̽��ֱ�� of Cambridge - Museum of Classical Archaeology

Can ancient dead languages save today's endangered languages? A tale of identity and visibility

zs332 — Mon, 24 Feb 2025 09:05:24 +0000

̽��ֱ��world is facing a language crisis. Of its c.7,000 languages, Glottolog estimates that only 35% are safe - the rest are at varying stages of being threatened, moribund or nearly extinct. In some cases, it is already too late.

̽��ֱ��museum technician who found her place among ancient faces

cg605 — Wed, 22 Jan 2020 14:19:55 +0000

When Charis Millett realised that being a museum technician was the job for her, she worked day and night to make it happen. She speaks about her passion for transporting museum-goers to another time and why Blue Peter may have more in common with museum technicians than you might think.

Terme Boxer makes an entrance at the Museum of Classical Archaeology

sjr81 — Sat, 19 Dec 2015 00:47:20 +0000

Beginning life as a bright-white plaster cast, the Terme Boxer has been recently restored by former Fitzwilliam Museum technician Bob Bourne; his transformation from chalky whiteness to burnished bronze giving visitors the chance to see a magnificent replica of Hellenistic Greek sculpture in close detail.

̽��ֱ��original Terme Boxer is one of the finest examples of bronze-cast sculpture to have survived from the ancient world. Found in 1885 on the south side of the Quirinal Hill in Rome, where it had been carefully deposited, it is believed to be a Hellenistic original, but could date to any time between the fourth and first centuries BCE.

Sitting on a rock, this bearded fighter rests his weary body after a bout of boxing. Ancient boxing was a brutal sport. He wears fur-lined gloves to protect his hands, but has still taken a battering. Wounds cut into his skin and bruises swell from beneath the surface; his broken nose, cauliflower ears and hardened muscles are evidence of a long career. ̽��ֱ��impact of this rare example of a fully preserved bronze is not just realistic, but visceral.

Dr Susanne Turner, Curator at the Museum of Classical Archaeology, said: “ ̽��ֱ��Boxer is a wonderful addition to our atmospheric cast gallery. It's not just a beautiful sculpture, it's also a real reminder of the sheer breadth of classical sculpture, which ranges beyond the familiar idealised youths and naked Aphrodites to encompass hyperbolic Hercules, babies squashing geese and, indeed, battle-worn boxers who look like they've seen better days.”

Most bronzes have been lost to us, so much more easily melted down and transformed into new objects than their marble and stone counterparts. So special is the original that it is currently one of the star pieces in the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World at the J.P. Getty Museum in Los Angeles.

̽��ֱ��Museum of Classical Archaeology is open 10am-5pm on weekdays and 10am-1pm on Saturdays during ̽��ֱ�� term-time.

A heavyweight addition has joined the ranks at the Museum of Classical Archaeology after a cast of the Terme Boxer was placed on display.

It's not just a beautiful sculpture, it's also a real reminder of the sheer breadth of classical sculpture.

Susanne Turner

Bronzing the Terme Boxer

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Would you place a Grand National bet on a Shetland pony?

amb206 — Mon, 20 Jul 2015 09:48:38 +0000

Scroll to the end of the article to listen to the podcast.

One hundred and seventy years ago, the French state commissioned a physician called Louis Auzoux to make models of horse’s teeth as examples of healthy and unhealthy equine dentition. At a time when cadavers were in short supply, Auzoux had pioneered a method of making realistic models of human and animal bodies to use as teaching aids.

As horses mature, and then grow older, their teeth change. People familiar with horses can gauge a horse’s age by looking in its mouth. This practice is the origin of the saying, “Don’t look a gift horse in the mouth.” In fact, this was a very good idea if you were buying a horse; in order to make an animal appear younger, and demand a higher price, dishonest dealers sometimes filed down horses’ teeth.

Malformed teeth, which prevent a horse from eating properly and affect its performance, are another problem to look out for – as are signs of ‘vices’ such as crib-biting and wind-sucking.

̽��ֱ��Whipple Museum of the History of Science in Cambridge has a set of horse teeth models made by a factory set up by Auzoux. Dated 1890, and still housed in the sturdy case made to transport them, this ‘box set’ of smiling and grimacing equine teeth is one of the best-loved objects in the museum and takes prime position in its twitter feed.

