The Museum of English Rural Life is now open!
The MERL is now open after a £3million redevelopment project, which has radically transformed our public displays.
The new Museum challenges perceptions about rural England by revealing the historical and contemporary relevance of country life. Come and discover our new interactive, immersive galleries which explore questions of identity, environment, technology, culture and health.
- The Museum is now fully open, following a major redevelopment, supported by the Heritage Lottery Fund.
- Free Admission
- Redlands Road, Reading
Did you know
...city families used to pick hops on holiday?
Hop picking holidays allowed city families to earn money. Pickers were paid with tokens, which were used in local shops or exchanged for wages.
Did you know
...Elizabethan mattresses were used for both childbirth and corpses?
Mattresses, plaited from sedges, were made to support a mother during childbirth or a corpse after death. After use it would have been burned.
Did you know
...farmers used to sow seeds by fiddle?
Sowing by hand can be slow and inaccurate. Seed drills were developed in the 1800s to sow seeds quickly in a straight line at regular intervals.
Did you know
...Lady Eve Balfour (1898-1990) was one of the earliest organic farmers and co-founded the Soil Association?
Women continue to play a key role in this movement, with organic farms employing significantly more women than chemical farming.
Did you know
...Suttons Seeds invented the seed packet?
The local Reading firm, founded in 1806, popularised paper packets of seeds for gardeners.
Did you know
...villages often used to run their own fire services?
The National Fire Service was only created in 1941.
Science engagement officer, Robyn Hopcroft, provides an update on our sugar beet growing project.
It’s National Gardening Week, and at The MERL we’re lucky enough to have a beautiful garden with a large lawn, herb garden, woodland area, and several community growing projects. It’s a great space for experimentation with different plant varieties and one of our current projects involves growing sugar beet – a vegetable that’s normally grown on farms rather than in gardens.
I must say that I felt very nervous waiting for our crop to germinate. The soil temperature and pH were right and we planted according to advice provided by British Sugar. But I was still worried that the seeds wouldn’t grow. I’m now pleased to say that our beets have germinated and are getting bigger and stronger by the day.
But I still have concerns…
We applied fertiliser, as directed, and I worried that it might burn the new seedlings. We thinned the crop and I felt terrible for killing off perfectly good seedlings. Now, as the beets grow, I’m checking the bed with obsessive frequency – weeding and watering and fretting about the possibility that tender new leaves might be delicious to caterpillars and snails and vulnerable to any number of diseases. And what if the soil that I’ve painstakingly sifted using a hand-held riddle is still too stony to support a root crop like sugar beet?
Delving into the Sir Alfred Wood archive didn’t do anything to allay my fears – I’m now terrified that we’ll fail and end up with ‘fangy beets’:
Is this how a farmer feels in springtime? Excited about the possibilities, but acutely aware that it could all be snatched away at a moment’s notice by an oversight or act of nature? In my case I guess it’s just run of the mill gardening angst. Both the gardener and the farmer must deal with uncertainty, but if our sugar beet crop fails, it will be a mere disappointment – it won’t affect my pay cheque. Yet scale our tiny Beet Box up to 100,000 beets per hectare and the stakes are so much higher on a real farm.
A novice like me can just ‘have a go’ at gardening and see what sprouts, but a beet farmer (or any farmer) must be an expert in her domain. Keeping up to speed on the latest research and advice and combining this with experience in the field (or knowledge handed down through generations) helps a farmer to manage risk and respond to set backs, increasing the chances of bringing a profitable crop to harvest.
I think I’ll stick to gardening for now and see how I feel about beet farming at the end of the season.
Science engagement officer, Robyn Hopcroft, reveals one of our new growing projects and the feat of DIY ingenuity behind an unusual landmark in our garden.
If you’ve visited us in the last couple of weeks, you might have noticed that something funny is going on with our garden. Perched above one of the raised beds there’s a suspicious object. Something that bears an uncanny resemblance to a spaceship. Well let me put your mind at ease. I can explain. It’s all part of a new growing project and that spaceship is here to help.
