The Wrexham Tailor’s Quilt, 1842–52 Elen Phillips, 2 March 2020 Wrexham Tailor’s Quilt, 1842–52 Collections Online: Patchwork Bedcover Amgueddfa Cymru – National Museum Wales is home to over two hundred examples of quilting and patchwork. This vast collection includes a wide variety of styles and techniques, ranging in date from the early 1700s to the present day. The Wrexham Tailor’s Quilt is probably one of the most well-known patchworks produced in Wales. Made by James Williams – a military master tailor from 8 College Street, Wrexham – its design is unlike any other in the Museum’s collection. The quilt’s background is a pieced composition of diamond patches, chevrons, squares and rhomboids. Biblical scenes dominate the centre – Adam naming the animals, Jonah and the Whale, Noah’s Ark with a dove bearing an olive branch, and Cain and Abel. Other figurative motifs include Thomas Telford’s Menai Suspension Bridge (opened in 1826), a Chinese pagoda, and Cefn Viaduct, complete with a crossing steam train. Details are picked out through embroidery in silk thread. Meticulously pieced, James Williams made his quilt by recycling a variety of felted woollen cloths, possibly off-cuts of broadcloth from military uniforms. In total, it consists of 4,525 separate pieces of cloth, butt-joined with overcast stitches worked from the reverse. Examples of this type of inlaid (‘intarsia’) patchwork found in museum collections are usually the work of professional tailors. The technique requires a high degree of skill and the use of thick cloth that does not fray to accommodate the oversewing required. According to family history, James Williams spent a decade completing the piece, the work being done in his leisure hours between 1842 and 1852. The quilt soon became an exhibition piece; it was displayed at the Art Treasures Exhibition in Wrexham in 1876, at the Palace of Arts in Wembley in 1925, and to much public acclaim at the Wrexham National Eisteddfod of 1933. Census returns for the Wrexham area suggest that James Williams was born in 1818. His tailoring establishment appears in numerous trade directories from the 1850s onwards. He died in 1895, leaving his son to inherit the family business. Forty years after his death, the economic depression of the 1930s prompted Williams’s grandson to sell the quilt to the Museum, stating that “it has always been my wish that the quilt should be sent to [the] National Museum of Wales so as my fellow countrymen should have the opportunity to admire a work of art that today could not be done if you were to pay the most skilful craftsman £1 a minute to do”.
Uncovering our Collections: Half a Million Records now Online 26 March 2018 As we reveal half a million collection records for the first time, we look at some of the strangest and most fascinating objects from National Museum Wales Collections Online. This article contains photos of human skeletal fragments. The Biggest We have some real whoppers in our collections - including a full-size Cardiff Tram and a sea rescue helicopter - but the biggest item in our collection is actually Oakdale Workmen's Institute. Built in 1917, the Institute features a billiard room, dance hall and library - and is nowadays found in St Fagans National Museum of History. Horace Watkins testing his monoplane in 1908 Many of the buildings in St Fagans are part of the national collection - meaning they have the same legal status as one of our masterpiece Monets or this coin hoard. The buildings are dismantled, moved, rebuilt - and cared for using traditional techniques, by the museum's legendary Historic Buildings Unit. The Oldest The oldest human remains ever discovered in Wales These teeth belonged to an eight year-old Neanderthal boy - and at 230,000 years old, they are the oldest human remains in Wales. They were discovered in a cave near Cefn Meiriadog in Denbighshire, along with a trove of other prehistoric finds, including stone tools and the remains of a bear, a lion, a leopard and a rhinocerous tooth. These teeth are among some of the incredible objects on display at St Fagans National Museum of History The Shiniest People in Wales have been making, trading and wearing beautiful treasures from gold for thousands of years - like this Bronze Age hair ornament and this extremely blingy Medieval signet. At around 4000 years old, this sun disc is one of the earliest and rarest examples of Welsh bling One of the earliest examples of Welsh bling is this so-called 'sun disc', found near Cwmystwyth in Ceredigion. Current research suggests that these 'sun discs' were part of ancient funeral practice, most likely sewn onto the clothes of the dead before their funerals. Only six have ever been found in the UK. Most Controversial At first glance, an ordinary Chapel tea service - used by congregations as they enjoyed a 'paned o de' after a service. A closer look reveals the words - 'Capel Celyn'. The chapel, its graveyard and surrounding village are now under water. Capel Celyn, in the Tryweryn Valley, is now underwater Flooded in 1965 by the Liverpool Corporation, the Tryweryn valley became a flashpoint for Welsh political