Tag: heritage

A preview of Life on Board at the Merseyside Maritime Museum

 

[Photo: National Museums Liverpool]

  • National Museums Liverpool opened its new gallery Life on Board today, an opening delayed from March by Covid-19, as part of a wider re-opening of its museums, including the new Linda McCartney Retrospective exhibition at the Walker Art Gallery. My preview ran today in Telegraph Travel and the below is my original copy filed before lockdown. 

I’m standing in front of a little piece of maritime history.

With its miniature sun loungers, palm trees and umbrellas, plus mini-me figurines taking a dip in the pool, the 3.5m replica model of the Arandora Star, the ship torpedoed in 1940 while carrying prisoners of war to Canada, had been in storage for years after wartime bomb damage.

But the 1936 exhibition model of this Blue Star passenger liner has been lovingly conserved over 400 hours of restoration work and now takes centre stage in a new maritime gallery opening in Liverpool later this month.

Life on board, the new permanent gallery at the Merseyside Maritime Museum in Liverpool’s Albert Dock [pictured above], explores the history of travel by sea from the 18th century, via the interwar heyday of the ocean liners as floating palaces, to the current day.

Liverpool was a hub for Transatlantic crossings at the turn of the 20th century with the numerous shipping companies operating out of port city, including White Star Line (later merged with Cunard Line).

The Museum also hosts galleries devoted to the stories of the Lusitania and Liverpool connections to the Titanic story.

The gallery has been over a year in the planning and takes a case-study-led approach to exploring Liverpool’s seafaring heritage, putting human stories at the forefront of the exhibits with text and audio testimonies to illustrate.

Of the 250-odd exhibits, some have been brought out of storage, while a small number are new acquisitions for the opening.

“Our cruise story as a city is rooted in heritage but it also remains an integral part of our living history,” explains Michelle Walsh, the museum’s curator of maritime history and technology.

“We look at the modern revival of interest in cruising by setting it in the heritage context of Liverpool as a cruise port.”

ESSENTIAL EXHIBITS

The exhibition is arranged thematically, as opposed to in chronological order, starting with stories of the Merchant Navy before moving onto the Lines and Leisure section, which shines a spotlight on the golden age of cruise of leisure travel.

It was during the 1920s that the introduction of Tourist Third Cabin Class opened up cruise travel to a wider audience, making the voyage on board an integral part of the overall journey.

The era also saw architects and artists employed by shipping companies to remodel the liners with fashionable Art Deco stylings.

Interspersed amongst the exhibits are some hands-on interpretation for families with younger children, such as learning how to tie a reef knot, and getting your own temporary tattoo as a means to explain the superstitions behind the artwork favoured by sailors.

The gallery also incorporates the museum’s Archives Centre, featuring National Museums Liverpool’s vast collection of maritime and slavery records.

“Liverpool has always been a very outward-looking city, gazing out to the horizon,” says Michelle, who spent her own honeymoon on an Alaska cruise with Norwegian Cruise Line (NCL).

“I believe this outward mentality is a reflection of our rich maritime heritage as a city.”

Key exhibits in the gallery include a series of on-board outfits worn by passenger Gertrude Walker, left to the museum by surviving family on Merseyside, to reflect the experience of women travelling by sea in the early 20th century.

Gertrude’s diary recorded the daily routine of first-class travel on the transatlantic ships. Meanwhile, a set of decorative glass panels from the Cabin (first) Class Dining Room of the Mauretania II, marked with signs of the zodiac, highlight the Art Deco influence on design rom the era.

One of Michelle’s favourite exhibits, however, is an architectural design model of the lime-green mid-ship lobby, or the ‘rotunda’, aboard the QE2, which illustrates how ship design evolved with the swinging Sixties.

Built on the Clyde, the QE2 made her maiden voyage from Southampton to New York on May 2, 1969.

“With so many items in storage, including over 2,000 ship models, it has been very hard to make the final selection,” explains Michelle as we admire an 1917 events programme from the RMS Orduna, which lists on-board activities, such as a potato race for ladies and cock fighting for men.

“Once you start delving, there are so many important stories to tell.”

FUTURE GROWTH

Today Liverpool’s cruise industry is again booming with plans for a new Liverpool Cruise Terminal scheduled to open in 2022/3, handling up to 3,600 passengers per ship visit.

With the gallery open, those passengers will be able to disembark near Liverpool’s Three Graces, incorporating the landmark Liver Building, and stroll along the waterfront to the museum to visit the new gallery.”

“As a teenager in Eighties Liverpool, the dock was all silted up and the cruise traffic had long since drifted away to Southampton,” says Michelle.

“But the return of the big ships has rekindled a huge sense of pride in our cruise history.”

Large numbers of people now flock to the quayside to welcome visiting ships in port.”

“As curators, we’re always there, too,” she laughs. “Basically, we’re all just massive ship geeks.”

More info here.

Lockdown loafing: the truth about Chester’s favourite ghost story

It’s one of the Chester’s favourite ghost stories.

The tale of a mystery figure, dressed as a monk and spotted on a winter evening, walking along the spooky passage by St John’s Church — the one with the coffin in the east walls [pictured above].

The figure has been seen many times over the years, patrolling the passageway beyond the westerner facade, which leads towards The Groves, the riverside walkway.

His presence is linked not with the church, however.

The Hermitage, the hidden building on a sandstone outcrop between the city walls and the river, is alleged to be his home.

The mysterious building, now privately owned and a reputed hotbed of poltergeist activity over the years, is also known by the name on its tucked-away entrance gate, The Anchorite Cell.

