An Amuletic Autumn at Pitt Rivers Museum

It's been a highly amuletic time at the Pitt Rivers recently. The charm, amulet and talisman collections are one of the most significant, evocative and numerous in the Museum's care and they have been the focus of three very different aspects of staff work in October....

1) First, came the invite from BBC Radio 4 to contribute to a series called The Digital Human, exploring the impact of technology on our lives. Aware of the expansive amulet collection at the Pitt Rivers and our various resources, the producers got in touch for an interview contribution to an episode on 'Protection' to reference some of our historical collections within a wider discussion about how smartphones act as modern-day protective amulets. You can listen to the episode here (specific PRM section from 12:00 - 18:00 minutes):

Marc Ferrez. Negra da Bahia, c. 1885 

© Salvador, BA / Acervo IMS 
Source: http://brasilianafotografica.bn.br

Indeed, there are plenty of parallels. We hold phones close to our body, we charge them every night with electricity, the way amulets get charged with personal proximity and powers of belief. We use phones for protection - against being late, against boredom, against laziness (how many steps have you done today?), against crime, against being disconnected from the world. 

Composite charms act like a collection of apps. The balangandan (or penca) from the Bahia region of Brazil is the perfect example. A fusion of cultural influences, this metal ornament came to South America via the West African slave trade in the 17th and 18th centuries and was often worn by female slaves, dangling and jangling from the waist (hence the onomatopoetic name). As a colonial artefact this object is both problematic and challenging but its function is highly relatable; no two balangandans are the same and - just like the apps you choose to download on your phone - they feature various charms deemed relevant and personal to the wearer's life path - perhaps a boat to represent passage across the Atlantic; a fish in a nod to the Christian beliefs of the Portuguese colonial powers; a pomegranate representing fertility inherited from ancient Middle Eastern beliefs; a cashew nut symbolising the candomblé (Afro-Brazilian) god of thunder and lightning; or keys against the Evil Eye.

Balangandan charm, Brazil; 1954.7.15.1

2) October half term is one of the busiest and most hectic weeks of the year for us. Nearly 14,000 people through the doors, many on holiday and looking for some family fun. Being so close to Halloween, we teamed up with the Museum of Natural History next door to offer a 'Bats, Cats, Witches and Charms' extravaganza. They did the Bats and Cats, we did the Witches and Charms. It works :)

Over three days nearly 300 children plus their parents and carers took part in activities such as designing and making their own amulets, working out if witches are who we think they are, and using investigation skills to figure out two truths and a lie about charms in the handling collection. For example, if someone found this object in your garden and told you:

• It used to be a fish
• It was fired from a crossbow
• It protects against lightning

Which one is the lie?

Belemnite, Oxfordshire 2013.23.1 © Pitt Rivers Museum

Did you guess correctly? It's the second one. It might look like a projectile but this is in fact a belemnite - the naturally occurring fossil stone of a now-extinct cuttlefish. Due to their shape, people thought they were the heads of lightning bolts fallen to earth and, since lightning doesn't strike the same place twice, they were often put in the attic of the home to protect against lightning! Incidentally, they were also used for medicinal purposes - in southern England, they were ground to powder and used to cure diseases of the mouth.

What do these charms do? © Pitt Rivers Museum

Charms bring luck, amulets bring protection and talismans attract certain qualities or virtues. The children got wonderfully creative, making talismans to attract tickle monsters, tranquility, or allow the wearer to talk to cats, as well as amulets to protect against negative events such as being sad, dinosaur attacks and forest fires. What worked best about the activities is that the participants had to use their imaginations - often collectively as a family - to work out what it was they wanted (or needed) protection from. The activities employed effective 'visual thinking' strategies (e.g. cultivating curiosity, truth-seeking or creativity) to engage learners - for example, choosing to use handling objects from Europe helped ensure children understood and self-reflected that the use of charms happens in the UK and in nearby countries as well as more globally.

Handwritten labels accompanying the charms families created © Pitt Rivers Museum

3) Lastly, behind the scenes, the Move Project team are dealing with a numbers game. The Museum houses more than 20,000 objects which are documented as amulets. Just under 4,000 are either on display or stored at the Museum, and the remaining 16,000 are kept in reserve collections in storage. Since most amulets are personal items - kept in a pocket, strung around the neck or held in the hand - they are some of the smallest objects here. The Museum is in the process of moving its largest object store to a new building. You can keep up to date with the move via the team's entertaining Twitter feed.

The move involves transporting the 16,000 stored amulets to a new home. The store houses over 100,000 objects, from these tiny amulets to five-metre-long ploughs and almost everything in between. Unless the location of every object is carefully recorded, there is a huge risk that objects can easily become lost - and trying to find an amulet amongst 100,000 other objects is much harder than finding a plough...

To make sure this doesn't happen, members of the Move Team have been busily documenting the collection at the store. Each amulet is being physically numbered with a unique accession number which links to our object database. So far we are making headway with the Blackman collection of amulets, one of several large tranches of amulets transferred from the Wellcome Historical Medical Museum in the 1980s. 