activism - creating a new generation of campaigners who pushed for change in how Welsh communities were treated by government and corporations. Curators from St Fagans collected these as an example of life in Capel Celyn - to serve as a poignant reminder of a displaced community, and to commemorate one of the most politically charged moments of the 20th century in Wales. Honourable Mention: an Airplane made from a Dining Room Chair Made from a dining room chair, piano wire and a 40 horsepower engine, the Robin Goch (Red Robin) was built in 1909 - and also features a fuel gauge made from an egg timer. The Robin Goch (Red Robin) on display at the National Waterfront Museum Its builder, Horace Watkins, was the son of a Cardiff printer - here he is pictured with an earlier, even more rickety version of his famous monoplane. Horace Watkins testing his monoplane in 1908 Our collections are full of stories which reflect Wales' unique character and history. The Robin Goch is one of the treasures of the collection, and is an example of Welsh ingenuity at its best. Half a Million Searchable Items The launch of Collections Online uncovers half a million records, which are now searchable online for the first time. “Collections Online represents a huge milestone in our work, to bring more of our collections online and to reach the widest possible audience. It’s also just the beginning. It’s exciting to think how people in Wales and beyond will explore these objects, form connections, build stories around them, and add to our store of knowledge." – Chris Owen, Web Manager Search Collections Online Plans for the future Our next project will be to work through these 500,000 records, adding information and images as we go. We'll be measuring how people use the collections, to see which objects provoke debate or are popular with our visitors. That way, we can work out what items to photograph next, or which items to consider for display in our seven national museums. Preparing and photographing the collections can take time, as some items are very fragile and sensitive to light. If you would like to support us as we bring the nation's collections online, please donate today - every donation counts. Donate Today We are incredibly grateful to the People's Postcode Lottery for their support in making this collection available online.
"Here comes the Devil": Welsh Suffrage and the Suffragettes Elen Phillips, 1 February 2018 At precisely 8:00pm, February 6th, 1918, The Representation of the People Act was passed by Royal Assent in Westminster. After decades of campaigning, some women were now allowed to vote. The Equal Franchise Act, passed in 1928, gave all women over 21 the right to vote. We're used to seeing photos of 'Suffragettes' protesting in London, but what about the campaign in Wales? Non-Violent Protest Even though the press at the time concentrated on the trials and tribulations of the Suffragettes, there were far more Suffragists in Wales. Suffragists believed in peaceful action, and changing things through constitutional means. Among them were members of the Cardiff District Women's Suffrage Society - the largest branch of the National Union of Women's Suffrage Societies outside London. At their helm was Rose Mabel Lewis (Greenmeadow, Tongwynlais) – or 'Mrs Henry Lewis' as she is described in our museum documentation. The most prominent members of the branch tended to be the city's well-connected, middle-class women. Their annual report for 1911 shows they held a whole host of activities to raise awareness of their campaign, including a fancy dress dance, whist drive and jumble sale. That year, their membership doubled to 920. Banners: The Craft of Activism Banner of the Cardiff Cardiff & District Women's Suffrage Society. Made by Rose Mabel Lewis, President of the Society Rose Mabel Lewis made the silk banner now held in the Museum's collection - a powerful example of how the Suffragists and Suffragettes used craft to communicate and express themselves. The exact date of the banner is unknown, but evidence shows it was used in a protest in 1911. During that year, on the 17th of June, Rose Mabel led the women of south Wales in the Women's Coronation Procession in London. The banner's accession documents contain a note of explanation from one of the branch's former members: The banner was worked by Mrs Henry Lewis… [she] was also President of the South Wales Federation of Women’s Suffrage Societies + she led the S. Wales section of the great Suffrage Procession in London on June 17th 1911, walking in front of her own beautiful banner… It was a great occasion, some 40,000 to 50,000 men + women taking part in the walk from Whitehall through Pall Mall, St James’s Street + Piccadilly to the Albert Hall. The dragon attracted much attention – “Here comes the Devil” was the greeting of one group of on lookers. Banners like this were an incredibly important part of the visual culture of activists campaigning for women's right to vote. A number of these banners can be found today in museums and archives, including the Cardiff University Special Collections and Archives. Organisers