Cystadleuaeth Darlunio Cennin Pedr 2014
Llongyfarchiadau i enillwyr y gystadleuaeth Darlunio Cennin Pedr 2014! Dyma’u darluniau botanegol gwych.
- 1af: Abbey – Ysgol Eglwys Plwyf Coppull
- 2il: Louise – Ysgol Gynradd SS Philip a James CE (Pinc 3)
- 3ydd: Amelie – Ysgol Gynradd Stanford in the Vale CE
Roeddwn i’n chwilio am ddarluniau botanegol – sef darluniau o blanhigion mewn arddull wyddonol. Yn ogystal â thynnu llun gwych, roedd angen labelu gwahanol rannau’r blodyn yn glir hefyd.
Roedd pob un o’r darluniau a dderbyniais i yn wych, felly gallwch chi eu gweld nhw i gyd ar y wefan! Da iawn bawb.
Gallwch chi weld y darluniau i gyd yma.
Diolch yn fawr,
A Window into the Industry Collections
Amongst this month’s new accessions was an aluminium prop withdrawer, known as a 'buller', manufactured by Parsons. It consists of handle and rack, and was used in coal mines for pulling out roof supports (as well as other tasks). This one is unusual in that it is made of aluminium for lightness. However the use of aluminium was later banned (because of its tendency to induce sparking) after the Horden Colliery explosion in 1953.
We have been donated the following four badges manufactured in 2014 that relate to the 1984/85 miners’ strike. These include two limited edition badges to commemorate the 30th anniversary of the 1984/85 miners’ strike. The inscription on reverse reads “Forget not the / lessons of / our past”.
This badge with the slogan ‘Coal Not Dole’ issued by The Orgreave Truth and Justice Campaign which included ex-miners, Trades Unionists, activists and others determined to get justice for miners.
The final badge in this collection is in the shape of a miners flame safety lamp. WAPC-NUM stands for Women Against Pit Closures - National Union of Mineworkers, and was manufactured for their 30th Anniversary.
We are currently working on documenting an important collection of approximately 150 film negatives taken by E. Emrys Jones in the 1950s and 1960s. The negatives show the slate industry in north Wales, concentrating on the Dinorwig slate quarry. Many images are of the Dinorwig quarry workshops (Gilfach Ddu) which is now the Welsh Slate Museum, and part of Amgueddfa Cymru. Below are three images taken from this collection.
A general view of Dinorwig Quarry, 1950. It shows the ‘Wellington’ section of Dinorwig Quarry, with the Muriau Shed in the foreground, and the Ceiliog Mawr in the background.
This view shows loaded slate wagons outside Gilfach Ddu (now the National Slate Museum) in the 1950s or early 1960s.
This group of quarrymen are probably at Dinorwig Quarry.
This model of an opencast coal truck was manufactured from South Wales anthracite coal. It is inscribed OPEN CAST / EXECUTIVE.
With 2014 being the centenary of the start of the First World War it is poignant that we have acquired a collection of photographs and documents relating to Captain Anthony Starkey of Bristol. Capt. Starkey was master of the S.S. Torrington which was torpedoed and sunk off the Scilly Isles in April 1917. 34 members of the crew were killed, and Capt. Starkey was the sole survivor. He was taken from the ship and held as prisoner aboard the U-boat for 15 days. He was then held in four different prisoner of war camps in Germany (including Brandenburg, Holminden and Strohenmoor).
This view shows the S.S. Torrington with an inset portrait of Capt. Starkey.
This photograph shows Capt. Starkey during his internment in Germany. It will have been taken in one of the four prisoner of wars camps in Germany that he was held in.
Curatorial Assistant (Industry)
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Overcoming the Taxonomic Impediment in the Amazon
It is well known that the Amazon rainforests are amongst the most biodiverse places on the planet. However, much of this biodiversity remains completely unknown having never been formally described and with absolutely no knowledge of the ecological and other conditions required for its survival. This profound lack of scientific knowledge arises from what is called the Taxonomic Impediment - there simply are too few taxonomists (people who can identify and describe living things) to get to grips with the magnitude of biodiversity. The Taxonomic Impediment is a world-wide problem as taxonomists themselves have become endangered species and few, if any, countries now devote sufficient resources to biodiversity research. There are many unfortunate knock-ons from this fact; for example designing rational conservation strategies is difficult without knowledge of the animals and plants that live in an area and some knowledge of why. It is only taxonomists who can deliver this knowledge.
