Story Category: Legacy

Church Street and the William IV Gate: a view from a curator’s window

A Front View of the Prince of Wales’s Stables, before 1811

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Royal Pavilion curator Alexandra Loske takes a look out of her office window, and reflects on the historic changes that have taken place in Brighton’s Church Street.

My office is in the Old Court House, a sturdy Victorian building in Church Street, directly opposite the Brighton Dome and Corn Exchange. Church Street is one of the oldest streets in Brighton, leading up from the north-east corner of the Royal Pavilion Estate towards the parish church of St Nicholas of Myra. Although it is not a main thoroughfare through Brighton, it is a street teeming with urban business. I work with a constant soundtrack of singing, shouting, sirens and seagulls and general traffic noise drifting up to my desk. This is what I imagine the painter John Constable meant when he complained in 1824 that ‘the magnificence of the sea [at Brighton] is drowned in the din and tumult of stage coaches, gigs, flys, etc.’.

A Front View of the Prince of Wales’s Stables, before 1811

Exterior view of the north front of the stable complex towards Church Street, John Nash’s Views of the Royal Pavilion, which first appeared in 1826

Exterior view of the north front of the stable complex towards Church Street, John Nash’s Views of the Royal Pavilion, which first appeared in 1826

In the last few months I have been preparing a new exhibition which opened on 2 April at Brighton Museum. All the King’s Horses, as we cheekily decided to call it, tells the story of George IV’s passion for horses, dating back to the 1780s, when the royal stables were located to the south of the Pavilion, to the creation of the magnificent new Royal Stables and Riding House (now The Dome and Corn Exchange), created to designs by William Porden between 1803 and 1808. This is of course what I am looking at from my window.

The Church Street façade of the stables has changed dramatically since first built but has retained its oriental flair. Images of how it looked in the early years of the 1800s are rare, but the delightful small watercolour shown above give us an idea, and even shows that the finial of the dome was originally gilt. A more familiar image after Augustus Charles Pugin, published in 1826, shows fashionable Brighton society promenading in Church Street (right). In the 1820s the entire perimeter of the Royal Pavilion Estate was protected by the military, seen here on duty flanking the main entrance to the stables.

Drawing of a large gate and buildings at the end of a road

View of the North Gate House including part of the Pavilion Northern Property. Edward Fox, 1838

In 1832 King William IV added stables for his wife Queen Adelaide to the east, as well as the new North Gate, seen in a delicate drawing by Edward Fox from 1838, the year Victoria was crowned queen and first visited Brighton. A stage coach pulled by four horses can be seen coming down Church Street at considerable speed. Most mornings I approach the Royal Pavilion from the same angle Fox used in his drawing and recently tried to capture the same view.

Photo of large gate at the end of a road.

View towards the William IV Gate today.

Postcard showing Brighton Museum, a large buiilding with minarets on the roof

Church Street entrance of Brighton Public Library & Museums, c1910

The façade underwent its most dramatic change after the Royal Pavilion Estate went into municipal ownership in 1850. Between 1867 and 1873 the stables complex was converted into performance spaces, galleries, a museum and a public library. Further changes to the exterior and interior were made in 1901-2, and again in 1934, adding an Art Deco entrance to the west. There is a restlessness to my end of Church Street, but also a grandeur and confidence that I cherish. I am well aware that I have an office with a view of one of the most exciting 19th century buildings in the country. The traffic has certainly developed a different dimension. And of course Victoria is now looking at the scene herself, in the form of a statue of her by sculptor Carlo Nicoli, placed at the southern end of Victoria Gardens in 1897, to commemorate the Queen’s Diamond Jubilee.

Alexandra Loske, Art Historian and Curator

This post was originally published in Viva Brighton Magazine.

All the King’s Horses: The story of the Royal Stables and Riding School opened on 2 April and is on until 29 September 2019. Prints & Drawings Gallery, Brighton Museum. Free with admission.

A thing that went crash in the night: mysterious CCTV footage from Brighton Museum

Brighton Museum retail area

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

Why did a cup suddenly fall and crash in Brighton Museum one night when no one was nearby? And why does the CCTV footage show a mysterious flash of light before it fell? Digital Manager Kevin Bacon wonders whether Brighton Museum has a ghost in the house or if this is all just a storm in a teacup.

Our security team monitors the Royal Pavilion Estate 24 hours a day. This is to provide permanent protection to the city’s collections and buildings.

A little after 3am on Wednesday 10 July, one of our team was startled to hear a crash in the foyer of Brighton Museum. When he walked over to investigate, he found a cup from our retail display had fallen to the floor and smashed.

Given that no one was near the display when it fell, there was no ready explanation. But when a colleague checked the CCTV footage the following day, what he found was even more puzzling.

You can watch a ten second clip of the original CCTV footage on our YouTube channel, or watch the video below which shows the incident in close up and slow motion.

The event is a small detail in pixellated footage captured in low lighting, so I would recommend viewing this in full screen.

[arve url=”https://youtu.be/ABPdgzcIbg8″ align=”center” maxwidth=”800″ /]

For those who are unfamiliar with the space, the CCTV camera looks across the foyer and retail area of the museum towards the front door. The photo below was taken in daylight just below the camera.

Brighton Museum retail area

Any explanations?

The video has caused a great deal of puzzlement. The flash of light could be a glitch in the recording; the falling cup could be due to unfelt vibrations in the room. But the two together make it hard to explain, and much more eerie. Theories range from ghostly activity to a burst of static electricity, but a convincing explanation has yet to emerge.

If you have a theory about what might have happened, please leave a comment below.

 

My own take on this is that the video says a lot about how we tend to see the uncanny in the unexplained. Although I don’t believe in ghosts or anything that might be labelled supernatural, I have a long-standing interest in how myths become woven into modern media. Back when I was a curator I researched a small collection of spirit photographs we hold, and they provide an interesting comparison to this video.

