The Teaching Museum

Norfolk Museums Service Traineeship


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Cleaning Collections

 

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Today we find out more about what Collections and Exhibitions trainee Nicole has been up to at the Norfolk Collections Centre.

The Deep Clean at the Norfolk Collections Centre is an early highlight on the Teaching Museum Traineeship calendar. It opens up the opportunity to delve deep into the helm of the Norfolk Museum Service’s Aladdin’s Cave of collections. Although each museum within the service has its own on-site archives, this is the mother ship of them all. Based in the grounds of the Gressenhall Farm and Workhouse Museum, the Collections Centre consist of two large warehouses, broken down into aisles of high shelving lined with history. From Mammoth Tusks to Snap Dragons, Colman’s Mustard Presses to intricately carved wooden mantelpieces, each corner turned or aisle passed catches your eye with objects of bait that tempt your curiosity with what could turn into hours exploration. Alas, there is a job to do, and a big one. Although collection care is a continual process, the annual deep clean offers the service an opportunity to thoroughly assess and maintain the condition of objects on mass. It calls upon teams of conservators, collections managers, volunteers, and of course trainees, to grab small brushes in one hand, low powered vacuum cleaners in the other, and clean shelves object by object.

It tempts you, when you are presented with a dusty piece of wooden furniture, to grab the furniture polish and shine away. The same may be said, when facing a large wooden canoe, to get a sponge and soapy water, roll up your sleeves and rub it down. ‘Sacrilege!’ the conservators would cry, and come after you with pitchforks (of which there are surely many at the Gressenhall Farm and Workhouse museum, so it’s probably best to stick to the system). No cleaning products are used, nor water unless in very small amounts and applied by a lightly dampened cotton bud. Objects are generally cleaned using a fresh paint brush, with masking tape fastened around the metal which joins the bristles to the handle as to avoid inducing scratches. Brushing is done in short flicking motions, as any rubbing may cause dirt to ingrain itself further into the object. It reminds me of dentistry, where by a latex gloved dentist removes debris from teeth using a tool in one hand, a suction pipe extracting it in the other. Gloves on, low suction vacuum cleaners at the ready, the dirt is dislodged with the brush, the vacuum cleaner removing it entirely. To reduce damage (especially when dealing with fabric conservation) the end of the vacuum pipe is covered in a fine gauze to prevent any elements of the object getting sucked up.

It is a two week process, of which I am assigned two days away from my usual museum site, the Time and Tide Museum in Great Yarmouth. On the first day, I am teamed with Collections Management trainee Laura, whose training is based upon the collections between the Norfolk Collections Centre, and Strangers Hall Museum (Norwich). Together, we tackle a single shelf over the course of the day, a testament to the time consuming process of careful cleaning and conservation. I begin with two mannequin heads, with long eyelashes and removable ‘bob’ wigs. They smile charmingly as they oversee the careful vacuuming of their wavy locks, a section of gauze laid flat over the entire wig to prevent any hair loss. Then there is a wooden crib, a corner table, and a wicker linen basket. If you have ever attempted to dust wicker, you will sympathise with the idea of cleaning such an object. However, there is a sense of the therapeutic in the slow rhythm of the overall process, wrapped in one’s own little bubble amongst a hive of activity. A forklift truck bustles around retrieving cumbersome objects and crates from the lines of shelving. Outside, trainee Ruth gears up in a full Tyvek suit and mask. She cleans spots of mold off a retro orange and brown patterned sofa set, which splits the team with a Marmite dilemma of love and hate.

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Trainee Ruth removing mold

A piano stool with a hinged seat reveals an internal compartment containing old sheet music. Within museums, every object acquired is done so through a process called Accessioning. This is a process of documentation where the object is correctly logged into the collection and recorded upon a digital achieve database. The object is given an Accession Number, an official record number which is discreetly and reversibly marked onto the object using pencil or ink. The piano stool has several different components, and we mark each with the object’s overall Accession Number so that they could be identified if separated from the set.

