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Microliths
Archaeology
A collection of fifteen microliths found at Burry Holmes, a small tidal island at the northern end of Rhossili Bay. These small flints are part of a large acquisition of Mesolithic material collected in the 1960s. These small stone artefacts would have been set into handles (of wood or bone) to be used as tools.
Oystermouth Castle
Topography
This pencil drawing of Oystermouth Castle, in a rural setting, is dated 1843. It was given to the Royal Institution of South Wales (Swansea Museum) in 1895 by John Richardson Francis, eldest son of George Grant Francis (1814-1882), the antiquary and philanthropist who was one of the founder members of the R. I. S. W. The existence of Oystermouth Castle as a popular tourist attraction today is thanks to Grant Francis' keen interest in restoring historical sites. In the 1840s, financed by the Duke of Beaufort, he was able to save the dilapidated ruin from complete destruction.
Oystermouth Castle
Topography
This architecturally precise pencil drawing showing an interior view of Oystermouth Castle was given to the Royal Institution of South Wales (Swansea Museum) in 1895 by John Richardson Francis, eldest son of George Grant Francis (1814-1882), the antiquary and philanthropist who was one of the founder members of the R. I. S. W. The fact that Oystermouth Castle exists today as a popular tourist attraction is thanks to Grant Francis' keen interest in restoring historical sites. In the 1840s, financed by the Duke of Beaufort, he was able to rescue the dilapidated ruin from certain destruction.
Oystermouth Castle
Topography
This pencil drawing showing an interior view of Oystermouth Castle was given to the Royal Institution of South Wales (Swansea Museum) in 1895 by John Richardson Francis, eldest son of George Grant Francis (1814-1882), the antiquary and philanthropist who was one of the founder members of the R. I. S. W. The existence of Oystermouth Castle as a popular tourist attraction today is thanks to Grant Francis' interest in restoring historical sites. In the 1840s, financed by the Duke of Beaufort, he was able to save the dilapidated ruin from complete destruction.
Oystermouth Castle
Topography
This pencil drawing of a stone archway is identified, by an inscription, as being part of Oystermouth Castle, it is dated 1835 and the inscription also makes reference to a name, possibly Tom Landseer (Thomas, elder brother of Sir Edwin Landseer, was an eminent nineteenth-century engraver). This drawing is part of the collection of George Grant Francis (1814-1882), the Swansea antiquary and philanthropist. In the decade following his death, his eldest son, John Richardson Francis of Llwyn Derw, Swansea, gave much of his father's collection to the Royal Institution of South Wales, the scientific and cultural organisation of which Grant Francis was a founder member.
Model of Mumbles Lifeboat - William Gammon
Maritime History Lifeboats
This is a scale model of the lifeboat William Gammon, gifted to the museum in 1992. She was named in memory of the coxswain of the Mumbles lifeboat, Edward,Prince of Wales, who with seven crew men lost his life on April 23rd, 1947 whilst attempting to rescue the crew of the Samtampa, wrecked in a hurricane off Sker Point. This model and the original lifeboat are currently housed in the Museum Stores at Landore, Swansea. The lifeboat, William Gammon, appears on the National Register of Historic Vessels, she is 14.3m long with a displacement tonnage of 20.9. She was built in 1947 by Groves & Gutteridge of Cowes and served as a rescue lifeboat until 1984, starting her working life as the replacement vessel for the capsized Edward, Prince of Wales at Mumbles and retiring from station at Manchester. During his career, Cox William Gammon was awarded two medals for conspicuous gallantry, the first, in 1941, a bronze medal for his part in the rescue involving the Cornish Rose and the second, in 1944, a gold medal for his part in rescuing the crew of a Canadian frigate, HMCS Cheboque.
Oystermouth Castle
Topography
This pencil drawing of the ivy-clad ruins of Oystermouth Castle is dated 1861. It is one of a large number of drawings given to the Royal Institution of South Wales by John Richardson Francis, eldest son of George Grant Francis, in 1895. This drawing was part of Grant Francis' incomparable collection of material of all types relating to Swansea and its history. Records reveal this drawing to bear the title The Cantorius Stone which may relate to the chapel within the castle where the choir may have been divided during service. Decani would refer to those on the right or South sitting on the same side as the deacon, with cantorius (or cantoris) being those on the left or North on the same side as the cantor.
Oystermouth Castle
Topography
This pencil drawing of Oystermouth Castle, dated 1844, is by Derbyshire-born artist William Butler (1824-1870). Butler came to Swansea at the age of 17, here he worked for antiquary and philanthropist, George Grant Francis, in the role of recorder of historic buildings and landscapes which warranted preserving for posterity, creating a valuable topographical resource before the widespread use of photography. This drawing is one of a large number given to the Royal Institution of South Wales in 1895 by John Richardson Francis of Llwyn Derw, Swansea, eldest son of George Grant Francis (one of the founders of the Institution in 1835).
Oystermouth Castle - Interior View
Topography
This pencil drawing showing an interior view of Oystermouth Castle was given to the Royal Institution of South Wales (Swansea Museum) in 1895 by John Richardson Francis of Llwyn Derw, Swansea, eldest son of George Grant Francis (1814-1882), the antiquary and founder member of the Institution. It is as a result of George Grant Francis' keen interest in restoring historical sites that both the castle and the parish church of All Saints in Oystermouth are still in existence today. The castle's majestic ruins on a 12m high limestone ridge are now considered to be the best preserved castle on Gower.
Oystermouth Castle - Interior View
Topography
This pencil drawing showing an interior view of Oystermouth Castle dates from 1861, nearly two decades after George Grant Francis (1814-1882), financed by the Duke of Beaufort, saved the dilapidated ruin from almost certain destruction. In her 1993 biography of the antiquary, Sandra Thomas describes how, "Almost 4000 tons of rubbish were removed from the site during renovations. The walls, stairs and ramparts were repaired and the windows restored to their former state." (p.35) This drawing is part of the generous donation made to the Royal Institution of South Wales in 1895 by John Richardson Francis of Llwyn Derw, Swansea, eldest son of George Grant Francis, who in 1835, had been a founder member of the Institution.
Oystermouth Castle and Dovecot
Topography
This pencil drawing shows the elevated ruins of Oystermouth Castle as seen from the field above Norton. In the foreground can be seen the entrance to the castle's dovecot. Dovecots were a popular feature in the Middle Ages, as their maintenance supplemented the supply of fresh meat for the household. This drawing is dated 1830, predating by a decade the extensive restoration carried out at the site on the instigation of George Grant Francis (1814-1882), the antiquary, philanthropist and founder member of the Royal Institution of South Wales. Some of his collections of paintings, engravings, etc, of which this drawing is part, were presented to the Institution in 1895 by his eldest son, John Richardson Francis of Llwyn Derw, Swansea.
