A Stegosaurus in South Kensington

Stegosaurus

Stegosaurus © NHM 2014

It’s not every day that a stegosaur travels from Wyoming to London. In a special talk at Dorset County Museum, find out how the Natural History Museum recently acquired the most complete skeleton of the iconic Jurassic dinosaur Stegosaurus.

In his first lecture on the subject outside London, Professor Paul Barrett, Head of Fossil Vertebrates and Anthropology at the Natural History Museum, explains all.

“The Stegosaurus launch took over my life,” explains Professor Barrett, “But we can now talk about this whole story and what we have in store for the specimen in London.”

After a year of working on the specimen in secret, Professor Barrett, the Natural History Museum’s resident dinosaur specialist, will reveal many secrets about the biology of dinosaurs and their evolutionary patterns. Many of the images which have been confidential until now will be shown on the night.

Professor Barrett’s talk takes place at 6.30pm on Wednesday 14th January. Entry is FREE and donations are welcome on the night to cover costs.
For more information phone 01305 262735 or visit www.dorsetcountymuseum.org

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Proceedings of the Dorset Natural History and Archaeological Society Vol 135 – 2014

Proceedings of the Dorset Natural History and Archaeological Society Volume 135 - 2014The Proceedings of the Dorset Natural History and Archaeological Society Vol 135 – 2014 is out now and available at the Dorset County Museum shop for £15.00. For more enquiries Tel: 01305 262735 or email enquiries@dorsetcountymuseum.org

One of the articles featured in the Proceedings and which is of particular interest this time of year is the folk custom of Mumming Plays.

Mumming plays, like several other winter customs, have enjoyed a huge revival in modern times, largely due to the enthusiasm of morris sides. This paper written by Jerry Bird titled  ‘Mumming Plays in Hardy’s Wessex’, delves into the mysterious origins of the Christmas mumming play, before examining its extent and importance in the County of Dorset.

The Mummers, as remembered by Thomas Hardy for the Mummers' play in the 'Return of the Native' performed in Dorchester in 1920 by The Hardy players

The Mummers, as remembered by Thomas Hardy for the Mummers’ play in the ‘Return of the Native’ performed in Dorchester in 1920 by The Hardy players © DCM

Thomas Hardy famously used a mumming play as a dramatic device in his novel Return of the Native, and seems to have had an abiding interest in folk-drama generally; his last published work which was not poetry was The Famous Tragedy of the Queen of Cornwall, billed as a ‘play for mummers’. He came from a long line of folk-musicians and his cousins performed in the Puddletown play. Despite this, the play he used in his novel appears not to have a local origin, though his description of the players was accurate, and he later borrowed a genuine Dorset script to write a new version for a stage production of ‘Return of the Native’ in the 1920s, thus inadvertently becoming an early revivalist.

Jerry Bird has collected together numerous references to mumming plays in Dorset, and the paper is well illustrated with photographs from the Vaughan Williams Memorial Library and elsewhere. The incident in which the Fordington mummers did battle with the Bockhampton band in Dorchester in 1845 is covered, with contemporary newspaper accounts reproduced here in full for the first time.The author explores the social and economic background to this event in the context of the upheavals of the time amongst the rural workforce, which included rick-burnings and the’Swing riots’ as well as the Tolpuddle Martyrs’ trial.

The well-known folklorist John Symonds Udal, author of Dorsetshire Folk-lore was an early collector of mumming plays, and fortunately the author was able to have access to his original play scripts and notes. There seems to have been a distinctive character to West Dorset plays in particular, which incorporated other traditions such as the ‘hobby horse’ and the Dorset Ooser.

The Appendix includes the scripts of ten Dorset plays, including Hardy’s own version. These are well annotated with extensive notes, and illustrations, including some musical notation and a photograph of one of Udal’s original scripts.

