Fifty years of a golden reign: a souvenir of the Queen's Jubilee 
Well now, here’s a pretty thing…
A souvenir booklet celebrating the fifty year reign of Queen Victoria. It was published in 1887 by Eyre & Spottiswoode, who were the official printers to Her Majesty at that time.
Our volunteer [Alison] has been working her way through old pamphlet boxes and all manner of forgotten things and very kindly passes to me items that are interesting, unusual or just lovely to see, and this one falls into that last category.
It measures 11 x 13.5 cm, has 16 pages and, our accessions register states that it was donated to us in May 1935 by a Mr Charles Barnwell Esq.
The book also contains a poem written by Lord Tennyson especially for the occasion. Tennyson had been Poet Laureate since 1850 [after William Wordsworth's death] and held the position until his own death in 1892.
Interestingly, Eyre & Spottiswoode [established in 1845], went on to merge with Methuen Publishing in the 1970s.
All photographs in this post taken by the author.
Mae partneriaeth rhwng Amgueddfa Stori Caerdydd, Amgueddfa Cymru a Cronfa Dreftadaeth y Loteri yn ceisio creu fflach amgueddfa wedi eu llywio’n gyfan gwbl gan aelodau’r cyhoedd sydd gyda rhywbeth i’w ddweud am Gaerdydd.
Bydd y themâu, y cynnwys a’r modd y mae’n cael ei arddangos yn cael eu penderfynu gan y cyhoedd a bydd yn cael ei greu a’i arddangos yng Nghanolfan y Mileniwm, Caerdydd, o 9 - 12 Hydref. Gall unrhyw un ymweld, ac un ai helpu i’w greu neu ei weld, a hefyd cael y cyfle i roi ei gwrthrych a’u stori hwy fel rhan o’r arddangosfa!
Dros y ddau fis nesaf byddwn yn cynnal nifer o weithdai fel bod pobl yn cael y cyfle i glywed sut y gallant for yn rhan o’r fenter hon, a darganfod mwy ynglŷn â sut y gall fflach amgueddfa weithio.
Bydd y gweithdai yn cael eu cynnal yn Amgueddfa Stori Caerdydd fel a ganlyn:
- Sadwrn 30ain Awst, 11yb-1yh
- Iau 11eg o Fedi, 6yh-8yh
- Sadwrn 27ain o Fedi, 11yb-1yh
Byddwn yn cadw blog ac yn trydar drwy gydol y cyfnod hwn, felly bydd gyfle i bawb lle bynnag eich bod yn byw fod yn rhan o hyn, a sicrhau eich bod yn gweld sut mae’r cyfan yn datblygu a pha straeon mae pobl yn eu rhannu ynglŷn â Chaerdydd. #fflachamgueddfa
Golwg ar y Casgliadau Diwydiant
Croesawyd amrywiaeth o gaffaeliadau newydd i’r casgliadau Diwydiant a Thrafnidiaeth ym mis Gorffennaf eleni eto. Ymhlith yr eitemau newydd mae -
Offer mesur danheddog a ddefnyddiwyd yn chwarel Dinorwig i farcio/mesur llechi to cyn eu torri. Safonwyd enwau a maint llechi to ym 1738 pan ddyfeisiodd y Cadfridog Hugh Warburton (cydberchennog Ystâd y Penrhyn ar y pryd) system enwi llechi o wahanol faint. Gan eu mesur mewn modfeddi, rhoddwyd enwau ‘menywod bonheddig’ i’r llechi fel Empresses, Duchesses Mawr, Viscountesses, a Ladis Llydan. Buan y daeth y rhain yn dermau safonol y diwydiant, er bod y meintiau yn amrywio o dro i dro ac o ardal i ardal. Mae cyfanswm o ddau ddeg tri ‘dant’ ar y ffon fesur sy’n 26 modfedd o hyd. Ar y pen mae tri ‘dant’ ddwy fodfedd ar wahân (yn y pen agosaf at yr hoelen) tra bod y dau ddeg saith ‘dant’ arall un fodfedd ar wahân.