Mysteries & Media

Spirit photograph, early 20th century

Back in the 19th and early 20th centuries, spirit photographs were dramatic images of ghostly forms, and the skills of the medium-photographers who created these images were celebrated by spiritualists. Few people nowadays find these photographs convincing, as we know much more about how these images can be faked, and they simply look too contrived. But people are still fascinated by the accidental capture of apparently supernatural phenomena, whether a ghostly face in the margins of a photograph, or an unaccounted voice on an audio recording. We are now much more more likely to be intrigued by mysterious images when there is a lack of human intervention.

On the face of it, this video fits the bill. It was taken by constantly running CCTV, and having seen the original recording on the camera system, I can assert that it wasn’t faked. But do people really find this video spooky simply because of the objective way in which it was created?

One way of questioning this is to think about the effect of changing the circumstances of the video. What if this footage had been taken in a souvenir shop rather than a museum? What if the incident had been recorded at 3pm rather than 3am? What if it had been captured in colour rather than monochrome?

Would it still seem as eerie? I suspect that all of these factors would have diminished the impact of the video, even if the flash of the light and falling cup were still visible.

Regardless of whether you believe this might be a ghost or not (and it’s really not my role to try and steer you one way or another) it’s an example of how our expectations and assumptions change what we see. As museum professionals we are well aware of this when we create exhibitions or tell stories about our collections and buildings, including this small mystery about Brighton Museum.

Kevin Bacon, Digital Manager

 

 

 

 

Archaeological Finds from Across Sussex Mapped by Brighton Museum

Herbert Samuel Toms

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This bound volume of Ordnance Survey maps has been in Brighton Museum’s collections since about 1914.

It was actively used by Herbert Samuel Toms, a curator at Brighton Museum & Art Gallery from 1897 to his retirement in 1939 and a founding member of Brighton & Hove Archaeological Club (Society from 1935). It’s evident that his successors also made additions to the maps up until the 1980s. This valuable reference material has recently been catalogued and digitised in full to enable online access.

The annotations reference many finds in the museum’s collections, including the two Neolithic flint axes noted on the Newtimber map. Since January 2019 these have been on display in the Elaine Evans Archaeology Gallery at Brighton Museum.

Further maps deposited by the Brighton & Hove Archaeological Society and its members will be catalogued in the coming months. This rich collection also includes drawings and plans of archaeological sites in Sussex surveyed by Toms, his wife Christine, and other members of the Society that will be catalogued, digitised and published online during 2020.

Tasha Brown, Museum Futures Trainee

360 Walkthrough of the Booth Museum’s Osteology Gallery

360 Walkthrough of the Booth Museum’s Osteology Gallery

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

Museum Futures trainee Tasha Brown on creating an online legacy for the Osteology gallery in the Booth Museum of Natural History.

Most museum galleries come and go with very little trace left behind. Before the Osteology gallery at the Booth Museum closes for redevelopment, we decided to create a 360 degree walkthrough so that people can virtually revisit the gallery in years to come.

This isn’t the first time we’ve used 360 imagery in one of our sites. Last year we created a 360 view of the Saloon in the Royal Pavilion after the room was restored to its original Regency design.

As the digital trainee, I had the opportunity to create this interactive using 3D photos taken by a photographer a couple of months ago. I used the online 360 degree imagery tool Marzipano to turn the 3D photos into an interactive walkthrough and, having never made a 360 degree walkthrough before, I was intrigued to see how it would turn out. Luckily, it turned out quite well and we will hopefully look into creating more 360 degree walkthroughs in the future.

Hotspots of a few highlights from the gallery are highlighted with information bubbles, including a horse, hippopotamus and killer whale skeleton. The killer whale is no longer at the Booth Museum as it was moved to the National Maritime Museum Cornwall for a two-year loan last month.

Tasha Brown, Museum Futures Trainee

Correction 20 Feb 2020: we have just updated the walkthrough to improve image quality, and the current version no longer features the hotspots mentioned above. We will restore these in a new version soon.

The House of Ghosts: comparing Preston Manor with Borley Rectory

The library (formerly the Blue Room) at Preston Manor

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

In October we’ll be running House of Ghosts, an event exploring the dark side of Preston Manor. Ahead of this, Paula Wrightson looks at the story of another haunted house, Borley Rectory, and finds some suprising similarities with Preston Manor. Do haunted houses have key ingredients — aside from a ghost?

The Most Haunted House in England

Borley Rectory, 1892 (Public Domain via Wikimedia Commons)

How do you picture the perfect haunted house? I remember in my teenage years reading about Borley Rectory in Essex — ‘the most haunted house in England’ — and being absolutely terrified. My fear was heightened by the house not being some Gothic nightmare mansion of the classic Hammer Horror movie but an ordinary Victorian clergyman’s house in the English countryside. Just the name Borley Rectory sent a shudder up my spine for decades to come and even though the house no longer exists, I should not want to linger around the site of its foundations at dusk.

Borley Rectory was demolished in 1944 but rather like the tragedy of the Titanic the story endures, a perennial fascination. As a haunted house Borley ticks all the right boxes: phantom nuns, a headless man, ghostly footsteps, séances and an ordinary family put there by fate. What fascinates me as I research Preston Manor’s ghost story, are the parallels with the happenings at Borley Rectory and the nature of fear itself.

North House Farm Portslade c.1969. Does this look like the perfect haunted house?

Our triggers to fear

Human beings are hard-wired for fear as an evolutionary mechanism to protect us from the harm caused by enemies and predators. Our ancient brains tell us to stay away from dangerous places, situations and people.

In an essay on the subject Freud links fears of the uncanny (the creepy, the supernatural) to the primitive experiences of the human species. He also discusses our perceptions of fantasy and reality, believability and human subconscious. Freud cites E.T.A Hoffman’s 1816 short story Der Sandmann in which a sinister Sandman throws sand into the eyes of children who won’t sleep resulting in their eyes falling out and then collected by this terrifying character to feed to his children. Through the tale the protagonist, Nathaniel, constantly questions his childhood ‘real’ memories of the Sandman, touching the core of all horror tales.

