Story Category: Legacy

Links through the ages – Iron Age technology hard at work in the twenty first century

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

When RPMT opened our new archaeology gallery in 2019, we borrowed an Iron Age gang chain from the National Museum of Wales.

It is one of their most requested loan objects and sadly we had to send it back, so it could become part of the Nero the man behind the myth exhibition currently on show at the British Museum.

However, we were lucky enough to be able to commission Sussex based blacksmith Thomas Gontar to create an accurate replica for us to display instead. Thomas explains how he went about recreating an Iron Age chain in the twenty first century.

Thomas Gontar

My name is Thomas Gontar and I’m the blacksmith and proprietor of Glynde forge in East Sussex.

© Thomas Gontar

© Thomas Gontar

Just before Easter I was asked by the Royal Pavilion and Museums Trust to remake an iron age gang chain that is around 2,000 years old.

The original was found in a lake called Llyn Cerrig Bach on Anglesey, an island off the north-west Wales coast which was famed for its druids and their sacred groves. Some archaeologists believe that it was probably made in south-east England.

My forge is very close to an iron age hillfort called Mount Caburn. I was asked to remake the chain at Easter, a time in the iron age calendar that celebrated rebirth and rejuvenation. Everything seemed in alignment for me to accept the commission.

It has been a wonderful opportunity to create such an intricate and detailed piece using nothing but traditional forging techniques. My team and I really had to study the piece from corner to corner. We were armed with notes and documents, some dating back to WW2 when the chain was originally discovered, so that we had the best understanding of how the chain was made 2,000 years ago.

The process of ‘making’ was a very interesting and emotional journey. As the chain started to take shape it sunk in about what it was actually used for. We felt transported back in time as if we were the smiths pulling it out of the fire 2000 years ago. It was mind boggling to know that the techniques and tools we used hadn’t changed since that time.

Chain on Display

Chain on Display

I’m incredibly happy with how the chain turned out. There were a few test pieces and trial and error attempts, but overall, I think we delivered a very accurate piece.

Thomas Gontar, artist blacksmith, Glynde Forge, Glynde, East Sussex

You can see Thomas’ chain on display in the Archaeology Gallery at Brighton Museum and Art Gallery, which reopens on 20 July 2021 following the lifting of Covid restrictions.

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The ‘Cinderella Service’: Photographs of the Women’s Land Army

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

Two young women pace across a newly-ploughed field, buckets in hands, hair blowing in the wind. One has a potato in their left hand; both of their faces are slightly blurred, but they seem to be smiling wistfully, caught up in conversation while they work. The field rolls off into the distance, following the shape of the Downland landscape. Two tractors track their way across the frame, one in the middle distance, one further off to the left.

Its the landscape of the Bloomsbury Group, Eric Ravilious, Rudyard Kipling; its Tennysons green Sussex fading into blue. But this is no country idyll or green and pleasant land. The photograph was taken in 1942, at the height of the Second World War. Its part of a group of photographs taken throughout the Second World War showing agricultural work in the Brighton area.

Two women planting potatoes in a field in Brighton. Two tractors can be seen in the background, 1942.

Two women planting potatoes in a field in Brighton. Two tractors can be seen in the background, 1942.

Agricultural work like this was a significant part of the war effort. In 1939, Britain was importing 20,000,000 long tons of food per year, including about 70% of its cheese, sugar, cereals, and fats; almost 80% of the fruit consumed by the public was also imported. This food came from all over the British Empire, mostly by sea, but also overland. As the enemy began to occupy vast swathes of Europe and German U-boats started to cut off import use, the British government began to introduce measures to ensure the food supply remained stable and fair. One measure was, of course, the rationing scheme to ensure everyone had fair access to the basics.

Another important tool in the ‘food arsenal’ was to increase the amount of food being produced by individual households. A significant part of this was the ‘Dig for Victory’ campaign, where the Ministry of Agriculture encouraged ordinary people to grow as much of their own food as they possibly could. During the Second World War, allotment numbers increased from 850,000 in 1939 to 1,750,000 in 1943 (many of these allotments remained in use well into the 1950s as rationing continued post-1945).

