Ymgysylltu â'r Gymuned

Ar ôl blwyddyn (2024) o greu tecstilau a chelf amlgyfrwng anhygoel wedi’u hysbrydoli gan Sain Ffagan, daeth aelodau Cutting Edge at ei gilydd yn Oriel Gweithdy, Sain Ffagan Amgueddfa Werin Cymru ar 25 a 26 Ebrill i arddangos eu gwaith a chynnig gweithgareddau crefft a gwnïo i ymwelwyr er mwyn dathlu Wythnos Pontio Cenedlaethau’r Byd. Ac am ddeuddydd anhygoel! 

Roedd yr ymwelwyr wrth eu boddau’n cael gweld yr arddangosfeydd a darllen y gweithlyfrau a oedd yn disgrifio sut datblygodd y prosiect dros amser. Roedden nhw hefyd wir yn mwynhau bod modd iddyn nhw ymuno yn y gweithgareddau amrywiol, a chawson ni lawer o adborth dros y deuddydd, mewn sgyrsiau ac yn y Llyfr Ymwelwyr. Dyma flas o’r hyn oedd gan bobl i’w ddweud: 
 

“Fel cyd-gwiltiwr ac artist tecstilau, mae’n hyfryd mynd allan a gweld gwaith pawb. Llongyfarchiadau.” Lesley, Higham Quilters, Caerloyw 
“Roedd yn drawiadol iawn gweld darn mor syfrdanol o ysbrydoliaeth leol a gwaith dychmygus” y teulu Byron 
“Arddangosfa ffantastig. Da iawn bawb. Diolch am y croeso cynnes” Sue a Vicki 
  
Rhoddodd y plant gynnig ar y rhan fwyaf o bethau, o liwio i stampio i wnïo, a oedd i weld yn plesio pawb. Ar ôl lliwio llun ar ffabrig, roedd llawer yn awyddus i roi cynnig ar wnïo, a doedden nhw methu cael digon! 
Darluniodd un ferch fach y llythyren E yn fawr ar sgwâr tecstilau a dechreuodd ei wnïo. Roedd hi’n siomedig pan oedd rhaid iddi adael ar ganol ei gwaith, ond fe aeth hi ag ychydig o edafedd gyda hi i’w orffen gartref. Serch hynny, nes ymlaen daeth yn ôl i gasglu mwy o edafedd gan ei bod wedi rhedeg allan o un o’r lliwiau. Mae’n rhaid ei bod hi wedi dod o hyd i gornel fach i barhau â’i gwnïo wrth grwydro o gwmpas yr amgueddfa! 
Roedd yr oedolion yn mwynhau’r gwnïo hefyd! 
Bu criw Grŵp Pwytho Pontardawe yn mwynhau creu broetsys a thylluanod: 
“Am arddangosfa hyfryd, mor ysbrydoledig. Diolch am fy nhylluan/pengwin. Dw i wrth fy modd ag e! Rydych chi’n griw mor hyfryd. Diolch yn fawr i chi gyd!" Glenda, Stitch Pontadawe.  
“Am ddigwyddiad hyfryd. Diolch am y cit broetsh. Wnes i fwynhau ei greu yn fawr. Roedd pawb yn hyfryd a chyfeillgar.” Dawn 

Roedd digonedd o dylluanod yno diolch i Carol. Roedden nhw mor boblogaidd nes bod rhaid iddi fynd adre nos Wener i baratoi mwy! 
“Diolch Carol am fy helpu i greu fy nhylluan!” 
Roedd yna waith lliwio a braslunio gwych i’w weld. Roedd llyfrau braslunio lledr bach Pat yr un mor boblogaidd â thylluanod Carol. Dydy hynny’n ddim syndod, gan eu bod yn rhodd bach gwych i fynd adre gyda chi. 
“Diwrnod hyfryd gyda llawer o grefftau gwych, mwynheuodd y plant yn fawr. Diolch yn fawr iawn.”

Doedd aelodau Cutting Edge ddim yn ofni ymgolli yn y gweithgareddau eu hunain chwaith. Roedden nhw wrth eu boddau’n sgwrsio ag ymwelwyr hefyd, gan ei fod yn gyfle i rannu gwybodaeth, cyngor, ac i’w cyfeirio at adnoddau. Roedd un ymwelydd yn bwriadu mynd ati i drwsio lliain allor, ac roedd hi’n falch iawn o gael ei chyflwyno i ymwelydd arall a allai ei helpu i ddod o hyd i’r plethiadau oedd eu hangen arni. 
 

