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The Game of Thrones® Tapestry

Posted: 11 August, 2017  |  0 Comments  |  Leave a comment

An introduction…

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Question – what has got 60 legs, 300 nimble fingers and is fuelled by regular intakes of coffee and teacakes?  No, it’s not a strange mythological beast from the phenomenally successful television programme Game of Thrones® but rather the small army of enthusiastic stitchers who have worked tirelessly over the last month to add embroidered highlights to the almost 77 metre - long tapestry hand woven to illustrate scenes from Season 1-7.

The Game of Thrones® tapestry exhibition opened to the public at the Ulster Museum, Belfast on 22nd July and will be on show there, in gallery Art 3 on level 5, for the next six months.  This blog will provide a museum curator’s insight into the tapestry project and a ‘behind the scenes’ look at some of the challenges faced, and skills employed, in getting this huge piece of contemporary textile art from loom to gallery wall.

The tapestry is the latest in a series of craft works commissioned by Tourism NI and Tourism Ireland over the last few years to highlight the significant role of Northern Ireland in the making of the Game of Thrones® programme.  Previous craft work campaigns have involved the making of carved doors from wood felled (naturally) at the Dark Hedges, Stranocum, County Antrim, and a set of knives made using a centuries- old method of casting metal.  The valyrian steel used for the knives contained a melted meteorite.  The doors are on show at various locations around Northern Ireland and the knives at the OX restaurant, Belfast.

National Museum NI already has a strong association with Game of Thrones® , with the very talented Ulster Folk & Transport blacksmith Gerald Monaghan having made props for the programme, and staff across the museum’s sites having worked as assistants on the programme at various times, in relation to set design, costume, and make up.  Our very own Web Manager for National Museums NI, David Milnes, appeared as an extra in episode nine of Season 2 (as a deckhand, since you ask!).

The tapestry itself is comprised of six 11 metre long panels of hand woven fabric, to which will be added a further seven panels, each 1.5 metres long. The six long panels each depict scenes from the first six series of the television programme.  The seven shorter panels each depict an episode from series seven. These will be added to the gallery display on a weekly basis as the programmes are aired.  The new additions will each be added around 1 week after transmission to allow for new weaving and embroidery, so there will be a natural time lag - and no spoilers in the gallery display!

When complete, on September 5th, the tapestry will be one of the longest in the world, and the largest textile object ever displayed in the Ulster Museum.

In displaying the Game of Thrones® tapestry the museum is highlighting two traditional artisan craft skills that are well represented in the textiles collections across National Museums NI, namely, hand weaving and hand embroidery.  The textiles collections at the Ulster Folk & Transport Museum in particular include many fine examples of damask linen and needlework from the last 250 years.  A selection of these museum artefacts will accompany the tapestry on exhibition in due course, to provide additional context for the fabric content and technical skills employed in the construction of the tapestry itself.  The opening date for this small accompanying exhibition ‘Warp and Weft’ will be advertised nearer the time on the museum’s website and preparations for it will feature in the curator’s blog over the coming weeks.

The tapestry panels have been hand woven on a specialist jacquard loom, using linen yarns from Thomas Ferguson and Co. Ltd. of Banbridge.  Fergusons was first established in Banbridge, County Down in 1854, for the hand weaving of linen fabric.  In 1867 the firm introduced power driven jacquard looms for the weaving of linen damask.  John England (Banbridge) Ltd., since 2015 a sister company of Fergusons, regularly supplies fabrics for major theatrical and film productions, including Game of Thrones®.  Over its 170 year plus history Fergusons has not only woven fabrics, both plain and damask but supported a related industry in the decoration of linen handkerchiefs, bedlinens and table linens.  The textile collections at UFTM include some very fine examples of embroidery on Fergusons linens, including a group of early to mid-1900s monogramed handkerchief samples.

The hand weaving of all of the tapestry panels has been undertaken by a team of highly skilled textile artists at Dash and Millar of Bristol, working in collaboration with Fergusons of Banbridge.  In the Ulster Museum gallery, and online, time-lapsed film footage shows the panels ‘growing’ as the weavers pass the shuttles to and fro in time-honoured fashion. The word ‘tapestry’ is derived from the fifteenth century French ‘tappiserie’ – a carpet or fabric covering.

The loom used to create the panels is a small modern version of that developed by Frenchman Joseph Marie Jacquard, the son of a Lyonnais silk weaver, in 1804.  His development based on earlier work by fellow Frenchmen Basile Bouchon in 1725, Jean Baptiste Falcon in 1728, and Jacques Vaucason in 1741.  Put simply, a jacquard loom is one in which a series of punched cards each corresponds to a row of the design to be woven, allowing for a greater definition of motifs.  The punched cards operate a mechanism attached to the loom, controlling the pick-up of weft threads as the design evolves.  In the case of the Game of Thrones® tapestry it has allowed the weavers to introduce a rich palette of colours and considerable level of detail throughout the work.

Jacquard looms have often been credited with inspiring the development of the very first computers.  The English mathematician, engineer, and inventor Charles Babbage (1791 – 1871) is believed to have been inspired by jacquard loom mechanisms in his development of the first digital programmable computer. 

