1. British Museum exterior (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  2. British Museum main atrium (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  3. British Museum reading room (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  4. British Museum sphinxes (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  5. British Museum Maoi statue (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  6. British Museum Egyptian stuff (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  7. British Museum Lewis Chessmen (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  8. British Museum Egypt & Sudan (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  9. British Museum Egyptian (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out
  10. British Museum stone tablets (Photograph: Laura Gallant for Time Out)
    Photograph: Laura Gallant for Time Out

British Museum

  • Museums | History
  • Bloomsbury
  • Recommended
Alex Sims
Advertising

Time Out says

What is it? 

When the British Museum opened in 1759 it was the first national museum to be open to the public anywhere in the world. It was free to visit (and still is) so that any ‘studious and curious persons’ could pass through its doors and look at the strange objects collected from all over the globe. Centuries before television, this was a chance for anyone to stand in front of specimens and antiquities and connect with other cultures, ancient and contemporary. The first exhibits consisted of the collection of physician and naturalist Sir Hans Sloane – ancient coins and medals, books and natural remains – and through the centuries since, it has become home to the most significant finds made by British explorers at home and abroad. 

In recent years there have been campaigns by other nations who want some of their historic treasures returned. However, the British Museum remains one of the world’s most popular attractions, with six million visitors a year. And although many of its priceless artefacts are protected by glass cases, the museum is anything but a hushed old resting place.

Nowadays, you enter the landmark through the magnificent glass-roofed Great Court full of the buzz of students, tourists and Londoners. The British Museum is a working organisation carrying out research and conservation and that’s reflected in the breadth of the collection and how it’s displayed. The galleries are divided by location and historical periods – Ancient Iran, Greece, China from 5000BC onwards, Roman Britain and so on. There are also exhibitions dedicated to specific themes and daily activities for kids. 

Why go?

To see world-famous historic objects like the Rosetta Stone – which helped decipher the Ancient Egyptian hieroglyphs, the ancient Greek Parthenon Sculptures, the second-century AD marble sculpture of the crouching Venus, and the Mummy of Cleopatra. 


Don’t miss: 

The Ancient Egyptian collections at the British Museum really are something to be seen. There are seven galleries packed full of fascinating artefacts, some of which hold objects of almost mythic status, like the Rosetta Stone. You can spend hours solely staring at the various mummies preserved so exquisitely behind glass that they give you the feeling of stepping back in time, and the huge stone busts of figures like Ramesses and Amenhotep are breathtaking. 

When to visit: 

Open daily 10am5pm, Friday until 8.30pm. Peak times include weekends, school holidays, bank holidays, Christmas and New Year.

Ticket info: 

Entry is free, certain exhibitions are ticketed. 

Time Out tip:

Only got an hour to visit? The British Museum is huge. I've spent the whole day there and barely managed to get through its many rooms. But, a great way to see all the big hitters and get a feel for the place is by picking up one of the great museum maps that give you timed routes around the labyrinthine institution. The hour-long route is a great whistle-stop tour around the museum’s best-known objects. Or, check out the three hour-long route to see some of the smaller, but no less interesting exhibits. Otherwise, stay late on Fridays and join one of the 20-minute long ‘Spotlight Tours’. These give you a great introduction to the Museum’s treasures from the people who work there. 

See more of London's best museums and our guide to the 101 best things to do in London

Details

Address
44 Great Russell St
London
WC1B 3DG
Transport:
Tube: Tottenham Court Rd/Holborn/Russell Square
Price:
Free (permanent collection); admission charge applies for some temporary exhibitions
Opening hours:
Open daily 10am–5pm, Friday until 8.30pm
Do you own this business?Sign in & claim business

What’s on

Hew Locke: ‘What Have We Here’