By 1943 people were also encouraged to join one of the 3,000 rabbit clubs and 4,000 pig clubs across the country (the pig clubs produced enough bacon for 150 million breakfasts). Households were also encouraged to reduce the amount of food waste they produced; joining a pig club could significantly reduce the amount of food going ‘in the bin’ – it just went to the pig instead! Measures like this were accompanied by innovative propaganda drives that utilised print, film, radio and local landmarks.

The Royal Pavilion Estate was just one of the many venues involved in these campaigns – in July 1942, part of the Royal Pavilion Gardens were home to the Kitchen Waste Campaign and a large family of pigs.

Kitchen Waste campaign at Royal Pavilion, 1942

Kitchen Waste campaign at Royal Pavilion, 1942

The biggest part of the Ministry of Agricultures wartime food strategy was the mobilisation of farmers and farmland to help with the war effort. Farmers were actively encouraged to increase the amount of land they farmed, and the amount of food they produced. Between 1939 and 1943 the amount of arable land being farmed in England and Wales increased from 12.9 million acres to over 19 million acres. The push for food also sped up the rate of change in how the land was farmed, with an increase in the use of machinery. Petrol fuelled tractors became more common across the British landscape, with their numbers tripling from 50,000 in 1939 to 150,000 in 1944.

A land girl operating a tractor on a site near Brighton, probably in Woodingdean, 1941.

A land girl operating a tractor on a site near Brighton, probably in Woodingdean, 1941.

But with men being called up to serve in the armed forces and an increased demand for domestically produced food who worked the fields and carried out the tasks that kept British farms running and producing food in the Second World War?

This brings us back to the first photograph in this piece, showing two young women planting potatoes in a field in Brighton. These women are part of the Womens Land Army (WLA), whose workers were and still are more commonly known as Land Girls. Originally set up in 1917 to help produce food towards the end of the First World War, it was disbanded shortly after Armistice.

Four members of Women's Land Army sit around a brick structure, probably an oven, 1941. Taken at a site in Brighton during World War Two, probably in Woodingdea

Four members of Women’s Land Army sit around a brick structure, probably an oven, 1941. Taken at a site in Brighton during World War Two, probably in Woodingdean

But with the 1930s drawing to a close and dark clouds of the Second World War looming on the horizon, the government broadened the National Service scheme, and included plans to restart the Womens Land Army. The British government published an updated National Service Handbook on 25 January 1939, which set out how in the event of war a Womens Land Army will be organised. The WLA was envisaged as consisting of a mobile force of women who are ready to undertake all kinds of farm work in any part of the country and women who are only able to offer their services for work in their home district.

A member of the Women's Land Army loading sacks on a trailer, c1940.

A member of the Women’s Land Army loading sacks on a trailer, c1940.

The Womens Land Army was re-established on 1 June 1939, with former suffragette and campaigner Lady Gertrude Trudie Denham in the position of Honorary Director, and recruitment began in earnest from June 1939 onwards. By 29 August 1939, the Womens Land Army operation required larger offices, and Lady Denman set up its official headquarters at her home, Balcombe Place, near Haywards Heath in West Sussex.

The Womens Land Army Headquarters moved briefly to Chesham Street in London in 1944, but was forced back to Sussex due to the ongoing threat from Doodlebugs (V1 flying bombs). Initially, women were invited to enroll (volunteer) for the service. In England, applications were sent to the Ministry of Agriculture and Fisheries in London, and had to include details such as present occupation or whether the applicant wanted to enroll for the mobile force or for local work only.

An application also had to include short particulars of any training or experience in agriculture, though enthusiasm seems to have been encouraged just as much as experience, as the form emphasised that previous experience is not essential. By 1941, the need for extra hands across the agricultural sector in Britain was greater than ever, and from December of that year women could be conscripted into the Womens Land Army.

Land army girl loading emptying a tractor trailer in an unidentified field in Brighton, c1940.

Land army girl loading emptying a tractor trailer in an unidentified field in Brighton, c1940.

The scheme worked as intended: by 1944, there were 80,000 women employed as Land Girls by the Womens Land Army. This figure included 20,000 women employed in dairy work and a group of Land Girls undertaking specialist horticultural work at Kew Gardens. Whether their role was specialist or more general, the National Service Handbook set out the very basics of what women could expect as a Land Girl. In addition to training, each Land Girl will wear uniform, although they will normally be employed and paid by individual farmers, and the organisation will supervise their lodging arrangements and general welfare.