Less than half a mile from the Whipple Museum is the Museum of Classical Archaeology, home to 35 plaster casts of horses, taken from the originals. Cantering, trotting, rearing and frolicking, these horses are the stars of the procession which winds its way around the famous frieze adorning the Parthenon, the showpiece temple atop the Akropolis in Athens.

̽��ֱ��Parthenon was erected when Athens was a flourishing city-state. Construction began in 447 BCE and was finally finished in 432. ̽��ֱ��temple celebrated the city’s patron goddess, Athena. ̽��ֱ��horses on the frieze were part of a procession honouring her during the Great Panathenaea. A festival which took place every four years, it featured athletic games including wrestling, javelin throwing and chariot racing.

̽��ֱ��frieze shows representatives of the city – city elders and officials, soldiers, young men and unmarried maidens, and even resident aliens, known as ‘metics’ – coming together to process from the city walls to the top of the Akropolis and the temple itself. “These human figures represented the city, or polis, in microcosm,” says Dr Susanne Turner, curator of the Museum of Classical Archaeology.

It is the horses, though, which dominate the frieze. Powerful and compact, with manes and tails flowing and small holes in the marble indicating that they originally wore bronze bridles, the horses are well attuned to the easy grace of the athletic youths on their backs and at their sides. Some of the riders wear flowing cloaks which fan out behind them, as if caught by a breeze. Many wear no other clothes.

“Their nudity is a sort of costume in itself,” says Turner. “There’s something inherently Greek about their nakedness. It connotes strength, beauty and idealised youthful masculinity, but it also carries a wider sense of cultural belonging.”

̽��ֱ��rhythm of repeated and overlapping diagonals, made by the limbs of horses and riders, leads the eye across what was originally a frieze 160m in length, made up by 115 blocks. On the Parthenon the frieze would have soared 12m above floor level. “Viewers approaching the temple saw first the horses and their riders preparing to join the procession,” says Turner.

“As they turned the corner to walk along the long sides of the temple, so too did the horses, now with riders and chariots. Layered side by side in small groups, they form a cavalcade whose forward motion draws the viewer onwards until they reach the doors of the temple – where the goddess herself was revealed inside, some 10m tall and sculpted from bright white ivory and shining gold.”

Much ancient sculpture was brightly painted and the Parthenon frieze was probably no exception. Surviving evidence for colour is, however, scant. “Ancient colour combinations, where they can be reconstructed, often look harsh and garish to modern eyes. We tend to prefer our classical sculpture white,” says Turner. “ ̽��ֱ��Parthenon horses probably galloped across a bright blue background, their riders’ clothing and hair picked out in primary colours, perhaps with some gold leaf, too.”

̽��ֱ��casts were purchased by the Fitzwilliam Museum in 1884, when the Museum of Classical Archaeology was first founded. Produced by a London workshop run by the Brucciani family, the casts are direct copies of the originals, taken from moulds produced by permission of the British Museum. They preserve the three-dimensional presence of the originals in a way which photographs cannot – breathing life into the horses as they high-step joyfully along the length of the frieze as only horses can.

Horses played a central role in the rise of many great civilisations. Archaeological evidence suggests that they were first domesticated during the Neolithic around 5,000 years ago somewhere in the vast grassy pastures of central Asia. “Botai in Kazakhstan has been identified as one of the earliest sites with domestic horses. Botai horses show tooth wear patterns characteristic of the use of harness, and horse milk lipids on pottery fragments show that horse milk was being used,” says Dr Mim Bower, an expert in ancient DNA at the McDonald Institute for Archaeological Research.

“Horse husbandry dispersed from the steppe, westward into Europe, via the grasslands of Eastern Europe or via Iberia, accompanying Bell Beaker cultures, and eastward into China and India. This was concurrent with the spread of chariots and fabulous material culture that comprised the ‘chariot complex’ of the 2nd and 1st millennia BC – for example, the chariot burials at Sintashta and Southern Urals and cylinder seal impressions, depicting horses and chariots, from Kültepe in Turkey.”

̽��ֱ��development of pastoral nomadism in central Eurasia between 1000 and 800 BC secured the role of the horse as a source of speed over ground and as an iconic symbol. ̽��ֱ��archaeological finds associated with this period include exquisitely decorated horse harness and adornments from 4th -3rd century BC sites, such as Pazyryk and Ak-Alakha, Altai and 7th – 4th century BC Arzhan, Tuva.

