Gotta Catch ‘Em All: The Naturalist’s Mantra

My name is Erin Slack and I am the curatorial assistant for natural sciences at the Great North Museum: Hancock. In this blog post I want to talk about something very important to me and the work I do: Pokémon.

Pikachu as seen outside the Great North Museum: Hancock in the Pokémon Go game.

Pikachu spotted outside the Great North Museum: Hancock in the Pokémon GO game. © 2016 Pokémon/Nintendo.

It might sound a bit strange for someone who works closely with animals and the natural world in a museum setting to be espousing the virtues of a video game, however the origins for the Pokémon franchise and the Great North Museum: Hancock are actually closer than you might think.

Games developer Satoshi Tajiri found inspiration for the Pokémon series in his childhood interest of collecting insects. Nicknamed ‘Dr. Bug’ as a youngster, Tajiri dreamed of becoming an entomologist and spent a lot of time catching beetles, crayfish and other invertebrates in the woods near his home of Machida, Tokyo.

For Tajiri, growing up in Japan, it was common for children to go out and collect insects, luring them in by placing honey onto the bark of trees. As he grew, he saw housing, factories, arcades and building developments take over the spaces where insects lived and a decline in the populations of different species. In an interview with TIME in 1999, Tajiri said:

“Places to catch insects are rare because of urbanisation. Kids play inside their homes now, and a lot had forgotten about catching insects. So had I. When I was making games, something clicked and I decided to make a game with that concept.”

Wigglytuff as seen near to our T.rex in the museum

Wigglytuff spotted near to our replica T.rex in the museum. © 2016 Pokémon/Nintendo.

From these origins the concept developed into a fully-fledged universe filled with hundreds of Pokémon – many of them taking the form of insects as well as mammalian, reptile, amphibian, bird, fish and even humanoid shaped creatures with fantastic powers. Some Pokémon are based on mythological animals and themes taken from Japanese folklore too.

Many Pokémon also share interesting biological features with real animals, such as: diurnal (day-time) and nocturnal (night-time) feeding patterns; sexual dimorphism (size difference etc. between sexes); and symbiosis (mutually beneficial relationships between organisms). The Pokémon Eevee also demonstrates something quite similar to polyphenism – this is where differences in environment, hormones, genetics or diet can trigger the development of different physical and behavioural characteristics across the same species.

Evolution is also a key feature of the Pokémon games but this is not the same as biological evolution. When a Pokémon evolves it goes through a process more closely resembling metamorphosis or biological development; the original Japanese word 進化 (shinka) can mean both ‘evolve’ and ‘progress’ and this may be where some of the confusion lies. Annoyingly, ‘evolve’ is also a lot snappier than ‘metamorphose’.

Caterpie, Metapod and Butterfree (three ‘evolutionary’ stages for this particular bug type pocket monster). © the Pokémon Company International, Inc.

Caterpie, Metapod and Butterfree (three ‘evolutionary’ stages for this particular bug type pocket monster). © 2016 Pokémon/Nintendo.

Butterfly mounts in the Great North Museum: Hancock stores

Butterfly mounts in the Great North Museum: Hancock stores. These specimens were collected by enthusiasts over many years.

One of the strangest parallels with nature comes from a Pokémon called Parasect – as this Pokémon grows (and evolves from Paras) the parasitic fungus on its back slowly consumes Parasect, taking control of the host’s body and mind. This is similar to the relationship between Ophiocordyceps unilateralis (A.K.A. ‘zombie fungus’) and certain species of carpenter ant.

For me, growing up, I was totally immersed in the Pokémon phenomenon – the games, the anime and trading cards – and in a lot of ways I still am. I now work daily with a vast collection of natural science specimens; cases of butterflies and eggs, jars of sea creatures and thousands of preserved birds. Some of these are extremely rare, endangered, and even extinct and all of these animals have their own interesting natures and life cycles worthy of study.

I think the fascination Satoshi Tajiri and the founders of the Great North Museum: Hancock felt towards collecting and studying the natural world is one and the same. The collections of the Natural History Society of Northumbria contain over half a million specimens including a large selection of entomology, molluscs, crustaceans, plants, birds and other animals from around the world. This collection was painstakingly gathered by intrepid enthusiasts, researchers and conservationists for whom “Gotta catch ’em all” might as well have been a mantra.

To go out, record and document the natural living world is an important undertaking for us all; it gives us a better idea of how life developed over time, an understanding of the planet’s diverse ecosystems and how we can care for them.