A WLA uniform was considered the most attractive uniform of all the womens Services. It included 1 cowboy style hat, 3 (often very itchy) shirts, 2 green jerseys (jumpers), 2 pairs breeches, 2 pairs dungarees, 2 overall coats, 6 pairs stockings, 1 pair gumboots, 1 Great Coat, 1 mackintosh, 2 towels, 1 tie, 1 pair of ankle boots, and 1 pair of sturdy brown shoes. Land Girls were also issued with a green armlet and a metal WLA badge.

The uniform was designed to be practical, to withstand the trials of heavy agricultural work, and to allow the easy identification of Land Girls after all, uniform must be uniform or it loses all its point. Land Girls were encouraged to keep their uniform neat and tidy, and separate from their civilian clothes. As one pamphlet put it, each Land Girl could be as shabby or as Bohemian as you like in civilian clothes, but dont try to express your personality in your uniform.

The minimum wage for a Land Girl was 28 shillings per 48 hour working week (50 hours in summer), 10s less than the minimum wage for a male worker. If a Land Girl stayed on site, 14s per week was deducted from her wages for room and board. Despite the hard work over long hours for low pay, some Land Girls felt that their contribution to the war effort was going unrecognised and unappreciated by the wider British public. This feeling was encapsulated in a BBC radio interview with Miss Clemence Dane, who referred to the Womens Land Army as the Cinderella Service, stating that it was taken for granted and its importance overlooked.

Today, there has been a reappraisal of the significant role that Womens Services and organisations like the Womens Land Army and the Womens Institute played in keeping Britain fed throughout the Second World War. In amongst the Local History Collections here at the Royal Pavilion & Museums Trust are several photographs of Land Girls; most show them carrying out farm work, but one shows four members of the WLA enjoying a moment’s rest.

Take a closer look at the photographs of Land Girls. Do you recognise any of the women in the images? You can also recreate a Land Girls uniform using this cutout activity. Just print it off on a piece of sturdy card, or stick the printout to the plain side of a cereal box, and snip away! Dont forget to show us your Land Girls on social media.

We are also very keen to hear your memories, experiences, and family stories of life across Brighton and Sussex during the Second World War. If you would like to share with us do let us know in the comments section below. The Royal Pavilion & Museums Trust has an extensive collection of items relating to the Second World War. Many of these items have been photographed and digitised. You can find many of these on our Digital Media Bank or our WW2 in Brighton online exhibition.

What will you discover?

Naomi Daw, Visitor Services Officer

Recording of ‘Swift Awareness Week: From Southern Africa to Brighton and back again’

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

On 8 July Jack Thompson of the RSPB gave a talk about swifts as part of Swift Awareness Week. Here is the recording of ‘Swift Awareness Week: From Southern Africa to Brighton and back again’, a whistle stop tour of the journey of a swift.

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‘Globetrotting’ from London to Brighton

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If you’re not a football fan, the build up to the England vs Italy final at Euro 2020 is probably a tiresome time.

We can offer some alternative foot and ball distraction with this curious postcard from 1903. It depicts a young American woman, Mademoiselle Florence, who walked from London to Brighton on top of a large ball.

Postcard, 1903

According to the Brighton Herald newspaper, Florence’s journey began on 18 June at Westminster Clock Tower in London. Her journey was unsurprisingly fraught with problems. Heavy rain at the start forced her to pause at Westminster Bridge as the ball became too slippery to control. Later in the journey, a large ‘van’ (probably a covered wagon at that time) hit the ball, leaving Florence with a sprained ankle.

Article from the Brighton Herald newspaper, 20 June 1903

But in spite of these difficulties, the exhausted Florence appears to have completed the journey in just three days. She was probably buoyed in part by the large crowds that gathered to cheer her on, as can be seen in this postcard.

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The photograph is probably the one mentioned in the Herald article. Taken in Horley by the Brighton Palace Pier American Art Rapid Photography company, it shows a serious (or perhaps strained) Florence on top of her globe. On the right of the photograph is the distinctive figure of veteran entertainer James Doughty, who ran a popular dog show on the West Pier.

Florence’s ‘globetrotting’ achievement may have been lost behind the more familiar cycle rides and veteran car rallies that follow the London to Brighton route. But it’s a reminder that wonderful things can be achieved with a ball that don’t require kicking it.

Although I do think it will be a cracking final on Sunday.