In the Brazilian Amazon the situation is improving with a major research institute Instituto Nacional de Pesquisas da Amazônia (INPA) now conducting extensive taxonomic research and training a new generation of taxonomists to lead in future biodiversity studies. One such trainee is Josenir Camara, a PhD student at INPA now spending 6 months as an intern at Amgueddfa Cymru under the tutelage of Dr Adrian Plant (Principle Curator, Entomology). Josenir’s research is describing the diversity of a group of aquatic flies (Hemerodromiinae). She has already discovered more than 50 new species, and using sophisticated cladistic techniques to understand more of their evolutionary relationships with related forms elsewhere in the world. The Museum’s extensive collections and taxonomic skills will be an invaluable aid to develop her research and the expertise and experience she develops will be lasting benefits she will take home to Brazil. A small but positive contribution to removing the Taxonomic Impediment in her own country.
Bylbiau'r Gwanwyn i Ysgolion: Canlyniadau 2005-2014
Mae project ‘Bylbiau'r Gwanwyn i Ysgolion’ yn gyfle i filoedd o wyddonwyr ysgol weithio gydag Amgueddfa Cymru i archwilio newid yn yr hinsawdd a'i ddeall.
Ers mis Hydref 2005, mae gwyddonwyr ysgol wedi bod yn cadw cofnod o'r tywydd a phryd mae eu blodau'n agor, fel rhan o astudiaeth hirdymor o effeithiau'r tymheredd ar fylbiau'r gwanwyn.
Mae tystysgrifau wedi cael eu hanfon at yr holl ddisgyblion yn 4,075 a gwblhaodd y prosiect eleni.
Mae rhagor o fanylion yn adroddiadau Athro'r Ardd neu gallwch chi lawrlwytho'r daenlen i astudio'r patrymau!
- Gwnewch siartiau amlder a graffiau i ganfod y cymedrau.
A wnaeth blodau agor yn hwyr mewn ysgolion oedd yn cofnodi tywydd oer?
Sut wnaeth tymheredd, heulwen a glaw effeithio ar ddyddiadau blodeuo ar gyfartaledd?
Chwiliwch am dueddiadau mewn gwahanol lefydd yng Nghymru.
Diolch yn fawr
From Amazonian Rainforest to Welsh Rain!
Brazilian PhD student Josenir Camara is working with Dr Adrian Plant, Principle Curator of Entomology at Amgueddfa Cymru, on a three-year project to describe some of the diversity of Diptera (flies) inhabiting the rainforest of Brazil’s Amazon Basin. The two researchers have already made numerous collecting expeditions to remote parts of the Amazon, but now they are both back in Cardiff where Josenir will spend the next six months studying at the Museum. As a part of her research she will describe all the Amazonian species of a group of water-inhabiting flies known as Hemerodromia. She already has more than 50 species that are completely new to science and once these have been formally described, the next task is to construct an evolutionary tree showing how the Amazonian Hemerodromia have diversified in respect to Hemerodromia elsewhere in the world. This is where Amgueddfa Cymru comes in as our extensive collections will provide her with an invaluable resource she can use to compare how Amazonian species differ from others. By careful comparison of ‘characters’ of each species and using sophisticated computing methods, Josenir will construct a ‘phylogenetic tree’ to illustrate the sequence of evolutionary changes that have occurred. By comparing the evolutionary tree with the fossil record, geological and climatic history it is hoped that we start to learn more about the biogeography of the Amazon (biogeography is the study of how species and communities or organisms become distributed both geographically and through geologic time).
FIGHTING AGAINST FOXING
Do you want to know what happened after washing one of the lithograph prints??
So here you are, the before and after washing treatment where you can see that the foxing spots have disappeared completely over the paper surface.
As we said before, the foxing reddish-brown spots can appear in the paper surface due to different causes. For example, the print has been exposed to relative humidity and temperature fluctuations for a long period of time creating an environment for the growing of mould or another possibility, could be that during the paper making process were used raw materials infested with mould.
