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Preserved within the collections is a Cardiff horse drawn tram. The tram was built by the Falcon Works, Loughborough in the 1880s and run by Cardiff Tramways Co. When the Cardiff Tramways Company was taken over by the City in 1902 the routes were electrified and the horse-tram was sold to the Cardiff Ladies Temperance Guild and used in the Docks as a snack-bar selling non-alcoholic beverages. About 1930 ownership passed to Mrs Elizabeth Leach of Tremorfa who ran it as 'Walters' Tavern' and in due course this ladies daughter, Mrs Walters, took it over. In 1955 her brother Mr Ekstrom, took it over and ran it for a further ten years until it closed in 1966. It was removed in Summer 1968.

This slide, recently accessioned into the collection, shows the tram in use as a refreshment stall at Roath Dock, Cardiff.

The tram is currently on loan to the National Tramway Museum in Crich were it is on display.

These photographs show the tram awaiting restoration in 1979, and then after restoration work was carried out by Amgueddfa Cymru – National Museum Wales.

The final photograph shows a similar tram on Newport Road, Cardiff c.1890. It ran on the The Royal Oak - Newport Road - Pier head service.

 

A recent donation was this wooden board with a paper roster/list attached. The roster lists information about locomotives, winding engines, and saw mills at Dinorwic Slate Quarries. Unfortunately it is in poor condition and will need some conservation work carried out on it. The board had three headings, ‘locomotives’, ‘winding engines’ and ‘saw mills’.
Under the heading ‘locomotives’ the following information is recorded: old name of locomotive; present name of locomotive; location of locomotive; works number; date; remarks e.g. firebox renewed; firebox and tubes material. The roster records information about 20 locomotives.
Under the heading ‘winding engines’ the following information is recorded: place; started working; drive; circ & length of winding rope; circ &  length of standing rope; remarks. The roster records information about 11 winding engines.
Under the heading ‘saw mills’ the following information is recorded: place; started working; drive; no of dressing machines; no of tables; kind; diar of line shaft; revs line shaft. The roster records information about 10 saw mills.

 

Last year we were donated this painting by John Uzzell Edwards. It was on display at the National Waterfront Museum for a while and has just come off display to be accessioned and stored at the National Collections Centre in Nantgarw. The painting is acrylic and mixed media on canvas. It was painted on 2011 and is titled ‘Swansea Quilt’. The painting was inspired by a quilt made in Swansea by a woman who worked in the milliners department of a Swansea shop (she used fabric off-cuts from the shop).

This print shows the quilt which inspired John Uzzell Edwards.

 

This month we also acquired another painting. Probably gouache on board/paper it shows Merthyr Vale Colliery from Aberfan, and is dated 1902. It is signed by an artist called David John Evans. We haven’t yet been able to find anything out about him, so if anyone has any information on this artist we would love to hear from you.

The sinking of Merthyr Vale No. 1 Colliery began in 1869, and coal was first produced in 1875. Merthyr Vale Colliery No 2 was sunk some years later. In 1902 the colliery employed 3,064 men and produced 830,000 tons of coal. Reaching its peak in 1913 , when it was the largest colliery in the South Wales coalfield, manpower and output reduced over the years until the colliery eventually closed by British Coal in August  1989.

This photograph shows Merthyr Vale Colliery in 1960 showing tips on the hillside. It was the spoil from Merthyr Vale Colliery that slipped down the mountainside onto the community of Aberfan on the 21st October 1966. Engulfing Pantglass Junior School and a number of houses 144 people were killed, 116 of whom were children.

‘J. Eurof Martin Collection’

Mark Etheridge
Curator: Industry & Transport
Follow us on Twitter - @IndustryACNMW

On his death over 100 years ago, Alfred Russel Wallace was widely praised as the 'last of the great Victorians'. But who was he?

Wallace was many things - an intrepid explorer, a brilliant naturalist, a social activist - overall a remarkable man. In his time he collected over 125 000 animal specimens, published more than 800 articles and wrote 22 books.

He is most famously associated with co-discovering the process of evolution by natural selection alongside Charles Darwin. Yet we have all heard of Darwin, whilst Wallace had become more of a forgotten figure.

In 2013 AC-NMW produced an exhibition commemorating the life and work of this great man. This exhibition has now journeyed westwards to the Oriel y Parc Gallery in St Davids, and can be explored by visitors until the 25th November.