Other Papers in the Proceedings include:

  • Mabel St Clair Stobart 1862-1954: The Lady of the Black Horse, Peter Down, 1-19
  • ‘Primitive Betrothal’: The Portland Custom and Thomas Hardy’s The Well-Beloved, Jacqueline Dillion, 20-32
  • Sir Claude Scott and the development of Lytchett Minster in the nineteenth century, June Palmer, 33-45
  • How the Newburghs of Lulworth came to own Sutton Poyntz, William Egerton, 46-55
  • The Poets’ Christmas Eve: mythology into verse, Alan Chedzoy, 56-61
  • An account of Mary Anning (1799-1847), fossil collector of Lyme Regis, Dorset, England, published by Henry Rowland Brown (1837-1921) in the second edition (1859) of Beauties of Lyme Regis, Michael A. Taylor and Hugh S. Torrens, 62-70
  • An anonymous account of Mary Anning (1799-1847), fossil collector of Lyme Regis, Dorset, England, published in All the year round in 1865, and its attribution to Henry Stuart Fagan (1827-1890), schoolmaster, parson and author, Michael A. Taylor and Hugh S. Torrens, 71-85
  • Mumming Plays in Hardy’s Wessex, Jerry Bird, 86-148
  • The Cyril Diver Project, John Newbould and David Brown, 149-159
  • The Steve Etches collection of Kimmeridge Clay fossils: a Jurassic jewel on the Jurassic Coast, David M. Martill, 160-164
  • Severe drought and exceptional summer flooding: consequences for the South Winterborne macroinvertebrates, J. A. B. Bass, Patrick D. Armitage and J. L. Pretty, 165-166
  • Coastal landslide mapping of the Black Ven Spittles complex, Charmouth, Chloe Morris and Servel Miller, 167-180
  • New insect fossils from the Lower Lias (Lower Jurassic) of West Dorset, Robert A. Coram, 181-188
  • The gastropod and ammonite fauna of two anomalous facies in the Inferior Oolite of Burton Cliff, South Dorset, John Whicher, David Sole and Robert Chandler, 189-197

Archaeology

  • Hengistbury Head, Bournemouth, Mike Trevarthen, 198
  • Wood Hill, Charlton Down, Charminster, Richard Tabor and Cheryl Green, 198
  • 2 Wick Lane, Christchurch, Mike Trevarthen, 198
  • HMP Dorchester, Dorchester, Tom Weavill, 198
  • Max Gate, Dorchester, Mike Trevarthen, 198-199
  • Wall behind Wadham House, 50 High West Street, Dorchester, Richard Tabor and Cheryl Green, 199
  • New sea wall, Kimmeridge Bay, Kimmeridge, Mike Trevarthen, 199
  • Keates Quarry, Home Field, Acton, Langton Matravers, Mike Trevarthen, 199
  • Lewis Quarry, Home Field, Acton, Langton Matravers, Peter Bellamy, 199
  • Bottle Knap Cottage, Long Bredy, Mike Trevarthen, 199
  • Geophysical survey of the South Lawn, Kingston Lacy Park, Pamphill, Martin Papworth, 199-200
  • Limekilns at Inmosthay Industrial Estate, Inmosthay, Portland, Richard Tabor and Cheryl Green, 200
  • Land to the west of Reap Lane, Southwell, Portland, Richard Tabor and Cheryl Green, 200-201
  • Sherborne House, Newland, Sherborne, Richard Tabor and Cheryl Green, 201
  • Belle Vue Farm, Herston, Swanage, Lilian Ladle, 201
  • Geophysical survey of Long Mound, Beacon Knap, Swyre, Martin Papworth, 201-202
  • Chapelhay Gardens, Weymouth, Peter Bellamy, 202
  • Land to the south of Chickerell Road, Wyke Regis, Weymouth, Richard Tabor and Cheryl Green, 202
  • South Dorset Ridgeway: Purlands Farm (Winterborne St Martin) to north of Tatton House (Portesham), Richard Tabor and Cheryl Green, 202-203
  • Cross Farm, Church Street, Yetminster, Richard Tabor and Cheryl Green, 203
  • Dewlish Roman villa: post-excavation report 2013, Iain Hewitt, 203-204
  • The Langton Herring mirror and grave goods, Jon Murden, 205-208
  • The Roman villa at Druce Farm, near Puddletown, Lilian Ladle, 209-211
  • Ower Quay, Keith Jarvis, 212-216
  • The Durotriges Project, phase one: an interim statement, Miles Russell, Paul Cheetham, Damian Evans, Ellen Hambleton, Iain Hewitt, Harry Manley and Martin Smith, 217-221
  • Roman Purbeck Limestone mortars, John Palmer, 222-234
  • Portable Antiquities Scheme 2013, Ciorstaidh Hayward Trevarthen, 235-236
  • Excavation of c. eighteenth-century wall footings at Hive Beach, Burton Bradstock, Martin Papworth, 237-240
  • Roman remains found at Hyde Farm, Shapwick, Kingston Lacy Estate, Martin Papworth, 241
  • The Romano-Celtic temple at Badbury Rings, Dorset, Martin Papworth, 242-271
  • Investigations on the south shore of Brownsea Island by the Dorset Alum and Copperas Industries Project, Peter S. Bellamy, Gill Broadbent, Mark Corney and Clare Wilson, 272-283
  • Investigations at Kimmeridge Bay by the Dorset Alum and Copperas Industries Project, Peter S. Bellamy, Gill Broadbent, Mark Corney, Alan Hawkins, Mike Trevarthen and Clare Wilson, 284-296
  • Investigations on the Studland Circles by the Dorset Alum and Copperas Industries Project, Peter S. Bellamy, Gill Broadbent, Mark Corney and Clare Wilson, 297-310