At the Ulster Folk & Transport Museum, Cultra, Ballydugan Weaver’s Cottage is the setting for regular demonstrations of hand weaving of linen on an early 1900s draw loom.  The same location also houses an impressive jacquard loom for hand weaving, for those who would welcome a more detailed explanation of this technique, in an appropriate setting.  As the times for the weaver, Roisin Aiston’s, demonstrations may vary, please check in advance of your visit to avoid disappointment.

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Ballydugan Weaver’s Cottage at Ulster Folk & Transport Museum Roisin Aiston, linen weaver at Ulster Folk & Transport Museum

The museum agreed not only to host the exhibition of the tapestry, but to add texture to the finished weaves with traditional hand embroidery, on scenes and motifs selected for this treatment by the tapestry designers.  With a tight deadline looming (no pun intended) and up to 60 motifs per panel to be stitched the call went out from the museum for volunteers to help with the needlework required. 

The Ulster Folk & Transport Museum has a thirty- year close association with six textiles guilds that meet on a monthly basis between September and June at Cultra.  These keen stitchers responded to the call enthusiastically and, together with textiles specialists at the museum, they formed a team of 30 needle workers who, over a period of almost four weeks have, collectively, put in over 1,000 hours of sewing on the Game of Thrones® Tapestry.

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Anne Robinson of the Lace Guild Of Northern Ireland Karen Nickell of the Northern Ireland Embroidery Guild

Follow the GOT Tapestry curator’s blog over the coming weeks to learn how this embroidery project developed and to meet some of the stitchers involved.

Valerie Wilson
Curator of Textiles.

The Minnis Monster

Posted: 15 June, 2017  |  0 Comments  |  Leave a comment

In 1991 a seven-year old schoolgirl, Emma McIlroy, visited the Ulster Museum with a curious fossil that she had found on the Antrim coast near Glenarm. The then Curator of Palaeontology, Dr Andrew Jeram, immediately recognised it as part of the skull of a long extinct marine reptile, an ichthyosaur. What’s more, he realised that Emma’s fossil was the missing link between several other pieces of ichthyosaur skull that had been found at the same location by another collector, George Barker. Sadly, George died in 1995.
After leaving school Emma went to Cambridge University, gaining a First Class Honours degree in Natural Science. Perhaps her future lay in science, maybe even in palaeontology? Who could tell? But at university Emma’s talents extended far beyond natural science, into journalism, radio and tv work, and athletics at a high level. But I knew none of this for the first decade that I worked at the museum. Emma was merely the schoolgirl that had found the ichthyosaur skull.

This skull was such a nice specimen – indeed, it is the best ichthyosaur skull ever found in Northern Ireland - that in 2004 it was sent away to be cleaned by Dave Costin, one of Britain’s best fossil preparators. He used weak acetic acid to etch away some of the limestone and expose the bones beneath. Upon its return to the museum the little skull went on display in our old dinosaur gallery on the ground floor. Now christened the Minnis Monster (after Minnis North, the location where the pieces had been found) it was accompanied by a label describing its discovery by Emma and George.

Then, out of the blue in 2006 I had an e-mail from Emma, now at Barclays bank in London. She was delighted to see that her little skull was on display out there among the dinosaurs, with her name, as discoverer, alongside. It’s one of the things I love about this job – the delight that visitors experience when discovering something unexpected.

The skull disappeared from view when the museum closed for refurbishment late in 2006, but it took up a new starring role in the Deep Time gallery upon reopening in 2009. By that time Emma had moved on. When I finally caught up with her again a few years later she was running her own very successful company, Wildfang, designing and selling tomboyish street clothes for women.

The-Minis-Monster-ted-talks-500.jpgThis might sound light years from a seven-year old schoolgirl finding an ichthyosaur skull, but that little skull clearly has played a role in Emma’s success. A much greater role than I could have imagined - until I came across Emma’s TEDTalk.

Fittingly, in August 2016 Emma returned to see her little skull once again on display in the Ulster Museum and finally, 25 years on from that discovery, I got to meet this formidably talented woman.

Dr. Mike Simms



Collecting the Troubles and Beyond – Exhibition Development

Posted: 11 May, 2017  |  0 Comments  |  Leave a comment

In October we installed three new display cases in the Troubles gallery at the Ulster Museum, to launch the Collecting the Troubles and Beyond project and to invite people to make their own contributions.  Two of the cases are designed to showcase our recent acquisitions and we hope this will give visitors a sense of the project and the direction we are taking. The third case is divided into two sides, the first relating to the height of the violence in the early 1970s and the other recognising the achievements of medal winners Mary Peters (1972 Olympics) and Mairead Corrigan (1976 Nobel Peace Prize). 