Alongside our new community growing spaces, we have built a raised garden box with a focus on science and technology. Our inaugural project will see us attempt to grow sugar beet. Being museum folk, we love a terrible pun, so I feel no shame whatsoever in revealing that our project is rather dubiously titled ‘Beet Box’.
Is the world ready for Beet Box? We think so. Around 7.5 tonnes of sugar beet is grown in Britain each year and these crops are used to manufacture a large proportion of the sugar that we consume. With this in mind, we’re keen to learn more about the history and practicalities of this industry. We might only produce a few kilos of beets and a very small amount of sugar, but this provides a good opportunity to explore the process of sugar production from first-hand experience. It seemed fitting that we sow our seeds on British Science Week, and using expert growing advice and seeds provided by British Sugar gives us the best chances of success. Let’s cross our fingers that conditions will be right to take our tiny crop to harvest.
So where does the spaceship come in?
We wanted to do more than just grow beets, we also wanted to explore how technology could be used to track growing conditions. We’re delighted to be collaborating with Reading Hackspace on the project, and several their members have kindly donated their time and expertise to design and set up a monitoring system for Beet Box. Having installed soil and weather sensors, they also plan to use a solar-powered camera to capture information about the growth of the beets, and the solar panel is intended to sit inside that nifty Perspex spaceship enclosure.
The Hackspace folks are a community of enthusiastic makers who use rLab – a peer led workshop, open to anyone who is interested – as a base for knowledge sharing and work on a wide range of fascinating projects. The team working on Beet Box have taken care to design a system for the garden box that is open source and uses widely available components, providing an opportunity to use the project for educational purposes and to allow anyone to replicate or take inspiration from the setup.
In the weeks and months to come, we will share more detailed information about the system and the progress of our beets, and get feeds up and running so that data from the project is freely available online. In the meantime, we anxiously await the germination of our beet seeds.
Paddy Bullard reflects on Tanya Harrod’s seminar as part of the Department of English Literature and the MERL speaker series on the ‘Tangible and Intangible Countryside’
Tanya Harrod is the doyenne of modern folk art studies, and the most distinguished historian and critic of craft working in Great Britain today. She is best known as author of the monumental Crafts in Britain in the Twentieth Century (Yale, 1999), and of The Last Sane Man: Michael Cardew, Modern Pots and Colonialism, which won the James Tait Black prize for biography in 2012. Most recently she published a collection of journalism and occasional writing, The Real Thing: Essays on Making in the Modern World (Hyphen Press, 2015). She is a founder-editor of The Journal of Modern Craft, and previously was visiting professor at the Royal College of Art, 2000-2010.
On Tuesday 31 January 2017 Tanya came to MERL to give a paper on ‘Archaic Modernists: Women, Textiles and the Margins of Europe’. Tanya’s research focused on a group of ‘erudite, rather intrepid women’ who brought a huge charge of invention, spontaneity and ambition to British textile design during the 1920s and 1930s. They included Phyllis Barron (1890-1964) and Dorothy Larcher (1884-1952), who together led a revival in hand-block printing in England, and their sometime employee Enid Marx (1902-1998) and her partner Margaret Lambert, designers whose collection of ephemeral and vernacular art was put on display at Compton Verney House in 2004.
Tanya argued that these women and others in their circle were united by a determination to find a principle of progress for their craft – textile manufacture – in the ‘living vernacular’ of small scale rural manufacturers. These artists were progressive, modernistic thinkers, quite distinct from the ruralists and proto-organicists (she mentioned MERL favourite H.J. Massingham among others) of their day. Above all, they felt that the British countryside was exhausted as a source for their new designs, because truly local and vernacular traditions of textile design had been so long superseded by machine-led designs and processes. So these women looked much further afield. Tanya’s paper was at its most revealing as she described their undaunted travels and discoveries in some of the remoter corners of western Europe and the Balkans. As she summed her discoveries, ‘abroad was their deep country’.