County Boundary Survey

  • Hampreston: A parish in the counties of Dorset and Hampshire, J. W. Hart, 311-315
  • Boundaries of Dorset, J. W. Hart, 316-319
  • The Dorset County Boundary Survey 2013, Katherine Barker, 320-324
  • The Dorset County boundary at Biddlesgate, between the parishes of Cranborne (Dorset) and Damerham (Hampshire from 1885; formerly Wiltshire), Katherine Barker, 325-333

Reviews

  • A. Eccles, Vagrancy in law and practice under the Old Poor Law, Martin Ayres, 334-335
  • Michael Millgate and Keith Wilson (eds), The collected letters of Thomas Hardy, volume VIII: further letters, Will Abberley, 335-336
  • Michael Hill, East Dorset country houses, Helen Brown, 336-337

Obituary

  • Liz-Anne Bawden MBE (1931-2012), Max Hebditch, 338-339

Natural history reports 2013

  • General weather survey, John Oliver, 340-341
  • Dorset rainfall, John Oliver, 341-345
  • Butterfly survey, Bill Shreeves, 345-349
  • Frome Valley winter bird survey, John Newbould and John Campbell, 350-351
  • Some Dorset plant gall record highlights, John Newbould, 351-352
  • Field meeting reports, John Newbould, 352-355
  • County Boundary Survey visits, Katherine Barker and John Newbould, 355-357

Local auction report 2013, Gwen Yarker, 358-359

Report of the Dorset Natural History and Archaeological Society for 2013, 360-372

Index, 373-376

Notes for contributors, 377-378

_______________

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Recording Wartime Shipping on the Thames: The Dazzle Paintings of John Everett by Gwen Yarker.

Lepanto by John Everett

‘Lepanto’ by John Everett, c. 1918

John Everett was one of the few official war artists of the First World War. He worked for the Ministry of Information on paintings connected with seaborne commerce, using his experience as a deep-water sailor to give his work a sense of unqualified realism. He specialised in the interpretation of the military’s use of ‘dazzle’ – a colourful camouflaging technique used to disguise ships at sea. Nothing revealed to the landsman better than Everett’s work the beauty that camouflage – through grim necessity – brought to wartime shipping.

Dorchester-born John Everett produced a remarkable and unique body of work centred on Atlantic convoys. On his death he bequeathed all remaining maritime works in his possession to the National Maritime Museum which now holds the most important collection of his paintings in the world.

