sec ISO: 3200
London-British Museu.. Pocket Chronometre3
1800 Thomas Earnshaw was a pioneer in marine timekeeping. This pocket chronometre has a plain steel balance and bimetalic 'sugar tongs' to compensate for changing temperatures. The watch was owned by Charles George Perceval, 2nd Baron Arden, Lord of the Admiralty. Thomas Earnshaw, London Fusee, spring detent escapement ,balance with spring, temperature compensation (P&E CAI-1731)
aperture=f4.5 focal length: 60.0 mm exposure 1/200 sec ISO: 3200
London-British Museu..rbillon Chronometre4
1836 Hunt and Roskell were retailers of fine jewelry and watches in London during the 1800s. This pocket chronometre has its escapement mounted on a tourbillon -- a constantly rotating carriage that reduces errors in timekeeping when the position of the watch changes. Hunt and Roskell, London Fusee, spring detent escapement, balance with spherical spring, temperature compensation (P&E CAI-299)
aperture=f9.0 focal length: 60.0 mm exposure 1/800 sec ISO: 3200
London-British Museum-Gold pocket watch5
1976 This is an early piece made by Britian's most famous living watchmaker, George Daniels. He had made all the components of this watch himself, including the mechanism, silver dial and 18ct gold case with chain and key. It also includes his independent double-wheel escapement. George Daniels, London Twin barrels, Daniels escapement , compensation balance with spring (P&E 1991.0406.1)
aperture=f5.0 focal length: 60.0 mm exposure 1/320 sec ISO: 3200
London-British Museum-Gold Puritan Watch5
1635 Small, plain watches like this are now called Puritan watches. They contrast with the highly decorative, jewelled watches popular in the mid 1600s. This example is rare because it is gold, rather than silver. It is said to have been owned by Oliver Cromwell and came to the museum in 1786. Robert Grinkin Junior, London Fusee, verge escapement, balance (P&E 1786.0928.1)
aperture=f5.0 focal length: 60.0 mm exposure 1/250 sec ISO: 3200
London-British Museum-Gold Watch2
1700 This dial has a rare 'fly-back' hour hand. The hours are in a semi-circle and when the hand reaches 6 o'clock on the right, it flies back to the beginning. Minutes are shown on the small circular dial below. The inscription 'Nihil Sine Te' (nothing without you) suggests this was a gift. Peter Fardoil, London Fusee, verge escapement, mock pendulum, balance with spring (P&E CAI-2347)
aperture=f5.6 focal length: 60.0 mm exposure 1/400 sec ISO: 3200
London-British Museum-Gold Watch3
1727 This watch displays two innovations. Firstly, it has a white-enamel dial. These came to replace the earlier metal dials and were much easier to read. Secondly the watch has a cylinder escapement, Graham's own invention to improve timekeeping. The outer case depicts Apollo. George Graham, London Fusee, cylinder escapement, balance with spring, quarter repeating (P&E 1912.1107.1)
aperture=f4.5 focal length: 60.0 mm exposure 1/200 sec ISO: 3200
London-British Museu..aham Longcase Dial14
1745 Visable through the clock's glazed door is George Graham's mercury compensation pendulum. In temperature change the pendulum the pendulum gets longer or shorter, changing the rate at which it swings. The mercury at the bottom compensates by expanding in the opposite direction. The blue hand shows mean solar time, which is constant. The gilt hand shows true solar time, as indicated by the sun. By George Graham, London
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu..gcase Dial Closeup13
1745 Visable through the clock's glazed door is George Graham's mercury compensation pendulum. In temperature change the pendulum the pendulum gets longer or shorter, changing the rate at which it swings. The mercury at the bottom compensates by expanding in the opposite direction. The blue hand shows mean solar time, which is constant. The gilt hand shows true solar time, as indicated by the sun. By George Graham, London
aperture=f2.8 focal length: 60.0 mm exposure 1/80 sec ISO: 3200
London-British Museum-Great Court13
aperture=f7.1 focal length: 18.0 mm exposure 1/200 sec ISO: 3200
London-British Museum-Hebrew Astrolabe8
This stunning instrument embodies the peaceful eschange of knowledge between Christian, Jewish and Muslim scholars in some parts of medieval Europe. Such instruments were based on ancient Greek astronomical and mathematical texts, and their translation into Arabic, Hebrew and Latin. The instruments were taken across Europe by travelling scholars. About 1350 Spanish Gilt-Brass
aperture=f2.8 focal length: 60.0 mm exposure 1/50 sec ISO: 3200
London-British Museum-Hexagonal clock25
This is an early table clock fo use in a palace or wealthy household. Its Gothic style case reflects cathedral architecture of the time. Each corner pillar has a niche containing the figure of a saint. Part of the case and the bell are now missing. The clock was originally spring driven but later converted to weight drive. A model to the right of the clock itself shows how the mechanism originally looked. This is the oldest clock on display in the British Museum. Unknown maker, Burgundy Spring Drive, fusee
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museu..k escapement model23
This is an early table clock fo use in a palace or wealthy household. Its Gothic style case reflects cathedral architecture of the time. Each corner pillar has a niche containing the figure of a saint. Part of the case and the bell are now missing. The clock was originally spring driven but later converted to weight drive. A model to the right of the clock itself shows how the mechanism originally looked. This is the oldest clock on display in the British Museum. Unknown maker, Burgundy Spring Drive, fusee
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 2000
London-British Museu..agonal clock model24
This is an early table clock fo use in a palace or wealthy household. Its Gothic style case reflects cathedral architecture of the time. Each corner pillar has a niche containing the figure of a saint. Part of the case and the bell are now missing. The clock was originally spring driven but later converted to weight drive. A model to the right of the clock itself shows how the mechanism originally looked. This is the oldest clock on display in the British Museum. Unknown maker, Burgundy Spring Drive, fusee
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museu..al drum-cased clock6
1530-1540 This clock has a ring around its dial showing the 12 signs of the zodiac. Further in, small effigies of the sun and moon indicate their relative positions and the moon's age is indicated against the 1-29 1/2 scale. The iron mechanism is typical of the period, its burnished dinish providing resistance to corrosion. The case is marked with a reversed 'N', indicating that it was made in Nuremberg. Unknown maker, Nuremberg Spring-driven with fusees, verge escapement, balacne, hour-striking, astrolabic dial (P&E 1888,1201.105)
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu..al table clock dial8
