From an original watercolour by E. W. Trick

Published by Valentine's & Sons Ltd

 Some people really are very kind. An anonymous donor left a little packet of these delightful Welsh postcards in one of our departmental pigeon holes. They will be sent over to the Archives Department at St Fagans: Museum of National History but I couldn't resist posting a small selection of them here first.

From an original watercolour by Edward H. Thompson

Published by Valentine's & Sons Ltd

"CARBO COLOUR" postcard

Published by Valentine's & Sons Ltd

Published by E. T. W. Dennis & Sons Ltd, London and Scarborough

From an original watercolour by Brian Gerald

Published by Valentine's & Sons Ltd

From an original watercolour by Edward H. Thompson

Published by Valentine's & Sons Ltd

The cards are mostly landscape views of Llangollen but this bright little quartet was also included

Seven of the more picturesque cards were published by Valentine's & Sons Ltd as part of their "Art Colour" series and there is a good a bit of information available on the company via the links below: 

http://archiveshub.ac.uk/data/gb227-ms38562

http://www.collections.co.uk/postcards/publishers/valentine.html

http://en.wikipedia.org/wiki/James_Valentine_(photographer)

Other publishers include E. T. W. dennis & Sons [London and Scarborough], N. P. O. Ltd [Belfast], J. Arthur Dixon Ltd. [G.B.], Judges Ltd. [Hastings, England], Walter Scott [Bradford], J. Salmon Ltd. [Sevenoakes, England], and Photo-Precision Ltd. [St Albans]. 

As Steve said in his last blog posted in December, we’ve started work on growing the thatch for our new Iron Age farm. Alongside this work we’ve also been giving a lot of thought to the objects that will go inside the houses.  Far from being primitive, these replica objects will reflect the high level of knowledge and skill possessed by people who lived in Bryn Eryr over 2000 years ago. One of the first tasks is to furnish the round houses with all those essential objects that no self-respecting Iron Age household could do without, such as plates, bowls, utensils, buckets , storage containers, shelves, barrels, weaving looms, beds, just to name a few.

In this period all these items were made from wood, but we have a problem, wood deteriorates quickly in the ground so objects made from this material rarely survive.  However, we think we can find out more about the wooden objects they would have had by studying the carpentry tools available at this time. These were made from iron and because of this have survived in greater abundance. Ancient iron-work is often much underrated as it doesn’t look very attractive, but when trying to recreate everyday life the information domestic ironwork objects can provide is invaluable.

The first stage of making the replicas was to search the archaeological collections for any original Iron Age carpentry tools.  Much to my delight we had quite a lot of material and could virtually recreate a whole tool kit from examples found throughout Wales. Our Bryn Eryr tool kit will therefore consist of an axe, adze-hammer, gouge, chisels, files, drill bits and numerous wedges from small to large.  Timber in the Iron Age was divided up by splitting with wedges rather than cutting with a saw.  Saws did exist, but were small, similar to modern pruning saws today.

An Iron Age household would be equipped with a wide range of tools for a variety of purposes. Some of these objects appear strange to us today, but others are quite familiar. A 2,000 year old chisel found in the Roman fort of Brecon Gaer and a gouge from the Hill Fort at Castell Henllys wouldn’t look out of place in a carpenter’s tool kit today.

Once our tool kit had been compiled from the examples in the collection, the next step was to make working replicas that could be used by our craftspeople to recreate the objects for Bryn Eryr.

Careful conservation of the original tools had preserved some of the original surfaces. Marks on these surfaces enabled our blacksmith 2000 years later to work out how they were made and reproduce the replicas as accurately as possible.  The replicas are recreated in wrought iron like the originals, which is much softer than the steel used today, so it will be interesting to see how these tools perform? Will we be able to produce a decent cutting edge, how quickly will this edge dull and how often will it need to be sharpened?

Making the tool heads is only half the story, these tools can’t be used without handles!  None of the originals survive and from the shape of some tools we just can’t pop modern handles on them.  We know our tools once had wooden handles, because in some cases the deteriorating iron around the socket  had made a cast of the wood surface before the handle disappeared.  Using a combination of this information and some surviving material from elsewhere, plus the expertise of our own carpenters and estate workers, we managed to reproduce handles to complete the tools.

Now all we have to do is see if they work! More importantly have we still got the expertise to use these tools properly? Hopefully by using them we’ll gain an insight into the skill of our Iron Age carpenters.  I’m sure they would be laughing themselves silly if they could see our efforts today, but we have to start somewhere!