Gwen Yarker MA, FSA, FRHistS, is an independent art historian, formerly art curator at the National Maritime Museum, specialising in British art and the life and work of John Everett. On Friday 23rd January 2015 she will give a lecture at Dorset County Museum about Everett’s paintings of the Dazzle ships on the Thames.

All are welcome to this event which is FREE although donations are welcome to cover costs. The lecture will start at 7.30pm and doors are open from 7.00pm. For more information phone 01305 262735 or visit www.dorsetcountymuseum.org.

Katharine Hardy’s Dress exhibited at the Dorset County Museum

Katharine Hardy

Katharine Hardy © DCM

A significant collection of Thomas Hardy’s family clothes has recently been researched and documented at Dorset County Museum. This collection, spanning three generations of the Hardy family from 1800 to 1928, tell us so much about the shape, tastes and lives of the original wearers. It includes Thomas Hardy’s embroidered christening robe, a crinoline dress worn by his mother and a striking red bustle dress worn by his sister Katharine (Kate). Until now most of this collection has remained in storage, as it requires specialist mounting and display.

Dorset County Museum selected Katharine Hardy’s dress for display, as it is particularly significant in terms of colour, design, Hardy family history and in illustrating descriptions of dress in Hardy’s literature.

Bustle dress from 1890s owned by Kate Hardy, sister of Thomas Hardy © Jonathan Gooding 2014 Bustle dress from 1890s owned by Kate Hardy, sister of Thomas Hardy © Jonathan Gooding 2014

Bustle dress from 1890s owned by Kate Hardy, sister of Thomas Hardy –
Images © Jonathan Gooding 2014

Kate Hardy, born in 1856, was also involved in bequeathing the Hardy archive to Dorset County Museum. The importance of this collection is recognised through its recent inscription on the UK Register of Important Literary Heritage under the UNESCO ‘Memory of the World’ programme.

The grant from the Daphne Bullard Trust enabled this dress to be mounted on a conservation-grade mannequin and displayed in the Thomas Hardy Gallery, in which there was previously no examples of dress. This display will be pivotal in engaging a new and broader audience for the Gallery. It is sure to stimulate public fascination and this visually attractive and accessible object of personal significance will bring the literature to life.

The Dress

Donated in 1984, the dress consists of a bodice and skirt in red, ribbed (grosgrain) silk. It was made in c.1889 by the linen drapers, Genge, Dixon & Jameson in Dorchester.

Kate Hardy (front left) with other teachers © DCM

Kate Hardy (front left) with other teachers © DCM

Kate Hardy (left) © DCM

Kate Hardy (left) © DCM

Tess of the DUrbervilles by Thomas Hardy

Tess of the d’Urbervilles by Thomas Hardy

An evocative personal garment with its tight-fitting, fashionable bodice and skirt, it closely resembles a dress worn by Kate, a local teacher, in photographs above. With its luxurious red silk and bustle it is also similar to the fashionable dress Tess wears in Tess of the d’Urbervilles when she is fleeing with her husband Angel Clare, having stabbed Alec d’Urberville:

‘Her clothes were of the latest fashion, even to the dainty ivory-handled parasol that she carried, a fashion unknown in the retired spot to which they had now wandered; and the cut of such articles would have attracted attention in the settle of a tavern.’

Tess of the d’Urbervilles by Thomas Hardy. Penguin Classics, 2008, (first published 1891), p. 390

Conservation and Mounting the Dress

Conservation Mounting of Kate Hardys Dress_001 Conservation Mounting of Kate Hardys Dress_003

The intention of this project was to display the dress both safely and sympathetically by providing adequate support. It was also important for the result to look aesthetically pleasing to the museum visitor.

Dresses of this period were less structured and supported by petticoats although there is a small bustle pad attached to back of skirt.

Dresses of this period were less structured and supported by petticoats although there is a small bustle pad attached to back of skirt.

A particular consideration was Kate’s large bust as it was difficult to weigh up “filling” every fold but wanting the bodice to look as natural as possible.