These micro-organisms can remain latent for months or years awaiting for the appropriate conditions for growth and there are a wide range of colour stains. In some of the lithograph prints we found basically small yellow spots in different areas of the paper surface.
Diwrnod Budd a Roi 2014
Wythnos diwethaf, fel rhan o Ddiwrnod Budd a Roi 2014, daeth 50 o wirfoddolwyr o Lloyds Banking Group i Sain Ffagan i helpu gyda nifer o brosiectau. Wnaeth rai helpu’r Adran Garddio, wnaeth rai ymuno a’r Adran Adeiladau Hanesyddol tra gwnaeth rai gweithio ynghyd a’r Gymdeithas Alzheimer. Wnaeth 11 o’r gwirfoddolwyr gweithio gyda fi a Bernice i adeiladu gwrych newydd yn y goedwig wrth ymyl y guddfan adar.
Da ni di bod yn bwriadu adeiladu gwrych wrth ymyl y guddfan adar am sbel, am nifer o resymau. Yn gyntaf, bysai’r gwrych yn actio fel sgrin wrth nesai’r guddfan, gyda’r gobaith bysai’r adar ddim yn cael ei ofni gan ymwelwyr yn cerdded ar hyd y llwybr. Ma’ wrych hefyd yn gallu gweithio fel coridor wrth i fywyd gwyllt symud drwy’r goedwig. Hefyd, mae nifer o ymwelwyr wedi bod yn creu llwybr wrth dorri drwy’r goedwig, ac felly, wrth adeiladu gwrych, da ni’n gobeithio nawr bydd llai o ymwelwyr yn gwneud hyn.
Tasg cyna’r dydd oedd minio’r pyst. Mae’r pyst yn bwysig er mhoen neud yn siŵr bod y gwrych yn cael ei adeiladu ar sylfaen solet. Mae creu min yn neud e’n haws i yrru’r pyst mewn i’r ddaear. Ar ôl creu tyllau arwain, defnyddiwyd morthwyl mawr i yrru’r pyst i lawr. Unwaith roedd y pyst yn ei le, roedd hi’n bosib i ni ddechrau adeiladu’r gwrych.
Ma’ na nifer o wahanol fathau o wrych, a phenderfynon ni ddefnyddio pren a choed wedi marw. Dros yr wythnosau diwethaf, dwi di fod yn gofyn i’r adrannau garddio ag amaethyddiaeth i gasglu unrhyw bren ac yn y blaen a’i anfon draw i’r guddfan adar. Am fod angen cymaint o bren, es i a rai o’r gwirfoddolwyr mewn i’r goedwig i gasglu hyd yn oed mwy.
Ar ôl cinio, fel grŵp, aethon ni i fyny i Fryn Eryr, safle’r ffarm Oes Haearn newydd sy’n cael ei adeiladu. Mae’r goedwig yma wedi cael ei chlirio yn ddiweddar, felly llanwyd trailer yn barod i’w cludo i’r guddfan. Erbyn diwedd y prynhawn, llwyddon ni i orffen y gwrychoedd. Gorffennwyd y gwrychoedd efo toriadau palalwyf er mwyn ychwanegu bach o je ne sais quois.
Fel mae’r lluniau yma’n dangos, mi oedd y diwrnod yn llwyddiant enfawr! Gallwn ni ddim di gofyn am dywydd gwell a dwi’n meddwl gwnaeth pawb mwynhau’r profiad. Gorffennwyd y 2 darn o wrych oeddem ni am adeiladu, a dwi eisoes wedi meddwl am brosiectau am y dyfodol! Cyflawnwyd llwyth o waith mewn un diwrnod, bysai’r gwaith di cymryd amser maeth i mi a Bernice i orffen heb help y gwirfoddolwyr. Diolch yn fawr iawn i bawb wnaeth helpu ni a’r prosiectau arall hefyd!
The following photographs are from the book, Twelve new designs of English butterflies, by Benjamin Wilkes [published in 1742]. This rare work consists solely of twelve engraved plates each depicting geometric arrangements of both butterflies and moths. Wilkes produced this profoundly beautiful work as member of the Aurelian Society. Aurelian is an archaic word for lepidopterist [one who is interested in butterflies]; the term is derived from aurelia, meaning chrysalis, and relates to the golden colour it may attain just before the butterfly emerges.