1576 This clock is designed to indicate the time either in the 12 hour system (1-12 twice), or the 24-hour system. Around the outside are 24 touch-pins so the owner could feel the time in the dark. Two hands show the position of the sun and the moon in the Zodiac throughout the year. At the center is a small disk for setting the alarm. The case is punched PG on the base with the date 1576 and the initials ISG. By Peter Grundel (attributed), Copenhagen Spring driven with fusees, balance, alarm
aperture=f3.5 focal length: 60.0 mm exposure 1/160 sec ISO: 3200
London-British Museu..l Table Clock Dial12
1525 This clock is engraved in honour of its owner, King Sigsmund I of Poland. Around the edge are his arms and an inscription in Latin, "when you count the years 1525 Jacob Zech made me in Prague -- it is true". This clock contains the earliest surviving fusee, a device to even out the unequal force produced by the mainspring as it unwinds. The fusee was invented in the mid 1400s. By Jacob Zech, Prague Spring driven wit hfusee, verge escapement, balance
aperture=f3.2 focal length: 60.0 mm exposure 1/125 sec ISO: 3200
London-British Museu..able clock movement7
1576 This clock is designed to indicate the time either in the 12 hour system (1-12 twice), or the 24-hour system. Around the outside are 24 touch-pins so the owner could feel the time in the dark. Two hands show the position of the sun and the moon in the Zodiac throughout the year. At the center is a small disk for setting the alarm. The case is punched PG on the base with the date 1576 and the initials ISG. By Peter Grundel (attributed), Copenhagen Spring driven with fusees, balance, alarm
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 3200
London-British Museu..ble Clock Movement11
1525 This clock is engraved in honour of its owner, King Sigsmund I of Poland. Around the edge are his arms and an inscription in Latin, "when you count the years 1525 Jacob Zech made me in Prague -- it is true". This clock contains the earliest surviving fusee, a device to even out the unequal force produced by the mainspring as it unwinds. The fusee was invented in the mid 1400s. By Jacob Zech, Prague Spring driven wit hfusee, verge escapement, balance
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 3200
London-British Museu..le clock with alarm5
1549 This clock was first owned by Hans Füger I von Taufers, a noble from the Tyrol in austria. Small table clocks with detachable alarms were relatively common in this period. The alarm is clipped in position, with the release lever pointing to the desired alarm time. When the hour hand comes around, it pushes the lever, setting off the alarm. The mechanism is punched with the maker's mark, NL. Nikolaus Lanz, Innsbruch, Austria 1 day duration, spring driven with fusee, verge escapement, balance. (P&E 1888,1201-109)
aperture=f2.8 focal length: 60.0 mm exposure 1/80 sec ISO: 3200
London-British Museu..y Chain Coin Clasp18
This distinctive type of ornament had a long history and is represtented in both Hellenistic and Roman art, but actual examples are extremely rare. The chains passed over the shoulders and under the arms of the wearer, with a decorative focus where they join on the chest and on the back. The two plaques where the chains join comprise a gold coin of Gratian (367-383 CE) in a decorative mount and an oval setting for nine gems. Only the central amethyst and four garnets survive. (P&E P.1994 4-8 1)
aperture=f2.8 focal length: 60.0 mm exposure 1/20 sec ISO: 2000
London-British Museu..dy chain full view27
This distinctive type of ornament had a long history and is represtented in both Hellenistic and Roman art, but actual examples are extremely rare. The chains passed over the shoulders and under the arms of the wearer, with a decorative focus where they join on the chest and on the back. The two plaques where the chains join comprise a gold coin of Gratian (367-383 CE) in a decorative mount and an oval setting for nine gems. Only the central amethyst and four garnets survive. (P&E P.1994 4-8 1)
aperture=f3.5 focal length: 31.0 mm exposure 1/60 sec ISO: 2000
London-British Museu.. Chain stone clasp17
This distinctive type of ornament had a long history and is represtented in both Hellenistic and Roman art, but actual examples are extremely rare. The chains passed over the shoulders and under the arms of the wearer, with a decorative focus where they join on the chest and on the back. The two plaques where the chains join comprise a gold coin of Gratian (367-383 CE) in a decorative mount and an oval setting for nine gems. Only the central amethyst and four garnets survive. (P&E P.1994 4-8 1)
aperture=f2.8 focal length: 60.0 mm exposure 1/50 sec ISO: 2000
London-British Museum-Humbaba3
Face of the demon Humbaba Humbaba was the monster who was featured in the Epic of Gilgamesh. This example of his features was used in the interpretation of omens. An inscription on the back suggests that animal intestines might be arranged to look like Humbaba's face. From Sippar (ME 116624)
aperture=f2.8 focal length: 60.0 mm exposure 1/5 sec ISO: 1250
London-British Museum-Killing an Prisoner7
Closeup of the prisoner scenes From the Nineveh palace reliefs
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museu..ht Snettisham Torc10
Ken Hill, Snettisham, Norfolk Buried about 100BCE Snettisham is one of the key sites of British prehistory. Occupying a wooded hillside near the north-west coast of Norfolk, near Hunstanton, it first began to reveal its secrets in 1948 when five torcs were uncovered during ploughing. Further finds were made at the site in subsequent years. Some of these objects are now in Norwich Castle Museum. The objects now in the British Museum were discovered in 1950 and 1990. At least 12 groups of objects, known as hoards (hoards A-L), have been found at the site. They were buried in shallow pits, some barely large enough to contain a large torc. In adition to complete torcs, fragments of broken torcs, coins, rings and ingots were also deposited.
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 2000
London-British Museu..e 1500s Wall Clock22
The Gothic style of wall clock was most popular in southern Germany and northern Switzerland. British clocks of this type are very rare. This one was probably made in Scotland or northern England. It compares closely with a clock signed 'Jemes Pourvis' and dated 1567. This clock has been much altered and restored. (P&E CAI-2141)
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museu..Bronze Age Goldwork5
aperture=f4.5 focal length: 60.0 mm exposure 1/200 sec ISO: 3200
London-British Museum-Left Franks Casket18
This famous whalebone box is carved with scenes from both the Bible and pagam mythology, but also depicts events from Roman history. In addition, there are inscriptions in both Latin and runic scripts Anglo-saxon, early 700s (1867.0120.1)
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu..case Regulator Dial2
Thomas Mudge 1765 By about 1750, precision regulators were relatively common. Here, the dial has 2 minute hands. The gilded hand shows true solar time -- the time indicated by the apparent passage of the sun in the sky, as shown by a sundial. The blued-steel hands show mean solar time, or clock time, which is constant. The disc in the arch shows the daily difference between the two, called the equation of time.