An important part of the project is working with community groups and representatives to establish the significance of events and objects through workshops and dialogue.  As well as working on the redevelopment of the ‘Troubles’ gallery at the Ulster Museum we are co-producing a number of parallel exhibitions.  In March this year we launched a temporary exhibition in the Ulster Museum entitled Gay Life and Liberation: A Photographic Record from 1970s Belfast.  The exhibition was developed in partnership with Rachel Wallace, a Ph.D. candidate from Queen’s University, and is based on the photographs of Douglas Sobey.  Douglas helped found Cara-Friend in 1974 and remained an officer there for 30 years.  His collection of photographs, which he has donated to the museum, documents the experiences of the LGBT community during the 1970s, their campaign for legal rights and the development of organisations like Cara-Friend.  They also capture important social events and the resilience of the LGBT community at that time. 

The project also supported a temporary exhibition at the Ulster Folk and Transport Museum entitled Barricades to Bus Passes; Fifty years of Ulsterbus.  During the Troubles more than 800 Ulsterbus vehicles were destroyed. Many were hijacked and set on fire creating barricades across public roads.  On Bloody Friday bombs exploded across Belfast city centre, including at the three bus stations. At Oxford Street, six people were killed and many more injured.

The traumatic events of the years after 1968 touched almost everyone who lived here and many others from further afield. Inevitably the interpretation of these events is contested in terms of significance, meaning and responsibility.  We are actively encouraging dialogue on the subject and organising events that enable us to explore important aspects of interpreting contested history. On 25 November we held a seminar day on the theme of Difficult Objects. The aim of the event was to explore the sensitivities involved in interpreting conflict, whether there are any objects too emotive or controversial to display and the mechanisms for presenting difficult objects in a balanced and ethical way. Speakers included Dr Maruška Svašek from Queen’s University Belfast, Kate Turner from Healing Through Remembering and Nicolas Vanderpeet from the Imperial War Museum in London. 

The project is designed to provide a platform for engagement and for the exhibition to evolve in line with that, rather than be presented a finished product. We view this as a process. The next stage of gallery redevelopment will take place this autumn. 

If you would like to contribute to the Collecting the Troubles and Beyond project please contact me Karen.Logan

First Choice Community Curated Exhibition Project Update

Posted: 01 March, 2017  |  0 Comments  |  Leave a comment

As February progressed so does the First Choice project and I find myself busy bringing the groups in for their first visits. We have successfully completed the initial visits of three groups so far. Each of these three groups has chosen the three objects they wish to include in the community-curated Exhibition. They have also been given a behind the scenes look at the stores and been introduced to the curators that they will work with to develop their contribution.

10_500-png.jpgThe first group to visit was Colin Men’s Shed from West Belfast. Their assigned museum is the Folk Museum at Cultra and so they were able to get a tour around the Folk Life stores that contain a lot of the objects used to stock the Folk and Transport Museums. They were also treated to a special tour of the Textiles stores with our lovely Curator of Textiles, Valerie Wilson. Valerie very kindly showed off a range of objects including needlework samplers and Victorian mourning costumes. Then before lunch the group was introduced to our Farm Manager, Robert Berry, who had a range of agricultural tools to show them.  In the afternoon we put the men to work and had them choose their 3 objects from a range we had selected for them. After some discussion and reminiscence, they were able to choose three excellent objects. A set of dentist’s tools, including a pedal operated drill and a set of tooth pullers, a corncrake or football rattle and Belfast Corporation gas meter.

2_500.jpgNext came the East Belfast Wise Men’s Shed, who are based at Connswater Shopping Centre. They are working with the Transport Museum’s collections and were very kindly shown around by our Curator of Road and Rail Transport, Mark Kennedy. Once again the men started their day in the Folk Life stores with Mark giving them a guided tour, with special consideration to the Transport collections the stores hold. Mark then showed them around the Transport galleries, Maeve the biggest and fastest train ever built in Ireland, was a special highlight. The trams in the Road Gallery also rekindled many fond memories of the group member’s working lives. After lunch we introduced the men to a range of objects from the Transport collections, from which we asked them to choose their three objects. Mark was kindly able to give detailed descriptions of each of the objects informing their choices for the exhibition. After a short deliberation the group chose a railway signal staff, a tram bell and a Harland & Wolff logo plaque, that brought back memories of working in the yard to a number of the group’s members.

3_500.jpgThe third group to make their first visit was Derry’s Men’s Shed, which is based at the Gas Yard Centre to the Ulster American Folk Park in Omagh. As with the other groups the onsite stores were the first port of call. Pat O’Donnell, the curator, was able to show the men around the stores which hold a lot of the objects the museum has acquired from the United States to include in the New World part of the Folk Park’s outside exhibit.

One highlight was the Kentucky rifle that Irish emigrants would have used as they explored the American frontier; the men were given a chance to handle the rifle under Pat’s supervision. Once the visit to the stores finished we retired for some lunch and then to the Mellon Centre for Migration Studies to pick the objects. There we presented the men with a range of objects and allowed them to talk over which ones they would like to choose and why. There was much discussion and reminiscence amongst the group members about the past in Derry, and eventually they settled on three nice objects to include in the exhibition. The objects chosen were a stoneware bottle from W.G. O’Doherty’s of Derry, a glass butter churn which the men had spotted in the stores and shirting quilt made from the off-cuts collected by Derry’s women folk from the shirt factories.