Kevin Bacon, Digital Manager

Making Botswana: Beadwork

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

This series of blog posts is inspired by objects from Botswana which have been researched as part of the Making African Connections project, in partnership with the Khama III Memorial Museum and the University of Sussex. Many of these were collected by Reverend William Charles Willoughby, a missionary who lived and worked in what was then Bechuanaland in the 1890s. 

Each blog will explore connections between the objects in the collection and the history and contemporary culture of Botswana. There is an abundance of beadwork in the collection, in many styles, colours and designs. Beadwork has been present in Southern African since prehistory. Traditional crafts have continued and adapted over thousands of years to remain relevant to contemporary cultures in Botswana today. 

Enduring materials

several strings of small flat white beads on a leather thong

R4007/17 19th century Ostrich eggshell beads

One of the striking materials in the collection is ostrich eggshell. Some of the earliest archaeological evidence of people decorating their bodies with jewellery is of ostrich eggshell beads from the Limpopo region of neighbouring South Africa, from 74,000 years ago. The material is versatile and still in use, making ostrich eggshell beads one of the longest running cultural traditions in the world. In the following clip Khama III Memorial Museum curator Scobie Lekhutile talks about the process of collecting and creating beads:

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The material is still used today by artisans such as Dikgwa Kaki Matlakola, who made this necklace and earring set which the Brighton Museum team purchased from the National Museum of Botswana’s annual Basket and Craft Exhibition. The eggshell beads are augmented with vegetable dyes (the light brown beads) and burnt decoration (the black beads).

earrings and necklace set made of ostrich eggshell beads

WAENT000148 Contemporary artisan jewellery by Dikgwa Kaki Matlakola, 2019

How do you like your eggs classified?

ostrich eggshell

BC425476

Willoughby also collected three ostrich eggs. In the decades since they were donated to Brighton Museum, these had been moved to the Booth Museum of Natural History as they were treated as natural history specimens. They have a different type of accession number to the rest of the collection for this reason. In fact, the thick eggshells would have been used as a sturdy container for liquids. A small hole was made and the contents removed. The shell could then be filled with water and sealed with a stopper made from a plant which had antifungal properties. This helped to keep the contents fresh for longer periods. These objects raise questions about how museums classify objects – should they be treated as eggs, or as containers?

Colour and craft

While ostrich eggshells have been made into beads for thousands of years, more recently Southern African cultures have become associated with beadwork designs which use brightly coloured glass beads to create patterns. The earliest examples of glass beads found in the region are from Indian Ocean trade, around 2,500 years ago. Later, traders from the Middle East introduced glass beads made in Europe, especially Venice. Arriving at ports in East and South East Africa, the beads were distributed inland to Botswana through local trade networks. 

 

While in Serowe, the team interviewed local beadworker Emily Botshelo about her craft.

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Colours and cultural identities

leather clothing decorated in red and white beads

R4007/19, R4007/6

The colours and designs used in beadwork are associated with different cultures within the region. Two objects in Willoughby’s collection have distinctive beadwork decoration which is associated with Kalanga people. Key colours for the kalanga are red, representing blood, or life, and white representing purity. These are present in these two garments.

a selection of colourful beadwork

There are examples of beadwork styles associated with other cultural groups in the collection. The necklace above on the left, R4007/16, also collected in Bechuanaland by Willoughby, has a clear Xhosa influence in the colours and design. It has been featured in a display at Brighton Museum, curated by Tshepo Skwambane, as part of a Xhosa woman’s outfit. The middle piece, R4007/15, shows Xhosa, Kalanga and Tswana influence. The headpiece on the right, R4007/24, is typical of styles worn by !Kung people.

While some of these styles are associated with one particular group, other objects within the Museum’s collections demonstrate the mixing of cultures that is an important part of Botswana’s, and Southern Africa’s, history. 

colourful beadwork necklace

R1346/2

This necklace from Bechuanaland was purchased by the Museum from a Brighton dealer in 1913, but may have been made earlier. The colours and patterns show Nguni and Ndebele design influences and speak to the cross-cultivation of cultures and sensibilities in the country. 

These designs reflect cultural identity at a particular place and time when the objects were collected. While some styles endure, they may not always resonate for people who live in the region today. As Tshepo Skwambane explains ‘People have lost touch with those elements that … used to make up the cultural identities. They’ve been forgotten, and replaced by European understanding of culture, heritage and being.’

