: Cadwraeth Ataliol

National Museum Cardiff has an enormous number of artefacts displayed for people to see, with an even greater collection held in storage. Stores are customized to prevent any damage to objects. Storage furniture depends on the size and type of objects, and ranges from pallets to open racking and cupboards with doors. The Museum always tries to improve storage facilities, and when a store is refurbished all objects have to be moved.

This is where we encounter problems: how do you move several hundred historic objects, including fragile china, glass and heavy jade, safely without damaging them? Though the greatest of care will be taken, moving objects always carries a risk of damage. An old repair may fail, or a piece may come off a 100-year-old Chinese painted plate after a slight touch. The Museum has many procedures to avoid such damage. Handling guidelines include holding the artefact with both hands, and not picking up vases by the handle, as old repairs often cannot hold the strain. Notes will be taken of any parts that may be lose or detached, so that they can be fixed.

Should ever any damage occur the most important thing to remember is not to panic. The conservation professional would record, with forensic diligence, the smallest detail to enable the object’s repair. Museums, of course, have procedures even for dealing with accidents. There are some famous examples of museum objects breaking, including a visitor falling into three 17^th-century Chinese vases. Things may break in your kitchen at home or in a museum. The difference between the two is the way any potential breakage is treated.

By the way, when one of the art stores was refurbished recently at National Museum Cardiff and hundreds of delicate objects had to be moved, not a single one was damaged, thanks to careful handling procedures.

Elizabete Kozlovska

Elizabete is a student at Cardiff University's School of History, Archaeology and Religion and volunteers one day a week with the Preventive Conservation team at National Museum Cardiff.

Find out more about care of collections at Amgueddfa Cymru - National Museum Wales here. 

Adeiladwyd Y Garreg Fawr yn y Waunfawr yn 1544, ac mae yn enghrifft dda o’r math o dŷ a oedd yn gyffredin yn ardal Eryri. Yn ystod y cyfnod yma tai fel hyn oedd tai mwyaf crand y wlad, a sail ein cartrefi ni heddiw. Cyn canol yr unfed ganrif ar bymtheg roedd y Cymry cyfoethog yn byw mewn neuaddau pren unllawr. Rhannwyd hwythau i mewn i dri rhan: yn un pen roedd llaethdy a phantri, ac yn y pen arall oedd yr ystafell wely (y solar). Rhwng y ddau oedd y neuadd – sef ystafell fyw gyda lle tân agored yn y canol. Mae’r Garreg Fawr yn cynrychioli ymadawiad chwyldroadol o’r cynllun canol-oesol gynt, gan gyflwyno nifer o elfennau newydd. Wrth ddewis adeiladugyda cherrig yn lle coed, roedd modd codi dwy simdde effeithiol – un ar bob pen y tŷ. Gan bod y mŵg yn gallu gadael trwy’r ddwy simdde roedd modd creu ail lawr cynnes, di-fŵg, yn y gofod a arferai fod yn llawn mŵg a parddu.

Enwyd Y Garreg Fawr ar ôl y garreg oedd yn brigo i’r wyneb y tu ôl i’r tŷ. Mae ‘Mawr’ yn enw cyffredin ar y tai yma, er enghraifft Tŷ Mawr Wybrnant a Tŷ Mawr Nantlle. Mae’r defnydd o’r gair yn tynnu sylw tuag at safon yr adeiladau, ac hefyd eu maint - oherwydd roedd adeiladau deulawr yn dal yn anghyffredin. Yn fwy pwysig fyth, roedd yn denu sylw tuag at statws y perchnogion o fewn y gymdeithas leol.

Mae’r Garreg Fawr yn un o nifer cymharol fach o dai Eryri sydd wedi goroesi, ac oherwydd hynny o bwysigrwydd cenedlaethol. Erbyn 1976 roedd y tŷ crand yn cael ei ddefnyddio fel sgubor, ac wedi dirywio cymaint fel yr oedd bron yn amhosib ei adnabod. Ar y pryd yr unig ffordd o achub yr adeilad oedd ei symud yn gorfforol - carreg wrth garreg - 165 milltir i Amgueddfa Werin Cymru yn Sain Ffagan, lle cafodd ei ail-adeiladu. Ddeugain mlynedd yn hwyrach mae’r tŷ yng nghanol gwaith adnewyddu.

Gwnaeth ymchwiliad diweddar nodi fod wyneb mewnol y waliau wedi cael ei rendrio gyda sement adeg ei ail-godi. Nid ydym yn ystyried y dechneg yma yn un addas erbyn hyn, ac mae gwaith wedi cychwyn i dynnu’r sement a gosod morter calch yn ei le. Wedi’r newid bydd waliau Y Garreg Fawr yn gallu ‘anadlu’ yn well, a dylai fod yn iawn am sawl canrif arall. Mae’r tŷ yn awr wedi cau am rai misoedd nes i’r gwaith adfer ei gwblhau.

