Meet 'the good ladies' of bird collecting, two pioneering ornithologists whose work is still influential today.

Discuss the legacies of British archaeological practices in Egypt at a panel discussion chaired by journalist, writer and broadcaster Samira Ahmed.

National Museums Scotland is a member of the Scottish Cultural Heritage Consortium. The Consortium is a Collaborative Doctoral Partnership funded by the Arts and Humanities Research Council (AHRC).

Find out why we value work experience and what opportunities are available.

A spotlight tour from National Museums Scotland and the British Museum.

Why should a 19th century Scottish woman feature on a contemporary African cloth? Discover the story of Mary Slessor: missionary, magistrate and champion of women's rights.

James Clerk Maxwell used these coloured disks during his research into colour vision.

Objects from the National Museums Scotland collection can be found at museums throughout the UK and internationally.

From November 2019 we will begin consultation on our next National Programme (2021 - 2025). We would very much like to hear from colleagues, partners and funders on what National Museums Scotland's future work across Scotland should focus on.

The Board of Trustees is National Museums Scotland’s governing body, responsible for setting the National Museums Scotland’s vision, strategy and policy and for monitoring progress to achieve these.

National Museums Scotland holds a specialist Biobank facility comprising thousands of frozen tissue samples used by researchers worldwide as sources of DNA.

Women’s Identity, Textiles and Heritage: Coastal Style in Mozambique (WITH Coastal Style) is a one-year project (June 2019 – June 2020), researching and promoting women’s identities and concerns linked to marine heritage in Katembe District, Maputo, Mozambique.

This intriguing exhibition was devised by acclaimed contemporary Australian artist Danie Mellor.

National Museums Scotland and Museums of Malawi worked together to deliver a targeted museums skills development programme and to deliver a new David Livingstone display at Chichiri Museum, Blantyre, Malawi during 2013.

We have an established partnership with Museum nan Eilean and have worked together on a variety of projects since 2006.

Learn more about how illustration styles changed from the mid to late 19th century, as images were influenced by the widespread use of photography and 'a golden age of information graphics'.

While the first edition of Chambers's Encyclopaedia was conceived as a part-issue serial, the second edition was a joint partnership between the Chambers firm and its American partner, J. B. Lippincott.

A comprehensive new atlas covering 75 species across three charismatic beetle families.

The Glenmorangie Research Project on Early Medieval Scotland began in 2008 and since then has uncovered exciting new insights on this important period of Scotland’s past.

The Turkey Red Collection of pattern books shows us the numerous printed designs that were produced, but the fabric samples do not always give a sense of what the end product was actually used for. Sources such as newspapers and surviving garments help us to see how Turkey red dyed and printed cotton was used in Britain.

Be inspired by our staff favourites from our collections on display on Level 1, or try and find them all on your next visit.

As a Member of National Museums Scotland you will be invited to renew your subscription each year around a month before it expires.

National Museums Scotland’s unique and versatile venues set a memorable scene, whether you are entertaining 12 guests or 1,500.

This workshop seeks to expand academic knowledge and improve museum interpretation of Scotland’s commercial diaspora, focusing on the material culture of short-term economic migration. The project is supported by the Royal Society of Edinburgh.

This exhibition explored the real story of Prince Charles Edward Stuart, better known as Bonnie Prince Charlie, and the rise and fall of the Jacobites.

Is it possible to infer the agility or manoeuvrability of a fossil animal from the shape of its labyrinth?

Brazing an iron hand-bell in bronze has been the most technologically challenging of all the craft recreations, reinforcing our appreciation of the skill of Early Medieval craftspeople.

Discover more about the history of collecting Tibetan objects at National Museums Scotland, peaking during 1890-1930 with the Younghusband Expedition.

Find out more about working with our Publishing, Retail and Hospitality & Events teams within National Museums Scotland Enterprises Ltd, a wholly owned subsidiary of National Museums Scotland that supports our work.

Our popular Magic Carpet storytelling sessions at the National Museum of Scotland provided inspiration for a pilot Community Engagement project encouraging bilingual families with preschool children to enjoy the Museum.

Ystradowen finger ingot

Late Bronze Age cup-ended ornament from Skye

The Minch torc: a treasure from the deep

Discover all the benefits of Membership and find out about types of Membership, prices and ways to join here.

Find out more about graduate research undertaken through the Edinburgh Earth and Environment (E3) Doctoral Training Programme (DTP).

Find out more about graduate research.

Discover a range of paintings, drawings and pastels from the First and Second World Wars from our military collection.

The AHRC Gold Research Network brings together, for the first time, experts and early-career researchers from a number of disciplines and countries to share their knowledge and expertise about gold.

This page contains information about external links, accessibility and copyright.

Dr Hugo Anderson-Whymark is Senior Curator of Prehistory (Neolithic).

Vladimir Blagoderov is Principal Curator of Invertebrates.

We have a range of initiatives to support and welcome pupils with additional support needs to the National Museum of Scotland.

Late Bronze Age gold hoard from Cae Capel Eithin (Gaerwen), Anglesey, Wales

Britain had twenty-two ‘international’ exhibitions in the second half of the nineteenth century, starting with the Great Exhibition at London’s Crystal Palace in 1851. There were similar exhibitions in Europe and America and in the British colonial capitals, as well as in the main British provincial cities. These exhibitions provided excellent opportunities for manufacturers to show off their products.

Much of the cotton used by the Scottish Turkey red manufacturers in the early years of the industry came from North America. This cotton was dyed and printed in Scotland and much of it was sent back to America in the form of bandannas, scarves and even flags.

Quilted garments, such as petticoats or dressing gowns, provide a rare example of how Turkey red dyed and printed cottons were actually used.

Everything you need to know about Member benefits, becoming a Member, renewing or changing your Membership and gift Membership.

Here's where you can find out all about our project, Scotland Creates: A Sense of Place!

Following the success of the initial project, we succeeded in securing funding from the Henry Moore Foundation and the KT Wiedemann Foundation to go further in our analysis of the 14-century sculpture of the Madonna and Child.

Studying artefacts made and used by those working in the printing industries helps inform what we know about 19th-century printing history. A study of the objects in the W. & R. Chambers collection reveals details of their image making process.