Have you ever looked down when you’re walking about outside (do you walk about much)? We’re often encouraged to look up when we’re in the middle of towns and cities to admire the architecture of urbanisation above the modern, slightly jarring, signage of our high street shops.
But do you look down?
Local foundries made street ironmongery – that’s stuff like manhole covers, gutter grills, bollards, lamp-posts and railings. Here in Cornwall foundries were better known for building gigantic pumping and winding engines for the mining industry. Names like Harvey and Holman are household names, still.
Some of their iron and steel founding can be seen in our towns even though many have been replaced with less distinctive metalwork.
So next time you are out and about, take a look down, check out where that hydrant cover was made and by whom. I’m going to start collecting photographs of Cornish street ironmongery. If you want to add your own, just leave a comment or link us to your own images.
Gutter grill by N. Holman and Sons Ltd, Penzance (Belgravia Street, Penzance)
Hydrant cover by W. Visick and Sons Ltd, Devoran (The Greenmarket/Chapel Street, Penzance)
Detail of maker’s mark, Holman and Sons Ltd, St Just
Manhole cover by N. Holman and Sons Ltd, St Just (Chapel Street, Penzance)
Lamp-post by N. Holman, Makers, Penzance (Market Jew Street, Penzance)
Last week I was in Truro which turned out to be a real find for Cornish ironwork. This gallery traces my route from Old County Hall to Truro Cathedral. Avondale Road was most interesting, the site of ironmongery from four different Cornish foundries.
Gutter grill by Oatey and Martyn of Wadebridge (Old County Hall, Truro). There are at least four examples on the site.
Manhole cover by Harvey (Fire station, Old County Hall, Truro).
The mark of Harvey on a manhole cover, outside fire station Old County Hall, Truro.
Distinctive pavement drain by W. Visick and Sons, Devoran (Avondale Road, Truro).
The mark of W. Visick and Sons Devoran on a pavement train, Avondale Road, Truro.
The worn mark of F. Bartle and Sons, Carn Brea on a pavement drain, Avondale Road, Truro.
Pavement drain by F. Bartle and Sons, Carn Brea (Avondale Road, Truro).
The mark of W. Sara and Sons, Redruth on pavement drain, Avondale Road, Truro.
Pavement drain by W. Sara and Sons, Redruth (Avondale Road, Truro).
The mark of foundry Harris and Polmear, Truro.
Avondale Road, Truro, site of ironmongery from four different Cornish foundries.
The well-worn mark of local Truro foundry F. Dingey.
Double manhole cover by F. Dingey Truro Foundry, Ferris Town, Truro.
Iron pavement drains, Little Castle Street, Truro.
Pavement drain by F. Dingey Truro Foundry, Little Castle Street, Truro.
F. Dingey Truro Foundry mark on a pavement drain.
Meter cover, Truro Water Co. River Street, Truro (opposite Royal Cornwall Museum).
Manhole covers and gutter grill at High Cross, Truro Cathedral.
Manhole cover by Harris and Polmear, Truro on High Cross, Truro (next to the Cathedral).
Culvert cover by Radmore and Dart Truro Foundry, opposite Truro Cathedral at King Street.
Culvert cover by W. Visick and Sons Ltd Engineers, Devoran, opposite Truro Cathedral at King Street.
Newlyn and Mousehole
Some additions from Newlyn and Mousehole, including an unusual triangular manhole cover. All made by local founders N. Holman, St Just.
I have been a member of the Social History Curators Group (SHCG) for a few years now. Of all the professional groups and societies dedicated to museum and collections work I have found SHCG to be the most useful. Most degrees and qualifications in museum studies (or indeed heritage management) lack opportunities for sustained subject-specialist training unless it is part of an internship, vocational attachment or similar activity. That’s why SHCG and other curatorial networks are so important.
FirstBASE is SHCG’s recently launched online resources centre, an invaluable library of information for anyone dealing with social (and industrial) collections. SHCG also organises training events and when I saw one advertised for identifying tools I leapt at the opportunity. Here is my review, which will also appear in a forthcoming SHCG newsletter.
Training Review: What is it? Identifying mystery objects: trade tools
Venue: M-Shed, Bristol, 4 March 2013
I didn’t know a twybil from an adze before the training. By the end of the day I could enthusiastically explain the difference between a dado plane and a plough plane.
This is the presentation of my training seminar on building digital communities for heritage projects. It was given to mainly postgraduate students, some of whom were engaged in community projects, at the College of Arts and Humanities, Swansea University.
The session lasted one hour and included time for questions and discussion.
