Queering the Museum

About the project

Out and About: Queering the Museum is an intergenerational project, funded by the National Lottery Heritage Fund. It aims to empower lesbian, gay, bisexual, transgender and queer (LGBTQ+) communities to uncover and create existing and new LGBTQ+ heritage at RAMM.

Queering RAMM is an ongoing process. It hopes to leave behind a legacy that ensures LGBTQ+ heritage is represented and shared as part of world history.

Through this queering project, RAMM is furthering its commitment to creating a platform for underrepresented and marginalised voices. The museum seeks to become a space for open dialogue and discussion. RAMM aims to allow members of the LGBTQ+ community to share their own perspectives on the collections.

Colour photograph of a white, Honiton lace pansy

We decided to use the term ‘queer’ in a capacious sense to include diverse historically and culturally contingent expressions and experiences of sexual and gender nonconformity. This is an imperfect approach. As a Western term and as a word that has – for a long time – been used as an insult and slur, ‘queer’ cannot easily be assumed to refer to everyone. The term can only ever serve as a starting point for our investigations and conversations.

It involves a series of events, a gallery trail, website, artist commissions, creative heritage writing, and a permanent installation. Through this, we will highlight and share with RAMM’s audiences.

This Collections Story shares some of the research and responses generated by the project. The Out and About project website includes greater detail and further content. A booklet on the project is also available to download.

Video with BSL and subtitles explaining the project.

Expand the sections below to learn more about the project and discover some of the queer objects that inspired participants. Find out how you can explore the collections at RAMM yourself.

Curators and engagement specialists at RAMM worked with an academic and an artist to give LGBTQ+ people skills and opportunities to interpret the collections and reveal previously obscured aspects of LGBTQ+ heritage. Professor Jana Funke is an expert on LGBTQ+ history at the University of Exeter. Natalie McGrath is an artist, described as socially-engaged.

Colour photograph of three people (Natalie McGrath, Jana Funke and Ellie Coleman) standing in front of stone wall with rainbow lights shining on it
Natalie McGrath, Dr Jana Funke and Ellie Coleman. Photograph by Jim Wileman.

Professor Jana Funke

Jana (she/her) is an Associate Professor of English and Sexuality Studies in the Department of English and Film at the University of Exeter. She has published widely on LGBTQ+ history and has significant experience in collaborative working, including with non-academic collaborators. She has particular expertise working with LGBTQ+ communities, including young people. Since 2015, she has directed the collaborative Wellcome Trust-funded Rethinking Sexology project with Kate Fisher. Since 2018, she has been one of the principal investigators on the large-scale Transformations project, which engages young transgender and non-binary people with history to co-produce a new podcast drama written by artist Jason Barker and directed by Krishna Istha called Adventures in Time and Gender. Other engagement projects dealing with LGBTQ+ history include Transvengers (2014-2015 with Wellcome Collections) and Orlando: The Queer Element (with Clay & Diamond; British Film Institute; National Trust).

Natalie McGrath

Natalie (she/her) is a playwright, poet, occasional performer, producer of arts and heritage projects, and Co-Director of Dreadnought South West who curate the Rebellious Sounds Archive.

Plays include

  •  Coasting and Wild Doves (Bristol Old Vic)
  • Rift (Brewhouse Theatre Taunton)
  • Scottish Kiss (Paines Plough’s Come to Where I’m From)
  • Metal Remains (Theatre West), shortlisted for the Meyer Whitworth Prize
  • Exodus (Box of Tricks NWxSW Tour), Oxygen and The Cause (Dreadnought South West). 
  • Electric Spaces and We’ll Meet In Moscow (Exeter Phoenix, Exeter Bikeshed Theatre and Barbican Theatre, Plymouth). 
  • The Sound RnD supported by ACE SW and Theatre Royal, Plymouth.

Natalie was part of the Traverse Theatre’s Open Submissions 2019 programme, and their First Stages Festival with development on her play BlessedWe’ll Meet In Moscow was part of Shift Scot’s Pride Plays in collaboration with the Traverse Theatre in LGBT History Month 2020. 

Currently under commission by the University of Exeter’s Wellcome Centre for the Cultures and Environments of Health in partnership with Exeter Northcott Theatre and the Intercom Trust, to write a new play called The Beat of Our Hearts, about LGBTQIA+ loneliness. Here Natalie is collaborating with Dr Charlotte Jones who is the lead researcher on the project and Dr Fred Cooper. 