 

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A wooden table prepared for freezing

The Gressenhall Farm and Workhouse Museum sits out in the glorious Norfolk countryside, a perk for any visitor to the museum site and grounds. However, it is also a perk for creepy crawlies who like to munch on wood, as the Collections Centre offers a gourmet buffet of aged wooden furniture to choose from. Careful pest management is therefore key and continual. A pram and a table on which we work show signs of Woodworm, tiny burrow holes giving them away. Wood darkens with time, and so when old wood is freshly eaten it will appear lighter in colour inside the hole. An object will still bare traces of old infestations, however due to the ageing and possible accumulation of dust or debris, these holes will appear darker. If in doubt, freeze it out! Freezing is the adopted process of eradication, a freezer the size of a small room creating a temperature controlled chamber for two weeks per freeze. If correctly wrapped, a domestic freezer could be used for household pest removal, however is less easy to control. At the Collections Centre, objects are prepared first by filling any ‘void’ space with tissue paper wadding. This reduces spaces in which condensation can form during the defrost. They are then wrapped in thick plastic sheeting, and carefully shelved within the freezer chamber. After two weeks, the freezer is left to fully return to room temperature before any objects are removed, as when frozen they can become brittle and difficult to transport.

On week two the whole team is assigned a collection of wooden printing blocks: carved alphabet letters set into blocks, once used for newspaper or poster printing. We spend the whole day in the speckled sunshine of the Collections Centre forecourt, getting lost in the dusting and hoovering of individual wooden letters, spaces, and punctuation. Slow but satisfying, it is far from an average office day. Then again, there are no average office days upon the traineeship, and the next day I return to the Tide and Tide Museum and watch loans from Tate and the Fitzwilliam Museum being installed into the new exhibition, Drawn to the Coast.

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Wooden Printing Blocks

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From Nelson’s hat to Queen Victoria’s slippers, this is no ordinary job

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Helping run a pop-up museum in Brampton as part of the ’12 Towers Festival’

Each week we take a look at what’s been going on with Norfolk’s Teaching Museum Trainees.

Today we see Andy Bowen, trainee with the Costume & Textiles section.

As I write this blog, I’m just over two months into my traineeship and still being surprised by the things I see from day to day. The Costume & Textile collection at the Norwich Castle Study Centre contains all manner of objects ranging from parkas to pie frills!

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Nelson’s Nile Hat

My favourite object was also one of the first I got to see close-up. We are extremely fortunate to have the hat that was worn by Admiral Lord Nelson during the Battle of the Nile in 1798, and that featured in the portrait of Nelson painted by William Beechey in 1801. Right at the start of my traineeship I was able to see the hat uncased and up close, and it was at that point that I knew for certain that this would be unlike any other job I’d had before.

 

The hat – along with the Beechey portrait of Nelson in which it features – will be included in Norwich Castle’s summer exhibition Nelson & Norfolk which is open between 29th July and 1st October 2017. I’ve been really privileged to be able to join the Costume & Textiles team in the build up to such an exciting exhibition, and we really can’t wait to showcase the amazing Nelson objects we have in our collections as well as some really exciting loan items.

The largest object in the exhibition – in fact the largest object in our collections – is the battle ensign of the French warship Le Généreux. Measuring 16 metres long and 8.3 metres high, this huge French flag was captured by a British naval squadron led by Nelson in February 1800 when they forced the surrender of the French ship. Captain Sir Edward Berry – a Norfolk man – was in command of Nelson’s flagship HMS Foudroyant, and sent the flag to Norwich as a gift in thanks for the freedom of the city he had received the previous year. The flag itself needs to be seen to be believed, and the only place to really grasp the full scale of this magnificent object will be at Norwich Castle this summer.

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The ensign of Le Généreux in St Andrew’s Hall, October 2016

My contributions to the exhibition have ranged from setting up and sourcing content for the exhibition blog through to having the opportunity to visit the National Archives at Kew in order to find out more about what happened to Le Génereux after she was captured in 1800. I have also worked with the Display and Learning teams on designing the interactive elements of Nelson & Norfolk.

 

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Queen Victoria’s slippers

Alongside Nelson & Norfolk there is still the everyday business of a Costume and Textiles department to keep us (even more) busy. I have assisted with the preparation and delivery of Talking Textiles sessions, which involve members of the public coming in to the Norwich Castle Study Centre to look at specially selected items from our collections. I also respond to enquiries from researchers eager to know more about the objects we look after: one enquiry in particular related to a pair of Queen Victoria’s slippers!

 

As well as my fantastic day job, I also get to attend museum skills training with my fellow trainees once a week. These sessions have included introductions to collections management and conservation, and practical sessions on object photography. We’ve also been learning about the history of museums in a programme of Understanding Museums sessions which included visiting the amazing 100th Bomb Group Memorial Museum near Diss, which I would thoroughly recommend to anyone with even a passing interest in military history.