Ffon fesur hir allai gael ei defnyddio i farcio a mesur llechi mawr maint ‘Queens’. Y llechen leiaf allai gael ei marcio gan y ffon hon yw'r ‘Narrow Ladies’ (16 modfedd o hyd neu fyw).
Ar y fforch dostio hon mae llun o löwr ac arysgrif 'BIG PIT BLAENAVON'. Byddai’r fforch yn cael ei gwerthu yn siop Amgueddfa Big Pit yn niwedd y 1980au/dechrau’r 1990au. Bellach mae Big Pit yn un o wyth amgueddfa genedlaethol Amgueddfa Cymru.
Potel wag o chwisgi un brag ‘Madeira’ Penderyn yn ei bapur gwreiddiol. Lansiwyd y cwmni yn 2000 fel y Welsh Whisky Company, cyn newid yr enw’n ddiweddarach i Penderyn Distillery gan fod y cwmni wedi’i leoli ym mhentref Penderyn, y tu fewn i ffin ddeheuol Parc Cenedlaethol Bannau Brycheiniog. Lansiwyd chwisgi un brag Penderyn gan Dywysog Cymru ar 1 Mawrth 2004 yn Neuadd Dewi Sant Caerdydd. Caiff ei aeddfedu i ddechrau mewn casgenni bourbon cyn ei aeddfedu ymhellach mewn barriques Madeira arbennig.
Cwmni rheilffordd Neath and Brecon a gynhyrchodd y dystysgrif cyfranddaliad hon gwerth £10. Awdurdodwyd y rheilffordd gan Ddeddf Seneddol ym 1862 a dechreuwyd cludo glo i Gastell Nedd dan yr enw Dulais Valley Mineral Railway. Gwnaed y gwaith hyrwyddo ac adeiladu gan y contractiwr John Dickson ac ef dderbyniodd y dystysgrif hon. Wedi cael caniatâd i ymestyn y rheilffordd i Aberhonddu newidiwyd yr enw i’r Neath and Brecon Railway.
Dau DVD yw’r eitem olaf. Ffilm am drychineb Glofa Albion ym 1894 wedi’i chreu gan staff a disgybl yn Ysgol Uwchradd Pontypridd yw’r cyntaf. Teitl yr ail yw ‘Memories of Old Clydach’ ac mae’n gasgliad o ffotograffau, dogfennau ac atgofion gan drigolion yr ardal yn y 1940au a’r 1950au. Mae un adran yn trafod Glofa Clydach Merthyr a gweithfeydd tunplat Players.
Curadur: Diwydiant a Thrafnidiaeth
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'Made in Roath' take some of the Museum’s specimens on a day out to Chapter
For this year’s Art Carbootique at Chapter Arts Centre in Cardiff, 'Made in Roath' were lucky enough to be able to work with Annette and Jules, the natural science conservators at the Amgueddfa Cymru - National Museum Wales in Cathays Park.
The National Museum of Wales has a vast collection of approximately 2000 taxidermy specimens most of which are not on display, and some of which present interesting curatorial challenges because of their history and the stories they tell. Having long been fascinated by the stuffed animal collection on display in the Natural History gallery at the museum, we felt really privileged to be invited behind the scenes and view the specimens in storage.
This was an amazing experience; the conservator’s stores are wonderful - heartbreaking and fascinating in equal measure. We decided that our mission would be to make a ‘museum’ in our caravan of a selection of these unseen animals, allowing them to temporarily escape the museum archive and be seen by the public. In this context, the specimen is not just being viewed as a singular object but as part of a wider culture, referencing human practices such as hunting, shipping and collecting happening in the Victorian period, but which are still practiced today. Furthermore, a consideration of the specimen’s history within the museum itself, with its changing site, politics and attitudes, exposes how wider socio-political forces have shaped the specimen’s display, reception and curation at the local level of the museum. Jules and Annette were really helpful and accommodating when we told them what we wanted to do, they went up to Nantgarw to the stores there and selected some more specimens to add to the collection, many of which had not been displayed for many years.