4_500-png.jpgThe groups will be returning over the next few weeks to finalise their contribution to the exhibition. We will use their personal recollections and connections with the objects to help create the exhibition. They will help us write the captions for each object and then the objects will be photographed so that they are ready to be included in the exhibition. We also hope to welcome the groups from South Belfast and North Belfast to their respective sites soon. 
The project is going very well so far, all three groups have had enjoyable experiences and I will be doing my best over the next few weeks to ensure that this continues and the resulting exhibition is of the highest standard, so that all those involved can take pride in it.
Keep an eye out for further updates over the next few weeks.

Stephen Weir

First Choice Community Curated Exhibition Project

Posted: 27 January, 2017  |  0 Comments  |  Leave a comment

My name is Stephen Weir and I have recently been appointed National Museums Northern Ireland’s new Collections stephen_800.jpgAccess Assistant for the First Choice Community Curated Exhibition Project.

This project is an Urban Villages funded collaboration between National Museums Northern Ireland and Libraries NI. We will be working with groups from each of the five Urban Village areas and asking them to visit their assigned museum or library to choose objects for a photographic exhibition that they will help put together. The exhibition will launch in the Ulster Museum in the spring and then tour to libraries and community centres that serve the Urban Village areas.

But what is an Urban Village? Urban Villages are five areas designated by the Stormont Executive’s Strategic Investment Board as areas of historic deprivation and social tension. Projects like the community-curated exhibition are designed to help improve good relations outcomes and develop thriving places. As part of the project we have assigned each area a different site to work with.

  • South Belfast (Sandy Row, Donegall Pass and Markets areas) – Ulster Museum, Belfast
  • North Belfast (Ardoyne and Ballysillan) - Belfast Central Library
  • East Belfast (Lower Newtownards Road) – Ulster Transport Museum, Cultra
  • West Belfast (Colin Glen) – Ulster Folk Museum, Cultra
  • Derry/Londonderry (Bogside and Fountain) – Ulster American Folk Park, Omagh

Each group will be asked to attend two sessions at their assigned site. They will choose their objects for the exhibition, go on a special behind-the-scenes tour of the site and its stores and then help to put together the exhibition by photographing the objects and writing their captions.

store_800.jpgThese sessions will be followed by a museum skills training day, where all the groups will come together at the Ulster Museum to learn about how the museum operates. We will look at how exhibitions are created, how collections are cared for and how we try to engage with the public through our Education and Outreach programmes.

I am currently in the process of initial meetings with the groups to inform them about the project and see when they are available to visit us and start the project. I am very pleased with the interest and enthusiasm of the groups so far, they are very keen to get up and running.

Over the past few months I have been laying the groundwork for the project by liaising with curators to pick objects and finding groups that are interested and available. My absolute favourite thing has been finally getting a tour of all the museum stores after missing out during my previous posts as a Discovery Centre Facilitator in the Ulster Museum and a Front of House Assistant in the Ulster Folk & Transport Museum.  It has been incredibly interesting so far and I am looking forward to getting into the final months of the project so I can bring all the hard work to fruition.

Keep an eye out for further updates in my blogs throughout February and March.

Stephen Weir

From Modesty Vests to Knitwear Models - A Student Placement in the Textiles Department at the Ulster Folk & Transport Museum, Cultra

Posted: 12 December, 2016  |  0 Comments  |  Leave a comment


My name is Elish-Therese Campbell and I am a Second Year student studying a BA Hons in Textile Art, Design and Fashion. As part of my course I am undertaking a placement one day a week for six weeks, and where better to spend that time than in the Textiles Section of the Ulster Folk & Transport Museum with the Curator of Textiles, Valerie Wilson.

Today was the first of the six Fridays I will be spending at Cultra, and I began the day with a general introduction to the stores of costumes and textiles. I have never been so overwhelmed by the amount of costumes, textiles and artefacts that are hidden away, and the history behind it all. Valerie and I then took a break to make our way up to the staff canteen where we indulged in  the great big ‘Friday fry up’ to fuel us for the day, and I was introduced to some of the other staff members from the other departments.
1-(2).jpgAfter a little walk back to our department, and taking off all the winter woollies, I began to work in the store on collections of modesty vests, undersleeves and tea cosy covers.

I was so pleased to be able to hold and examine the lace trim of the modesty vests, the hand-embroidered tea cosy covers and the delicacy of the undersleeves. I did not realise the importance of documenting, numbering everything multiple times and being organised with regard to storage and locations.  I was keen to record 2.jpgmy work ‘behind the scenes’ and began immediately jotting down different ideas and sketches for future reference.

After packing and labelling, the objects are put into boxes or drawers in the Textile Store and the location information is transferred to the museum’s documentation database.


This week I was able to take a look at a collection of 1950s- 1960s knit and embroidery magazines such Woman’s Weekly, Needlewoman and Needlecraft and Embroidery Designs. I enjoyed immensely looking at the old advertisements and how the clothes and photos were taken.

