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Amgueddfa Cymru

ŵyna yn fferm Llwyn-yr-eos

Gareth Beech, 3 Mawrth 2015

Wyna yw un o amseroedd pwysicaf a phrysuraf y flwyddyn ar y fferm. Mae’n golygu oriau hir, ddydd a nos, yn gwylio dros, ac yn gofalu am y defaid, i wneud yn siwr bod eu ŵyn yn cyrraedd yn ddiogel ac yn goroesi yn y diwrnodau cyntaf. Mae ŵyn yn ffynhonnell bwysig o arian oherwydd gellir eu gwerthu ar gyfer eu cig, ac ar gyfer stoc newydd i’r ddiadell.

Mae cadw defaid yn rhan sylweddol o amaethyddiaeth yng Nghymru oherwydd eu bod yn gallu ymdopi yn dda â’r ucheldir, yr hinsawdd gwlyb ac â thir gwael. Gall defaid oroesi a ffynnu ar laswellt tiroedd uchel ac isel Cymru. Gellir cynhyrchu gwlân, cig, llaeth, crwyn a gwêr ar gyfer canhwyllau o ddefaid, a gellir defnyddio eu tail i wrteithio’r tir.

Mae’n debygol mai defaid bach, brown Soay oedd y defaid cyntaf yng Nghymru. Daethant yma gyda ffermwyr Neolithic tua 6 mil o flynyddoedd yn ôl. Daeth y Rhufeiniad â defaid o safon uwch, gyda gwynebau gwyn a gwlân main. Cadwyd y defaid ar gyfer eu gwlân yn unig. Roedd gan ffermwyr Rhufeinig enw da am gynhyrchu gwlân o safon. Trwy groesi y defaid gwyneb gwyn gyda’r defaid Soay cynhyrchwyd defaid â gwyneb brown golau, hynafiaid y defaid Cymreig gwydn sydd wedi byw ar ucheldiroedd Cymru ers dros ddwy fil o flynyddoedd.

Erbyn y Canol Oesoedd mae’n debyg bod defaid yn cael eu cadw ar gyfer eu gwlân a’u llaeth yn hytrach na’u cig. Bu gwlân yn goruchafu tan y Chwyldro Diwydiannol ond o ganlyniad i’r tŵf yn y boblogaeth yn y ddeunawfed ganrif cynyddodd y galw am gig.

Cig oedd prif gynnyrch defaid ac ŵyn yn yr ugeinfed ganrif, yn gwerthu am llawer mwy o arian na gwlân. Heddiw, cynhyrchu ŵyn tewion yw prif incwm llawer o ffermydd Cymru. Yn 2013 roedd allforion cig oen Cymreig werth £154.7 miliwn. Y cwsmer tramor mwyaf yw Ffrainc, ac yna’r Almaen. Roedd 9.74 miliwn o ddefaid ac ŵyn yng Nghymru yn 2014.

Dafydd Jacob, bugail o Ystradgynlais

Bugail ar gefn ceffyl

Ffermwr yn gyrru beic quad

Brinley Edmunds – Barry’s Boy Soldier

Elen Phillips, 26 Chwefror 2015

On this day in 1917, Brinley Rhys Edmunds, an 18 year old groom from Barry, joined the army – one teenager among the 272,924 Welshmen who served during the First World War.

At the time, Brinley was living with his parents – Evan Edmunds and his Norwegian wife, Christine Sofia – at 7 Dunraven Street, a stone’s throw from the hustle and bustle of Barry Docks. On the 1911 census, his father’s occupation is listed as Railway Engine Driver. From the census, we also learn that he, along with two of his four siblings, was a Welsh speaker.  

Brinley’s Record of Service Paper – the form he completed at a Cardiff recruiting office on 26 February 1917 – shows that he was initially assigned to the 59th Training Reserve Battalion. As you can see, the recruiting officer mistakenly noted his name as Brindley, rather than Brinley – an error replicated in all subsequent military records. The Service Paper reveals an intriguing twist to Brinley’s story. It appears that he had enlisted once before, with the 18th Battalion The Welsh Regiment, but was discharged for being underage:

Have you ever served in any branch of His Majesty’s Forces, naval or military? If so, which?