Natalie will perform two separate roles on this project. As Creative Heritage Producer, she will oversee the artistic engagement strand of the project. She will also empower LGBTQ+ people to find their own voice when engaging with RAMM’s collections. As Writer in Residence, she will write and publish a poetic queer heritage piece. It will weave together the different histories and voices captured throughout the project.

Ellie Coleman

Ellie (she/her) is a freelance Engagement Officer at RAMM. Through her role she connects with people who find it more challenging to access RAMM, opening up the collections and encouraging dialogue and story sharing between people.  She is an experienced project manager with a background in education and community engagement. She has worked on numerous projects with hard-to-reach and marginalised communities; often with young people. Ellie was formerly Curator of Learning and Participation at Arnolfini Gallery and has a particular interest in socially engaged creative practice.

We are delighted to collaborate with the Intercom Trust, X-Plore Youth and Exeter Pride to reach intergenerational LGBTQ+ communities across the South West and beyond.

We are also working in collaboration with Exeter City Council and are proud to have partnered with the University of Exeter’s Arts and Culture Strategy.

In August 2020, Out and About: Queering the Museum was also endorsed as an Associated Project by the Exeter City of Literature team.

Inspired by earlier work, RAMM is expanding its engagement with LGBTQ+ communities, co-creating alternative interpretations of the collections and identifying stories from people that are underrepresented as a result of intolerance.

The following commitments drive this idea:

  • Collaborate in meaningful ways with diverse partners in the LGBTQ+ community, including trans, non-binary, and people of colour.
  • Explore decolonial and anti-racist approaches to the LGBTQ+ histories embedded in the RAMM’s collections.
  • Make the RAMM a welcoming and accessible space for all members of the LGBTQ+ community, so no one feels excluded.
  • Ensure that learning from the project is shared with other partners in the museum and heritage sector.
  • Guarantee an ongoing commitment that the LGBTQ+ community’s stories and lives remain integral to the museum’s work beyond this project.

“One of the aims of this collaboration is to ensure that communities and groups who have not traditionally engaged with RAMM or the broader heritage sector see their stories reflected in the museum. The previous pilot project showed that young LGBTQ+ people often feel alienated from heritage sites, but are deeply invested in making historically under-represented LGBTQ+ stories visible.” Rachel Sutton, Portfolio Holder for Climate and Culture at Exeter City Council (2019)

Exploring the collections yourself

Browse some of the 1.5 million objects in RAMM’s care from the comfort of your sofa on the Collections Explorer database. You can select objects that already have an LGBTQ+ tag. Many of these featured in the Queering the Museum project. If you’d like us to tag an object please leave us a comment or contact us by email. RAMM updates the site data once a month.

If you’re visiting RAMM in person let the Rainbow Trail take you on a tour of the galleries exploring objects through a queer lens. Or visit the Life Stories butterfly and listen to LGBTQIA+ people talk about objects that resonate with them.

Colour photograph of a person crouched down pressing a button on the Life Story interactive. Some of the images of objects are in shot and the light from them shines on the person's face.
Life Story interactive. Picture By Jim Wileman

In 2019, Jana and Natalie worked with young LGBTQ+ people from X-Plore Youth and the Exeter College LGBTQ+ group. Over several months, they met with the young people and asked them whether they felt that their histories and identities were represented in the museum. They selected a number of objects that are on permanent display at RAMM to raise questions and concerns that matter to the young people. Together they created a Rainbow Trail for RAMM.

Photograph showing the front cover of the Rainbow Trail. A photograph of a dress is superimposed over rainbow stripes
Collect a free paper trail from Garden Reception to carry with you.
Sticker indicating an object is on the rainbow trail. A rainbow bears the words 'Follow the rainbow' and underneath is the LGBTQIA+ flag
Alternatively follow the trail on your mobile device. Rainbow stickers will help guide you to the right location.
In this video Natalie and Jana are at a RAMM Lates event in 2019 launching the trail for the first time.

It’s important to draw attention to Native American cultures and two-spirit people, because we often tend to forget about non-Western gender identities.”