We installed the work, with a lot of help from Jules, and drove over to Chapter – there is something very surreal about towing a caravan full of stuffed animals through central Cardiff on a rainy Sunday Morning, but it was worth it. The response from the public was great, both adults and children have such a fascination for taxidermy, the exhibition was a big success, we’d also photographed the animals and made masks to give to visitors, so the animals had another opportunity to ‘escape’. Although the emphasis was on fun, we had expected to get some criticism with people possibly disapproving of the museums stuffed animals, but apart from some healthy and thought provoking discussion about the way human beings treat animals, it was a hugely enjoyable day. Thanks to AC-NMW, especially Annette and Jules, for making it happen.
The 'Made in Roath' Team!
Find out more about the work of 'Made in Roath' at http://madeinroath.com/
9 DAYS TO GO! A VIDEO OF FRAMING UP A LITHOGRAPH PRINT
We are in the final stretch of concluding this interesting and amazing project. We have been working hard during the last few weeks mounting and framing the 66 lithograph prints to have them ready for the exhibition The Great War: Britain’s Efforts and Ideals on the 2nd August at National Museum Cardiff.
In the following video you will enjoy the framing process carried out by our colleague Richard. As you can see it is a delicate procedure and the framer needs to be really clean and gentile with the work of art.
We have had the 66 frames specially made and stained by a local frame maker. The scratch resistant Perspex* we have used had to be washed with soap and water to remove all traces of adhesive before being taped into the frame. Conservation framing is about making a sealed package to protect the work of art from the outside environment whilst making sure that the content of the package are all up to conservation standards.
Once the Perspex is fitted in the frame, we clean it very well with glass cleaner and anti-static cloth being sure that is completely clean and we don’t want to scratch the Perspex. Then we put the mount with the work which is already free of any fluff over the surface in the frame. After that, we put in the backboard and keep it all together using a framer’s gun. Lastly we seal the frame with gum brown paper tape.
Don’t forget to join us next Saturday 2nd August for the opening of the show!
*Perspex: acrylic material is useful because it is light and unlikely to break on impact. However, these materials do scratch more easily and because of static, should never be used to glaze pastels, charcoal, chalks, or friable material
I Spy...Nature Exhibition is open
Saturday 19th July saw the official launch of the 'I Spy...Nature' Exhibition at National Museum Cardiff. The exhibition was officially opened by BBC wildlife presenter Dr Rhys Jones and many families were able to experience the exhibition first hand. Natural Science curators were also on hand showing a plethora of specimens from the Museum's Natural History Collections, including insects, marine invertebrates, fossils, fungi, plants, minerals and much more. The public helped to create fantastic modern and prehistoric scenes with beautifully coloured pictures.
The BBC and the Arts In the Nations and Regions: Impartiality - and Equality?
I am a passionate supporter of a publicly-funded BBC. Along with the NHS, social care and the state education system, I regard it as one of the four vital pillars of public service on these islands - evidence that democracy works. If I ask questions, and challenge practice, it is because I want the BBC to survive and thrive at the centre of public life. It is a beacon of truths in a world of commercial interests. It provides a public space for debate that is vital for our democracy.
I was born in Northern Ireland, grew up in the industrial Midlands of England, and went to university in Scotland. For the last four years I have worked in Wales. I have lived in every nation of the United Kingdom.
The culture of any nation or region is an ecosystem, made up of a number of mutually dependent parts. As well as arts and cultural institutions, these also include the print and broadcast media, public and private funders, the education sector, the tourism industry and - last but not least - creative industries and individual professionals.
Also essential to all of this is the wider community, whose informed support and creative participation is the lifeblood of all cultural activity. A creative economy depends upon a creative society.
The nations and regions of the United Kingdom outside London - with the exception, arguably, of the central belt in Scotland - do not have all the elements that they need to ensure a thriving arts ecosystem.
Wales, for example, has very strong resources of talent and great national arts and cultural institutions. Through recent reports by Dai Smith on the role of the arts in education, and by Baroness Kay Andrews on the importance of cultural participation in overcoming barriers created by poverty, Wales has recognised the value of cultural education.