 

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Trainees with staff from 100th Bomb Group Memorial Museum

Over the next few months I will be continuing with my work supporting Nelson & Norfolk, including assisting with the installation of over 150 objects including a flag the size of a tennis court. I’ll also be assisting our volunteers with recording and cataloguing recently donated items, and coming up with improved ways of arranging our library and resource area. All I can say is that if the remaining 10 months of this traineeship are anything like the first 2, it’s going to be a fantastic year!

‘Nelson & Norfolk’ is open at the Norwich Castle Museum & Art Gallery from 29th July-1st October. For more information visit http://nelsonandnorfolk.wordpress.com


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Brueghel; Defining a Dynasty

Each week we take a look at what’s been going on with Norfolk’s Teaching Museum Trainees.

Today we see Freya Monk-McGowan, trainee with the Collections Management section.

Hello all! My name is Freya and I’m one of the newest trainees within Norfolk Museum Services, I am also a new arrival to Norfolk itself, so have been taking my time settling in and getting to know my new surroundings. My apologies for not writing sooner, but I must admit that my mind has been exploding and imploding from the utter amazement of the position I find myself in, and the exciting things I get to do within this traineeship. As this is my first blog post, I will give a short introduction to myself and how I came to be here, as well as one of my most recent achievements within the service.

I graduated in 2015 from Brighton University with a History, Literature and Culture BA Hons, after which I moved home and found myself managing a cinema for just under a year. Although an exciting and educational experience, I realised that my passion for history and culture was not being completely fulfilled, so I spent a while sending out a whole host of applications, but having only studied to an undergraduate level, I was not qualified for most museum jobs. So began my applications for internships and traineeships, I was lucky enough to get onto Culture &’s SOCL traineeship (Strengthening Our Common Life), based here at Norfolk Museum Service, and the rest (as they say) ‘is history.’

Since then, my traineeship has been a bit of a whirlwind, within a few days I was being let loose on objects hundreds of years old, and being involved in training sessions, with my fellow trainees, about aspects of the museum service that I had frankly given no consideration before. (I must clarify that my term ‘let loose’ here refers only to my excitement, there was of course training before I was allowed to handle any objects.) So far, I’ve been lucky enough to be involved in training sessions on Community Engagement, Improving Access to Museums, Marketing, Working with Display Teams, and a whole host more!

By far however, one of the most exciting (and nerve-racking) things that I have been asked to do (apart from being asked to go on the radio later this year, updates will follow), was being asked to courier an object that was going out on loan. As seems to be the case for me currently, it was serendipitous and a complete surprise – due to calendar clashes and a few lucky (for me) cross-overs, I was asked in the third week of January to do a courier trip to the Holburne Museum in Bath. Although having visited Bath when I was younger, I had not much recollection of the place, and was excited to go. My excitement grew evermore as I was told exactly what object I would be taking.

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Pieter Brueghel the Younger’s The Rent Collectors 1618 (also known as The Payment of the Tithes, Village Lawyer, and Paying the Tax – The Tax Collector).

When this was confirmed my excitement could barely be contained. As well as the nerves/doubts of the dreaded ‘what if.’ However, my nerves being set aside, I began planning for the trip by getting a foundational knowledge of the procedures of loaning to another museum, the different job roles that are necessary, and getting my head around the scale of work involved when putting on an exhibition that is made up of mainly of borrowed works.

The Holburne Museum in Bath is bringing together a range of paintings from across the UK, for the first time, in order to display the dynasty of the Brueghel family. This will give the viewer an ability to see the similarities between the artists, yes, but also their differences. The ways in which they were influenced, but by no means the way they ‘copied’ on from one another (- a critique of the family that has been repeated over the centuries). The exhibition itself is ambitious and exciting, and definitely one worth visiting.

The next part of my preparation involved actually coming face-to-paint with this piece (-yay!). Myself and a colleague (Fiona Ford, registrar) visited the piece in store, in order to review the condition check before packing. This is done so that we can keep an eye on the condition of the painting before and after transit to Bath, before and after the exhibition, and before and after it has gone on loan and been returned. It was during this condition check that I really got the chance to indulge in the piece. This painting really does demand attention – it requires the viewer to attend for a lengthy period of time, and will not let you leave easily. I found myself (four hours later) still finding aspects of it that I had not thought of before, and if you will, dear reader, let me share those with you.

