Amgueddfa Cymru

Hafan

Yma yn Sain Ffagan, mae’r prosiect ail-ddatblygu (Creu Hanes) yn mynd yn ei flaen ar garlam. Tra bo’r cadwraethwyr yn asesu cyflwr y casgliadau a’r curaduron eraill yn cydlynu gyda’r dylunwyr, un o fy nhasgau i dros y flwyddyn nesaf fydd gweithio ar gyfres o brosiectau cymunedol ar gyfer yr orielau newydd. Yn y byd amgueddfaol, mae ’na enw ar gyfer y math yma o waith – cyd-guradu, neu cyd-greu.

Wrth gwrs, dyw gweithio gyda chymunedau ddim yn beth newydd i ni fel sefydliad. Dyma oedd hanfod dull Iorwerth Peate o guradu a sylfaen datblygu casgliadau’r Amgueddfa Werin yn y lle cyntaf. Yn 1937 – bron i ddegawd cyn agor giatiau Castell Sain Ffagan i bobl Cymru – aeth Peate ati i lunio holiadur a yrwyd at unigolion a sefydliadau ym mhob plwyf yng Nghymru yn gofyn am arferion a thraddodiadau eu milltir sgwâr. Dyma ddyfyniad ohono:

… rhaid i’r Amgueddfa wrth wybodaeth a gwrthrychau o bob plwyf yng Nghymru; rhaid iddi ddibynnu hefyd i raddau helaeth iawn ar gydweithrediad y Cymry mewn fferm a bwthyn, tref a phentref.

Mae’r ymatebion a ddaeth i law bellach yn rhan o archif lawysgrifau’r Amgueddfa, ynghyd â llythyron a llyfrau ateb – dau ddull arall a ddefnyddwyd gan Peate i gasglu gwybodaeth. Yn ei gyfnod, does dim dwywaith nad oedd yn arloesi mewn tir newydd.

Heddiw, mae rhaglen gymunedol yr Amgueddfa yn barhâd o’r etifeddiaeth hon, ond rydym yn gweithio mewn ffordd dra wahanol. Yn y cyfnod cynnar, pan fyddai gwybodaeth a chasgliadau yn cyrraedd yr Amgueddfa, llais y curadur fyddai'n dehongli a chyflwyno’r deunydd hwnnw. Er mor werthfawr yw’r cynnyrch a gasglwyd, perthynas un-ochrog i raddau oedd rhwng yr Amgueddfa a’i hysbyswyr cymunedol.

Bron i wythdeg mlynedd yn ddiweddarach, mae’r pwyslais wedi newid ac fe welir hyn yn glir yn y gwaith sy’n digwydd yma fel rhan o brosiect Creu Hanes. O fewn yr orielau newydd, bydd gofodau wedi eu curadu gan gymunedau ledled Cymru – eu lleisiau a’u gwrthrychau nhw fydd hanfod yr arddangosfeydd hyn. Yn ogystal, mae fforymau cyfranogol y prosiect – pwyllgorau yw’r rhain sy’n cynrychioli cynulleidfaoedd amrywiol yr Amgueddfa – wedi chwarae rhan bwysig yn y broses o ddewis a dethol gwrthrychau a themâu yr orielau newydd o’r cychwyn cyntaf. Yn syml, ein nod yw creu hanes gyda, yn hytrach nag ar gyfer, pobl Cymru.

Gyda hyn mewn golwg, wythnos yn ôl mi roeddwn i gyda’r gymuned yn Awyrlu’r Fali yn cynnal ail gyfarfod am eu mewnbwn nhw i’r rhaglen cyd-guradu. Mae’r gymuned yn y Fali yn unigryw gan fod yno gymysgedd o dros fil o weithwyr milwrol a sifilaidd. Dyma un o gyflogwyr mwyaf Ynys Môn. Rydym wedi rhoi camerau fideo i ddetholiad o staff yr orsaf i recordio diwrnod arferol yn eu bywyd gwaith. Hyd yn hyn, mae wyth adran yn cymryd rhan, gan gynnwys y frigâd dân, peilotiaid Sgwadron 208 a’r gwasanaeth arlwyo. Mi fydd eu ffilmiau ‘pry-ar-y-wal’ yn cael eu dangos am gyfnod yn un o’r orielau newydd, ynghyd â gwrthrychau o'u dewis nhw. Bydd y cyfan wedyn yn cael ei archifo a’i roi ar gof a chadw yn yr Amgueddfa, a'r gofod arddangos yn cael ei drosglwyddo i gymuned waith wahanol.