A Japanese Spider Crab at the Great North Museum: Hancock. An inspiration (along with the Fiddler Crab) for the Pokémon Kingler, perhaps?

If, like me, you are out and about in all kinds of strange places catching Pokémon this summer, look out for some of the bugs and creatures around you. Whether you’re in your garden, a park, the beach or even in front of the Great North Museum: Hancock you might just see something new or interesting. If you are in the North East you could also log your wildlife sightings with ERIC North East; this helps provide data for conservation scientists and research teams – arguably the ‘real’ Pokémon professors.

 

Pokémon character names are trademarks of Nintendo.

Exhibition Explorers: what we’ve discovered from the pilot, and what’s next!

Project Outline

Exhibition Explorers took place at the Shipley Art Gallery between February and July 2016. It was funded by Tyne and Wear Museums’ ‘Try New Things’ (TNT) initiative which supports new and experimental museum projects. There were a total of six sessions (one per month) attended by a cohort of sixteen 1 and 2 year olds and their parents and grandparents. The project focused on helping families to discover new ways of experiencing museums together. The sessions were planned and delivered by Claudia Knott, with support from Project Coordinator Hannah Mackay-Jackson and volunteers Sandra and Fiona. Families came together once a month for a lively facilitated session at the Shipley Art Gallery, combining songs, stories, parachute games, play, crafting and gallery-based ‘exploring activities’. The themes behind these activities were inspired by the Shipley’s collections. Each session was carefully designed to get children and adults looking at the artwork together, and exploring the gallery environment; for example, the families explored through treasure hunts; gallery walkabouts incorporating magnifying glasses, coloured viewfinders and pull-along toys; the opportunity for children to photograph something that interested them; and the planting of flags next to the children’s favourite things. Such activities were designed to build children’s familiarity with the gallery and engage them in the artworks. In addition, they aimed to increase parents’ confidence around engaging their child in museums, and help them see the visit through the children’s eyes.

Spotting colours in the artworks

Spotting colours in the artworks

Following these in-gallery sessions, families were encouraged to put these experiences into practice by visiting other museums and galleries independently. They were given ideas of places to visit, signposted to the Family Explorers North East website, and provided with coloured paper and glue sticks to assist them in recording their visits to other venues. At each session, children arrived eagerly clutching the scrapbook pages they’d created to record these ‘Family Adventures’. These were added to the big ‘Exhibition Explorers Encyclopedia’ and used by facilitator Claudia to create a story time with a difference, in which the families’ visits to cultural venues were celebrated and shared. This was also about encouraging exploratory attitudes to museum visits – for example, through their scrapbook pages, families frequently told us their children had enjoyed aspects of museums such as the lifts, open spaces, and the big windows. During the story time, these experiences were celebrated as much as the news that they’d visited a particular exhibition or engaged in a special event or learning activity, thereby emphasising the ‘exploring’ ethos of the project, and reinforcing this as a good way to approach a museum visit with a toddler. The Family Adventures were also added to the blog on the Shipley Art Gallery’s website, allowing parents to read about each other’s museum visits at their leisure, and for external audiences to learn about the project. The blog attracted interest from other museums and galleries and was shared by members of the UK’s museum sector via social media.

The Project’s Exploratory Ethos

The main ethos of the project was that museum and gallery visits for this age group should first and foremost be exploratory. Museum visits may be for entertainment, learning or other motivations, but exploring should be at the forefront of the experience. Parents were introduced to this ethos from the outset; they were told to follow their child’s lead and not worry if they weren’t joining in the group activity – for example, if a child wandered off from the singing sessions to investigate the gallery’s patterned floor; or wanted to crawl under a display case rather than looking at its contents, the parents should feel relaxed and comfortable and simply follow their child’s interest. Such behaviour was interpreted as a sign that the children were responding to the museum environment, and feeling interested and comfortable. By responding positively, staff and volunteers demonstrated that such behaviour was welcome, which helped parents to feel more relaxed about their child’s responses to the museum.

Taking a closer look

Taking a closer look

Session content was planned in ways that supported this exploring ethos: if children wandered off it was due to proactive interest in another aspect of the museum, not because the activity was too long, poorly structured, or too difficult for their age group. The ethos of exploring the museum was further supported by activities that encouraged this, such as treasure hunts and the opportunity for children to photograph something that interested them. The sessions were deliberately held in the gallery itself rather than a separate room (such as the Workshop which is often used by school groups, or the Lounge which is often used by community groups). This was to reassure parents that the children’s behaviour would be welcome throughout the gallery, and to increase confidence and familiarity with the gallery itself and hopefully encourage repeat visits between sessions and beyond the end of the project.