(I hasten to add that although I am an art lover, I have not studied art, in the practical sense, academically. I say this in order to allow myself room for error, and to allow others who are similar (-having not studied art), to engage, agree/disagree with me on my findings.)

As with most pieces of art, this painting asks more questions than it answers. And with its different names, the meaning behind it is enigmatic.

If, for example, we take the name of this piece as ‘The Rent Collector’ we are positioned to assume that the man far right, with his jauntily placed black hat and thoughtful expression, is there in an official capacity. He is there merely to collect these poor wretches ever-so-dear ‘rent’. As we can see, all are attempting to pay with everything that is not money: a chicken, a basket of eggs, a bunch of grapes. This therefore makes the painting both dark and harrowing – these people that have no money for rent, are now handing over their precious food stuffs, to leave (we assume) to hunger, and a life not made much better by this moment.

If, however, we take a different name for this piece, and instead assume that it is titled ‘Village Lawyer,’ the man in the black hat becomes less of a dark presence within the piece, and instead is a welcome relief to those clutching their food within.

This title encourages us to focus on this encounter closer:

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The man seen pointing and whispering into Black Hat’s ear, we can assume is a peasant, with his clothes filled with patches, and his tanned skin. The expression, and meaning, of ‘Black Hat,’ who I assume to be the Village Lawyer in this scene, changes with the title. Instead of a discerning, prudent and imposing presence, he becomes a wily, (seemingly) intelligent lawyer attempting to work through tons of paperwork in what I can only assume to be a helpful way. The total scene shifts and my focus moves from ‘Black Hat’ (or lawyer), to the man sitting slightly left of centre, quietly working through papers.

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This man now becomes the official figure, there to record the present scene, but who does not seem a helpful or welcome presence by his fellow characters. I presume this from the wide berth given to him, the clear sight-line we are afforded to stare at him, and also the emotions of the surrounding figures. If we look closely (and use a wild leap of imagination) we can see that those nearest to this gentlemen hold expressions of:

Sadness

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Anger

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And in other cases, seem to hide altogether:

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Now, that is not to say that all the rest of the people in the scene look wildly happy to be there, but if we focus again on the man talking to ‘Black-Hat’ (-I like the name, so will continue using it):

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Although it does feel that there is desperation in his face, I can see, dare I say it, some excitement there. Maybe at the possibility of paying less, getting off, or some of other positive possibility from speaking to ‘Black-Hat.’

Of course all of these opinions and assumptions are my own, and you are welcome to agree or disagree depending on yours. I cannot help but feel that this is exactly what we are encouraged to do by this painting, and whether you are a lover of art, or not, I believe this painting does encourage contemplation.

Even if this is not the case for every viewer, the painting (/painter) offers us another opportunity – of reveling in his ability to capture the likeness of both people and inanimate objects. I must admit that I got quite obsessed at the smallest parts of this piece. For example:

This window, and its peeling panes.

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This perfectly painted knee.

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And the numerous images of papers strewn all over the floor, piled high over wardrobes, and even stuck into window panes.

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This painting, encourages the novice and the experienced viewer to search within, and then again, and then again (a similarity that is shared throughout the dynasty).

My advice for those visiting the Holburne to see this exhibition, take nothing with you but time.

I feel I have gone off topic (only slightly) with my musings of the painting itself. Back to the actual trip.

After agreeing with the condition check, getting all the relevant paperwork (loan agreement, my travel documents, the condition check, etc) in order, picking up some conservation tools (to check light levels, humidity and temperature), and packing my things, I was ready to go. The next day, the painting and I, were picked up from Norwich castle by professional art movers, and were safely packed away for the drive to Bath (stopping at Cambridge along the way to pick up another piece). Arriving at the Holburne that evening, we met with one of the curators of the exhibition and the director of the museum. We discussed the movements of the crates, and began. We unloaded the van (I say we, I did literally no heavy lifting), and moved the crates upstairs to be safely stored away for the evening, and the whole next day. As this piece was painted on a wooden panel it needed a ‘rest day’ to acclimatise to its new temperature, and humidity. This gave me the opportunity to explore Bath for a day, and visit a total of 5 museums/art galleries, which I would be happy to write on although possibly not in this piece.