Image of a page in the rainbow trail. Next to a photograph of the object the text reads, 'Look for an object shaped like a badger with a lizard on its back. A Zuni artist made this vessel. The Zuni people have lived in the American Southwest for thousands of years. We’wha (1849-1896) was a famous Zuni artist whose pottery was celebrated across America. We’wha was Lhamana, the Zuni term for individuals who are assigned male at birth and identify (at least partly) as female. Lhamana individuals are
respected in Zuni society. Nowadays, the term Two-Spirit is used to describe gender diverse identities specific to some Native American communities. Can you find other objects by Zuni artists nearby?'
Image of a page in the rainbow trail. Next to a photograph of a dress sleeve is the following text, 'Look for an elaborate formal gown. In Ryan Murphy’s television show Pose (2018), a group of friends steal royal costumes from a museum to use in their
drag acts. The show depicts the New York ball scene of the 1980s, a flourishing subculture created by Black and Latinx trans and queer people. Legendary black queens like Pepper LaBeija (1948-2003) or Venus Xtravaganza (1965-1988)
were famous for their grand costumes and often drew inspiration from history to craft
their own performances. Which objects from the museum would you use in your own drag show?'

“My favourite object is the gown, and I liked that Pepper LaBeija was mentioned. It’s great that the trail includes black queer culture, since it is often excluded from white queer culture.”

In late 2021 and early 2022, Natalie McGrath and Jana Funke interviewed 20 LGBTQ+ people (including themselves) about objects in the RAMM collections that resonated with them. 

The Life Story Interview Installation, designed by project collaborators Stand + Stare, launched during LGBTQ+ History Month 2022. It is a permanent interactive in the Making History gallery at RAMM. The buttons allow visitors to select one of the pictured objects to hear an excerpt from corresponding interview. You can listen to full interviews, with transcripts, on the Out and About project website. Links for each object are below.

Colour photograph of a gallery at RAMM. On the lefthand side of the photograph is a display case containing objects including dresses, birds and a house model. On the right is an interactive in the shape of a butterfly. The wings are made up of tiled illuminated images or objects in the collection at RAMM
The Life Story interactive at RAMM. Picture By Jim Wileman.
Short video featuring clips from the Life Stories launch event at RAMM

Objects featuring in Life Stories

Select ‘Read More’ to go to the Out and About website. Here you can listen to the full interview and a complete transcript is provided.

Digging deeper into the collections at RAMM

The objects in the RAMM’s collections also inspired a range of other responses from LGBTQ+ artists, writers, researchers and young people. Read biographies of the reasearchers on the Out and About website.

We tried and tested many different methods to uncover LGBTQ+ heritage in the RAMM’s collections. We began to work with the concept of ‘queer resonances’ to capture the rich and sometimes unexpected ways in which objects can speak to and allow us to access LGBTQ+ history, culture and experience. This made it possible for us to explore different forms of LGBTQ+ heritage through an open, playful and inclusive engagement with the objects and artifacts in the collections.

Colour photograph of a magnifying glass held over a watercolour drawing of purple orchids

Finding LGBTQ+ Creators, Collectors and Sitters

Perhaps the most obvious way of queering museum collections is to look for artists, collectors or other creators who can be situated within LGBTQ+ history because of the knowledge we have about their personal lives.

Colour photograph of sand samples in specimen tubes. Each has a label saying when and where Ivor Treby collected it.
Ivor Treby’s sand collection

Treby (1933-2012) was born and raised in Plymouth. He was a biochemistry teacher as well as a gay literary activist, scholar and writer. Treby grew up at a time when male homosexuality was illegal in the UK. Nevertheless, he was out to his family and friends. Treby travelled regularly and collected sand on his journeys.

Colour photograph of an oil painting by Duncan Grant. It depicts a reclining naked female figure
Reclining Nude by Duncan Grant, about 1930.

Grant was a British painter and designer. He was a member of the Bloomsbury Group and a co-director of the Omega Workshop. He had male and female partners, but was predominantly attracted to men.

Colour photograph of an oval miniature painting of William Courtenay
Miniature painting of William 3rd Viscount Courtenay by Richard Cosway, about 1792.

Known as ‘Kitty’ to family and friends, Courtenay inherited Powderham Castle, near Exeter, in 1788. In 1811 the Earl found himself involved with rumours of charges against him for “buggery” with another man named William Fryer. Due to these impending charges, the Earl left England for his safety. Kitty’s homosexuality certainly contributed to him being shunned by society and forced to flee abroad.

Read more in the a post by Kathryn Edwards.