Contemporary affiliations: the Botswana flag

blue flag with a black and white horizontal stripeWhen Botswana became independent in 1966, a new blue, black and white flag was adopted. The black and white band in the centre of the flag represents both the coming together of different peoples and the stripes of the zebra, the national animal of Botswana. The pale blue represents rain, called ‘pula’ in Setswana. ‘Pula’ is also an expression meaning ‘greetings’ or ‘good luck’, as well as the name of the national currency. 

Today you can see the colours of the national flag reflected in beadwork accessories and clothing. These are bought by tourists, but also by the Batswana themselves, and represent pride in and affiliation with Botswana. These examples were collected by the Brighton Museum team during their trip to Botswana in 2019.

blue and white beadwork, a cotton textile printed with the Botswana crest

From left: WAENT000149.4 Necklace made by Guyapo Boitshepo; WAENT000149.8 kilt pin; WAENT000149.7 kanga wrap featuring the Botswana coat of arms, adopted in 1966, all purchased in Gaborone, Botswana, 2019

Rachel Heminway Hurst, Kathleen Lawther and Tshepo Skwambane, Making African Connections project

Making Botswana: Makgabe

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

Makgabe (Setswana): to decorate or make something ornate.

This series of blog posts is inspired by objects from Botswana which have been researched as part of the Making African Connections project. Many of these were collected by Reverend William Charles Willoughby, a missionary who lived and worked in what was then Bechuanaland in the 1890s.

In addition to examples of crafts such as woodcarving, basketry, and leatherwork, the collection contains objects made from a range of manmade and natural materials including beadwork, metalwork, cocoons, roots, ostrich eggshells, and the hair, skins and teeth of powerful animals. 

These items could all be described as accessories or ornaments for the body, but they had diverse uses. Many would have had meanings for their original users and owners, beyond decoration. This is something that was not recorded by Willoughby, but in some cases the significance resonates with people who live in the area where they were collected today. The museum team visited the Khama III Memorial Museum in Serowe, Botswana and spoke to the curators and local people about the objects. 

Items worn for music and dancing

dried cocoons strung together and tied in a circle

R4007/75 Mathoa rattle

These rattles are called mathoa in Setswana, and are worn around the legs when dancing. They are an example of an object which was once mis-labelled in the museum. They were described as being made of seed pods, but are, in fact, made of the dried cocoons of the mopane worm, filled with small stones to create a rattling sound. Project curator Tshepo Skwambane explains the importance of describing objects from the point of view of the people who made and used them:

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two women dancing with rattles on their ankles

Dancers performing with mathoa leg rattles, Matsamo Swazi Cultural Village, South Africa, 2019.

The rattles were originally made by Khoi and San people and used in celebrations for a good harvest. They were later adopted by Tswana people and other cultures in the region and are still worn for celebrations and ceremonial occasions. While some are made in the traditional way from cocoons, today they are also made from recycled plastic bottles. The Museum team collected contemporary examples of both types during their visit to Botswana and South Africa.

two pair of leg rattles

left: WAENT000150.9 contemporary mopane rattles, right: WAENT000144.7 rattles made from plastic bottles

While visiting the Thapong Visual Arts Centre in Gaborone, Tshepo talked to musician and maker Zachariah Mhaladi about mathoa.

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Items worn for health benefits

The collection contains dozens of examples of twisted and braided bracelets made out of copper and other metals. These bracelets also have a purpose beyond adornment – they are worn because copper is believed to have health benefits. Wearing copper is common across many cultures as a complementary medicine for conditions including arthritis and high blood pressure.

a selection of copper bracelets

Selected bracelets collected in the 1890s. From left: R4007/31, R4007/32/6, R4007/33

There is a long history of mining, smelting and working with metals in Southern Africa. Archaeological records show that copper has been mined in northeastern Botswana for about 1,200 years. An important site was in the Tswapong hills, near where the Khama III Memorial Museum is located, and where Willoughby collected.

black and white photo of men sitting and standing doing metal work

A group of smiths smelting manganese to produce metal alloy. Chadibe, Tswapong Hills, c. 1896. Photograph taken by Rev. Willoughby. Image courtesy of Neil Parsons.