Oystermouth Castle
Topography
This ink on paper print is captioned 'Oystermouth Castle with its villiage [sic] & lighthouse, Swansea bay'. It's origins are attributed to Rock & Co. London. No.1507. 1 Decr.1850. Pub'd by Ivey & Pearse, Swansea. In the 1840s, financed by the Duke of Beaufort, George Grant Francis, the antiquary and philanthropist had saved the castle from almost certain destruction. He organised thousands of tons of rubbish to be cleared from the site, whilst walls and windows, stairs and ramparts were repaired and restored. In appreciation of his restoration work, George Grant Francis was presented with a silver salver inscribed 'To George Grant Francis Esq. F.S.A. in testimony of his unwearied energy & archaiological [sic] skill .Gratuitously afforded in the restoration of Oystermouth Castle, 1845.' His interest in restoring historical sites also extended to St.Mary's Church and the Cross Keys public house in Swansea and to the parish church of All Saints in Oystermouth.
Love Spoon
Welsh Customs
It was customary, between the 17th and 19th centuries in Wales, for a man who was courting a woman to carve a wooden love spoon for her. Early examples, dating from the 18th century, were copies of the metal spoons used by the wealthy landowners. As the tradition evolved, young men carved ever more elaborate designs into the spoon handles. The intricacy of the designs demonstrated not only the skill of the carver but also the strength of his love. This handle fragment is made up of three elements, chain links denoting captured love, the flower signifying courtship and the single heart questioning the possibility of courtship. As with many customs the original utilitarian use has been superseded, until today love spoons serve a purely decorative purpose. This love spoon is one of a number given to the Royal Institution of South Wales (Swansea Museum) by Colonel William E. Ll. Morgan.
Love Spoon
Welsh Customs
It was customary, between the seventeenth and nineteenth centuries in Wales, for a man who was courting a woman to carve a wooden love spoon for her. Early examples, dating from the eighteenth century, were copies of the metal spoons used by the wealthy landowners. As the tradition evolved, young men carved ever more elaborate designs into the spoon handles. The intricacy of the designs demonstrated not only the skill of the carver but also the strength of his love. The design of this fragment includes the elements of a chain link denoting captured love and also the flower, symbolic of courtship. As with many customs the original utilitarian use has been superseded, until today love spoons serve a purely decorative purpose. This love spoon is one of a number given to the Royal Institution of South Wales (Swansea Museum) by Colonel William E. Ll. Morgan.
Love Spoon
Welsh Customs
It was customary, between the 17th and 19th centuries in Wales, for a man who was courting a woman to carve a wooden love spoon for her. Early examples, dating from the 18th century, were copies of the metal spoons used by the wealthy landowners. As the tradition evolved, young men carved ever more elaborate designs into the spoon handles. The intricacy of the designs demonstrated not only the skill of the carver but also the strength of his love. This design of single and double hearts not only begs the question - 'may I court you ?' but also demonstrates a shared love. As with many customs the original utilitarian use has been superseded, until today love spoons serve a purely decorative purpose. This love spoon is one of a number given to the Royal Institution of South Wales (Swansea Museum) by Colonel William E. Ll. Morgan.
Love Spoon
Welsh Customs
It was customary, between the 17th and 19th centuries in Wales, for a man who was courting a woman to carve a wooden love spoon for her. Early examples, dating from the 18th century, were copies of the metal spoons used by the wealthy landowners. As the tradition evolved, young men carved ever more elaborate designs into the spoon handles. The intricacy of the designs demonstrated not only the skill of the carver but also the strength of his love. This example is carved with the initials 'JL' and the date '1842', the unending pattern running the length of the handle may be seen to reflect the sentiment of undying love. As with many customs the original utilitarian use has been superseded, until today love spoons serve a purely decorative purpose. This love spoon is one of a number given to the Royal Institution of South Wales (Swansea Museum) by Colonel William E. Ll. Morgan.
Love Spoon
Welsh Customs
It was customary, between the 17th and 19th centuries in Wales, for a man who was courting a woman to carve a wooden love spoon for her. Early examples, dating from the 18th century, were copies of the metal spoons used by the wealthy landowners. As the tradition evolved, young men carved ever more elaborate designs into the spoon handles. The intricacy of the designs demonstrated not only the skill of the carver but also the strength of his love. The detailed design of this example includes the single heart which traditionally begged the question - 'may I court you ?' As with many customs the original utilitarian use has been superseded, until today love spoons serve a purely decorative purpose. This love spoon is one of a number given to the Royal Institution of South Wales (Swansea Museum) by Colonel William E. Ll. Morgan.
Love Spoon
Welsh Customs
It was customary, between the 17th and 19th centuries in Wales, for a man who was courting a woman to carve a wooden love spoon for her. Early examples, dating from the 18th century, were copies of the metal spoons used by the wealthy landowners. As the tradition evolved, young men carved ever more elaborate designs into the spoon handles. The intricacy of the designs demonstrated not only the skill of the carver but also the strength of his love. This unusually solid grid design is dated 1865. As with many customs the original utilitarian use has been superseded, until today love spoons serve a purely decorative purpose. This love spoon is one of a number given to the Royal Institution of South Wales (Swansea Museum) by Colonel William E. Ll. Morgan.
Love Spoon
Welsh Customs
It was customary, between the seventeenth and nineteenth centuries in Wales, for a man who was courting a woman to carve a wooden love spoon for her. Early examples, dating from the eighteenth century, were copies of the metal spoons used by the wealthy landowners. As the tradition evolved, young men carved ever more elaborate designs into the spoon handles. The intricacy of the designs demonstrated not only the skill of the carver but also the strength of his love. The ball in a cage design (carved from a single piece of wood) employed in the handle of this example spoke of a love in safe hands or could also be read as the number of children hoped for. As with many customs the original utilitarian use has been superseded, until today love spoons serve a purely decorative purpose. This love spoon is one of a number given to the Royal Institution of South Wales (Swansea Museum) by Colonel William E. Ll. Morgan.
Rope, Wire and Chain Gauge
Nauticalia
This pocket instrument was used for calculating the strength of rope, wire hawser and chain, by measuring its circumference and referring to the tables impressed on the front of the gauge. You could thus determine the safe working load for each piece of rope or chain. This brass and wood gauge dates from the late nineteenth century and was once in the possession of Captain David Morgan (1836-1930) who was in command of the Serena ( a composite iron barque of 493 tons, built in Sunderland in 1866 and owned by H. J. Madge.)
Ediswan Crystal Set
Industry
Like todays Walkman, this 1925 Ediswan Crystal Set was designed for personal listening through a single pair of headphones. It used a mineral crystal, commonly galena, as a detector. Ediswan is a trademark name conflated from the Edison and Swan United Electric Light Company Limited, the company formed between Briton, Joseph Swan and the American, Thomas Alva Edison as a result of the major court battle they fought over who was the original inventor of the electric light bulb. The first BBC radio station, 2LO, began broadcasting from London in 1922.
Neath Castle Plate
Ceramics
This plate displays a landscape view of Neath Castle, Glamorganshire within a border of trailing vines in gilt and brown. It is one of three plates from the collection of Sir Leslie Joseph, which was sold at Sotheby's in 1992. A lifelong collector of Welsh pottery and porcelain, Sir Leslie was also vice-chairman of Trusthouse Forte. This plate, along with the other two (which display Edinburgh and Brecknock Castles), were made at the Cambrian Pottery, Swansea, c.1803-06 and were probably painted by William Weston Young. Young was an accomplished amateur artist and was a friend of pottery owner, Lewis Weston Dillwyn, who had employed him to collect specimens and draw illustrations for Dillwyn's British Confervae. W.Grant Davidson, in his book on Early Swansea Pottery, suggests that, "As Dillwyn's friend and collaborator the work done by him in his three years at the Pottery and on its ware was in the nature of special commissions".