Measuring and labelling an amulet © Pitt Rivers Museum

Each object is photographed and extra information such as a physical description, materials, measurements and any potential hazards are added to the database record prior to packing the object ready for its move. The location of each amulet is also recorded, so we know which box it is in and which shelf that box is on, so if anyone wants to find it we don't have to start looking amongst the ploughs...


Helen Adams, Project Curator and Engagement Officer

with contributions from:

Andrew Hughes, Deputy Head of Conservation

Beth McDougall, Families and Communities Officer

For more about balangandan charms see:

• Crowley, Daniel J. & Doran H. Ross, ‘The Bahian Market in African-Influenced Art’, African Arts 15:1 (1981), p.p. 56–88 
• Fözy, Vilma, Balangandan - Afro-brazilian Amulet, Museum of Ethnography, Budapest (March 2016) http://bit.ly/2zTTK39

Caring for Fragile Fabrics

These are three ribbon amulets from Bolivia, which were sent to Conservation for treatment. 

Flaking decoration (PRM 1985.52.1726)

As you can see, the gold decoration over the text was flaking off, so I had to consolidate it. This means fixing it more securely to the surface using an adhesive. I did this under the microscope, so that I could watch very carefully if any colours on the ribbon started running.

Stuck together (PRM 1985.52.1729)

Two of the ribbons were folded over on themselves and had become stuck where they'd been painted. I had to decide whether to attempt to open them up or leave them as they were.

I tried releasing them very gently using a scalpel and managed to unfold the crimson one, but the white one was much too firmly stuck and the action would have caused quite a lot of damage to it, had I continued trying. As we already had two from the same area with the same decoration, it seemed unnecessary.

PRM 1985.52.1727

They all have a small amount of ‘shattering’ which is when the fabric becomes brittle and falls apart. This is mainly at the centre of each ribbon around the painted text and image. To stop the fabric breaking apart, I gave it a backing of silk crepeline, which was dyed to the same colour as each ribbon. This was then placed over each break like a plaster.

Once treatment was completed each ribbon will need to be stored properly. It’s best if it doesn’t get folded, as over time folds become breaks, so I wrapped each ribbon around some conservation grade foam and interleaved it with some acid free tissue to prevent any more sticking problems in the future. I then made a couple of small boxes out of conservation grade corrugated plastic to stop them getting crushed.

Jenny

A museum cataloguer’s ‘tool-kit’

One of the main aims of the ‘Small Blessings’ project is to accession, catalogue, physically number, label, document, and improve the storage for around five-thousand amulets. 

In the process of doing this, we cataloguers have a ‘tool-kit’ that we draw upon to go about the practicalities of our job on a day-to-day basis. This tool-kit consists of things such as rotary pens to physically number the objects and write labels. Where there is a large enough non-porous surface available, we use an acetone-based liquid (not unlike nail varnish) to apply a clear barrier before letting it dry and writing the number on top. This means we are not writing onto the object itself and allows the number to be removed or altered in the future. Due to the nature of amulets – ‘small blessings’ that are designed to be worn close to the body – it is sometimes very difficult to number them like this because they are too small!

In a cataloguer’s tool-kit you’ll also find string, a tape measure, a magnifying glass, scissors, and some charming nitrile purple gloves! We also use a digital camera to create a visual record of each object.

But this tool-kit also includes immaterial qualities such as an eye for detail, an ability to describe concisely what you are looking at, and an awareness of the different materials and processes that were involved in making such a wide variety of amulets: from Roman Catholic reliquaries, to pendants carved out of lava from Mount Vesuvius, to a wolf’s tooth worn to prevent convulsions. 

Images of religious figures printed on paper and
carried in a policeman's amulet satchel from Germany.

It is incredibly important to complete all the above stages involved in cataloguing an object collection. This will allow staff, researchers, and the public to locate these objects in the future and hopefully be inspired to find out more about a particular amulet or the collection as a whole.

Rosanna & Alice

What's inside?

Over the next seven months the project team will be accessioning and documenting the objects inside these boxes. What will they find? 

The catalogue for this collection tells us that Adrien de Mortillet collected amulets from all around the world. There are amulets from Algeria, Bolivia and China, and from Egypt, India and Japan. Many of the amulets are from cities in Russia – Kiev and Moscow, Italy – Naples, Rome and Verona, and France – Paris, Toulouse and Tours. 

The catalogue also tells us that many of the objects are religious amulets. There are reliquaries (containers for relics connected with saints or other religious figures), rosaries (prayer beads), and ex-votos (votive offerings to saints or divinities). There are also many hamsas (the hand of Fatima) and fish (a traditional symbol of Christianity). 

Apart from these religious amulets there are also many folkloric amulets in the collection, including acorns, clovers and horseshoes. 

The variety of these objects is also reflected in the materials from which they are made. There are amulets made from stone, coral and pearl, from bronze, silver and gold, and from teeth, bone and skin. 

Charlotte