In their feedback, many parents commented on the exploring ethos of the project, showing its impact:

  • ‘At first I thought other people in the gallery might not be too pleased if Fred suddenly scooted past them with the toys on wheels, but actually lots of people have been interested in what the children are doing. The staff are really friendly too so we feel that it’s okay for us to be here!’
  • ‘She’ll choose an artwork to go and look at and then she’ll look carefully around it, at the floor and things. She’ll point at things she finds and show me too. And she loves the grandfather clock – she spent a long time looking carefully at it and asking to be picked up to see.’
  • ‘We’ll come to the Shipley again, now we’ve been to this. We shouldn’t be scared to go in – that’s what I’ve realised from this project.’

The Families’ Starting Points

At the beginning of the project, two thirds of the group had visited the Shipley before. Of these, roughly half had attended baby groups there, such as Creative Baby, Hartbeeps classes, and Artventurers classes. Some of the parents had visited the Shipley without their children; one parent commented, ‘I’d been to the Shipley before for events like the Late Shows, but I wouldn’t really have considered it a place to come with a toddler’.

Almost half of the group said they take their child to a museum every month. A quarter said every 3-6 months, and a quarter said occasionally (holidays, special events etc.) Feelings about museums were positive: parents told us that they wanted their child to develop a love of museums; they felt museums had lots to offer their family; they felt sure their child would enjoy a museum visit; and that they believed the project would support their child’s learning and development.

Confidence about visiting museums was fairly high: almost two thirds of the group said they felt very confident about visiting a museum with their child. The other third said they felt somewhat confident and would like to develop. Several members of the group talked about the role museums could play in their parenting, and expressed an interest in coming to the project because it would help them to learn how to successfully incorporate museums into family life, and how to talk to their child about the displays.

Turning the panels on the inspiration board

Turning the panels on the inspiration board

Parents’ Expectations

At the beginning of the project and during the sessions, parents told us about their expectations for the project:

Many were keen to help their children develop a familiarity and fondness for museums, and to instil a sense of cultural entitlement – a sense that museums are for them:

  •  ‘I really want museums and galleries to be normal to her – I never went as a child, so I really want her to feel these are places for her.’
  • ‘I really want my children to think of museums as nice spaces to play, visit, and have new experiences – that’s the message I really want to give them.’
  • ‘She’ll learn about how you visit these places, then she’ll feel more confident that museums aren’t scary – they’re places she can follow her interests and really explore.’
  • ‘This is a lovely opportunity to share what I love with my youngest child. Sadly we don’t go to museums together often. I love having one-to-one conversations with her about the things we see here.’

Others talked about their own learning, as opposed to their child’s. They wanted to incorporate museums more into family life, and felt that museums could play a role in their parenting practices. These parents wanted to consciously pick up skills and expertise through the project, to use when they visit museums as a family:

  • ‘For both me and my child, it’s all about learning that it’s normal to go to places like this.’
  • ‘I’m hoping to learn how to get the most out of museums, and make it as interesting as possible for my children.’
  • ‘I’m hoping I’ll pick up more ideas of ways to talk to her about the displays.’
  •  ‘I’m really looking forward to doing something creative and a bit different with my toddler. I’m looking forward to finding new places and seeing how we could explore them together.’
Making playdoh creations amongst the ceramics display

Making playdoh creations amongst the ceramics display

Family Adventures

Between sessions, families were encouraged to visit a museum or gallery of their choice and to tell the group about the experience through scrapbooking. This peer-to-peer advocacy for museums was initially expected to be primarily of interest to the parents, and much thought was put into how we’d keep the children from getting restless while this information was conveyed to their parents. However, we were surprised to find that the children were extremely interested in this part of the session; they crowded around the Exhibition Explorers Encyclopaedia at story time, and eagerly told the group about where they’d been, without prompting.