Moulder's Tools
Industry
These tools were used in the casting process for the preparation of sand moulds. An impression was made in a sand box using a pattern, usually made of wood. Small flaws were then filled in and final shaping of the sand mould carried out using these tools. Moulders made sand moulds from which metal objects could then be manufactured, for example, in the zinc or spelter industry.
Copper Puddlers
Industry
This black & white photograph shows a group of eleven copper puddlers employed at the Upper Bank Works in the Lower Swansea Valley. Their work involved ladling molten copper, hence their protective aprons and the long handles on the ladles, an attempt to create a reasonable distance from the obvious dangers of the product. Towards the end of the eighteenth century, Upper Bank was one of three copper works on the east bank of the River Tawe, the other two being the White Rock and Middle Bank. Upper Bank Copper Works was owned by the Grenfell family of St.Thomas, Swansea.
Offering Vessels
Archaeology
These miniature offering vessels are part of a votive deposit excavated on the slope of the acropolis of Cyrene in 1910 - 11. Cyrene was a Greek town founded in Libya in the 7th century B.C. It developed into a large and beautiful city, the most important Greek city in North Africa, renowned for its schools of philosophy and medicine. These vessels were acquired by Dr. A. F. S. Sladden, medical officer to the expedition which was led by Richard Norton. Dr. Sladden was later to work as a pathologist in Swansea, presenting the vessels to the Royal Institution of South Wales (Swansea Museum) in 1962.
Offering Vessels
Archaeology
These miniature offering vessels are part of a votive deposit excavated on the slope of the acropolis of Cyrene in 1910 - 11. Cyrene was a Greek town founded in Libya in the 7th century B.C. It developed into a large and beautiful city, the most important Greek city in North Africa, renowned for its schools of philosophy and medicine. These vessels were acquired by Dr. A. F. S. Sladden, medical officer to the expedition which was led by Richard Norton. Dr. Sladden was later to work as a pathologist in Swansea, presenting the vessels to the Royal Institution of South Wales (Swansea Museum) in 1962.
Offering Vessels
Archaeology
These miniature offering vessels are part of a votive deposit excavated on the slope of the acropolis of Cyrene in 1910 - 11. Cyrene was a Greek town founded in Libya in the 7th century B.C. It developed into a large and beautiful city, the most important Greek city in North Africa, renowned for its schools of philosophy and medicine. These vessels were acquired by Dr. A. F. S. Sladden, medical officer to the expedition, which was led by Richard Norton. Dr.Sladden was later to work as a pathologist in Swansea, presenting the vessels to the Royal Institution of South Wales (Swansea Museum) in 1962.
Iron Nails
Archaeology
Iron smelting and black-smithing were among the craft industries carried out in Minchin Hole cave during the Roman occupation of Gower. Four hearths were excavated, but only one showed evidence of iron working. The workings were not extensive, probably indicative of the fact that the people in the cave were only making things for their own use. These nails are an example of the production.
Spindle Whorls
Weaving Archaeology
These spindle whorls, found in the excavation of Roman levels in Minchin Hole, are indicative of weaving having taken place to make cloth for the families who used the cave as a home. They are round weights which serve to make the spindle revolve more smoothly when using a hand distaff. Four whorls are made of stone but the middle one is of bone. The decorated stones have elements of what is thought of as Celtic design. From the evidence of the finds it would seem the native population took refuge in the cave, for unknown reasons, during the Roman occupation of Gower in the later 3rd to the early 5th century A.D.
Kantharos
Archaeology
A kantharos is a deep drinking cup with two high handles, a sessile kantharos is one where the cup is attached directly to the base with nothing between to heighten the vessel. This plain sessile kantharos is thought to be from Boeotia (in Ancient Greece, north-west of Attica) and dates from around the middle of the fifth century B.C. This kind of vessel is also associated with the Greek god Dionysus (the god of agriculture and wine) who is often represented in Greek art carrying a kantharos.
Ladle-Cup
Archaeology
This ladle-cup has a vertical handle with a bird on top. The body of the cup is decorated with a chequered pattern in brown. This is one of a number of objects gifted to the Royal Institution of South Wales (later Swansea Museum) by Colonel William E. Ll. Morgan in the nineteenth century. The Colonel served with the Royal Engineers and travelled the world, this ladle-cup is from Cyprus, in all probability from a tomb in either Nicosia or Kyrenia.
Tanagra Figurine
Archaeology
Tanagra figurines were mould-made terracottas of the Hellenistic period (late 4th-1st century B.C.). Their name comes from the site where they were first found (an ancient town in Boeotia, north of Attica), but the style was common to all parts of the Greek world. The Tanagra figurines were always girls and were deliberate essays in prettiness with a coy charm and a mannered pose. The sculptors of Tanagra figurines were called coraplasters (from the Greek: 'cora' meaning 'girl' and 'plastein' meaning 'to sculpt'). These figurines were very popular when made and to later collectors. This figurine was probably acquired in Italy by John Henry Vivian of Singleton Abbey (later part of the University of Swansea) who toured Europe during the 1820s and 1830s.
Bone Spoons
Archaeology
Here are five bone spoons from a collection of nine (eight, in the main, complete plus one fragmented) found at Minchin Hole Cave on the Gower Peninsula. This find is a notable one as the Archaeologia Cambrensis (Vol. CXLII. 1993) explains, "Whilst bone spoons are not uncommon finds on Roman sites, and copper alloy examples are reasonably frequent, an assemblage of nine examples from a small site must be suggestive of manufacture." (p.57) The spoons each display different characteristics, for example, collars, down-curved profiles or spear/palmette ends. "More importantly all are finely worked and the bowls in particular are notably thin, shallow and without strengthening ribs. Indeed, they must be regarded as delicate, high quality items incompatible with use, as opposed to manufacture, in a cave. As to date, all would seem to fit in to any context in or after the second century." (Arch. Camb., p.57)
Shell
Natural History
These are examples of mother-of-pearl (or nacre). They are the inner layers of the shells of molluscs such as oysters, mussels and snails. Their beauty derives from their iridescence hence their popularity for use in the decorative arts and jewellery-making.
Shell
Natural History
Unfortunately this Terebra Maculata Linnaeus has lost its sharply pointed pinnacle. But it is still an interesting example of the smooth and glossy, creamy-white shell with two spiral rows of axial round blobs and streaks. It is commonly found in the Indo-Pacific region. (Encyclopedia of Shells, p.218)
Shell
Natural History
This shell is an example of Tectus Niloticus Linnaeus, commonly found in the Indo-Pacific region. It is a "large, thick and heavy shell [which] may be nearly smooth or axially tuberculated. [It is] pinkish with dark reddish brown, axial blotches." (Encyclopedia of Shells, pp.46/7)
Shell Brooch
Natural History Jewellery
This shell of the umbonium vestiarium family is commonly found in the Indo-Pacific region. This example has such attractive markings that it has been made into a brooch. It is possible that it was made by a sailor as a gift for a loved one back home.
Shell
Natural History
This shell with its pale but distinctive stripes would seem to be related to the Carnelian Cowry (Cypraea Carneola Linnaeus) which is commonly found in the Indo-Pacific region.