Don't worry no violence was involved. It was the turn of Llainfadyn this week, our quarrymen’s cottage from Gwynedd, to receive a clean and make over from our Historic Interior and Conservation Volunteer team. It was a big task so thanks to everyone involved. This included stripping the beds and giving everything including the feather mattresses a good airing and beating to remove a winter's worth of dust and dirt. As long as the textiles are strong enough this is still a very effective method of removing grime without the aid of modern appliances.

We also held a competition between a modern broom and a traditional one made from hazel twigs (that all important witches’ accessory at Halloween). To help protect the collections on display it's important we try and reduce the amount of dust and dirt being brought into the houses by our thousands of visitors each year. Our first line of defence to achieve this is the cobbles outside, these help dislodge the grit and dirt from peoples' shoes before they even enter the building, but for these to work the cobbles need to be clean and not clogged up with dirt. So one of our first important tasks was to clean the stones outside.

So which broom won? The traditional of course, with its long twiggy brush it was the best at dislodging the dirt from between the cobbles. This job would certainly have been an everyday task for most households in the past.

Our second line of defence to keep the dust down is the rag rug, often found in cottages of this period. These were made from scraps of material or worn out clothes and blankets, so as well as providing much needed comfort and colour they were great at trapping dirt. They could then be picked up, taken outside and beaten with a carpet beater to remove the grime. We are currently making one for Llainfadyn, unfortunately the odd hail storm meant that Jane and Emma had to find seats by the open fire to carry on their work.

Sorry about the awful pun in the title. But, yes, it's that time of year, the sun is out, spring's officially here and it's getting warmer. Fantastic you may say, but for our Conservators and Volunteers a new battle is about to begin! As well as our lovely lambs and piglets, less desirable creatures are stirring. These are the insect pests, such as moths, carpet beetles and woodworm, that if left unchecked would quite happily eat our museum and its collections!

This week the volunteer conservation team were introduced to the enemy. In the natural world these insects perform an essential task, but in the confines of our historic houses, or anyone's home in fact, they can cause untold damage especially to items made from wool, fur, feathers, leather, paper and wood.

We have decided to go for a two-pronged attack. The first is to re-introduce traditional deterrent methods. Last year we worked with the gardening team collecting and drying a range of aromatic plants such as Tansy, Wormwood, Rue, Rosemary and Lavender traditionally used to deter insects. From the selection grown in our gardens we have created the extremely potent St Fagans blend.

Now we are devising ways to deploy our deterrent in sufficient quantities that might have an effect. For this we found tights ideal for the task! Yes, that's correct, tights. These are especially useful for items of clothes hung up on display, they enable us to place the aromatic plants in the more inaccessible areas of a garment, such as down sleeves!

The second method of attack is of course good old fashioned housekeeping. Spring is the time to open up the house after a long winter and give everything a good clean, or in our case a good beating.

The recent Ivor Davies exhibition Silent Explosion at National Museum Cardiff sparked an explosive partnership project. The mMseum’s Learning Department and artist Claire Prosser worked with Albert Primary School in Penarth on an art project inspired by Ivor Davies's work. Ivor Davies grew up in Penarth and went to Albert Primary School as a child, where he witnessed the war and air raids on Cardiff. Some of his early work is based on these experiences.

The year 5 pupils visited the exhibition at the Museum, which reflects some of those childhood experiences, and made sketches and collages. One of the boys had re-drawn Ivor Davies’s drawing of enemy planes being caught in search lights, and added an additional plane. Ivor Davies himself came to visit the school at the end of the day of walks and signed this drawing and many others, much to the delight of the pupils.

On walks around Penarth the pupils discussed conservation, death and decay with Senior Preventive Conservator Christian Baars. It is not easy to conserve art that was created to be ephemeral. The pupils learned how organic objects, and even rock, are not everlasting, and instead part of a big circle of life, death and resurrection in new forms.

The role of any museum, in essence, is to preserve objects by halting that circle at a particular point. Whether this is in line with the artist's intentions, and how museums deal with this conundrum, was part of a "Conservation Conversation" at National Museum Cardiff a few weeks back. Curators, conservators and artists were involved in the discussion then. Bringing this theme closer to year 5 pupils proved entirely possible, as they enjoyed learning about how museums preserve objects while thinking about how it is really difficult to make anything last for centuries.

This interdisciplinary partnership project was also a joy to work on for staff, most of all the preventive conservator, as it brought together so many aspects of art and science.

Find out more about care of collections at Amgueddfa Cymru - National Museum Wales here.