Nantgarw Colliery - once the deepest coal mine in South Wales

Parc Nantgarw

Nantgarw Colliery under construction May/June 1951

Nantgarw Colliery under construction May/June 1951

Anyone visiting Amgueddfa Cymru's Collections Centre at Parc Nantgarw, north of Cardiff, might not realise that this was once the site of one of the most famous collieries in south Wales. All that now remains are two small concrete pyramids marking the sites of the shafts and a commemorative winding wheel.

The deepest mine in south Wales

Nantgarw Colliery was one of the flagships of the National Coal Board. It was the nearest deep mine to Cardiff, and a reminder to travellers that they had entered the south Wales coalfield.

Opened in 1911, it boasted two large shafts and, at a depth of 782.73m (856 yards), was the deepest mine in south Wales. However, despite appearing as a fine example of a clean and efficient modern coal industry, the colliery was abandoned in 1927 due to lack of manpower, poor industrial relations and, above all, being located above very complex underground geology.

The war years

The mine re-opened in 1937 after a major reorganization, but work was suspended when war broke out in 1939. A later project to re-open the colliery was approved by the Ministry of Fuel and Power in 1946. It was the first major scheme to be operated by the new NCB in the south-west district.

A new state-of-the-art colliery

Nantgarw in 1974

Nantgarw in 1974

In order to construct a model colliery at Nantgarw, all traces of the original were demolished and new surface buildings were designed with state-of-the-art facilities. Appliances were installed to reduce smoke and fumes, and all waste was placed underground keeping the surface clear of unsightly spoil heaps. The entire underground network was designed to minimise the risk of accidents. Great care was taken to minimise any dust produced both underground and on the surface, in order to protect the workforce from contracting illnesses such as pneumoconiosis.

Not enough miners to mine

During the 1940s there was a marked decline in the number of men willing to consider a coal mining career, even in the traditional mining strongholds such as the Rhondda.

The Nantgarw Colliery posed a specific manpower problem, with the working population choosing employment elsewhere. The workforce had to be recruited from new entrants or from closed collieries outside the area. By 12 March 1954 the total cost of the project had increased to £5.25 million. Labour relations were also a cause for concern. During 1958 alone there were 65 stoppages, go-slows and walk-outs in the colliery

Declining fortunes

Nantgarw survived the mass pit closures of the 1960s and, in 1975, merged with Windsor Colliery (near Abertridwr). By 1979, the combined Nantgarw / Windsor Colliery employed around 650 men, producing over 4,000 tons of coal per week. During 1979–80 they made a profit of just over £0.5 million. Despite development difficulties, the pit's future looked reasonably secure.

However, by the early 1980s the colliery's fortunes were again hit by low manpower and poor geological conditions. The colliery lost £7 million in 1981, and in 1982 output declined steeply as a major coal seam became unworkable. A year later, an overtime ban led directly to the twelve-month strike of 1984-5. Within eighteen months of the strike ending, the mass pit closures took place in south Wales. This time, Nantgarw Colliery was included. Nearly 80 years of coal mining history at Nantgarw ended.

Once more unto the breach...

By now I've started to do a bit of fieldwork. I started by recording Sirajul Islam, Bengali by birth, but now studying for a degree through the medium of Welsh. He has a fascinating story, and this will be in our archive for future generations to peruse and study.

Another project that I've started is trying to beef up the Youth corner of Oriel 1. The screen which is currently showing stills of Maes B events from the past will soon have a lively video of the events from 2007. The Meic Stevens guitar case will hopefully be clearly signed and will contain records and pictures to complement the story.

With the imminent launch of the Virtual Museum, there are a few projects to prepare for that, namely the Community Dresser objects, and interviews held with young people during Eisteddfod week.

I'm also involved in an exciting new project to build a turf round house at the Celtic Village, a radical new design that will turn archaeological theory on its head!

Other than that, I'm visiting Newport Museum this week to discuss their Pop exhibition plans, and have been on Welsh television and radio to promote Oriel 1 and the work that I'm doing. Things are beginning to move quite swiftly!

Drawn from nature: Botanical illustrations

Old herbal

Throughout the Dark Ages, disease and poor hygiene were rife and people relied on herbalists and their remedies. Cure for deafness: take rat's urine, the oil of eels, the house leek, the juice of travellers' joy and a boiled egg.

Magnolia

Plant collectors travelled to remote parts of the world. Finding new plants meant exploring new lands - often without accurate maps, through country without roads, and with few settlements.

Tulips

In the 17th century, travel and trade brought many new exotic plants to Europe. So-called 'Tulipomania' rose from the passionate desire of the wealthy to own the rarest plants. In Holland, a single tulip bulb was bought for 4,600 florins, plus a coach and a pair of dappled greys.

Papaya

Many of the exotic fruits such as the Paw-paw and Pineapple discovered on the voyages of discovery quickly became fashionable in Europe. The Paw-paw (papaya) is a native of tropical America.

Mankind has always been fascinated by flowers, by their beauty, and by their possibilities for healing and knowledge. Amgueddfa Cymru holds a unique collection of more than 9,000 botanical illustrations spanning five centuries.

After a small exhibition at National Museum, Cardiff in 1942, the illustrations were put into store. Fifty years later the breadth and significance of the collection was rediscovered and their exquisite draughtsmanship fully appreciated.

The collection comprises work ranging from professional engravings to amateur watercolours, and includes several items by acknowledged masters such as Georg Dionysius Ehret and Pierre Joseph Redouté.

500 years of botanical illustrations

The collection traces the development of botanical illustration and its relationship between art and science from the medieval herbals of the Dark Ages, when man feared nature, through the Enlightenment and the great voyages of discovery to the contemporary illustrations of the 21st century.