Claudia sharing the Exhibition Explorers Encyclopedia with the children - photo: Mark Savage

Claudia sharing the Exhibition Explorers Encyclopedia with the children – photo: Mark Savage

Sharing the Exhibition Explorers Encyclopaedia

Sharing the Exhibition Explorers Encyclopaedia – photo: Mark Savage

As the families were creating the scrapbook pages, the tone was one of parent-to-parent feedback rather than institution-to-audience marketing. This meant that the sort of information that was shared was personalised to the toddlers, and frequently contained tips that would be useful to parents. Through their Family Adventures, the group shared feedback on aspects of their visit that matter to families, such as;

  • Cafes and catering facilities (‘Best hot chocolate for kids ever!’; ‘There was space to eat our packed lunch’.)
  • Facilities and recommendations for getting the most out of these (‘Play Tyne was great but a change of clothes would have been a good idea after all that splashing’; ‘If it had been warmer we’d have explored the beach near the Castle’; ‘The park next door is worth a visit too, we loved feeding the ducks’.)
  • Unusual things their child had noticed (‘She was really interested in the toilets, and the light and dark spaces!’; ‘He was really struck by the scale of the Cathedral’.)
  • Ways the visit related to their child’s other interests (‘We looked for the Gruffalo in the woods’; ‘The castle’s fireplace reminded him of the Stickman story we’ve been reading at home’.
  • How they’d utilised the exploring ethos of the project (‘We spent lots of time using the water features as a toy, and going up the big steps because Evie had just learned to walk’; ‘We loved looking out of the big windows and going in the lift’; ‘We’ve realised you can make a toy out of anything!’).
  • Ways the visit related to Exhibition Explorers sessions (‘Alex enjoyed using the magnifying glasses at Exhibition Explorers, and talked about it when he tried out the binoculars at the Grace Darling Museum’.)
  • Learning and engagement resources (‘Fred loved pressing the buttons to change the lighting on the painting – very atmospheric’; ‘Zoe loved using the mirrors and mummy thought it was a good idea they were plastic so she didn’t need to worry about them getting broken!’)
Sharing the latest Family Adventures

Sharing the latest Family Adventures

Parents also fed back that visiting museums and galleries independently had allowed them to put into practice what they’d learned at the sessions. They had internalised the playful, exploratory ethos of the project:

  • ‘Now we know that playing and exploring is a really good way to approach a museum, so we’re ok with it. These sessions have really made me see museums through the children’s eyes – I’m so much better now at realising the sorts of things they’ll notice and enjoy.’
  • ‘We’re definitely going to more places as a result of coming to Exhibition Explorers. And I’ve slowed down – we go at his pace now and I let him lead!’

They had also broadened their repertoire of places to go, and deepened their understanding of how toddlers engage with museums:

  • ‘It’s definitely increased our spectrum of things to go to – we’ve realised anything goes, we don’t have to only take her to exhibitions specifically aimed at children, because she’ll get lots out of going to a new place and exploring.’
  • ‘I can really see what she gets out of visiting these places and I just want to encourage that as much as possible.’
  • ‘Coming to Exhibition Explorers has made me think about how many different museums are available, and encouraged me to explore more. These experiences make us want to visit a venue.’
  • ‘It’s certainly prompted me to think of other places to go, because I’d definitely fallen into a pattern of just going to the same few places. That’s been really good.’
Sharing the Exhibition Explorers Encyclopaedia

Sharing the Exhibition Explorers Encyclopaedia

And by internalising the exploring ethos of the project they had begun to be motivated by different things when choosing museums to visit:

  • ‘I’ve started choosing places to go based more on the architecture of the building than the exhibitions. He’s really enjoyed exploring the spaces of the Shipley, and this has inspired us to take him to more big buildings, like Durham Cathedral, knowing that just wandering round a space has a huge lasting effect on him.’
Photo: Mark Savage

Photo: Mark Savage

Increasing Familiarity with the Shipley Art Gallery

One of the project’s ambitions was to increase the families’ familiarity with the Shipley Art Gallery, and encourage them to become regular visitors. Several parents said that the project had increased the likelihood of them visiting again, and their confidence and familiarity around the venue.

Exploring the new exhibition at the Shipley together

Exploring the new exhibition at the Shipley together

Many also talked about their children connecting with the Shipley’s collections, and expressed an interest in continuing to bring their children to visit the gallery. There was also a notable increase in parents’ familiarity with the Shipley – many talked about feeling more confident and comfortable there. They recognised their child’s interest in both the museum environment and the displays, and valued the fact that their child responded positively to the Shipley. Several talked about this developed interest in the Shipley having a knock-on effect to their engagement in other museums and galleries:

  • ‘I think the building itself has caught her eye – things like the tiles, different textures, flooring – I would have hurried her on from those things before, but I’ve realised that that sort of exploring is all part of the museum experience.’
  • ‘Coming here is obviously memorable to her. I think we’ll definitely investigate museums more because of what we’ve learned on this project. We explore in different ways with her now.’
  • ‘He knows where we are as soon as we arrive outside, and he goes up the steps and straight in, looking for the other children. I think he finds the different colours in the artworks very appealing. He’s definitely very happy here, I can always tell he’s really enjoying it, he’s smiling as soon as we come in.’
  • ‘The staff here are lovely with him, really chatty and always engaging with him as soon as he comes in the door, it’s lovely.’
  • ‘The best thing here is there’s lots of space. I know it’s a safe, protected environment so I can relax and let her take the lead and explore things that interest her.’
  • ‘It’s been a good start for us – we’ve got to know the Shipley and now we know it’s somewhere we like to visit.’
Parachute games in front of the Tintoretto

Parachute games in front of the Tintoretto

Changing Families’ Perceptions of Museums

Many of the parents reported that the project had altered their perceptions of museums: they felt more aware of the benefits for young children, and more equipped to engage their child in successful museum visits by using the exploratory techniques they’d picked up. Several said that they felt more welcome in museums, and sure that engaging their child in them was appropriate and going to be well received by other visitors and museum staff. The way in which the families conducted museum visits also changed – they felt confident about letting their child lead, and the exploring ethos of the project became second nature to them. Parents told us that they were much more convinced of the value of museums for young children, than they had been before taking part. There was a feeling of increased skills and confidence around engaging, and a commitment to the idea that, for young children, the museum environment and the displays are of equal importance.

  • ‘I thought museums were only for older children; but we’ve realised she gets so much out of it, and we do too. The sessions have really made me notice things here, and my daughter’s found things she really likes and can interact with. It’s been fascinating.’
  • ‘It’s made me go more regularly to museums. I wouldn’t have taken a young child to these places before, but now I see the experience in a different way. It changes how I interact with my daughter too – I’m more relaxed and I follow her lead: I see museums in a different light because of this project.’
  • ‘I used to keep her in the pram for a museum visit – that was always really frustrating for her, and made museums a not very pleasant experience for either of us. But now I know she gets so much more out of it if I let her explore.’
  • ‘It’s changed how we encourage her to interact with museums. We know we can do different things with her in museums; it’s broadened what we try.’
  • ‘I look much more consciously at what’s on her eye level – I can relate much more to what she gets out of an exhibition now.’
  • ‘Before, I would’ve wondered if a gallery was suitable for him; but I don’t think twice about it now! These sessions have helped us to normalise it and give it a go. We’ve discovered that galleries are places to relax.’
  • ‘I’ve learned that museum visits with toddlers don’t have to be stressful. I feel confident that he gets an awful lot out of it – he takes things in, and talks about it days later. ‘
  •  ‘The things that interest her don’t have to be specifically child orientated. She loves the toy tea set, but also she really likes the ceramic tea pots on display. She’s learning what an art gallery is and also she’s showing real interest in things that I wouldn’t expect her to.’
Children were presented with a folder of their Family Adventures and a magnifying glass to continue exploring with

Children were presented with a folder of their Family Adventures and a magnifying glass to continue exploring with

Implications for the Shipley Art Gallery

Exhibition Explorers has proven to be a fascinating project for the Shipley Art Gallery. It has helped us to see the Shipley through children’s eyes – recognising that exploring the museum environment is just as important as what’s on display, for our youngest visitors. Having observed many of the project’s participants engage in ‘Creative Baby!’ and then progress to this project, we have gained an insight into young families’ evolving needs and preferences in museums as their children grow. Several of the families have become regular visitors to the Shipley, attending several times a month for various groups and activities, and exploring the gallery with confidence. It is apparent that the ways in which families engage, and their resulting perceptions of museums have been positively affected by this project.

At the end of the project, children were presented with a folder of their Exhibition Explorer Encyclopaedia scrapbook pages, and a magnifying glass with which to continue exploring museums and galleries (pictured below).

The project now continues into phase 2 which will run from July 2016 – February 2017. Approximately half of the families who took part in the pilot will continue, with the rest of the group consisting of people who are new to the project and / or the Shipley Art Gallery in general.

Lycra songs and games

Lycra songs and games

The impact of the Great War on the Hancock Museum – A Guest Post by Ashleigh Jackson

My name is Ashleigh Jackson. I am a History undergraduate student from Edinburgh and I’m currently on a summer placement with the Natural History Society of Northumbria in their archives at the Great North Museum: Hancock.

