: Rhyfel Byd Cyntaf

Diolch yn fawr i’r 166 ohonoch sy’n dilyn @DyddiadurKate. Mae’r ymateb wedi bod yn gret hyd yn hyn, er gwaetha’r faith mai dechre reit undonog sydd i’r dyddiadur – un cyfarfod gweddi ar ôl y llall! Diolch arbennig i un dilynwr sydd wedi cysylltu i ddweud ei fod yn perthyn i Kate Rowlands. Fel ddedodd @erddin, dim bob dydd mae rhywun yn croesawu ei hen nain i fyd y trydar.

Hanes llafar

’Da ni’n edrych ’mlaen i glywed mwy am hanes Kate gan aelodau’r teulu cyn bo hir. Ond yn y cyfamser, mae’n hen bryd i ni rannu mwy o fanylion amdani, a rhai o’r enwau sy’n cael eu crybwyll yn y dyddiadur. Yn ffodus iawn, yma yn Sain Ffagan mae gennym dapiau sain o Kate Rowlands yn trafod arferion ei milltir sgwar – coginio, golchi dillad ac ati. Nôl yn 1969, aeth Lynn Davies o'r Amgueddfa i'w chyfweld er mwyn cofnodi tafodiaith ei hardal. Yna, yn 1970 aeth Minwel Tibbott i’w recordio fel rhan o’i gwaith maes arloesol ar fywyd cartref yng Nghymru. Ar ddechre’r cyfweliad cyntaf, mae Kate yn rhoi ychydig o’i chefndir teuluol, ac o fan hyn ’da ni wedi llwyddo i ddarganfod mwy am ei bywyd a phwy ’di pwy yn y dyddiadur.

Cefndir Kate

Ganed Kate yn y Brymbo, ger Wrecsam, yn 1892. Roedd ei mam (Alice Jane) yn wreiddiol o’r Hendre, Cefnddwysarn. Bu farw ei thad –  gweithiwr yn y diwydiant dur – pan roedd hi’n naw mis oed. Wedi hynny, dychwelodd ei mam weddw at ei theulu yng Nghefnddwysarn. Mae’n amlwg i rieni ei mam ddylanwadu’n fawr arni. Mewn un cyfweliad mae’n dweud mai “y nhw oedd y canllawie gathon ni gychwyn arnyn nhw.”

Tair blynedd yn ddiweddarach, mae’i mam yn ailbriodi ag Ellis Roberts Ellis. Hyd y gwn i, dyma’r Ellis sy’n cael ei grybwyll yn y dyddiadur. Tua 1887, pan roedd Kate yn bum mlwydd oed, symudodd y teulu bach i ffermio i ardal Llantisilio, ger Llangollen. Dychwelodd y tri i’r Sarnau tua chwe mlynedd yn ddiweddarach – i fferm Tyhen. Dyma leoliad y dyddiadur.

Tyhen, Sarnau

A hithe’n unig blentyn, gadawodd Kate yr ysgol yn 14 mlwydd oed i helpu ei rhieni wrth eu gwaith. Mae’n debyg mai fferm fach oedd Tyhen – rhy fach i gyflogi dynion:

“Mi gollodd nhad a mam eu iechyd i radde. Buodd hynny’n groes fawr i mi gael gyrru mlaen efo addysg ynde. Rhaid i mi fod adre ynde, ’da chi’n gweld… Dipyn o bopeth, jack of all trade ynde. O’n i’n gorfod helpu llawer iawn allan ynde, efo ceffyle a rwbeth felly ynde. Twmo’r popdy mawr i grasu bara, a chorddi fel bydde amser yno ynde, ryw ddwywaith yr wsos ynde.”

Ffermydd lleol

Penyffordd, Derwgoed, yr Hendre, Fedwarian – mae enwau’r ffermydd hyn yn cael eu crybwyll gan Kate bron yn ddyddiol. ’Da ni’n gwybod mai cartref ei mam oedd yr Hendre, ond byddwn ar drywydd y ffermydd eraill cyn hir.