While metalwork was produced in the area, there is also a culture of reuse and recycling of materials. Some of the metal used in the bracelets may have been manufactured locally, some could have been repurposed from scrap metal from railway works, or telegraph wires, both of which were introduced in the late 1800s when Willoughby was living in Bechuanaland. 

copper and silver coloured metal bangle

WAENT000150/1 Bracelet made by Martin Ndudzo, 2019

Today people are still recycling metal which would otherwise go to waste. Artist and jewellery maker Martin Ndudzo talked to curator Rachel Heminway Hurst how he makes his bracelets, and explained how he makes use of metal off-cuts which he gets from his friend, who repairs fridges. 

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Items worn as talismans

blue bead necklace with a leopard tooth pendant

R4007/28 Leopard tooth necklace

Most of the things Willoughby collected were examples of ordinary or everyday objects, as explained in the previous blogs in this series. There are some notable exceptions which can be identified as being important possessions of powerful people. They contain materials taken from powerful animals, which were high status items. One example is this necklace with a leopard’s tooth pendant. Although it was not usual for people to part with such objects, it may have been the case that Willoughby was able to collect these because his association with Khama III and the three DiKgosi’s visit to England meant that he was an honoured member of the community in Old Palapye.

beadwork made of four circles of red and white beads

R4007/27 ‘Elephant’s eye’ beadwork

This beaded accessory was described in museum documents as an elephant hunter’s charm. It is made of four discs of elephant hide, onto which coloured glass beads are sewn. Each disc represents one elephant that the hunter had killed. Elephants are very sensitive to death and were known to sense part of another elephant’s corpse on the wearer. Items like this would have been worn as talismans for protection, or to bring good luck.

Contemporary talismans

People wear accessories for many reasons: as part of celebrations, to express their identity, and to bring good luck. These traditions continue today. While interviewing beadworker Emily Botshelo about her crafts, the team discovered that she is a supporter of Township Rollers F.C., a football team based in the capital Gaborone. Emily used her crafting skills to make a beadwork headpiece in the team colours, as well as a crocheted skirt and shoes. The museum bought these accessories from her, along with a new team shirt, to make a complete supporter’s outfit, worn to show identity as a fan, support the team, and bring good luck on game days.

a blue and yellow female football supporters outfit

Clockwise from left: WAENT000150.11 Township Rollers shirt, bought in Gaborone in 2019, WAENT000145 beadwork headband, crocheted skirt and shoes, made by Emily Botshelo, Serowe, Botswana

 

 

 

Rachel Heminway Hurst, Kathleen Lawther and Tshepo Skwambane, Making African Connections project team

William Friese-Greene: a reputation set in stone

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

On 5 May 1921, members of the film and cinema trade gathered at the Connaught Rooms, Kingsway, London for a meeting on the current precarious state of the British film industry.

 William Friese-Greene’s memorial, Highgate Cemetery, the Barnes Collection.


William Friese-Greene’s memorial, Highgate Cemetery, the Barnes Collection.

A heated discussion ensued and from the audience, an unknown man stepped up to address those present. He spoke passionately, urging the quarreling factions to work together on a solution. Shortly after returning to his seat, the man collapsed with heart failure and died. A tragic ending for William Friese-Greene, once known as the ‘inventor of kinematography’.

Friese-Greene’s life and reputation have both followed the undulations of a rollercoaster ride. Although best known for his link with early moving image capture and colour, he seems to have had his fingers in all kinds of experimental ‘pies’. Given my penchant for bizarre headwear, I was delighted by the patent he submitted for an advertising hat. He enjoyed some success, notably as a studio photographer, but any wealth from this went into less reliable pursuits, and many of his projects were commercial failures.

His position in the Film Hall of Fame has shifted over the decades. He died penniless, but after his death, he received somewhat belated attention, with a grand funeral and headstone in Highgate Cemetery. Idealised accounts of his achievements, in particular Ray Allister’s Friese-Greene: CloseUp of an Inventor (1948), led to the biopic The Magic Box (1951) and Friese-Greene became the father of film in the British public’s mind.

After more research was conducted into the early years of filmmaking , it was suggested that Friese-Greene’s contributions were less than had been previously imagined. Even so, film historians John and William Barnes still felt him worthy of a place in their collection, despite John’s belief that to call Friese-Greene the true inventor of cinema was an ‘absurdity’. One of the items is this photograph of the memorial in Highgate Cemetery. It is, in fact, much grander than it looks here; above the base there is a tall spire surmounted by a cross. But it is the inscription which is of most interest. For it is here that Friese-Greene’s reputation has literally been set in stone:

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‘William Friese Greene – The Inventor of Kinematography – His genius bestowed upon humanity – The boon of commercial kinematography – Of which he was the first inventor and patentee’.