How they advertised their clothes and the setting of these photoshoots was something I found surprisingly very interesting from a 21st-century point of view, where image is everything. So this gave me a few ideas for when I want to display and take photos of my own work at college.
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I also got a number of dress and jumper ideas, as well as inspiration from some gorgeous floral embroidery which I just can’t get enough of! I was able to extract a lot of information from the floral arrangements and the different techniques used to create certain textures. I am currently specialising in Knit and Embroidery at college so it has given me a lot of ideas of how I can further develop my work.

My task for today was to sort this large collection of needlework publications prior to documentation by the curator, in preparation for labelling and storage.  I am learning just how important it is to keep everything in order and well organised, something I can also put into practice with my own work.


This week I began by looking at embroidered table cloths in the collection, including a number from the 1930s to the 1950s. This was extremely helpful and useful for me as I was just beginning my embroidery workshop back at college. Hand embroidery is something that really interests me and something that I hope to develop my skills in over the next few months.

I really enjoyed looking through the number of different floral patterns and floral arrangements embroidered on the tablecloths. I was given numbered fabric labels to stitch carefully onto each cloth. These individual numbers link the objects to the museum records and this is a very important aspect of collections management.  I find it extremely interesting that women spent days and hours on end being so dedicated to their craft and taking the time to create something beautiful for their home.
5.jpg                                  6.jpgThese are two of my favourite floral patterns, I love the contrast between the more bold colours such as the pinks and reds against the more subtle blues and yellows. I also I love the use of the leaves and stems to create more body and creating movement within the work. I have gained a lot of ideas from looking at these and I can’t wait to develop them further.


Today I was able to look at a wide range of textile items in the store, before carefully wrapping and labelling them for storage. One thing that I absolutely adored was this beaded mask from Central Europe (below left), which is part of the museum’s small collection of international textiles. I love the use of bright colours and beading and how they have been used to create such an individual pattern, and the use of fringing, pom-poms and ribbons accent this. This has links to my current college project which looks at African cultural masks, and gave me the opportunity to look at other cultural traditions and dress and compare and contrast their use of pattern and colour.

Another favourite piece (below right) was an unusual panel of embroidery and patchwork from around 1890.
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In it, the use of mis-matched materials and the combination of different machine and hand-embroidered stitches, the disorganised and messy nature of this piece oddly works. Some sketches I did for my notebook….
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Today I was able to look at loads of different pairs of shoes (see below), ranging from children’s hand embroidered pumps to Native American shoes embellished in bead work.
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I really enjoyed looking at how shoes have developed so much since then and I fell completely in love with a little pair of cream embroidered children’s shoes. Looking at the number of different designs has given me loads of ideas if I am ever to design a shoe collection, which, after this, I think I might.

14.jpgI was tasked with taking record images of the pairs of shoes using the departmental camera, before carefully wrapping and boxing them for storage.

These photos will be forwarded by the curator to the museum’s Documentation department, where they will be added to the records on the museum’s object database.


My final day working in the Textiles Collection at Cultra and I don’t want to 15.jpgleave! Today I’ve been looking at a number of hand-knit pieces from the 1960s and 1970s. These items come from a local shop, Sally’s, that opened in Ballymoney in 1964 selling yarns, knitted jumpers and cardigans etc.
17-(1).jpgI’ve chosen to specialise in knit next semester, so this is something that has sparked my interest. I don’t do much hand-knitting but looking at these hand-knitted cardigans it makes me eager to spend more time learning to do some simple patterns. I’m used to machine-knitting but it would be nice to add hand-knitting to some of my projects or themes.

I was tasked with taking record images of the different items using the departmental camera, before carefully wrapping and boxing them for storage.
I also was able to look at a number of the magazines and posters used to advertise the different knitted items. This is one thing I enjoy doing as it gives me an insight into how different things were advertised only 50 years ago, and how much of a contrast there is to how we advertise our clothes today.

Thank you all for following my blog.I’ve enjoyed my experience here in the Textiles Department immensely!

Elish-Therese Campbell

Model Railway Day 2016

Posted: 11 November, 2016  |  Author : Mark.Kennedy |  0 Comments  |  Leave a comment

The Model Railway Day at the Ulster Folk & Transport Museum happens one day in November, every two years. The event is a partnership between the Friends of Cultra, led by Ian Sinclair, and museum staff. Without the hard work put in by the Friends, the museum would not be able to host such an ambitious event. This year we welcome many friends from near and far as well as some first-timers from across the water, to add to the excitement.

RailbusModelmaker David Holman is bringing his scratch-built model of Arigna Town-a fictitious branch line of the Sligo, Leitrim and Northern Counties Railway in North West Ireland. The SLNCR opened in 1882 and closed in 1957, remaining independent for its whole history. It ran from Enniskillen to Sligo and the main traffic was cattle. However, to the south there were coal mines and the layout assumes a branch line was built to tap this traffic. The model is built to the correct Irish broad gauge (5’ 3”) and everything on the layout has been built by David, mostly from scratch, though four of the five steam locomotives are from kits. The model is built to ‘O’ gauge which is 7mm to 1foot. The gauge of the model works out at an unusual 36.75mm. Wagons come from his own resin castings or are hand built from plastic sheet with white metal castings. The trains are representative of the real SLNCR, with a railbus and railcar for passenger traffic and steam-hauled freight.

