Back to school: field-testing our KS2 digital interactive

On Monday 30 November Abigail Harrison-Moore and I will be joining a year 6 class (age 10-11) for a lesson to teach them about our work and test our educational materials. This is the age group at which we are aiming our online digital interactive, and as one of their science topics this year is electricity, this will give us an opportunity to integrate elements of history and art and design into their learning.

The design of our interactive focuses around floor plans of each of our three partner houses. At the beginning of the interactive, pupils will see a screen with pictures of each house, and will be prompted to move through the sections (levels) of the interactive which correspond to each of the houses in the order in which the houses were electrified (Cragside first, then Standen, as one of the first houses in the country to be built with electricity from the beginning, and finally Lotherton Hall, electrified in 1903).

Library1
Two lamps in the Library at Cragside.

They will be able to select the first, Cragside, and on doing so will see a simplified floor plan of the house and a video introducing them to the guide character for the house. These guide characters, one for each house, will appear in videos throughout each house‘s section, or level, explaining content about the history of electricity. The guide characters, a butler for Cragside, the lady of the house, Mrs. Beale, for Standen, and a maid for Lotherton, will be played by drama students working on the Electrified musical. They will be filmed using green screen techniques and inserted into footage from each of the three houses.

Within the floor plan of each house will be four clickable rooms which pupils can select, in no set order. On selecting a room a large, wide angle photograph of the interior of the room will be displayed, and pupils will look for a hotspot within the picture. This will highlight an object in the room of electrical significance, and hovering over the hotspot will open a larger picture of the object accompanied by a question. Clicking on the question will then open a short video – 60 seconds – in which the guide character will answer the question and provide more information about the object or system to which it relates.

The questions, and their corresponding answers, will be focused around a different theme for each house. For Cragside, the theme will be science and technology; pupils will be encouraged to think about how objects and systems worked within the house, and will be introduced to circuit diagram symbols. This ties the interactive into the KS2 science curriculum. In Standen, the theme is aesthetics. One of the key novelties at Standen is the fact that electricity was built into the plans from the beginning, and thus light fittings were designed and selected iteratively to fit with the rest of the interior décor. Pupils will be prompted to consider how materials were chosen for this, and how electric lighting changed the look of a room. Lotherton represents a broader category of houses which adopted electricity slightly later, at the turn of the twentieth-century, and the theme of the questions and answers will be the social history of electricity: what different people thought of it depending on age, class and gender.

DSC00467 (600x800)
A light fitting from Mrs. Gascoigne’s Morning Room, as compared with…
DSC00470 (800x600)
…the lights in her husband Colonel Gascoigne’s office (the Medal Room).

The rooms have been selected to give a range of masculine and feminine rooms – such as Colonel Gascoigne‘s Medal Room or office at Lotherton Hall, and correspondingly Mrs. Gascoigne‘s Boudoir or Morning Room – and family and servant areas, such as the kitchen at Standen or butler‘s pantry at Cragside. Otherwise the clickable rooms represent the range of rooms found in a typical country house: dining room, drawing room, morning room, library, hall, kitchen.

Once the pupils have completed each of the houses in order, there will be a section which tests their understanding of the content they have just watched by asking a set of multiple choice questions. These questions will be positioned beneath an image of a circuit diagram, and each question will relate to a circuit component covered in the material over the course of the interactive. Each correct answer will place a component on the circuit diagram, and at the end, if all questions have been answered correctly, the pupil will be able to click a button to activate the circuit, for example lighting up a bulb, ringing a bell and causing a motor to turn.

We envision the interactive being used both at home and in a classroom environment. At home, the pupil would simply go through it as described above. This should take no more than 20 minutes if all the materials are viewed. In the classroom, the interactive can be projected on a large screen as a whole-class activity, and the teacher can guide the pupils through it. A pupil can be called up to select the hotspot in each room, thus involving 12 pupils in total over the course of the interactive (four rooms with one question each per house). When the question is displayed, the teacher can ask the pupils to suggest answers before clicking on it to show the video. Alternatively the teacher can pick just one of the houses to cover in this way, for example if a visit is planned or if one of the house themes is a particularly good fit with their teaching. We also intend to provide supporting resources for teachers using the interactive in this way, including information about each of the country houses, photographs used in the interactive, and further follow-up activities such as a worksheet and suggestions for related drama activities.

