Growing our family offer

I’m really excited to have developed two new offers for Early Years, both of which are free and fairly flexible for people to drop into:

Magic Carpet is a special artist-made bag that folds out into a creative playmat. It comes complete with a selection of toys, treasures and creative activity ideas to help little ones enjoy the exhibitions. The idea for this came partly from the Fitzwilliam Museum in Cambridge, which has a wide range of exciting family offers. The key thing with the Magic Carpet, is it’s to be enjoyed anywhere in the gallery that the family chooses – so no need to feel confined to the play area; instead take it on a journey around the exhibitions and enjoy the artwork as you go!

The Magic Carpet packed up

The Magic Carpet packed up

Colourful Magic Carpet

Colourful Magic Carpet

We’ve been delighted at the response to the Magic Carpet: 24 hours after we first announced it on Facebook, it took its first flight, with a family of 3 generations who told us it was; ”The longest our 3 year old has ever spent in an art gallery – there were so many great toys in the Magic Carpet. He loved looking at the artworks through the kaleidoscope.”

Since then it’s been a delight to catch glimpses of families enjoying it around the gallery: we’ve had a group of mums and babies who set up their play space next to the Tintoretto and the maquette of the Angel of the North; and a grandmother and two granddaughters who popped in because they pass the gallery every day on the way to school but hadn’t been in before. As the 4 year old chose which space to take the Magic Carpet to, she told me ‘Now I know what’s in this place, I think I’ll come again tomorrow to do more looking and playing’. True to her word, the family have popped in again several times to play in different areas of the gallery.

Black and white Magic Carpet

Black and white Magic Carpet

In addition, I’ve recently launched Baby Social: Each season, a selection of toys, books and dens will be available to enjoy in our cosy Lounge. Babies, toddlers and their families are invited to pop in to play and socialise in a relaxing, creative environment.

Baby social - photo Mark Savage

Baby social – photo Mark Savage

We’re really looking forward to this event, which will be a creative socializing opportunity and very much open-ended play. As it’s drop in from 10am – 4pm we hope it’ll fit in with most people’s busy family timetables. And of course being on a Saturday means working parents can come too.

Both Baby Social and Magic Carpet are also opportunities for families to explore the gallery independently, rather than in a facilitated way. We hope it’ll help the Shipley to become a thriving family space, where parents feel increasingly at home and welcome to enjoy with their little ones.

 

The Platinum Programme – working with local care homes

I run The Platinum Programme here at Tyne and Wear Archives and Museums. The programme aims to engage people over the age of 55 with museum activities. This includes inviting people into our various venues via our Culture and Cake programme. This is a series of museum talks and tours about anything and everything – behind the scenes, exhibitions, demonstrations etc…. and after the sessions we all sit down for a cuppa, eat cake and discuss what we have learnt.

IMG_9718

Margaret, Joyce, Audrey, Helen with their sailor friend at South Shields Museum.

As well as inviting people into the museums I go out and about with ‘Inspiration boxes’ full of museum handling objects that can be taken into community centres and care homes to be used with the staff and residents. The boxes have different themes including: Childhood, Fashion, Holidays, Domestic, Leisure, Entertainment and Worklife. Each box also covers multiple decades and alongside objects we use different smells and sounds to trigger discussions too. Carers I have worked with have noted that the museum objects have improved their understanding and awareness of the individuals involved and that that discussions continue even after I have left.

IMG_3601

It’s hard to get everyones permission to take photos in care homes, so here are some legs…

I’ve just finished a session with people with visual impairments in Gateshead we compared old and new items – such as a modern day vacuum cleaner and a carpet beater(!), a flat iron and an electric iron and a nice old dial up telephone with a new mobile phone. It’s amazing how much conversation you can get with these things – it was a really nice session.

We are continuing to develop new themes and work closely with care home staff to identify what objects work well, and objects that work not so well. For example I love the old bus tickets and an old ticket for the ballroom inside Blackpool Tower, but the older people couldn’t really see them as they were way too small. Objects that always get people talking are things like old cigarette packets, records and domestic objects such as Tide and Omo.

IMG_0099

An example of some of the objects I take out.

As well as museum handling objects Tyne and Wear Archives and Museums create partnerships with care homes on art projects and facilitate visits to our venues. We have worked on simple crafts that are easy to do and good for group work. For example creating a mosaic or visiting our Seaside exhibition at South Shields.