For a story to be frightening it must also be true. If I knew the book on Borley Rectory that I read in Portslade Library in the 1970s was a work of fiction I would have forgotten it by now. Terror and enduring memory live in true-life narratives.

Is Preston Manor really haunted?

Preston Manor, 1908, BHTMP400381This is the most commonly asked question regarding the Preston ghosts: are the stories true? The historic ghost sightings at Preston, as at Borley Rectory, come from real-life people who actually lived in the house and in the same historic period: broadly, the last decades of Queen Victoria’s reign and into the first decades of the 20th century. People who actually lived and are not fictional are characters in whom we put our trust – and be assured they are telling the truth.

In Borley’s case the real-life people were clergymen and their families (surely inherently trustworthy). At Preston Manor the witnesses were distinguished persons of high social rank, who one supposes were not given to mischief and tale-telling. Unless you have visited Preston Manor and seen a ghost for yourself, you are reliant on the accounts told by others.

The legend of the ghostly nun

Colour photo showing re-enactment of bricked up nun at Preston Manor

Re-enactment of bricked up nun at Preston Manor

All authentic historic houses have a legend associated with them – all the better if a grisly tale of suicide, murder or similar nasty death. Traditionally, nuns are victim to misfortune and end up as lost wandering souls. In life these unfortunate nuns commonly transgress: they fall in love with monks or they fall pregnant and are cruelly punished by being bricked into walls.

Such wonderfully Gothic tales are invariably too deliciously thrilling to be true. Sir Walter Scott’s epic 1808 poem Marmion tells of an unchaste nun who, aside with her lover, is condemned to the terrible fate of being walled up alive for breaking her vows.

‘For there were seen in that dark wall,

Two niches, narrow, deep, and tall;–

Who enters at such grisly door,

Shall ne’er, I ween, find exit more.’

Scott’s works were popular and widely read and he is credited today with inventing the modern historical novel. Marmion is fiction but readers might easily go away with the notion that the events in the poem were based on reality.

The figure of a ghost nun is the most well-known at Borley. The famous paranormal researcher Harry Price (1881-1948) reported that from 1885 to 1943 at least seventeen people saw the apparition. In 1972 she was even photographed on the south side of nearby Borley churchyard.

Nuns are associated with Preston Manor too and I wonder if the Reverend D… from Bexhill who wrote to Preston Manor’s curator on 25 March 1976 had muddled both the Borley nun and Scott’s Sister Clare when he wrote asking for information for a social anthropology thesis he was writing.

‘Naturally I thought of the famous bricked-up nun of Preston Manor, and how Sir Thomas-Stanford was supposed to have encountered her, or she him’.

The Reverend goes on to make reference to the skeletal find of 1897: ‘they found the bricked-up skeleton of a nun, who had probably been there since the days of the original manor’. Sadly, Sir Thomas-Stanford left no known record of any encounter he might have had with a ghost nun.

The discovery of a skeleton during drainage works at Preston Manor in 1897 is well-documented as the supposed remains of Sister Agnes, a ghostly nun contacted via the 1896 séance. The skeleton could never be proved as that of a nun, but a legend was created.

This event happened during the residency of Eleanor Macdonald, Charles’s mother-in-law. Bones were also found at Borley, both in excavations under the cellar and in the garden, and with much speculation and legend-making about nuns.

The Blue Room

Both Borley Rectory and Preston Manor had a haunted blue bedroom, both reputed as the most haunted room in the house. In both cases the room’s title is supposed to come from the colour of the walls. At Borley the blue bedroom was directly above the library. At Preston the blue room became a library.

Both rooms share knocking noises, raps, thuds and the appearance of apparitions. The blue bedroom at Borley was the room in which the Reverend Henry D E Bull took to his deathbed in 1892 as did his son the Reverend Henry ‘Harry’ Bull in 1927. Eleanor Macdonald died in 1903 in Preston Manor’s blue bedroom after being visited by the ghost of the White Lady who bade her farewell scaring the wits out of the night nurse, Nurse Glasspool, who was sitting up on death watch. The Bull family lived at Borley for the longest period with Harry Bull the equivalent to Preston Manor’s John Bennet-Stanford; born within a decade of each other, both were flamboyant lively and fearless characters, fond of discussing the family ghosts.

The library (formerly the Blue Room) at Preston Manor

Dead pets and plague pits

The Bull family of Borley Rectory created a pet cemetery for cats mirroring Preston Manor’s cemetery for dogs. At Borley the cemetery was situated at the far end of the garden with headboards erected in a circle. Disused once the Bull family left the house in 1927, the cat cemetery still appears on a 1946 plan of the Rectory and grounds.

In 1937 Sidney Glanville, a paranormal investigator working with Harry Price, was concerned at finding the cats’ cemetery dug up and the graves defiled. Enquiries in Borley village elicited no clues as to who had disturbed the graves and why. Glanville re-dug the whole area and found more bones. He believed these to be horses and oxen, although Harry Price suggested the unidentified bones could be human, perhaps part of the skeleton (of the nun, naturally), or rather more eerily, victims of the Great Plague of 1664-65.

Concerns about plague would have touched residents of the large manor house that stood on the site of the current day Preston Manor. Nothing remains of the substantial structure apart from an impressive stone doorway dating to the 1600s which can be seen today in the basement kitchen.

Pet cemetery at Preston Manor

The Preston Manor pet cemetery for dogs has never been disturbed. However, bones have been found in the Preston Manor grounds not far from the pet cemetery. A series of small test pits dug by the Brighton & Hove Archaeological Society in May 2019 resulted in the following report:

‘All of the test pits produced animal bones, with a total of 29 being collected. The majority of the bones, 19 in all, were long bones possibly from sheep/goats. There were 2 fragments of bone from a larger animal consisting of an upper leg bone and a single rib. There were 2 teeth found, probably sheep/goat, 3 very small bones including a rib from either rodents or small mammals and 2 unidentified fragments. One long bone had a curious green staining along most of its length.’