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu..yre Player Reliefs12
Assyrian, about 700-692 BCE Nineveh, South-West Palace Three musicians are marched under escort through mountainous country. Their dress indicates that they come from somewhere to the west of Assyria, possibly Phoenecia. (W.A. 124947)
aperture=f4.0 focal length: 28.0 mm exposure 1/80 sec ISO: 2000
London-British Museum-Map of the world5
This celebrated map shows the world as a disk, surrounded by a ring of bitter water. Babylon is in the centre of the river Euphrates, which flows south through the marshes to the Gulf. Circles are used to indicate cities or countries. Eight outlying regions, triangular in shape, are the home of strange or legendary beings. At the top the scribe has written 'Where the sun in not seen' to indicate north. The accompanying text, describing these regions, mentions Utnapishtim and Sargon of Akkad. About 700-500 BCE, probably Sippar (ME 92687)
aperture=f2.8 focal length: 60.0 mm exposure 1/60 sec ISO: 1250
London-British Museu..terpiece Clock Dial9
1620 Only the dial, mechanism and alarm of this clock survive. The case is missing. The spectacular dial shows the time and has a circle engraved with the Dominical Letter - used for finding the day of the week. It also shows saints' days and feast days. The dragon hand indicates when eclipses are most likely to occur. In the center, moving shutters show the length of day and night throughout the year. Thomas Starck, Augsburg, Germany Spring drive, with fusees, balance, quarter striking alarm (P&E CAI-2063)
aperture=f5.0 focal length: 60.0 mm exposure 1/250 sec ISO: 3200
London-British Museu..ece clock movement10
1620 Only the dial, mechanism and alarm of this clock survive. The case is missing. The spectacular dial shows the time and has a circle engraved with the Dominical Letter - used for finding the day of the week. It also shows saints' days and feast days. The dragon hand indicates when eclipses are most likely to occur. In the center, moving shutters show the length of day and night throughout the year. Thomas Starck, Augsburg, Germany Spring drive, with fusees, balance, quarter striking alarm (P&E CAI-2063)
aperture=f2.8 focal length: 60.0 mm exposure 1/80 sec ISO: 3200
London-British Museu..hall Foliate Spoon14
4th Century CE Eight spoons were found in the Mildenhall treasure; six are displayed here. They represent examples from at least three, perhaps four, sets. It can be assumed that the owners who possessed such outstanding pieces of silver plate as the Great Dish would have had a large number of spoons, but most of these, seemingly, were not hidden in this particular cache. Three spoons have foliate decorations whch matches that on the large fluted bowl. Another three bear the only overt Christin symbols in the hoard, the chi-rho monogram flanked by the Greek letters Alpha and omega. The remaining two spoons have personal names, Papittedo and Pascentia (shown), with the word vivas (may you live) a good luck formula frequently used in late roman times, often by Christians. (P&E P. 1946.10-7.27 29-30, 30-34)
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museu..ll Papittedo Spoon16
4th Century CE Eight spoons were found in the Mildenhall treasure; six are displayed here. They represent examples from at least three, perhaps four, sets. It can be assumed that the owners who possessed such outstanding pieces of silver plate as the Great Dish would have had a large number of spoons, but most of these, seemingly, were not hidden in this particular cache. Three spoons have foliate decorations whch matches that on the large fluted bowl. Another three bear the only overt Christin symbols in the hoard, the chi-rho monogram flanked by the Greek letters Alpha and omega. The remaining two spoons have personal names, Papittedo and Pascentia, with the word vivas (may you live) a good luck formula frequently used in late roman times, often by Christians. (P&E P. 1946.10-7.27 29-30, 30-34)
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museu..ldenhall X-R Spoon15
4th Century CE Eight spoons were found in the Mildenhall treasure; six are displayed here. They represent examples from at least three, perhaps four, sets. It can be assumed that the owners who possessed such outstanding pieces of silver plate as the Great Dish would have had a large number of spoons, but most of these, seemingly, were not hidden in this particular cache. Three spoons have foliate decorations whch matches that on the large fluted bowl. Another three bear the only overt Christin symbols in the hoard, the chi-rho monogram flanked by the Greek letters Alpha and omega. The remaining two spoons have personal names, Papittedo and Pascentia (shown), with the word vivas (may you live) a good luck formula frequently used in late roman times, often by Christians. (P&E P. 1946.10-7.27 29-30, 30-34)
aperture=f2.8 focal length: 60.0 mm exposure 1/50 sec ISO: 2000
London-British Museum-Miniature Spear11
Uley, Gloucestershire 100-400 CE Miniature models of weapons, particularly spears and axes, are commonly found at Roman temple sites. Like coins, these objects were frequently pierced or mutilated to mark them out as ritual objects. copper alloy, Romano-British found at Uley West Hill, 1978
aperture=f4.0 focal length: 60.0 mm exposure 1/160 sec ISO: 3200
London-British Museu..ical Watch Movement6
1740s Musical watches are rare. This one is particularly unusual because it plays on bells rather than steel wire gongs or toothed combs. A pinned barrel operates ten hammers playing on five bells. Archambo has made the mechanism in two layers. John Archambo, London Fusee, cylinder escapement, balance with spring, quarter repeating
aperture=f4.0 focal length: 60.0 mm exposure 1/160 sec ISO: 3200
London-British Museum-Noah Cameo9
Cameo cutting, a skill perfected in ancient Greece and Rome, was practiced by a few medieval artists. This cameo tells the story of Noah's Ark and the modelling of the figures shows an awareness of classical forms. The cameo was probably made in Sicily at the court of the Holy Roman Emperor Frederick II (reigned 11988-1250). It later passed into the hands of Lorenze de' Medici (died 1492) who had the doors of the ark engraved with his name. About 1200-1250 Sicily or southern Italy Onyx and Gold (PE 1890.0901.15)
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu..sense Greek Caption3
Sardonyx nonsense Greek inscription Roman, 3rd C CE (GR 1867.5-7.681) (BM Cat Gems 3701)