“Where written records exist for these early periods, for example in China, they highlight the importance of the horse as a symbol of strength and power. Throughout the dynastic eras, horses gained an increasingly important military role. In the Western Zhou period, the raising of horses is recorded as a task that is overseen by kings. In later periods, the military power of the state was measured by the number of horse-chariots,” says Bower.

“These changes are concurrent with, and may have influenced, the intensification of long distance trade routes that connected the far reaches of Eurasia. Tradition states that trade routes, associated with the exchange of silk and spices, between China and Europe, began in the 2nd century BC, instigated by Han Emperor Wu. However, these long distance exchange networks have a deeper past. By 1000 BC, Chinese silk is found in Egypt and by 700 BC in Europe. Horses were almost certainly an integral part of these developments.”

Arab horses were famed for their speed and beauty. It was from the Middle East that three Arab stallions were imported to Britain at the turn of the 18th century. ̽��ֱ��Darley Arabian, the Godolphin Arabian and the Byerley Turk were crossed with some 70 British mares to produce horses for racing. All British Thoroughbreds trace their lineage back to these world famous ‘foundation stallions’.

̽��ֱ��skeleton of a famous British racehorse called Polymelus was given to Cambridge’s Museum of Zoology in the 1930s and until recently stood sentinel in the museum entrance. Polymelus was the sire (father) of a string of leading racehorses foaled (born) between 1914 and 1921. His son Phalaris was a champion racehorse who went on to sire many winners. Among Polymelus’s other descendants are the racehorses Secretariat and Northern Dancer who also became legends in their time.

In a study carried out in 2012, tiny samples of DNA were taken from one of the teeth of the skeleton of Polymelus. They were analysed at the McDonald Institute for Archaeological Research as part of an inter-disciplinary project tracing the genes for speed and stamina found in modern thoroughbreds backwards in time to discover their origins. ̽��ֱ��DNA of 12 historic horse skeletons was screened, including that of Eclipse, the most famous of all.

̽��ֱ��work showed just how rapidly the genetic make-up of a breed can be shaped by humans and will help throw light on common health problems experienced by thoroughbreds. Interestingly, the speed gene which gives horses their sprinting ability was traced back to one of the British mares (including a Shetland pony) used at the early stages of the development of the British Thoroughbred line.

Next in the Cambridge Animal Alphabet: I is for a creature inside which investors, men of science and a notable sculptor dined in style on New Year's Eve 1853.

Inset images: Horses on the Parthenon frieze (Museum of Classical Archaeology); skeleton of Polymelus (Musuem of Zoology).

The Cambridge Animal Alphabet series celebrates Cambridge's connections with animals through literature, art, science and society. Here, H is for Horse – 170-year-old model teeth, the Parthenon friezes, and the surprising origins of racehorses' speed.

In the Western Zhou period, the raising of horses is recorded as a task that is overseen by kings

Mim Bower

̽��ֱ��horses’ teeth

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Herakles – a hero for all ages

sjr81 — Thu, 16 Apr 2015 15:32:43 +0000

Featuring works by New Zealand print-maker Marian Maguire, ̽��ֱ��Labours of Herakles makes unlikely bedfellows of classical myth and colonial history. Inspired by imagery from Athenian black-figure pottery, Herakles (known in the Roman world as Hercules), steps directly from a Greek vase and into the New World in a series of lithographs and etchings.

By relocating Herakles in a colonial landscape, these works question what it means to be a hero – in both ancient and more recent pasts.

Curator Dr Susanne Turner said: It is a real honour to host Marian Maguire's lithographs and etchings in Cambridge. ̽��ֱ��Herakles series is not just beautiful - it's rich, thoughtful and unique. They introduce a new way of looking at classical art and the ancient world, opening up new stories in a space which is already full to the brim with Greek (and Roman) mythology.

“In a sense, Marian's work reveals how very flexible our ideas about the ancients are and how so often the classical has played a role in making sense of more recent histories and events. But what we're most excited about is the opportunity to engage new audiences who might not otherwise think to visit us. With a full and varied programme of events covering both the Greek and Maori aspects of the exhibition, we hope we have something to tempt a wide variety of visitors through our doors this summer.”

Under Maguire’s gaze and keen eye for detail, the great Greek hero undergoes a transformation as he struggles to fill the shoes of a 19th century colonist. In Greece, he battled monsters and undertook gargantuan tasks. In New Zealand, he struggles to clear the land and till the soil.