A particular consideration was Kate’s large bust as it was difficult to weigh up “filling” every fold but wanting the bodice to look as natural as possible.

Kate Hardy had a very small waist and narrow shoulders so a museum grade mannequin was purchased. This was adapted by padding relevant areas with polyester wadding. Strips of wadding were sewn onto the torso with care taken to work symmetrically. When the correct shape was acquired the entire mannequin was covered with cotton jersey. The fabric was left unstitched in places to allow more padding to be added if necessary when the dress was finally placed on mannequin.

Conservation Mounting of Kate Hardys Dress_004 Conservation Mounting of Kate Hardys Dress_005

A calico petticoat was made and attached to the torso and net flounces were sewn in layers to support the skirt and accentuate the slight train of the dress. A silk overskirt was made to prevent the net catching the fragile lining of the skirt and enable ease of dressing the mannequin.

Conservation Mounting of Kate Hardys Dress_008 Conservation Mounting of Kate Hardys Dress_009

Padded arm supports were made with a slight curve to allow sleeves to hold their natural shape. These were attached at the shoulder point only and allowed to hang freely to enable easier dressing of the mannequin.

Conservation Mounting of Kate Hardys Dress_010Extra pads were attached around the hips to help support the weight of the skirt and prevent stress on the original fastenings.

A pattern was taken of neck and conservation board cut to shape and covered with a grey polyester fabric. The neck circle of the mannequin was covered in same way and reattached by sewing. A ‘bib’ was sewn onto the mannequin to match and fill the open neckline for photography and display.

The intention was to bring this vibrant dress belonging to Kate Hardy to life and this has been achieved. The dress is well supported on the adapted mannequin and is now on display in the Dorset Writers Gallery, enhancing this space with its dramatic presence.

Displaying the Dress

The display opened in the Thomas Hardy Gallery on Friday 12th December, 2014. The garment is displayed in a case together with Kate’s black and white striped parasol. It is the first time that it has been displayed alongside photographs of the wearer and in the context of Thomas Hardy’s literary heritage.

Displaying Kate Hardys Dress_004 Displaying Kate Hardys Dress_005
The dress is positioned in front of an illustration of Stonehenge, from the serialisation of Tess of the d’Urbervilles in The Graphic, 1891. Tess of the d’Urbervilles, wearing a similar dress, is resting on a slab of stone before being arrested © DCM

The dress is positioned in front of an illustration of Stonehenge, from the serialisation of Tess of the d’Urbervilles in The Graphic, 1891. Tess of the d’Urbervilles, wearing a similar dress, is resting on a slab of stone before being arrested © DCM

A text panel, labels and photographs interpret the dress in the context of Kate Hardy’s life, and the rich array of clothing described in Thomas Hardy’s works, illuminating fiction with fashion. The display also reflects the inspiring and engaging potential of collections, uncovering new research and displaying previously unseen objects for public enjoyment.

Displaying Kate Hardys Dress_001 Displaying Kate Hardys Dress_002

The dress will be linked with the Thomas Hardy: Fashion, Fact and Fiction exhibition at Dorset County Museum, planned for April 2019. This exhibition will examine Hardy’s work from a fresh perspective in the context of fashion, interweaving costume with images, letters, literature and diaries. It will be based around a core Dorset County Museum collection of dress worn by Thomas Hardy and his family, fashionable dress and rural workers clothing.

Dorset County Museum is very grateful to the Daphne Bullard Trust for its generous support in making this project possible.

Helen Francis, Mounting Conservator
Lucy Johnston, Curator
Dorset County Museum,
12th December 2014

Related Links:

Daphne Bullard Trust Hardy Signs

Archaeology Gallery at Dorset County Museum being redeveloped in spring 2015

Dorset County Museum Archaeology GalleryThe Archaeology Gallery at Dorset County Museum is currently being redeveloped as part of a £250,000 project supported by the Heritage Lottery Fund (HLF) with the Dorset Area of Outstanding Natural Beauty and the South Dorset Ridgeway Landscape Partnership (AONB).