The Society of Aurelians [London], one of the oldest organized bodies of specialists in any branch of zoology. The group collected and documented insects from the 1690s but came to an abrupt end in March 1748. While members of the society were in a meeting in the Swan Tavern, a great fire broke out in Cornhill and enveloped them. All the members escaped, but their entire collection, library, and records were destroyed. This event was documented by Moses Harris in The Aurelian; or, Natural History of English Insects (1765). The loss disheartened the group so much that they never managed to regroup again…Aurelian societies were formed several times in Britain [most notable 1762 and 1801], but each time they collapsed.
…Benjamin Wilkes was an 18th-century artist and naturalist whose profession was 'painting of History Pieces and Portraits in Oil'. When a friend invited him to a meeting of the Aurelian Society, where he first saw specimens of butterflies and moths, he became convinced that nature would be his 'best instructor' as to colour and form in art. He began to study entomology spending his leisure time collecting, studying and drawing the images larvae, pupae and parasitic flies of Lepidoptera, assisted by the collector Mr Joseph Dandridge. Wilkes' own collection was kept 'against the Horn Tavern in Fleet Street' London 'Where any gentleman or lady' could see his collection of insects [Wikipedia].
Our holdings of other Aurelian books include:
The English Lepidoptera: or, the Aurelian's pocket companion: containing a catalogue of upward of four hundred moths and butterflies ... / Moses Harris 
The aurelian. a natural history of English moths and butterflies, together with the plants on which they feed. Also .../ Moses Harris 
English moths and butterflies… Benjamin Wilkes  This work ran to three editions of which the last, incorporating Linnaean nomenclature, was published in 1824
The British Aurelian: twelve new designs of British Butterflies and Directions for making a collection, with an essay by R.S. Wilkinson / Benjamin Wilkes, R.S. Wilkinson 
All photographs in this post taken by the author
This week we are going to talk about the watermark found on the lithograph prints.
Do you know what a watermark is? Well, the watermark is a design or a pattern which is made during the paper production by the paper makers. The first paper mill which introduced a watermark in its papers was Fabriano, Italy in 1282. A watermark is made by attaching wire in a shape or letters to the mould, the sieve which catches the fibres making a sheet of paper. This then causes the paper to be thinner in this areas. Another way to make a watermark is impressing a water-coated metal stamp or dandy roll onto the paper during manufacturing. Watermarks can show us the manufacturer’s name, an animal, geometric designs, etc.
If you hold a bank note against the light you will be able to see a watermark!
During the lithograph prints conservation process we found in many thinner papers a Holbein watermark. After some research, we discovered that Holbein paper was a handmade printing paper sold by Spalding & Hodge, 145-7 Drury Lane, London WC. At the end of nineteenth century Spalding & Hodge were the owners of paper mills at East Malling in Kent also they bought Horton Kirby Mill, South Darenth, Kent in 1872.
Exactly one month ago to today, Amgueddfa Cymru launched two publications which set out how museums and other arts and heritage organisations can help achieve the essential goal of equity of opportunity for all children to develop their talents. In this blog, David Anderson, Director General of Amgueddfa Cymru, shares his views about both publications and why this work is important.
A few years ago, I was involved in a project run jointly with a children's charity to offer creative design projects for children in care. Their work was exhibited in the galleries of a museum. One girl made a quilt that I still vividly remember. On it she had sewn the words, "Why does he get everything and I get nothing?”. I never learnt the story behind the words on that quilt, and perhaps it was too personal to share.
The earliest evidence of a child in Wales is the teeth of a girl aged 9 years, one of a group of Neanderthal humans whose remains had been washed into a cave in Pontnewydd, along with the bones of hyenas and other wild animals of that period. They have been dated to around 240,000 BC. Before her early death, this girl would have learnt her culture - making tools, cooking food, hunting, gathering flowers and burying her dead - from her parents and others in the group.
In a series he wrote and presented for Ulster Television in 1987-8 Professor John Blacking, the ethno-musicologist, said, "Every individual as a baby has thought in movement before thinking in words". Creativity is a movement of the body, he said. We are moved into thinking. For him, culture exists only in performance - for children as well as adults.