The story suggests the mystery man could be King Harold Godwinson, the vanquished Saxon king who got something in his eye at the Battle of Hastings in 1066.

It’s a story we all know from school history classes and one made famous by the Bayeux Tapestry.

Waltham Abbey in Essex claims the last resting place of King Harold. There’s even a stone marked with the words:

“This stone marks the position of the high altar behind which King Harold is said to have been buried in 1066.”

But Chester offers a different version of the story.

Local historians suggest that Harold’s mistress, Edith Swan Neck, rescued her lover from the battlefield and brought him to Chester to live out days in The Hermitage.

Disguised as a monk, he blended into the local community of holy men, who made their home at St John’s since the 7th century.

Edith cared for him during his final days, bringing supplies to his secret Chester hideaway.

It’s easy to dismiss the story as ghost-tale tosh but the sightings over the year offer first-hand accounts.

And excavations of the collapsed western facade years later unearthed two human skeletons entwined together in an eternal repose.

It’s a story I look forward to retelling when Chester Ghost Tours return after lockdown, especially if I’m leading a tour around King Harold’s Day, the nearest Saturday each year to October 14th.

Could the mystery monk behind Chester’s favourite ghost story be a long-lost King?

That would be one in the eye for Essex.

Lockdown loafing: the hidden story behind the Roman Gardens

It’s a place I used to take my children to play when they were little. They jumped on the ancient stones in a game of stepping stones.

It’s also the place I watched the Grand Budapest Hotel under a picnic blanket as part of the Moonlight Flicks series of outdoor films screenings.

It may now be eerily quiet under lockdown but I can still learn something new about familiar places on my daily walks around my home city.

The blossom-showered mosaic [pictured above] marks the entrance to the Roman Gardens, which are not, strictly speaking, gardens, nor Roman.

But, according to Chester Tour, we learn the design of the gardens is deliberate to create a winding path towards the river in the shape of a serpent coiled around a staff.

The design is a tribute to Asclepius, the Roman god of medicine.

The gardens were laid out in 1949 to display fragments of the ancient Roman buildings found around the city — the stoneworks there today were originally eslwhere.

Many of the fragments come from the original site of the Roman bathhouse on the east side of Bridge Street.

Others were uncovered during renovations of the city walls in 1887. They had been taken from various buildings across the Roman citadel, established from 74AD, to repair the walls in the late Roman period.

The site never served as a garden. It was originally part of a Roman quarry, later partly home to a 18th-century clay tobacco pipe factory in the and, finally, a cockpit for cock fighting — until it was banned in 1849.

One day we’ll be back at the Roman Gardens, watching a film as part of Moonlight Flicks, or eating ice creams bought nearby at the riverside kiosks.

But, for now, I’m soaking up the silence and seeing familiar places in a new light.

Lockdown loafing: an audience with a Roman goddess in a Chester park

I took my children to the local park for years.

But it took ages for me to realise there is a 2,000-year-old historical artefact near the swings.

The park is Edgar’s Field, located in the Chester district of Handbridge, and the relief carving is the Roman goddess Minerva [pictured above], cut into the former quarry face.

The shrine is believed to have been carved into the sandstone in the second century AD.

Historic England believes it is the only such site still in its original location in Europe.

During my lockdown walks, I often come for an audience with Minerva.

Gracious goddess

Minerva was the patron of art, wisdom and craftsmen, amongst others. Later in Roman history, she became the goddess of war, too.

In many ways, she is similar to the Greek goddess Athena with temples built in her honour.

The effigy is often portrayed wearing a chiton, which is an ancient Greek tunic, and a helmet.

Many images show her holding a spear and a shield, to represent her interest in war.

But she can also be found offering an olive branch to the defeated. Minerva was a gracious goddess, who had sympathy for those her armies had vanquished.

Secret site

The shrine, first built by quarrymen working on then quarry during Chester’s Roman era, may look like a hobbit house.

But the weathered rock was actually an important site of ancient worship.

The quarrymen, excavating the huge blocks of sandstone used to build Chester’s Roman wall, first carved the effigy to honour Minerva.

They made offerings and prayed for safety in the course of their gruelling, risky labour.

Today, it now forms part a leafy park on the banks of the River Dee, situated to the south of the city centre.

Sadly, Minerva looks a bit the worse for wear — the weather and vandalism have seen to that.

But you can still pick out her figure, holding a spear and wearing a helmet, an owl over her right shoulder.

The awning over the shrine is a 19th-century addition, placed there to ward off further damage.

Hidden history

Edgar’s Field dates from the Saxon period and gets its name from King Edgar, the great-grandson of Alfred the Great, who held a council in or near the field in the year 973 AD.

From here the king visited nearby St Johns Church, Chester’s original cathedral, first built in 689 AD.

Writers described a scene of Edgar being rowed up the Dee by eight princes as an act of submission — a romantic image forever associated with Chester.

Edgar’s Field was laid out as a public park by the first Duke of Westminster, Hugh Lupus Grosvenor, who presented it to the City of Chester in 1892 as an act of philanthropy.

It’s an eerily quiet place right now, especially with the children’s playground closed for now for public health reasons.

But I love the way I learnt, pushing kids on swings and teaching them to ride bikes on the slope, that there’s a bone-fide Roman goddess at the end of the street.

The world changes but Minerva waits, serene and stoic, keeping watch over us all from her freeze-frame stone tomb.

 

Gazetteer

Friends of Edgar’s Field https://edgarsfield.weebly.com

Howard Williams, Professor of Archaeology at the University of Chester https://howardwilliamsblog.wordpress.com/2019/02/15/chesters-minerva-shrine-to-get-a-digital-afterlife/