A Dorset Hag Stone

1884.56.3 is an object, described by a museum worker as a 'stone with natural perforation, found fixed on a nail to the cottage-door of Kimber, a carter in General Pitt Rivers' employment, to keep away witches'. This is particularly interesting as it must have been acquired between 1880, when Pitt Rivers first inherited the Rushmore estate, and 5 April 1881 when he sent the stone to South Kensington Museum (where his collection was then displayed).

PRM 1884.56.3

The documentation held at the Museum states:

Accession Book IV entry - 1884.56.1 - 100 Charms Magic etc. - Naturally perforated stone, nailed to a cottage door against witches by a carter Rushmore nr Salisbury

'Green book' entry - South Kensington Receipts, 5 April 1881 - Collection of objects as per list attached nos 293 to 639 540 Holed stone used for the purpose of keeping away witches Rushmore nr Salisbury

Detailed Amulet card catalogue entry - Amulets ) O. Inscribed P. Talismans in cases Q Uninscribed single R Collars, necklets, armlets, rings S-T Juju [sic] U-W Stone X. Dance Y. Unclassed. - Naturally perforated stones Gt Britain Description: Stone with natural perforation, found fixed on a nail to the cottage-door of Kimber, a carter in Gen'l Pitt Rivers' employment, to keep away witches. Dimensions 100 x 64 approx Locality: Rushmore nr Salisbury How Acquired: P.R. coll 540 / 12191

The original documentation does not mention the name of the carter and it is not clear where the information came from, it first appears in the Ettlinger account, she thanks the then curator of the Museum, Tom Penniman, for information so he may have given her the reference, it is irritating that it was not recorded where it was obtained, as that source might have more information about the artefact.

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This article extract is from England: The Other Within - Analysing the English Collections at the Pitt Rivers Museum project website.

Alison Petch, 

Researcher

Hearts in Mind

Ah, February 14th. Will you be sharing heart-shaped cards with your beloved, or sitting alone on the sofa in your pyjamas eating chocolate and settling for heart-throbs on screen? Either way, Valentine's Day is all about hearts and here are two very different ones from our collections:

First up is this Sacred Heart from the de Mortillet amulet collection. What began as a vision by a 17th-century French nun, Marguerite-Marie Alacoque, of Jesus Christ showing her his heart entwined with thorns and flames turned into an active cult of worship in France. There is a Sacred Heart feast day, the symbol was adopted for protection during the French Revolution, and of course there is the famous white church of Sacré-Cœur Basilica at Montmartre in Paris.

PRM 1985.52.33

Next is a rather more gruesome heart object - a preserved human heart in a leaden case, discovered in the medieval crypt of a church in Cork, Ireland and collected by General Pitt Rivers in the 1860s.

PRM 1884.57.18

For an interesting account of the history and significance of heart ablation and burial separate from the body, see this article on one of our project sites. Alternatively, this object features on our gallery audio tour and you can hear the entry here (3 mins):

Listen to ‘Heart in a lead casket, Ireland, 1884.57.18’


Helen

Amulet or Accessory?

Amulets can occasionally be found in surprisingly modern settings. These might take the form of straightforward reproductions, such as the miniature Eiffel Towers to be found in any souvenir shop in Paris and, apparently, in jewellers too... 

Silver-tone Eiffel Tower drop earrings from River Island
and Eiffel Tower mascot (PRM 1985.52.150)

The fashion industry is constantly shifting and looking for something new and different. It looks to past trends, cultures and even the natural world for inspiration, to the extent that many of the clothes that we see in our high street stores echo trends from past decades…although I’m fairly sure there are a few items of clothing we thought, or rather hoped, would never make a comeback! Jewellery is no exception to this and I was amazed to see how much of the jewellery currently being sold in shops mirrors the objects being catalogued as part of the Small Blessing project. In turn, this got me thinking, how much of the original meaning behind the creation of these amulets still remains? 

The image of the human skull, for example, has been used for centuries in works of art, religious representations and, in more recent times, the fashion world. Known in Latin as memento mori ("remember your mortality" or “remember you must die"), such imagery represented death and served to remind people about the transience of life. It could be argued that the use of skulls in the fashion world has lost this historic symbolism and has become representative of danger and rebellion instead. 

Wooden skull drop earrings from River Island and
Death's head amulet from Naples (PRM 1985.52.43)

Other objects, such as the ancient Italian corno (horn) amulet and the hamsa (hand of Fatima), are just two of many items that were worn to protect against the Evil Eye, which in many cultures was thought to cause injury or bad luck. Once again there seems to be an abundance of these on the high street – but do people still believe in protecting themselves against the Evil Eye or are they simply interesting shapes well-used in adornment? 