ThomasMichael White is a keen modelmaker who has built a recreation of the Rev Awdry’s ‘Thomas the Tank Engine’ layout.  The Ffarquhar Branch line starts at the junction of Knapford before reaching the top station, Ffarquhar. Here a special weather resistant stone, quarried from Anopha Quarry, is transported down to Ffarquhar where it is then cut and shaped, ready to be transported to Knapford harbour for shipping. A series of passenger and goods trains are carried as well. The layout is based at Ffarquhar where you’ll be able to see the line’s operation being carried out by its engines: Thomas, Percy, Toby, Daisy and Mavis. Further down the line, where the line curves to head southwards, there is a small village called Hackenbeck. It is here a small community of people live which have a few stories to tell. You’ll be able to see Mr. Peter Fryer who works at the small halt, as well as the Kneatley Family getting ready to go on their holiday; providing the car would start first after the father’s fettling with it. (Feel free to ask about the people on the layout if you wish to know more about them) The layout is a reconstructed replica of the original Ffarquhar Branch which the Rev. W. Awdry built to exhibit at the Wisbech Trades fair in 1956. It follows the original operation timetable, devised by the Rev. Awdry and Rev. Teddy Boston, and operated by replicas of the original models that ran on the layout.

TraleePaul Titmuss has constructed a beautiful little model of Annascaul station on the  Tralee and Dingle Light Railway, County Kerry, which opened in 1891 to passengers and goods traffic. Spring 1939 saw the end to passenger trains and the daily goods service was discontinued in 1946. This left the once-monthly cattle trains as the only source of revenue and this service came to an end in June 1953.The station was one of two intermediate passing places on the railway. Collecting information for the model has not proved to be as easy as first anticipated and new facts are still coming to light. Lots of photos were taken here by rail fans but the buildings were obscured by trains and by steam. Four trains run representing the Tralee and Dingle Railway. Watch out for others though from other Irish lines, the Isle of Man and even French metre gauge.

DrumawheyOne of the highlights of each model railway day is the miniature train rides on the temporary track  laid by the 7¼” Gauge Belfast & Co Down Miniature Railway Society. It will use engines and coaches from the society’s normal base at Drumawhey Junction, Upper Gransha Road, Donaghadee. For more info see; www.bcdmrs.org.uk

Clifton FlewittThe Irish Steam Preservation Society from Stradbally, County Laois has supported the museum’s model railway  events over 25 years. The society runs a preserved narrow gauge line in the grounds of Stradbally Hall.  Their member Clifton Flewitt operates Ireland’s best mobile bookshop of transport books. Saturday’s stall offers the broadest selection of railway related books, slides and other items available in Ireland. Some are new and others second-hand giving you a great opportunity to enhance your book collection! www.irishsteam.ie

Creative Community Connections

Posted: 02 November, 2016  |  Author : Anna Liesching |  0 Comments  |  Leave a comment

My name is Anna Liesching, I am the Art Engagement Officer for Creative Community Connections, a new project that is all about widening access to art collections.

Dromara Landscape (1953), Basil Blackshaw. Copyright Basil BlackshawIn 2012 National Museums Northern Ireland (NMNI) received a gifted collection from the Arts Council of Northern Ireland (ACNI) of over 1000 works by artists from, or working in, Northern Ireland. The artworks included were collected by ACNI since it was established in 1962, and by the Committee for the Encouragement of Music and Art (the precursor to the ACNI) since the 1930s.

After receiving this gift we wanted to then share the collection with the public in the most engaging and accessible way possible; bringing the collections out of the museum environment into the community. We also wanted to form new working partnerships in order to engage a wide range of audiences, including those who do not necessarily visit museums and galleries.

A grant from the Esme Fairbairn Collections Fund has enabled us to embark on an exciting partnership with Derry City and Strabane Museums and Visitor Service. Through this partnership we aim to develop more of a presence in the north west of the country, and make publically owned fine art collections more accessible.

The White Horse (1949), Alicia Boyle. Copyright Estate of Alicia BoyleThe success of the 2013 Derry City of Culture and the Turner Prize 2013 exhibition in the city, which attracted 34,000 visitors, indicated a real appetite for contemporary art in the area.  Creative Community Connections is intended to be a response to this:  we want to build on the strong foundations of community arts in the city, and engage people with art in meaningful, transformative ways.

This collection, like the wider NMNI art collection, belongs to you and we want you to experience the wonderful richness and diversity of the artworks within it. We have started by running various workshops and outreach activities with some community groups based in Derry. We’ve been taking works of art out to groups, delivering hands-on workshops and showing groups around the Ulster Museum and the Alley Centre in Strabane. We have also commenced the Your City, Your Art programme, which is a series of drop-in events giving the general public the chance to view and discover original artworks.  Future initiatives are currently being developed and will include exhibitions of work.  Future initiatives are currently being developed and will include exhibitions of work drawn from the ACNI collection, new public art created with young people from the area, and a series of print workshops in Strabane.