But, like much of the rest of the United Kingdom, we do not get our fair share of UK funding for our arts. Nor do we have the coverage from the UK media that its quality
deserves. This lack of recognition and publicity from the UK print and broadcasting media - with the credibility that comes with it - in turn makes it still harder for us to attract the private funding that we need so badly, to invest in our programmes and, for example, to provide match funding for Lottery bids.
Many of the key decisions that determine profile for the arts are made by publicly funded organisations based in London, such as the BBC and Visit Britain, which appear to have little knowledge or understanding of what is happening in the rest of the United Kingdom, and especially the devolved nations.
Funding of the arts, employment in the arts, public access to and participation in the arts, and control of the arts are also scandalously unequal. 71% of funding for the arts in the whole of the UK from trusts and foundations, corporate donors and private individuals goes to London institutions. The remaining 29% has to be shared out between all the other nations and regions.
We are in the second decade of the twenty first century, but we still retain the highly
centralised, nineteenth century, semi-colonial model that the arts should be concentrated in London, and that funding London is synonymous with serving the English regions and the nations of the UK. For Wales, Scotland and Northern Ireland this undermines the principle, embedded in law, that culture is a devolved responsibility. It is a constitutional tension that remains unresolved.
All the evidence shows that concentration of power and funding in London is, in policy terms, a failure. Despite investment of over £1 billion annually of public and private funds in arts institutions in just three boroughs in Central London (Westminster, Southwark and Kensington and Chelsea), public participation levels in the arts in London are slightly lower than those across England as a whole.
Within England, the Arts Lottery has operated as a highly effective mechanism to take money from poorer communities and invest it in arts provision in Central London. Just five national performing arts organisations in London have received more (£315 million) from the Arts Lottery since 1995 than the 33 English local authority areas with lowest participation, representing 6 million people, which between them were awarded just £288 million over that period. Arts Lottery players of County Durham have contributed £34 million since 1995, but the area has received just £12 million.
The policies and practices of the media can exacerbate these divisions. Within the last year, both Melvyn Bragg and Tony Garnett (director of Cathy Come Home) have accused broadcasters of misrepresenting and sneering at working class people in TV dramas and documentaries. Recent research by the Open Society Foundations suggests that this perception is shared by many working class viewers themselves.
There is a challenge in all of this for the BBC, our publicly-funded UK national broadcaster. As funding for the arts from diverse public sources remains concentrated in one small area of England's capital city, and (as research by the Sutton Trust has shown) those employed in senior positions in broadcasting are recruited increasingly from men and women with privileged backgrounds, and the narrow circle of private support shrinks ever closer to central London, will the BBC's coverage of the arts shrink with it? And can this coverage now truly be described as impartial?
Within Wales, there is a much greater sense that culture in the broadest definition is a communal resource and belongs to everyone. At Amgueddfa Cymru - National Museum Wales, 28% of visitors to our seven museums across South, West and North Wales are from social classes C2DE. At a typical London national museum such as the National Gallery the figure is around a third of this, at 10%.
The BBC is a hugely important part of the arts ecosystem in Wales. The BBC's investment in Roath Lock in Cardiff with its drama productions has given a massive boost to our creative economy, and has made Cardiff a hub for related creative industries. The BBC has also made Wales a centre for music programming. There is a wealth of artistic talent and arts production of an international standard in Wales, yet the BBC in Wales - unlike England and Scotland - does not have a Centre of Excellence in the arts. As a result coverage of the richness of artistic activity within Wales is very limited, and on Network BBC it is almost non-existent.
Why does the Tate's Turner Prize - widely perceived in the contemporary art world to be tired and outdated - continue to get blanket coverage on Network BBC, when the critically more highly regarded Artes Mundi Prize in Wales has never in 12 years had any Network coverage? Research by the BBC itself shows that this lack of impartiality in its coverage of the arts in the nations and regions of the UK is the norm rather than the exception.
