National Museums Liverpool Blog - Friday, July 18, 2008

Lauren Gould, Learning Officer at the Lady Lever Art Gallery writes to invite artistic young people to join a summer course...

Sketching outside the Lady Lever Art Gallery

We still have a few vacancies on this year's week-long course for young people who want to explore their artistic side.  There will be plenty of sketching, outdoor painting, art history, and photography during the week of activities.  The course is free, although participants will need to bring a packed lunch. It is suitable for all 11-16 year olds.

The course runs from Monday to Friday, 28 July to 1 August, 10.30am-4pm at the Lady Lever Art Gallery, Port Sunlight, Bebington, Wirral. Contact 0151 475 4143 to book a place.

Basically, we need you to help us to help you. We're developing a new feature for our main site and need to understand how teachers - one of our biggest user groups - would use the system.

We've got well over a million objects in our care, ranging from microscoping plants to ships. Of these collections we currently have about 1,500 objects on our website but want to increase this number substantially. We also want to make our collections more easily searched and to provide much more in depth information, so are creating a single, comprehensive online collections system. We already know that teachers use our website in their work and want the new system to meet their needs as closely as possible.

The questionnaire, which you will find here http://www.surveygizmo.com/s/57097/online-collections, basically asks teachers how they are currently using the site and what features they would like to see. We've given you a bit of a shopping list to chose from plus the option to mention anything we've missed. There are eight questions which should take about 5 minutes. Any feedback teachers, or other learning professionals, could give will help us enormously and will in turn allow us to support you as best we can. I realise we're right at the end of term so any feedback would be doubly welcome.

Any questions just email me using the link below this post.

Prayer flags

On Sunday I went with my host Mother, Kalsang, to Swayambhunath, an important Buddhist site to the south of Kathmandu. Unlike Boudhanath, Swayambhunath sits on a hill overlooking the city, so for the first time in a few weeks I got to look up from my text books and have a really good look at the cityscape. Swayambhunath is affectionately known as the Monkey Temple, due to the many monkeys who live in and around the stupa. I’d been warned that these monkeys could be pretty mean and vicious, but the monsoon rains seemed to have dampened their spirits as they just watched as we climbed the steps to the smaller hill that sits to the west of the main stupa. This site holds a smaller shrine to Saraswati, the Goddess of Learning, and while Kalsang had her reasons for visiting the shrine I also had high hopes that Saraswati would give me a little helping hand with my Tibetan studies.

We were there for a very particular reason: Kalsang had read the Tibetan calendar and consulted her Lama, and Sunday the 13th was a very good day for dedicating a series of prayer flags that she had bought. As the rain started to pour, Kalsang wrote her family's names (including mine) on a series of white silk scarves called Khatas. The khata is an important part of Tibetan culture, given as offerings in the gompas and stupas and also as gifts between people. Once all the names were written, each scarf had a small prayer said when it was placed on the forehead and then each was tied to a series of prayer flags.

Once the prayer flags were ready, the boys and men working at the stupa nimbley climbed the many trees to find a good place to attach the flags, so that their prayers could be sent out into the world. Kalsang gave offerings of juniper twigs to the stupa fire and recited a small mantra, to ensure the prayer flags' success. Finally, handfuls of tsampa (roasted and ground barley flour) were offered and thrown into the air.

Athough, the rain poured down, and it was unusually cold, Kalsang was happy with the day and was sure the prayer flags had been successful. I think she was right as my reading has really improved this week.

Model of U99. Image courtesy Liverpool Daily Post and Echo

As regular readers of this blog will know, I like my food – good traditional English grub boiled, grilled, roasted or fried. If there’s one thing that puts me off it’s tainted food: the awful aroma and taste of the processed ready-meal or tinned scouse, to name just two.

German propaganda films of the Second World War depict the crews of U-boat submarines as swashbuckling marauders trawling the vast oceans for enemy ships to attack and destroy. In reality, the lives of the 40,000 men who served in the U-boat fleet bore little relation to this glamorous image which their activities inspired in the German public mind. The U-boats were cramped, smelly, unhygienic and also almost unbearably claustrophobic.

A typical U-boat bow (front) compartment measuring just 12 feet across, housed some 25 men, several 22 ft torpedoes and equipment. Each bunk bed was used by two or three people on a shift system.

The diet of U-boat crews was mainly tinned food. But, fresh or tinned, it always “tasted of U-boat – diesel oil with a flavour of mould,” according to Heinz Schaeffer, commander of U977.

A German war photographer on board U96 in 1941 wrote: “The heat. The stench of oil.  Lead in my skull from the engine fumes. I feel like Jonah inside some huge shellfish sheathed in armour.”