Brighton & Hove Archaeological Society test pit Preston Manor Friday 31st May 2019

Enduring legacy

Once a house gets a haunted reputation, that reputation never dies. In Preston Manor’s case the household admitted to ghosts from the 1880s at least. Henry Roberts, the first curator of the Thomas Stanford Museum (as Preston Manor was then called) was told about the ghosts by a family member who urged him to include them in his guidebook.

Although interested, Mr Roberts decided not to mention the ghosts. Historic house museums in the 1930s were conservative institutions concerned with fine objects and grand furnishings. Even the lives, duties and quarters of domestic servants were disregarded as unimportant and uninteresting  so there was no chance for the ghosts to get an airing.

You don’t have to believe in the paranormal to enjoy a good haunted house story. Paradoxically, you can absolutely not believe in ghosts yet still fear seeing one. I often say ghosts are a bit like spiders in your house. You suspect they may lurk in dark corners but you don’t go looking for them and happy co-existence is possible — if they don’t come dangling in front of you making you jump.

The story of the Preston Manor hauntings is an unfolding narrative. Only last summer I was called from my office to meet with a visitor who, while looking with interest at the Victorian knife polishing device in the Servants’ Hall, saw a woman wearing long black clothing appear then disappear close by.

‘Ah yes, the Lady in Black,’ I said because she is a well-known ghost in the house, having been seen before in that spot and on the servants’ staircase, in one of the maid’s bedrooms and crossing the landing.

However, a lady in white was most commonly seen pre-20th century.

‘She is quite harmless and interesting,’ John Bennet-Stanford wrote of the spectre in 1935, adding she ‘was a great friend of my grandmother, Mrs Macdonald, who constantly saw her’.

The Stanford family, 1890s

Preston Manor is often described as a time-capsule and indeed entering the house is a journey back in time. Along with antique furniture and décor, curios and quaint-sounding morning rooms and boot halls, so the ancient household ghosts endure sometimes as stories handed to us from generations past and sometimes as a palpable essence; a figure half-seen, a voice heard through the silence begging the question asked at Mrs Macdonald’s séances: ‘is there anybody there?’

The tangled web

The truth about ghosts can never be known and I have no doubt that in a hundred years’ time people will still be debating the subject and haunted house tours will be as popular as they are today. The Preston Manor ghost stories endure because of their authenticity, the oldest being passed down to us in unique historical record from letters dating to the early 1930s.

Even with such evidence ‘true’ ghost stories are apt to warp with time through the ‘Chinese whispers’ effect causing unintended misinformation to creep out. One fake story can lead to more, similar to how a spider weaves a web: as the story multiplies and the web becomes ever more tangled we can become trapped in fake news.

This effect brings to mind a line from Marmion (often incorrectly attributed to Shakespeare)

‘Oh what a tangled web we weave,

When first we practice to deceive!’

This autumn Preston Manor will unravel its ghostly web and reveal the truth in House of Ghosts, a new and unique event aimed at provoking thought in believer and sceptic alike.

Find out for yourself

On Saturday 19 October the House of Ghosts is an opportunity to find out about the famous hauntings of Preston Manor.

After enjoying a warm yet curiously intriguing welcome, guests will walk haunted corridors, staircases and spaces usually closed to the public and experience the sensation of being where actual hauntings occurred including the infamous blue bedroom. To further experience life in a late-Victorian house a guest medium will take you through a demonstration or sitting (or in 1880s parlance, a séance). The event will end with a Q&A with Preston Manor’s ghost specialists.

Paul Wrightson, Venue Officer (Preston Manor)

 

 

 

My Year as a Digital Trainee

Museum Futures trainees at the British Museum (credit: Benedict Johnson)

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

In a few weeks I will finish a year-long placement with the digital team at Royal Pavilion & Museums.

During the first week of my traineeship in January I wrote a blog about the upcoming year and what I hoped to gain from my placement. Now, in my final month, I’m using this opportunity to reflect on this past year and the experiences I’ve gained.

A group of people gathered around a glass case.

Museum Futures trainees at the British Museum (credit: Benedict Johnson)

This placement is part of the Museum Futures traineeship, a National Lottery Heritage Funded programme run by the British Museum with eight trainees aged 18-24 based in museums across the country:

  • The British Museum
  • The Garden Museum
  • Museum of East Anglian Life
  • National Museums Liverpool
  • Norfolk Museums Service
  • Royal Pavilion & Museums
  • South West Heritage Trust
  • York Museums Trust

In the blog I wrote during my first week, I wrote that I was “really looking forward to expanding my digital skills, gaining experience of working in the museum sector and learning how to use new digital technology.” This I have certainly done, having worked on various projects with the digital team and colleagues in other teams across the organisation.

You may notice in this first blog I started a sentence with “along with the digital team”, perhaps in the belief that a newbie trainee with no previous experience in the sector wouldn’t be considered part of a well-established team; but I was wrong. I’ve been treated as, not only a member of the digital team, but also an embedded member of staff at Royal Pavilion & Museums, despite only being here a year and not technically being an employee.

January

The first few weeks of my placement involved getting to know the organisation and meeting colleagues, as well as familiarising myself with the Digital Media Bank (our online database with images of objects from the collections). As part of this familiarisation, I added geographical location data to thousands of topographic prints in our collections. Although this function is still being tested, these prints can now be searched by location.

During my second week I attended a digital training session run by South East Museum Development (SEMD), where I got to meet other digital museum professionals in other local organisations, including Oxford University, Museum of English Rural Life and Hampshire Cultural Trust, followed by a second digital SEMD training day the next month.

I also started attending meetings to discuss the Gift app, an interactive app developed by local artists Blast Theory to send virtual gifts to friends using objects on display in Brighton Museum. The app didn’t launch until June so these prior meetings were to organise the logistics and to carry out the final testing of the app. This was a great introduction to working with external organisations to implement digital technology in museums, something which I have since had much more experience on.