of the 1911 march expected over 900 banners on the day! Two years later, in July 1913, the banner appears again on the streets of Cardiff, as part of a march in the city to raise awareness of the Great Suffrage Pilgrimage. In the museum's collection, we find amazing pictures of Rose Mabel Lewis, and the branch's other members, gathering with the banner in front of City Hall in Cathays Park: According to the annual report for 1913-14, some of the members were worried about the march, but were emboldened after receiving a positive response on the day: It was with misgivings that some members agreed to take part in the procession, but afterwards their enthusiasm aroused and the desire to do something more in the future. The march was useful in drawing the attention of many people to the existance of our society. Making History: St Fagans and the centenary In 2018, the banner will be on display in Cardiff once more - not in a protest, but in a display of iconic objects from Wales at St Fagans National Museum of History. The display, which is part of the Making History project to redevelop St Fagans, will mark the first time the banner is displayed since it was donated in 1950 by the Cardiff Women Citizen's Association. At that time, their treasurer wrote a letter to Dr Iorwerth Peate, Keeper of St Fagans, to express their great pride in seeing the banner preserved for the future at St Fagans: A cordial vote of thanks was accorded to you for realising how much the Suffrage Cause meant to women and for granting a memorial of it in the shape of the banner to remain in the Museum. In addition to the banner, the museum also holds a number of objects relating to campaigns for women's right to vote, including letters and reports from the NUWSS, as well as an unusual hand-made anti-suffragette doll from west Wales. Anti-suffrage voodoo doll sent anonymously to a woman in west Wales, early 1900s Primary Sources: National Union of Women's Suffrage Societies: Cardiff & District Annual Report, 1911-12 (St Fagans National Musuem of History). National Union of Women's Suffrage Societies: Cardiff & District Annual Report, 1913-14 (St Fagans National Musuem of History). Accession Documents 50.118 (St Fagans National Museum of History). Secondary Sources: Kay Cook a Neil Evans, 'The Petty Antics of the Bell-Ringing Boisterous Band'? The Women's Suffrage Movement in Wales, 1890 - 1918' yn Angela V. John (gol.), Our Mothers' Land Chapters in Welsh Women's History 1830 - 1939 (Cardiff: University of Wales Press, 1991). Ryland Wallace, The Women's Suffrage Movement in Wales 1866 - 1928 (Cardiff: University of Wales Press, 2009).
St Dwynwen’s Day – The Welsh Patron Saint of Love 14 June 2014 What Is St Dwynwen’s Day?St Dwynwen’s Day is celebrated in Wales on 25 January and commemorates St Dwynwen, the Welsh patron saint of love and friendship. Often described as the Welsh equivalent of Valentine’s Day, the celebration has its roots in medieval Welsh tradition.When is St Dwynwen's Day Celebrated?St Dwynwen's day is celebrated in Wales on 25 January and commemorates the patron saint of friendship and love.Who was St Dwynwen?Dwynwen lived during the 5th century and was, by all accounts, one of the prettiest of Brychan Brycheiniog's 24 daughters.Who Was Maelon Dafodrill?Central to the legend of St Dwynwen is her relationship with Maelon Dafodrill, a story that explains her association with love and loss.The story goes that Dwynwen fell in love with Maelon Dafodrill, but unfortunately her father had already arranged that she should marry someone else. Maelon was so outraged that he raped Dwynwen and left her.In her grief Dwynwen fled to the woods, where she begged God to make her forget Maelon. After falling asleep, Dwynwen was visited by an angel, who appeared carrying a sweet potion designed to erase all memory of Maelon and turn him into a block of ice.God then gave three wishes to Dwynwen. First she wished that Maelon be thawed, second that God meet the hopes and dreams of true lovers and third that she should never marry. All three were fulfilled, and as a mark of her thanks, Dwynwen devoted herself to God's service for the rest of her life.Ynys Llanddwyn and St Dwynwen’s ChurchRemains of Dwynwen's church can be seen today on the island of Llanddwyn, off the coast of Anglesey.During the 14th century, on visiting the island, the poet Dafydd ap Gwilym witnessed a golden image of Dwynwen inside the church, and was bold enough to request her help as a messenger between himself and Morfudd, the girl he hoped to win — despite the fact that Morfudd was already married.Also situated on the island is Dwynwen's well, where, allegedly, a sacred fish swims, whose movements predict the future fortunes and relationships of various couples. Visitors to the well believe that if the water boils while they are present, then love and good luck will surely follow.The popularity and celebration of St Dwynwen's day has increased considerably in recent years, with special events, such as concerts and parties, often held and greetings cards printed. Although still not as popular as St Valentine's Day in February, St