People (including me) call it ‘The Stonehenge Exhibition’, but the display at the British Museum is not on Stonehenge, but about the world in which it was created. I visited it with my London friend, Mary, last Friday. (My previous post is on the Jubilee-riddled London I encountered then.)
Mary had visited the very comprehensive exhibition twice before, so went ahead to pay more attention to later exhibits. I learned from this and did not spend ages on each item, flitting somewhat. My eye – and particularly my camera – was disproportionately attracted to shiny objects. As ever, this is just a small selection of photos I took.
I was thrilled to find this. The Sweet Track, named after the person who found it when ditch cleaning in 1970, is buried on the Avalon Marshes, near to my home. It has been dated by dendrochronology to precisely 3807-3806 BC, and is preserved by the peat bogs. I have seen reproductions and imaginary pictures of it, but never a section of the real thing. I could find no suggestion that this was not part of the original …
This exhibit, using a moving light show, showed both the structure and the finished object (see header picture) of the oxen pulling the cart and cart itself. The original, excavated in Germany, was lifted as a single object to preserve the archaeological evidence.
These tiny gold pins, almost invisible to the naked eye, were attached to a dagger pommel, using techniques seen in Brittany and Mycenaean Greece.
A final comment at the end of the exhibition, which is on until 17th July 2022:
(This article explains a little more to the background to her remark. “[A 1967] article surveyed the discussion of Stonehenge as an observatory: she believed that it was not, that its significance was ritualistic and religious, and that attempts to see it as a scientific construct were as much a product of the present time as the ideas of other ages about Stonehenge were of theirs.”)