It was part of a Key Heritage Skills training programme offered to postgraduate students across disciplines.
The training session aimed to:
1) Introduce students to the principles and purposes of engaging audiences through digital media, primarily online.
2) Demonstrate how digital media and other media should be used together to get your message across.
3) Introduce students to modes of analysis to evaluate how and whether digital engagement is working, in the context of sector-wide and worldwide usage statistics
4) Use examples from my previous experience and those of others to highlight what worked and what didn’t.
Level of knowledge expected
A basic awareness of digital media tools and their names e.g. blogs, Twitter, web forums, mailing lists.
Key points are given after the presentation. If you would like similar training tailored to your group or society, please contact me.
You are free to download and use this presentation for personal and student research but please do not try and recreate it without asking first. View the slideshow in Full Screen mode (click the 4-arrow icon) for best effect.
…the average consumer is apparently subject to over 5000 messages a day – that’s a lot of competition!
Spend time visualising what you want to achieve before you set off: who are your target audiences and what is the message(s) you want to send out?
Try to communicate rather than only broadcast information – the average consumer is apparently subject to over 5000 messages a day – that’s a lot of competition!
How do different media interact and how can you use this to your best advantage? Think about how newspapers operate their online editions, how posters carry a simple message and a web address inviting people to find out more and how quickly and easily people use social bookmarking to share information online.
How should you structure your digital landscape? Think about how each element links together such as your website and social media (Facebook, Twitter etc), where will discussion take place (if you want it), how and where will you distribute your content (information in the form of text, video, audio, documents, apps, etc.)
For all the people that are now using digital media via their computers, but increasingly through mobile and tablet devices, there are millions who do not; how does your project cater to those audiences?
Be intelligent. How will you find your audiences? Find out how and how many people make up digital communities worldwide. But don’t be dazzled by big numbers, you are a small and focused heritage project, not Coca Cola.
There is increasing data available on digital engagement in arts, culture and heritage. Reports are made available online. Big players such as the British Museum, BBC and National Trust have become ‘trusted brands’ simply because of the size of their followings, and not necessarily because of their content.
The best advert for your project is to provide engaging and high-quality content on a regular basis. It is important to keep the momentum going throughout your project or you will quickly lose your following. Make your content easy to access and easy to share.
A value of a visual cue or brand in the form of a logo and/or slogan cannot be under-estimated, particularly when you are integrating several social media channels as well as print media into your campaigns.
I believe blogs are the best way to engage people with your project, even beyond its funded life. You have more control over what happens to information accessed via your blog than you do if you only use Facebook or Twitter to disseminate and collect information.
Case-study 1: Copper Day, a free city-wide festival in Swansea on 5 March 2011: how we used digital media to promote the event and collect information from it, including analysis.
Case-study 2: The Elizabeth Treffry Collection, documenting women’s heritage in Cornwall and the Isles of Scilly, difficulties in building discussion online e.g. via its Facebook page.
Generating active participation is HARD. Do not be disheartened if you feel like you are talking to yourself. It is worth persevering but keep an eye on which channels you are receiving most feedback and then concentrate on those.
Case-study 3: DigVentures, a new model for undertaking archaeology through crowdsourcing, building a community of amateur archaeologists and sharing and discussing excavations online; the web forum or ‘site hut’ did not work as intended because other channels took precedence e.g. Facebook and email.
Be prepared to moderate ‘trolls’ or deliberately provocative behaviour-do not feel inhibited about removing comments altogether if they are not serving your purpose.
Twitter. Used extensively in the heritage world but often without good effect. Be a person, have conversations, welcome people to your following and reply to people who tweet you directly. The worst offence committed by heritage organisations is when Twitter accounts are allowed to become dormant because of lack of use.
Mailing lists or (in the US) Listservs. These a specialist email-based networks which allow for more qualitative exchanges. I have so far found these to be the most effective method of getting messages about projects, events, surveys and discoveries across, especially if they then lead the reader to your website or blog.
Digital photo culture. Documenting heritage visually should not be under-estimated. When you are competing for so little of someone’s time it is always worth building up a bank of good images or even short films or audio clips to grab people’s attention. Although waning in popularity since it first launched Flickr remains a sophisticated and powerful way of storing, accessing and discovering digital visual heritage. Remember that Facebook will never store your original image but present a cruder version and it is very hard to extract images from the system once they are in.
The best way to understand how digital communities work is to take part in some yourself. Find out what works for you and as importantly, what works for others. Do not assume that just because you don’t like something one way your audience won’t either.
Got a comment? Please leave questions and messages here. I will do my best to answer them.