Dwynwen is certainly becoming better-known among today's population of Wales.Love Tokens in Wales: From Lovespoons to StaybusksThroughout history and still today, love tokens are given as symbols of devotion and commitment to loved ones.LOVESPOONSTraditionally crafted by male suitors, lovespoons were presented to admired maidens. Using simple tools, they expressed their passions and emotions through the symbols they carved. STAYBUSKSDecorated with motifs and initials, a busk was inserted into a woman’s stays, keeping her torso upright and sitting close to her heart. Pictured is a Staybusk from Llanwrtyd, inscribed with the initials RM and IM. JESSIE KNIGHT TATTOOSBetween the 1920s and 1960s, Jessie Knight tattooed these designs onto sailors and servicemen. Symbolising their devotion, these permanent love tokens served as a way for sailors to keep their loved ones close at sea. KNITTING SHEATHIt was a Welsh custom to carve knitting sheaths with names and motifs and give them as love tokens. Worn on the right side of the body, they held the needle steady, freeing the left hand to work the yarn. LOVE COINSMade by sailors or convicts in the 18th-19th century, these coins were engraved with symbols of love, separation, and return. Offered as parting gifts for long or indefinite separations. These enduring love tokens, each with their own unique story, continue to symbolise love and connection through Welsh history and tradition.
Welsh National Dress (FAQ) 14 June 2014 What does Welsh national dress look like?The popular image of Welsh ‘national’ dress, of a woman in a red woollen cloak and tall black hat, is one which largely developed during the nineteenth century. It was part of a conscious revival of Welsh culture during a period when traditional values were under threat.Where did the style come from?The costume regarded as national dress is based on clothing worn by Welsh countrywomen during the early nineteenth century, which was a striped flannel petticoat worn under a flannel open-fronted bedgown, with an apron, shawl and kerchief or cap. Style of bedgown varied, with loose coat-like gowns, gowns with a fitted bodice and long skirts and also the short gown, which was very similar to a riding habit style. Did Welsh women really wear tall black hats?The hats generally worn were the same as hats worn by men at the period. The tall ‘chimney’ hat did not appear until the late 1840s and seems to be based on an amalgamation of men’s top hats and a form of high hat worn during the 1790–1820 period in country areas. Who made the Welsh ‘national’ style popular?Augusta Hall, known as Lady Llanover, was the wife of an ironmaster in Gwent, and was very influential in encouraging the wearing of a ‘national’ dress, both in her own home and at eisteddfodau. She considered it important to encourage the use of the Welsh language and the wearing of an identifiable Welsh costume. She succeeded in her aim mainly because people felt that their national identity was under threat and the wearing of a national costume was one way to promote that identity.A further influence was the work of artists producing prints for the rising tourist trade, which had the effect of popularising the idea of a typical Welsh costume, and later the work of photographers who produced thousands of postcards. This contributed to the stereotyping of one style of costume, as opposed to the various styles which were worn earlier in the century. Where did the patterns on a ‘Welsh shawl’ come from?Shawls were the most fashionable of accessories between 1840 and 1870. The most popular were the Paisley shawls whose pattern originally came from Kashmir in India.At first plain shawls with a woven patterned border attached were the most common. Later many fine examples with allover and border patterns were woven in Norfolk, Scotland and Paris. Shawls of the middle of the century were very large and complemented the full skirts of the period.Shawls were made in other fabrics and patterns, including Cantonese silk and fine machine lace, though it was the paisley pattern which became very popular in Wales, along with home-produced woollen shawls with checked patterns.Did Welsh women really wear a shawl?In later years, although fashionable women no longer wore shawls, smaller shawls were still made and worn by countrywomen and working women in the towns. By the 1870s, cheaper shawls were produced by printing the designs on fine wools or cotton. Even during the early years of the twentieth century woollen, knitted and paisley shawls were widely worn in rural Wales. The paisley shawl even became accepted as part of ‘Welsh’ costume, though there is nothing traditionally Welsh about it at all.Was the Welsh shawl used in babywearing? One tradition of shawl-wearing which is truly Welsh is the practice of carrying babies in a shawl. Illustrations showing this have survived from the late eighteenth century when Welsh women wore a simple length of cloth wrapped around their body. When shawls became popular, they were adapted to the same use, and some women even today still keep up the tradition. Read more about Welsh Women’s History.