Marian Maguire has built a reputation for using the visual language of Greek pottery to interrogate New Zealand’s history. Maguire has exhibited throughout New Zealand and explores narratives of colonialism through a classical lens in several other series, including ̽��ֱ��Odyssey of Captain Cook (2005) and Titokowaru's Dilemma (2011). ̽��ֱ��Labours of Herakles was first exhibited in 2008.

Set against the atmospheric backdrop of the classical casts, the exhibition contextualises the lithographs and etchings within a rich ancient tradition of representing Herakles in different contexts and artistic media. ̽��ֱ��exhibition will be accompanied by a series of events including talks exploring the ancient and colonial histories, activities for families and craft workshops.

̽��ֱ��Labours of Herakles is a touring exhibition, coordinated by Dr Emma Stafford ( ̽��ֱ�� of Leeds), and was first shown at Leeds City Museum. It is on display at the Museum of Classical Archaeology from April 17 to August 15, 2015.

An exhibition that reimagines Greek hero Herakles as a 19th century colonist in New Zealand will open at the Museum of Classical Archaeology tomorrow (April 17).

̽��ֱ��Herakles series is not just beautiful - it's rich, thoughtful and unique.

Susanne Turner

̽��ֱ��Labours of Herakles

̽��ֱ��text in this work is licensed under a Creative Commons Attribution 4.0 International License. For image use please see separate credits above.

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Major Partner Museum status for UCM

sjr81 — Tue, 01 Jul 2014 16:39:51 +0000

Over the last three years, Cambridge has made full use of previous Arts Council funding to transform the way its eight major museums work in partnership, and to unlock their world-class collections for both Cambridge and the wider world.

Major successes have included the Thresholds poetry project, curated by Carol Ann Duffy, and Discoveries at 2 Temple Place in London.

Discoveries, now transferred to ̽��ֱ��Fitzwilliam Museum, is the first-ever joint exhibition to involve all ̽��ֱ�� of Cambridge Museums and the first exhibition of Cambridge’s globally important research collections to be held outside the city.

And there was further good news today as Kettle’s Yard received first stage backing from Arts Council England to support the creation of a new Education Wing. ̽��ֱ��Arts Council funding, totalling £3.5m, is a substantial step towards the campaign target of £8.7m. Arts Council England have also renewed Kettle’s Yard National Portfolio Organisation status and committed £446,271 funding for the next three years.

Dr Jennifer Barnes, Pro-Vice-Chancellor (International Strategy), and Chair of the General Board Museums Committee, said: “These significant awards announced on the same day, recognize the essential role museums and collections play in research, teaching and understanding. Each collection is of global significance, adding an extraordinary dimension to our university, community and region. Cambridge Museums, whether working as a single collection or together, demonstrate that curating the past is about understanding the present and creating new futures. These awards allow us to share that future with all who come to Cambridge, of all ages, whether as visitors, students or researchers.”

UCM plan to use the next round of Arts Council funding to consolidate ongoing progress into understanding, widening and diversifying its audience. Major steps to achieving this have already been undertaken with imaginative learning programmes, digital innovation and deeper connections with communities both in and beyond Cambridge.

UCM is also taking the lead in joining up arts and cultural provision across the city, with Curating Cambridge – a five-week programme of cultural events and activities from October 20 – typifying this new approach.

Tim Knox, Director of the Fitzwilliam Museum, said: “Being afforded Major Partner Museum status is a huge privilege and one we take very seriously. Arts Council England has fully supported the great strides we’ve made in recent years and, with their continued support, there is plenty of exciting work yet to be undertaken.”

Liz Hide, ̽��ֱ�� of Cambridge Museums Officer, said: “Here in Cambridge, we are lucky in having many exceptional museums, each of which contribute to the academic, social and community work of the ̽��ֱ��. Our ongoing goal now is to open up the cultural riches of Cambridge to as wide and diverse an audience as possible.”

Hedley Swain, Area Director, South East, Arts Council England, said: “We are pleased to continue supporting ̽��ֱ�� of Cambridge Museums. It proposes to deliver an ambitious and broad ranging programme of activity that will support transformational access to its key collections. Its programme of activity will help further develop its position as a leading centre of excellence for conservation and collections based research. It will also continue to build on its pioneering community and lifelong learning programmes, whilst also establishing itself as a centre for innovative digital engagement. ̽��ֱ�� of Cambridge Museums also plans to reach more children and young people, with a particular emphasis on using digital platforms, ensuring they have the opportunity to engage with and be inspired by its collections. This work will be underpinned by its exemplar commitment to environmental sustainability, resilience and its support for museums and gallery career and workforce development.”