Shell
Natural History
This shell could possibly be a Thrush Cowry (Cypraea turdus Lamarck), having the same distinctive markings as the bird. This type of shell is frequently found in the Indo-Pacific region.
Shell
Natural History
This flat-topped cone-shaped shell is possibly Conus Virgo Linnaeus, which is commonly found in the Indo-Pacific region.
Shell
Natural History
This shell is possibly a Hump-back Cowry (Cypraea Mauritiana Linnaeus) which is commonly found in the Indo-Pacific region.
Mermaid Wall Brackets
Ceramics
These moulded wall brackets, in glazed white-ware, represent "... a Mermaid and Triton, supported on shell ornaments. The folds of the drapery... the heads, hands and feet are carefully and delicately, and at the same time sharply, modelled." They are copies of the 'Michael Angelo Brackets', though Morton Nance believed that "... in design, however, they would appear to be imitations of a later more florid Italian school rather than of Michelangelo." They were produced at the Cambrian Pottery as part of the range known as Dillwyn's Etruscan Ware, "... the chief interest of Dillwyn's Etruscan Ware lies in the fact that it represents Swansea's last attempt to produce pottery of aesthetic merit. ...Dillwyn's work was frankly derivative, its avowed object being... to place 'in the hands of all, ornaments of a high character at a cheap rate'." (The Pottery and Porcelain of Swansea and Nantgarw, pp.179/80)
Wine Bottle
Industry
Before 1600, bottles were usually made of pottery or leather but by the middle of the century the 'new' black / dark green glass wine bottle had come into general use. Early glass bottles were squat, broad and rounded but around 1800 they became taller and more angular, quite similar to modern bottles. After c.1650 glass seals were often added to bottles, bearing the owner's name and usually a date (This bottle has the seal of 'Gen.Warde 1809'). In 1615 the Government, concerned at the destruction of the forests, banned the use of timber as fuel in glass-making furnaces. Glassworks were then set up near to supplies of coal and by 1678 one was operating in the middle of Swansea. Here there was a good harbour, cheap coal and plenty of seaweed (seaweed ashes were used in the glass-making process). The Swansea Glassworks was set up inside the town's disused castle. Squat black wine bottles were produced and by 1696 it was one of 37 glassworks scattered across England and Wales. It was set up by Robert Wilmott of Gloucester and John Man of Swansea. Wilmott leased space in the castle, from the Duke of Beaufort, for seven years from 1684. Although work must have begun earlier because the words 'glass house' appear on a sketch of the castle by Francis Place in 1678. Wilmott sold the lease to his partner in 1686. Very high tax was imposed on glass-making in 1695 and although it only lasted for two years it may have been enough to close John Man's glassworks in 1696.
Wine Bottle
Industry
Before 1600, bottles were usually made of pottery or leather but by the middle of the century the 'new' black / dark green glass wine bottle had come into general use. Early glass bottles were squat, broad and rounded but around 1800 they became taller and more angular, quite similar to modern bottles. After c.1650 glass seals were often added to bottles, bearing the owner's name and usually a date (This bottle bears the seal of 'M.Yeo 1728'). In 1615 the Government, concerned at the destruction of the forests, banned the use of timber as fuel in glass-making furnaces. Glassworks were then set up near to supplies of coal and by 1678 one was operating in the middle of Swansea. Here there was a good harbour, cheap coal and plenty of seaweed (seaweed ashes were used in the glass-making process). The Swansea Glassworks was set up inside the town's disused castle. Squat black wine bottles were produced and by 1696 it was one of 37 glassworks spread across England and Wales. It was set up by Robert Wilmott of Gloucester and John Man of Swansea. Wilmott leased space in the castle, from the Duke of Beaufort, for seven years from 1684. Although work must have begun earlier because the words 'glass house' appear on a sketch of the castle by Francis Place in 1678. Wilmott sold the lease to his partner in 1686. Very high tax was imposed on glass-making in 1695 and although it only lasted for two years it may have been enough to close John Man's glassworks in 1696.
Wine Bottle
Industry
Before 1600, bottles were usually made of pottery or leather but by the middle of the century the 'new' black / dark green glass wine bottle had come into general use. Early glass bottles were squat, broad and rounded but around 1800 they became taller and more angular, quite similar to modern bottles. After c.1650 glass seals were often added to bottles, bearing the owner's name and usually a date (This bottle's seal says 'T.Tremewen 1785'). In 1615 the Government, concerned at the destruction of the forests, banned the use of timber as fuel in glass-making furnaces. Glassworks were then set up near to supplies of coal and by 1678 one was operating in the middle of Swansea. Here there was a good harbour, cheap coal and plenty of seaweed (seaweed ashes were used in the glass-making process). The Swansea Glassworks was set up inside the town's disused castle. Squat black wine bottles were produced and by 1696 it was one of 37 glassworks spread across England and Wales. It was set up by Robert Wilmott of Gloucester and John Man of Swansea. Wilmott leased space in the castle, from the Duke of Beaufort, for seven years fom 1684. Although work must have begun earlier because then words 'glass house' appear on a sketch of the castle by Francis Place in 1678. Wilmott sold the lease to his partner in 1686. Very high tax was imposed on glass-making in 1695 and although it only lasted for two years it may have been enough to close John Man's glassworks in 1696.
Wine Bottle
Industry
Before 1600, bottles were usually made of pottery or leather but by the middle of the century the 'new' black / dark green glass wine bottle had come into general use. Early glass bottles were squat, broad and rounded but around 1800 they became taller and more angular, quite similar to modern bottles. After c.1650 glass seals were often added to bottles, bearing the owner's name and usually a date. (This bottle which was made in Devon bears on its seal: 'Col.John Folliott 1743') In 1615 the Government, concerned at the destruction of the forests, banned the use of timber as fuel in glass-making furnaces. Glassworks were then set up near to supplies of coal and by 1678 one was operating in the middle of Swansea. Here there was a good harbour, cheap coal and plenty of seaweed (whose ashes were used in the glass-making process). The Swansea Glassworks was set up inside the town's disused castle. Squat black wine bottles were produced and by 1696 it was one of 37 glassworks spread across England and Wales. It was set up by Robert Wilmott of Gloucester and John Man of Swansea. Wilmott leased space in the castle, from the Duke of Beaufort, for seven years from1684. Although work must have begun earlier because the words 'glass house' appear on a sketch of the castle by Francis Place in 1678. Wilmott sold the lease to his partner in 1686. Very high tax was imposed on glass-making in 1695 and although it only lasted for two years it may have been enough to close John Man's glassworks in 1696.
Cape Horners
Maritime History
This black and white photograph shows a group of twenty-one of Swansea's 'Cape Horners', it was taken outside the Exchange Building some time around 1927/8. Second from left in the second row is Captain Peter Rousey. He was born in 1829 and the 1881 Census reveals that he lived at 14 Page Street in Swansea with his wife, Charlotte. He commanded the Delta on her maiden voyage in 1865 and records showed him to be still in command of her in 1882. Joanna Greenlaw describes the Delta as "... one of the fine vessels for which Swansea was famous in the latter half of the nineteenth century." (The Swansea Copper Barques and Cape Horners, p.212) Some of the other men in the photograph have been identified as:- In the Back row: J. Price; T. Jones; A. Price; W. Mendus; T. Arnold; F. Bevan; W. Eaton; T. Ashbury. In the Second row: W. Jones; P. Rousey; J. Beer; D. Harris; W. Morris. Third row: W. Brown; W. Campbell(?); J. Harris; S. Phillips; B. Cregan; T. Williams; H. Drew.