February

Pavilion Review October 2003

Pavilion Review October 2003

In February I digitised the Pavilion Review, the old Royal Pavilion & Museums newsletter which ran from 1984 to 2008. Getting to make this fascinating archive of local history stories and behind-the-scenes insights available to the public gave me such a sense of accomplishment knowing that my work had resurfaced hundreds of interesting stories.

In mid-February all the trainees met for the first time. We had a three day induction at the British Museum where we had a back-of-house tour of the museum (including the Egyptian stores, prints and drawings collections and photography studio), had an introduction to the qualification we’ll be working towards (Level 3 Diploma in Cultural Heritage) and an introduction to digital preservation (protecting digital assets from becoming obsolete and creating backups of assets in multiple places). This was the first of nine training days in which the trainees meet up to organise and host training sessions at their museums based on what they’ve been working on.

Nine people on laptops gathered around a large table with a bookshelf in the background.

Trainees at the British Museum induction (credit: Benedict Johnson)

March

Holding a tiger skull at the Booth Museum

The following training day was at Norfolk Museums Service in March, focusing on documentation, digitisation and collection management standards.

March was also the first time I got to see the Booth Museum where I was given a tour of the stores. This was my first experience of object handling; everything from a taxidermy African penguin to a tiger skull.

It was around this time that I got a mentor, an experienced museum professional in another organisation to support and guide me through the start of my career. I didn’t realise at the time just how much of an impact this mentorship would have on my understanding of the sector.

April

The next training day was in April when all the trainees came down to Brighton and the digital team hosted a training day about blogging, storytelling using collections and analysing audience reach. Although still very new to the concept at the time, I delivered training on SEO (Search Engine Optimisation), the process of formatting online content in a particular way to increase search traffic to a website. This was my first attempt at public speaking, albeit only in front of a dozen colleagues and peers. I managed to stutter my way through, but luckily I’ve had more chances to practice my public speaking since.

A few days later we headed to National Museums Liverpool for training relating to digital access, digital engagement and more documentation training.

May

A group of people listening to someone talk in a conservation workshop.

South West Heritage Trust training day

In May we had another training day, this time at South West Heritage Trust focusing on digital preservation and ethics, including tours of the Museum of Somerset and the Somerset Heritage Centre. Having only recently started digital preservation at Brighton, this was one of my first experiences of seeing digital preservation systems in use.

June

Holding a boom mic outside the British Museum.

Film training at the British Museum

June started with another trip to the British Museum for a training day with the broadcast team learning about filming, developing career skills and pitching ideas.

I started to expand my experience in the sector later in the month when I became one of eight members of the Youth Panel for Kids in Museums. This has been a great opportunity to broaden my understanding of the sector while working to help shape upcoming projects and support other young people in museums while using the skills I’ve gained from my Museum Futures placement.

July

Cleaning sculptures in Museum Lab with brushes

Cleaning sculptures in Museum Lab

In July came one of my favourite projects: the Art UK Sculpture Project. Although the majority of the work was left to the photographer, curator, collections assistant, conservators and technicians, having the opportunity to shadow them on such a large scale project and improve my object handling and documentation skills was a great step in my training.

In late July we had a training day at the Museum of East Anglian Life learning about different types of volunteering in museums, with a focus on their digitisation project Shooting Stars. I couldn’t think of a better way to spend the hottest day of the year than at a heritage farm in Suffolk with ice cream!

August

In August I began working on another one of my favourite projects: a web app to support accessibility for the Floating Worlds: Japanese Woodcuts exhibition at Brighton Museum which includes a British Sign Language introduction video and audio clips for text panels.

Around the same time I also had the opportunity to help out at a youth event run by Remix the Museum for young people to use objects at the Booth Museum and Brighton Museum as inspiration for stop motion animations relating to extinction and the environment.

September

September started with another training day, this time at the Garden Museum in London. Here we received training on image copyright, online collections and creating learning materials. By this point we were more aware of our strengths and weaknesses, and training days could be focused around these weaknesses.

Inside the large dome on top of the Royal Pavilion. A disused room with a fireplace in the centre and a door to either side.

Inside the Saloon bottle

At the end of the month I went on a staff tour of the basements and tunnels below the Royal Pavilion. I’d heard about the tunnels below the Pavilion but to see them for myself was an amazing experience and one was of the highlights of the year. A few days later I had the opportunity to go into the Saloon bottle (the largest dome above the Pavilion), something I never imagined I’d have the chance to do!

I also started a really interesting project of accessioning and digitising archaeological maps from across Sussex with a hope to publish them on the website soon.

October

In October I attended my first museum conference, the Museums Association conference at the Brighton Centre. Having such a large conference so close to home, it would have been a missed opportunity not to go. This was a fantastic chance to meet and learn from other museum professionals who I wouldn’t have otherwise met.

The following week I headed up to York for the final Museum Futures training day centred around digital interactives and then to the British Library for the Museums+Tech conference on digital technology providing open access to museum collections.

November

November was the month of stepping outside of my comfort zone with two more public speaking opportunities. In the first week of November I spoke at the National Programmes conference at the British Museum and in the second week I spoke at an employability symposium run by Kids in Museums at the London Transport Museum, both times about my experience as a Museum Futures trainee and alternative routes into the sector.

Also in November the digital team started preparing new digital preservation processes to protect the organisation’s digital assets for future access, as well as testing an app called One Minute Experience in Brighton Museum, created by the University of Copenhagen which allows users to read bitesize interpretations of museum objects.

December

Ordnance Survey map of Brighton & Hove.

Ordnance Survey map of Brighton & Hove

I may be coming to the end of the placement, but there’s a lot of work I still have left to do as I’m finishing my project of accessioning and digitising archaeological maps, and the digital team is working on digital preservation procedures.