The ordinary course of museum work has been disturbed by various side-winds connected with the war’’  – E. Leonard Gill, curator of the Hancock Museum

The Hancock Museum c. 1929

The Hancock Museum c. 1929

To say that the First World War disturbed museum work would be an understatement. The conflict deeply damaged the Natural History Society of Northumberland, Durham and Newcastle upon Tyne and its museum, a position from which it would not recover until the late 20th century. The war had a detrimental impact on the Society’s finances brought about by the huge loss of members who had fought at the front. Museum specimens were poorly preserved as a result of widespread fuel shortages, as it became impossible to maintain the necessary temperatures to preserve the collections. Damp and mould became a problem throughout the museum, damaging much of the collection. On top of this, Armstrong College was requisitioned as a military hospital and as a result, many of its classes took place in the Hancock Museum, interrupting regular work. A further blow was the lack of expertise as the Curator E. Leonard Gill left to volunteer for the Friends’ Ambulance Unit, taking him away from the museum from 1915 until 1919. Gill was a Quaker and a conscientious objector on religious grounds, but he served his country on the ambulance trains at the front.

Tragically, the greatest impact of all was the sad loss of a whole generation of young North East naturalists. Numerous Society members fought in the conflict, many of whom were killed in action or died of their wounds. As noted in T R Goddard’s History of the Natural History Society… 1829-1929, it is impossible to name all of them”. Sadly there is still no published Roll of Honour for the members killed during the war.

 “Several of the younger members of the society, men of promise and ability, have made the great sacrifice during the year under review” – Report of the Council 1916-1917

The saddest losses of all occurred in the year 1916 at the infamous Battle of the Somme. James Leadbitter Knott, son of Sir James Knott, was killed on the first day of the battle on 1 July. Knott had been a well-respected member of the Natural History Society of Northumbria from 1906 until his death.

James Leadbitter Knott. Photo Credit: Sir James Knott Trust

James Leadbitter Knott. Photo Credit: Sir James Knott Trust

The deaths of Hugh Vaughn Charlton and his brother James McFarlane Charlton were noted by the Society as both brothers had been keen naturalists. John was a promising taxidermist, and had even been likened to John Hancock. Hugh was a gifted artist, focusing his talents on painting birds and other wildlife in the region. The Society’s archives hold a collection of his paintings and drawings, including a watercolour painting of the grounds of the Hancock Museum. John was killed in the Battle of the Somme, on 1 July 1916 which also tragically marked his 25th birthday. Hugh was killed just a week before his brother, after being struck by a bomb from a trench mortar on 24 June 1916, near Wytschaete. After the deaths of the two brothers, their natural history collection, which included over 50 mounted birds, was bequeathed to the Hancock.

Watercolour by Hugh Vaughn Charlton, 1914

Watercolour by Hugh Vaughn Charlton, 1914

“There has been little inclination or leisure for the pursuit of Natural History” – Report of the Council 1915-1916

Before the outbreak of war in August 1914, the Society had begun work on an Endowment Fund to assist with repairs to the museum. With the declaration of war against Germany on 4 August 1914, the fund was suspended. This significantly weakened the financial position of the museum resulting in a decision to raise admission prices to sixpence per adult and two pence per child in 1922. The Curator’s Reports throughout the war show a progressive fall in visitor attendance and donations. The loss of members and reduced interest in natural history further harmed the financial position of the Society’s museum, which would only recover later in the century when Newcastle University entered into an agreement to lease the building and collections. By mid-1915, even greater hardship occurred, with the deployment of the Curator E Leonard Gill to the front. His father, J J Gill was employed as Deputy Curator but he and his staff where ill equipped to maintain a financially challenged museum.

With the outbreak of war, Armstrong College (now Newcastle University) was immediately requisitioned by the government in order to be used as a military hospital. The First Northern General Hospital was mobilised in 1914, with an initial provision for 540 beds but by 1917 this had increased to more than 2,100 beds. In response to this, the Society offered the college the use of the Hancock Museum in an effort to minimise disruption to teaching. Zoology, botany, geology, mineralogy, fine art, and arts and crafts classes took place at the museum and this interrupted regular museum work. The library and Curator’s office were used by the college, leaving museum staff with limited space for day to day conservation of the collections. Although the museum was not commandeered for use as a military hospital there had been a three day warning in place and in September 1914, the Curator, Gill, had planned which specimens would be relocated to the store room should the museum be used as a hospital. The uncertainty that this created directly inhibited progress in museum work and maintenance. Armstrong College returned to its own buildings in October 1919, paying the museum £250 for expenses.