Yes 18 Welch Discharged under age 16-11-15

By my calculations, Brinley was born in November 1898, therefore he would have been 17 years old, or thereabouts, when he was discharged from the 18th Battalion. He probably joined-up at the age of 16, but I have been unable to trace any online documents relating to his time as an underage teenage tommy.

Frustrations aside, we’re fortunate to have several objects in the collection which were donated to the Museum by Brinley’s family in the late 1970s and early 1980s. They are among the most powerful and poignant of all the First World War collections in our care. Although undated, the postcard shown here was almost certainly written by Brinley when he served with The Welsh Regiment. In July 1915, the 18th Battalion moved to Prees Heath training camp in Shropshire. This novelty postcard, addressed to Brinley’s parents, includes a set of pull-out images of the camp.

In addition to the postcard, we also have a beautiful pincushion made by Brinley as a gift for his mother. The centre features the insignia of The Welsh Regiment and the motto Gwell Angau na Chywilydd (Better Death than Dishonour). We don’t know where or why Brinley made this pincushion, but it’s possible that he was given the material and beads in kit format to alleviate boredom or to focus his mind.

We recently showed the pincushion and postcard to children whose parents are serving in the Armed Forces today. Both objects will be displayed in the redeveloped galleries here at St Fagans, alongside contemporary responses generated through partnership work with the Armed Forces Community Covenant Grant Scheme. When asked to consider why Brinley may have made this pincushion for his mother, one young girl suggested it was his way of saying ‘I’m alive, don’t worry.’

Brinley Rhys Edmunds died on 5 September 1918 while serving with the Durham Light Infantry, a matter of weeks before the armistice and his twentieth birthday. He is buried at the Berlin South-Western Cemetery in Germany. With no grave to visit at home, his family preserved and displayed the pincushion under a glass dome. Like all families who lost a relative in the line of duty, Brinley’s parents received a bronze memorial plaque in recognition of his service, inscribed HE DIED FOR FREEDOM AND HONOUR BRINDLEY RYHS EDMUNDS – the error made by the Cardiff recruiting officer compounded by the misspelling of his middle name, Rhys.

Remember, you can now access the Museum's First World War collections online. We'd love to hear from you if you have further information about Brinley Edmunds, or any other person or family represented in the collections.

The Contents of Fragile?

Penelope Hines, 24 Chwefror 2015

Fragile? the major new ceramics exhibition in the west wing will contain a mix of pieces from our own collection, loans and site specific installations. Each ‘source’ (for want of a better word) of objects will bring different delights and challenges to the installation and display.

The loans we have coming from artists and other institutions have never been on display at National Museum Cardiff before. This gives us the opportunity to tell the story of objects and artists who visitors may be unfamiliar with or would not have the opportunity to discover otherwise. 

However it means we are presented with display requirements that may be different to that which we are used to and the intimate familiarity that we have with the appearance and presence of objects from our own collections is lacking.

None of this should, of course, detract from how excited we are to show these works and the fact that these challenges are ones taken on with alacrity.

The installations are thrilling due to their uniqueness and (in the case of the three in Fragile?) the extent to which visitors will be able to interact with them. However they present the element of the unknown.

Until they are completed the specific details of their appearance is unknown and though we can look to past audiences of galleries and museums who have displayed these artists work before we cannot know how visitors will engage with the installations.

When working with pieces already in the collection there is the bonus of the afore mentioned familiarity with the objects; their shape, size, handling requirements. But also a good understanding of how they work within different spaces or their “presence” as I called it earlier.

The inclusion of works from the collection is an opportunity to show pieces visitors may already be familiar with in new ways. Hopefully allowing the formation of new ideas and insights.

Works from the collection will be displayed with pieces which they are not normally displayed alongside and some will be displayed in a different manner, such as on open display rather than cased or viewable from all angles rather than against a wall.

We have a number of works coming out of the balcony cases on the first floor of the museum. Those who are familiar with the applied art collection of the museum and its permanent displays may know that these cases are arranged thematically; including cases of “Studio Ceramics”, “Craft and Design inspired by History” and “Craft from 1900 to present”.