Adborth gan aelodau grŵp Cutting Edge:  
“Mwynheais i’r prynhawn. Roedd yn ffordd wych o’i dreulio. Ro’n i wrth fy modd yn edrych ar yr arddangosfeydd unwaith eto, a mwynheais i’r stampio!” Sally 
“Roedd yn ddiwrnod llawn hwyl gyda chymaint o ddiddordeb a gwerthfawrogiad... cwrddais i â phobl hyfryd, gyda rhai’n dweud eu bod wedi’u hysbrydoli i roi cynnig ar rywbeth creadigol eu hunain, a phlant cwrtais iawn oedd yn dweud diolch am eu helpu. Wrth fy modd.” Ella. 
 

“Am amser hyfryd heddiw yn cwrdd ag ymwelwyr oedd â chymaint o ddiddordeb yng ngwaith ein grŵp. Roedd cymaint wedi’u synnu ar yr ystod o wahanol sgiliau celf / tecstilau oedd i’w gweld.  Ond fy hoff ran oedd y bachgen ifanc yn y llun uchod, a oedd yn benderfynol o bwytho o gwmpas ei gennin Pedr cyn gadael. Roedd hi mor braf cael cyfle i annog y bobl ifanc.”  Liz 
 

“Deuddydd gwych, a chymaint o bobl yn gadael wedi’u hysbrydoli i barhau i bwytho.” Eleri 
Roedd y cwilt Monopoly yn boblogaidd, a chafwyd sawl awgrym ar gyfer cartref parhaol iddo, ond roedd llawer o’r farn y dylai aros yn Sain Ffagan. 
 

“Ystod anhygoel o waith a sgiliau. Wir wedi mwynhau’r arddangosfa gyfan, yn enwedig y cwilt Monopoly.” Lesley, Y Rhws 
Roedd prosiect pwytho coeden deulu Carol yn boblogaidd hefyd. Roedd Carol wedi’i syfrdanu gan yr ymateb a gafodd. O ganlyniad, mae cnewyllyn gweithdy bellach yn cael ei ffurfio! 

Dros y ddau ddiwrnod, cawson ni dros 650 o ymwelwyr – o bell ac agos – a rhai mor bell â’r Iseldiroedd! 
Roedd dwy fenyw o’r Iseldiroedd a ymwelodd yn awyddus i brynu darnau o’n gwaith celf. Pan ofynnon ni beth oedd yn denu eu diddordeb, cyfeirion nhw at gerdyn post Dianne a cherdyn post Thomas the Taylor gan Monica. Rhoddwyd y cardiau yn rhodd i’r menywod, a chyfnewidiwyd cyfeiriadau gydag addewid gan Monica a Dianne y bydden nhw’n postio cerdyn post ffabrig iddyn nhw hefyd! 
Deuddydd gwych, gydag ymwelwyr ac aelodau Cutting Edge wedi mwynhau fel ei gilydd.  
 

Diolch yn fawr i: 
Yr aelod o staff Sain Ffagan, Loveday, a aeth yr ail filltir i wneud yn siŵr fod popeth oedd ei angen arnon ni ganddon ni. Fe wnaeth hi hyd yn oed ymuno a helpu pan oedden ni’n brysur iawn, ac roedden ni wir yn gwerthfawrogi hynny! 
Gŵr Jan, Alan, am dynnu lluniau i ni. Maen nhw’n edrych yn wych yn ein halbwm! 
A diolch yn fawr iawn i holl aelodau anhygoel Cutting Edge am eu darnau o waith ysbrydoledig a’u hymroddiad i wneud y digwyddiad deuddydd yn Sain Ffagan yn un cofiadwy. Rydych chi’n sêr! 
 