7

Creating a Mosaic at Needham Court care home.

Exhibition Explorers – new adventures ahead!

As we approached the end of the pilot of Creative Baby! it became apparent to me that the offer for Early Years really needed to grow along with the rapidly expanding Early Years audience we’d attracted. The response to Creative Baby! had been overwhelmingly positive, however as many of the babies approached their first birthday, I was keen not to lose them: these Creative Babies needed something to graduate to, and so Exhibition Explorers was born.

Photo: Mark Savage

Photo: Mark Savage

Exhibition Explorers for 1 and 2 year olds begins next week. It’ll be different from Creative Baby! in many ways. Most strikingly, it is much more overt about its ambition to foster a cultural shift within families, and to encourage habitual museum and gallery-going. We look forward to welcoming some of the Creative Baby! families and meeting some new ones.

Tickets have sold out very quickly, and we’re looking forward to welcoming a cohort of sixteen 1 and 2 year olds to this project which will last for six months. During this time, relationships will be formed between the families and the Shipley Art Gallery. The sessions will be all about building families’ experiences of engaging with museums and galleries. At the Shipley they’ll join Claudia Knott – who delivered our previous project with under 4s from the local Orthodox Jewish community – on an exploratory journey. This will be about getting to know museums and galleries in general by creating collections and displays and engaging in activities relating to the exhibitions; and exploring the space itself, as we discover that radiators, steps, large open spaces, and gaps between display cases are all fascinating for young children to encounter. There’ll be a wide range of creative activities for families to enjoy together, and we hope over the six months they’ll become really at home at the Shipley.

Through Exhibition Explorers, we hope to build the parents’ repertoire of ways to engage their children in museums and galleries. Our aim is to help people recognise that they can enjoy a visit together whether or not they’re familiar with the subject matter of the exhibitions, and whether or not their child’s more interested in the space, the displays, or some other aspect of the visit.

Photo: Mark Savage

Photo: Mark Savage

This blog will become an important part of Exhibition Explorers too. Between each session at the Shipley, we’ll encourage the little explorers to embark on a Family Adventure to a cultural venue of their choice. With their special Explorer Pack they’ll record this experience as a scrapbook page to add to our special Exhibition Explorers Encyclopaedia. I’ll be blogging here about some of the places families discover, so the record of cultural experiences grows alongside the children and evolves into a resource for anyone to dip into for ideas of places to visit. At the sessions, the explorers will share recommendations and reviews. In addition, we’ll be pointing them towards the brilliant Family Explorers to access recommendations of cultural venues.

So watch this space for the adventures ahead, and check back to hear about the Family Adventures we discover: we’re very excited to get started!

Items of Interest from the Tyne & Wear Archives & Museums Lace Collection – part 2

Part 2 of a guest post by Gil Dye who is a volunteer at Discovery Museum in Newcastle.

From a lacemaker’s point of view a small collar – ref: TWCMS_ H2387 –  is one of the most interesting tape-lace collars in the TWAM collection. It is a good example of Branscombe Point, with many distinctive features of this lace including: narrow machine-made tape; a purled edge; cut-works (woven spiders); knibs (button-holed bars with small loops) and a variety of needle-made stitches and fillings.

Branscombe lacemakers developed many new stitch combinations and often gave them names relating either to how they looked, or the person who first used that stitch grouping. The Branscombe names listed below are linked to numbers on the pictures.

Stitches used in the end section of the Branscombe Point Collar 1. Plain tape 2. Purling 3. Ribbed Cutwork 4. Twisted bar 5. Work around 6. Knib 7. Linen Stitch variation (otherwise called corded double button-hole stitch) 8. Church Stitch variation 9. Shell Stitch 10. Ladder Stitch (my description) 11. Bullion Loops

Stitches used in the end section of the Branscombe Point Collar 1. Plain tape 2. Purling 3. Ribbed Cutwork 4. Twisted bar 5. Work around 6. Knib 7. Linen Stitch variation (otherwise called corded double button-hole stitch) 8. Church Stitch variation 9. Shell Stitch 10. Ladder Stitch (my description) 11. Bullion Loops

 

11a. butterfly

Stitches from the centre of the collar: 12. Butterfly 13. Bars and double knot

 

11b. double knot

Stitches from the centre of the collar: 12. Butterfly 13. Bars and double knot

 

Information about the history of Branscombe Point and the people who made it, can be found in The Technique of Branscombe Point Lace, by Lillie Trivett (Batsford, 1991, ISBN 0 7134 6761).

