All the Beauty in the World

Chapter 4 opens with Bringley completing his four-month probationary period and becoming a full member of the local union. He describes the process of receiving his union card, selecting his uniform shoes, and learning about benefits such as the annual “hose allowance” for socks. He notes the daily routines of arriving at work, changing into uniform, and receiving his post assignments.

Bringley offers descriptions of the museum’s behind-the-scenes areas, including the locker rooms where guards from diverse backgrounds prepare for their shifts, the tailor’s office where a man known as Johnny Buttons mends uniforms, and the dispatch center where assignments are distributed. He portrays the multicultural atmosphere, with conversations in multiple languages and friendly banter among long-time colleagues.

The author is assigned to the Egyptian wing, where he reflects on the enduring appeal of ancient Egyptian artifacts and their ability to capture visitors’ imaginations. He describes the vast collection, noting that the museum can display almost all 26,000 objects in its Egyptian collection. Bringley recounts interactions with museum-goers, particularly a young couple experiencing their first visit, and their awe at the authenticity and age of objects like 5,000-year-old statues and 300,000-year-old hand axes.

The chapter delves into Bringley’s contemplations on time, both in the context of ancient Egyptian beliefs and his own experiences as a guard. He contrasts the cyclical nature of Egyptian time, symbolized by the recurring floods of the Nile and the movement of celestial bodies, with the linear progression of modern life. The author reflects on how this perspective affects his view of his role in the museum.

Bringley shares his observations of various exhibits, including Perneb’s tomb, prehistoric hand axes, and wooden figurines from Meketre’s tomb. He provides detailed descriptions of these artifacts, such as the intricate brewery and bakery model from Meketre’s tomb, and reflects on their historical and cultural significance. The author contemplates the profound impact these ancient objects have on visitors and himself, noting how they challenge modern perceptions of time and progress.

The author then shifts to recounting his previous job at The New Yorker magazine, describing the initial excitement of working in a prestigious Manhattan office and interacting with famous authors at literary events. He details his disillusionment with the corporate environment, the feeling of playing a role rather than doing substantive work, and the realization that the job was limiting his personal growth and creativity. His past role serves as a stark contrast to his current position at the museum, where he finds unexpected fulfillment in the seemingly mundane tasks of a security guard.

The chapter concludes with Bringley’s evening shift at the Temple of Dendur, a reconstructed Egyptian temple in a specially designed wing of the museum. He contemplates the nature of boredom and his adaptation to the rhythms of a guard’s life, noting how he has learned to surrender to the slow pace of a watchman’s time. The author describes the process of closing the museum for the night, calling out warnings to visitors, and systematically clearing each gallery. This final section emphasizes the cyclical nature of his work and the unique perspective it provides on art, time, and human experience.

Bringley begins with a description of a musician playing a guzheng, a traditional Chinese instrument that looks like a “harp turned on its side” (55). Bringley describes the musician’s fluid movements and the unique, unpredictable melodies she produces. This experience prompts him to reflect on the importance of setting aside expectations and fully immersing oneself in new experiences. He notes how the brief performance felt richly detailed and transformative, comparing it to thousands of brushstrokes hanging in the air.

Transitioning to Chinese art, Bringley focuses on a thousand-year-old hand scroll painting by Guo Xi. He describes the scroll’s considerable length, expanded over centuries by scholarly colophons, or written tributes. Bringley reflects on how his inability to read Chinese allows him to appreciate the visual beauty of the characters without linguistic interference. He describes the varied brushstrokes, ranging from fluid strokes to “swift violent stabs” (57), noting the subtle visual impressions each character makes.

The author then outlines his method for approaching works of art, emphasizing the importance of initial observation without judgment or preconceptions. He advises against immediately seeking distinctive characteristics or applying labels to art, suggesting instead that viewers should first absorb the work in its entirety. Bringley notes that beauty in art comes not just from the artist’s unique genius but also from the inherent appeal of colors, shapes, and subjects.

Bringley discusses his evolving appreciation for Impressionist paintings, particularly those by Claude Monet. Initially skeptical of their popularity, he describes a profound experience with Monet’s Vétheuil in Summer. He details how the painting captures fleeting moments of beauty and light, describing the shimmering effect of Monet’s technique and how it evokes a sense of holiness in everyday moments. Bringley relates the painting’s impact to physical sensations, suggesting that Monet has transmitted his own emotional response through his art.

The narrative shifts to Bringley’s experiences during a special overtime shift on a Monday when the museum is closed to the public. He observes the inner workings of the museum, describing the activities of curators, technicians, conservators, and various other staff members. Bringley provides insights into the challenges faced by different curatorial departments in managing and displaying their vast collections, noting the constraints of space and the need for frequent rotations of exhibits.

During this quiet Monday, Bringley witnesses a group of new security guards being trained. He reflects on the recruitment process and demographics of the museum’s security staff, noting the diverse backgrounds of the guards and how word of job openings often spreads through community networks. He describes the training process and the various topics covered, from security protocols to art history.

Taking advantage of the quiet, Bringley explores the African art wing in depth. He focuses on treasures from Benin, particularly a mask of Queen Mother Idia, describing its powerful features and cultural significance. The author contemplates the potential future repatriation of certain artifacts, acknowledging the complex history of how these objects came to be in the museum’s possession.

The chapter concludes with Bringley’s detailed examination and appreciation of a Central African wooden power figure, or nkisi. He describes its physical characteristics, including its distended belly, anointed surface, and distinctive headdress. Bringley explains the cultural significance and creation process of the nkisi, emphasizing its role as a divine being rather than a mere representation. He reflects on the artistic challenges involved in creating an object meant to transcend ordinary human efforts, praising the sculptor’s ability to imbue the figure with a sense of inwardness and power.