Blog: Learning

Autumn sends us an invitation to pause and admire the beautiful trees that surround us. It lays a vibrant carpet of colourful leaves welcoming us into the woods. In this once in a year spectacle, we advise that you wear comfortable shoes, take slower steps and mindfully redirect your gaze up to the sky to contemplate our magnificent trees. 

In St. Fagans National Museum of History, you can find some of the most beautiful specimens of trees planted by the Victorians and Edwardians that shaped our beautiful gardens. 

This year we celebrate the 150^th anniversary of the Fern-leaved Beech (Fagus sylvatica ‘Aspleniifolia’) located in the terraced gardens of the castle. This magnificent and unusual specimen was planted in 1872 under the head gardener William Lewis. This cultivar was introduced in the UK in the early 1800’s and won the RHS Award of Garden Merit in 2002. The leaves are dark green and deeply serrated, turning golden before falling in autumn. This specimen has an impressive dark and smooth trunk with its girth measuring 3.67m in diameter. The Fern-leaved Beech is a Chimera, originated from a plant cell mutation of the Common Beech (Fagus sylvatica). An interesting fact is that occasionally some of the serrated leaves revert to the Beech leaf shape, when that happens it is advisable to remove the reverted branches as they tend to grow more vigorously than the cultivar.

Another magnificent feature that celebrates 150 years in St. Fagans is the row of London and Oriental Planes planted by William Lewis along the formal ponds overlooking the terraced gardens.  The London plane is a natural hybrid of the Oriental Plane and the American Plane. The Oriental (Platanus orientalis) and London Plane (Platanus x acerifolia) are distinguishable by their leaf shape with the Oriental Plane having more deeply lobed leaves. Many London planes were planted over 200 years ago in the squares of London, hence its common name. This tree can withstand high levels of pollution and was one of the few trees that could thrive in the soot-laden atmosphere of cities before the passing of the Clean Air Act in 1956. Did you know that this resilient tree can store around 7.423 kg of Carbon at maturity? Large trees like this play an important role in improving air quality by sequestering carbon dioxide, removing air pollutants and absorbing gases that are harmful to human health.

William Lewis was also responsible for the planting of the Pine Walk in 1870. This beautiful avenue of Black Pine (Pinus nigra) and Scots Pine (Pinus sylvestris) guides you through the path towards the old Orchard. These tall and majestic trees enclose the space resembling the walls of a Cathedral. The bark of the Black Pine is dark grey with ridges and the needles are longer than other Pines. The Scots Pine is the only Pine native to Britain, it has shorter and compact needles and a warm red upper bark. Unfortunately, in recent years we have lost some of our Pine trees, in order to preserve this historic feature, we have planted four new Black Pines along the path. 

As we take pleasure in admiring these magnificent trees in the present, we must thank some of the far-sighted people of the past who have gifted us with this wonderful legacy. Trees make our cities a more pleasant and healthy environment. They enhance biodiversity, reduce flood risk, improve air quality, provide shade, and reduce the urban heat island effect in summer months. If you would like to leave a valuable legacy for future generations, start by planting a tree.  

If you are visiting St. Fagans gardens this autumn, follow this Tree Walk Guide written by Dr. Mary Barkham to learn more about our outstanding tree collection. 

Hello Bulb Buddies,

Schools from across the UK will be planting their bulbs as close to 20 October as they can. 

Click here for activities and resources that will help you with this part of the project and with looking after your bulbs over the coming months. 

These resources will help you on planting day:

• Adopt your Bulb (an overview of the care your bulbs will need)

• Planting your Bulbs (guidelines for ensuring a fair experiment)

And these activities are fun to complete:

• Bulb Adoption Certificate

• Make Bulb Labels

Please read the resources as they contain important information. For example, do you know to label your pot so that you know which side the daffodil and crocus are planted?

Remember to take photos of your planting day to enter the Planting Day Competition. Do this by sharing your images on Twitter or via email. 

Keep an eye on Professor Plant's Twitter page to see how planting day goes for other schools.

Best of luck Bulb Buddies, let us know how you get on.