Upon its completion in autumn 2015 the new gallery will become the visitor centre for the South Dorset Ridgeway Landscape Partnership. Ultimately it will link in with information panels to be displayed along the ridgeway itself helping visitors explore the AONB and understand the sites that can be seen there today.

“This is a very special project for us,” said Jon Murden, director of Dorset County Museum. “The archaeology of Dorset is the history of over 10,000 years of human habitation in the county – our collections are nationally significant and cover the entire period from paleolithic times to Saxon and Viking Dorset.”

When the new Ancient Dorset Gallery (the new name for the former Archaeology Gallery) opens at the Museum, the centrepiece will be a special display of the Viking skeletons found during the construction of the Weymouth Relief Road in 2009.

Jadeite Axe

Jadeite Axe © DCM

During the initial work (December to March 2014) the existing gallery will be open but artefacts from some display cases will be removed for conservation. Other key objects will be redisplayed in the museum during this time.

The design of the new gallery will ensure that when work starts on the Museum’s planned Collection Discovery Centre, the improved displays will be moved into the new extension at minimum cost.

While the work is being undertaken, visitors will be able to enjoy a special spotlight loan from the British Museum of three jadeite axes and some mace heads from their own collection. Dorset County Museum’s own jadeite axe will be displayed alongside these loans.

For further information visit www.dorsetcountymuseum.org. Dorset County Museum is open Monday to Saturday, 10.00am to 4.00pm.

Dorset inspires exhibition by local artists

Barleyfields by Dick Hewitson

Barleyfields by Dick Hewitson

A new exhibition opens at Dorset County Museum, Dorchester on 10th January 2015. Dorset: A Contemporary Response is the annual exhibition from Bournemouth Arts Club. The exhibition will be a display of high quality work bringing together members’ individual responses to Dorset.

“We are really looking forward to this exhibition which has been inspired by how artists feel about the county of Dorset,” said Jon Murden, Director of Dorset County Museum. “We anticipate a great variety in the work, but with the consistently high quality the club always demands.”

The selection for the exhibition will be made by Dr Brian Graham, a highly respected Dorset artist fascinated by the past and inspired by Bronze Age and Neolithic archaeological sites.

Running alongside the main exhibition will be a smaller display of additional works by club artists. This will consist of sketch books, small dimensional pieces and smaller works on paper. Julie Herring, recent Curator of Art at Bournemouth University, is selecting these works which will be arranged to complement the main show.

Most of the pieces on display will be for sale and there should be something to suit even modest budgets. Of particular interest this year will be Postcards from Dorset – a display of postcard-sized works, one from each exhibiting artist, all of which will be for sale at the fixed price of just £30 each.

Other artworks will range in price from £50 to over £1000 with many on sale between £200 and £500.

Bournemouth Arts Club exhibition runs at Dorset County Museum from 10th January to 14th March 2015. The Museum also has a well-stocked gift shop and a popular tea room. For more information phone 01305 262735 or visit www.dorsetcountymuseum.org.

IGNITE! Christmas Geology Event at Museum

Fossil FishA lively Geology group meets monthly at Dorset County Museum throughout the year. In December the meeting will take the form of four quick-fire lectures from well-known local geologists accompanied by a range of seasonal refreshments.

Anyone interested in joining the group is welcome to the Christmas event, Ignite! which takes place at 6.30pm on Wednesday 10th December in the Museum’s Victorian Hall.

Speakers on the night include Richard Edmonds, Jurassic Coast Earth Science Manager, Alan Holiday, Doreen Smith and Purbeck stone expert Dr Treleven Haysom. The talks will cover topics from recent storm damage on the Jurassic Coast to the contents of Trev’s Shed.

Free mulled wine or hot apple juice will be provided together with mince pies made from a top-secret recipe. Everyone is welcome – this is a fantastic opportunity to find out more about the group in a welcoming and informal setting.

The event is FREE of charge but a donation of £3.00 is encouraged to cover costs. For further information please see www.dorsetcountymuseum.org or telephone 01305 262735.