Even if it wins the vote on Scottish independence, Westminster has been revealed to have lost the hearts and minds of a substantial minority of its citizens in Scotland, the second largest nation in the United Kingdom. An article in the Guardian, published in early July, examined how the BBC was reporting on the referendum, and said that even a no vote should challenge the BBC 'to examine afresh how successfully it relates to constituent parts of the UK - and whether a more flexible, less monolithic notion of the future of the corporation ought to be embraced.'
Tony Hall, in a recent speech at the Pierhead Building in Cardiff, invited his audience to imagine Wales without the BBC. It is a fair challenge, but we existed long before the BBC with our languages and cultural identities. Some of us in Wales might ask him, in turn, to imagine a BBC that is not dominated by a London-centric perception of the world, and that better reflects the diversity of our nation's arts and cultures, our values and our debates. Without us - we who are outside London - not just the BBC but democracy itself will suffer, if we continue down the road we are on.
What are the solutions for the BBC? There should be a Centre of Excellence at BBC Wales, as there is in Scotland. We need devolved governance of the BBC in Wales through the BBC Trust, as recommended by the Silk Commission. This should be
underpinned by a separate extension to Charter agreement for Wales, and mechanisms to ensure fair representation of our arts on BBC Network. We need BBC Network to recognise that speakers of Welsh and other minority languages have a right to be heard in their own language on UK media. The BBC should monitor and publish annual data on its achievement of impartiality across the nations and regions. We need the Network BBC to be pro-active in overcoming a culture of inequality within the organisation.
And we need the BBC, with headquarters in London, to remember the importance of
geography, of the connections between culture and place. The nations and regions of the UK need the BBC to give us equality and parity of respect, and to free us to represent ourselves, in our own places and across the nations within the UK and abroad.
We want to commission London, not London (when it chooses) to commission us. Our nation’s share of the BBC budget should be devlolved in full to Wales.
As Hugh McDiarmid said, "You cannot light a match on a crumbling wall."
Let's build a better and more solid one.
*This is a summary of a more detailed paper I wrote, which can be found here:
 Four Nations Impartiality Review Follow-up: An analysis of reporting devolution’ – Cardiff School of Journalism, Media and Cultural Studies, Cardiff University – March 2010: http://cardiff.ac.uk/jomec/research/researchgroups/journalismstudies/fundedprojects/followupaccuracyandimpartiality.html
Gwyddonwyr Gwych Cymru
O’r chwe deg naw o ysgolion o Gymru a gymerodd ran yn ymchwiliad Bylbiau’r Gwanwyn i Ysgolion eleni, dyfarnwyd y wobr gyntaf i Ysgol Clocaenog o Sir Ddinbych.
Dyma’r Gwyddonwyr Gwych lwcus yn ennill trip llawn hwyl i Amgueddfa Lechi Cymru lle dyma nhw’n dysgu am Stori Llechi, yn chwilio am fwystfilod bach ac yn adeiladu nythod anferth yn y chwarel!
Athro’r Ardd: “Dyma Ysgol Clogaenog yn gwneud gwaith gwych ar gyfer ymchwiliad Bylbiau’r Gwanwyn a nhw anfonodd y mwyaf o ddata tywydd o bob ysgol yng Nghymru! Roedd y gystadleuaeth yn gryf wrth i ysgolion wella eu sgiliau casglu ac anfon data bob blwyddyn. Roedd yn braf cael cwrdd â Gwyddonwyr Gwych Ysgol Clocaenog, a dyma ni’n cael llawer o hwyl yn adeiladu nythod ac yn esgus bod yn adar bach! Dyma ni hefyd yn dysgu llawer am Lechi, a dwi’n credu taw fy hoff foment i o’r diwrnod oedd hollti’r llechi!”
Os hoffech chi gymryd rhan yn y project hwn y tymor nesaf, llenwch y ffurflen gais ar-lein:
RESEARCHING FIBRES IN THE MICROSCOPE!
Now it is time to research the fibres used during the paper making process in the different papers of ‘Effort and Ideals’ lithograph prints.
