British museum

By the 1800s, the mechanical clock had become a status symbol for wealthy Chinese. The first arrived with Jesuit missionaries and Portuguese merchants years earlier, but it wasn’t until the early 19th century that those outside of the imperial court could afford them. Rich merchant families displayed their clocks proudly, like their European counterparts had showed off pineapples. Women’s jackets started to be decorated with ‘clock buttons’ made of enamel and one family embroidered a clock face on to their baby’s silk bib. European aesthetics made their way into other parts of Chinese society too. Traditional ink portraits became colourful and hyper-realistic, inspired by photography. Courtesans learned to play billiards

The point at which the heart sinks in this exhibition is, unfortunately, right at the outset. That’s where we meet the five commentators that the British Museum has invited to respond to the objects and ideas in the exhibition. But only Mary Beard knows her subject. There’s Bonnie Greer, playwright and critic; Elizabeth Day, podcaster and novelist; Rabia Siddique, humanitarian (that’s a calling, it seems) and barrister; and Deborah Frances-White, podcaster and stand-up comedian. Each presides over part of the exhibition, which is ordered by categories such as Passion and Desire and Magic and Malice. It’s an odd exercise. I’m not entirely sure whether Frances-White, for instance, brings much to

This exhibition is Hamlet without the Prince, and all the better for it. Stonehenge is not there; it remains in Wiltshire. But 430 astonishing artefacts from the neolithic and bronze ages fill a hairpin course like a Roman chariot-racing circuit in a vast room. It is blessedly free from videos of prehistoric Britons tugging on ropes to move monoliths. There is a henge on display, though. (The word in its technical sense was invented in 1932 by Sir Thomas Kendrick, later director of the British Museum.) This is the Seahenge that emerged on the shore at Holme-next-the-Sea in 1998: 55 big oak posts round a two-ton upturned rooted trunk. Gloriously,

Growing up on a farm outside Lima, I was aware that indigenous Peruvians did not understand time in the same way that their white countrymen did. On our visits to the highlands, we would encounter a very different mode of thinking. Ask an Andean villager where the next settlement was and you’d be told, ‘aquisito no más’ — just over here. Whether ‘aquisito’ meant around the next bend or four days’ schlep across the mountains was, for aboriginal people, a meaningless question. They were not ruled, as their European-descended neighbours were, by clocks. You’d sometimes see Quechua-speaking herdsmen sitting motionless for so long that they seemed to have switched off

Visitors to the British Museum’s new exhibition will become acquainted with one of the most gloriously bizarre stories in the history of English Christianity: the tale of Eilward, a 12th-century Bedfordshire peasant. One day Eilward is in the pub when he has the misfortune to run into his neighbour Fulk, to whom he owes a small debt. An angry confrontation follows; eventually Eilward storms off drunkenly — in the direction of his creditor’s house, where he breaks in and starts trashing the place. Fulk catches him red-handed, beats him up and then hands him over to the authorities. One account suggests Eilward was framed; but whatever the truth of the

On 5 July 2009, an unemployed 54-year-old metal detectorist called Terry Herbert was walking through a Staffordshire field when his detector started to beep and didn’t stop. Herbert guessed almost immediately that he’d found gold. What he didn’t realise was that he had made Britain’s greatest archaeological discovery since the second world war. Three hundred sword-hilt fittings, many of them spectacular examples of Anglo-Saxon metalwork; a mysterious gold-and-garnet headdress, apparently for a priest; miniature sculptures of horses, fish, snakes, eagles and boars. The Staffordshire Hoard, as it became known, led to a sold-out exhibition, an Early Day Motion in parliament saluting ‘the UK’s largest haul of gold Anglo-Saxon treasure’, and,

Lost boys, lost women, lost civilisations, lost causes — the romantic ring of the word ‘lost’ is media gold. So when the British Museum announced last autumn that it had acquired 103 ‘lost’ drawings by Hokusai, one was tempted to take it with a large pinch of salt. How do 103 drawings by Japan’s most famous artist simply disappear? The answer is, surprisingly easily. Hokusai’s works have never commanded the sorts of prices a draughtsman of his calibre would be expected to fetch, not even in Japan. His art was designed to be affordable: in his day, you could buy a print of ‘The Great Wave’ for the price of

A great temple of the goddess Tara can be found at Tarapith in West Bengal. But her true abode, in the view of many devotees, is not this sacred structure itself but the adjacent, eerily smoking cremation ground. There she can be glimpsed in the shadows at midnight, it is believed, drinking the blood of the goats sacrificed to her during the day. Many holy men and women live in that grisly spot too, adorned with dreadlocks, smeared with ash, and dwelling in huts decorated with lines of skulls painted crimson. As a domestic setting this wouldn’t suit everybody. But the varieties of religious experience (to borrow the title of