: Collections & Research

I would like to introduce some of the incredible fan leaves that Amgueddfa Cymru holds in its collection in a two-part blog. Looking at these fan leaves reveals the important relationship between the eighteenth-century print trade, text and painting practice. In this first blog I will expand briefly upon a couple of the painted and printed Welsh and English fans dating to the eighteenth and nineteenth centuries nestled in storage at St Fagans National Museum of History and their material nature.

A number of these fans have paper bases, while a few are created from silk, and several take the screen, brisé (meaning ‘broken’ in French) or cabriolet (a form of transport comprising a two-wheeled carriage, drawn by a horse) form. Numerous fans sport lace sewn sequins (fig. 1), embossed and carved guard sticks. The majority of these specimens have come to Amgueddfa Cymru from Welsh collectors, with a couple seemingly made by talented amateur fan makers. Among these wonderful examples, several printed eighteenth-century fans highlight the complexity of the British print trade during the period in which these fans were produced.

The anonymously made Medley Fan (Untitled) (fig. 2), produced around 1760 (probably in Wales), illustrates the impact different aesthetic media had upon fan design in the eighteenth century. Medley Fan depicts a number of trompe l’oeil images scattered across its surface, including a hand-painted ‘snapshot’ of castle ruins being admired by an aristocratic tourist, which overlaps an engraved image of a peasant girl, set against verse from John Gay’s poem The Fan (1713). Similarly, Map of South Wales Fan (fig. 3), made approximately between 1800 and 1817 (also anonymously) – there is a signature ‘Miss Watkins 1817’ inscribed on the fan – shows rare, and expertly executed, printed imagery. Miss Watkins was the niece of the Reverend David Williams (1738-1816), the Welsh philosopher, and it is likely the fan was made in South Wales. Map of South Wales Fan and Medley Fan (Untitled) suggest the intrinsic link between fan making, decorative arts, painting and the print trade in the 1700s. In the second part of my blog I will go on to explain more about the trades that fan shops dealt in.

Within Amgueddfa Cymru’s botany collections are books of dried plant specimens created by scientists and enthusiasts. Each specimen has been carefully dried and pressed, before being added to the books, sometimes with handwritten or printed notes alongside. The books are of enormous importance both in terms of modern scientific research into climate change and biodiversity, and as a way to see first hand the history of botanical exploration.

You can now look through a catalogue of the 36 books that contain non-flowering plants, fungi, lichens and seaweeds. You can read about a few of the stories surrounding these books below. For more detailed information about each book, please visit the website.

These books show the changes in how we collect, classify and name plants over two centuries from 1800 to present day. An old volume which probably dates from the 19^th century entitled “New Zealand Mosses”, contains more than just mosses. Lichens, algae and even some pressed hydrozoans (tiny marine animals) have been included by the unknown collector who chose to group these superficially similar ‘moss-like’ specimens together. This donation entered the Museum’s collections after its Royal Charter was received and before work had begun on the present Cathays Park building.

While the earliest currently known non-flowering plant specimen in the Museum is a moss collected in 1794 from Gwynedd, the earliest specimen book dates from 1803. This book is Lewis Weston Dillwyn’s personal collection of seaweed and freshwater algae collected between 1803 and 1809. Dillwyn’s specimen book was donated to the Museum in 1938 by the National Library of Wales, and has great importance both scientifically and historically.

Lewis Weston was part of the influential Dillwyn family, and his son John Dillwyn Llewelyn became an early pioneer photographer. He was interested in the natural history that he saw in south Wales where he lived. This is reflected in his scientific research as well as in the pottery designs created while he was owner of Cambrian Pottery. Dillwyn described new species of algae and his specimen book contains type specimens (irreplaceable specimens used in the original description of a species). The book is a personal record of his scientific life, recording places he visited and scientists who sent him specimens. He became a Fellow of the Royal Society in 1804 and later had a plant genus named after him in recognition of his work.

Many of the botanical specimen books in National Museum Cardiff have a fascinating history. Two contain mosses collected by Thomas Drummond on the Second Overland Arctic expedition between 1825 and 1827 to British North America (now Canada). Delving further into the book’s background reveals that the Captain, Sir John Franklin, sent Drummond to the Rocky Mountains with one Native American hunter. After the hunter left him on his own, he survived a severe winter, being mauled by a bear, and starvation. He still managed to collect, preserve and study many new plants of the North American continent. This work was published by Sir W.J. Hooker, who later became the director of the Royal Botanic Gardens, Kew.