Colour photograph of a painting by Judith Ackland of two people standing by a pool of water surrounded by autumn trees
The Dark Pool, Judith Ackland.

Mary Stella Edwards (1893-1989) and Judith Ackland
(1892-1971) were British artists and life partners,
who were together for more than 50 years. They spent
much of their life in North Devon, painting and writing
about rural landscapes and coastal regions in the
South West. RAMM cares for several of their art works.
Read more in this post.

While it is important to try and identify LGBTQ+ people in the past, there are serious limitations to this method. It is often difficult or even impossible to access information about people’s personal lives. Especially considering that sexually and gender nonconforming people often had to be secretive about their experiences. Moreover, the labels and frameworks people have used to understand themselves and their relationships shift radically across historical periods and cultural contexts. It is also the case that it is not at all clear what evidence is necessary to ‘prove’ that someone was LGBTQ+. More often than not, this ‘burden of proof’ discounts or erases LGBTQ+ voices and stories.

Colour photograph of a book containing a pressed seaweed specimen.
Algae Danmoniensis, complied by Mary Wyatt with assistance from Amelia Griffiths.

Wyatt originally worked as a servant in the Griffiths household. They developed a close friendship searching for specimens and publishing their finds.

At first glance, the story perhaps appears unremarkable. Two female friends working together does not immediately suggest romantic involvement. If we press further, however, it becomes evident that the early Victorian period had a number of such close companionships, framed around the common activity of collecting. Read more in this post by Frankie Dytor.

Photograph of a mostly complete baby ichthyosaur specimen
Young ichthyosaur fossil, probably from the Lyme Regis area.

Inspired by this local fossil Emma Wallace posts about Mary Anning and her recent portrayal in the 2020 film, Ammonite, by Kate Winslet. Emma considers how Anning’s life and scholarship have been reframed over time and interrogating analogies between paleontological and queer research.

Queer resonances

To access the richness of LGBTQ+ history and culture through the RAMM’s collections, the researchers on the project also explored other ways in which objects could speak to LGBTQ+ history and culture. We embraced the many different insights objects can hold once they are considered through LGBTQ+ lenses.

This photograph, taken in 1935, captures bathers splashing in the water at Norbreck Hydro swimming pool, Blackpool.
Lantern slide. Bathers splashing in the water at Norbreck Hydro swimming pool, Blackpool, 1935.

This slide inspired Fred Spence to consider other depictions of pools and bathers. This includes gay painter David Hockney whose swimming pool paintings are some of his most famous. Also the film Swimming with Lesbians (2009) which follows Madeline Davis as she builds an LGBTQ history archive. Read Fred’s post on the Out and About website.

Colour photograph of five starfish preserved in alcohol in a black-backed glass jar. The label beneath them gives the information on where HMS Challenger was when they were collected. ‘Leptychaster arcticus (Sars). var: elongata, Sladen. SOUTH OF HALIFAX, NOVA SCOTIA, 85 fathoms, amongst gravel and stones. “Challenger” Expedition, Station 49. SLADEN COLLECTION.’
Starfish specimens collected during HMS Challenger’s voyage of exploration in 1873.

What sea creature, real or mythical, do you most identify with? These starfish prompted Fred to think about the life histories of sea creatures. For example the seahorse where the male, not the female, carries the young in a pouch. In a post Fred explores queer films and literature with links to the sea. This includes Seahorse (2019) follows Freddy McConnell, a transgender man, throughout this process as he becomes a new father and In their memoir Life as a Unicorn (2019), non-binary drag performer Amrou Al-Kadhi reflects on keeping sea creatures as a teenager.

This magnifying glass has a gilt metal surround and the cord is made of hair giving it a rough texture. The hook at the end is for attaching to the wearer’s clothing, either a pocket or button hole.
Quizzing glass, about 1800-1830.

This type of quizzing glass was a fashionable accessory among upper-class English gentlemen in the nineteenth century. Its name comes from the practice of ‘quizzing’ people by looking them up and down through the glass.

Ren Lloyd posts about the quizzing glass’ role in evolving fashions of queer communities in interwar Paris. ‘If you were queer, or lesbian, in 1920s and 1930s Paris, looking for love, a short-term fling, or friends, your go-to club would probably be Le Monocle.’

Photograph of a bust of  bacchante, a female priestess of the Roman god Bacchus
Bacchante (Autumn), by Frederick Halnon, about 1925.