I glywed mwy am ein prosiectau cyd-guradu, cadwch lygad ar y blog dros y flwyddyn nesaf. Gallwch hefyd gadw ar y blaen gyda'r datblygiadau drwy ddilyn fy nghyfrif  Twitter @StFagansTextile a’r hashnod #CreuHanes. Cofiwch hefyd am fy nghyd-weithwyr sy'n trydar: @CuradurFflur, @archifsfarchive, @SF_Politics, @SF_Ystafelloedd, @SF_adeiladau, @WelshFurniture@CollectionsSF a @SF_Dogfennaeth. Rhwng pawb, fe gewch chi’r diweddaraf am y prosiect ail-ddatblygu a chipolwg ar weithgarwch amyrwiol un adran sy’n rhan o’r gymuned waith yma yn Sain Ffagan. 

Cefnogir y gwaith gydag Awyrlu'r Fali gan Gynllun Cyfamod Cymunedol y Lluoedd Arfog.

‘Drown’d in drowsy sleep, of nothing he takes keep’. These were the words that William Goscombe John chose to accompany his sculpture Morpheus when it was first exhibited at the Royal Academy in 1891.

The caption was taken from the 16th century poem The Fairie Queene by Edmund Spenser, although it is not a direct quotation. This epic allegorical poem follows the journey of several Arthurian knights as they battle their way through a mythical fairyland.

Morpheus, the Greek god of dreams, plays a small role in The Fairie Queene. He is called upon to help the black sorcerer Archimago trap Redcrosse, one of the Christian knights. He does this by conjuring up a false dream of love and lust to fool Redcrosse into believing that his lover Una has been ‘sporting’ with another knight. This leads to Redcrosse abandoning her and continuing his quest alone.

In this sculpture Morpheus is shown asleep - or perhaps softly stirring from sleep, his arms stretched languidly above his head. Apart from this, John makes no other reference to the narrative of The Fairie Queene and it is not clear why he would have chosen to depict a figure who plays a relatively small role in the story, and in Greek mythology.

We might say that the mythological theme was a pretext for depicting a nubile male nude. Alternatively, we might see it as a statement about the role of the figurative sculptor. In mythology, Morpheus had one great power: he could mimic the human form, and trick people into seeing physical bodies that are not really there.

 

Stephanie Roberts and Penelope Hines 

A number of interesting objects have entered the industry & transport collections this month. Recently the museum purchased this Cambrian Railways Co. leather pouch for a single line tablet. The pouch would contain a tablet controlling the movement of trains. The driver must have possession of the tablet to proceed along the single line track. The Cambrian Railways were absorbed by the Great Western Railway on 1 January 1922, and this is an early example with a cane loop.

 

Over the last few months we have received a number of objects relating to the film 'Pride' and the 30th anniversary of the Miners’ Strike. This is a programme for a Sole Purpose Productions and the Rainbow Project production of ‘Pits and Perverts’ on tour to celebrate the 30th anniversary of the Miners’ Strike in 2014.

 

This paper serviette was produced to celebrate the visit of King George V and Queen Mary to Swansea on 17th – 19th July, 1920. Staying on the Royal Yacht; on the Monday they visited Talgarth Sanatorium and on the Sunday they attended a service at St. Mary’s parish church, Swansea. On Monday the King and Queen visited Hafod copper works which was owned by Vivian & Sons, and then Kings Dock tinplate works (owned by Baldwins Ltd.). Finally they laid the foundation stone of University College, Swansea.

The two images below form part of the museum's historic photography collections, and show the Royal Visit to Kings Dock tinplate works on 19th July 1920. In the first photograph Queen Mary (at centre) and King George V (towards the left) can be seen walking over railway lines at the tinplate works. The next photograph shows King George V entering the works.

 

 

This beautifully carved colliery official's yardstick (sorry, my photographs do not do it justice) was given to William Lewis on his retirement in 1881. William Lewis was Llwynypia Colliery official (overman), and was originally from Pontypool. The inscription reads - MR 1881 / WILLIAM LEWIS / OVERMAN / GLAMORGAN / VILLA / LLWYN / YPIA / NATIVE OF / PONTYPOOL / MONMOUTH / SHIRE / CRAFFUS FESURWR / FE GEYR TRWY GYNLLYN Y GWR / LAWN WAITH A BWYD Y WEITHWR / YR GLEW RHYDD NAWDD YR GLOWR SEF LEWIS

A yardstick (or Deputy’s stick) was carried by officials of the coal mines an aid in the process of testing for gas. Before about 1960 there was a hole at the top of the stick into which the deputy could fit the hook of his lamp in order to raise it into the roof to test for gas. This example has been adapted as a walking stick. About 6" has been cut off one end (removing the hole to raise the lamp) and a curved length of wood attached to form a new handle.

In the photograph below a colliery deputy can be seen with his yardstick, c.1900.