aperture=f5.6 focal length: 60.0 mm exposure 1/320 sec ISO: 3200
London-British Museu..r of Celtic Flagons9
Basse-Yutz, easten France About 450 BCE These bronze flagons were found with two Etruscan bronze Stamnoi (vessels used for mixing wine) at Basse-Yutz, Lorraine, France in 1927. It seems they came from a grave. The flagons are masterpieces of what is known as 'early Celtic' or 'La Tène' art. This art first appeared on metal objects from eastern France and western Germany about 450 BCE. It borrowed from and altered motifs found on Greek and Etruscan objects, which are sometimes found in Iron Age graves. The overall shape of the flagons is similar to Etruscan beaked flagons. Dogs, which form the flagon handles are also found in Greek art. (P&E 1929.0510.1, 1945.0511.1-3)
aperture=f2.8 focal length: 60.0 mm exposure 1/80 sec ISO: 2000
London-British Museu..e Chariot Isometric2
The Egyptian god Bes is depicted on the front of this chariot. Bes was the protective deity of the young, and this would be appropriate if this model chariot was made for a boy. Chariots with the same profile and wheel constructions are shown on sculptures at Persepolis and the so-called Darius seal in this gallery. 5th-4th C BCE Oxus Treasure: 123908
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museu..easure Chariot Side1
The Egyptian god Bes is depicted on the front of this chariot. Bes was the protective deity of the young, and this would be appropriate if this model chariot was made for a boy. Chariots with the same profile and wheel constructions are shown on sculptures at Persepolis and the so-called Darius seal in this gallery. 5th-4th C BCE Oxus Treasure: 123908
aperture=f2.8 focal length: 60.0 mm exposure 1/60 sec ISO: 2000
London-British Museum-Pelican Broach7
...The pelican was used as a symbol of Christ because it was believed that it nourished its young with its own blood. Its self-inflicted wound is represented here by the ruby set into its chest. 1420-1450. France or modern day Belgium, bold, ruby, diamond (PE AF.2767)
aperture=f2.8 focal length: 60.0 mm exposure 1/80 sec ISO: 3200
London-British Museu..ic astrolabic clock4
1560 A complex object like this would have demonstrated its owner's scientific knowledge. It is an automatic astrolabe, a flat map of the heavens. Driven by a clockwork mechanism, it shows the positions of the sun, moon and stars throughout the year. The mechanism is in the drum-shaped base and drives the astrolabe via a shaft inside the central column. On the reverse is a calendar. Makers mark 'M', France Spring driven with fusee, verge escapement, balance
aperture=f2.8 focal length: 60.0 mm exposure 1/80 sec ISO: 3200
London-British Museu..ers being led away10
From the Nineveh palace reliefs
aperture=f4.0 focal length: 18.0 mm exposure 1/60 sec ISO: 2000
London-British Museu..opius and St Agnes1
The Royal Gold Cup was designed for ceremonial use or for display at royal feasts. It depicts scenes from the legends of St. Agnes who is thought to have been martyred in Rome during the reign of Diocletian (284-305 CE). Two medallions showing Christ and St. Agnes are inserted inside the cover and the bowl of the cup. The foot is decorated with the symbols of the Evangelists. 1370-1380 Paris France Gold and Enamel (PE 1892.0501.1)
aperture=f5.0 focal length: 60.0 mm exposure 1/320 sec ISO: 3200
London-British Museu..se Lid Decorations11
This unique object is the top flap of a small leather purse. All the organic material has decayed -- what is left are a gold and garnet frame with pure golden hinges and decorative plaques of intricate cell work. The meaning of the figurative plaques is enigmatic. They seem to represent birds of prey hunting waterbirds and a man between beasts. This last motif is known from various places in Scandanavia and Europe. Interlaced pairs of beasts compelte the composition. Anglo-Saxon, Early 600s CE (1939.1010.2.a-1,3)
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 2000
London-British Museu..he ten-headed demon6
South India, 18th C Ravana is the demon who kidnapped Sita, and held her captive in Lanka until her rescue by Rama, her husband, and the army of monkeys led by Hanuman. When intact this figure carried a different weapon in each of its many hands.
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museu..ight Franks Casket19
This famous whalebone box is carved with scenes from both the Bible and pagam mythology, but also depicts events from Roman history. In addition, there are inscriptions in both Latin and runic scripts Anglo-saxon, early 700s (1867.0120.1)
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museum-Rings7
The monogram one is unknown, the gold one on the right is said to have come from the finger of Tipu Sultan after his death
aperture=f2.8 focal length: 60.0 mm exposure 1/50 sec ISO: 3200
London-British Museu..etta Stone Closeup14
Greek and Coptic (from repica)
aperture=f2.8 focal length: 60.0 mm exposure 1/40 sec ISO: 3200
London-British Museu..etta Stone Closeup15
Heiroglyphic and Coptic text (replica)
aperture=f2.8 focal length: 60.0 mm exposure 1/50 sec ISO: 3200
London-British Museum-Sedgeford Torc13
Probably buried before 100-50 BCE Sedgeford, Norfolk The terminal was found by the Sedgeford Historical and Archaeological Research Project in 2005. It is the missing part of the Sedgeford Torc found in 1965. (P&E 2005 11-3 1)
aperture=f4.5 focal length: 43.0 mm exposure 1/160 sec ISO: 2000
London-British Museu..ser's Gate Fragment5
These gates were erected by Shalmaneser III (858-824 BCE) in his templs at Balawat. The original gates were wood, partly covered and reinforced with bronze strips, which are the only parts that survive. The bronze strips are embossed with scenes from Shalmaneser's campaigns. Each strip contains events from a single campaign. The Assyrian army marches forth from camp; enemies are defeated in open battle or attacked in their towns; the Assyrians offer sacrifices and set up memorial stelae. Cuneiform captions give the names of countries captured or from which the king was receiving tribute. The variety in the details of the workmanship and of the subject matter suggests that several workmen were involved in the manufacture, possibly one for each strip. Other fragments of the Balawat gates are in museums in Baltimore, Paris and Istanbul. (ANE 121651-121663)
aperture=f2.8 focal length: 60.0 mm exposure 1/30 sec ISO: 2000
London-British Museu..nd gilt-brass watch4