Members of Bluebell Arts Gasyard Centre visit The Alley Strabane

Foyle Sign Language Centre collections workshop

If you would like to learn more about upcoming Creative Community Connections events, or would like an event for your community group, please contact the Art Engagement Officer for the project Anna Liesching.

Collecting the Troubles and Beyond – Events

Posted: 30 September, 2016  |  0 Comments  |  Leave a comment

The events programme for the Collecting the Troubles and Beyond project began on 10 June with a talk and workshop led by Professor Graham Black from Nottingham Trent University entitled ‘Rising to the Challenge: Engaging with difficult history’.  This involved interesting discussions on the role of museums in stimulating dialogue and understanding, supporting civil engagement and responding to visitor contributions.

Falls-Rd-Library_web.jpgProfessor Black recommends creating more meaningful opportunities for engagement with collections and this is something that is central to the activity plan for this project.  We recently acquired a collection of photographs by the Belfast photographer Martin Nangle, whose work provides a remarkably evocative record of life during turbulent times in Belfast.  From this body of work we have selected a number of prints to offer as a touring exhibition to libraries and other local venues.  The exhibition, which is called Street Life: Works by Belfast Photographer Martin Nangle 1973-1989 opened in Falls Road Library on 16 September and will remain there throughout September and October before moving on to Shankill Library.  On Monday 19 September two colleagues from the Museum and I spent the day in Falls Road Library discussing the exhibition with visitors and encouraging them to share their memories of the local area.  It was interesting to learn about the history of the Clonard Picture House and to hear accounts of Bill Clinton’s visit and numerous other anecdotes and we are grateful to all those who took part.

Belfast-Central-Library_web.jpgThis event formed part of the programme for Community Relations and Cultural Awareness Week and we followed it up with a session in Belfast Central Library on ‘Alternative Ulster’ on 21 September.  We brought along a selection of objects from the Ulster Museum’s contemporary collection to represent the recent decades and spoke to library visitors about changing youth cultures and the importance of contemporary collecting.  The platform shoes proved particularly popular and it was great to see people engaging with the collection.  An important part of the Collecting the Troubles and Beyond project is to develop our contemporary collection through these sorts of outreach activities and we have been openly inviting people to contribute objects and photographs to the collection.

Upcoming events will be advertised on the Museum What's On page and will include two seminar days, one on the theme of Diverse Voices (11 October) and the other exploring the issues surrounding the display and interpretation Mairead-Corrigan_web.jpgof difficult objects (25 November).  On 13 November at 3pm, Mairead Corrigan Maguire, winner of the Nobel Peace Prize, will be at the Ulster Museum to present a talk entitled ‘Building a culture of peace and nonviolence for the human family’.  All these events will be available to book on our website closer to the time. 

If you would like to suggest an event or contribute to the Collecting the Troubles and Beyond project please contact me Karen Logan

A buried Precambrian impact crater in Scotland: Or strange things spotted on holiday.

Posted: 23 September, 2016  |  0 Comments  |  Leave a comment

Mike-at-Lairg_600.jpgI had never actually planned to spend several years investigating a 1.2 billion year old meteorite impact deposit in Scotland. I was just going to visit a couple of sites, pay homage to a remarkable event, collect a few lumps of this extraordinary rock, and then move on to other things. It all began early in 2011 when Geoff Steel, an enthusiastic and very knowledgeable amateur geologist (an acoustic engineer by profession) and friend of many years, suggested visiting Scotland to look at some of the geology there. Geoff drew up an itinerary but I insisted on two sites; the anorthosite mountain on South Harris (that’s another story) and a recently recognised meteorite impact deposit near Ullapool. Little did I know what that holiday ultimately would lead to, and it shows that science owes as much to chance as to carefully planned investigation.

This impact deposit, known to geologists as the Stac Fada Member, is a distinctive 5-10 metre thick layer sandwiched within hundreds of metres of sandstone layers known as the Stoer Group. These rocks, 1.2 billion years old, are found today as a narrow strip just a few km wide but stretching for more than 50 km along the coast to north and south of Ullapool in northwest Scotland. Beyond this area erosion and tectonic processes over countless millennia have destroyed all trace of them.

The Stoer Group is mostly sandstone that was deposited in rivers and lakes, but the Stac Fada Member is very different because mixed in with the sandstone are angular green fragments of what geologists recognised decades ago had once been molten rock. For years the Stac Fada Member was thought to be a volcanic mudflow, but there was a problem with this interpretation – there was nothing else like it anywhere in the Stoer Group.


Typical Stac Fada Member impact deposit at Stattic Point, with angular fragments of green ‘impact melt’ rock mixed in with muddy red sandstone.

This seemed odd considering how huge the volcano must have been to produce such a thick and widespread layer. Then, in 2008, a team of geologists from Oxford and Aberdeen identified microscopic shock lamellae in some of the quartz grains in the Stac Fada Member. These form only under the immense pressures generated by the impact of a giant meteorite and so their discovery instantly consigned the volcanic interpretation to the dustbin – the green fragments were rock that had been melted by the impact of a giant meteorite, perhaps several km across, that hit Earth at more than 15 km per second (33,000 mph)! The Oxford/Aberdeen team published their discovery but were unsure where the crater might be, suggesting that it was perhaps offshore to the west, beneath the sea and buried by layers of younger rocks.

