Located behind the University Museum of Natural History on Parks Road, Oxford’s Pitt Rivers Museum is often called the city’s hidden museum. Its unassuming entryway (disguised as a doorway off the Natural History Museum’s stately hall) leads down into a vast, wood-paneled interior filled wall-to-wall with curios from every human culture. Here, over 500,000 objects – from carved totem poles to shrunken heads and Japanese masks – are displayed “by type into a ‘democracy of things’” rather than by geography or date. This dense, encyclopedic display style is the Victorian legacy of Lt. Gen. Augustus Pitt Rivers, the museum’s founder (see sidebar). As one visitor quipped, the effect is an “enchanted curiosity shop” crammed with artefacts.
With its dim lighting, mahogany cases, and labyrinthine galleries, the museum feels like a Victorian cabinet of curiosities turned up to 11. Academics note it displays objects “by type rather than by region”, placing items as varied as Chinese Buddhist statues and Ugandan dance rattles side by side. This introduction explores the fascinating history and layout of Oxford’s “Hidden Museum,” highlights its must-see artefacts, and offers practical tips for first-time visitors.
The museum is named for Augustus Henry Lane Fox Pitt Rivers (1827–1900), a pioneering archaeologist and ethnographer. A career army officer posted across the British Empire, Pitt Rivers amassed a vast collection of archaeological and ethnographic items in the mid-1800s. In 1884 he donated this collection – then “more than 20,000 objects” – to the University of Oxford, on condition that a new museum be built and that his typological display concept be preserved. Oxford obliged, appointing famed anthropologist Edward Tylor as the first lecturer and building a new museum (opened 1887, fully accessible by 1892) to house Pitt Rivers’s objects.
Pitt Rivers was an innovator. He had just been named Britain’s first Inspector of Ancient Monuments (1882), charged with protecting archaeological sites. He also promulgated the idea of cultural evolution – that societies progress from “savage” to “civilized”. His collection and its display were originally intended to illustrate this theory: objects of one kind arranged chronologically to show technological or social development. While his language and worldview reflected Victorian imperialism, his legacy endures in the museum’s character. Even today, “none of [his] original displays still exist, but they continue to inspire” the museum’s approach to filling cases densely and comparatively.
Under successive curators (notably Henry Balfour from 1884–1938), the museum kept growing. By the mid-20th century its holdings had swelled to over 300,000 items (today more than half a million including photographs and archives). Every century has added rich donations – for example, Pitt Rivers’s own collection of Cook voyage material, or Africa and Pacific artefacts from colonial administrators. The present-day museum embraces its history, even as it grapples with the colonial context in which many items were acquired (see Modern Context below).
Unlike most museums, the Pitt Rivers is not arranged by chronological era or cultural region. Instead, it is famously a “cabinet of marvels” sorted by category. Weapons are grouped together, as are musical instruments, textiles, ritual objects, and so on. In 1886 Pitt Rivers wrote that exhibits should be organized “by comparable classes, differing only in time or place” – in effect a typological display that treats all objects on an equal footing. This has been dubbed the “democracy of things”: no one artefact or culture is given pride of place over another. Cases thus juxtapose, for example, stone axes and iron axes; Chinese incense burners and Hindu figurines.
This design reflects Pitt Rivers’s own 19th-century theory of cultural evolution, which posited that all societies could be placed on an implicit ladder of “progress.” (Modern scholars point out the colonial bias here.) The effect of the typological layout, however, is striking and even playful: one visitor remarked that the crowds of objects make it like “an eccentric uncle’s attic” overflowing with curiosities. Ironically, what began as a Victorian display of progression now invites viewers to ponder cross-cultural parallels. Today’s curators emphasize that the arrangement encourages visitors to compare motifs and technology across space, asking why two distant peoples might craft similar tools.
The Pitt Rivers Museum is a dramatic three-story hall. A vaulted glass roof spans a grand Court (ground floor) lined with rows of tall wooden display cases. Dominating the center of the Court is the Haida totem pole (see below). Encircling the Court above it are two mezzanine galleries – the Lower Gallery (first floor) and the Upper Gallery (second floor) – reached by winding wooden staircases. From above, the galleries are often called “walkways” or “balconies”; each is ringed by even more cases, creating a multi-level labyrinth of objects.