So, how did our tools perform? Its early days, but everyone including our craftspeople are impressed. They appear to be performing well, we even managed to split a large piece of timber with our wedges.  It probably explains why so many of these wedges end up in our collection, they tend to get lost inside the timber during splitting and fall to the ground where they are difficult to spot!

We hope to undertake more experimental work to assess the performance of these tools, so keep watching this space, but in the mean time we have to crack on, there’s the contents of a roundhouse to make!

We've had some lovely, poetic and evocative examples in our Dylan Thomas themed family workshops these past couple of weeks, lots of laden christmas trees, roaring fires, burning christmas puds, snow boots and snowmen, and stocking full to bursting point to name but a few, here are some photos of some of them.

As many regular visitors to St Fagans will know, our much-loved Celtic Village was closed earlier in the year. Twenty years seems to be about the normal life-span for reconstructed Iron Age roundhouses – the timbers decay and they begin to get a bit wobbly after that. To replace it we're going to be building a new reconstruction based on a 2,000 year old Iron Age farmstead on Anglesey called Bryn Eryr, and just recently we reached a really exciting milestone along the way.

The Bryn Eryr roundhouses consisted of two buildings built side-by-side. Their walls were made of packed clay (probably mixed with grit and straw, like Wales's traditional clom-built houses) and the roofs were thatched. We've had a lot of discussions about what we should use to thatch them. Naturally the roofs of the original buildings haven't survived, but we do know that its Iron Age owners had access to spelt – an early form of wheat – because charred grains were found at the site. From there the argument goes, if they were harvesting spelt grains to make their bread they also had their hands-on a useful thatching material, spelt straw.

So, we thought, St Fagans is surrounded by farm land, we've got an excellent farming team, and lots of enthusiasm, why not try to grow a crop of spelt ourselves and see whether we can thatch our next Iron Age farmstead with it?

There are a lot of uncertainties involved in this, many things can go wrong between the idea and the harvesting but St Fagans is part of an EU collaboration which encourages just this kind of experimental research. So thanks to the OpenArch project, with its Culture programme funding, and a lot of advice from experts in the field (apologies for the pun), we've decided to give it a go.

A few months ago we ploughed 3.4 hectares (8.4 acres) just outside the main museum site. This looks like an enormous area when you're stood beside it, but we're told this is what we need in order to produce enough straw to thatch two large roundhouses.

With the ploughing done, our Learning Team organised an opportunity for school groups to come out and see what we were up to. This was followed by the museum's archaeologists bringing together a team of volunteers who walked the area in search of any artefacts that may have been turned up by the plough. The finds from this have yet to be analysed but already we can see that the area had been visited by prehistoric hunter-gatherers, a 13th-century traveller who lost some loose change, and many other more recent people.

And then it rained, and rained and rained. Our spelt seed arrived and was placed in a barn, and still it rained. I was beginning to get very worried. It's all very well having a plan to grow a crop of Iron Age wheat, but that's not going to happen if the seed stays in sacks. Then a few weeks the weather cleared up, the ground dried sufficiently and we finally got a chance to plant.

Then we waited… Would anything happen? Had we left it too late? Would frosts / rain / snow put a stop to our plans? Happily not! Last week we found the first seeds had germinated. I’m going out to the field again today to check on its progress. Will the shoots be showing? Have we got the spacing of the seed right? Will the rabbits leave it alone? Will it grow tall? I feel like an expectant father all over again.

Christmas is almost upon us, and we thought we would bring you some festive cheer from the industry collections.

This Christmas Lego set was donated in 2000, and represents the post-1930 industry collections, and toy manufacture in Wales. The set comprises Father Christmas with reindeer and sleigh, and is complete with its original box. The brand name Lego comes from the Danish words "LEg GOdt" meaning to "play well" and in Latin it means “I put together”. In 1963 British Lego Ltd. set up a new headquarters and factory in Wrexham, Wales and this set was manufactured there. Production at Wrexham ceased in 1977.

This mug, sold in aid of the "1984 Miners Children Appeal", was manufactured by Commemorative Pottery. It depicts a festive scene with children dancing around a Christmas tree hung with miners flame safety lamps. On the reverse an inscription describes that the aim of the Striking Miners Children Appeal Support Fund was to create “a happier Christmas for the children of Britain’s Mineworkers” during the strike of 1984/85.