To get a good handle on collections management in museums I also need to learn about how visitors experience the collections. And what better way to do that than to put together a mini-exhibition? For the last five years the museum has displayed a selection of its embroidery samplers each summer season, and this year it was down to me to choose samplers for the drawers and objects for the top cabinet, and to write the panels that go along with it.
The theme of this year’s display is ‘learning and leisure’, reflecting the different roles of sampler making in girls’ and ladies’ lives. Sampler making was valuable practical education for work and motherhood, it allowed girls to improve their reading and writing, and helped teach religion and good behaviour. Without handheld toys and games like we have today, girls and young ladies would also produce samplers to pass the time while they recovered from illness.
The samplers all have a plastazote (museum-grade foam) border and are laid on a thick card base to protect them when stacked in storage. In the display drawers these boards are secretly pinned to stop them sliding aorund around.
There must be some sort of guidelines for placing objects in a display… These battleships went in a convoy formation winding between all the other items.
The finished display – come and see it while you can!
Remembering that making samplers was a female-only activity which largely died out 100 years ago, I knew I had to choose a range of items for the top of the cabinet to represent work and play for girls and boys right up to the present day. A slate tablet and pencil worked well for education, but most of our Victorian toys are already on display elsewhere. I enjoyed the challenge of scouring the record cards and the Museum’s stores for iconic toys that are up to a century old, but are still produced and sold in huge numbers today – dominoes, tiddlywinks and all sorts of models, to name a few.
To finish off, some handy ‘Get Involved’ tips and challenges – can you read the sampler from the 1700s? What toy would you keep if you could only have one? Head over to Home Close to compare your sewing skills to those of a Victorian 8-year-old, and find out how entertainment has changed over the last 250 years.
‘Samplers: work and play’ can be explored in the Domestic Life building (outside the Osier Café), and is open to museum patrons until 4th November 2016.
This week it was my turn to nearly supervise a small installation and make sure that no harm came to. This exhibition ‘Suffolk Horse Power’ tells the story of the Suffolk Punch horse, a local agricultural breed famed for its strength and endurance pulling farm tools, but now in danger of disappearing after tractors became popular across East Anglia in the 1950s. Herbert Longe bought Abbot’s Hall in 1903 and bred the Suffolk Punch until about 1939 but must have sold them as he bought 2 horses to work the farm during the war. This strong link to Abbot’s Hall and important historical events is part of the reason we still have a Suffolk Punch at the museum.
The Suffolk Punch timeline being hung
Achilles the stallion beingbixed to the bars without damage.
Normally when people talk about hanging an exhibition, they mean attaching pictures to walls using brackets and screws, but working in the Victorian stable block (a Grade II listed building) meant that we couldn’t drill any holes, and everything had to hang from string looped round lots of different supports.
A timeline of the Suffolk Punch’s history hangs from rafters 2 metres above, old photos hang from rustic metal brackets and full-size photograph of a Suffolk Punch is carefully held in position by screws placed between metal bars and into blocks of left-over wood.
It was a long, cold day, but worth it in the end – the stable block has been brought to life to celebrate the story of a true local farming icon.
‘Suffolk Horse Power: Our Living Heritage’ is open until 4th November 2016 during normal museum opening hours. Entry is free.
Our entry for Suffolk Museums Object of the Year contest 2016, for which voting is now open here: http://suffolkmuseums.org/museums/
The Stowmarket church clock with its Meccano-like appearance is an object that intrigues and fascinates visitors to the Museum of East Anglian Life. The story of the clock is one of community inclusion and progress. Dating from 1620, the clock announced the time through its carillon of bells, as it didn’t have a face.
The carillon and clock mechanism are now separate, but would have been connected to chime the time and a selection of 5 different hymns. The bells shared both the time and the act of worship with the people and landscape which would help create and sustain Stowmarket’s economic force in the centuries to come.
The clock mechanism, with the smaller internal clock face still attached (left). The museum’s metal support allows the weights (right) to drive the mechanism throughout the day.
The clock’s carillon mechanism, with a large cylinder for striking hymn tunes, and a smaller cylinder to sound the time.
In 1837, a clock face was added to the outside of the tower. A smaller face on the same mechanism was mounted inside, providing a physical link between the internal structure and the role of the church in the wider community – three centuries earlier, the church of St Peter and St Paul welcomed the congregation of St Mary’s church following its demolition, uniting two communities in the church of St Peter and St Mary as we know it today.
The clock is still wound at the start of each day, and we are proud that such a long-standing symbol of unity between town and country, agricultural and economic strength still ticks as it marks the passage of time in the Museum’s Boby building,
Click the bottom-right link on the Suffolk Museums homepage, and scroll down to the bottom to vote for the “correct” museum.
The Boby building is on the top field of the Museum’s main site and is open during the high season to paying visitors.
Featured Object: Corn/straw splitters
Following our meeting, Collections Manager Lisa decided it would be fun for me, as the Collections and Interpretation intern, to shed a bit of light on some of the more rarely-seen objects in the Museum’s collection. From nearly 40,000 objects, my first choice is the first collection of objects I handled at the museum and which are, at first glance, no more than a few sticks in a very big box. Even knowing they were corn splitters I was none the wiser as to how they worked or what their product was used for. An internet search for “corn splitters” returned links to pictures of kitchen gadgets for removing sweetcorn from the cob.
The museum’s selection of corn splitters.
They each have a carved bone point…
…with blades to split the straw into many strands.
It turns out that the Museum’s straw splitters perform an even more delicate job and that their story ties in with British agricultural folklore and pagan (pre-Christian) beliefs. Our straw splitters possess a head made of bone, which has been carved to give several blades arranged around a central point. This point is placed in the end of the straw and is driven downward, splitting the straw into several strands as it goes. Why? To create something called a corn dolly as part of harvest celebrations.
A traditional ‘triple favour’ design.
A traditional angel dolly design.
A more complex and decorative candlestick design.
A knot design taken from a pattern on a memorial tablet in Bath Abbey.
The tradition of making corn dollies stretches back to pre-Christian Europe, and they tend to be hollow shapes plaited using the strands of straw, more recently created using the splitter. The dolly is woven from straw taken from the final sheaf of the harvest and is said to provide a home for the Spirit of the Corn over winter. The dolly is then ploughed into the first furrow of the season to return the spirit to the soil ready to protect the crops and provide a good harvest in the coming season. There are also some corn dollies on display to paying visitors of the museum, in Home Close, throughout the open season from April to November.