Quadrant
Marine equipment
This is a Hadley reflecting quadrant (invented in 1731 by English mathematician John Hadley) made by Bernard Rudkin Hennessey, a watch, clock and chronometer-maker with a business in Wind Street, Swansea (1842 - 1885). He is also recorded as being a gun-maker, optician, supplier of scientific instruments, jeweller and contractor to the Admiralty. Joanna Greenlaw describes him as "... the archetypal Victorian dynamo who combined practical industry with commercial skill... [whose] activities were already closely connected with shipping, especially the adjustment of ships chronometers and sextants. He is another good example of a local businessman whose activities led him into ship owning almost as a matter of course. In 1877 he is listed as one of twenty-three local businessmen owning 2,000 tons or more of shipping in the port." (The Swansea Copper Barques and Cape Horners, pp.62-3) There is unconfirmed information that this quadrant belonged to Capt. Johnson of the ship Hindu.
Waxed Thread
Nauticalia
This waxed thread or roping twine is used during the sailmaking process. The wax makes the thread strong and stops it from rotting. This is the kind of material used by the Cape Horners on their voyages from Swansea to Chile or Peru or San Francisco and back via Cape Horn to collect cargoes of copper ore to feed the profusion of home-based industries.
Rubber
Nauticalia
This wooden rubber was used for rubbing down seams during the sailmaking process. Only the larger vessels had their own sail-makers, on the copper barques the making or repairing of sails could be the job of the boatswain or the carpenter. Joanna Greenlaw explains in her book The Swansea Copper Barques and Cape Horners how "If there was a death on board at sea, he would have the gruesome task of sewing up the body in canvas for burial at sea." She goes on to explain that "Like the cook and the carpenter he [the sail-maker] did not stand regular watches. Typical wages were £2.15.0 [£2.75] per month." (p.113)
Carved Coconut
Craft Work
This coconut with its hairy outer covering removed has been intricately carved and polished and mounted on a wooden base to make a most unusual goblet. Within a laurel wreath and surmounted by a crown, it is inscribed 'James & Hester Snelling, Jany 20, 1839'. The reverse is carved with a stylized classical urn from which emerges a profusion of flowers. While the sides bear James and Hester's initials entwined in a floral circlet. This is the kind of material brought back to Wales by sailors from their travels.
Carved Coconut
Craft Work
This coconut with its hairy outer covering removed has been intricately carved and polished. This view carries what appears to be an emblematic rising sun, a banner inscribed Faith, Hope & Charity below which are crossed laurel leaves. While the reverse carries a banner inscribed Peace & Plenty decorated with fruit and floral emblems. This is the kind of material brought back to Wales by sailors from their travels.
Carved Coconut
Craft Work
This coconut with its hairy outer covering removed has been intricately carved and polished. This view displays facial characteristics carved around the drainage hole of the nut, while the reverse is carved with two sets of initials, 'M A E' and 'J F G J' (?). This is the kind of material brought back to Wales by sailors from their travels.
Heaving Cane
Nauticalia
This is a heaving cane which was used for throwing a line aboard ships. The lead weight enabled the line to be thrown further. A light throwing line called a messenger was used for the initial throw which was then used to pull a heavier rope aboard the ship.
Naval Telescope
Nauticalia
This naval telescope is made from brass and leather with glass lenses. It was made c.1900 and carries the trade mark 'Anchor' and 'TRYMF'. It has been constructed in four extending sections to a maximum length of 100.2cm and is 6.1cm in diameter at its widest point.
Tiger Shark's Jaw
Marine Life
The tiger shark (galeocerdo cuvier) is so called because of the tiger-like markings on its back, which sometimes fade in adulthood. It can grow up to 6m in length but on average grows to around 3m long. It lives in tropical or temperate waters on a diet which may include fish, sea-birds, turtles, crabs and even refuse! The tiger shark's teeth are razor-sharp and have the appearance of a saw-blade. The upper and lower jaws are identical. Its teeth are arranged in rows which the shark can move into place as required. It uses the front two rows to catch its prey.
Racing Skiff
Transport
This is the clinker-built racing skiff - Loughor Gig.
Sailing Dinghy
Transport
This is the 14' day boat - Aderyn. She is a clinker-built sailing dinghy, constructed in 1957.
Hobbling Punt
Transport
This is the hobbling punt - Lilac, she was built in the 1920s by Hinks of Appledore in Devon. Before going on display at Swansea's former Maritime and Industrial Museum, she had spent her working life at Tenby in Dyfed. It is a typical hobbling punt, similar to one used in Mumbles in the 1920s. They were used in the South Wales area, from Ilfracombe to Mumbles, to ferry tourists and day-trippers around the coast. She is 18' long and 4' wide.
Lens System
Lighthouses
This is a large lens system from the Mumbles Lighthouse. It has a fixed catadioptric light which originally housed an oil lamp but is now fitted with an electric bulb. It was installed around 1860 and replaced in 1970. For more than two hundred years the Mumbles Lighthouse has guided shipping around the lethal Mixon Sands. The lighthouse is situated on the outer of two islets known as the Mumbles Head. The Trinity House records describe how, "The Swansea Harbour Trustees were given the power to provide a lighthouse at the outer Mumbles in the Harbour Act of 1791. In July 1792 the Trustees contracted for the erection of the lighthouse and work began; however in October 1792 the half-finished structure collapsed. In 1793 the plans of the local architect, William Jernegan were accepted and the lighthouse was finally completed and lit in 1794." (http://www.trinityhouse.co.uk) Trinity House, who gifted this lens system to the Museum, took over the running of the Mumbles Lighthouse from the British Transport Docks Board in 1975. In 1995 the lighthouse was converted to solar-powered operation.
Burner Mechanism
Lighthouses
This is the burner mechanism (consisting of two tanks connected by a series of pipes with a pressure gauge and a burner which used paraffin vapour to heat the mantle at the top) from the original Smalls Lighthouse. The Smalls are one of two rock clusters lying approximately 21 miles off St.David's Head in South West Wales. The idea to put a lighthouse here was first suggested by Welshman, John Phillips, who approved the designs of Henry Whiteside of Liverpool. The oil lamps were first lit in September 1776. Storms in December 1777 forced major repairs and structural alterations but John Phillips could not finance them, so responsibility was handed over to Trinity House. The lighthouse survived in this inhospitable spot for eighty years. The present lighthouse was built in 1861 and was automated in 1987.
Shell Necklace
Geography Jewellery
This is one of two necklaces, made from various shells and dating from the nineteenth century, which is reputed to have been worn by a cannibal chief from the Solomon Islands in the South Pacific.
Shell Necklace
Geography Jewellery
This is one of two necklaces, made from various shells and dating from the nineteenth century, which is reputed to have been worn by a cannibal chief from the Solomon Islands in the South Pacific.