4 out of 5 stars
No object is just an object: everything is a symbol. And in Guyanese-British artist Hew Locke’s excellent exhibition of items from the British Museum’s endless archives and stores, every object is a symbol of power, dominance and exploitation. Locke (who recently filled Tate Britain’s Duveen Galleries with a kaleidoscopic carnival) spent two years digging through the stores, finding maps, photos, sculptures and artefacts that tell countless clashing stories of empire, countless narrative threads. There’s the beautiful Queen Mother Idia mask that Locke uses to symbolise African culture, a golden replica of a British machine gun used to slaughter opposing armies, sculptures of sacred beings carved by Amerindian natives of Jamaica. Locke’s own masked figures sit above all the display cabinets, watching, protecting, judging and celebrating the death of empire. But the show isn’t a straightforward narrative. It’s complex. There’s a huge Medieval English ewer jug that was prized by the Asante court but looted back to Britain in 1895, there’s a canon traded to the Benin army by the Portuguese and then stolen 350 years later by the British, there’s a vast portrait of Queen Victoria wearing the enormous koh-i-noor diamond, which was stolen from the Sikhs in 1849, who in turn stole it from the Durrani Empire, who stole it from the Afsharid dynasty, who stole it from the Mughals. Power is not linear, and it’s not eternal, but its symbols survive. There’s so much shocking, harrowing dea

Silk Roads

4 out of 5 stars
‘Ah, the Silk Road!’ you nod, sagely. That romanticised overland route between Asia and Europe that flourished in the Middle Ages as intrepid Chinese merchants took silk over the arduous routes in the West. Camels! Deserts! Caravans! Marco Polo! In fact, as with much of history, ‘the silk road’ was somewhat made up in retrospect to describe a less tangible phenomenon. The British Museum’s new exhibition Silk Roads contains little in the way of first person accounts of adventurous journeys from one end of the world to the other, because a few intrepid explorers aside, this simply wasn’t a thing that happened. Instead the silk road of myth was the sum of myriad trading networks – of everything, not just silk – between Japan, north-east Europe and West Africa. Was the sixth century bronze Buddha unearthed on the Swedish island of Helgo in 1958 directly traded there by a wandering salesman from present day Pakistan, where it was forged? Probably not, but the two were sufficiently interlinked by trade that its presence is perfectly explicable. Camels were involved at times, but so, more prosaically, were boats – some of the best preserved items in the exhibition are mass produced Chinese crockery made for the export market, retrieved from an ancient shipwreck in 1998. What Silk Roads is great at is conjuring an image of a Dark Ages that was far from dark, a teeming, interconnected world in which cultures were shaped by nascent religions – Buddhism, Islam, Daoism, weird offshoots
  • History

‘Picasso: Printmaker’

3 out of 5 stars
Picasso never stopped. He was relentless, prolific, voracious. He apparently produced 50,000 artworks in his lifetime, including thousands of paintings, countless drawings, tons of ceramics and – as this show at the British Museum proves – a vast amount of prints. They were just another way he expressed himself, another medium for him to try. This chronological show takes you from his early etchings in Paris to his final linocuts in Vallauris. Along the way it touches on every aspect of his long, wild life. The earliest etchings are dark, troubled, manic things. A family huddles in a barren field, a fragile couple shares some scraps of bread (an image you might have seen at the RA’s ‘Picasso and Paper’ show in 2020), a woman peers out of the shadows. All the pain, poverty and anguish (and plenty of the ideas and compositions) of his Blue Period are transmuted into grey and black, but in rougher, less assured form than his paintings. When it clicks, it’s Picasso at his freest, funnest, loosest. That’s because throughout his life, printmaking was a chance to experiment, to try out ideas without committing paint to canvas. So his moves through cubism and surrealism, his obsession with bulls and Minotaurs, his relentless simplifying of line and curve and form, all get tried out here, messed with, tested. Sometimes it doesn’t work, sometimes his figures are messy and poorly defined, sometimes the compositions are ugly and conflicted. But when it clicks, like it does in the orgias
Advertising
You may also like
You may also like