IMG_20150807_145334
Candles on the table in the Dining Room at Standen.

Thanks to Leeds Media Services, with whom we are working to produce the video content for the interactive, and to our technical officer Corey Benson, who is developing the interactive itself, we will be able to use this opportunity in the classroom to demonstrate a simple, limited version of some of the interactive content to get some feedback from the pupils and their teacher. We will then be able to incorporate this into the character scripts, which will be filmed in December.

History-onics!

Rehearsing Electrified. ©Mark McDougall

Work on our history of electricity musical has now begun in earnest, and the final year theatre and performance students in the School of Performance and Cultural Industries (PCI) are putting a lot of time into writing the script and song lyrics, composing the music and choreographing the dance scenes, as well as designing a period-appropriate set.  There are 24 students in all and they supervised by Dr. George Rodosthenous (Associate Professor in Theatre Directing) and Dr. Tony Gardner (Lecturer in Performance Processes & Techniques).

Having given them material to read over the summer I went to see them at the beginning of their project a couple of weeks ago to talk to them about our work and how they might think about adapting it for the stage, especially given my recent experience working with other drama students to produce our Light Night performance.  They have a blog, which you can visit for news, photos and podcasts about the development of the production.  They’re also on Twitter: @ElectrifiedPCI.

Lady
Light Night: the lady of the house‘s costume.

Although working with drama students wasn’t something we originally envisioned being a large part of this project, our collaborations in this area have nevertheless produced some of our most innovative and creative outputs.  We have developed a very good working relationship with our colleagues in the School of PCI, George Rodosthenous and Tony Gardner, and have found the students very enthusiastic to take part in other opportunities to dramatise our project materials.  As a result, our dramatic outputs have now expanded to include – as well as the musical – our Light Night performance, guide characters for our KS2 history of electricity digital interactive, and a short film we will shoot at Lotherton Hall in December.  The students have also taken it upon themselves to organise an educational workshop at the University for local school children at which they will perform sections of the musical.

Our digital interactive is currently being built by our technical officer, Corey Benson.  It will benefit from the involvement of the students through the use of green screen filming techniques to insert them into video footage of the houses in order to explain elements of the history of electricity.  The interactive itself will comprise floor plans of each of the three partner houses, which pupils will navigate around in the order in which they were electrified (Cragside, Standen, Lotherton Hall).  For each house there will be four clickable rooms on the floor plan which pupils can select to learn more about the history of electricity in that particular room.  Each house will have a guide character, played by one of the students.  These characters will introduce themselves and their respective houses to pupils at the beginning of the interactive, and will then talk to them about specific areas of the history of electricity (science and technology, aesthetics, social history) in videos in each room.

The Electrified cast rehearse as the fairies of Iolanthe. ©Mark McDougall

The last dramatic output (for now) is our Lotherton Hall short film.  This will be about ten minutes long and will explore what happens when a reporter from a London ladies‘ journal visits the house in the early 1900s to talk to the family and the servants about their new electrical installation.  She is concerned in particular with the potential for accidents, especially given the number of people who have been injured or killed by domestic electricity around the country over the preceding few years.  I am currently working with a small group of the Electrified students to develop this, and we will film it in Lotherton Hall in December alongside the footage for the digital interactive and the green screen guide characters.  The film will be on display at Lotherton Hall for visitors to watch in spring 2016.

The maid from our Light Night production: scared of electricity.

I think these enthusiastic collaborations with staff and students from the School of PCI are due in part to the appeal of the stories and anecdotes Graeme brings out in his book Domesticating Electricity, the source material for the project.  These humanising stories of the fears and hopes of the people of the time, and the sometimes amusing, sometimes tragic, accidents or problems they ran into, serve to bring the period to life, and lend themselves well to dramatisation.  As we consider the ways in which we might further develop this project in the future, the success and excitement of these dramatic outputs is something which we are very much keeping in mind.

Performances of Electrified will be on Thursday, Friday and Saturday the 10th, 11th and 12th of December at 7:30pm, Stage One, Stage@Leeds.  Tickets are now on sale here.

Light Night 2015: It’s Electrifying!

