Exhibition: Thomas Becket – Murder and the Making of a Saint, British Museum, 20th May 2021 – 22nd Aug 2021

  • First ever major UK exhibition on Thomas Becket to open at the British Museum
  • Centrepiece will be an extraordinary first time loan of a complete stained-glass window from Canterbury Cathedral, one of the Cathedral’s greatest treasures
  • New research means window will be shown at British Museum in its original arrangement for the first time in 350 years 
  • Exhibition tells the story of the most shocking act of sacrilege in English history

In May 2021, the British Museum will host the first ever major UK exhibition on the life, death and legacy of Thomas Becket, whose brutal murder inside Canterbury Cathedral in 1170 shook the Middle Ages.

Thomas Becket: murder and the making of a saint (20 May – 22 August 2021) will chart over 500 years of history, from Thomas Becket’s remarkable rise from ordinary beginnings to one of the most powerful figures in England, through to his enduring but divisive legacy in the centuries after his death. The story will be told through an array of over 100 stunning objects brought together for the first time, including rare loans from across the UK and Europe.

Originally due to open in October 2020 but delayed by the coronavirus pandemic, the exhibition marks 850 years since the former Archbishop of Canterbury was killed on 29 December 1170 in his own cathedral. The murder was possibly on the orders of his bitter rival and former friend King Henry II. News of Becket’s gruesome death sent shockwaves across Europe and is considered one of the most scandalous acts of sacrilege in English history. Within days, miracles were being attributed to Becket, many connected to the healing power of his spilt blood, which lead to his canonisation as a saint by the Pope. His martyrdom had a profound impact on the power dynamics between Church and State for hundreds of years, culminating in King Henry VIII ordering the obliteration of Becket’s legacy in 1538, calling him a traitor to the crown. Becket’s role as a key figure in major moments of European history will be traced throughout the show.

The exhibition’s centrepiece will be the extraordinary loan of an entire medieval stained-glass window from Canterbury Cathedral. It is one of the surviving famed Miracle Windows which were made in the early 1200s to surround Becket’s now-lost shrine in the Cathedral’s Trinity Chapel. This is the first time one of these windows has ever been lent, and the first time the glass has ever left the Cathedral, since their creation 800 years ago

The Miracle Windows, of which 7 survive from an original series of 12, tell several of the evocative stories of miracles attributed to Becket in the three years following his death. They demonstrate his remarkable transformation from a London-born merchant’s son into the renowned miracle worker known as St Thomas of Canterbury, who is still revered by Christians today. The windows are the only known depictions of Becket’s miracle stories in any media.

The window coming to the British Museum, the fifth in the 12-part series, is a masterclass in medieval artistry and measures over six meters in height. The miracle stories it depicts include the healing of eyesight and the replacement of lost genitals, with the latter being the earliest known depiction of castration in medieval art. New research, recently carried out due to its removal for study prior to the exhibition, has revealed that some of the panels have been in the wrong order for centuries. They were probably mixed up during a hasty rearrangement in the 1660s and the errors were discovered after close inspection of individual pieces under a microscope. When the window is shown at the British Museum, it will be rearranged in the correct narrative order, and this will be the first time in over 350 years that visitors will be able to view these panels as they were made to be seen. It will also be the very first time the window can be seen up-close at eye-level. 

Leonie Seliger, Director of Stained Glass Conservation at Canterbury Cathedral, said: “The Miracle Windows are medieval versions of graphic novels illustrating the experiences of ordinary people. They greeted the pilgrims at the culmination of their journey to Becket’s shrine with images that would be reassuring and uplifting. The window that will be shown at the British Museum is only one of seven that remain, and they are one of Canterbury Cathedral’s greatest treasures.”

Becket’s story will also be brought to life through an array of objects including precious reliquaries, jewellery, pilgrims’ badges and sculpture from the British Museum collection. Spectacular loans (which make up almost half of the objects on display) include objects which may have been owned by Becket himself, such as manuscripts from Trinity College and Corpus Christi College, Cambridge that he is thought to have commissioned or was given. There will also be a single surviving wax impression made from Becket’s personal seal matrix – lent by the National Archives – providing a tantalising glimpse of his personality. An illustrated manuscript containing John of Salisbury’s Life of St Thomas Becket from the British Library, will show visitors one of the earliest known representations of the murder.

Hartwig Fischer, Director of the British Museum, said: “Thomas Becket is one of Europe’s most enduring and controversial figures even today, yet his story has never been told on this scale in a UK exhibition before. The British Museum holds some of the world’s greatest medieval objects and so we’re uniquely placed to tell this shocking chapter in history. We are grateful to those who are contributing loans, including Canterbury Cathedral whose loan of a Miracle Window will be the stunning centrepiece. The exhibition would not be possible without the generosity of the Museum’s long-term supporters the Hintze Family Charitable Foundation, the Ruddock Foundation for the Arts and Jack Ryan and Zemen Paulos.” 

Lloyd de Beer, co-curator of Thomas Becket: murder and the making of a saintsaid “The violent death of Thomas Becket is the ultimate true crime story. It’s a real-life tale as dramatic as Game of Thrones and we’re going to lead visitors through every twist and turn of this remarkable plot. There’s drama, fame, royalty, power, envy, retribution, and ultimately a brutal murder that shocked Europe.”

Tickets will go on sale soon. Check the exhibition’s webpage and sign up to the British Museum newsletter for updates. Check the show’s website for updates.

Thomas Becket: murder and the making of a saint is co-curated by Lloyd de Beer, Curator: Medieval Britain and Europe and Naomi Speakman, Curator: Late Medieval Europe, alongside Sophie Kelly, Project Curator. 

For the British Museum’s exhibition blog, please click here.

Follow this link to book your tickets!

Publication

To coincide with the exhibition, a richly illustrated catalogue, Thomas Becket: murder and the making of a saint,written by Lloyd de Beer and Naomi Speakman, is published by the British Museum Press in April 2021. Hardback, £35, ISBN 9780714128382.

To get your copy of the exhibition catalogue, you can shop online here.

Access:

A hearing loop accompanies the installation ‘Murder in the Cathedral’. The hearing loop symbol will highlight where this is available. A link to this film will be sent in an email after your visit.

There are a few benches where you can sit down in the exhibition. A limited number of folding stools are available at the Main entrance on Great Russell Street. Please drop these off as you exit the Museum on Montague Place.

Supported by :
The Hintze Family Charitable Foundation

The Ruddock Foundation for the Arts

Jack Ryan and Zemen Paulos

Credit: Alabaster panel showing the murder of Thomas Becket. England,
around 1425-50. © The Trustees of the British Museum.
Info: This sculpture was made for an altarpiece in a church. It would probably have
formed part of a sequence of sculptures showing scenes from Becket’s life and death.

Published by Ellie Wilson

Ellie Wilson holds a First Class Honours in the History of Art from the University of Bristol, with a particular focus on Medieval Florence. In 2020 she achieved a Distinction in her MA at The Courtauld Institute of Art, where she specialised in the art and architecture of Medieval England under the supervision of Dr Tom Nickson. Her dissertation focussed on an alabaster altarpiece, and its relationship with the cult of St Thomas Becket in France and the Chartreuse de Vauvert. Her current research focusses on the artistic patronage of London’s Livery Companies immediately pre and post-Reformation. Ellie will begin a PhD at the University of York in Autumn 2021 with a WRoCAH studentship, under the supervision of Professor Tim Ayers and Dr Jeanne Nuechterlein.

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