This bust depicts a bacchante, a female priestess of the Roman god Bacchus, also known as Dionysus in Graeco-Roman religion. The female followers of Bacchus were also known as maenads. Graeco-Roman deities played an important part in the Victorian discourses of aestheticism and decadence. Dionysus was an especially important figure to the author Michael Field. Field was the pseudonym of Katherine Bradley (1846-1914) and Edith Cooper (1862-1913). Susannah Shepherd explores their work.

Colour photograph of an embroidered sampler. It depicts religious verses surrounded by botanical patterns. It is the work of a seven-year-old Sarah Bechin, who was born in Surrey in c.1776.
Sampler of religious verses surrounded by botanical patterns by Sarah Bechin, age 7, 1783.

Both strawberries and carnations are common motifs on sampler. Sstrawberries symbolise innocence and purity, whilst pink carnations were emblematic of maternal love. By 1892, the green carnation had become emblematic of LGBTQ+ love. Queer author and playwright Oscar Wilde requested an actor wear the flower pinned to his lapel. Read more in Ashley Eyvanaki’s post.

Colour photograph of a white, Honiton lace pansy
Pansy made in Honiton lace.

During the early twentieth century, many slang terms for gay men had botanical roots. For example ‘daisy’, ‘buttercup’, and particularly ‘pansy’. However, by the 1920s, the term ‘pansy’ was used as a derogative slur across America, against gay men who presented themselves as feminine or flamboyant.

Ashley Eyvanaki shares more in her post about the hidden language of flowers.

Magic lantern slide including a black and white photograph of Canterbury bell flowers.
Magic lantern slide of Canterbury bell flowers

This plant is renowned for its bell-shaped, violet-blue flowers. Historically, purple flowers such as violets have been linked to the poetry of Sappho (c.610-570 BCE). She was Greek poet who lived on the island of Lesbos. Sappho is believed to be the first woman to openly express loving another woman. Her legacy resulted in the word ‘lesbian’ as we commonly use it today.

Ashley Eyvanaki’s post explains more.

Silver finger ring
This finger ring with the inscription “I LIK MY CHOICE” (ca. 1550-1650). Found in Chudleigh, Devon.

“The morning woke abruptly. The house shifted in its sleepy state, unable to lie still against the dust and the sun. Floorboards started to creak; laces started to be tied. It was time to move. I felt for the warm body next to me and it stirred softly, giving small noises of discontent. ‘Time to leave’ I whispered in her ear. … ‘

Read a creative response to this ring by Frankie Dytor.

Colour photograph of a drawing of a mauve stinger jellyfish
Mauve stinger, Philip Henry Gosse 1853

Pelagia noctiluca is a jellyfish known for its distinctive lavender colour. As a result, its common name is the ‘mauve stinger’. The colour lavender has been linked to LGBTQ+ life and love since the 1920s. There were two movements associated with lavender relating to the queer community – the ‘Lavender Scare’ and the ‘Lavender Menace’. 

Ashley Eyvanaki reveals more in her post.

Colour photograph of a watercolour drawing of flowers including bluebells.
Draft book plate for the Concise British Flora in Colour by William Keble Martin.

Historically, lilies also hold significant meaning within the LGBTQ+ community. For example, the floral paintings of artist Georgia O’Keeffe have widely been thought to have a dual meaning. In particular, her delicate paintings of calla lilies have been viewed by some art critics as an intimate depiction of the female genitalia, so have been repurposed into an erotic lesbian symbol. During the 1970s, a new wave of feminists began to celebrate O’Keeffe’s portrayal of nature, the body, and themes of gender, despite her neither encouraging nor discouraging such interpretations of her work.

Ashley Eyvanaki explains more in her post.

The Out and About team commissioned LGBTQ+ artists to respond to the collections at RAMM. Their work explores otherwise hidden or obscured aspects to reveal LGBTQ+ heritage. More detailed biographical information is found on the Out and About project website.

Writer in residence: Natalie McGrath

Writer in Residence and Co-Director Natalie McGrath wrote ‘Honeycomb’, a creative response to some translated letters between lesbian medieval nuns (not at RAMM) two rings on display in the Making History gallery.