The Housekeeper - in two minds about electric light.
The Housekeeper – in two minds about electric light.

On Friday evening, 9 October, we put on a special performance in the Brotherton Library’s Brotherton Room with the help of four student actors from the School of Performance and Cultural Industries (PCI). Called ‘It’s Electrifying!’, the show was organised as part of Leeds Light Night, an annual evening of free arts events (exhibitions, performances, installations) all based around the theme of light that takes place across the city, including the University. As this ties in so well with the themes of our project, this was too good an opportunity to pass up.

Working closely with a colleague from the School of PCI, George Rodosthenous, who is also one of the lecturers supervising the production of our Electrified musical, we recruited four drama students as volunteers to take part in our show. Fitting in planning, script writing, rehearsals and organising costumes around everyone’s busy schedules was a challenge, but the students worked hard, and other members of PCI staff were also very helpful; special thanks go to Allana Marsh and Steve Ansell for helping to sort us out with costumes and props at quite short notice!

The show started with the maid cleaning outside the room and humming, before noticing the audience and inviting them in.
We started with the maid cleaning outside the room and humming, before noticing the audience and inviting them in.

We used the performance to address the hopes and fears surrounding the introduction of electric lighting into people’s homes around the end of the nineteenth century. There were four characters, representing a range of classes and opinions, for example the young lady of the house, excited at the aesthetic possibilities of the electric light, and her mother-in-law, who was sceptical, didn’t understand what electricity was or how it worked, and didn’t think it should be brought into their home.

The older lady - didn't understand electricity.
The older lady – didn’t understand electricity.

We also had the housekeeper, who was happy that the new lights didn’t give off any soot or smoke to blacken the paintwork, but who was sad to need to make redundant the boy who had been in charge of the candles and oil lamps. Finally, the maid was wary, knowing that people had died through accidents involving electricity.

The 15 minute show ran four times over the course of the evening, and over 110 people came to see it. We even had a song about the electric light from the 1880s, which the characters sang and hummed over the course of the performance. The Brotherton Room itself was also the perfect venue for the show; dating back to the 1930s with the rest of the main body of the Brotherton Library, it is an incredibly atmospheric space, and made a very passable country house library for the performance. It looked great lit up with electric candles.

One half of our display of objects....
One half of our display of objects….
...and the other side.
…and the other side.

Also forming part of the event was a display of historic electrical objects from the University’s Museum of the History of Science, Technology and Medicine, which we used to tell the story of domestic electricity from its generation to its use in the home, from the 1880s until the 1940s. These included an old battery, a copy of a Mrs. Beeton book from the 1920s which dealt with electric cookery, and an Overbeck Rejuvenator, a 1920s electrical therapy kit for use by individuals in their own homes. The audience was encouraged to take a look at this display after the performance.

We got great feedback on the creativity, the costumes, and of course the singing! We’d like to thank our colleagues in PCI, in the Brotherton Library and in the Museum, and in particular the PCI students, for all their help making this event possible.

The cast.
The cast.

Lights, Camera, Standen! (And Cragside!)

I’ve recently been busily travelling around the country visiting Standen and Cragside with film crews to film and photograph various rooms for our digital interactive. At Standen we were joined by the very helpful Leeds Media Services, who will also be doing all our editing, and at Cragside we worked with the University’s own Digital Learning Team, and also filmed material which will be used in first year teaching in January.

Taking photos in the Drawing Room at Standen.
Taking photos in the Drawing Room at Standen.

The main body of the digital interactive will comprise three floor plans, one for each house, and within each floor plan users will be able to click on four rooms to find out more about the history of electricity in that room of the house. Clicking on a room will display a large photo of the interior of the room, within which will be a clickable hotspot, for example an electric lamp, a telephone, or an electric call signal board. Users will have to find this hotspot, and hovering over it will generate a larger picture of the object, and a question about electricity, which, when clicked on, will open a video answering the question and giving more information.

On these visits we had very little time as we needed to fit around the respective houses’ schedules, so we needed to be very efficient and well organised. We were also very aware of the potential dangers of using filming equipment in small spaces filled with so many invaluable artefacts! Nevertheless, we knew beforehand exactly what we wanted to film and photograph, and we got it all done carefully and in good time.