Cynhalion ni’r digwyddiad yn ystod Wythnos Pontio Cenedlaethau’r Byd, a oedd ar ddiwedd y gwyliau Pasg. Roedd yn sicr yn ticio pob bocs ar gyfer ymgysylltu rhwng cenedlaethau, gan fod plant ac oedolion wedi gadael yno’n hapus ac yn fwy hyderus gyda’r sgiliau newydd roedden nhw wedi’u dysgu. 
“Arddangosfa wych a hyfryd oedd gweld yr holl sgiliau. Menter hyfryd, a gwych i blant o bob oed i’w phrofi!” 
"Fantastisch!" Lia, yr Iseldiroedd 
“Arddangosfa ysbrydoledig wych. Ro’n i’n hoff o’r amrywiaeth hefyd – patrymau, pwythau, dyfrlliwiau. Mwynheais i’r gweithgareddau ymarferol hefyd. Ymlaciol a hwyl.” Gwynedd 
“Am ddigwyddiad gwych, gyda darnau gwaith hyfryd i’w hedmygu ac i ysbrydoli! Roedd darparu popeth ar gyfer y prosiectau pontio’r cenedlaethau wnaethon ni mor garedig a hael” Caroline 
“Arddangosfa ardderchog. Menywod dawnus a hyfryd.” 

Ar ôl y digwyddiad, roedden ni’n falch iawn o dderbyn llun o’r digwyddiad gan Mike, sy’n aelod o Grŵp Braslunio Sain Ffagan. Ymwelodd ar y dydd Sadwrn, gan eistedd yn dawel yn y gornel yn braslunio’r olygfa o’i flaen. Roedd e’n meddwl bod ein gwaith, fel ei waith e, yn anhygoel: 
“Cefais i’r cyfle i ymweld â’r arddangosfa o waith aelodau Grŵp Tecstilau Cutting Edge yn Sain Ffagan. Roedd hi’n ddiwrnod hyfryd, ac roedd y digwyddiad yn boblogaidd iawn gyda theuluoedd yn mwynhau diwedd gwyliau’r Pasg. Roedd llawer o weithgareddau llawn hwyl i blant ac oedolion. Cefais fy annog i ymweld ag arddangosfa Grŵp Tecstilau Cutting Edge i weld beth maen nhw’n ei wneud gan aelod o’r grŵp sydd hefyd yn aelod o Grŵp Braslunio Sain Ffagan. Yr ateb yw llawer, gyda’r safon yn uchel iawn hefyd! Roedd pawb mor garedig yn rhannu eu gwaith. Mae gen i lwyth o syniadau, a cheisiais ddal y digwyddiad yn fy mraslun” Instagram @mikelinewalker 
 

Nodyn cloi: 
Postiodd Monica gerdyn post ffabrig at un o’r menywod o’r Iseldiroedd a ymwelodd â’r arddangosfa, ac fe gyrhaeddodd y cerdyn cyn iddi ddychwelyd adre i’r Iseldiroedd! Dyma’r e-bost gafodd Monica gan Thea: 
“Annwyl Monica, 
Am sioc oedd darganfod bod y cerdyn anfonaist ti ata i wedi cyrraedd yn barod erbyn i fi ddychwelyd o fy ngwyliau yn teithio drwy Gymru.  
Roedd hi’n braf iawn dy gwrdd yn yr arddangosfa a chael dewis o’r cardiau roeddet ti wedi’u creu. Roedd hi’n arddangosfa ysbrydoledig iawn, a mwynheais i hi’n fawr. 
Bydda i’n dangos y cardiau i aelodau’r clwb cwiltio yfory, ac rwy’n siŵr y byddan nhw wrth eu bodd gyda nhw hefyd. Mae angen i fi ddod o hyd i le da i’w rhoi nhw, un ai yn fy nghartref neu yn fy ysgol, lle bydda i’n mwynhau edrych arnyn nhw, ond dydw i ddim yn siŵr eto. 
Dymuniadau gorau, ac i aelodau eraill Grŵp Tecstilau Cutting Edge 
Thea”

I ddysgu mwy am Grŵp Cutting Edge, ymwelwch â: Cutting Edge | Sharing textiles knowledge, ideas and skills

Who are you? How and why did you join Demystifying Acquisitions? 

My name is Abraham Makanjuola, I am originally from London and I work as a Health Economist for Bangor University. During my masters, I was working with the Sub-Sahara Advisory Panel (SSAP) on a documentary about narratives about the African Continent from the perspective of people from the diaspora linked with the UK. Following the release of this, I was approached about being involved with filming behind the scenes content for Demystifying Acquisitions. I was initially not sure, because I didn’t know what I had of value to offer the project, but I was met with encouragement and that helped me make my decision. I think that was one of the best decisions I’ve made in my life to date. 