̽��ֱ��vision of securing Cambridge’s reputation as an international centre of museums excellence received a major boost today when Arts Council England awarded ̽��ֱ�� of Cambridge Museums (UCM) nearly £4.5m for 2015-18 and continuing Major Partner Museum status.

Each collection is of global significance, adding an extraordinary dimension to our university, community and region.

Jennifer Barnes

Sir Cam

Polar snow goggles from Discoveries at London’s 2 Temple Place, the first joint exhibition from the ̽��ֱ�� of Cambridge Museums, and the first to be held outside the city.

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Cracking the code: the decipherment of Linear B 60 years on

amb206 — Sat, 13 Oct 2012 06:00:31 +0000

When during the early 20^th century archaeologists excavated some of the most famous sites of Ancient Greece – notably Knossos on the island of Crete and Mycenae and Pylos on the mainland – they found large numbers of clay tablets inscribed with a type of script that baffled them. It was significantly different to any other script known at the time. Moreover, it was immediately clear that there were at least two variants of this type of writing.

These scripts – characterised by about 90 different characters, and on the clay tablets interspersed with signs for numerals as well as the depiction of every-day objects and commodities such as pots, cloth and grain – acquired the name ‘Linear’. Linear because they were more abstract and characterised by a more linear style than the earlier hieroglyphic type of writing, also found on Crete. ̽��ֱ��two variants were given the names Linear A and B. It was clear that Linear A was the earlier type, much rarer and restricted to the island of Crete. ̽��ֱ��younger type B was found in significantly larger numbers and found at Knossos, Mycenae and Pylos. Since the original excavations evidence for the same type of writing has come to light at other places, including Thebes and Tiryns on the Greek mainland and Chania on Crete.

Today scholars are gathering at Cambridge ̽��ֱ�� for a conference marking the extraordinary story of the decipherment of Linear B, a narrative that brings together some of the 20^th century’s most brilliant minds in the fields of not only classical archaeology but also specialist areas ranging from philology and epigraphy to experts on Greek religion and economy. While celebrating what is often seen as the greatest advances in classical scholarship in the last 100 years, the scholars taking part are also looking at the challenges that remain in piecing together the story of the Mycenaean world, a civilisation known for its stunning art and complex and highly developed economy.

In the wake of some of the most famous excavations in history, the classicists who put their minds to the tantalising puzzle of deciphering Linear B included the best-known names in the field. After the German scholar Heinrich Schliemann had excavated Troy (or a site compatible with Homer’s famous city) and Mycenae and thereby opened the door to Greek archaeology of the second millennium BC, the British archaeologist Arthur Evans discovered these inscribed tablets in large numbers at Knossos in the year 1900. Evans and other scholars knew that the tablets held the key to a fuller understanding of the Mycenaean civilisation. But deciphering what was inscribed on them seemed an impossible task, given that both the script and the language behind it were unknown.

After many unsuccessful attempts by would-be decipherers from all over the world, it was a brilliant British amateur called Michael Ventris who was to prove pivotal in the unlocking of the secrets of Linear B. Ventris was an extraordinary scholar, largely self-taught, with a phenomenal talent for languages. His first encounter with the script occurred when as a schoolboy he was shown some of the clay tablets found at Knossos by Arthur Evans.

This chance meeting prompted a fascination that lasted right up until Ventris’s tragic death in a car crash in 1956. He set himself the task of working out the nature of the writing system and deciphering it. He worked largely alone on making sense of the script but circulated all his thoughts to the greatest scholars in the field in a series of “Work Notes on Minoan Language Research” while pursuing a career as an architect. Then, on 1 June 1952, he sent around his Work Note 20 entitled, with typical modesty, “Are the Knossos and Pylos tablets written in Greek?”. Building on earlier work, notably by the American scholar Alice Kober, he had - through a combination of sober considerations, the development of a rigorous methodology, the ingenious integration of clues of very different kinds, brilliant assumptions and patient experimentation - singlehandedly deciphered the script.