Included in the Merseyside Maritime Museum’s Battle of the Atlantic gallery is an exhibition model of the notorious U99 (shown here) which sank 40 British and Allied merchant ships (about 250,000 tons) in under nine months’ active service from July 1940. She was under the command of Otto Kretschmer, one of Germany’s most successful U-boat aces. U99’s luck, however, ran out on 17 March 1941 when she was sunk south west of the Faroe Islands between Iceland and north Scotland by the destroyer HMS Walker. Kretschmer and most of the crew were rescued and became prisoners-of-war.

U-boat medals on display include an Iron Cross second class 1939-45, which was awarded to large numbers of U-boat men, and a U-boat patrol badge. 

Towards the end of 1940 Admiral Karl Donitz, Officer Commanding U-boats, introduced the wolf pack system of using several U-boats to attack a convoy at night on the surface. A detailed model shows a wolf pack gathering beneath the waves for a surface attack on an Allied convoy in the north Atlantic at night.

A new Maritime Tale by Stephen Guy appears every Saturday in the Liverpool Echo.

Spot the difference - the original right hand panel of the ivory diptych on the right shown with a 21st century replica of the other side on the left. Visitors can currently see both the original panels together in Cardiff.

Today two halves of a medieval ivory diptych will be reunited thanks to a special collaboration between the Walker Art Gallery and National Museums Wales.

The diptych, which was made in the 14th century, portrays the birth of Christ, with the Virgin and Child flanked by Saints Peter and Paul, on the left-hand panel, while the right-hand side shows Christ on the cross flanked by Mary and John. Originally the leaves would have been joined together - you can see the holes for the hinges in the image above. However, over time they were separated and now the left hand panel is in the collections of the Walker Art Gallery, while the right hand one belongs to National Museums Wales.

The Walker's panel has been lent to National Museum Cardiff for a year-long display with the other half of the diptych, which starts today as part of National Archaeology Week.

When the original is returned to Liverpool visitors to Cardiff will still be able to see what the complete diptych would have looked thanks to a highly accurate copy of the left panel made by the Conservation Technologies team at the National Conservation Centre. Laser technology research scientist Annemarie La Pensee told me all about it:

"Last year Conservation Technologies was commissioned by Amgueddfa Cymru - National Museum Wales - to make a replica of the left-hand leaf of the diptych that we have here at National Museums Liverpool. Using 3D laser scanning and CNC machining we made an accurate replica from polyurethane resin that was patinated to make it look like the original.

Here in the laser technology team, we found the project really great to work on. The leaves are quite small, only 10cm in height. However, because of the highly carved surface we used our most accurate scanner to record the sub-millimetre details and the resulting dataset was as big as those we create for much larger objects. It is also interesting to see how different the two original leaves are in colour and texture because they have been apart and have been exposed to different environments."

Here's a quick update on the project to recreate missing bronzes for two of the Sefton Park monuments.

The clay models that Conservation Technologies are making for the reconstruction of the three missing relief panels from the Sefton Park memorials are now really taking shape. They will be used to produce the foundry cast bronze panels that form part of the memorials to William Rathbone and the Right Honourable Samuel Smith. Two of the panels have reached the stage where the fine detail is being sculpted and the third panel has been blocked out. Blocking out is the term the sculptors use to say that the main body of the clay shape is in place, before being fashioned into a more accurate form.

The sculptors are off at the moment so the clay panels have been wrapped in damp flannelette sheeting and are being sprayed everyday to keep them moist until work starts again. It's best not to disturb them while they are wrapped up like this so we don't have any updated photos to show at the moment.

Here's a reminder of what one of the clay plaques looked like a couple of weeks ago. You can see the rough shape of one of the figures sketched into the clay on the right, while other figures are starting to be 'fleshed out' in three dimensions. Further pictures of the early stages of the process are on our Sefton Park monuments Flickr slideshow and we will be adding more when they are available, so do check back in a couple of weeks to see the progress.

Left to right: Jim Moore, Richard Benjamin, Warren Perry and Bob Paynter

Hello there.

Well I visited Ireland for the second time this year but this time the South, Dublin to be precise. It was for WAC-6  which I know sounds like a 60s TV space drama but it is in fact the World Archaeological Congress. In fact come to think of it some of you might be wishing I was now going to talk about a 60s TV space drama! If not, keep reading. 

Now at first you might be thinking what is the connection between archaeology and museums? Well in the case of the International Slavery Museum we believe that archaeological research can help us further understand what life might have been like on some of the many plantations in the Americas. For instance within the Enslavement and Middle Passage Gallery we have a replica of a plantation in St Kitts where Dr Rob Philpott, Head of Archaeology here at NML has carried out fieldwork for a number of years.

I was part of a session on 'Archaeologists, Museums, Monuments and Anti-Monuments' (academics love long titles!) which I co organised with some old friends from the US, Professor Bob Paynter from UMASS and Dr Warren Perry from CCSU. I met Bob and Warren in 2002 when I was researching for my PhD in Archaeology. Bob has worked on the WEB Du Bois boyhood site for a number of years. Du Bois was a major figure who wrote The Souls of Black Folk a classic work of American literature and is quite rightly on our Black Achievers Wall. I visited a number of African American archaeological sites when I was over there; including the African Burial Ground in New York City which Warren worked on as did another session participant Michael Blakey.

