Chapter 1: Lord Fitzwilliam and the founding collection. His life and family background (Ireland, Richmond, Cambridge, Paris) ; survey of his collections and how acquired. The general cultural background; ie the contemporary growth of a demand for and interest in the development of public galleries at the time; nb Dulwich 1811; the wider background in Europe (Louvre opened to public after revolution, other royal galleries in Europe also) - agitation for a National Gallery, anger at sale of Walpole (Houghton) collection etc .
Chapter 2: The Museum before the Museum, 1816-1848. Cambridge in 1816. The display of the collection in the Perse School, joined by the Mesman collection in 1834. The purchase of land in Trumpington Street, the architectural competition, the building itself up to this point - Basevi then CR Cockerell. The idea of the university museum - but this could be in ch.1.
Chapter 3: The Syndics' Museum, 1848-1876. What principles were adopted for the hang and then for the management? What did the Museum look like at this point? The original hang, the subsequent modifications. Staff; growth of the collections - via gifts and v occasional purchases - the accumulation of white elephants. The completion of the entrance hall. Early 'guides'. Visitors, visiting hours. The contemporary museum background - eg similar controversies re nudity at Nat. Gall.
Chapter 4: The first Directors - Colvin, Middleton, Walston and James, 1876-1907. Who were they? What did they achieve? How did they change the FM or it change in their time? What were their aims? Growth of the collections, catalogues, public engagement, teaching, cultivation of bequests etc; the cast gallery. The fuller integration of the Museum into the university; the role of archaeology in achieving this. The staff and their activities.
Chapter 5: 'Cockerellian... for good or ill' - Sydney Cockerell, 1908-1937. SC's policy of 'push', the expansion and transformation of the museum, its buildings, collections, the display; his uneasy relations with the university; new attitude to staff.
Chapter 6: Louis Clarke and WWII 1937-45: LC himself; the effects of war - the evacuation of the collections, bargain-hunting in the London sales, the growth of the special exhibition, a more demanding public.
Chapter 7: Carl Winter and the post-war revival 1946-1966: the growth of the collection again inc LC's huge bequest; CW's personality and abilities (acerbic wit, brilliant administrator); benefactors; predominantly still very male nature of the institution; the expansion and growing professionalism of the museum staff.
Chapter 8: 1966-2016 onwards - focus on changes between 1816 and now and discuss aspects of what has been achieved and what we do? Our current stake-holders and how much has changed over 200 years? In-house conservation, the HKI, huge expansion of educational and outreach activities.