Yma yn Sain Ffagan, mae’r prosiect ail-ddatblygu (Creu Hanes) yn mynd yn ei flaen ar garlam. Tra bo’r cadwraethwyr yn asesu cyflwr y casgliadau a’r curaduron eraill yn cydlynu gyda’r dylunwyr, un o fy nhasgau i dros y flwyddyn nesaf fydd gweithio ar gyfres o brosiectau cymunedol ar gyfer yr orielau newydd. Yn y byd amgueddfaol, mae ’na enw ar gyfer y math yma o waith – cyd-guradu, neu cyd-greu.

Wrth gwrs, dyw gweithio gyda chymunedau ddim yn beth newydd i ni fel sefydliad. Dyma oedd hanfod dull Iorwerth Peate o guradu a sylfaen datblygu casgliadau’r Amgueddfa Werin yn y lle cyntaf. Yn 1937 – bron i ddegawd cyn agor giatiau Castell Sain Ffagan i bobl Cymru – aeth Peate ati i lunio holiadur a yrwyd at unigolion a sefydliadau ym mhob plwyf yng Nghymru yn gofyn am arferion a thraddodiadau eu milltir sgwâr. Dyma ddyfyniad ohono:

… rhaid i’r Amgueddfa wrth wybodaeth a gwrthrychau o bob plwyf yng Nghymru; rhaid iddi ddibynnu hefyd i raddau helaeth iawn ar gydweithrediad y Cymry mewn fferm a bwthyn, tref a phentref.

Mae’r ymatebion a ddaeth i law bellach yn rhan o archif lawysgrifau’r Amgueddfa, ynghyd â llythyron a llyfrau ateb – dau ddull arall a ddefnyddwyd gan Peate i gasglu gwybodaeth. Yn ei gyfnod, does dim dwywaith nad oedd yn arloesi mewn tir newydd.

Heddiw, mae rhaglen gymunedol yr Amgueddfa yn barhâd o’r etifeddiaeth hon, ond rydym yn gweithio mewn ffordd dra wahanol. Yn y cyfnod cynnar, pan fyddai gwybodaeth a chasgliadau yn cyrraedd yr Amgueddfa, llais y curadur fyddai'n dehongli a chyflwyno’r deunydd hwnnw. Er mor werthfawr yw’r cynnyrch a gasglwyd, perthynas un-ochrog i raddau oedd rhwng yr Amgueddfa a’i hysbyswyr cymunedol.

Bron i wythdeg mlynedd yn ddiweddarach, mae’r pwyslais wedi newid ac fe welir hyn yn glir yn y gwaith sy’n digwydd yma fel rhan o brosiect Creu Hanes. O fewn yr orielau newydd, bydd gofodau wedi eu curadu gan gymunedau ledled Cymru – eu lleisiau a’u gwrthrychau nhw fydd hanfod yr arddangosfeydd hyn. Yn ogystal, mae fforymau cyfranogol y prosiect – pwyllgorau yw’r rhain sy’n cynrychioli cynulleidfaoedd amrywiol yr Amgueddfa – wedi chwarae rhan bwysig yn y broses o ddewis a dethol gwrthrychau a themâu yr orielau newydd o’r cychwyn cyntaf. Yn syml, ein nod yw creu hanes gyda, yn hytrach nag ar gyfer, pobl Cymru.

Gyda hyn mewn golwg, wythnos yn ôl mi roeddwn i gyda’r gymuned yn Awyrlu’r Fali yn cynnal ail gyfarfod am eu mewnbwn nhw i’r rhaglen cyd-guradu. Mae’r gymuned yn y Fali yn unigryw gan fod yno gymysgedd o dros fil o weithwyr milwrol a sifilaidd. Dyma un o gyflogwyr mwyaf Ynys Môn. Rydym wedi rhoi camerau fideo i ddetholiad o staff yr orsaf i recordio diwrnod arferol yn eu bywyd gwaith. Hyd yn hyn, mae wyth adran yn cymryd rhan, gan gynnwys y frigâd dân, peilotiaid Sgwadron 208 a’r gwasanaeth arlwyo. Mi fydd eu ffilmiau ‘pry-ar-y-wal’ yn cael eu dangos am gyfnod yn un o’r orielau newydd, ynghyd â gwrthrychau o'u dewis nhw. Bydd y cyfan wedyn yn cael ei archifo a’i roi ar gof a chadw yn yr Amgueddfa, a'r gofod arddangos yn cael ei drosglwyddo i gymuned waith wahanol.

