Page 100 - Hrobat Virloget, Katja, et al., eds. (2015). Stone narratives: heritage, mobility, performance. University of Primorska Press, Koper.
P. 100
stone narratives
Conclusions
Stone is inanimate yet is the source for some of the most important and fascinating infor-
mation about ourselves, our planet and the relationship between us. Often the study and
story of stone is left to specialists who have difficulty in conveying these stories in ways that
engage modern audiences. This paper has offered insights into many aspects of the public
presentation of stone monuments, highlighting approaches designed to bring the stories in-
herent in stones to life by focusing on those aspects that people can relate to their own life
experience and world view.
Arts based interpretation can be particularly effective in enabling engagement and
understanding while challenging themes such as the Living Wall at Tullie House have
the power to stimulate reflection and constructive debate. The Hadrian’s Wall Interpreta-
tion Framework shows the value of audience research and provides a model for how com-
plex sites containing essentially similar or repetitive features and multiple visitor facili-
ties can create complementary visitor experiences. The Roman Frontier Gallery illustrates
the structuring of a permanent museum gallery around a strong core narrative with key
themes, a mix of media and atmosphere and careful selection of objects with a mix of orig-
inals, replicas and loans.
Acknowledgements
A big thank you to the staff at Turistica, especially to Daša Fabjan and to Šarolta Godnič
Vičič, for inviting me to the Stone and Story Conference and for ensuring my visit to Slo-
venia was so interesting and enjoyable.
And thank you to all those whom I have worked and learned with over the years to
bring the stories in the stones to life.
References
Adkins, G., & Holmes, N. (2011). Frontiers of the Roman Empire World Heritage Site
– Hadrian’s Wall Interpretation Framework Public Engagement Appendix. Hex-
ham: Hadrian’s Wall Heritage Ltd,
Adkins, G., Holmes, N. & Mills, N. T. W. (2013). The Hadrian’s Wall Interpretation
Framework: Audience Research. In N. T. W. Mills (ed.), Presenting the Romans,
(pp.157–169). Woodbridge: The Boydell Press.
Adkins, G. & Mills, N. (2011). Frontiers of the Roman Empire World Heritage Site –
Hadrian’s Wall Interpretation Framework. Hexham: Hadrian’s Wall Heritage
Ltd.
Bahn, P. & Pettit, P. (2009). Britain’s Oldest Art: The Ice Age Cave Art of Creswell Crags.
English Heritage.
Britton, T. (2013). The Jurassic Coast: A Mighty Tale! Film retrieved from http://juras-
siccoast.org/rocks-and-fossils/the-jurassic-coast-a-mighty-tale
Haynes, I. & Wilmott, T. (2011). Jupiter: best and greatest, Current Archaeology, 259,
20–25.
Lewis, P. (2011). Review of The Roman Frontier Gallery, Tullie House Museum and Art
Gallery, Carlisle, Cumbria, Museums Journal, 2011, December, 46–49.
MacGregor, N. (2010). A History of the World in 100 Objects. London: Allen Lane.
98
Conclusions
Stone is inanimate yet is the source for some of the most important and fascinating infor-
mation about ourselves, our planet and the relationship between us. Often the study and
story of stone is left to specialists who have difficulty in conveying these stories in ways that
engage modern audiences. This paper has offered insights into many aspects of the public
presentation of stone monuments, highlighting approaches designed to bring the stories in-
herent in stones to life by focusing on those aspects that people can relate to their own life
experience and world view.
Arts based interpretation can be particularly effective in enabling engagement and
understanding while challenging themes such as the Living Wall at Tullie House have
the power to stimulate reflection and constructive debate. The Hadrian’s Wall Interpreta-
tion Framework shows the value of audience research and provides a model for how com-
plex sites containing essentially similar or repetitive features and multiple visitor facili-
ties can create complementary visitor experiences. The Roman Frontier Gallery illustrates
the structuring of a permanent museum gallery around a strong core narrative with key
themes, a mix of media and atmosphere and careful selection of objects with a mix of orig-
inals, replicas and loans.
Acknowledgements
A big thank you to the staff at Turistica, especially to Daša Fabjan and to Šarolta Godnič
Vičič, for inviting me to the Stone and Story Conference and for ensuring my visit to Slo-
venia was so interesting and enjoyable.
And thank you to all those whom I have worked and learned with over the years to
bring the stories in the stones to life.
References
Adkins, G., & Holmes, N. (2011). Frontiers of the Roman Empire World Heritage Site
– Hadrian’s Wall Interpretation Framework Public Engagement Appendix. Hex-
ham: Hadrian’s Wall Heritage Ltd,
Adkins, G., Holmes, N. & Mills, N. T. W. (2013). The Hadrian’s Wall Interpretation
Framework: Audience Research. In N. T. W. Mills (ed.), Presenting the Romans,
(pp.157–169). Woodbridge: The Boydell Press.
Adkins, G. & Mills, N. (2011). Frontiers of the Roman Empire World Heritage Site –
Hadrian’s Wall Interpretation Framework. Hexham: Hadrian’s Wall Heritage
Ltd.
Bahn, P. & Pettit, P. (2009). Britain’s Oldest Art: The Ice Age Cave Art of Creswell Crags.
English Heritage.
Britton, T. (2013). The Jurassic Coast: A Mighty Tale! Film retrieved from http://juras-
siccoast.org/rocks-and-fossils/the-jurassic-coast-a-mighty-tale
Haynes, I. & Wilmott, T. (2011). Jupiter: best and greatest, Current Archaeology, 259,
20–25.
Lewis, P. (2011). Review of The Roman Frontier Gallery, Tullie House Museum and Art
Gallery, Carlisle, Cumbria, Museums Journal, 2011, December, 46–49.
MacGregor, N. (2010). A History of the World in 100 Objects. London: Allen Lane.
98