After its rest day, I arrived again at the Holburne to see it’s unwrapping, and its installation – this really was the exciting bit. The exhibition space is well designed and engaging, with muted colours on the walls that highlight the rich colours found within the Brueghel’s themselves.

After taking it out of its case, and double checking the eye-line and its straightness, the freelance art technicians fixed it to the wall, and we all (6-7 of us), stood back to admire this piece once again.

I really cannot explain how exhilarating it was to be involved in this piece being put on show within such a fantastic museum, nor such an exciting show. I couldn’t help but imagine the hundreds (and hopefully thousands) of people who stand where I was then, contemplating the same piece and having an infinite amount of different thoughts when staring at it.

I really do count myself lucky to have been involved in such a moment, for that I am extremely grateful, to Norfolk Museum Services Teaching Museum, to Culture &, and to the Holburne itself. Good luck, and I hope this exhibition brings in all the attention it deserves.


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Sharing a Passion: Ted Ellis

Each week we take a look at what’s been going on with Norfolk’s Teaching Museum Trainees.

Today we see John Holdaway, trainee with the Natural History section.

Back in the summer of 2016, I was kindly asked by Time & Tide Museum in Great Yarmouth, to present a talk as part of their excellent Friday talks programme. I was given the date of 3rd March 2017, which at the time seemed a long way off, but as I write this, it’s only a few weeks away!

Deciding on a subject to talk about was a hard choice. Over the past 10 months, I’ve had the privilege to work with a collection that holds over a million objects, ranging in ages from decades to well over 100 million years old. But narrowing it down to one single object to talk about for 60 minutes felt a hugely daunting task. After pondering on choices for a while, I stumbled upon the idea of not actually presenting a talk on an object, but instead, on a person. And a hugely influential figure, personality and visionary within the history of the Natural History department here at Norfolk Museums Service, was Ted Ellis.

Ted was employed by Norwich Castle Museum as ‘Natural History Assistant’ in 1928 at the age of 19, and presented at his interview a collection of his own ‘Nature Notebooks’ that he had kept from a young age. These had captured, in amazing detail, what he had observed on his many nature walks around Great Yarmouth and many other parts of Norfolk. We are very lucky to have many of these notebooks in the collection. Some of the colourful drawings of birds, wildlife and botany are truly wonderful, and show a young man with a real passion for nature, doing what he loved.

Ted Ellis in is natural habitat

Ted Ellis in his natural habitat

 

One of Ted's many 'Nature Notebooks'

One of Ted’s many ‘Nature Notebooks’

 

One of Ted's many 'Nature Notebooks'

Amazing detail of Ted’s ‘Nature Notebooks’

In time, Ted became ‘Keeper of Natural History’, and one of his many lasting legacies here at Norwich Castle Museum, is of course, the ‘Ted Ellis Norfolk Room’. In America during the 1930s, old-style cases which contained row-upon-row of taxidermy were starting to be replaced by a new type of 3D vista, where nature that would usually occur together in the wild, was depicted in a natural-looking setting. Ted was the driving force behind designing and building Norwich Castle’s very-own set of dioramas, regarded at the time as the best in the world, and still well-respected to this day due to their attention to detail and accuracy.

Each scene depicts a different part of Norfolk, and contains birds, botany and landscapes unique to that area. Being a Breckland boy living in Norwich, it always warms my heart seeing the Stone Curlews, meres, gorse, sandy heaths, endless skies, and the belts of twisted Scots Pines that the Breckland landscape is so famous for.

The Breckland landscape in the Ted Ellis Norfolk Room at Norwich Castle Museum

The Breckland landscape in the Ted Ellis Norfolk Room at Norwich Castle Museum

 

A young Ted Ellis, and me

A young Ted Ellis, and me

Although Ted entered the professional museum world under the instruction and guidance of late Victorian and Edwardian curators, he was part of the new breed of museum professionals, tasked with evolving the museum world from their Victorian ‘curiosity’ obsessions, towards museums representing their local communities.

In this way, I can relate this to my own introduction into the world of museums. I spent 15 years working in the logistics sector, a role I never really enjoyed. I’d always had a passion for history and heritage, and to take the big jump into the museum world was never money or job-security motivated, it was purely down to wanting to share my passion with as many people as I could, and to make new memories, just as my trips to museums as a child did for me. Obviously, the heritage sector is ever changing, and through my traineeship, I have been able to draw on the experience and knowledge on some of the most forward-thinking and experienced characters within the sector. It is nearly time for me to push on with what I have learnt and to make my own mark, just as Ted Ellis did during his time at the museum. He learnt from the best at the time, and used that to springboard his own ideas. A testament to his passion and skill is that his work, including the dioramas, are still admired over 80 years since their creation.