As one guide notes, the space “consists of a huge ground floor room with two galleries laden with objects,” yet feels strangely intimate due to the sheer volume of items. The rooms are dimly lit (to protect artefacts) and built with rich mahogany paneling – lending a “dark Victorian” atmosphere. In fact, the design deliberately mimics a giant Victorian wonderkammer: cases are stuffed so full that labels often overlap, inviting close inspection of every shelf.
As you wind through the levels, note the original case labels painted on the walls. The Pitt Rivers still retains some Victorian-era labels (like “Arms – Infantry” or “Shields”) which speak to its origins. (Many controversial labels—e.g., “Primitive Dwelling” or “Modern Savage”—have since been removed or updated.) Overall, the vertical layers and mezzanine walkways create a maze effect. This multi-leveled layout is central to the museum’s charm – visitors have described it as a “labyrinth of artifacts”.
While every visit turns up surprises, certain artifacts are especially famous. Here are some must-see highlights:
Part of the Pitt Rivers’ allure is its air of mystery and discovery. Its very entrance is hidden. Once inside, the dense crowds of artefacts conceal little nooks and quirky pieces. For example, near the staircase you might stumble on the heart in a cist: a lead box in the shape of a heart containing human remains. Pitt Rivers obtained this heart in 1863 from the crypt of an old church in Cork, Ireland. It is now displayed as part of the “Treatment of the Dead” case – a genuinely eerie relic secreted away in an Oxford collection.
In the labyrinthine galleries, visitors talk of feeling like archaeologists themselves: every corner hides something unexpected. Ghost stories aside (the museum’s dim corridors feature in local Halloween tours), the objects carry their own secret histories. For instance, one case label advises using scissors on a cork – the legend being that an earlier curator nearly died when some believed the witch in that bottle might escape! (Folklore claims a medieval palmer sealed the bottle centuries ago with a warning not to break it.) While it’s unclear how much is rumor, such tales add to the museum’s mystique.
The “hidden” theme even extends to staff projects: curators move behind closed doors to rewrite labels and invite community insight (see below). What’s more, some spaces (like storage vaults and research rooms) are off-limits but brimming with artefacts not on display. Hidden between the stories above the cases are the keys to understanding the past.
Admission is free. The Pitt Rivers Museum asks only for a small donation to support its work. While group tours must be booked, individual visitors can simply walk in – no timed ticket or advance reservation is required. The museum’s main entrance is through the Oxford University Museum of Natural History on Parks Road (see tip above). Make sure to carry any required photo ID for group access, but otherwise you can come at any time during open hours without fuss.
Here is the basic visitor information:
Info | Details |
Admission | Free entry (donations welcome) |
Opening Hours | Mon: 12:00–17:00 (Bank Hol Mon 10:00–17:00); Tue–Sun: 10:00–17:00 |
Closures | Closed 24–26 Dec, 1 Jan |
Booking | No advance tickets needed for individuals |
Horsebox Café | On the lawn – open 8:30–17:00 daily (coffee, cakes) |
Photography | Allowed for personal use; no tripods without permission |
Accessibility | Wheelchair/lift access via NHM; lift to all floors |
Address | South Parks Road, Oxford OX1 3PP (via Natural History Mus.) |
Visitors should note that the museum can get very busy midday, especially on weekends. Best times to visit are weekday mornings or late afternoons. Also, bring a flashlight or phone torch: the museum is intentionally dimly lit to protect artefacts, so a little extra light can help you read labels in deep cases. Plan to spend at least 2–3 hours browsing (the museum recommends this) – there’s simply too much to see in one hour. If you have limited mobility, note that a lift reaches each level (ask the desk on arrival).
For practicalities: the nearest parking is on Beaumont Street (fee) or public lots near the city centre; several bus routes stop on Parks Road. The museum is just 10–15 minutes’ walk from Oxford’s Carfax Tower and Radcliffe Camera. The Horsebox Café on the lawn (open daily from 8:30) is perfect for a coffee break before or after your visit. (Food is not allowed inside the galleries, but the lawns outside are grassy and scenic.) The Ashmolean Museum across South Parks Road also has a shop with Pitt Rivers postcards and souvenirs.