Not allowed on the carpet!
Not allowed on the carpet!

It was interesting to move around some of the rooms in areas which are normally roped off, and which the public can only see from a distance; in one room in Standen this necessitated us all removing our shoes, a slightly surreal experience which made me glad I had, however unwittingly, managed to find socks without holes in them that morning. We were very grateful for the hospitality of the teams at both houses, and especially for accommodating our requests to move interpretative materials, rope barriers, or occasionally some of their display objects around in order to improve the shot or the photograph.

The library at Cragside. ©University of Leeds Digital Learning Team and Leeds Media Services
The library at Cragside. ©University of Leeds Digital Learning Team and Leeds Media Services

One of my favourite shots, which I am looking forward to using in the interactive, is one in the Library at Cragside, where we simulated a power failure by filming the lights slowly going out. Early electrical installations often weren’t very reliable! We will be filming at Lotherton Hall, the third partner house, in December.

Evaluating Old Science Week

In the wake of the very enjoyable ‘Old Science Week’ at Lotherton Hall last week, I’ve been thinking about how it went. I was there for the Monday and the Wednesday, which you can read about here and here respectively.

The ice cream maker, hair dryer, plugs, toaster, telephone and vacuum cleaner.
The ice cream maker, hair dryer, toaster, plugs, electricity meter, telephone and vacuum cleaner.

Working with Lotherton Hall on this event meant that we were able to use the usual setting for family activities at the house.  This is the Servants’ Hall, a great adaptable space which can accommodate large groups of adults and children, and allow for all sorts of interaction, engagement and creativity. The week fitted into Lotherton Hall’s “Six Weeks of Summer” programme, a series of themed weeks aimed at school aged children during the summer holidays.  As such, a handling table and arts and crafts related to the theme and collections were on offer.  Some of the objects on display for handling, old electrical domestic appliances, as pictured here, were borrowed from Artemis, Leeds City Council’s artefacts loan service.

Although Lotherton’s themed weeks are largely for younger children, we knew our engagement would be with visitors of all ages, some as part of a family and some alone or with friends. Thus the best format for the activities – in line with other crafts activities held in this space – was a series of drop in sessions which people could join and leave as they wished. This wouldn’t tie them into being there at any particular time or require them to participate in anything too structured or formalised. As Dee Matthews, Lotherton’s Learning Officer, later observed, the end of the summer holidays begins to quieten down; it was thus easier to engage with visitors for longer periods, and to encourage them to think about what each object was and how it was used. Relating this to electrical appliances and gadgets in their own homes was also very effective.

One of the decisions we needed to make when thinking about how best to run these activities was whether or not to include any written interpretation. We considered for example a fact sheet about the history of electricity, or domestic lighting at Lotherton, but Dee recommended that it wouldn’t be appropriate for the setting. It also might look as though we were trying to create too formal a learning environment, but with various craft activities and object handling there was plenty on offer to keep the visitors interested.

The sign next to the objects.
The sign next to the objects.

Instead we decided that it would be best simply for me to talk to those adults who were interested to find out more about the topic and about the work of the project. This I did on a couple of occasions. We also included a sign next to the handling objects which explained why they were there, invited people to pick them up, and asked a couple of simple questions aimed at the children.

However, in hindsight, I think there may have been an advantage to having a simple interpretation sheet near the objects for the benefit of adults without children coming into the area. This would have supplemented the information given on the sign and provided them with more context and information about Old Science Week. It would also have meant that these visitors would still have gained something from the display when Dee and I were unable to speak with them, for example because we were busy talking to or working with the families.

Overall I thoroughly enjoyed the time I spent at Lotherton, talking to the families and adult visitors, and I think our ‘Old Science Week’ activities provide a good model for running such events in future. However, I would bear in mind a few points where we could improve on the event.