1620-1630 This clock-watch strikes the hours and has an alarm. The magnificent dial shows the sate and the age and phase of the moon (top), the months, seasons and quarter-hours (right) and the days of the week (left). The dial at the bottom shows the time and alarm setting. Jean Vallier, Lyon, France Fusee, verge escapement, balance (spring later)
aperture=f6.3 focal length: 60.0 mm exposure 1/500 sec ISO: 3200
London-British Museu.. tortiseshell watch8
1688 This watch has a seconds hand, a rare feature for the period. The outer case is made from hawksbill turtle, which became popular in the late 1600s. The design of dial, known as champlevé became standard for London watches. The silver inner case was made by Daniel Delander and is marked ND. Thomas Tompion, London Fusee, verge escapement, balance with spring (P&E CAI-2381)
aperture=f5.0 focal length: 60.0 mm exposure 1/250 sec ISO: 3200
London-British Museum-Silver Cased Watch7
1680 This watch contains a balance spring. This invention controlled the rate of watches, making them much more accurate. The new technology was quickly adopted by watchmakers around Europe. The balance spring is adjusted by turning the index numbered 106 on the back plate. Louis Ourry, Paris Going barrel, verge escapement, balance with spring (P&E CAI-563)
aperture=f4.5 focal length: 60.0 mm exposure 1/200 sec ISO: 3200
London-British Museu..ilver Decimal Watch2
about 1800 The French Jacobin Convention introduced a new decimal calendar in 1793, with 12 months of 30 days plus 5 'holidays'. Each day would have 10 hours, each 'hour' 100 minutes and each 'minute' 100 seconds. This dial shows both decimal (10) and duo-decimal (12) hours. Jean Chambon, Paris Fusee, verge escapement, balance with spring (P&E CAI-814)
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museum-Silver Scrap7
This deliberately concealed hoard included fragments of spiral pendents, probably dating from between 2500-1500 BCE, buried together in a bronze bowl with small ingots, rings and scraps. It was buried in the 7th C. BCE. The earliest objects may have been found furing ancient grave robbing and were kept for their precious metal content. Tepe Nush-i Jan, western Iran. (135072-135085)
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museum-Silver Watch7
about 1760 Geneva makers produced many watches like this, engraved with fictitious names and attributed to London. They were capitalising on London's fame as the watchmaking capital of the world. Such watches were available around Europe with some even sold illegally in London. John Wilter, Geneva Fusee, Verge escapement, balance with spring (P&E CAI-382)
aperture=f5.0 focal length: 60.0 mm exposure 1/250 sec ISO: 3200
London-British Museu..lt Quarter Repeater9
1692-3 By 1690, quarter repeating watches were becoming more common. When the pendent is pushed down, the watch strikes the last hour and quarter on the bell in the back of the case -- useful at night. The outer case is engraved with the arms of the Sewill family of the Isle of Wight. Thomas Tompion, London Fusee, verge escapement, balance with spring (P&E CAI-452)
aperture=f5.0 focal length: 60.0 mm exposure 1/250 sec ISO: 3200
London-British Museum-Sloans Pedometer9
From the Collection of John Sloan, GMT
aperture=f2.8 focal length: 60.0 mm exposure 1/15 sec ISO: 3200
London-British Museu..l Snettisham Torcs12
Ken Hill, Snettisham, Norfolk Buried about 100BCE Snettisham is one of the key sites of British prehistory. Occupying a wooded hillside near the north-west coast of Norfolk, near Hunstanton, it first began to reveal its secrets in 1948 when five torcs were uncovered during ploughing. Further finds were made at the site in subsequent years. Some of these objects are now in Norwich Castle Museum. The objects now in the British Museum were discovered in 1950 and 1990. At least 12 groups of objects, known as hoards (hoards A-L), have been found at the site. They were buried in shallow pits, some barely large enough to contain a large torc. In adition to complete torcs, fragments of broken torcs, coins, rings and ingots were also deposited.
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 2000
London-British Museum-Stone Vessel4
Rim of a stone vessel dedicated by a high official in the Nergal Temple, Tarbisu. About 815-810 BCE (ME 90960)
aperture=f2.8 focal length: 60.0 mm exposure 1/40 sec ISO: 1250
London-British Museum-Stoneware Duck10
Si Satchanalai (Sawankalok), north-central Thailand, 14th-16th Century
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 2000
London-British Museum-Swimming reindeer12
aperture=f2.8 focal length: 60.0 mm exposure 1/50 sec ISO: 2000
London-British Museum-Table Alarm Clock3
1650 This elegant clock has a plain gilded case, the only decoration being the four lion feet at the corners. It strikes the hours and has an alarm, which is set by moving the small central hand to the desired time on the silver setting disc. The time is shown by the hand attached to the revolving alarm disc. Although clocks of this type were popular in Germany, few were made in england, making this example a rare survival. By Robert Grinkin Jr, London Spring-driven, fusee, verge escapement, balance
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu..larm Clock Movement2
1650 This elegant clock has a plain gilded case, the only decoration being the four lion feet at the corners. It strikes the hours and has an alarm, which is set by moving the small central hand to the desired time on the silver setting disc. The time is shown by the hand attached to the revolving alarm disc. Although clocks of this type were popular in Germany, few were made in england, making this example a rare survival. By Robert Grinkin Jr, London Spring-driven, fusee, verge escapement, balance
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu..ble Clock Backplate1
1650 This elegant clock has a plain gilded case, the only decoration being the four lion feet at the corners. It strikes the hours and has an alarm, which is set by moving the small central hand to the desired time on the silver setting disc. The time is shown by the hand attached to the revolving alarm disc. Although clocks of this type were popular in Germany, few were made in england, making this example a rare survival. By Robert Grinkin Jr, London Spring-driven, fusee, verge escapement, balance
aperture=f2.8 focal length: 60.0 mm exposure 1/30 sec ISO: 3200
London-British Museu..at Snettisham Torc13
Buried about 100 BCE. This torc is one of the most elaborate golden objects from the ancient world. It is made from gold mixed with silver and weighs over 1kg. (P&E 1951.0402.2)