Mark Etheridge
Curator: Industry & Transport
Follow us on Twitter - @IndustryACNMW

One of the most exciting objects the Museum has acquired for the industry collections this month is an Albert Medal. This Albert Medal, Land, Second Class (No. 32), was presented to William Morgan for his heroism during the Tynewydd Colliery inundation. William Morgan was a collier at Hafod Colliery, Porth. The disaster occurred on the 11 April 1877 and further information can be found in this article. Information on Albert Medals can be found in this article where you will note that Amgueddfa Cymru now holds seven of the Albert medals awarded for Tynewydd. A number of objects relating to the Tynewydd disaster can be seen in a display on coal mining disasters at Big Pit: National Mining Museum.

This month the museum purchased a collection of share certificates to add to the already important collection of Welsh interest certificates held by the Museum.

The debenture seen here is for P.S. Phillips Ltd. Philip Samuel Phillips owned five Monmouthshire tinplate works and built a steel works, making him a major figure in the late nineteenth century Welsh tinplate industry. He acquired Abertillery Tinplate Works prior to 1872, and was part owner of Blaina Tinplate Works. He acquired Pontymister Tinplate Works in 1880 and then Lion Tinplate Works at Nantyglo in 1882. He also acquired Waterloo Tinplate Works near Machen prior to 1893. In 1891 he opened Pontymister Steel Works to supply his, and other tinplate works. The company was wound up in 1897.

This debenture is for Hurst’s Mines Limited. This company was registered in 1896 to acquire the Glasdir Coper Mine in Merionethshire. The name of the company reflecting Henry Ernest Hurst, a mining engineer and principal creditor of a previous company. The company embarked on large scale development at Glasdir, employing 125 men by 1897. It was renamed Glasdir Copper Mines Ltd. in 1898. The low grade of ore and depressed prices forced the company into liquidation in 1903. It was reopened under a new company from 1907 until final closure in 1914.

The Railway Heritage Committee was established by statute. It has the function of designating records and objects which are historically significant to the history of railways, and should be permanently preserved. This plaque has been designated by the Committee and deposited with the Museum. It is a cast iron plate of Evans, O'Donnell & Co. Ltd., and was originally attached to Barry Town signal box. 

If you look back at some of my previous blogs you will see that over the last few months we have acquired an original Lesbians & Gaymen Support the Miners badge dating from 1985. Also a promotional t-shirt from the film ‘Pride’. This badge was produced in 2014 to commemorate the 30th anniversary.

This full hull ship model is of the S.S. CALDY. The original ship was built by Richardson, Duck & Co. Ltd. of Stockton-0n-Tees, for Farrar, Groves & Co. Ltd. in 1913.

This poster shows rail sections produced at Cwm Celyn, Blaina & Coalbrook Vale Iron Works 1860-1867, whilst in the ownership of Frederick Levick and his son-in-law Robert Simpson. Wrought iron rails were the single most important product of the Welsh iron industry in the mid nineteenth century with enormous tonnages being exported worldwide for the construction of railways.

Mark Etheridge
Curator: Industry & Transport
Follow us on Twitter - @IndustryACNMW

Before Christmas, I posted a blog about our First World War collections. If you’ve had a chance to browse our new online catalogue, you’ll know that we have a number of campaign medals and memorial plaques in the collection. Recently, we accepted a donation from the family of Private Alfred Prosser Workman – a coal miner who is commemorated, along with his brother Edward, on the Newbridge War Memorial. Thanks to the generosity of Mrs Gaynor Hoare, we now have Alfred's Victory Medal, British War Medal and memorial plaque in the collection.

Alfred Prosser Workman

Alfred Prosser Workman served with the 11th South Wales Borderers. He married Mrs Hoare’s grandmother, Elsie Mayo, in 1915. After his death in 1916, the young widow went on to marry Mrs Hoare’s grandfather, William Thomas, in 1919. Elsie remained close to Alfred’s family long after he had died. Although not a blood relative, her son called Alfred’s mother ‘Granny Workman’.

Memorial on the move

The Newbridge War Memorial was re-erected here at St Fagans in 1996. Its original location, high on a hill in Caetwmpyn Park, Newbridge, made access an issue for ageing veterans. A new memorial was built in the town centre and the original structure was offered to the Museum. Members of the Newbridge Branch of the Royal British Legion organise an annual service of remembrance at the Museum. It remains, twenty years down the line, their memorial.

Community engagement

The First World War centenary has provided an ideal opportunity for us to re-connect with the people of Newbridge. Across the country, communities of ‘citizen historians’ are coming together to uncover their First World War heritage, and Newbridge is no exception. Supported by Ken Merriott of the Newbridge Branch, Tim and Suzy Bowers have been researching the hidden histories of the 79 men commemorated on Newbridge War Memorial. Take a look at their fantastic website to learn more about the project. Alfred Prosser Workman’s story is featured here.

This research is also accessible at the Museum in the Reading Room of Oakdale Institute. We have condensed the men’s biographies into short profiles which you can browse in the form of replica broadsheet newspapers.