The more recent books are systematically collected specimens known as ‘exsiccatae’. These are sets of duplicate specimens distributed by scientists to other museums. They help to spread the risk of losing a particularly important set of specimens, and to allow scientists around the world to study them. Lists of their contents are usually published in a journal or online. Much of the Berlin Herbarium and the botanical specimens within it was destroyed in World War 2, however many duplicate specimens from this collection survive in other herbaria around the world. From around the 1900s, exsiccatae changed from being bound books to being loose specimens. This meant museums receiving them could incorporate them into their collections alongside other closely related specimens for easier access and comparison.

Patterns are such a large part of our day-to-day culture that they can often go unnoticed. They are on the clothes we wear and the furnishings we buy for our homes and offices. The majority have no purpose other than decoration. Many of the patterns seen within our Collections however, are more than simple decoration. They were created to protect the home and its occupants from bad luck brought about by witches, curses and evil spirits. In this series of blogs, we will take a closer look at the purposeful patterns and meaningful marks seen here at St Fagans.

Carpenter’s marks can be seen chiselled into our timber-framed buildings such as Stryd Lydan barn. The frames of timber buildings were created in the carpenter’s yard and then pulled apart for transportation: these marks allow each element of the prefabricated frame to be confidently re-assembled at the build-site.

Atropaic marks (from the Greek word for ‘to ward off’ or ‘turn away’) can take many forms – burn marks on wooden beams, or engravings such as hashed lines and crosses on masonry, flowers drawn with a compass, serpentine lines, squares of alternating colours, or double ‘V’s. They were typically added to homes and agricultural buildings between 1600 and 1950. They were most commonly applied at ‘weak points’ where bad influences could enter homes with ease – doorways, windows and fireplaces.

Entoptic marks (‘things seen within the eye’) are geometric designs that form part of the earliest recorded art in the world. Our Gweithdy gallery contains a wealth of artefacts decorated with these designs. The 6,000 year old wooden beam from Maerdy and the carved stone from Barclodiad y Gawres both feature a serpentine trail. The 3000 year old clay pots known as beakers are decorated with striking alternating geometric designs. The Roman mosaic from Caerwent is composed of a central serpentine knot surrounded by alternating black and white triangles. Likewise, early Christian crosses are carved with interlaced knotwork. These patterns share many elements with the later atropaic marks and could represent the origin of that tradition. For instance, during the 19^th and 20^th centuries it was common to believe that a pattern drawn with a single unbroken line could fascinate and entrap evil spirits.

The next time you walk past a typical Victorian house, take a moment to consider the path of alternating coloured tiles leading to the doorway. Or when you go to bed, ask yourself why is it that Welsh blankets are so ‘loud’ when you’re trying to get to sleep?  Maybe these too are part of the same tradition of drawing patterns with a purpose.

Ar y cyntaf o Fai, dethlir Calan Mai.  Mae'r ŵyl yn nodi dechrau’r haf a chyfnod o ffrwythlondeb a thwf.  Mae toreth o draddodiadau yn gysylltiedig â’r ŵyl – rhai yn fwy rhyfedd na’i gilydd!  Dyma ddetholiad o ambell i arfer sydd ar gof a chadw yn Archifau AWC.

Canu am Gildwrn yn Nhreuddyn

Yn ardal Treuddyn, ar ddiwrnod Calan Mai, byddai plant yn gwisgo dillad llaes a mynd o ddrws i ddrws yn canu cân a chario cangen wedi ei hardduno â charpiau yn y gobaith o dderbyn ychydig o gildwrn neu rodd fechan gan berchennog y tŷ.  Dyma eiriau Alun J. Ingman, a anwyd yn Nhreuddyn yn 1906:

Ar ddydd Calan Mai, byddai rhai wedi paentio’u hwynebau ac yn gwisgo rhyw hen sgert a dillad llaes a mi oedd ganddyn nhw gangen, a charpiau arni hi, a mynd o ddrws i ddrws. Mi fydde ’na gân debyg i hyn: “Dawns sy’n sa’, y gangen ha’, am mor fychlawn neidio. Neidia di i ben y tŷ a mi neidia inna troso’”. Fydde hynny, a cildwrn, tipyn o gocos, yn rhwbath yn debyg i Calennig ond ar ddydd Calan Mai.