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 2000
London-British Museum-Tipu Sultan's Sword8
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu..ling Clock Movement4
1700 This is one of the smallest and most complicated clocks ever made by the famous clockmaker Thomas Tompion. The inscriptions suggest that it was made for a French customer. Originally it had dual control -- regulated by a pendulum when stationary and a balance when being transported (now missing). Pulling a cord makes the clock strike the previous hour and quarter on a bell, when required. Thomas Tompion, London Spring-driven with fusees, verge escapement, grande-sonnerie striking, quarter repeat, alarm (P&E 1986,036.1)
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 3200
London-British Museu..avelling Clock Side5
1700 This is one of the smallest and most complicated clocks ever made by the famous clockmaker Thomas Tompion. The inscriptions suggest that it was made for a French customer. Originally it had dual control -- regulated by a pendulum when stationary and a balance when being transported (now missing). Pulling a cord makes the clock strike the previous hour and quarter on a bell, when required. Thomas Tompion, London Spring-driven with fusees, verge escapement, grande-sonnerie striking, quarter repeat, alarm (P&E 1986,036.1)
aperture=f4.0 focal length: 60.0 mm exposure 1/200 sec ISO: 3200
London-British Museu..king Gold Bracelet17
Solid gold objects like these Scandinavian-style arm and finger rings were rare in the Viking period. Silver versions of this kind of jewelry were more common. Silver jewelry was often cut up for use as payment by weight, but gold jewelry was typically left intact. It is possible that many Vikings prized gold objects too highly to destroy them for practical purposes. 800-1000 CE
aperture=f2.8 focal length: 60.0 mm exposure 1/80 sec ISO: 3200
London-British Museum-Walking-cane Watch4
1756-1757 Mudge made this watch for King Ferdinand VI of Spain. It strikes the hour and quarter-hours at every quarter and repeats the time on demand when a button is pressed. The watch was originally designed to fit in the end of a walking cane. The gold basket is not original. Thomas Mudge, London Fusee, Cylinder Escapement, balance with Spring (1996.0906.1)
aperture=f4.0 focal length: 60.0 mm exposure 1/160 sec ISO: 3200
London-Buckingham Palace-Facade and Fence6
aperture=f3.2 focal length: 18.0 mm exposure 1/50 sec ISO: 640
London-Guildhall-Drum clock case13
Germany, second quarter of the 16th C. The movement is iron with three wheels, a characteristic long fusee and balance escapement. The case is dated 1581, but the numbers 81 clearly replace an earlier date. Museum No 582, Nelthropp Collection
aperture=f2.8 focal length: 60.0 mm exposure 1/20 sec ISO: 2000
London-Guildhall-Drum Clock Movement12
Germany, second quarter of the 16th C. The movement is iron with three wheels, a characteristic long fusee and balance escapement. The case is dated 1581, but the numbers 81 clearly replace an earlier date. Museum No 582, Nelthropp Collection
aperture=f2.8 focal length: 60.0 mm exposure 1/13 sec ISO: 2000
London-HBP Offices-Sicilian Ave North10
aperture=f8.0 focal length: 14.0 mm exposure 1/250 sec ISO: 1250
London-HBP Offices-Sicilian Ave South11
aperture=f8.0 focal length: 14.0 mm exposure 1/250 sec ISO: 1250
London-HBP Offices-Vernon House Entrance9
aperture=f6.3 focal length: 14.0 mm exposure 1/160 sec ISO: 1250
London-Inns of Court-Temple Church3
Side of the nave and round Apse
aperture=f6.3 focal length: 18.0 mm exposure 1/160 sec ISO: 640
London-Inns of Court..ple Church Entrance4
The now back door to the Temple Church
aperture=f2.8 focal length: 14.0 mm exposure 1/15 sec ISO: 640
London-St Pauls-2
aperture=f8.0 focal length: 33.0 mm exposure 1/500 sec ISO: 1250
London-St Pauls-Side of St Pauls13
from the river-side
aperture=f5.6 focal length: 18.0 mm exposure 1/125 sec ISO: 640
London-Tate Modern-Baal the Warrior12
Jean-Michel Atlan 1913-1960 Baal the Warrior 1953 As a Jew and a member of the resistance, Atlan was arrested by the Nazis during WWII. Feigning madness, he was committed to a psychiatric hospital from which he emerged when Paris was liberated. He was in contact with Asger Jorn and exhibited with CoBrA in 1948-1949. His subsequent work combined abstraction with figurative elements. The title of this work refers to Baal, a Middle eastern Fertility deity, whose cult was regarded in the Judeo-Christian tradition as exemplifying the worship of false gods. (100300)
aperture=f2.8 focal length: 24.0 mm exposure 1/50 sec ISO: 2500
London-Tate Modern-Dome from the Tate14
The dome of St. Pauls and the Millenium bridge from the front padio of the Tate Modern
aperture=f5.6 focal length: 50.0 mm exposure 1/250 sec ISO: 640
London-Tate Modern-Door Number One13
Tanks
aperture=f2.8 focal length: 50.0 mm exposure 1/50 sec ISO: 2500
London-Tate Modern-H..the Welder closeup11
David Smith (1906-1965) Home of the Welder 1945 Home of the welder was made shortly after WWII and reflects Smith's personal circumstances. He had just been released from his wartime job as a welder, which he believed had restricted his creative work. Like a coded autobiography, various elements in this sculpture relatre to his dreams and frustrations at the time. The millstone, for example, was identified by Smith as representing his job, while images of women and children may represent tensions in his childless first marriage. (L01025)
aperture=f2.8 focal length: 46.0 mm exposure 1/40 sec ISO: 2500
London-Tate Modern-Poem of Nine Verses15
Saloua Raouda Choucair (b. 1916) Poem of Nine Verses (1983-1985) Aluminum (T13647)
aperture=f2.8 focal length: 50.0 mm exposure 1/40 sec ISO: 1250
London-Tate Modern-S..om the Tate Modern10
aperture=f2.8 focal length: 50.0 mm exposure 1/50 sec ISO: 2500
London-Tate Modern-Trip Hammer9
Richard Serra, (1939-) 1988, Steel Two sheets of steel are delicately balanced. One stands upright, 2.6m high and 1.3 m deep, and balances on an edge 5cm wide. The other rests horizontally on this thin edge, with its only other means of support provided by its minimum contact with the wall. This large, heavy work dominates the space in which it stands, both physically and psychologically through the anxiety it provokes in the viewer. (TO7350)
aperture=f2.8 focal length: 18.0 mm exposure 1/13 sec ISO: 640
London-Thames-Thames from Temple5
The river and bridges from the wall near Temple Tube stop.