Exciting as it was to see this impact deposit for the first time in June 2011, I had no expectations of being able to contribute anything new or startling to the conclusions of this eminent team of geologists. However, at just the second site we visited, appropriately called Second Coast, I came across something quite unexpected that demanded an explanation. Embedded in the sandstone immediately beneath the impact layer were large angular blocks of a different, and still older, rock called Lewisian Gneiss which lies beneath much of northern Scotland


Large angular blocks of Lewisian Gneiss embedded in the sand immediately beneath the Stac Fada Member impact deposit at Second Coast. These show no sign of either falling from a nearby hill nor of being swept there by a flood; they represent rock fragments blasted from the crater edge by the impact.

How had these blocks got here? If they had rolled off a nearby hill they would not be as widely scattered as they are – and there was no such hill nearby anyway. If transported there by a flood then they would be aligned by the flow – but their orientations are entirely random. It looked as if they had fallen from the sky – which is exactly what I concluded! They are fragments of near-surface rock that were launched at velocities of 4-5 km/s (more than 10,000 mph) very early in the impact process. They reached their present location before the main impact deposit, itself travelling outwards from the impact at several hundred mph, arrived. This is why they are found immediately beneath the Stac Fada Member.

However, other geological wonders awaited us elsewhere and a day later we were heading across the water to Lewis. Nonetheless I thought it would be worth taking a closer look at these strange angular blocks sometime and perhaps write a short article about them. Returning almost four months later, in September 2011, I made another surprising discovery. At Stoer, further to the north, some of the impact deposit appears to have been pushed between some of the sandstone layers by the force of the impact blast. These ‘wedges’ thin out to the west and, crucially, show that it must have been coming from the east. The crater – if it still exists – must actually lie to the east beneath mainland Scotland! However, just 20km to the east these ancient rocks pass beneath the Moine Thrust, where a thick layer of younger Moinian rocks (~1 billion years old) have been pushed westwards across northern Scotland for tens of kilometres by tectonic movements around 450 million years ago. Any Precambrian impact crater that lies further east will now be deeply buried beneath these Moinian rocks. So, assuming it still exists, how might the crater be detected?


The spectacular exposure of the Stac Fada Member impact deposit at Stoer, looking south-west. The crags in the background are the main impact deposit while the layered rocks in the foreground are river sandstones deposited prior to the impact. A wedge-shaped mass of the impact deposit can be seen intruded along some of the layers of sandstone and indicates the direction that the impact blast was moving.

Impact craters often have a distinctive geophysical signature. Excavating a large hole in dense rock and filling it with rubble and sediment creates an area of lower density that can be detected as a ‘gravity low’. Returning to Belfast after this second trip I consulted the museum’s rather crumpled copy of the British Geological Survey’s gravity map of Britain, and I was astonished to discover a large and roughly circular gravity anomaly centred on the town of Lairg. This is more than 50km east of the remaining patches of impact deposit, but in location that is remarkably consistent with the directional data from the Stac Fada Member. The size of the gravity anomaly suggests it could represent a crater at least 40 km across


An annotated section of the UK gravity map published by the British Geological Survey. Red and orange indicates a stronger gravitational pull than average; blue and purple is weaker. Gravity lows in The Minch and the Moray Firth are due to thick sedimentary rocks; the Cairngorm gravity low is due to the granite there. The Lairg Gravity Low had defied any easy explanation until now.

Until now geologists have explained the Lairg Gravity Low as due solely to the effects of tectonic processes. Although it is similar to the gravity signatures of other well-documented impact craters, it would be quite unrealistic to suggest that the Lairg Gravity Low is a buried impact crater on this tenuous evidence alone. What makes this a much more plausible explanation is the existence of a thick and extensive impact deposit, the Stac Fada Member, just a few tens of kilometres to the west and the evidence within the deposit of its emplacement from the east. Taking all of the evidence together, the impact hypothesis appears to explain both the cause and origin of the gravity low, and indeed its specific location, as the consequences of a single event for which the Stac Fada Member impact deposit provides substantial surface evidence.

When Geoff and I set off to Scotland in 2011 we intended only to pay homage to an unusual rock and collect a few samples. The subsequent journey has been remarkable, culminating with the discovery of Britain’s first impact crater that – at more than 40km across – is among the fifteen largest on Earth. But the story did not end there. In February 2016 I was approached by Dr Tori Herridge, a palaeobiologist who has fronted several science documentaries (e.g. Woolly Mammoth: The Autopsy), with a view to making a documentary about the search for this Scottish impact crater. And so in May of this year I spent a week on location, in an unseasonably sunny Scotland, filming for the Channel 4 documentary ‘Scotland’s Lost Asteroid’.

Anyone wishing to read the original article can download a copy at Researchgate
or download a copy here

Dr. Mike Simms

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