How did you find the overall experience of working for Demystifying Acquisitions? 

It was sensational, I would do it all over again exactly as it has played out. I genuinely have nothing negative to say and there aren’t any glaring issues that require addressing from my perspective. I think that is a testament to the people I was blessed enough to work with. I have enjoyed myself and learned so much over the past couple of years and I am grateful to all involved. 

What set of skills did you gain while working on the project? 

Specific to new museum knowledge, I learned about the conservation of artwork, how the bid and grant writing process works, and how to write labels for artworks in galleries. Wider softer skills I was able to develop were teamwork and collaboration, and project management. 

What was your favourite part of working on the project? 

My favourite part was being a part of the install day of the redisplay, I even got to put up one of the works which was cool. Prior to this day though, my favourite part was learning about label writing. Did you feel listened to? Were you able to influence or change things? What instance? Throughout the process we were given complete autonomy and were encouraged and supported with our group decisions. With this support we were able to respect museum practices but also shake things up and challenge how things have previously been done. We did have push back for certain decisions we made but there was always mutual understanding and respect.


 

1 Corinthians 12 introduces its readers to the lasting image of the fledging church as a physical body – each part with different but important roles to fulfil. This metaphor has endured for centuries, and is a challenging one for many Christians today, who struggle with things like hard denominational boundaries and tribal us/them attitudes. For Fr. Ruth, a queer priest in the Church in Wales (CiW), it has a similarly challenging but uplifting message. 

Ruth is a curate (trainee vicar) in the Islwyn Ministry Area in the Diocese of Monmouth, and she’s part of a team that looks after twelve different churches up and down the Gwent Valleys. She’s also bisexual, gender-non-conforming, and in a civil partnership with her spouse, Hannah. In addition to her ministry in the CiW, Ruth is one of four Pastoral Leaders of an ecumenical LGBTQ+ church in Cardiff called The Gathering. 

If that surprises you, that’s okay. But, despite what you may have been taught, queer people have always been a part of the life of the church. We have always been vicars, ministers, deacons, worship leaders, caretakers, congregants, youth group leaders. We are a part of the heritage and life of the church in a way that has, for too long, been overlooked and brushed aside.

The Anglican Church, in particular the Church of England, is undergoing a real reckoning at the moment over the issue of blessing same-sex marriages. The CiW has already had this conversation, and voted in 2021 to bless the marriages of same-sex couples. Whilst, for many, this does not go far enough, it is generally seen as a good first step, and it sets a precedent for other Anglican churches also having this discussion. It also puts those campaigning for marriage equality in a really good position for the Church in Wales to formally allow the sacramental celebration of marriage (hopefully) soon. The current position is bittersweet for many, though. As Fr. Ruth explained to me: “When the current legislation passed, that was a huge change for the Church in Wales. But I felt quite conflicted about it. In part, I am delighted that we can offer something to people for whom the church have been offering nothing. But, in part, it feels like a half-hearted step, where, what you're saying is ‘we're going to recognise that these relationships are good and holy and that God can bless them, but we're not willing to offer you the sacrament of marriage’. It feels theologically incomplete. And it's hurtful, as a queer person in a relationship, to know that the sacrament of marriage is withheld from us.”

It is still a huge deal, though, especially when you consider the length of Christian history that we were completely excluded from the public life of the church. We were still there, though, in closets and in the background, and I like to find queerness reflected in artwork throughout Christian history. It’s forever fascinating to me the ways in which artists, for hundreds of years, have been interpreting biblical stories in ways that we, as audience members and critics, can see the homoerotic. In this artwork, we can see ourselves reflected; here, in the shadow of gender transgression, there, in the hint towards homoeroticism. Indeed, for many artists throughout history, the only acceptable outlet for them to express their homoerotic desires was to displace them through artistic interpretations of ‘safe’ stories and figures – biblical scenes and characters. For example, artwork depicting the martyrdom of St. Sebastian is almost always homoerotic – after all, an attractive young man, mostly naked, is often depicted as being penetrated by arrows.