aperture=f3.5 focal length: 18.0 mm exposure 1/50 sec ISO: 640
London-Tower of London-3
aperture=f2.8 focal length: 35.0 mm exposure 1/60 sec ISO: 2000
London-Tower of London-4
Walls and towers from outside
aperture=f2.8 focal length: 20.0 mm exposure 1/25 sec ISO: 2000
London-Tower of Lond.. under construction2
As seen from the Tower of London
aperture=f9.0 focal length: 50.0 mm exposure 1/800 sec ISO: 3200
London-Tower of London-White Tower6
aperture=f3.2 focal length: 18.0 mm exposure 1/50 sec ISO: 2000
London-Trafalgar Square-1
aperture=f2.8 focal length: 24.0 mm exposure 1/5 sec ISO: 640
London-Victoria and ..on and Chess Board32
about 1580 Venice, Italy Unidentified wood veneered with rosewood or ebony, with lapis lazuli and gilded decoration (9-1972)
aperture=f2.8 focal length: 60.0 mm exposure 1/40 sec ISO: 1600
London-Victoria and ..t-Carving Treatise36
Carving was a complex skill with specialized tools and terms. This carving set includes a fork for securing the meat and a flat-bladed knife for serving. Vincenzo Cervio, carver to the pope, expected practitioners to hold up the meat with a fork and slice it in mid air. German writers, meanwhile, advocated keeping it secured on a plate. The post of carver was usually held by a yound nobleman. First published 1581 Vincenzo Cervio (about 1510-1580, Rome) 1593 edition, printed by Gabbia for Giulio Burchioni (3804180049288.0)
aperture=f2.8 focal length: 60.0 mm exposure 1/60 sec ISO: 1600
London-Victoria and ..t-Clear posset pot29
Clear glass posset pot. (6386)
aperture=f3.5 focal length: 60.0 mm exposure 1/160 sec ISO: 640
London-Victoria and ..he Veroli Casket 142
950-1000 The Byzantine capitol of Constantinople was a centre for the production of boxes of this type, made of ivory and bone. This one, which eventually found its way to the cathedral of Verloi in central Italy, is the finest surviving example. It is possibly a marriage casket, and the scenes represent pagan gods and goddesses. Byzantine Empire, Constantinole (216-1865)
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 1600
London-Victoria and ..of Veroli Casket 243
950-1000 The Byzantine capitol of Constantinople was a centre for the production of boxes of this type, made of ivory and bone. This one, which eventually found its way to the cathedral of Verloi in central Italy, is the finest surviving example. It is possibly a marriage casket, and the scenes represent pagan gods and goddesses. Byzantine Empire, Constantinole (216-1865)
aperture=f2.8 focal length: 60.0 mm exposure 1/60 sec ISO: 1600
London-Victoria and ..Epistle of St Paul45
About 1140-1150 Study of the Scriptures was an important philosophical and intellectual endevour in the 12th century. These leaves reproduce the letters of St Paul in larger text, and a gloss commenting on it by Gilbert de la Porée. Gilbert was a celebrated scholar who taught at Chartres before becoming bishop of Poiters in 1142. France, possibly Poiters (9037,A-B)
aperture=f2.8 focal length: 60.0 mm exposure 1/100 sec ISO: 1600
London-Victoria and ..James I Watch dial49
c. 1620 This watch may have been made for James I. His portait is engraved inside the front cover and on the case are his arms and his latin motto, which translates as 'Blessed are the peacemakers'. The scottish maker, David Ramsay, probably obtained the engraved case from France. Silver and gilt metal, engraved; verge escapement Made in London by David Ramsay (born in Scotland, about 1585, died in London, 1653) and inscribed with his name; the case engraved by Gérard de Heck, probably in Blois France (active in 1611) (LOAN:MET ANON.I:1-1973)
aperture=f2.8 focal length: 60.0 mm exposure 1/60 sec ISO: 3200
London-Victoria and .. I Watch Engraving48
c. 1620 This watch may have been made for James I. His portait is engraved inside the front cover and on the case are his arms and his latin motto, which translates as 'Blessed are the peacemakers'. The scottish maker, David Ramsay, probably obtained the engraved case from France. Silver and gilt metal, engraved; verge escapement Made in London by David Ramsay (born in Scotland, about 1585, died in London, 1653) and inscribed with his name; the case engraved by Gérard de Heck, probably in Blois France (active in 1611) (LOAN:MET ANON.I:1-1973)
aperture=f2.8 focal length: 60.0 mm exposure 1/60 sec ISO: 3200
London-Victoria and ..ves of a Choirbook44
About 1275 These leaves were cut from a large choirbook of chants sung during church services. The capitol P comtains a scene of the Nativity, a sutible subject for Mass on Christmas Day. The capitol S has an image of the Presentation of Christ at the Temple, used to illustrate Candlemas, the feast which celebrates that event. Arezzo Italy (E.373,374-1911)
aperture=f2.8 focal length: 60.0 mm exposure 1/50 sec ISO: 1600
London-Victoria and .. the Veroli Casket41
950-1000 The Byzantine capitol of Constantinople was a centre for the production of boxes of this type, made of ivory and bone. This one, which eventually found its way to the cathedral of Verloi in central Italy, is the finest surviving example. It is possibly a marriage casket, and the scenes represent pagan gods and goddesses. Byzantine Empire, Constantinole (216-1865)
aperture=f4.0 focal length: 60.0 mm exposure 1/200 sec ISO: 1600
London-Victoria and Albert-Mayday Window47
1550-1621 This panel depicts a maypole with morris dancers, musicians, a Fool, a hobby horse and a friar. These characters would have been familiar at festivities in the 16th century, especially on May Day. Morris dancers sometimes told the story of a lady (bottom center) who marries a Fool (top left corner) Clear glass painted with enamel and yellow stain Make in England In Betley Hall, Staffordshire from the 18th C (C.248-1976)
aperture=f5.0 focal length: 60.0 mm exposure 1/250 sec ISO: 3200
London-Victoria and ..t-Mechanical Globe34
1584 Georg Roll (approx 1546-1592) and Johannes Reinholf (1550-1596) Augsburg, Germany Gilded metal and steel. (246:1,2-1865)
aperture=f2.8 focal length: 60.0 mm exposure 1/50 sec ISO: 1600
London-Victoria and ..cal globe movement33
1584 Georg Roll (approx 1546-1592) and Johannes Reinholf (1550-1596) Augsburg, Germany Gilded metal and steel. (246:1,2-1865)
aperture=f2.8 focal length: 60.0 mm exposure 1/25 sec ISO: 1600
London-Victoria and Albert-Nine of Hares37
Nine of Hares About 1500 Master P.W. of Cologne (active about 1499-1503) One of the earliest uses of printing was the mass production of playing cards. Previous they had been drawn or hand painted. This card is one of a pack of 72 printed playing cards consisting of five suits: hares, parrots, roses, columbines and carnations. (Lettered 9 and VIIII)
aperture=f3.5 focal length: 60.0 mm exposure 1/125 sec ISO: 1600
London-Victoria and ..f Forster Notebook39
