Conservation of Roman Armour- Opening the Block

10 May 2011

After wheeling the large block into the archaeological conservation laboratory, I began the task of removing the plaster bandages covering the top of the block.


This proved a simple and satisfying job- the bandages were easily torn off in layers, revealing the Clingfilm barrier underneath. In order to reinforce the sides of the block, yet more bandages were wetted and wrapped around it.


The next step in opening up the block was to peel back the Clingfilm. This had to be done very carefully, as I didn't want dust from the plaster covering the archaeological artefacts beneath. Pegs and bulldog clips were very useful in holding back the plastic layers neatly.


After much anticipation, the armour was revealed. As I had not been present during removal of the armour from the fort, this was the first time I was able to see the lorica, and I was very impressed by the corroded remains.

 

As I excavate the armour contained within this soil block, I have to document every individual feature, and the physical relationships between all the artefacts. This provides invaluable information for the archaeologists working on the project, who want to tell the story of Isca.

 

This documentation process involves taking many photographs and making copious notes day by day; before I even begin to excavate the block using small hand tools, I  drew a plan of the whole block, at a 1:2 scale. It was easiest to do this by laying string across the top of the block, and drawing it in sections.

 

After all this preparation, I cannot wait to get started excavating the soil overlying the armour and other artefacts- though this will take a very long time.

Bladderblog 2: Slimy Trials and Smelly Errors

Sara Huws, 9 May 2011

Reader, I blew it.

It took a bit of practice but the Learning Department now has in its possession a brand new bladder football. At the end of the Misrule! weekend, it was tested rigorously by some of our 5 and 6 year-old visitors, and found to be satisfactory. Over the three days, we had some failed attempts; some almost-worked attempts; and finally, a fine, egg-shaped ball which made a satifying, basketball-like 'donk' noise when bounced on the floor.

Tudor Sport Demo, May Misrule!

Here's me passionately explaining how normal my job is. Not really, it's me holding a pig's bladder!

Now, this installment of Bladderblog comes a bit later in the process than I anticipated, because it is hard to live-blog something while dressed as a Tudor. As you'll see above, under my skirt is the only place I can hide anything, and I'm sure you couldn't get a computer under there. So, despite the new/old technology hiccup, I hope you'll enjoy this latest foray into sporting history...

The bladders themselves arrived frozen, in an ice-cream tub. A natural by-product of slaughter for meat, the bladders would be discarded otherwise, as they are not very appetising. Once out of the tub and into brine, they remsembled big poached eggs. To touch, they were slimy, slippery and quite tough - not dissimilar to sausage casing, but perhaps a bit thicker and harder to swallow! The farmer said that 'of all the strange requests' he's ever received, this was the strangest. He also said we were 'all mad', but was happy to see his pigs get put to a variety of uses after their slaughter. The meat, I am informed, has gone to make posh salami.

Blowing the 'practice bladder' up at home using a very long curly straw worked well. I cured the ball with salt, sanitized my hands and then slapped myself on the back: I had successfully avoided having to lip-lock with any part of a pig (a good job as the bladders came with a few stray hairs).

A pig's bladder football hanging on a washing line

Here it is, drying in the sun!

Then it burst, mid-demo, on Friday. I plundered my (very well-hidden) Aldi bag for another and spent lunchtime making the ball with the tools I had at my disposal: salt, string and a feather. Now, trial and error is usually a fine way to learn. On the other hand, bladdersplashback is something to be avoided at any cost. Using the bottom part of a feather as a straw, I attempted the Tudor way of blowing up a bladder. It was really quite unpleasant. Really, really unpleasant, actually. But it was over quickly.

Pig's bladder football

The finished football, complete with wiry hair!

I was keen to explore the 'nose to tail' ethos of Tudor farming and manufacturing, and so talked to all sorts of people who are still using these traditional techniques and principles in their work. Amongst them was Peg the skinner, who had an array of skins and historic animal-derived products on display last weekend, from hedgehog brushes to Tudor prophylactics. I will be posting about what I found out in the coming weeks. Some very beautiful, and probably more traditional uses for animal products can be found in our Making History 1500-1700 exhibition, too. I was particularly enthralled with this pair of leather gloves from around 1600: each part is silk-lined (another animal by-product!), and embroidered with detailed, erm, animals. I chose the squirrel detail today because, well, because I like squirrels.