For Fragile? pieces from these cases will be taken out of these displays and put into new groups to form new narratives. For example James Tower’s Pod Form, will leave “Craft from 1900 to present” and instead go into a dialogue of objects which examines how artists have applied colour to the base ceramic body.

Another example is Claire Curneen’s In the Tradition of Smiling Angels which usually sits in our "Contemporary Acquisitions" balcony case. In the exhibition it will be surrounded by other artists who have approached figurative representation through the ceramic medium. Though it could be argued that this work could also sit comfortably in all manner of dialogues; artist who mix materials, artists who use hand building as their technique and religious iconography this is the primary dialogue it sits in for this exhibition.

Putting object into new narratives, whether to do with ideas of form or decoration, we hope will be interesting and thought provoking  to new and regular visitors alike.

As some objects to be included in Fragile? are coming from display in the museum other objects have to come in and replace them in the permanent display cases. Therefore it gives another opportunity to get works out of stores and on display for everyone to enjoy. This too though a good opportunity, presents challenges. We have to get pieces which both fit into existing case narrative but also those which will practically fit the dimensions of the spaces which objects being used in Fragile? are moving out of.

Fragile? opens on the 18th April, in the meantime why not come and see the works which have replaced the works going into the exhibition on display? Come and see if you can spot the new pieces!  

View this exhibition in our “What’s On” Guide

Are there any themes or processes to do with Fragile? or the Applied Art Collection that you are particularly interested in? Leave any suggestions for future blog posts in the comments.

A Year at St Fagans Gardens

Sally Anne Lickley, 23 Chwefror 2015

A Year at St Fagans Gardens.

Ever wondered what gardener’s do at winter?

Hello and sut mae. This is my first blog entry and it’s my story about being a trainee gardener and Welsh learner at St Fagans Museum over the course of 14 months. I’d better start by telling you a bit about myself. I arrived on the Heritage Horticulture Skills Scheme (HHSS) last September and I’ll be blogging about what I get up to until I finish the course in November.

Before I became involved in the scheme I was a self-employed ‘maintenance’ gardener for several years in Cardiff. My technical knowledge was limited and I was really looking to learn new skills through practical experience. I also wanted to expand my knowledge of plants and horticulture techniques. In the past I’d tried doing this through books and YouTube videos, but I soon realised that what I really needed was some kind of gardening guru to guide me. When I heard about the HHSS scheme I got very excited and knew it would be perfect for me as it was an opportunity to learn a huge amount in a practical hands-on way, with guidance from experts in the field.

So, here we are in mid-Feb and I can’t believe I’ve been on the scheme for just over 5 months already. It’s been incredibly busy and I haven’t had much time to stop and think. The months have flown by. In this post I’ll be talking about what I and the other trainees have been doing over winter. Lots of people think that winter is a quiet time without much going on in the garden. A time to tidy up the shed, clean your tools, and think about your summer planting scheme. Don’t believe that for a second. Trust me, there’s plenty to do!

During the winter months the daylight hours are shorter and weather conditions can be harsh at times, but in a place like St Fagans the gardens are so varied there’s always a job that you can get on with. There are lots of plants that benefit from pruning at this time of year including fruit trees and bushes, late flowering shrubs, roses and some climbers. In the past few weeks we’ve tackled a few of these, and used different techniques to suit the individual needs of the plants.

Why prune at this time of year?

In winter, deciduous plants shed their leaves and that makes it much easier to see its general structure. There is also less chance of transmitting diseases from one plant to another or attracting insects to fresh pruning wounds. Sap producing plants will bleed heavily if you prune when the sap is rising. Many of these are dormant over winter and bleeding is not so much of a problem if you prune at this time of year. As you may have already gathered, this post is going to focus on winter pruning techniques.

The first thing to remember when pruning any plant is the 4 D’s. Always remove Dead, Diseased and Damaged or Displaced material, in that order!

There are 4 main types of pruning.

·         Formative pruning encourages growth and builds the basic framework in a young plant.