There are several methods to identify fibres such as the staining technique. The most common is Hertzberg’s Reagent which is used for paper fibres are based on iodine and zinc chloride. This type of stain is formulated to dye different groups of fibres differing colours. However, there are many disadvantages using this system because the specific colours stated for particular fibres are difficult to reproduce.
So, in this case we decided to take some samples of fibres of the prints and identify them under the polarising microscope.
In the first image, we are taking a small sample of fibres from one of the prints. We are using an invasive and destructive technique for that reason we have to be extremely careful taking the sample. Just shaving a little bit the very bottom edge we will be able to get enough fibres to analyse in the microscope.
In the third picture we are leaving the fibre sample on the microscope slide. After that, we will cover the sample with a cover slip and sealing with Meltmount (is a thermoplastic: it is fluid when heated and functionally a solid at room temperature; the appearance of the prepared slide will remain unchanged after the slide is returned to room temperature).
Once the sample is ready, we will work with it in the microscope. We took photos applying different magnifications.
In the fifth image, you can observe a detail of a linen fibre through the microscope. The term ‘linen’ covers a wide variety of material described as flax or linen. In both Europe and China flax has been used as a textile material since at least 4,500 BC.
The raw material after cutting and removing the seed head is retted in still or slow running water to slow process of bacterial decomposition. In some areas the process is carried out in a damp atmosphere only.
Linen is a bast fiber. Flax fibers vary in length from about 25 to 150 mm (1 to 6 in) and average 12-16 micrometers in diameter. Flax fibers can usually be identified by their “nodes” which add to the flexibility and texture of the fabric.
Other samples taken from the thinner prints revealed cotton as a main material. So in both cases we are talking about good quality paper fibres.
Golwg ar y Casgliadau Diwydiant
Ymhlith caffaeliadau newydd mis Mehefin oedd teledu lliw a theletestun Sony ‘Trinitron’ 14” gyda theclyn rholi o bell. Cynhyrchwyd y set gan Sony ym 1995 ym Mhencoed, Pen-y-bont. Edrychwch ar flog mis Rhagfyr i weld teledu arall a gyrhaeddodd yn ddiweddar.
Daw’r sampl hon o lechen o chwarel Maenofferen, Blaenau Ffestiniog. Byddai’r sampl yn cael ei hanfon i gwsmeriaid posibl i ddangos lliw a safon y garreg a gloddiwyd yn y chwarel. Mae sawl gwythïen lechi yng nghyffiniau Blaenau Ffestiniog a phob un ag enw unigryw; Llygad Newydd, Hen Lygad, Llygad Cefn, a Llygad Mochyn. Daw’r sampl hon o Lygad Cefn Chwarel Maenofferen.
Rydyn ni wedi derbyn casgliad hyfryd o 91 ffotograff yn rhodd, â’r mwyafrif yn dangos gwaith ailddatblygu’r Bwrdd Glo Cenedlaethol yng Nglofa Glyncorrwg yn y 1950au. Mae tair golygfa i’w gweld yma. Tynnwyd y ffotograff cyntaf ar 11 Medi 1951 cyn i’r gwaith ddechrau gan edrych ar hyd y dyffryn i’r gogledd.
Mae’r ddau lun nesaf yn dangos y gwaith ailadeiladu. Yn y cyntaf gwelwn nenbont gylch ar 1 Tachwedd 1955 ac yn yr ail mae gwaith yn mynd rhagddo ar offer pen y pwll ar 6 Chwefror 1957.
Ar 17 Mai 1965 achosodd llosgnwy ffrwydrad yng Nglofa Cambrian, Cwmclydach gan ladd 31 o lowyr. Roedd y pwll wrthi’n cael ei gau a llawer o’r gweithlu wedi’u symud, felly gallai llawer mwy fod wedi marw. Dyma glawr blaen rhaglen y gwasanaeth coffa a gynhaliwyd ar 17 Mai 2014, ac arno gwelwn yr offer pen pwll mewn gardd goffa.
Curadur: Diwydiant a Thrafnidiaeth
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