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.

2

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.

3

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.

4

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

.

5

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.

6

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

7

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

8

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.

9

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)

10

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.

11

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

12

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