This is just skimming the surface of the fantastic opportunities I’ve had over this past year, and I still can’t believe I was lucky enough to get this role. Next year nine trainees will be based in different museums across the country working on similar projects and getting the same valuable experience.

As much as I will miss working at Royal Pavilion & Museums, I’m excited to put my experience from the traineeship into practice as I continue my career in the sector, putting the skills I’ve learned and the qualification I’ve earned into use.

Tasha Brown, Museum Futures Trainee

What’s it like to do a Tunnel Tour?

Tunnel connecting Royal Pavilion to the Dome and Brighton Museum

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

Last month some Royal Pavilion & Museums staff had the opportunity to do a Tunnel Tour; a glimpse into the lesser-seen servant areas of the Royal Pavilion.

Looking down the length of a tunnel with the lights on

Tunnel connecting Royal Pavilion to the Dome and Brighton Museum

Hidden beneath the regal glamour of the Royal Pavilion lie a series of interconnected tunnels connecting the Pavilion to the Brighton Dome, George IV’s riding stables at the time. Until recently, they were restricted from public access but now visitors can take a Basement and Tunnel Tour to learn more about the fascinating history below the Pavilion. In early September some Royal Pavilion & Museums staff were given the opportunity to experience one of these tours, something I’d been hoping to do since I started in January.

Our tour started in the Red Drawing Room which is usually reserved for functions. Here Visitor Services Officer Geoff explained the history of the tunnels and the Prince Regent’s interest in Brighton. The future king first visited in 1783 at the age of 21 and built the Royal Pavilion as a seaside pleasure palace. It was around this time that Dr Richard Russell had published works detailing the curing effects of Brighton’s seawater, an appealing prospect to the Prince Regent considering his already failing health. A large basement was built underneath the estate to allow servants to move freely throughout the building without risk of being seen by the Prince’s guests. Later another tunnel was built to connect the Pavilion to the riding stables for the king to manoeuvre around his estates when his weight gain caused him to become too embarrassed to be seen by the public.

After this introduction, we were led to the reception area where eagle-eyed visitors may notice a hidden door leading directly to the basement. The change in atmosphere was astounding, going from the pristine elegance of the Pavilion to the confined space of the basements. It was a telling look into the lives of the servants compared to royal company.

The first few steps of a small white staircase before curving behind a blank wall. A sign on the wall opposite reads 'to Sir Benjamin Bloomfield's office'.

Staircase to Sir Benjamin Bloomfield’s office

We were then shown to a staircase which once led to the office of Sir Benjamin Bloomfield, the Prince Regent’s secretary. It now less glamorously leads to the toilets next to the Tearoom.

On our way to the Boiler Room, our attention was diverted to a small gap in the wall which Geoff explained was the foundations of the Music Room. In the Boiler Room we were told about the gruelling conditions in which the servants in this room would have to work. Although the boiler system was revolutionary in its day, one man would be shovelling coal in this windowless room all day in overwhelming heat. One thing that caught my attention was being able to hear the footsteps of visitors walking through the Pavilion as the floorboards creaked above us.

In the adjoining room, Geoff explained to us the lengths the conservation team went to in an effort to fix a panel in the Music Room which had been damaged due to a connecting air vent in the basement.

A small enclosed area with white bricks and a darker void in the middle. A sign below reads 'music room vent'.

Music Room air vent

Continuing with the tour, we passed a series of doors leading to small rooms used as air raid shelters during World War II. Each door had an image showing the inside of the shelters, similar to the image shown below taken in 1939. One room, now used as a supply store, has an original ‘smoking strictly prohibited’ sign at the far end peeking through a stack of cardboard boxes.

The tour then led us onto the tunnels connecting the Royal Pavilion to the Dome and Brighton Museum which cost the very specific price of £1,786.01 to build. You can see where the paint has peeled due to the damp revealing the different layers applied over the years. The structure of the tunnels has been strengthened in more recent years to support the weight of the ice rink which is set up every winter on the gardens above.

Looking down the length of a tunnel with the lights off

Tunnel connecting the Pavilion to the Dome and Brighton Museum

To be walking the very tunnels the Prince Regent once walked is a surreal experience, one which can now be enjoyed by visitors.

Black pipes running along the length of the tunnel.

Pipe along tunnel

There were plans to hold these tunnel tours about three years ago, before a pipe suddenly burst causing the tunnels to flood, requiring work to be carried out on the floors.

If you look up while walking along this particular tunnel, you’ll see a number of small round windows in the ceiling; one of the few glimpses of daylight. These may look familiar to a keen eye as they can be seen from above while walking through the Royal Pavilion Gardens. You can tell by the depth of the windows that you’re getting further and further underground as you head towards the Dome.

As we were nearing the end of our tour, we passed a panel showing evidence of the original 1867 wallpaper of the Dome when it was converted from riding stables to a concert hall. We eventually emerged from the tunnels into the Brighton Museum gift shop, where we concluded our tour. Even George IV knew any good tour should exit through the gift shop!

A white wall with a dark panel vaguely showing the design of original wallpaper. A sign next to the panel reads 'original 1967 wallpaper'.

Original 1867 Dome wallpaper

Tasha Brown, Museum Futures Trainee

Grateful George’s horse bling: the Brighton Cup up-close

The Brighton Cup, trophy

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

Curator Alexandra Loske on the Brighton Cup, a trophy that’s currently on display in Brighton Museum, and how George IV supported horse racing in Brighton.

It is well known that George IV was a connoisseur of all things bling and beautiful. The Royal Pavilion boasts one of the most spectacular and valuable collections of silver-gilt in the country, most of it displayed in and next to the Banqueting Room.

One piece, the ‘Brighton Cup’, has a very special connection with George, and has been moved to the Prints & Drawings Gallery in Brighton Museum for the exhibition All the King’s Horses, which explores George’s obsession with all things equestrian. This is a rare opportunity to see this magnificent object up-close, from a different angle, newly cleaned, and without the distraction of all the other exciting objects in the Pavilion. It also gives us an opportunity to tell its story.