For Ruth, the ways in which she honours her place in the Church, and where she sees herself in the heritage of the church, is through the practise of the Eucharist. A useful image for her in thinking about the Eucharist is that of a human heart. “During the Eucharist, the church is like the chambers of the heart. It draws in that which needs nourishment. In the movement of the Eucharist, the nourishment is received, like blood going out to the lungs and coming back again, and then it's sent back out into the rest of its community.” So, when Jesus says, at the Last Supper, “Do this in remembrance of me” (Luke 22:19, NRSV), and we partake in this remembrance, we become a part of something bigger than us – an invisible string that stretches back centuries, connecting everyone across the world that’s ever remembered Jesus’ life in this way, like branches of a nervous system spanning time and space and holding us together. In this act of remembrance, “in becoming the body of Christ, all of the boundaries get blurry. So we become parts of a whole. That requires all of our differences.” It requires our differences in sexuality and gender identity, and how we interact with the world around us as embodied creatures. “As someone who the church historically would have said ‘we have no need of you’, I find it really, really heartening that those who still wish queer folks weren’t in ministry can't say ‘we have no need of you’. Because here we stand within the sacramental honours of the life of the church. You cannot say to me: I have no need of you. The challenging side is, I can't say to them I have no need of them either. We are brought together in that wholeness. And that wholeness is of God and so it's not up to us to say we have no need of one another.”

In a world full of divisive individualism, rituals like a Eucharist serve as an important reminder that we are a part of a much, much larger whole. The human body is an ecosystem of multitudinous grace, apathy, compassion and anger – never just one thing, always many interlinking feelings and experiences and beliefs. And, if a single human body is an ecosystem, how vast must the ecosystems of our societies be? Another word for Eucharist is Communion. This is the term that I grew up with in my faith tradition, and it holds both a special and fraught place in my heart because of it. The obvious reason behind it being called Communion is that it is through this ritual that we commune with God – we honour Jesus’ life and death, and are in communion with something greater than ourselves. But, through the connections and interconnections of this action, are we not also in communion with one another? Are we not then, in spite of all the things that separate us, one body? 

 ‘Indeed, the body does not consist of one member but of many. If the foot would say, “Because I am not a hand, I do not belong to the body,” that would not make it any less a part of the body. […] If the whole body were an eye, where would the hearing be? If the whole body were hearing, where would the sense of smell be? But as it is, God arranged the members in the body, each one of them, as he chose. If all were a single member, where would the body be? As it is, there are many members yet one body. The eye cannot say to the hand, “I have no need of you,” nor again the head to the feet, “I have no need of you.” […] If one member suffers, all suffer together with it; if one member is honoured, all rejoice together with it.’ (1 Cor. 12:12-26, NRSV). 

'Da ni wrthi'n paratoi ar gyfer y project ailddatblygu yn Amgueddfa Lechi Cymru, sydd ar ddechrau ym mis Tachwedd 2024! Ac eisiau rhoi cyfle i wirfoddolwyr fod yn rhan o'r project drwy helpu ni glanhau, catalogio a phacio'r casgliad o batrymau yn y Llofft Batrwm.

Er mwyn sicrhau bod ein casgliadau diwydiannol pwysig yn cael eu gwarchod tra bod gwaith cadwraeth ac adnewyddu hanfodol yn cael ei wneud i’r Gilfach Ddu, mae’r casgliad yn symud. Wel... rhan ohono! Mae ein Cynorthwywyr Casgliadau a Chatalogio, Mathew ac Osian, eisoes wedi bod yn brysur yn atodi labeli ac yn catalogio eitemau o’r casgliad sydd heb eu cofnodi'n mor fanwl o’r blaen. Byddant yn eu glanhau a'u pacio'n ddiogel gan ddefnyddio papur sidan.

Mae hon yn gyfle gwych i ni fel amgueddfa groesawu gwirfoddolwyr mewn ffyrdd newydd. Hoffwn fanteisio ar y cyfle a rhoi cyfleoedd i bobl leol cael profiadau, datblygu sgiliau a chael gwella eu hiechyd meddwl trwy wirfoddoli.

Swnio'n ddiddorol? Eisiau Cymryd Rhan? Beth am edrych ar ddisgrifiad rôl Gwirfoddolwr Casgliadau sydd ar ein wefan. Bydd modd gwirfoddoli ar ddyddiau Mawrth neu Iau, 10:00-1:00 er gallwn fod yn hyblyg i siwtio trafnidiaeth cyhoeddus. Bydd y project yma'n rhedeg rhwng 24 Medi a 31 Hydref, ond bydd projectau gwahanol gyda'r casgliadau yn cychwyn yn y flwyddyn newydd. Unrhyw gwestiynau? Cysylltwch â Chloe Ward, ein Cydlynydd Gwirfoddoli ac Ymgysylltu ar chloe.ward@amgueddfacymru.ac.uk.

