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TEN MUSEUM OBJECTSWalrus, Canada
The walrus was brought to Britain by J.H. Hubbard for the Colonial and Indian Exhibition of 1886. It was registered in the Horniman collections in 1893. After being on display for many years, the walrus began to show signs of wear and tear. However, in 1986 a skilled taxidermist repaired the skin and restored the original colour. A model maker then made an artificial iceberg so that the walrus could be displayed in the open - just as it was 100 years ago. Location: Natural History Gallery Navajo sand painting, America
The painting is in the 'Whirling Log' design. It has a beige background with a central blue circle with black bars extending outwards. Each bar has representations of a pair of Navajo deities standing on it. Additional figures and plants are also represented. The picture is enclosed by an incomplete ring. Location: South Hall Balcony Apostle clock, Germany
The clock has recently been repaired through generous donations of the Friends of the Horniman Museum. Location: Natural History Balcony French Horn, England
The horn was originally an instrument of the hunt. Its complex calls kept widely scattered participants informed of the hunt's progress. Music for multiple horns would often be featured as an entertainment after the hunt. The horn's musical development springs from this heritage. Location: Music Gallery Carlton Drum Kit, England
Jazz is rooted in the African musical heritage. This is evident in the usage of even the smallest instrument, the cow bell, which recalls externally struck West African iron bells. The bass drum is derived from the European military drum, known until the 19th century as the Turkish drum. The snare drum resembles the side drum used in the symphony orchestra. The cymbals are based on instruments from Turkey and China, and the wooden blocks are from China. Location: Music Gallery Torture chair, unknown
The vertical iron bar which forms the back of the chair was probably part of a Spanish garrotte, an instrument of execution by strangulation. The iron restraint at the top with its different torture devices is probably also a genuine piece of torture equipment. The lower section of the chair is probably a 19th century workbench. There was a lot of interest in this type of object in 19th century and it became fashionable to collect such objects. Copies of the original were made for the antiquities trade and it is likely that this is how this object came into Frederick Horniman's collection. Location: Centenary Gallery Kali with Shiva figure, India
This image is of the type used for Kali-puja, primarily a Bengali festival for the worship of Kali, and then paraded through the streets before being immersed in a tank or river at the end of the festival. Location: Centenary Gallery Benin Plaques, Nigeria
The curator of the National Museum of Benin, Joseph Eboreime, helped the Horniman's own curators to research and interpret the plaques when they were first put into the gallery in 1999. Benin was a rich and sophisticated kingdom founded in the 11th century. It rose to the height of its influence during the 15th and 16th centuries when trade with Europe started growing. In 1897, the British led a Punitive Expedition to Benin and the capital was destroyed by British soldiers. The King (Oba's) palace was razed to the ground and the Oba was sent into exile. Plaques such as the one shown here and numerous artistically made objects then found their ways into Europe. Sadly, it was only then that people in Europe became aware of the skill and artistry of the Benin master craftsmen. Location: African Worlds Gallery Ijele mask, Nigeria
When ijele performs, it carries with it the figure of the supreme mystical authority of the Igbo elders and ancestors. Ijele is a delight to watch in performance. To the Igbo, ijele is a masquerade of peace that is performed for the collective good of all in the community. Location: African Worlds Gallery Coffin lid, Egypt
Location: African Worlds Gallery |
The Horniman walrus has always been popular with our visitors. It was one of the original creatures on display when the Museum first opened. The walrus came from Hudson Bay, Canada, and was mounted by a taxidermist about 1870. At that time, little was known about walrus anatomy, so the mount lacks the skin folds which would be present in nature. 
This sand painting was made in the Horniman Museum in 1966 by a hereditary Medicine Man of the Navajo people. Normally it would have been made on the floor of a Navajo timber lodge or 'Hogan', on the seventh day during the curing ceremonial which takes place for eight days and nine nights at the first winter frost. The painting was not finished, as in ritual it is destroyed upon completion.
The apostle clock is thought to have been made in Germany in the mid nineteenth century. At 4pm every day above the dial, the apostle figures move in front of Christ, with the exception of Judas, the last in order, who turns away from him.
Surviving examples of the work of William Bull, the most celebrated brass instrument maker of the Restoration period, are extremely rare. This horn in the Carse Collection was made in 1699. Bull most likely took his inspiration for its design from the horns popular in the French court. It is the earliest named and dated hoop-shaped horn by an English maker. Bull specifically referred to it as a French horn and was probably the first person to use this term. 
American jazz became popular in Europe after World War I. Reflecting the mixture of traditions in jazz, the components of this drum kit have their origins in many different continents.
The torture chair is part of the original Horniman collection. The chair was supposed to have been found in "cell 23 - a dungeon of the Spanish Inquisition" in Cuenca, Spain. It now appears that the chair was assembled in the 19th century with some original parts and some later additions.
This papier-mâché figure depicts a scene from a myth in which the Gods asked Kali to kill a monster which was destroying the world. Each time the monster was wounded, 1,000 demons sprung from each drop of his blood. Kali consumed the monster in one great gulp, thus saving the world. However, her celebration dance was so frenzied that she shook the world, and Shiva had to try and calm her down. This image shows Kali dancing on Shiva's body after he had lain down in front of her. Eventually, his efforts were successful.
This plaque from Benin in the south-west of Nigeria is one of several in the African Worlds gallery. The plaques were originally used to decorate the wooden pillars which supported the verandas in the courtyards of the king's palace. They are made of brass, a material which was reserved for use by members of the royal family and chiefs. This one commemorates the encounter between a Benin chief, Chief Uwangue, and Portuguese traders, who are depicted to his left and right.
The Igbo of Nigeria are a people who believe very strongly in their tradition and culture and enact their world view through rituals, ceremonies, dance and music. One very significant tradition that is highly regarded and which Igbo looks forward to is iti mmanwu, the performance of the masquerade. This event is known throughout Igboland; however, differences exist in the scale and size of the masquerade culture that can be observed in Igbo villages and communities. There are small social masquerades that are less fearful and there are big spirit masquerades that are fearsome and powerful. For this second category, one would have to be initiated into the secret of the masquerade to be able to participate in its performance while there are no initiation ceremonies for the social masquerades. Among all these masquerades of the Igbo, ijele mask, stands out as the masquerades of masquerades. It towers above all others in terms of uniqueness, size, beauty, grace, majesty and elegance.
The ancient Egyptians believed in a life after the death of the physical body. The body was preserved in its entirety, encased in elaborate coffins, decorated with symbols and writing addressed to the protectors of the afterlife. Personal effects including mummy-like statuettes of servants, and food and wine, ensured the continuation of a comfortable life after death.