Gloves, Making History 1500-1700

Detail from leather glove, from Llanfair Hall, near Caernarfon. They are made from leather, lined with silk, and embroidered with silk and metal thread.

I hope you'll join me for the next installment of Bladderblog - and let me know if you fancy a kickabout in the meantime!

Update: Two more articles popped up last weekend seemed to complement our bladding-about, so I'll leave them at the bottom here, so you can have a look!

The Lure of Eccentric Sports on BBC online.

BoingBoing's Mummifying Chickens for Fun and Educational Profit (not as grim as it sounds).

The Derek Williams Trust Collection

6 May 2011

Ceri Richards - The Pianist

NMW A(L) 606
Ceri Richards
The Pianist
1949
Pencil, indian ink and watercolour
38.2 x 56.2 cms
On loan from the Derek Williams Trust since 1984
© Estate of Ceri Richards. All rights reserved, DACS
2010

Josef Herman - Three Welsh Miners

NMW A(L) 561
Josef Herman
Three Welsh Miners
About 1966
Oil on canvas
66 x 51 cms
On loan from the Derek Williams Trust since 1984
Copyright of Artist's Estate

Ben Nicholson - (painting)

NMW A(L) 577
Ben Nicholson
1944-45 (Painting)
1944-45
pencil and watercolour on board
17.2 x 16.8 cms
On loan from the Derek Williams Trust since 1984 © Angela Verren Taunt 2010. All rights reserved, DACS.

Derek Mathias Tudor Williams F.R.I.C.S. (1929-1984) has been the greatest benefactor to Amgueddfa Cymru – National Museum Wales since Gwendoline and Margaret Davies.

Derek Williams was a modest and private man, based in Cardiff and Pontypridd as a chartered surveyor, who enjoyed many pursuits, including golf, opera, photography, but most of all collecting contemporary art. He gained immense satisfaction from building his collection and displaying it within his numerous residences.

The collection contains a large number of works by the British neo-romantics, including Ceri Richards, John Piper, David Jones and Keith Vaughan. This element is supported by the work of other artists of this period such as Lucian Freud, Josef Herman, Ivon Hitchens, Graham Sutherland, Ben Nicholson and Henry Moore.

In 1984 Derek Williams died, requesting in his Will that his collection and the residue of his estate be held in trust, allowing his trustees to undertake the care and public display of the works of art, in addition to contributing to the enhancement of the collection. The Derek Williams Trust was formed by his executors in 1992, which in the following year made a formal agreement with the Museum to work together in order to fulfil the wishes of Derek Williams.

The Trust’s collection has since been on long-term loan to the Museum and there have been over fifty works added and more continue to be acquired every year. A number of pictures by leading painters of the 1970s, ‘80s and ‘90s, including Michael Craig-Martin, Craigie Aitchison, Sean Scully and Howard Hodgkin form a strong component of the new additions.

The original Derek Williams collection continues to be strengthened and consolidated by the purchase of major works by artists of the mid-twentieth century, among them Ceri Richards, Henry Moore, John Minton and Edward Burra. Interest in contemporary international art has been expressed through the regular purchase of works by artists featured in Artes Mundi.

Applied arts are not overlooked by the Derek Williams Trust as they possess an active interest in this area and have acquired eleven works of applied art over the last sixteen years, in addition to assisting the Museum with a number of acquisitions, particularly in the field of ceramics.

The Trust also has an interest in work by contemporary Welsh and Wales-based artists, which includes the purchase of work by Eisteddfod Gold Medal-winners.

The great generosity and support of The Derek Williams Trust made possible many acquisitions of post-1900 art for the Museum’s own modern art collection, such as David Hockney, Stanley Spencer and Pablo Picasso.

May Misrule - oriel 1

Sian Lile-Pastore, 5 May 2011

The bank holiday weekend was busy with our May Misrule event. Lots and lots of things were going on, and I was in the gallery running art and craft sessions where we made Tudor ruffs and there were replica Tudor clothes available to try on.

Making History - The Acts of Union

Sara Huws, 5 May 2011

Just a quick note to let you know that something special is afoot at St Fagans.
Keep an eye out on Wales Today, BBC1 Wales, at 6.30 tonight for more information!

The Acts of Union

The Acts of Union