Professor Plant & Baby Bulb

What makes you spend time looking at a particular painting? What is it that draws you in? It can be difficult to put these thoughts into words, and that’s where poetry can help.

From 6^th September to 6^th November there’ll be an interactive poetry display in our ‘Art in Eighteenth Century Britain’ gallery. You’ll be able to read (or listen to) a number of poems written in response to some of the paintings. There’ll also be an invitation for you to have a go at writing a poem of your own…

So, why poetry? You may well ask. Poetry can take us in unexpected directions. It can help us to articulate thoughts and impressions that we weren’t even aware of, to understand our own subconscious response to a work of art. It can help us to engage with art in a different way, seeing it from a fresh perspective.

The poems don’t have to be ‘good’. They don’t even have to look like poems. This is about slowing down and letting a different part of your brain take over – the part of your brain that ponders in ways you may not be aware of, as you look at works of art, translating your thoughts into words.

There is no ‘right’ or ‘wrong’ answer. Each creative response will give us a new interpretation, a new lens through which to see.

The interactive display will include poems written by a diverse group of individuals who took part in a series of writing workshops this summer, alongside poems written by museum visitors. The display forms part of a PhD research project organised by Cardiff-based poet Rachel Carney, funded by the South West and Wales Doctoral Training Partnership.

Listen to the poems on our What’s On page.

Find out more about this research, and how you can help.

You can also read about and take part in a similar project: Art & Words, that took place on Instagram in 2021.

In 2020 Amgueddfa Cymru and Cruse Bereavement Support Cymru came together to support people across the country through their grief and create a lasting memorial full of memories to those lost during the time of Covid-19. It involved creating a square patch containing a memory of a loved one, in which ever way people chose, in whatever words or images they liked. Each patch created demonstrated a visual display of lasting memories of someone they loved who had died, created in unprecedented times.  50+ patches were sent to the Museum and have been carefully sewn together to form a Patchwork of Memories.

For the last two year we have all lived very different lives, with change to our normal the only constant. Losing a loved one is always hard but usually we have the comfort of others and collective mourning at funerals to help us say goodbye and share our memories.  However, a death in the last two years has meant many of us being cut off from our support networks and our rituals or remembrance being altered.  

Rhiannon Thomas, previous Learning Manager at St Fagans said about this project “Helping people with grief is something that I am personally passionate about. Having worked with Cruse Bereavement Support previously to support families I felt the Museum was able to help families dealing with loss in a different way.  Amgueddfa Cymru and Cruse Bereavement Support Wales came together to create a project based around creativity and memory, the aim being to make a lasting memorial to those who have died during the pandemic.” 

Creating something is not a new response to grief, there are several Embroidery samplers in Amgueddfa Cymru’s collections made in memory of loved ones or marking their passing.   This sampler by M.E. Powell was created in 1906 in memory of her mother.   Creativity during difficult times of our lives can help all of us to express deep held emotions that we do not always have the ability to put into words. 

Bereavement Support Days

Alongside the Patchwork of Memories initiative, the Cruse / Museum Partnership also provide a safe inspirational space for the increasing numbers of children and young people awaiting bereavement support and help meet the diverse needs of bereaved children, young people and families who benefit from coming together to rationalise, explore and understand that they are not alone in their grief. 

A series of quarterly Bereavement Support Days are held in partnership with St Fagans, for children, young people and their families experiencing grief and loss. There is specialist support from Cruse staff and volunteers along with art and craft activities provided by Head for Arts and immersive Virtual Reality experiences provided by PlayFrame, which are light-hearted, allowing people attending the chance to make and create things that can be taken home with them and or captured and stored into a virtual memory box. The activities available are designed to stimulate rather that prompt.

Here is the film created by PlayFrame on Ekeko, the virtual memory space they have been creating alongside this project, installing objects, memories and stories donated by participants into a virtual memory box for people to enter and explore:

https://youtu.be/KoQE00ff-rc 

And a link the virtual reality memory space itself: https://www.oculus.com/experiences/quest/6371190072951353/

Alison Thomas, Cruse CYP Wales Lead said “Cruse Bereavement Support Wales provides in person support to children and young people within a variety of settings, so we see first-hand how difficult it can be for grieving children and young people. Their collective support on these days allows families the time and space to verbalise and begin to understand their loss and associated emotions. The focus of the Bereavement Support days is around children and young people, however, the benefits resonate through the whole family including the adults in attendance, some of whom require bereavement support on the day, most of whom stay for the duration and share a cuppa and chat with other bereaved parents and guardians. Following the session, the whole family can have a look around the Museum and spend time together in a safe and nurturing setting.”