Painted Feather
Nauticalia
This feather was painted by a 'Cape Horner' called Captain 'Will' Nelson, who lived at Malvern Terrace in Swansea. It was painted in 1898, and was donated to the Museum in 1996 by Mr. George Owen. This feather follows a 19th century tradition amongst mariners who painted them as mementos for their families and loved-ones during long sea voyages. The artist who painted this sailed frequently around Cape Horn, shipping copper back from Latin America for the smelting industry here in Swansea. This is a feather Christmas card inscribed, 'To Annie From Will, Ben Nevis, March 1898. Wishing You the Compliments of the Season'. The painted scene is of the S.S. Lucania (the first Cunard vessel to be fitted with Marconi wireless equipment), alongside which is a ribbon-tied bouquet of red rosebuds with snow-like gypsofilia.
Painted Feather
Nauticalia
This feather was painted by a 'Cape Horner' called Captain 'Will' Nelson, who lived at Malvern Terrace in Swansea. It was painted in 1898, and was donated to the Museum in 1996 by Mr. George Owen. This feather follows a 19th century tradition amongst mariners who painted them as mementos for their families and loved ones during long sea voyages. The artist who painted this sailed frequently around Cape Horn, shipping copper back from Latin America for the smelting industry here in Swansea. This feather bears a view of Mumbles Head with the sky area filled with flowers, clover leaves and rose-buds along with the message ' With Love From Will, Feb. 22nd, 1898.'
Painted Feather
Nauticalia
This feather was painted by a 'Cape Horner' called Captain 'Will' Nelson, who lived at Malvern Terrace in Swansea. It was painted in 1898, and was donated to the Museum in 1996 by Mr. George Owen. This feather follows a 19th century tradition amongst mariners who painted them as mementos for their families and loved-ones during long sea voyages. The artist who painted this sailed frequently around Cape Horn, shipping copper back from Latin America for the smelting industry here in Swansea. Every spare inch of this particular feather has been filled up. The main picture is of a ship in full sail below which is inscribed 'Outward Bound'. To the left of this is the message 'God Be With You Till We Meet Again' then 'With Best Wishes To All'. To the right it says, 'Bound for Melbourne', 'To Mother From Will, Ben Nevis, 1898', 'March 1898'.
Painted Feather
Nauticalia
This feather was painted by a 'Cape Horner' called Captain 'Will' Nelson, who lived at Malvern Terrace in Swansea. It was painted in 1898, and was donated to the Museum in 1996 by Mr. George Owen. This feather follows a 19th century tradition amongst mariners who painted them as mementos for their families and loved-ones during long sea voyages. The artist who painted this sailed frequently around Cape Horn, shipping copper back from Latin America for the smelting industry here in Swansea. This feather, inscribed from Will to Annie, depicts Saint Mary's Church in Swansea. Prominently displayed on top of the bell-tower is the weather-cock, which is now in the collection at Swansea Museum. These feathers are poignant mementos showing that however far the sailors may have travelled, their thoughts were always close to home. It is possible that Will and Annie were married in St.Mary's Church or were perhaps due to get married there.
Painted Feather
Nauticalia
On long sea voyages, sailors might fill any periods of inactivity with a range of craft skills, using whatever materials were most readily available. Shell necklaces were brought home for loved ones, as were carved coconuts, or as in this case, painted feathers. These must have required patience and a steady hand as they are not a particularly solid surface on which to work. This feather is painted with a scene of a large medieval castle.
Painted Feather
Nauticalia
On long sea voyages, sailors would fill any periods of inactivity with a range of craft skills, using whatever materials were most readily available. Shell necklaces were brought home for loved ones as were carved coconuts or, as in this case, painted feathers. These must have required patience and a steady hand as they are not a particularly solid surface on which to work. This feather is painted with a maritime scene of the Mumbles, with the lighthouse apparent on the outer of the two islets which give this stretch of the Welsh coastline its unusual name. Out at sea, two ships can be seen in full sail.
Painted Feather
Nauticalia
This feather was painted by a 'Cape Horner' called Captain 'Will' Nelson, who lived at Malvern Terrace in Swansea. It was painted in 1898, and was donated to the Museum in 1996 by Mr. George Owen. This feather follows a 19th century tradition amongst mariners who painted them as mementos for their families and loved-ones during long sea voyages. The artist who painted this sailed frequently around Cape Horn, shipping copper back from Latin America for the smelting industry here in Swansea. This feather carries a scene seemingly painted from fond memory. It is inscribed 'What is Home Without a Mother', 'Ty Cymru', 'Abertawe', 'With Love From Will, 1898'.
Portrait Miniature by Iris Bell R. A.
Art Naval History
This is a portrait miniature of Royal Navy Petty Officer Henry Thomas who served as a torpedo gunner's mate during the Second World War. It was painted in 1941 in oil on ivory by Iris Bell (1919-1940s), a Royal Academician who lived in Penzance, Cornwall.
Token (John Voss Draper & Co.)
Numismatics Industry
Tokens were issued because of a shortage of official small change, they appeared in the wage packets of the employees of the relevant firms and were widely circulated in restricted areas.
This is a Swansea halfpenny, dated 1796. On the obverse, it displays the town's distinctive castle with its tower, weather-vane and dressed-stone arcaded parapet. While on the reverse the name 'John Voss Draper & Co.' surrounds a key with a bow chatelaine.
Token
Numismatics Industry
Tokens were issued because of a shortage of official small change, they appeared in the wage packets of the employees of the relevant firms and were widely circulated in restricted areas.
Here the obverse shows a profile of Jestyn (Iestyn) ap Gwrgan, the last prince of Glamorgan, defeated in 1091 by Robert Fitzhamon, the Norman lord of Gloucester. While the reverse shows Britannia under the title Queen of Law (in Welsh). The token is dated 1795.
Token (Parys Mining Company)
Numismatics Industry
Tokens were issued because of a shortage of official small change, they appeared in the wage packets of the employees of the relevant firms and were widely circulated in restricted areas.
The obverse of this token displays a druid's head, in profile, surrounded by a wreath of oak leaves and acorns. The reverse, dated 1788, states 'The Anglesey Mines Halfpenny' surrounding the cipher of intertwined initials standing for 'Parys Mining Company.'
Token (British Copper Company)
Numismatics Industry
Tokens were issued because of a shortage of official small change, they appeared in the wage packets of the employees of the relevant firms and were widely circulated in restricted areas.
This one penny token, dated 1812, was issued by the British Copper Company. The obverse displays a lion statant guardant, beneath the legend 'Rolling Mills at Walthamstow.' While the reverse carries the company name within an oak-leaf wreath beneath the legend 'Smelting Works at Landore.'
The copper mill buildings at Walthamstow (London E17) were converted into a pumping station in the 1860s and were later incorporated, by Thames Water, into a large water treatment works.
Token (Rose Copper Company)
Numismatics Industry
Tokens were issued because of a shortage of official small change, they appeared in the wage packets of the employees of the relevant firms and were widely circulated in restricted areas.
The obverse states the token's value as being 'one penny' set within concentric circles, surrounded by the legend 'Birmingham and Swansea', within a beaded border. The reverse, of the same design, states 'token', dated 1811, with the legend being the company name 'Rose Copper Company'.
The originally Cornish company, operated in South Wales from c.1780 through to 1797.