“I always wanted to be a writer in residence and it has never quite materialised until now. I was particularly excited to be undertaking this role to write a poetic queer history of the museum, and to write about Lesbian Medieval Nuns in response to some letters found and translated. The beauty of the letters had really struck a chord. So all of this was something I have never done before, all new directions in my work and practice as a writer.”

Natalie McGrath, 2020. Read the full blog post.
Emily Faulkner wears a long black dress and has a black scarf over her head. Emily stands in front of a stone wall with a rainbow lights shining on it
Colour photograph of two delicate gold rings
Two rings discovered during excavations at Polsloe Priory in Exeter. They must have been worn by nuns. Instead of a semi-precious stone, the setting holds a glass paste.

Charice Bhardwaj and Carina Miles

Welcome to the matchbox cabaret … where the wall tastes like sugar, and the dancefloor’s alight, but the world is bigger in here, so we like it. Well, sometimes. We’re struggling to find our way into the matchbox, and we’re worried that we’re underdressed, but we’ll squeeze in anyway and try not to burn our heads off too much under the stairs. Inspired by a 19th century matchbox in the RAMM collections during lockdown, and a variety of tiny objects, collaborators Charice and Carina discover a small queer world of pink hares and dark cupboards.

Find out more about Charice Bhardwaj and Carina Miles.

Photograph of a small metal matchbox
This metal matchbox is for holding ‘congreve’ matches. Congreve matches were were tipped with camphor and were one of a variety of friction matches invented in the 19th century. Bell & Black of Cheapside in London, patented the box.
This video by Charice Bhardwaj and Carina Miles contains some profanity and flashing lights.

Rushaa Louise Hamid

Watch “Modern Prayers”, Rushaa’s creative response to these Sudanese prayer beads in the RAMM collections, below. You can also find out more about her work in the introduction video and in this companion guide.

Colour photograph of a string of prayer beads made from wood/nuts
This necklace is an artefact of conflict. It is recorded as being taken from a Mahdist soldier by surgeon William Hamilton Briggs (Broun) of the Khartoum Relief Expedition.

Sachal Khan

Sachal Khan is an emerging writer based in Exeter using poetry and manipulated sound to explore history embedded within memory. By picking apart separate sounds, memories, and moments before stitching them together, they hope to explore the disruptive experiences within migration and transness. You can also find out more about their work in am introductory video.

Caleb Parkin

Caleb Parkin is a day-glo queero techno eco poet, performer and facilitator, based in Bristol. He won second prize in the National Poetry Competition 2016, first in the Winchester Poetry Prize 2017, and has placed in various other competition shortlists. Caleb responded to a collection of sand made by Ivor Treby, Treby considered himself a gay literary activist. A second video is also available.

A pile of clear plastic tubes with white lids, each one with a different sand sample inside, containing colours such as whites, greys and light browns.
In 2013 RAMM received two boxes of sand from Ivor Treby’s solicitors with no explanation, context or information on who Treby was. RAMM added the sediments collected from natural locations to the permanent collection. The others (e.g. gravel from a flowerbed) were set aside until a few years later when the Bodleian shared his archive and we learnt more about their collector.

Shiri Shah

Shiri Shah is a poet and lyrical essayist, born and raised in London. She dedicates her artistic practice to unearthing mythical histories, and abstracting the distinction between the non/human and the un/natural. Watch Shiri’s creative response to this onyx cup from Pakistan, now in the RAMM collections, and find out more about her work in the introduction video.

colour photograph of a onyx cup. It is beigey-green in colour with hints of orange
An onyx coffee cup imported from Pakistan.

Oren Shoesmith

Oren is a writer and artist using text, sound and performance to explore volatile and abject masculinity. Often working with messy materials such as raw clay, spit, water and lubricants, he looks at overlaps between embodied horror, humour and erotics to articulate a chaotic trans and queer subjectivity. 

This slide contains the music and words for the Christian hymn ‘Child of My agonies, bought with My blood’ and tells part of the Easter story, or ‘Passion’. It was manufactured by H Husbands & Sons of Bristol, and is part of a private collection of magic lantern slides donated to the museum in 1981, many of which contain Christian messages or images.
This slide contains the music and words for the Christian hymn. ‘Child of My agonies, bought with My blood’ tells part of the Easter story, or ‘Passion’.

Hearing your voice

Would you would like to share how an object at RAMM resonates with you? If so please submit a comment on the object’s Collections Explorer record page. Subject to moderation (to avoid spam etc.) we will make your comment public.