I glywed mwy am ein prosiectau cyd-guradu, cadwch lygad ar y blog dros y flwyddyn nesaf. Gallwch hefyd gadw ar y blaen gyda'r datblygiadau drwy ddilyn fy nghyfrif  Twitter @StFagansTextile a’r hashnod #CreuHanes. Cofiwch hefyd am fy nghyd-weithwyr sy'n trydar: @CuradurFflur, @archifsfarchive, @SF_Politics, @SF_Ystafelloedd, @SF_adeiladau, @WelshFurniture@CollectionsSF a @SF_Dogfennaeth. Rhwng pawb, fe gewch chi’r diweddaraf am y prosiect ail-ddatblygu a chipolwg ar weithgarwch un adran sy’n rhan o’r gymuned waith yma yn Sain Ffagan. 

Cefnogir y gwaith gydag Awyrlu'r Fali gan Gynllun Cyfamod Cymunedol y Lluoedd Arfog.

‘Drown’d in drowsy sleep, of nothing he takes keep’. These were the words that William Goscombe John chose to accompany his sculpture Morpheus when it was first exhibited at the Royal Academy in 1891.

The caption was taken from the 16th century poem The Fairie Queene by Edmund Spenser, although it is not a direct quotation. This epic allegorical poem follows the journey of several Arthurian knights as they battle their way through a mythical fairyland.

Morpheus, the Greek god of dreams, plays a small role in The Fairie Queene. He is called upon to help the black sorcerer Archimago trap Redcrosse, one of the Christian knights. He does this by conjuring up a false dream of love and lust to fool Redcrosse into believing that his lover Una has been ‘sporting’ with another knight. This leads to Redcrosse abandoning her and continuing his quest alone.

In this sculpture Morpheus is shown asleep - or perhaps softly stirring from sleep, his arms stretched languidly above his head. Apart from this, John makes no other reference to the narrative of The Fairie Queene and it is not clear why he would have chosen to depict a figure who plays a relatively small role in the story, and in Greek mythology.

We might say that the mythological theme was a pretext for depicting a nubile male nude. Alternatively, we might see it as a statement about the role of the figurative sculptor. In mythology, Morpheus had one great power: he could mimic the human form, and trick people into seeing physical bodies that are not really there.

 

Stephanie Roberts and Penelope Hines 

A number of interesting objects have entered the industry & transport collections this month. Recently the museum purchased this Cambrian Railways Co. leather pouch for a single line tablet. The pouch would contain a tablet controlling the movement of trains. The driver must have possession of the tablet to proceed along the single line track. The Cambrian Railways were absorbed by the Great Western Railway on 1 January 1922, and this is an early example with a cane loop.

 

Over the last few months we have received a number of objects relating to the film 'Pride' and the 30th anniversary of the Miners’ Strike. This is a programme for a Sole Purpose Productions and the Rainbow Project production of ‘Pits and Perverts’ on tour to celebrate the 30th anniversary of the Miners’ Strike in 2014.

 

This paper serviette was produced to celebrate the visit of King George V and Queen Mary to Swansea on 17th – 19th July, 1920. Staying on the Royal Yacht; on the Monday they visited Talgarth Sanatorium and on the Sunday they attended a service at St. Mary’s parish church, Swansea. On Monday the King and Queen visited Hafod copper works which was owned by Vivian & Sons, and then Kings Dock tinplate works (owned by Baldwins Ltd.). Finally they laid the foundation stone of University College, Swansea.

The two images below form part of the museum's historic photography collections, and show the Royal Visit to Kings Dock tinplate works on 19th July 1920. In the first photograph Queen Mary (at centre) and King George V (towards the left) can be seen walking over railway lines at the tinplate works. The next photograph shows King George V entering the works.

 

 

This beautifully carved colliery official's yardstick (sorry, my photographs do not do it justice) was given to William Lewis on his retirement in 1881. William Lewis was Llwynypia Colliery official (overman), and was originally from Pontypool. The inscription reads - MR 1881 / WILLIAM LEWIS / OVERMAN / GLAMORGAN / VILLA / LLWYN / YPIA / NATIVE OF / PONTYPOOL / MONMOUTH / SHIRE / CRAFFUS FESURWR / FE GEYR TRWY GYNLLYN Y GWR / LAWN WAITH A BWYD Y WEITHWR / YR GLEW RHYDD NAWDD YR GLOWR SEF LEWIS

A yardstick (or Deputy’s stick) was carried by officials of the coal mines an aid in the process of testing for gas. Before about 1960 there was a hole at the top of the stick into which the deputy could fit the hook of his lamp in order to raise it into the roof to test for gas. This example has been adapted as a walking stick. About 6" has been cut off one end (removing the hole to raise the lamp) and a curved length of wood attached to form a new handle.

In the photograph below a colliery deputy can be seen with his yardstick, c.1900.

Mark Etheridge
Curator: Industry & Transport
Follow us on Twitter - @IndustryACNMW