1490-1493 Leonardo da Vinci The V&A has five of Leonardo's notebooks, bound together in three volumes probably in the 17th century. This one was compiled over a number of years while Leonardo was working for Duke Ludovico Sforza in Milan. It includes drawings of hats, which probably relate to costumes required for court festivities, and extensive notes about geometry, hydraulics and weights. Sketches of a horse's legs may relate to a project to create a vast bronze equestrian monument commemorating Francesco Sforza. (MS.141.111)
aperture=f3.2 focal length: 60.0 mm exposure 1/100 sec ISO: 1600
London-Victoria and ..herds Buss Closeup46
1570-1600 This hanging or cover shows an Elizabethan shepherd mourning his lost lover. In Greek and Roman literature there was a tradition associating shepherds with poetry. The story is told around the border using a combination of words and rebuses. The word 'buss' means kiss. Linen, embroidered in silk with bobbin lace border Made in England The Latin and Italian inscriptions around the inner border record the shepherd's despair (T.219-1953)
aperture=f2.8 focal length: 60.0 mm exposure 1/40 sec ISO: 3200
London-Victoria and ..t-Small Posset Pot28
Posset pot, diamond engraved, London; about 1680-1690 (9012)
aperture=f3.5 focal length: 50.0 mm exposure 1/100 sec ISO: 640
London-Victoria and ..St Ursula teaching31
1520-1530 St Ursula became the parton saint of a femal religious order, the Ursulines, founded in the early 16th century for the education of girls. While she is usually shown protecting her virgin companions with her cloak, here she appears as a teacher, holding an open book while her pupils help each other in reading. Eastern Netherlands, probably Limburg Oak with traces of Paint (621-1895)
aperture=f2.8 focal length: 60.0 mm exposure 1/25 sec ISO: 1600
London-Victoria and ..ned Glass Monogram35
1548-1550 This panel was made for Anne de Montmorency, Constable of France. The large sword demonstrates his status, since as constable he was allowed to carry a naked sword near the king. The grotesques, cornucopias and putti show how Anne had the latest Mannerist fashion in his chateau, copied from the king's palace at Fontainebleau. Paris or Fontainebleau, France from the chateau d'Ecouen (47-1982)
aperture=f4.5 focal length: 60.0 mm exposure 1/250 sec ISO: 1600
London-Victoria and ..a Panel with clock40
In the early 15th century, furniture decorated with intarsia (inlaid wood) became popular. Perspective was such an important part of the designs that intarsia panels were known as 'perspectives' in certain parts of Italy. Intarsia furniture was found in both secular and religious settings. Raffaello da Bresica's panel probably came from a choir stall, while the Allegory of Justice is believed to have come from the Palazzo Pubblico in Sienna. 1513-1539 Raffaello da Bresica (1479-1537) Italy, Bologna (150-1878)
aperture=f2.8 focal length: 60.0 mm exposure 1/15 sec ISO: 1600
London-Victoria and ..s Virgin and Child38
About 1495 Veit Stoss (1445-1533) Stoss was a German sculptor who was known and admired across Europe. Vasari described his work as 'a miracle in wood'. The small size of this carving, the richness of its forms and the virtuoso execution of its details all suggest that Stoss made it for a collector. On the ground lies a crescent moon with a male face. This identifies the Virgin as the Woman of the Apocalypse with the moon at her feet. Nuremberg, Germany Boxwood, glazed, with traces of gilding (646-1893)
aperture=f2.8 focal length: 60.0 mm exposure 1/50 sec ISO: 1600
London-Victoria and ..er of Babel Window30
This panel illustrates the Old Testament story in which the people of Babylon tried to build a tower that would reach the heavens. As a punishment, God confused their language so they would no longer understand each other. The large figure on the right, directing the operations, is Nimrod, their ruler. Zurich, CH. dated 1631 (9061-1863)
aperture=f2.8 focal length: 60.0 mm exposure 1/40 sec ISO: 640
London-Westminister Abbey-Buttresses1
from the cloister
aperture=f4.0 focal length: 14.0 mm exposure 1/80 sec ISO: 640
London-Westminister ..y-Vaults and Arches2
Looking down the length of one of the cloister halls
aperture=f2.8 focal length: 14.0 mm exposure 1/30 sec ISO: 640
London-Westminister Abby-Eye and Abbey24
On New-Years Eve
aperture=f2.8 focal length: 50.0 mm exposure 1/30 sec ISO: 2000
Salisbury--The Paris..omas and St Edmunds6
aperture=f2.8 focal length: 18.0 mm exposure 1/15 sec ISO: 2000
Salisbury-Salsibury Cathedral-1
aperture=f2.8 focal length: 14.0 mm exposure 1/40 sec ISO: 1600
Salisbury-Salsibury Cathedral-2
aperture=f2.8 focal length: 14.0 mm exposure 1/40 sec ISO: 1600
Salisbury-Salsibury Cathedral-3
aperture=f2.8 focal length: 14.0 mm exposure 1/40 sec ISO: 1600
Salisbury-Salsibury Cathedral-4
aperture=f3.5 focal length: 14.0 mm exposure 1/50 sec ISO: 1600
Salisbury-Salsibury Cathedral-5
aperture=f2.8 focal length: 14.0 mm exposure 1/15 sec ISO: 1600
Salisbury-Salsibury ..ral-Apse from Choir6
aperture=f3.5 focal length: 14.0 mm exposure 1/50 sec ISO: 1600
Salisbury-Salsibury ..ral-Apsidial Chapel8
aperture=f2.8 focal length: 14.0 mm exposure 1/30 sec ISO: 1600
Salisbury-Salsibury Cathedral-Buttresses18
aperture=f6.3 focal length: 33.0 mm exposure 1/320 sec ISO: 1600
Salisbury-Salsibury ..ster and Cathedral17
aperture=f7.1 focal length: 18.0 mm exposure 1/250 sec ISO: 1600
Salisbury-Salsibury Cathedral-Exterior19
aperture=f7.1 focal length: 18.0 mm exposure 1/200 sec ISO: 1600
Salisbury-Salsibury ..ral-Nave from Choir7
aperture=f2.8 focal length: 14.0 mm exposure 1/40 sec ISO: 1600
Salisbury-Salsibury ..ry Clock Escapement4
This clock was made in or before 1386 and was originally in a seprate bell tower (demolished in 1792) just to the north of the Cathedral. It is probably the oldest working clock in existance - and like all clocks of that date had no face but struck the hour on a bell (now located in the Cathedral roof space)
aperture=f2.8 focal length: 18.0 mm exposure 1/20 sec ISO: 1600
Salisbury-Salsibury ..bury Clock overview5
This clock was made in or before 1386 and was originally in a seprate bell tower (demolished in 1792) just to the north of the Cathedral. It is probably the oldest working clock in existance - and like all clocks of that date had no face but struck the hour on a bell (now located in the Cathedral roof space)
aperture=f2.8 focal length: 18.0 mm exposure 1/20 sec ISO: 1600
Salisbury-Stonehenge-22
aperture=f5.6 focal length: 18.0 mm exposure 1/160 sec ISO: 800
Salisbury-Stonehenge-23
aperture=f6.3 focal length: 33.0 mm exposure 1/250 sec ISO: 800
Salisbury-Stonehenge-Bird on a Tenon21
aperture=f4.5 focal length: 50.0 mm exposure 1/200 sec ISO: 800
Salisbury-Stonehenge-Full View20
aperture=f6.3 focal length: 20.0 mm exposure 1/160 sec ISO: 800