Armstrong College during the war. Photo Credit: Newcastle University

Armstrong College during the war. Photo Credit: Newcastle University

“War conditions are unfavourable to natural history pursuits” – Report on the Field Meetings of the Natural History Society for 1915

During the war, the Society was forced to cancel many of its lectures. In the report of the council from 1915-1916 it is noted that due to “the possible danger from aircraft which might occur where a number of people assemble under one roof, it was deemed inadvisable to hold any lectures during the winter”. Lighting was regulated because of the risk it posed during possible air raids. The German military made use of Zeppelin aircraft leading to the deaths of over 500 people in Britain. More than 20 air raids occurred in the region, possibly attracted by the munition and ship building industries on the banks of the River Tyne. On 15 June 1915 a Zeppelin L10 bombed Wallsend, Hebburn Colliery and Jarrow, killing 17 and injuring over 70 people.

The final regular museum talk took place on 9 December 1914 and was poorly attended, due to the decline of interest in natural history as a result of the war, and the fear created by air raids.

However, despite the huge war related difficulties experienced by the Society, the 86th meeting of the British Association was held at the museum in September 1916. The Report of the Council from the same year describes this as a “bright and noticeable feature in the life of Newcastle during 1916”. The meeting mainly focussed on educational and scientific interests but a reception was held on 6 September at the Laing Gallery by the Lord Mayor of Newcastle, and the museum was opened to the visitors of the meeting.

Ultimately, the First World War inherently damaged the position of the Hancock Museum and the Natural History Society, creating uncertainty which would only intensify during the Second World War. During the four year conflict, any progress for the museum or Society was halted and by 1918 its financial position was untenable. This was exacerbated by the absence of the Curator, E. Leonard Gill from 1915-1919.  However, the most profound impact of the war on the Society was the loss of members, many of whom were killed in the conflict. As a result, a generation of naturalists were lost, threatening the survival of the Society, the Hancock Museum and its collections.

Thankfully, both the Society and its museum, now the Great North Museum: Hancock, have survived into the 21st century and are very successful in their own rights. The study of natural history has never been so popular and the Society has a strong base of active members while the museum is a hugely popular visitor attraction.

Stained glass at South Shields Museum & Art Gallery

The beautiful stained glass windows mounted on the half landing of the grand staircase at South Shields Museum are a much-admired feature of our venue.

Stained glass at South Shields Museum and Art Gallery

Stained glass displayed at South Shields Museum and Art Gallery

The centre window contains glass from Holy Trinity Church, South Shields, which was located at the junction of Laygate and Commercial Road. The top panel represents the miracle of giving sight to the blind, and the two below show the parables of the Sower and the Good Samaritan. They date from the early 20th century and were the work of Messrs. Clayton and Bell of London.

Resized Holy Trinity South Shields exterior

An exterior view of Holy Trinity Church, South Shields, about 1911.

The foundation stone of Holy Trinity Church was laid by the incumbent of St. Hilda’s Church, Rev. James Carr, on 22 May 1833. John Sumner, Bishop of Chester, who would go on to become Archbishop of Canterbury, performed the consecration on 18 September 1834.

The church, which was 94 ft. 8 in. in length and 41 ft. in breadth, was built to designs by the esteemed Durham-born architect Anthony Salvin, in the Early English style. There was seating for up to 1,200 people.

Resized Holy Trinity South Shields interior

An interior view of Holy Trinity Church, South Shields, about 1911.

Services were suspended with effect from 25 May 1980 after surveys revealed the building to be structurally unsound, and demolition began on 1 November 1980. The footprint of the church was preserved within a garden area.

The church clock, a gift from South Shields Corporation, was started on 2 July 1883 by the vicar’s eldest child, who afterwards became the wife of the third vicar. One of the three clock faces was removed at the time of demolition, and is preserved in the museum collections.

Resized TWCMS_H10526-a

One of Holy Trinity’s three clock faces, displayed at the museum in the 1980s. TWCMS : H10526

The windows at far left (St. Luke) and right (St. John) came from the west wall of the nave of St. Andrew’s United Reformed Church at Hebburn, formerly St. Andrew’s Presbyterian Church, and were erected in memory of shipbuilder Andrew Leslie Esq., J.P. of Coxlodge Hall, Gosforth, by his sister Mrs. Stephen.