Token (Crown Copper Company)
Numismatics Industry
Tokens were issued because of a shortage of official small change, they appeared in the wage packets of the employees of the relevant firms and were widely circulated in restricted areas.
The obverse depicts a central 'crown' encircled with the legend 'Birmingham and Neath' and dated 1811. While the reverse states the token value of 'one penny' encircled with the legend 'Crown Copper Company'.
Token (Bristol Brass & Copper Co.)
Numismatics Industry
Tokens were issued because of a shortage of official small change, they appeared in the wage packets of the employees of the relevant firms and were widely circulated in restricted areas.
The obverse, dated 1811, bears the arms, crest and motto of the city of Bristol. While the reverse carries the legend 'One Penny - Payable at Bristol, Swansea & London' surrounding the 'Bristol Brass & Copper Company' cipher.
Token (Birmingham Mining & Copper Co.)
Numismatics Industry
Tokens were issued because of a shortage of official small change, they appeared in the wage packets of the employees of the relevant firms and were widely circulated in restricted areas.
The obverse, dated 1792, states 'Birmingham Mining and Copper Company' surrounding a classically-attired, seated female holding a fasces (a bound bundle of sticks, often arranged around an axe, a Roman symbol of unity and authority and from which Italian fascism derived its name). While the reverse depicts a stork atop a cornucopia, with the legend 'Half-penny. Payable at ...'.
Token (Nantrhydyvilas Air Furnace Co.)
Numismatics Industry
Copper trade tokens were issued because of a serious shortage of official small change. They appeared in the wage packets of the employees of the relevant firms and were widely circulated in restricted areas.
The obverse of this penny names the Nant Rhyd-y-Vilas Air Furnace Company in Landore which was established by William Bevan & Sons of Morriston. The reverse, dated 1813, states 'payable at Swansea and Morriston' being where the chief partners in the business resided. The company originally made iron tram plates for the Oystermouth Railway Company. Later they tried reclaiming copper and iron from waste heaps but the venture was not successful. Following the Bevans' bankruptcy the site was purchased by Sir John Morris II. Production continued on the site until 1966.
Swansea Silver Maces
Local Government
Maces are emblems of superior office to be carried before the Mayor in official processions and placed on the table at meetings. These silver maces were made in Bristol in 1615 at the instigation of the Portreeve, Walter Thomas. In the "Common Hall Book" of Swansea Town records, Walter Thomas tells how he took the old 1573 silver maces to a goldsmith to be melted down and re-fashioned into a new pair at a cost of £4.1s.0d.(£4.05). Like the maces before and after, these were decorated with the town crest and the maces crossed behind it. The maces went missing after another set was made in 1752, but were rediscovered by George Grant Francis in 1840, repaired and returned to the Town Hall.
Model of a Thames Barge
Nauticalia
This model of a Thames barge is made from wood that was originally used as decking on the RMS Mauretania. The Mauretania was launched in 1906, built by Swan Hunter for the Cunard Line. She was the first passenger vessel to be fitted with steam turbine engines and made her maiden voyage, to New York, in November 1907. She was the largest and fastest liner of her day, setting the record for fastest west-bound crossing in 1909 and retaining it for twenty years. She was withdrawn from service in September 1934, sailing from Southampton, the following year, to the breaker's yard at Rosyth.
A Piece of PLUTO Pipeline
World War II
PLUTO (PipeLine Under The Ocean) was the system devised to establish a sustainable fuel supply to the allied forces in Europe during 1944/5. The pipelines were laid from Dungeness to Boulogne and from the Isle of Wight to Cherbourg. A converted coastal freighter, HMS Holdfast became the world's first cable-laying barge. The actual pipeline consisted of a flexible hollow cable which was wrapped around a huge drum (named HMS Conundrum). As the Holdfast towed the drum across the Channel, so the hollow cable unrolled and sank to the seabed. "Vulnerability testing for the Hais cable was provided free of charge by the enemy. A Hais line was undergoing flow testing at the Welsh seaport of Swansea, when an air raid landed bombs a hundred feet from it. A subsequent gale caused a ship to drag the line with her anchor. These confirmed the pipes' durability, recoverability and reparability." (www.eagle.org/offshoreEnews) Not only did the lines deliver 172,000,000 gallons by VE Day but they also became the start of the offshore oil industry.
Briton Ferry 1818 - Thomas Baxter
Topography
This is Thomas Baxter's impression of the garden at Vernon House, mansion-home of the Earl of Jersey at Briton Ferry. The title and date appear on the back of this work but it is unsigned. It is likely that this work was commissioned by the Earl. The view takes in a smartly dressed man who supervises the strenuous activities of a young boy, while two of the family dogs enjoy their freedom in the well-tended garden. Morris and Wilstead, authors of Thomas Baxter: the Swansea Years, 1816-1819 explain, "the artist is looking southwards to the estuary of the River Neath overlooking the ancient ferry (just visible between the trees) which carried main-road traffic between Cardiff and Swansea." But "... most exciting, perhaps, is the thickly wooded knoll on the eastern side, just to the right of the foreground tree. In 1991, on the summit of the knoll, archaeological work by the Glamorgan-Gwent Archaeological Trust revealed evidence that here had been a small fortified stronghold of the 'Dark Ages', occupied around 500 A.D., long before the advent of the Normans." (pp.127/8)
Head of Cat Goddess Bastet
Archaeology Egyptology
This bronze head represents Bastet, the Egyptian goddess of fertility whose main cult centre was at Bubastis. Bastet was the daughter of Ra and in her representation as a woman with the head of a cat, she is usually seen carrying a breastplate and a percussion instrument. She was associated with Hathor (the goddess of lovers) and was also one of the 'eyes of Ra', taking on the role of an avenging god specifically tasked with eradicating the enemies of Egypt. Acts of worship to Bastet included burying mummified cats in specific cemeteries, carrying cat amulets for good luck and giving cat statuettes as votive offerings. This head was gifted to Swansea Museum in 1891 by Sir Francis Grenfell of St.Thomas who was Commander-in-Chief of the British Army in Egypt.
Bronze Ladle
Archaeology Egyptology
The Egyptians believed that life continued after death but that this was only possible if the correct burial practices were adhered to. Preservation of the body through mummification, worship of the gods and inclusion in the tomb of statuary and everyday provisions and utensils were thought to ensure immortality. This bronze ladle, with an adjustable handle, was found at the Ptolemaic Temple at Bubastis, it dates from the 4th-2nd centuries B.C. This ladle was gifted to Swansea Museum in 1891 by Sir Francis Grenfell of St.Thomas who was made Commander-in-Chief of the British Army in Egypt in 1885.
Duck's Head Ladle
Archaeology Egyptology
The Egyptians believed that life continued after death but that this was only possible if the correct burial practices were adhered to. Preservation of the body through mummification, worship of the gods and inclusion in the tomb of statuary and everyday provisions and utensils were thought to ensure immortality. This bronze ladle, with a duck's head handle, was found at Bubastis and dates from the 4th-2nd centuries BC. This ladle was gifted to Swansea Museum in 1891 by Sir Francis Grenfell of St.Thomas who was made Commander-in-Chief of the British Army in Egypt in 1885.