Cyn gorffen, cadwch lygad am enw Bob Price, neu B.P, yn y dyddiadur.  Ar 11 Chwefror 1916, priododd Kate â Robert Price Rowlands yng Nghapel Cefnddwysarn. Felly roedd 1915 yn flwyddyn arwyddocaol i Kate. Roedd hi ar drothwy pennod newydd yn ei bywyd.

Dw i wrth fy modd yn twrio yn storfeydd yr Amgueddfa. Sdim byd gwell na darganfod gwrthrychau sydd heb weld golau dydd ers degawdau. Llynedd, tra'n chwilota am gasgliadau o gyfnod y Rhyfel Byd Cyntaf, fe ddes i ar draws dyddiadur o'r flwyddyn 1915 mewn amlen yn yr archif. Wrth bori'r tudalennau, a thrafod gyda chydweithwyr, fe daeth hi'n amlwg fod stori'r perchennog yn haeddu cynulleidfa ehangach. Felly, dyma ni - croeso i brosiect @DyddiadurKate.

Eleni, i gyd-fynd a rhaglen yr Amgueddfa i goffau canmlwyddiant y Rhyfel Mawr, mi fydd tim ohonom yn trydar cynnwys y dyddiadur yn ddyddiol - canrif union ers i Kate Ellis, merch ffarm o ardal y Bala, nodi ei gweithgareddau beunyddiol yn ei blwyddlyfr bach coch. Ar y pryd, roedd Kate (Rowlands yn ddiweddarach) yn ei hugeiniau cynnar ac yn byw gyda'i rhieni - Ellis Robert Ellis a'i wraig Alice Jane Ellis - yn Tyhen, gerllaw pentre'r Sarnau. Wrth drydar y dyddiadur, byddwn yn defnyddio sillafu, atalnodi a thafodiaith y ddogfen wreiddiol.

Nid dyddiadur ymsonol mo hwn - peidiwch a disgwyl cyfrinachau o'r galon. Yn hytrach, yr hyn a gawn yw cipolwg ar fywyd dyddiol yng nghefn gwlad Meirionnydd ar ddechre'r ugeinfed ganrif - o'r tywydd a thasgau amaethyddol i brysurdeb diwylliannol y fro. Prin iawn yw cyfeiriadau Kate at y Rhyfel, er i nifer o drigolion yr ardal ymuno a'r lluoedd arfog. Ond mae hynny ynddo'i hun yn ddiddorol - iddi hi, ar yr wyneb beth bynnag, roedd bywyd yn mynd yn ei flaen fel arfer.

Cadwch lygad ar y blog am ragor o fanylion am y prosiect ac i glywed mwy am y bobl a'r digwyddiadau sy'n cael eu crybwyll yn y dyddiadur. Cofiwch hefyd ddilyn @DyddiadurKate o ddydd Calan ymlaen i olrhain ei hanes drwy gydol 2015.

Tro nesaf: Ar drywydd Kate Ellis.

After months of behind the scenes activity - rummaging in stores, researching, documenting, conserving and digitising - Amgueddfa Cymru's First World War catalogue is now online. At the moment, the catalogue includes over 500 records - archives, photographs and objects from the collections housed here at St Fagans. New records will be uploaded over the next few weeks, including some fantastic additions from the industry collections. We'll keep you posted.

I can't tell you how much this project has meant to me and my colleagues. It may sound corny, but we really do feel emotionally connected to the people whose lives are commemorated in the collections. From Walter Stinson's delicate beadwork jewellery, to Brinley Rhys Edmunds and his typo-ridden memorial plaque, these stories have captured our imagination. To us, Walter and Brinley are no longer anonymous names on file.

Talking of files, it hasn't been easy to pull-together our First World War collections. When curators speak of "newly-discovered" or "hidden" objects, please don't think that museums are full of misplaced or lost items - there are no "dusty vaults" here! The issue is usually a lack of documentation - the information stored on file which helps us to locate and interpret the collections in our care. Collecting methodologies have changed over the years, so too standards in documentation.