Just to make it perfectly clear, this inscription concludes with a patent number as proof, although this is incorrectly given as 10301. Patent 10131 of 21 June 1889 is for the chronophotographic camera, capable of taking up to ten pictures per second on a strip of celluloid film. But as this camera wasn’t reliable nor fast enough, it was not commercially successful. He even sold the rights to the patent to pay his debts, but the patent was never renewed and lapsed.

However, it seems that Friese-Greene is emerging from the shadows once again. He may not have been the sole inventor of cinema but his contributions to the development of the moving image are being reviewed in a more favourable light, and he certainly has his supporters.

What shines through his story is the passion with which he attempted to perfect his vision of moving pictures to be enjoyed by all, and his dedication to the film industry. His heart may have failed him at that fateful meeting, but it was clearly in the right place.

Alexia Lazou, Collections Assistant

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City Nature Challenge is Back!

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

From 30th April to 3rd May you are invited to become a citizen scientist and take part in the City Nature Challenge 2021, helping to record the nature on your doorstep.

Honeybee (Apis mellifera) (taken on DSLR camera with 50-500 mm telephoto lens) © Lee Ismail.

Brighton & Hove took part in this global citizen science event for the first time last Spring. Under the challenging circumstances of the first lockdown, 107 local participants, including Booth Museum staff, helped document the nature on our doorstep and shared their findings through a series of Nature at Home blog posts.

Ox-eye daisies © Lee Ismail.

Ox-eye daisies © Lee Ismail.

Together we recorded 1880 observations of 570 different species seen in gardens and parks, hedgerows and copses while getting our permitted exercise. Taking part helped me see the variety of nature on my doorstep, and, looking closely for things to record, revealed a world of detail I might otherwise have walked right past.

Chiffchaff, Southwick, March 2020 © Lee Ismail]

It’s not just about connecting with nature, the information gathered helps us understand the biodiversity of our city and helps us plan to protect it.

Hornet (taken on DSLR camera with 50-500 mm telephoto lens) © Lee Ismail.

This year we have a bit more freedom to explore the countryside, so you could go up to the downs and down to the sea shore to see what you can find. I might just revisit my local patch and see if I can beat last years observations.

Discover More

Visit the City Nature Challenge 2021 website

Read other posts in the Nature at Home series

 

Sarah Wilson, Development & Operations Manager – Booth Museum of Natural History

Opening of the Royal Pavilion Shop, 1988

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

The Royal Pavilion Shop reopens tomorrow. Even though our museums will remain shut until 17 May, we look forward to welcoming the public back into one of our buildings.

Our Local History & Archaeology curator Dan Robertson has found an invitation card dating from when the Royal Pavilion Shop first opened in 1988.

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The opening ceremony was held on 21 June 1988 and performed by Lord Elwyn-Jones and Lord Briggs. Elwyn-Jones was a lawyer and politician who had held the office of Lord Chancellor in the 1970s; Asa Briggs was a historian and former Vice-Chancellor of the University of Sussex. In addition to the opening of the shop, the event also marked the presentation of new replica chairs for the Banqueting Room in the Royal Pavilion.

While tomorrow’s reopening may not feature any VIPs or formal presentations, it will be an opportunity to browse and buy unusual gifts and stylish items from your home. The shop will only be open on weekends and Bank Holidays (10am-4pm) until we can reopen the Royal Pavilion — but don’t forget that many of our shop products can also be purchased through our online shop.

Brighton Racecourse stand, 1954

This is a legacy story from an earlier version of our website. It may contain some formatting issues and broken links.

This photo was taken on 12 April 1954. It shows construction work on a new stand at Brighton Racecourse.

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The photo was taken by a local company, Deane & Millar, who were often commissioned by Brighton Borough Council to record construction or demolition projects.

Usually these types of photographs do not contain people, as the images are required to focus on the structure. But in this case we can see three workmen carefully stepping across the structure. Thankfully, it does not seem to be a windy day…

Kevin Bacon,

Digital Manager