Scotsman Andrew Leslie established his Hebburn shipbuilding yard at the age of 34 in 1853. Leslie encouraged his countrymen to move to Hebburn to work for him and by the 1860s Hebburn was dubbed “little Aberdeen”. As the Scots community of Hebburn grew, the need for a Presbyterian church was keenly felt. Andrew Leslie answered the call by funding the erection of St. Andrew’s Church in 1873, spending £9,000 so that it would have the highest steeple of any non-conformist church in the area, giving rise to the moniker the ‘Presbyterian Cathedral’.

Resized Andrew Leslie Hebburn shipbuilder

Andrew Leslie, Hebburn shipbuilder and St Andrew’s benefactor

Produced at the studio of the acclaimed Pre-Raphaelite artist and designer Edward Burne-Jones, the St. Andrew’s windows, originally five in number, were in fact made for College Road Presbyterian Church, Newcastle upon Tyne, but were moved to Hebburn in 1933 following the conversion of their original home into the Electrical Engineering Laboratory of King’s College (now Newcastle University).

Resized St Andrews Hebburn stained glass

The original five Burne-Jones windows at St Andrew’s, Hebburn, pictured in the 1970s

St. Andrews Church was designed in the Decorated Gothic style by architect Mr. R.J. Johnson of Newcastle upon Tyne, featuring many elements of a church Andrew Leslie had admired on the continent. There was seating for 700 people.

Resized St Andrews Hebburn exterior about 1923

An exterior view of St Andrew’s Church, Hebburn, about 1923

Resized St Andrews Hebburn interior about 1890

An interior view of St Andrew’s Church, Hebburn, about 1890

In the later 20th century the congregation dwindled and the church was last used in the run-up to Easter 1982, when worship was transferred to St. John’s, Hebburn. The empty building suffered at the hands of vandals and much damage was caused, including to the stained glass. The two windows displayed on the staircase at South Shields Museum were rescued by the museum in November 1982 before further damage could be inflicted. In 1985 the empty church was converted to provide workshop spaces, and is today home to a Buddhist meditation centre.

The Hancock sisters and the Great War – A Guest Post by Ashleigh Jackson

My name is Ashleigh Jackson. I am a History undergraduate student from Edinburgh and I’m currently on a summer placement with the Natural History Society of Northumbria in their archives at the Great North Museum: Hancock.

July 2016 marks the centenary of the Battle of the Somme, the bloodiest event of the First World War and one of the most fatal conflicts in history. The Society possesses a number of connections to the Great War, as revealed through its archive collections.

A remarkable connection to the Society is Katherine Milburn Hancock (1893-1976), the great-niece of John and Albany Hancock, and a later donor to the Museum. The Society holds archives relating to Katherine, or Kitty as she was known by family and friends, and her work during the First World War. Kitty volunteered for the French Red Cross in 1915, along with her sister Marjorie, where she drove ambulances in the Hackett-Lowther Unit.

Photograph taken ‘somewhere in France’ shows Marjorie on the left, and Kitty in the centre.

Photograph taken ‘somewhere in France’ shows Marjorie on the left and Kitty in the centre.

Notably, the Hancock sisters were both awarded the Croix de Guerre medal (transl. Cross of War). The sisters were decorated with this medal for their services in the Somme district in 1917, in the aftermath of the Battle of the Somme which had concluded in November 1916.

After the war the sisters moved to Beke and later, Billingshurst in West Sussex where together they managed a farm. Before her death, Kitty visited the Museum opened by her great uncles, and in 1976 donated £20,000 toward the renovation of the Bird Room in the old Hancock Museum.

“English Sisters’ Pluck”

The newspaper cutting below indicates the recognition received by Kitty and Marjorie Hancock. It highlights how the Society’s archive collections can usefully provide information about individuals, and reveal connections to the war. This source tells us that the sisters were part of the Hackett-Lowther unit which was ordered to work in the Somme district to aid French soldiers. The Hancock sisters visited shelled villages and assisted with the evacuation of civilians as the war raged on.

The French newspaper cutting below further highlights the recognition given to the Hancock sisters for their work in the Somme, indicating the appreciation from the French towards the English sisters.

Decorations

The Natural History Society of Northumbria holds the two Croix de Guerre medals which were issued to Kitty and Marjorie after the war. The Croix de Guerre was a distinguished award bestowed by the French government upon those who had carried out heroic acts.  This further highlights the important connections between the Society, the Museum and the First World War.

Croix de Guerre medal of Miss K.M. Hancock

Croix de Guerre medal of Miss K.M. Hancock

As well as the Croix de Guerre, both sisters were awarded the British War Medal as well as the Victory Medal. These accolades are all stored in the archives of the Natural History Society of Northumbria.