Today’s Pitt Rivers Museum is both a beloved oddities treasure trove and a contested space reflecting the legacy of empire. Curators openly acknowledge that many objects were acquired during colonial conquests. In fact, as one Oxford student newspaper lamented, “it houses thousands of artefacts stolen from colonised peoples”. The museum has embarked on an ongoing process of transparency and redress. It runs projects like Labelling Matters, where hundreds of outdated labels have been rewritten or removed. (Curators today cringe at past titles like “Primitive Dwelling” or “Modern Savage”, which lingered on walls into the 2000s.) All staff now undergo decolonial training, and the museum publishes its restitution policies online.
PRM works with global communities on repatriation. For example, in mid-2025 Oxford hosted Naga tribal leaders from India’s northeast. The Naga people have the largest collection of their cultural remains at Pitt Rivers. In a June 2025 meeting, Naga delegates discussed returning 41 ancestral remains and over 170 artefacts with hair back to their communities. Naga academic Dolly Kikon noted: “This is not just a visit. This is an act of healing…of returning sovereign decision making and reclaiming the dignity of our ancestors.” (In this case, the Pitt Rivers agreed to a long-term loan arrangement while repatriation was arranged.)
Similarly, the Living Cultures Project has actively engaged communities whose heritage is in the museum. A Maasai delegation (Kenya/Tanzania) spent a week in Oxford in 2024 examining their ancestral regalia in PRM’s collection. After years of dialogue, the Maasai leaders decided that five sacred ornaments – looted from battlefields a century ago – would for now remain in Oxford under Maasai oversight, with new interpretive panels explaining the journey. The museum now preserves each item in its own box bearing its owner’s name, and Maasai elders will have lifetime access to the originals. Such partnerships exemplify how the Pitt Rivers is redefining its role: moving from “preserve of colonialism” to a site of collaboration.
Behind the scenes, conservation is relentless. Every year, conservators stabilize fragile textiles, polish metals, and control humidity to protect the cases. The museum’s labs now blend cutting-edge science with traditional knowledge; for instance, some organic objects are housed in chamber that mimic the donor community’s environment. Even the worn manuscripts and photographs are being digitized to make the collection accessible to source communities worldwide.
Of course, debates continue. Critics in the 2020s – from journalists to students – have questioned whether such a museum can ever escape its colonial roots. Director Dr. Laura Van Broekhoven acknowledges this tension: she has said ethnographic museums like PRM must become “spaces for the co-production of knowledge” and allow formerly colonized people to “unlearn the false impressions” the museum once reinforced. Indeed, PRM’s current leadership sees the building and labels as “works in progress” toward inclusivity.
Despite the controversies, Oxforders remain fond of the museum. It even sneaks into pop culture (it appears in the TV adaptation of His Dark Materials and inspired one Inspector Morse episode). Visitors should be prepared: the Pitt Rivers is not a neutral tour of world cultures, but a vibrant conversation about history. You will encounter artefacts of beauty and strangeness, and alongside them, the ongoing stories of how they got here – and where they might belong in the future.
Because of its central location, the Pitt Rivers can anchor a full day of Oxford sightseeing. It is just steps from several other world-class museums and historic sites. Notable attractions within 15 minutes’ walk include:
Attraction | Type | Distance/Notes |
Oxford University Museum of Natural History | Natural history | Adjacent – shared entrance. See dinosaurs and the Blue Whale model on Upper Gallery. |
Ashmolean Museum | Art & Archaeology | ~0.2 miles south (5 min walk). Free entry. Renowned collections of antiquities and art. |
History of Science Museum | Science/History | ~0.2 miles south (via Broad Street). Home to medieval instruments (e.g. old microscopes). |
Bodleian Library (Radcliffe Camera) | Library/Architecture | ~0.5 miles (10 min). Oxford’s iconic library, Bodleian tour highly recommended. |
University Church of St Mary | Church/Views | ~0.5 miles (10 min). Climb the tower for panoramic Oxford views. |
Christ Church College & Cathedral | University College | ~0.8 miles. Famous college (filming location for Harry Potter). Also see Christ Church Meadow. |
Covered Market & High Street | Shopping/History | ~0.5 miles. Historic market stalls, cafés, and strolling. |
These sites complement an anthropology itinerary. For example, combine Pitt Rivers with the natural history next door, then wander through high-ceiling halls of the Ashmolean (Oxford’s art/archaeology museum) just across South Parks Road. Or climb the Bodleian bell tower and reflect on the global connections of knowledge – a fitting close to a day that started amid the objects of world culture. Oxford’s medieval and Victorian architecture provides a contrasting backdrop once you leave the museum’s “other-worldly” hall. For weary feet, Hyde Park’s tree-lined South Parks Road and the museum’s Lawn are excellent for a stroll or picnic.