Here are some of the written (in their own handwriting) evaluation feedback quotes from children, young people and parents / guardians who have attended the Bereavement Days:

'I feel calmer, less worried.  It was good being able to speak to people my age who understood what I'm going through.'

'I was very included in all the activities and was always involved in conversation.  There was a calm atmosphere making it easier to speak to people there.'

'I was very welcomed and was immediately approached by a friendly face.  It was very inviting and was easy to speak to people there.'

'HAPPY' ?

'Love ? happy'

'Thank you Diolch, Diolch ?'

A mother of one of the young people said 'I feel much better than I did.'

Another mother said 'All was lovely, made to feel welcome, everything we did was good and the girls enjoyed themselves.'

The two memory quilts will be competed by the end of August 2022, following which we will hold a final project event with Cruse Bereavement Support Wales on 25^th September at St Fagans National Museum of History, where we will display the two quilts and invite both the contributors who sent squares and the participants from the Bereavement Support Days to attend, along with the public, to see the quilts and share their experiences of taking part in the process.

We look forward to seeing you there.

Hi Bulb Buddies,

I’ve had an interesting time compiling the end of year report for the Spring Bulbs for Schools Investigation. I’ve attached the reports on the right for you but let’s take a quick look at some of the highlights!

Remember that our weather readings are taken between November and March, meaning that records for each year include readings from the November and December of the previous year. For example, when the report talks about results for 2012 it’s referring to data taken from November 2011 to March 2012.

2022 saw slightly higher than average temperatures and the second warmest February of our investigation. The MET Office has stated that February 2022 was the fifth warmest on record based on measurements dating back to 1919.

The graph shows that 2022 was the fourth warmest period of our study.

2022 saw the lowest and highest average hours of sunshine of our investigation. The MET Office has stated that 2022 saw the dullest December since 1956! It also saw the sunniest January and second sunniest March based on records dating back to 1919.

2022 saw the second highest hours of sunshine of our investigation. There are 25 hours difference between the year that saw the highest average hours of sunshine (2012) and the year that saw the lowest (2016).

We can see from the chart that 2022 saw the lowest average rainfall of our investigation for November and January and the second lowest for March. In contrast, it saw the third highest rainfall for February. The MET Office has stated that February 2020 was the wettest on record with measurements dating back to 1862!

The bar chart shows that 2022 saw the lowest average rainfall of our investigation at 90mm while 2016 was the wettest year of the project with an average rainfall of 158mm.

Our results show that plants flowered earliest in Wales and latest in Scotland. Scotland was the coldest country and saw the least sun.

2022 saw both plants flower earlier than the overall average. It’s interesting to compare results from 2022 with the overall averages for the project. The table shows that 2022 saw above average temperatures and hours of sunshine and below average rainfall when compared to previous years.

The graph shows average hours of sunshine for the period November-March for Wales. We can see from the chart that Wales saw lower than average hours of sunlight for the period November 2001 to March 2022. It’s interesting to note that the years 2006 to 2012 all saw higher than average hours of sunshine and that since then only one year (2015) has seen above average hours of sunshine.

The difference between averages for Wales and averages for the UK highlights the regional variations that can occur. The MET Office have recently announced interesting regional variations in their latest climate reports. Climate is measured in 30-year periods, in line with guidelines from the World Meteorological Organisation. A comparison between the 1961-1990 and 1991-2020 periods has revealed an increase in temperature (+0.8°C), rainfall (+2.3%) and sunshine (+5.6%) for the UK.

It will be interesting to see what patterns will emerge from our results as our long term study continues. Thank you for your contribution to this year’s investigation and I hope that you will follow the progress of the 2022-23 investigation from September.

Great work Bulb Buddies,

Professor Plant