Many objects featured in the database were originally catalogued according to their function, making it difficult for present-day curators to draw-out their First World War significance. A classic example being a set of prosthetic arm attachments used by John Williams of Penrhyncoch. These were found in the medical collections, catalogued in 1966 under "orthopaedic equipment". By chance, I was looking at the accession file a few months ago and found a scribbled note saying "wounded in one arm during WW1". If only the curator had asked more questions at the time, especially given that John Williams himself donated the arm attachments to the Museum!

Thankfully, accession files are never closed indefinitely. New research and the reassessment of collections through community partnerships means that we're constantly editing and tweaking our records. So, if you knew a John Williams from Penrhyncoch who lost an arm during the First World War, please do get in touch.

This project is supported by the Armed Forces Community Covenant Grant Scheme.

Welcome again!

We are in the final stretch of concluding this interesting and amazing project. We have been working hard during the last few weeks mounting and framing the 66 lithograph prints to have them ready for the exhibition The Great War: Britain’s Efforts and Ideals on the 2^nd August at National Museum Cardiff.

In the following video you will enjoy the framing process carried out by our colleague Richard. As you can see it is a delicate procedure and the framer needs to be really clean and gentile with the work of art.

We have had the 66 frames specially made and stained by a local frame maker. The scratch resistant Perspex* we have used had to be washed with soap and water to remove all traces of adhesive before being taped into the frame. Conservation framing is about making a sealed package to protect the work of art from the outside environment whilst making sure that the content of the package are all up to conservation standards.

Once the Perspex is fitted in the frame, we clean it very well with glass cleaner and anti-static cloth being sure that is completely clean and we don’t want to scratch the Perspex. Then we put the mount with the work which is already free of any fluff over the surface in the frame. After that, we put in the backboard and keep it all together using a framer’s gun. Lastly we seal the frame with gum brown paper tape.

Don’t forget to join us next Saturday 2^nd August for the opening of the show!

*Perspex: acrylic material is useful because it is light and unlikely to break on impact. However, these materials do scratch more easily and because of static, should never be used to glaze pastels, charcoal, chalks, or friable material

Now it is time to research the fibres used during the paper making process in the different papers of ‘Effort and Ideals’ lithograph prints.

There are several methods to identify fibres such as the staining technique. The most common is Hertzberg’s Reagent which is used for paper fibres are based on iodine and zinc chloride. This type of stain is formulated to dye different groups of fibres differing colours. However, there are many disadvantages using this system because the specific colours stated for particular fibres are difficult to reproduce.

So, in this case we decided to take some samples of fibres of the prints and identify them under the polarising microscope.

In the first image, we are taking a small sample of fibres from one of the prints. We are using an invasive and destructive technique for that reason we have to be extremely careful taking the sample. Just shaving a little bit the very bottom edge we will be able to get enough fibres to analyse in the microscope.

In the third picture we are leaving the fibre sample on the microscope slide. After that, we will cover the sample with a cover slip and sealing with Meltmount (is a thermoplastic: it is fluid when heated and functionally a solid at room temperature; the appearance of the prepared slide will remain unchanged after the slide is returned to room temperature).

Once the sample is ready, we will work with it in the microscope. We took photos applying different magnifications.

In the fifth image, you can observe a detail of a linen fibre through the microscope. The term ‘linen’ covers a wide variety of material described as flax or linen. In both Europe and China flax has been used as a textile material since at least 4,500 BC.

The raw material after cutting and removing the seed head is retted in still or slow running water to slow process of bacterial decomposition. In some areas the process is carried out in a damp atmosphere only.

Linen is a bast fiber. Flax fibers vary in length from about 25 to 150 mm (1 to 6 in) and average 12-16 micrometers in diameter. Flax fibers can usually be identified by their “nodes” which add to the flexibility and texture of the fabric.

Other samples taken from the thinner prints revealed cotton as a main material. So in both cases we are talking about good quality paper fibres.