Derbyn Menyn yng Ngogledd Penfro

Yng Ngogledd Penfro, arferai gwragedd a phlant deithio o amgylch ffermdai yr ardal yn derbyn talpau o fenyn yn eu basynau.  Golygai hyn y byddai ganddynt ddigon o fenyn i roi ar eu bara am wythnosau i ddod.

Penglog Ceffyl i’r Ferch a’ch Digiodd

Yng Ngogledd Cymru, byddai gwŷr ifanc yn cael gafael ar benglog ceffyl ar noswyl Calan Mai ac yn ei hongian uwchben drws morwyn neu ddrws gwraig briod a oedd wedi eu digio. Yn aml, byddai enw’r ferch anffodus wedi ei glymu i’r penglog.

Colli Gwaed ar Galan Mai

Mae Mary Davies a anwyd yn Nantyfedwen, Trefeglwys, yn 1892, yn cofio y byddai ei Nain yn mynd pob blwyddyn i gael colli tipyn bach o waed adeg Calan Mai:

Glywos i’n nhad yn dweud ei fod yn gwybod am rywun oedd yn mynd i ryw gors, ac roedd y gelod yn cydiad yn y gors, ac roedd e’n eu gwerthu nhw i’r cemist.  Fydda’r cemist yn gwerthu nhw i fobol i dynnu gwaed.  Bydda’r gelod yn cael eu defnyddio yn reit ddiweddar yn bydda nhw.  Bydda Nain, mam ’y nhad, yn mynd pob blwyddyn i golli tipyn bach o waed.  O, odd hi’n well o lawer iawn wedyn odd hi’n meddwl.

Gofyn Bendith ar Amaethwyr

Ar y dydd hwn yn ardal Llangristiolus, cynhelid gwasanaeth yn y capel i ofyn bendith Duw ar ffermwyr yr ardal.

Rhwystro’r Wrach Rhag Hudo

Ar fore Calan Mai yn Llanwennog, byddai’n arfer addurno pen y drws blaen â dail gwyrdd er mwyn atal y “witsh” rhag dod i’r tŷ a'i hatal rhag rhoi hud ar y cartref fel na allai’r teulu gorddi trwy gydol yr haf.

Godro Defaid

Arferid godro defaid yn ystod yr wythnos gyntaf ar ôl ffair Galan Mai Llanfair-ym-Muallt ac yna eu gadael yn hesb nes fis Hydref.

“Cadw Gofid Mâs o’r Tŷ”

Yn ardal Cydweli, byddai rhai yn addurno y drws blaen gyda changhennau coed ynn er mwyn “cadw gofid mâs o’r tŷ” ac i atal gwrachod ac ysbrydion, a oedd yn arbennig o ddrygionus ar ddechrau Mai yn ôl y sôn, rhag chwarae triciau ar y trigolion.

Ffeiriau Cyflogi

Cynhelid ffeiriau cyflogi mewn llawer tref yng Nghymru ar ddiwrnod Calan Mai. Byddai gweision a morwynion yn cael eu cyflogi am flwyddyn ac yna’n dychwelyd i’r ffair mewn deuddeng mis neu symud i ardal arall er mwyn ceisio gwell cyflog.  Dyma eiriau Rhys Morgan, a anwyd yn 1875 yng Nghorneli Waelod, ger Pen-y-bont ar Ogwr:

Odd May Day pryd ’ny. Dydd Cala-Ma’. A dyna’r dydd on nhw’n ych dewis chi. Os och chi’n moin jobyn, och chi’n gofyn i’r fferm a on nhw’n setlo ar arian.  Odd pob un yn Ben-bont, odd gweision ffermydd a lot o’r ffermwyr hefyd 'ny. Bydde chi’n clywed “Ma ishe gwas yn New Park, ma ishe gwas yn y Grove”.  Wel nawr, och chi nawr yn mynd i edrych, bydde’r ffarmwr ddim yn dod atoch chi.    Pedwar ucen mlynedd yn ôl - dydd mawr.  Sdim sôn amdano fe nawr.      