I’m currently studying heritage conservation at Cardiff University, so I wanted to undertake his placement as I have a keen interest in how museums digitise their collections for educational purposes and to increase the accessibility of the heritage they safeguard, and I also wanted to explore how museum collections are used for research purposes.

What are diatoms?

Diatoms are microscopic, single-celled algae that inhabit oceans, rivers, and lakes. They are notable for their intricate cell walls made of silica, which resemble delicate glass shells when viewed under a microscope. These cell walls, called frustules, have unique and complex patterns. Diatoms play a vital role in the environment by performing approximately one-fifth of the total global photosynthesis. This process not only produces a significant portion of the Earth's oxygen but diatoms also form an important part of aquatic food webs, supporting a diverse range of marine and freshwater organisms.

Their importance for research lies in their ability to act as bio-indicators in aquatic ecosystems. Analysis of diatom populations and diversity studies have been used to evaluate human impact on freshwater and marine environments. As bio-indicators, diatoms can be used to assess the levels of organic pollution, eutrophication and acidification of their aquatic environment. Different species have differing tolerance levels of environmental conditions like water pH (the acidity or alkalinity of the water) and nutrient concentrations. Several diatom indices have been developed and are used by the Environment Agency to monitor water quality in UK rivers and lakes.

Analysis of diatom populations can also be used to demonstrate trends over time, as Ingrid’s work on the restoration of water quality of the rivers Wye and Irfon through periodic liming shows (for more details visit https://www.sciencedirect.com/science/article/pii/S1470160X20309961#ab010). The same case can be made for historical collections stored in museums, which can provide unique insight into historical diatom populations, and which can be used to infer previous environmental conditions and compare them to those found in contemporary studies.

In addition to their environmental and research importance, diatoms are incredibly beautiful. So much so, that during the Victorian period, they were often assembled into decorative arrangements on microscope slides. For the uninitiated, I would highly recommend searching for images of Johann Diedrich Möller’s work as well as the more contemporary works of Klaus Kemp; they are truly astounding arrangements. 

The Placement

Under Dr. Ingrid Juttner’s excellent guidance I learned basic diatom morphology and how to identify Gomphonema species, which typically display asymmetry along the trans-apical axis (i.e. the top and bottom halves are not usually mirror images of each other).

Ingrid took me through the process of diatom analysis in light microscopy, from “cooking” the water samples with hydrogen peroxide to remove organic cell content and preparing the microscope slides, through to photographing, editing and uploading the images to the museum’s diatom website. The photographs featured were taken with a light microscope at x1000 magnification, and measurements (length, width, striae density) were recorded. These images were then edited and prepared as plates to provide an overview of the cell size distribution in the species population. The plates were uploaded to the website with corresponding literature and morphological descriptions. 

Some notable species I photographed which are now featured on the website are Eunotia arcubus, Eunotia botuliformis and Planothidium incuriatum.

Overall, my placement within the Lower Plants section has

• Provided me with invaluable insights into scientific and particularly, taxonomic, practices
• Highlighted the role that diatoms play in our natural environments
• Demonstrated how museum collections can and are being utilised for the benefit of science as well as being important repositories for mapping changes in biodiversity.
• Illustrated how projects like the Diatom Flora and Fauna of Britain and Ireland can help create accessible resources for professional and amateur researchers as well as opening up collections to a wider public, who might otherwise be unaware of their existence.
• Finally, this placement has been an opportunity to admire the exceptional beauty of diatoms.

If you would like to know more about the diatom collection at the National Museum of Wales, please see the museum’s Diatom Research page  as well as  blog posts by Ingrid entitled ‘Scientific expedition to Rara Lake, Nepal’ and ‘Diatom diversity of the Falklands Islands’. I would also highly encourage anyone interested in diatom identification to view the Diatom Flora and Fauna of Britain and Ireland website.

My heartfelt thanks go out to Dr. Ingrid Jüttner for her instruction, her wealth of knowledge and, not least, her conversation. I would equally like to thank the various staff members who coordinated and supported this placement at Amgueddfa Cymru, may there be many more such opportunities.