Egyptian Mirror
Archaeology Egyptology
This is a bronze mirror from the Valley of the Kings in Thebes, it dates from c.1400B.C. It is likely to have had a handle or been attached to a stand for ease of use. Although it now has the appearance of corroded bronze, it would once have been highly polished to provide a reflective surface. Wealthy women might use mirrors like this to apply their distinctive kohl eye make-up. It was important to the Ancient Egyptians to be buried correctly, including being accompanied by an array of everyday objects and utensils, to ensure their continued existence in the afterlife, mirrors have commonly been found in the tombs of females. This mirror was gifted to Swansea Museum in 1891 by Sir Francis Grenfell of St.Thomas who was made Commander-in-Chief of the British Army in Egypt in1885.
Gold Cowrie Shells
Archaeology Egyptology
In 1957 Swansea Museum was given a cardboard box containing 'gold dust from the tomb of Queen Tiye.' Kate Bosse-Griffiths, in her paper, Finds from 'The Tomb of Queen Tiye' in the Swansea Museum explains, 'In this box, mixed up with fine gold leaf and sand I found - two half cowrie shells of gold.' They had belonged to the man employed as artist by Theodore M. Davis when he excavated the Valley of the Kings in 1907. 'On closer examination, I discovered that the two halves fitted perfectly together and formed one single bead. By cementing them together two threading holes became evident... This gold cowrie differs from the real cowrie in that it is not univalve, but bivalve with the slit going right through the body... Gold cowrie shells as ornaments are rare in Egypt but do occur during the Twelfth Dynasty... Natural cowrie shells have been popular as adornment from palaeolithic times... ' Expert opinion has suggested '... that the light colour of the gold indicated a Middle Kingdom rather than a New Kingdom origin. The shells are thought to have been fertility charms... The same reason would serve to explain their use on a knotted cord, for, according to Pliny, the wearing of a knotted cord was considered helpful to conception.'
Figurine of Osiris
Archaeology Egyptology
This seated bronze figurine of Osiris was found at Saqqara in Upper Egypt, it dates from around 500B.C. He was the God of Fertility and Ruler of the Dead and appears here as a mummiform figure bearing the attributes of a king. Osiris wears an atef, an ostrich feather crown. He carries a flail and a crook, tools which the Egyptians have always associated with justice and kingship. He carries them here in his position as judge over the souls of the dead in the afterlife. It is likely that this figure came from a tomb or a temple. This figure was given to Swansea Museum in 1891 by Sir Francis Grenfell who had been made Sirdar of the British Army in Egypt in 1885.
Figurine of Osiris
Archaeology Egyptology
This bronze standing figure represents Osiris, Egyptian God of Fertility and Ruler of the Dead, a mummiform figure, carrying the attributes of a king. It was found at Saqqara in Upper Egypt, it dates from around 500B.C. and would have come from a tomb or a temple. Osiris is wearing an atef (a crown made from two ostrich feathers). In his hands he holds a crook and a flail, tools which the Egyptians associated with justice and kingship. Osiris carries them in his position as judge over the souls of the dead in the afterlife. His principle cult centre is Abydos (the ancient town of Abedju). This figurine was gifted to Swansea Museum in 1891 by Sir Francis Grenfell of St.Thomas who was made Commander-in-Chief of the British Army in Egypt in 1885.
Djed Pillar
Egyptology Archaeology
This is a djed pillar, it is made from a glass-like substance known as faience. It is an amulet (or charm) which would have been placed within the layers of linen bandages wrapped around a mummy. It is meant to represent the backbone of Osiris (the Egyptian Lord of the Western World i.e: The Dead) and was believed to give strength to the mummy after death.
Rose and Honeysuckle Border Plate
Ceramics
This earthenware plate was produced at the Glamorgan Pottery c.1814-1839. It is transfer-printed in underglaze brown then filled in with overglaze enamels. The design is of a nest of fledglings on a branch with a hovering bird about to feed its babies surrounded by a relief moulded border of alternating roses and honeysuckle. The rose red colouring is echoed in the rim border. 'Baker, Bevans & Irwin' and the numeral '3' are impressed on the base as is the painter's mark in overglaze brown.
Cows Crossing A Stream Plate
Ceramics
This earthenware plate was produced at the Cambrian Pottery c.1831-1850. It is transfer-printed in underglaze blue with the design known as Cows Crossing A Stream, within a floral border. This is one of a number of familiar patterns which were used throughout the period when Lewis Llewelyn Dillwyn was in charge of the pottery. 'Dillwyn' is impressed in circular form on the base of the plate.
Goblet
Ceramics
This earthenware goblet has a lobed rim and is transfer-printed with a floral design in blue and overglaze enamels. Its place of manufacture is unknown but the base of the goblet carries a transfer-printed 'Opaque China' and two dots and a line painted in.
Fern Jug
Ceramics
This Llanelly Pottery earthenware jug is decorated with two of the three versions of the Fern Pattern and has a fern border. The Fern Pattern was used exclusively on jugs of this shape. These jugs were often made in sets of three and were overprinted for presentation purposes. This jug has been inscribed: 'Capt. R. P. Charles 1875 Swansea.'
Arcaded Plate
Ceramics
This circular earthenware plate was produced at the Glamorgan Pottery between 1814-1839. It is pierced around the rim with a series of rounded arches. It also has a basket-weave border painted in green. The central painting within a chocolate rim (which echoes the outer rim) consists of a variety of flowers including pink roses and trailing strawberries. This plate is impressed 'Baker, Bevans and Irwin' in a horseshoe shape.
Ne Plus Ultra Cup and Saucer
Ceramics
This cup and saucer were made at the Cambrian Pottery c.1831-1850. The cup has a wavy edge, a spreading base and a cursive angular handle, while the saucer has a lobed edge. Both are transfer-printed in underglaze purple with the Ne Plus Ultra pattern of flowers and garlands with vignettes of girls employed in delicate occupations such as the playing of musical instruments. The cup is marked with the numeral '6' in underglaze purple and is decorated on the interior as well as the exterior.
Amoy Cup
Ceramics
This miniature earthenware cup (whose saucer is now missing) was made at the Cambrian Pottery c.1831-1850. It is transfer-printed in underglaze green with a pattern known as 'Amoy' - "named after the Chinese seaport which was captured by the British in 1841, and opened as a Treaty Port in 1842" - apparently only toy services were made with this design. The pattern consists of "a Chinese scene of a lady, dressed in what is apparently intended to represent a Chinese costume, being handed tea by a Chinese servant, while a man, also in more or less Chinese costume, stands by smoking a long-stemmed pipe. The same scene, somewhat simplified, is printed on the inside of the cup. There is a wide border of rosettes and wreaths."(NANCE, The Pottery and Porcelain of Swansea and Nantgarw p.176) The bowl-shaped cup with a spreading base has a plain loop handle but it was the saucer which carried the mark 'Dillwyn & Co.' and 'Amoy' in underglaze green.
Lady and Gallant Plate
Ceramics
This earthenware plate was produced at the Cambrian Pottery c.1831-1850. It is decorated with "a gondola, Italianate architecture and fanciful figures of a lady and gallant, marked 'Dillwyn & Co.' impressed in a curved line and an impressed numeral '1' in overglaze purple." (NANCE, The Pottery and Porcelain of Swansea and Nantgarw p.166) The border design consists of beads, lozenges and pendant florets.