Also in this book are detailed instructions for preparing patterns and tape outlines, and working cut-works, knibs, purling and a variety of fillings.

Working a sample

Fillings numbered 10 and 11 are unusual, and do not appear in either of the books mentioned.  Although it is many years since I did any Branscombe point lace it seemed that working a sample would be the best way to test my theories about how the stitches were worked.

I started by tacking a traditional Branscombe tape around the outline of a candle, with a diagonal across the centre. I then used Madeira Tanne 30 to whip round the inside edge and neatened the corners before working the stitches.

For the bullion loops (stitch 11) I started on the long side of the lower section with  two rows of single button-hole stitch, the first row corded the second whipped, next:

*one row twisted button-hole stitch spaced 4 stitches apart; whipped back;

two rows corded button-hole stitch, one row whipped;

Repeated from* to fill space – twisted stitches positioned above ones on the row below.

Bullion stitches then worked by wrapping a thread four times round 2 twisted stitches – without pulling tight – then  whipping the bundle before moving diagonally (behind the work) to the next pair of twisted stitches.

 

12. collar

Sample attempt at stitches 10 and 11

For stitch 10, I first stretched horizontals across the space, then  started at the base and whipped twice round each horizontal to the top, fastened the thread to the tape and whipped back with the two lines of whipping together.

12a. bullion stitch

I have probably used a softer thread than the original – which results in a less crisp finish – and my tension definitely leaves a lot to be desired; this has resulted in neither stitch looking exactly like the original. However the stitches are probably technically correct.

Companion Collar

A surprising discovery in the  Discovery collection  is a second tape collar – TWCMS_H2367 – that is almost identical in shape to the  Branscombe  Point collar. This is also a tape lace, but it does not have the quality of workmanship of the  Branscombe version, and has a machine-made picot edging instead of hand-stitched loops.

Comparison of shapes of two tape-lace collars, TWCMS_H2367 above, TWCMS_H2387 below

Comparison of shapes of two tape-lace collars, TWCMS_H2367 above, TWCMS_H2387 below

In the days before scanning and photocopiers a standard way of copying a pattern was to make a rubbing by placing existing lace on a hard surface, covering it with a sheet of brown (or tracing) paper and rubbing over it with heelball, in the same way that we might today make a brass rubbing.  This does not make a particularly accurate copy.

The initial impression of the ends of the two collars in the pictures below does not suggest any close likeness, however a closer look shows that  the paths of the tapes are actually quite similar and both could have been taken from the same rubbing, or one from a rubbing of the other. There is no information on the museum database providing provenance for either of these pieces, however the closeness of the accession numbers – H2387 and H2367 – indicates they probably came into the collection at the same time and from the same source.  It is likely that both collars date from around 1900.

Comparison of ends of two collars, TWCMS_H2367 left, TWCMS_H2387 right

Comparison of ends of two collars, TWCMS_H2367 left, TWCMS_H2387 right

Gilian Dye

(Discovery Museum Volunteer)

 

Pine cones and coffins: looking back at Carrawburgh

During my latest bimble along Hadrian’s Wall, I inevitably ended up at one of my favourite Roman sites, the Mithraic temple site at Carrawburgh.  The Roman name of the nearby fort site was Brocolitia.  This was probably based on the original Celtic name for the area and it’s possibly translated as “Badger Holes”.   The temple isn’t dedicated to  the god of badgers though- it was built to honour the god Mithras.

Carrawburgh Mithraeum, 2015: no badgers seen today.

Carrawburgh Mithraeum, 2015: no badgers seen today

Mithras was a Persian god from the East, god of light and heavily associated with the sun.  While we know that Mithras was worshipped as far back as 1400 BC, it wasn’t until the second century AD that Rome began to embrace the cult- Legion XV had returned from the East and began to spread the cult along the frontiers of the Danube. Mithraism inevitably reached the province of Britannia soon after.

Untitled

The site at Carrawburgh has been restored and preserved to its latest fourth century plan, complete with replicas  of the altars that are in the Hadrian’s Wall gallery in the Great North Museum: Hancock, but it had experienced several stages of building and reconstruction before this phase in its history.  While admiring a nicely preserved archaeology site or viewing the altars in the museum gallery, it’s easy to forget about the stories of the site that were uncovered during the excavation.