Q: What is the Pitt Rivers Museum in Oxford?
A: The Pitt Rivers Museum is Oxford University’s world-famous anthropology museum. Often called Oxford’s “hidden museum”, it houses over half a million ethnographic and archaeological objects from around the globe. It is known for its dense Victorian-style display cases and its founder’s unique principle of arranging objects typologically (“democracy of things”) by type rather than by culture.
Q: Why is it called the “hidden museum” in Oxford?
A: Unlike the Ashmolean or Natural History museums, Pitt Rivers has no prominent street frontage. You enter through the Natural History Museum building. Its unassuming doorway and tucked-away location give it a secretive feel. Moreover, its packed galleries are like a hidden treasure trove of curiosities waiting to be discovered – hence the nickname “Hidden Museum.”
Q: Who founded the Pitt Rivers Museum?
A: It was founded by Lieutenant-General Augustus Pitt Rivers (1827–1900). In 1884 he donated his personal collection of archaeological and ethnographic objects to Oxford University on the condition that a museum be built and his typological display method be used. The museum is named in his honor.
Q: What are the museum’s opening hours and entry fee?
A: Entry is free (donations are welcome). The museum is open Tuesdays–Sundays, 10:00–17:00, and Monday 12:00–17:00 (Bank Holiday and school break Mondays open at 10:00). It is closed on Christmas Eve, Christmas Day, Boxing Day, and New Year’s Day. No advance booking is needed for individual visitors.
Q: What is the “democracy of things” display?
A: This phrase refers to the museum’s arrangement of objects by type rather than by culture or chronology. For example, all stone tools are together, all musical instruments together, regardless of where they come from. Augustus Pitt Rivers believed this would highlight universal human themes. The result is that artefacts from different societies literally stand side by side on equal footing.
Q: Can I photograph objects inside the Pitt Rivers Museum?
A: Yes, casual photography for personal use is allowed. (The museum asks that you not use tripods without prior permission.) Many visitors photograph cases and labels, but be respectful of any instructions on sensitive artifacts.
Q: What are the must-see objects in the Pitt Rivers Museum?
A: Key highlights include the Haida totem pole (11 m tall, Vancouver Island, Oxford’s tallest exhibit); the shrunken heads (Jivaroan tsantsas); the “witch in a bottle” (a silvered glass witch’s container from Sussex); Japanese Noh masks (52 Edo-period masks); as well as various textiles, jewelry, weapons and musical instruments. Take time to read labels – each case is a mini-exhibit.
Q: How should I best plan my visit to the Pitt Rivers Museum?
A: Allow 2–3 hours or more. Visit on a weekday morning or late afternoon to avoid crowds. Download the museum map or app beforehand. Start at one level and methodically work through, or pick a few themes (like “Weapons” or “Ceremonial Objects”). Use a torch app for dim corners. Talk to museum staff or guides for insights. Combine your visit with the nearby Natural History Museum (same building) and Ashmolean Museum (across the lawn) for a full day of Oxford exploration.
Q: How does the museum address its colonial past and repatriation?
A: The Pitt Rivers Museum openly acknowledges that many items were acquired during colonial times. It has projects to update interpretive labels and works with descendant communities. In recent years Oxford has engaged in repatriation talks: e.g., repatriating Naga ancestral remains and collaborating with Maasai delegates on ancestral jewellery. The museum prioritizes provenance research and redress in its curatorial mission.
Q: What other attractions are near the Pitt Rivers Museum?
A: The museum is part of Oxford’s University Museums complex. Right next door is the Natural History Museum (dinosaurs and minerals). The Ashmolean Museum of Art & Archaeology is just across South Parks Road. Also within easy walking distance (5–10 minutes) are the Bodleian Library (Radcliffe Camera), the History of Science Museum, and many of Oxford’s colleges, chapels, and landmarks.
Q: Is the Pitt Rivers Museum suitable for families?
A: Yes. There are child-friendly activity trails and interactive displays (especially on archaeology and world cultures). The museum often hosts family workshops. However, note that some exhibits (like skulls and human remains) may be unsettling for very young children. Plan ahead by checking the family resources on the PRM website.