The large vase-shaped lidded Brighton Cup is made from solid silver covered with a thin layer of gold (‘silver-gilt’). . Made by John Emes for the royal goldsmiths Rundell, Bridge and Rundell in 1804.

Racing at Brighton began in 1783, the same year George first visited the town, as a young prince of 21. Although well known, the Brighton track initially struggled to make money. A small group of keen wealthy supporters including the Earl of Egremont and the Duke of Richmond supported it financially. The first grandstand, seen in Thomas Rowlandson’s print below (top right), was built in 1788, and it is likely that the races were one of the main reasons George was attracted to the area.

The large vase-shaped lidded Brighton Cup is made from solid silver covered with a thin layer of gold (‘silver-gilt’). It was commissioned by George (when Prince of Wales) in 1804 as a trophy for the Brighton Races of 30 July 1805. Fittingly, it is topped by the Prince of Wales’ feathers, which we also see on the east front of the Pavilion and in many other locations in the building.

Made by John Emes for the royal goldsmiths Rundell, Bridge and Rundell, the cup cost George more than £157. On one side a plaque depicts a view of the Royal Pavilion in its early stage, a neo-classical building designed by Henry Holland, on the other side the figure of Victory presents a laurel wreath to the winner of a classical horse race (with nude riders!).

As luck would have it, the 1805 Brighton Races were won by George’s own horse Orville, a famous racehorse which he had bought less than a year earlier from Christopher Wilson. George could hardly present the cup to himself and was so grateful to Wilson that he decided to give it to him instead, as a mark of his pleasure at the success of Orville. He duly inscribed it ‘The Gift of His Royal Highness the Prince of Wales to Chris. Wilson’. The cup remained in the Wilson family until 1952, when it was acquired by the Royal Pavilion with the help of the Art Fund. Even its original case survives, which was too large to include in the exhibition (see below).

Original case of the Brighton Cup

There is another extraordinary object in our collection that relates to the cup, and it is currently displayed next to it: A letter to Christopher Wilson at Newmarket, written by George himself, at the Royal Pavilion on 28 October 1804, complete with the royal seal. In it a grateful George thanks Wilson for selling him the Orville:

‘I can not help writing you a line, to thank you for letting me become the [purchaser] of Orville. I assure You I am most sensible of your kind attention to me on this as well as on all other [occasions?].’ He adds that ‘that there is always [a] good cheer at the Pavilion, & that there is always a hearty welcome ready for you there or at Carlton House.’

Letter from George IV (when Prince of Wales) to Christopher Wilson, 28 October 1804

 

Alexandra Loske, Curator, Royal Pavilion Archives

More Information

 

 

The Moon before we got there: Samuel Palmer’s The Dell of Comus at Brighton Museum

Samuel Palmer’s The Dell of Comus (1855). Brighton Museum and art Gallery, 2019

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

As many of us mark the 50th anniversary of the Apollo 11 lunar landing, curator Alexandra looks at how artist Samuel Palmer’s fascination with the moon can be seen in this painting on display in Brighton Museum.

This month it will be 50 years since humans first set foot on another world, the moon, our nearest celestial neighbour. It was a one of the greatest human achievements to date and gave us chance to look back at ourselves, our marvellous blue Earth sitting in the darkness of the universe. Reason then for me to reflect on this event half a century later, and to look for moon-related art in our city’s collections.

Samuel Palmer’s The Dell of Comus (1855). Brighton Museum and art Gallery, 2019

One stood out for me: a rarely seen painting by the Romantic artist Samuel Palmer (1805-1881), who became obsessed with the moon from an early age. In 1824 the painter John Linnell (whose daughter he later married) introduced him to the visionary poet and painter William Blake (1757–1827), whose influence is obvious in Palmer’s work. His sketchbook from the same year is filled with moon images and notes, such as ‘Sky, cool neutral twilight colour / Moon brilliant silver […] And the whole landscape lustrous / With the morning twilight’. A small moonlit nocturne by Linnell is also in our collections. We have a delightful small watercolour by Linnell in our collection, which depicts a nocturnal landscape dramatically lit by a full Moon.

Moonscape by John Linnell, 1877

Palmer’s moons are often unnaturally huge and seem to be bumbling along the horizon, shining a strong silvery light on to pastoral scenes, idealised villages, people going to church, illuminating sceneries so idyllic they almost seem unreal. He often depicted a full moon, and sometimes sickle moons with earthshine visible.

Samuel Palmer’s The Dell of Comus (1855) (detail showing the Moon in top left corner).

To Palmer the moon was symbolic of God’s benevolent presence, but there is also a pagan feel to many of his works. The artist was known to enjoy walks by moonlight, something he had in common with many contemporary poets, writers and painters, who sought inspiration from the moon, or used it as a key motif in their picturesque or sublime landscapes, romantic poems or gothic novels. It is possible that Palmer was so interested in moonlight because he feared its disappearance with the advent of artificial lighting. This has indeed happened: we managed to reach the moon in 1969, but we lost pure moonlight along the way, certainly in urban areas.

To mark the anniversary of the Apollo 11 moon landing we are displaying Palmer’s The Dell of Comus, a large watercolour and gouache painting, in Brighton Museum. Painted in 1855, it is one of many of his illustrations of works by the 17th century poet John Milton (1608–1674), whose work Palmer greatly admired. It is one of three large watercolours for Milton’s masque Comus (first performed in 1634), in which a young unnamed ‘Lady’ gets lost in the woods and, while waiting for her brothers to return with food, is captured by Comus and his debauched followers, who attempt to seduce her and break her virtuous spirit.