Floras

By 1600, after the early woodblocked herbals, the process of engraving on metal allowed a finer delineation of every minute detail, revolutionising botanical illustration. Flora Londinensis (1777-87) by William Curtis is one of the most famous British floras listing all the plants within a ten-mile radius of London. An important early 19th century European flora is the Flora Danica (1763-1885), which took almost a hundred years to complete.

In the 17th century, plants were grown for their beauty as well as practical and scientific use. The wealthy produced 'florilegias' illustrating the rare and beautiful plants on their estates, while scientific guides were full of precise illustrations from a whole range of plants.

The collection contains many original prints from the 17th century, including work by Redoute, Sowerby, Fitch and the Welsh-born Sydenham Edwards.

The introduction of taxonomy

In 1753 the Swedish naturalist Carl Linnaeus developed a new system of naming and classifying all living things. Everything was given two names in Latin: a genus name and a species name. This had a profound impact on the style of botanical illustration. Emphasis was now on the plant's sexual organs — much to the alarm of polite society.

The acceptance of the new Linnaean system was helped, in part, by the high quality of illustrations produced by G. D. Ehret at that time. The Museum holds illustrations by Ehret from Plantae Selectae (1750-73) and also a collection by J. S. Miller from Bute's Botanical Tables (1785), commissioned by John Stuart, 3rd Earl of Bute.

The collection also includes works by Redouté, Kirchner and Elizabeth Blackwell. Backwell illustrated a herbal entitled A Curious Herbal to free her husband from incarceration in a debtor's prison.

Voyages of discovery

Botanists accompanying the epic voyages of discovery in the 18th and 19th centuries were the first to record and collect the exotic plants encountered in the remote uncharted lands. For the first time Europeans saw pictures of exotic fruits such as pineapples, paw-paws and pomegranates. Examples in the collections include Banks' Florilegium and works from Curtis's Botanical Magazine.

Victorian enthusiasm

The Victorians brought about an immense enthusiasm for science. Engravings of newly introduced plants became widely available through journals and popular magazines, such as Carter's Floral Illustrations and Paxton's Floral Garden.

With the discovery of Victoria regia, the giant water lily from the Amazon, there was much rivalry between the gardeners of the stately houses of England as to who would be first to induce it to flower in Britain. Joseph Paxton, the gardener at Chatsworth, won the race. It is said that the structure of the huge leaf inspired his design for the Crystal Palace.

The largest turtle in the world

The leatherback turtle on display at National Museum Cardiff was washed ashore on Harlech beach, Gwynedd in September 1988. Sadly, the turtle had drowned after being trapped by fishing lines. It was approximately 100 years old when it died. The turtle attracted worldwide attention as it was the largest and heaviest turtle ever recorded, measuring almost 3m (9ft) in length and weighing 914 kilos (2,016 pounds).

The turtle's arrival on the beach saw a flurry of activity by Museum staff who were keen to exhibit the turtle. However, preparing such a specimen for display was not straightforward.

Leatherback turtle

The turtle had to be flipped upside down before repairing cracks on the underside.

Displaying the world's largest turtle

After undergoing an autopsy for scientific information, the skin was removed and preserved and a mould of the body shape was made. The preserved skin was stretched over the mould to produce a lifelike pose.

The skeleton was also removed and prepared for display alongside the body. The taxidermy mount and associated skeleton were then put on display in their own gallery, with linking displays on the leatherback's history, threats, ecology and conservation.

Leatherback turtle

The Leatherback being cleaned and repaired

Sixteen years on

After 16 years on display, significant cracks had started to appear on the specimen. There had long been problems with cracking, and it had been patched up over the years. Low humidity was identified as a cause, so there was no choice but to close the gallery and conserve this popular specimen properly.

The first stage was to clean the turtle of its layer of dust and oily grime. A non-ionic detergent removed the worst of the dirt.

Once reasonably clean the next stage was to return the distorted parts of the specimen back to the correct shape. This involved soaking the exterior with a solution of deionised water, salt and detergent, enabling it to be moved back into position.

Removing old repairs

Once the specimen was dry, the old repairs were removed. This was a long and slow process requiring care so as not to damage the turtle's skin any further. A large amount of the skin had been painted black some years before, so this also had to be removed. This was achieved with acetone and a mobile fume extraction system.

Once the previous repairs and paint were removed, the turtle's original patterns and skin texture could be seen once more. Gaps and splits in the specimen were then filled in and painted over to blend with the turtle's original skin colour and texture.

Letherback turtle

The Turtle after conservation

Leatherback Turtle

The leatherback turtle in its new display at the National Museum, Cardiff

Redisplaying

The skeleton was also carefully cleaned before the finished turtle was re-hung as before. After 4 months of work, the turtle gallery could finally be re-opened to the public.

Another journey for the turtle

Conditions in the turtle gallery were continuing to cause conservation problems. As a result, during 2006 the turtle was moved to a new location in the adjoining 'Man and the Environment' gallery, next to the humpbacked whale. The new space has better environmental conditions, allowing the turtle to remain on open display. In addition, the information panels have been renewed with up-to-date information. The turtle now sits as a fine addition to this gallery space.

Up close with nature

Witness the bizarre structures and patterns of nature close up. These amazing images have been created by the scientists at Amgueddfa Cymru using highly magnified photography. From butterflies to microscopic plankton - remarkable details are revealed in a whole new light in these breathtaking pictures, which are to be admired for their striking beauty as well as the scientific value they hold.

At this level of magnification, reality becomes quite surprising, click on the images below to discover more...