Much against his own original assumptions, Ventris was able to show, ever more clearly over the months that ensued, that the language behind the script was Greek – in his own words “a difficult and archaic Greek, but Greek nevertheless”. Lacking the necessary background in Greek philology and linguistics, in July 1952 he turned to John Chadwick, a newly-appointed lecturer in classics at the ̽��ֱ�� of Cambridge, for professional support. Chadwick was an outstanding classical scholar who had worked on code-cracking in the Second World War. He helped to develop Ventris’s original decipherment and was able to elucidate the historical linguistic background and provided many interpretations of individual tablets.

In this way, Cambridge soon became established as one of the world’s leading centres for Mycenaean studies and Dr Chadwick continued to work on Linear B right up to his death in 1998.

“ ̽��ֱ��decipherment of Linear B opened up, and indeed created, a whole new branch of scholarship. It added about 500 years to our knowledge of Greek, catapulting our understanding of early Greek history and society back into the second millennium BC, to the end of the Bronze Age at about 1200BC,” said Dr Torsten Meissner, organiser of today’s conference. “Suddenly the places of the figures of Greek mythology - like the legendary King Minos of Knossos or Homeric heroes like Nestor, king of Pylos, or Agamemnon, king of Mycenae – could be placed in a real setting through the clay tablets that record their administrative and political organisation.”

Many parts of the jigsaw that is the Mycenaean world are still missing – for example the relationships of the various sites with one another. However, the ways in which Ventris and Chadwick worked across disciplines and specialisms laid the foundations for scholarship that is seeing the pieces come together, one by one.

An exhibition displaying some of the unique documents relating to the decipherment of Linear B is on show in the Cast Gallery, Museum of Classical Archaeology, Faculty of Classics, from 13 to 20 October. Opening times: Monday to Friday, 10.00am to 5.00pm. Saturdays in ̽��ֱ�� term time only, 10.00am to 1.00pm. No charge for entry.

A conference in Cambridge this weekend will mark the 60th anniversary of the decipherment by Michael Ventris of Linear B, a script used for an early form of ancient Greek. His stunning achievement pushed back the frontiers of knowledge about the ancient world.

̽��ֱ��decipherment of Linear B opened up, and indeed created, a whole new branch of scholarship.

Dr Torsten Meissner

Faculty of Classics, ̽��ֱ�� of Cambridge

Michael Ventris (left) and (right) a detail of the Pylos Tablet Ta641 inscribed with Linear B

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Summer at the Museums

Anonymous — Sat, 02 Jul 2011 09:00:17 +0000

There is something to be found in every corner of the city as activities bring together the ̽��ֱ�� museums, departments and experts across many fields.

Aiming to offer relief from the unreliable English summer days, ‘Summer at the Museums’ events will run regularly throughout July and August. Families are invited to make glittering treasures at the Fitzwilliam Museum, drop in and draw Kettle’s Yard, create a creature at the Museum of Classic Archaeology or take part in the BioBlitz with the Museum of Zoology.

Competitions will allow kids to put their new knowledge into practice as the ‘Draw What You Saw’ event provides weekly prizes as well as a chance for work to appear on an online gallery. Endless activities for the long summer days can be found all over the city.

In the cool of the evenings the museums will transform into venues where entertainment can be found ranging from classical music in the Botanic Gardens to readings of Ovid’s Metamorphose at the Museum of Classic Archaeology. ̽��ֱ��stunning backdrop of the city of Cambridge provides the perfect environment for a night out.

With everyone catered for, ‘Summer at the Museums’ looks set to provide fun, family friendly days out right in the heart of the city.

Seven ̽��ֱ�� museums will be taking part in the events. These include: the Museum of Classical Archaeology, Botanic Garden, Fitzwilliam Museum, Kettle’s Yard, ̽��ֱ��Polar Museum, Sedgwick Museum of Earth Sciences, Whipple Museum of the History of Science and the Museum of Zoology. They will be joined by three of the city’s museums: the Cambridge and Country Folk Museum, Cambridge Technology Museum and the Farmland Museum and Denny Abbey. All will continue to open on non-event days providing the opportunity to explore the eclectic collections each has to offer.

Many of the activities are free and available on a drop in basis. Some events will require booking, however. Details of ‘Summer at the Museums’ calendar, as well as information on all the ̽��ֱ��’s museums, can be accessed from the ̽��ֱ�� of Cambridge website. www.cam.ac.uk/museums/summer

More than sixty events are taking place over the school holidays in museums across Cambridge.

SharpeImages vis Flickr

̽��ֱ��Fitzwilliam Museum, Cambridge

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