Ted was a man who wanted to share his passion with as many people as possible, and I’ve also been able to do that over the last 10 months. And long may it continue, wherever my next chapter may take me.

If you’d like to hear more about Ted’s time at Norwich Castle Museum, see details about my talk through this link: https://www.facebook.com/events/327175364300893/?active_tab=about


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Corset’s been Extraordinary…

Each month we take a look at what’s been going on with Norfolk’s Teaching Museum Trainees.  Today we see Louise Turner, trainee with the Costume and Textiles Department.

Unbelievably, we are now in the eighth month of our traineeships, and as next year’s positions are advertised, I think we are all feeling both reflective and conscious of making the most of our remaining time.  So a good juncture for a blog post.

I feel so lucky to have been given this opportunity and value everyday for its diversity, uniqueness, and privilege.  Choosing my best bits has therefore been tricky, so here are just a few of the highlights of my role…

I’ll start with the most obvious, working with the fantastic Costume and Textiles (C&T) collection.  I was recently asked to choose a favourite object and found the task almost impossible.  The department looks after some, what might be termed, ‘star’ items.  A bodice worn by Marie Antoinette, Queen Victoria’s stockings, exquisitely embroidered medieval church textiles, and male costume worn to the Coronation of George IV, can all be found in the C&T stores.  But the more everyday objects have just as fascinating and poignant stories to tell.  A set of 3 samplers, which may have the appearance of typical works of memorial from the early 1800s, but which are actually a painstaking exercise in remembrance and tell the tale of a girl who in a period of only 7 years, and by the age of 20, had lost her mother, uncle, and father, is just one example.  The library is also a treasure trove of resources, including a large collection of vintage Vogues.

Male costume worn to the Coronation of George IV in 1821.

Male costume worn to the Coronation of George IV in 1821

As the Costume and Textile collection is in the main a stored collection, a large part of the work of the department and my role is to facilitate access to objects in ways other than display.  Monthly Talking Textile events, themed object handling sessions, are always a sell-out and it’s really rewarding to enable people to learn about, and look in detail at, items from the collection and to see them so engaged by them.  I will be leading an underwear themed session, entitled ‘Brief Encounters’ (we love a pun), in February.  Tours of the stores are also a valuable way to increase awareness of the collection and I will never get bored with showing visitors around the C&T store rooms (which are a museum geek’s dream in terms of their organisation).

The C&T main store

The C&T main store

I have also been fortunate enough that my time here has fallen at the same time as a redisplay of the costume in the Arts of Living Gallery in the Castle.  As part of my involvement with this, I was lucky enough to spend some time with our Textile Conservator as she mounted the costume ready for display.  It’s amazing how much time, work and skill goes into what’s happening underneath the clothing to get that all important silhouette.

But it’s not all glamour.  I have also been dressed in lowly Medieval garb (replica, she adds quickly) whilst working with the Castle learning team, removed spiders from blunder traps as part of pest management, and donned a Tyvek suit for the annual Gressenhall Superstore deep clean.  And I have loved it all.  Which brings me onto our trainee development programme.  As much as I enjoy working with the C&T department, I really look forward to our weekly training sessions.  From the demystification of Archaeology and Natural History, to discovering the many wonders of Norfolk’s independent museums and the poignancy of becoming Dementia friendly, the breadth and worth of the programme is vast.  Having the support and friendship of the other trainees and being able to chat about what you’ve been up to that week is also incredibly valuable.  Similarly, everyone throughout Norfolk Museums Service, whether those I work with on a daily basis, including our wonderful team of volunteers, or members of staff from across the diverse departments, have been encouraging and generous with their time and knowledge.

Me, deep cleaning at Gressenhall

Me, deep cleaning at Gressenhall

There are some exciting projects coming up in the next few months so there is still much to look forward to, including our Fashion and Passion event where the C&T department take over the Castle for the day.  But I’d just like to finish with a note of encouragement to anyone who may be considering applying for the trainee programme.  The Teaching Museum scheme is everything you think it will be, hope it might be, and everything you hadn’t even considered.

Me (centre, front) and some of my fellow trainees

Me (centre, front) and some of my fellow trainees