Continuing the international year of the periodic table of chemical elements, for April we have selected Calcium. Known by most as the fundamental element in bone-forming or limestone, it has a host of other applications and is present in seabeds and marine life past and present.

Calcium (Ca) is a light-coloured metallic element with an atomic number of 20.  It is crucial for life today and commonly forms a supporting role in plants and animals. The 5^th most common element in the earth’s crust, calcium forms many useful rocks and minerals such as limestone, aragonite, gypsum, dolomite, marble and chalk.

Aragonite and Calcite, the two most commonly crystalised forms of calcium carbonate, helped form the 2 million shells in our mollusc collection, the core of which is the Melvill-Tomlin collection, donated to the museum in the 1950s. An international collection it contains many rare, beautiful and scientifically important specimens and is utilised by worldwide scientists for their research. Pearls, also made of aragonite and calcite, are produced by bivalves such as oysters, freshwater mussels and even giant clams. In nature pearls are the result of the molluscs’ reaction against a parasitic intruder or a piece of grit. The mantle around the soft bodied animal secretes calcium carbonate and conchiolin that surrounds the invading body and imitates its shape so they are not all perfectly spherical. In the pearl industry the oyster or mussel is ‘seeded’ with a tiny orbs of shell to ensure that the resulted pearl is totally spherical.

Mollusc shells are created as protective shields by their soft-bodied owners and this is true of other invertebrates, especially in the world’s oceans. Coral reefs and some marine bristle worm tubes (Serpulidae, Spirorbinae) rely on the reinforcing nature of calcium carbonate to provide support and protection to their soft bodies. Crustaceans such as crabs and lobsters have a hard exoskeleton strengthened with both calcium carbonate and calcium phosphate. Calcium required after moulting in lobsters, crawfish, crayfish and some land crabs is provided by gastroliths (sometimes referred to as gizzard stones, stomach stones or crab’s eyes). They are found on either side of the stomach and provide calcium for essential parts of the cuticle such as mouthparts and legs. The museum’s collections holds nearly 750,000 marine invertebrates, including crustaceans, corals and bristleworms.

Many of the 700,000 fossils in the Museum’s collections are also made of calcium minerals.  Invertebrates use two main forms of calcium carbonate to make their shells and exoskeletons, and the one they use influences how likely they are to be immortalised as fossils.  Aragonite, found in the shells of molluscs such as ammonites, gastropods and bivalves, is unstable and doesn’t usually survive for millions of years.  During fossilisation, aragonite shells either dissolve away completely, or the aragonite recrystallizes to form calcite.  Calcite was used to make the shells and skeletons of extinct groups of corals, articulate brachiopods, bryozoans, echinoderms and most trilobites.  It is much more stable than aragonite, so the original hard parts of these creatures are commonly found as fossils, millions of years after they sank to the sea floor.  Large calcite crystals are often found filling spaces in fossils, such as the chambers inside ammonite shells.  Vertebrates use a different calcium mineral to make their bones and teeth: apatite (calcium phosphate), which can survive for millions of years to make iconic fossils such as dinosaur skeletons and mammoth tusks.

The Museum’s rock collections contain many limestones, rocks formed at the bottom of ancient seas from bits of shells and other calcium carbonate-rich remains.  For millenia, people have used limestones as a construction material: from carved stone in the iconic Greek and Roman temples; broken fragments as ballast in the base layer of railways and roads; or burnt to form lime in the manufacturing of cement.  National Museum Cardiff and other iconic buildings in Cardiff Civic Centre were built from a famous Dorset limestone called Portland Stone.  The Museum’s floor is tiled with marble, limestone that has been transformed (‘metamorphosed’) under great heat and pressure.  Marble has long been prized by sculptors, since the ancient Greeks and Romans. The Museum’s art collections include works in this material by Auguste Rodin, John Gibson, Sir Francis Chantrey, Sir William Goscombe John, and many others. There are also important examples of work by twentieth-century sculptors, such as Jacob Epstein, Eric Gill and Henri Gaudier-Breszka. They preferred carving the softer texture and density of the softer limestone, Portland Stone and sandstone.