Not so long ago, children in Wales worked in workshops, factories and mines. They have always been makers of culture as well as recipients. Even today, children across the world make their own toys. Children in Western Asia still make carpets. The collections of museums are full of beautiful things made by children.
The extraordinarily fine Ardebil Carpet, that so awed and inspired William Morris, is believed by many to have been produced by the hands of children. The hardships endured by working children - in the past and today across the world - tell us what skills and creativity children are capable of, even under conditions of privation.
True creative cultural participation for children is not - or at least should not - be an option. The Universal Declaration of Human Rights includes the right to participation in the cultural life of the community as one of the five fundamental rights. Who are we to deny that right to children?
In 1942, the Beveridge report identified squalor, ignorance, want, idleness and disease as five giant evils that Britain should slay, and the Post-War Labour Government set out to do this. But Beveridge should have added a sixth giant to his list: cultural exclusion. In our own time, Kay Andrews and Dai Smith have between them written a modern Beveridge report for the cultural lives of children in Wales.
Among their many key messages are that we should commit to provide:
(i) full ongoing creative participation - not just occasional access;
(ii) as a right - not just an option;
(iii) for every child - not just the few.
The cultural sector is Wales' second education sector. It compliments and enriches the school, college and higher education system. Each year, the seven museums of Amgueddfa Cymru alone serve approximately 250,000 schoolchildren and 750,000 children and adults in family groups. The creative, experiential learning that museums can offer has been shown time and again over the years to inspire children who, for the school system alone, are hard to reach.
Museums and other arts and heritage organisations have a vital role in inspiring, extending and developing each child's engagement with their cultural offer. But children's cultural lives are far wider than than can be found even in our national and local cultural institutions.
Every child has their own talents and potential. Is it bringing people together and making friends, identifying plants, writing a diary, caring for older people, dancing, diagnosing faults and repairing machines, bee-keeping, telling stories, taking photographs, designing electronic circuits, playing sport, to studying birds and animals, shaping metal, writing and performing music, exploring, making others laugh, seeing patterns others miss, testing water quality, sharing skills, carving in wood and stone, and a thousand other ways to make the world a better place? Any of these, and a mind that is always curious, critical and open to new ideas and experiences.
Some children want to become Billy Elliott and they should be supported in doing so . But most want to be something else.
The industrialist John Harvey-Jones said that everyone has talent; it is the job of the educator to help them to find it. And it is particularly the role of museums and other arts and cultural organisations to help children to find their talents in the sciences, arts and humanities, in a welcoming and social environment.
If we limit ourselves to telling children what we ourselves know, we do them, and future society, a great disservice. That would be not education but counter-education. Yet far too often - through a conservative and anti-intellectual mis-appropriation of our historic public purpose - it is counter-education that we offer.
These two publications on Transforming Futures set out these new agendas for museums and other arts and heritage organisations in achieving the essential goal of equity of opportunity for all children to develop their talents. Amgueddfa Cymru - National Museum Wales began work on them in 2012. But they very much compliment and support the recommendations of Kay Andrews' and Dai Smith's reports.
But whereas those reports were - quite rightly - principally concerned with national policy and infrastructure, the Transforming Futures publications are intended more to support cultural institutions on the ground. Among the recommendations of the Transforming Futures reports are proposals for:
(i) fundamental changes in the work of cultural institutions themselves
(ii) new research on effective practice by cultural organisations
(iii) a new code of ethics for cultural organisations with principles to guide our work.
Poverty and exclusion in Wales - and across the UK - is growing year by year. We have an ethical responsibility to respond.
It is our task to create something new: a National Cultural Service for Children. Like health, education, housing and every other universal service, children's cultural participation must be developed locally, if it is to be effective, but within a national framework.
We should not say we cannot afford it. When the Beveridge Report was completed in 1942, the then Chancellor of the Exchequer tried to prevent its publication, saying that it was unaffordable. Yet, a few years later, the post-War Attlee Government implemented the most radical programme of equality that Wales and the UK has ever seen.
But decade by decade, as the NHS has provided health services free at the point of delivery, and comprehensive schools have given every child free education, the giant of cultural exclusion has continued to stalk the nation unchallenged.
We can change this. So that no child should need to say, "Why does he get everything, and I get nothing?".