In our painting Palmer illustrates a passage where Thyrsis, the ‘Attendant Spirit’, disguised as a shepherd, watches a wild and raucous gathering of Comus and his crew:

This evening late, by then the chewing flocks

Had ta’en their supper on the savoury herb

Of knot-grass dew-besprent, and were in fold,

I sat me down to watch upon a bank

With ivy canopied, and interwove

With flaunting honeysuckle, and began,

Wrapt in a pleasing fit of melancholy,

To meditate my rural minstrelsy,

Till fancy had her fill. But ere a close

The wonted roar was up amidst the woods,

And filled the air with barbarous dissonance.

Samuel Palmer’s The Dell of Comus (1855) (detail showing Comus’ party)

Comus’ party takes place during a full moon, which illuminates the scene from the top left corner. Look closely, and you will see an unidentified ghostly figure standing in a vertical ray of moonlight. Could this be the real shepherd, or perhaps the unnamed ‘Lady’ of the masque?

Samuel Palmer’s The Dell of Comus (1855) (detail showing the Moon and mysterious figure). Brighton Museum and art Gallery, 2019

New photography of the work has also revealed that Palmer drew faint concentric circles around the moon, possibly to establish the gradation of the moonlight he so loved. Palmer influenced the painters of the Pre-Raphaelite Brotherhood and their followers, especially with his detailed and highly realistic depiction of vegetation, something that is very prominent in our painting.

Alexandra Loske, curator and co-author (with astronomer Robert Massey) of the book Moon: Art, Science, Culture.

This is a longer version of an article previously published in Viva Brighton Magazine.

Samuel Palmer’s The Dell of Comus is on display on the upper floor of Brighton Museum & Art Gallery (until approx. January 2020) and Alexandra will give a Bitesize Museum talk about the painting and the Moon in Romantic art on  on Tuesday 8 October 2020 (free with admission).

More by Alexandra on the Moon

BBC World Service – The Forum: The Moon from Earth. Rajan Datar talks to Monica Grady, Professor of Planetary and Space Sciences at the Open University in the UK; Anthony Aveni, Professor Emeritus of Astronomy, Anthropology, and Native American Studies at Colgate University in the US; and Alexandra Loske.

BBC World Service – The Real Story:The future of space exploration. In July 1969 Neil Armstrong became the first man to set foot on the Moon. It was a culmination of human and technological achievement. But fifty years after that historic moment, what’s the current state of space exploration? Join Celia Hatton and guests as they discuss the future of space exploration.

Mission to the Moon – A Space Boffins/The Naked Scientists podcast, presented by Richard Hollingham and Sue Nelson. Recorded at the Royal Astronomical Society in London, guests include Dr Robert Massey and Dr Alexandra Loske, as well as Apollo 8 Commander Frank Borman, former European astronaut Thomas Reiter and Caroline Geraghy.

Astrotalk UK: Episode 86 – Moon: Art, Science, Culture. Alexandra Loske and Robert Massey talk with Gurbir Singh about the impact of the Moon on the fine arts, literature, mythology and how science and culture overlap.

For the actual anniversary of the Moon landing Alexandra and Robert Massey will be at the Bluedot Festival at Jodrell Bank (18-21 July). Bluedot 2019 celebrates fifty years since the Moon Landings with a spectacular line-up combining music, science, cosmic culture and more beneath the Lovell Telescope. Their talk will be streamed live from the festival.

Sake Dean Mahomed — Brighton resident and Regency entrepreneur

Sake Dean Mahomed. Oil painting by Thomas Mann Baynes, c1810

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

Earlier this month, Sake Dean Mahomed became the star of a Google Doodle. The doodle was timed to mark the anniversary of the publication of ‘The Travels of Dean Mahomet’, the first book in English by an Indian author. But Mahomed’s most successful years were in Brighton, as described by guide and researcher Louise Peskett.

Oil portrait of Sake Dean Mahomed, an Indian man in a black coat holding white gloves, resting his arm on a chair.

Sake Dean Mahomed. Oil painting by Thomas Mann Baynes, c1810

Born in Patna, India, in 1759 into a Muslim family, Mahomed began his career in the army of the British East India Company where he served until 1782.  He left to accompany his friend and commanding officer to Ireland where he met and married a local woman, Jane Daly.

When the couple migrated to England, Mahomed was never short of ideas about how to make his living.  In 1794 he published a book about India, The Travels of Dean Mahomet, now regarded as the first work in English by an Indian author. He also opened a restaurant in London selling Indian food, the ‘Hindoostane Coffee House’ near Portman Square. Opening in 1810, this was the first Indian restaurant in Britain.

Unfortunately Mahomed’s restaurant was perhaps a little too ahead of its time and it fell into difficulty.  However, his next career move was much more successful. Arriving in Brighton in 1814, at the height of the popularity of sea bathing, Mahomed promptly opened an indoor baths in Pool Valley on the seafront.

Etching showing large building on Brighton seafront bearing name 'Mahomed's Baths'

Mahomed’s Indian Vapour Baths, c1825

In Mahomed’s Baths, people could bathe in sea water that had been piped in and warmed – a much more attractive option for many people than being dipped in the cold, rough seas. Mahomed also introduced a range of treatments from India, such as ‘’Shampooing with Indian Oils’, a type of aromatherapy massage, and ‘the Indian Medicated Vapour Bath’ which required people to sit down and breath in steam with added medicinal herbs. He described the treatment in a local newspaper as:

‘…a cure to many diseases and giving full relief when everything fails, particularly Rheumatic and paralytic, gout, stiff joints, old sprains, lame legs, aches and pains in the joints.’

Mahomed’s Baths could be considered one of the first spa experiences. It was such a successful enterprise that many other indoor baths started to pop up in Brighton. Mahomed’s success didn’t go unnoticed, and he was appointed shampooing surgeon to kings George IV and William IV. He treated both kings in the nearby Royal Pavilion.

Louise Peskett, tour guide and researcher

Gallery

A selection of items from our collections relating to Sake Dean Mahomed. Hi-res images of these can be downloaded for free from our Digital Media Bank.

This post was originally written as the story for a prototype audio guide to Brighton Museum. Although not yet released, you can view work in progress at go.brightonmuseums.org.uk