·         Maintenance pruning improves the look of the plant as well as increasing the amount of fruit or flowers.

·         Regenerative pruning – If you have a plant that’s been left to itself and grown out of control for a few years, there’s no need to panic. Certain plants can be restored. This type of pruning can help you manage the growth, size and the overall look. It’s often an intimidating prospect. But, if you have an idea about what you’re doing and you feel brave, it can give your old plants a new lease of life. And save you throwing them out, when all they need is a good prune.

·         Specialised pruning creates and maintains an attractive look. If you’ve always wanted a hedge in the shape of an elephant, then Topiary is a form of specialised pruning that might be right up your street.

Now that you know the basic rules, I’ll talk a little bit more in depth about what we’ve been doing recently.

Pollarding Lime (Tilia) trees

It’s best to Pollard Lime trees annually in late winter or early spring if you want to restrict height. Prune the new shoots back to a bud, 1-2cm from the pollarded head. This will also stimulate new shoot production for the following spring.

Wisteria

Wisteria can grow 10-12ft in a season, it’s a beast, and benefits from pruning twice annually in summer and winter. At this time of year we prune the lateral growth back to 2 or 3 buds on each spur shoot. These spurs will bear the following season’s majestic display of flowers.

Standard Apple Trees

Apple trees are pruned to manage fruit buds and the shoots they grow on. Not, as many people think, to control the size of the tree. Start by concentrating on one main branch at a time. Find the leader and work your way down to the main trunk. Cut the leader by a third, leaving a bud facing the direction you want the new growth to follow. Prune back any laterals to 2-3 buds. Thin out large groups of spurs because too many will produce small fruits and it’s much better to have less quantity, but bigger and better quality.

Hard Pruning Yew (Taxus baccata) Hedges

We decided to prune back hard the Yew hedges down by the ponds because they had grown too wide, and in places the height was obscuring the pretty spectacular view. Yew responds well to renovation pruning, but it’s best carried out staggered over a few years. This year we concentrated on one side and the top. We used string lines tied to bamboo canes to mark out a straight cutting guide. We cut back hard using loppers and secateurs to reduce the height and width, and to re-shape where needed. After hard pruning it’s always good idea to apply feed and mulch at the base to give the plant a bit of extra nutrition and TLC while it recovers.

Rose Pruning

A few of the other HHSS trainees from other gardens on the scheme joined us just last week for a Rose pruning workshop led by St Fagans gardener Julie. Our task was to give the Roses a light annual prune. Different Roses respond better to different styles of pruning. We were each given a specific Rose bed, a map, and a list of the Roses with their pruning preferences. I was working with ‘Gruss an Teplitz’, which are a beautiful and fragrant old Hybrid Tea which prefer to be pruned thin. The first move was to remove any dead, diseased and damaged or displaced material. The 4 D’s! Next I thinned out the centre to produce a well-balanced open shape, and removed any crossing stems to stop them from rubbing against and damaging each other. I removed some of the very old, less productive wood to encourage new growth from the base. Always remember to prune to just above an outward facing bud, and make sure the cut slopes away from this to shed water.

histoire jardin St Fagans

Nicolas Reynes, 23 Chwefror 2015

Les jardins du château de St Fagans montrent à quoi pouvaient ressembler la propriété du conte de Plymouth et sa famille à la fin du XIXe siècle et début du XXe siècle.

Ces jardins sont bordés par un parc paysagé arboré qui nous mène vers 4 étangs en cascade surplombés par des terrasses formelles finies en 1871 et pensées par le paysagiste James Pulham.

S’en suis de magnifique parterre qui nous mène vers différents jardins comme le Dutch Garden entourant une fontaine, la roserais recréé comme elle avait été pensé en 1899 ou encore l’Italien Garden qui a été restauré il y pas longtemps grâce à des récits et photos d’époque pour retrouvé sa beauté d'antan.

Ces jardins regorge de secret historique comme les serres construite en 1899 et, de très belles variété de plante et de vieux sujet comme un hêtre planté en 1872.

Alors n’hésitez pas au cour de votre visite de questionner les jardiniers présent qui s’occupe avec passion de ces jardins.