I have to say that the session went really well (no heckling or people falling asleep is a good start in my book) and included some fascinating papers. One was given by Daryle Rigney, Yunggorendi First Nations Centre, Flinders University with the interesting title - 'Encountering the Common Knobby Club Rush: reconciliation, public art and whiteness'. For those of you like me who are not experts on Australian plant life a knobby club rush is a plant which grows along the coastline and was used in the paper to symbolize how indigenous cultures, like this resilient plant, did not break under the force of the prevailing wind, in this case represented by European settlers and their early encounters with the indigenous population, in an already occupied land. Truly fascinating. Another interesting few days in a consistently interesting job.

July 1941 convoy pre-sailing conference in the Liver Building. Courtesy Liverpool Daily Post and Echo

I have been up the towers of Liverpool’s Liver Building several times to witness the breathtaking views across land and sea. Recently I learnt that this world-famous edifice once housed offices and personnel vital to the convoy system in the Second World War.

Liverpool was the most important convoy port in Britain during the war when groups of merchant ships, escorted by the Royal Navy, maintained a lifeline of supplies across the Atlantic. The Royal Navy was desperately short of ships suitable for convoy escort work at the outbreak of war. All it had were 24 old destroyers, a handful of sloops and a few anti-submarine trawlers.

In September 1940, 50 old American destroyers were transferred to the Royal Navy in return for the use of British naval and air bases in the western Atlantic. Despite this, that winter there were only enough escorts to provide two for each convoy. The Admiralty had to draft in 70 trawlers from the fishing fleets. The original convoys consisted of between 30 and 40 merchant ships sailing in lines or columns. In the later war years, the convoys became much larger, often exceeding 70 ships.

Most ocean-going ships travelled to and from Britain via her western coastal waters. From October 1939, defence of these waters came under the naval operational control of Western Approaches Command based in Plymouth. This HQ was moved to Liverpool, the most central west coast port, in February 1941. It developed into a vast organisation responsible for the day-to-day direction of Britain’s entire north Atlantic campaign.

In Liverpool the Naval Control Service Officer (NCSO) was based on the first floor of the Royal Liver Building at the Pier Head. This officer was responsible for the routing of ships individually or in convoy.

Displays at the Merseyside Maritime Museum’s Battle of the Atlantic gallery include a photo of a July 1941 convoy pre-sailing conference in the Liver Building (shown here). These meetings were also attended by ships’ masters and their chief engineers, the convoy commodore and representatives of the sea and air escorts.

Also on display are remarkably-detailed coloured sketches showing some of the ships which made up convoys.These drawings are believed to have been begun during the convoys themselves by the commodore, Rear Admiral Hugh Hext Rogers. He probably completed them soon afterwards. They show side views of the ships with each one named.

Next week we look at life on board the U-boats which hounded the convoys.

A new Maritime Tale by Stephen Guy appears every Saturday in the Liverpool Echo.

My route to school with the stupa in the background

So, tomorrow I'll start my third week at the Rangjung Yeshe Institute, where I'm studying the Tibetan language. Classes are really hard work, but although progress is slow, I was actually able to understand a little bit of a conversation I heard on the street today so something is sticking!

Here's a little insight into my day.

I get up at 4.30am every day (weekends included) and go with my host Mother, Kalsang, to do Kora, which means to circumambulate (go clock-wise) around the large stupa at Boudhanath, which I showed you last week. I go for the exercise rather than to build up merit, but there is a good mix of people jogging, walking and prostrating at this time in the morning. After a hour taking the circuit, we meet up with Kalsang's friends and go to a local tea shop for sweet tea or jhar and to catch up on the local gossip. The women talk quickly but I'm slowly picking up the odd words.

We're back home for 7am, I have breakfast, do a little bit of study and then off I go to school for 8am. Classes are very intense. In the first week I had to learn the alphabet and the many changes that happen to the sounds of words once another letter is put in front or behind it. I'm still getting to grips with this and I hope that the extra classes I'll be fitting in from next week will help me get this straight in my mind! The unique thing about the school is that for two hours a day we get to practice our Tibetan language skills, one-on-one with Tibetans. This is an amazing experience which allows you to pick up pronunciations and changes in tones much easier.

This image shows part of my route to school. You can see the stupa in the background.

Classes finish at 1.30pm, but that's not the end of the school day. We have homework everyday and there is plenty to go over from the day's lessons.

On several days during the week, there are 'load-sheddings' across Kathmandu, which basically means that the electric power goes out across Boudhanath for a couple of hours. This is done for all sorts of reasons, to stop the system over-loading, but it means that study is pretty impossible after 7pm, so it's often an early night ready for my 4.30am start the next morning.

I am loving every minute of it, but without a doubt this is the hardest thing I have ever done!

More later in the week, homework permitting!