'Henna Hand' necklace from Topshop and
Hand of Fatima amulet (PRM 1985.52.1385)

It is fascinating that certain amuletic symbols have not lost their curiousness or appeal over centuries of use, no matter how far their modern versions may have evolved from their original meaning. So the question is, when does an object stop being an amulet and start being a fashion accessory?

Alice

Amulets, Art and Outreach

Back in April, local artist Emma Reynard was invited to take the Small Blessings project out into the community. She decided to work with a group of adults from Mind (a mental health charity) to discover more about the amulets, charms and votives in the de Mortillet collection and create their own pieces, which are now being prepared for display in the Museum. 

Here Emma recounts some of the first days of the collaboration:

"The de Mortillet collection belonged to Adrien de Mortillet (1853-1931) and contains examples from all over the world. I am trying to find out more about de Mortillet, but so far have not been too successful. I do know that he had many careers including a perfumer and a balloonist!

From observing the amulets, charms and votives at the Museum they are mainly made out of the following materials:

• clay
• plaster
• wax
• natural materials such as seeds, bark, fruit, grasses
• parts of animals and human including hearts, bone, teeth and skin
• metal
• textiles
• food






Plaster moulds with wax casts on display

Magic bundle for laying a curse on a village (PRM 1928.69.1584)

I decided to try and keep to these materials...although I won't be using any human hearts! Initially, I will be experimenting with plaster moulds, clay, metals and textiles and see where that takes me. It's an exciting project to be involved in and I am looking forward to seeing what we come up with.

Day One 

The members from The Mill arrived at the Museum, ready to begin the new project. The session started off with a quick slideshow of some of the charms and amulets in the de Mortillet collection, from coral hand charms to wolf's tooth teething amulets and even skin from a hanged man! The objects in the collection are small in scale, no doubt mainly because these things would be worn or carried about the person. We need to keep this in mind when we come to create our own pieces.

Emma's 'ephemera'

After digesting some of the stories behind the other amulets on display, we had a short discussion with the group to see if they had any charms of their own. One person said he always has a penny in his pocket and Susan (the museums' Community Education Officer) described how, when she got married, she wore her grandmother’s wedding ring (who has been married for almost 50 years).

We then had a very interesting tour of the Conservation areas upstairs. It was wonderful to see what goes into the cataloguing and documenting of all the objects. Approximately 5000 objects form this collection and each one had to be unwrapped and identified (and researched if necessary), then the object was given a unique number, photographed and then wrapped up and stored. If any of the objects show signs of pests or corrosion, they are put into deep freeze and cleaned or restored to enable the object to survive a longer life in the Museum. It really makes you think about all the effort that goes into one tiny object!

After this tour, I explained to the group about the things that we would be doing during the project. I asked for people to bring in anything which they may have at home which they feel would be relevant.

Day Two 

We had a new member today. He arrived already knowing quite a bit about the project and showed me an amulet he made when he was at school and which he'd had with him ever since. It was an etching on tin of a pentagon (he told me he was pagan). The project seems to be evoking a lot of personal stories, which is really nice to listening and share.

Another member brought along two coins/medals that belonged to his grandad. One was dated 1902 with King George V on the front. I suggested that next week we could take a mould from it and have a go at casting. He said he'd also bring along some old fob watch keys.

We started by having a look at some books that I had brought in, including Superstitions of England and Ireland, Saints, Signs and Symbols, Inspirational Objects, and The Language of Flowers plus two books from The Foundling Museum in London. We also had a look at two scrapbooks from the 1950s, which contained old wedding cards, birthday cards, and tokens such as a silver '21' key. Looking at these objects encouraged the members to talk about their own personal and family possessions. 

Emma's drawings

Next we did some drawing, I had made some folded sketchbooks for everyone to use. I kept them small scale to fit in with the project but also I thought it would be less intimidating than using large pieces of paper. We used fine-liner pens and pencils, and some people also photographed objects that they didn’t have time to draw. I encouraged people to write down the information about each object they drew/photographed. We finished off the session by printing out some of the photos and the group seemed really pleased with what they had done. 

We’re all looking forward to the next session, which will be a messy one - I have purchased my own 'ingredients' and we'll have a go with the plaster and the clay!"

Emma Reynard, artist

http://www.emmareynard.com/

http://www.haveyoufeltit.blogspot.co.uk/

Amulets on Flickr

One of the planned outcomes of the Small Blessings project is a dedicated website showcasing around 50 highlights of the several thousand amulets we are cataloguing.

The website won't be launched for a few months yet and there is still lots of research to do. However, we wanted to share with you some of the ones already chosen to feature, so you can now find them in the Museum's 'Amulet' set on Flickr.

Some are beautiful, some are curious, some are a little macabre. Which is your favourite?

Death's head amulet, Naples (PRM: 1985.52, 43)