The Carrawburgh Mithraeum had been built in  a swampy area to begin with and over the years the structure had become submerged by water and peat.  Lost to time, the site was only discovered in 1949 when a severe drought dried out the swamp and shrunk the peat levels down to such an extent that the top of one of the altars began protruding out of the ground.  A chap enjoying a walk in the area, who just happened to be a member of the Society of Antiquities, recognised the significance of the object and alerted the landowners.  The following year, the land was drained and fully excavated by a team led by Ian Richmond and John Gillam from Durham University’s King’s College, which would later become the University of Newcastle upon Tyne.

So what did Richmond and Gillam find?

They discovered that the mithraeum in Carrawburgh had three distinct states.  It began life in the early 3rd century, barely big enough to fit a dozen worshippers inside.  Aswell as identifying such fundamental aspects of the temple such as where the entrance was located, one discovery in particular was interesting to me- pine cones.  Near the back wall of the temple, close to the remains of the altar platform, a single Mediterranean pine cone was found.

Carrawburgh Mithraeum in its final late 3rd century stage, including altars in situ.

Carrawburgh Mithraeum in its final late 3rd century stage, including altars in situ.

While it’s always tempting for archaeologists to label unusual finds as “ritual deposits”, it turns out that this pine cone was indeed a ritual object.  We know from  texts on oxyrhynchus papyri discovered in Egypt  that in the time of the Roman Empire, pine cones in Egypt were used in sacrifices, were given as presents among friends and were purchased in sets of 10 or 16.  These pine cones would have been used to hallow the altar platform or ward off evil.  The peat swamp also preserved the remains of a second pine cone that was heavily charred.  On initial discovery, this appeared to be an odd find as pine cones are highly  flammable and should have been consumed when used as fuel for a fire.  On closer inspection however, it was shown that the cone had been carbonised to make it burn slowly and steadily.  This would have given the cone a dark red glow as it burned, and emitted a pungent aroma.  These finds of simple pine cones immediately gave us an impression of what the atmosphere and environment within a Mithraic temple may have been like.

Discovery of the ritual pine cone!

Discovery of the ritual pine cone!

At some time at around 222 AD, it’s thought the mithraeum went under a complete redevelopment, with the temple being enlarged and the interior  reconstructed, presumably to accommodate more worshippers.  Again, the excavations on this second stage of the mithraeum uncovered some  intriguing developments.  At some point the floor level was raised in the anteroom of the temple to accommodate the insertion of an oblong shaped stone receptacle into the ground, 18 inches deep.  It looked to the excavators like a coffin, and after a willing volunteer from the team climbed into it and lay down to test it out, the “coffin” fitted perfectly.

The "Ordeal pit"

The “Ordeal pit”

This ordeal pit, as the area was known as, would have been a place for initiates into the cult to prove their mettle.  It was close to the hearth, so no doubt the men could be subjected to ordeals involving heat and cold, a part of the Mithraic tests of endurance and terror induced by being entombed.  The thought of this brings on a slight feeling of claustrophobia in this blogger, although it does give us yet another precious, if somewhat gruesome glimpse into the ways of Mithraism and what occurred in the secret confines of the temple.

It’s thought that the mithraeum fell into disuse  at some point in the early 4th century.  Some of the statuary appear to have been damaged deliberately, one theory being that a Christian commanding officer of the fort ordered the desecration.  Water levels in the area rose, and by the middle of the century it seems as if the area was being used as a rubbish tip.  And so the mysteries of the temple at Carrawburgh seemed lost to the ravages of time.  The 1950 excavation at Carrawburgh has been  celebrated however for revealing a host of details that can help deepen our understanding of this mysterious cult.  The surviving altars and statuary now on display at the Great North Museum: Hancock provide immense amounts of information to scholars and researchers, but it’s easy to forget that for every object on display, the excavation that produced the object will have provided many more insights and theories into a way of life that we are still learning about today.

Thanks to Richmond and Gillam's detailed excavation, a reconstruction of the mithraeum was built at the Museum of Antiquities. A film of the mithraeum can be today in the Great North Museum: Hancock.

Thanks to Richmond and Gillam’s detailed excavation, a reconstruction of the mithraeum was built at the Museum of Antiquities. A film of the mithraeum can be today in the Great North Museum: Hancock.