  1. If possible it would help to have two people from the university; it might not always be possible for the house staff to be present, so in order to make the most of all of the visitors, and talk to as many people of different age groups as possible, it would help to have two people able to give personal interpretation present consistently over the course of the day. This would also help with taking photographs of the event, something which I found it challenging to fit in as I was busy speaking with people, and to have stopped and taken photographs would more often than not have interrupted the flow, spoiled the atmosphere, and lost the interest and attention of the children.
  2. It may seem an obvious point, but university attendees should have some sort of identifying badge to wear; I had nothing at the beginning and I felt the difference it made.
  3. As mentioned above, I think a page of written interpretation aimed at the adult visitors who passed through the Servants’ Hall over the course of the week would have been helpful. It would not have been long, but would have added some depth and context to the objects on display, and to the theme of the week more generally.
A picture of the house drawn for us by one of the kids. Thanks!
A picture of the house drawn for us by one of the kids. Thanks!

Please leave any comments below; if you came along one day last week, we’d like to hear what you thought of it, and if you’re thinking of doing something similar to this in another country house then please get in touch!

Hello! Hello! Are you there?

DSC00502

Hello! Gran? Are you there?

Day 3 of Old Science Week at Lotherton Hall saw us making telephones out of plastic cups and string. This was a very good activity for both the older and the younger children to engage with, as they could first be as creative as they wished with their cups, and then, with a little help on the knots, they could make and experiment with a rudimentary scientific instrument. The children really got into this, and there was plenty of shouting, some loud whispering, and even a bit of singing as they worked out how best to use them by making sure the string was pulled tight. However, we soon found it was a good idea to put some sellotape over the hole to make sure the string didn’t keep popping out of the cups! The adults had fun too; here is one of the children talking to his grandmother on his newly decorated string telephone!

A heater? A bug zapper? It's a toaster!

A heater? A bug zapper? It’s a toaster!

The old electrical objects were still on display, and I got some intriguing responses when asking the children to work out what the toaster was; a heater was a fairly obvious guess, but a bug zapper and a laminator were definitely evidence of some pretty good out-of-the-box thinking from the visitors. As one of the items was an ice cream maker, which was not electrical, I asked the children to think about which of the items was the odd one out and did not use electricity. Some were surprised to be told that not everyone had liked electric lights at first, because they were considered to be too bright, and also to learn that old telephones were not as easy to use as their modern equivalents.

A colourful set of telephones.

When talking to the children about the electrical objects, we also took the opportunity to engage with the adults, and talked about how Lotherton Hall was electrified relatively early, having previously only been lit by oil lamps and candles. The decision to electrify the house, taken by Colonel Gascoigne around the turn of the 20th century, was not an obvious one, and was complicated and expensive as Lotherton Hall needed to be able to generate its own independent electricity supply. Whilst it may have been more common at that time to have gas lighting installed, Colonel Gascoigne was keen on modern technologies, and also had central heating installed as well as owning a fleet of motor vehicles, so he chose electric lighting.

Read about what we did on the first day here!

 

 

 

The toaster, the hair dryer and the vacuum cleaner

The telephone and the vacuum cleaner.
The telephone and the vacuum cleaner.

What do these things have in common? Apart from the fact that they are all pretty ubiquitous electrical domestic appliances, they were all at Lotherton Hall to be handled and marvelled at (“it’s really heavy!”) by the young visitors to Old Science Week today. Some of these items were borrowed from Artemis, Leeds City Council’s artefacts loan service, by Dee Matthews, Lotherton Hall’s Learning and Access Officer, and we showed them to the children, encouraging them to work out what the less obvious ones were and compare them to their modern day equivalents.

DSC00495
The surprisingly heavy hair dryer.

The hair dryer and the vacuum cleaner were fairly obvious, but the old toaster was slightly more problematic; on first guess it was usually identified as a heater. The advantage of using objects to engage with the idea of ‘old science’ is it can offer something to all visitors, and it encouraged all sorts of responses from curiosity to sharing stories. The objects will be at Lotherton until Thursday, and we will be encouraging children to think about how they use electricity at home, and what life would be like without it.

DSC00497At the same time, children can also participate in craft activities. Today this meant colouring in or making ice creams out of paper, cotton wool balls and lolly sticks – to connect in with the old ice cream maker we had on display, nearly always the most difficult object to work out – not to mention fascinating discussions about Disneyland and lightsabres. Over the next few days, other activities will include making paper lanterns, to tie in with the history of electric light at Lotherton Hall, and using plastic cups and string to make telephones.

And if these are conducted with more exciting conversations about Star Wars and My Little Pony, then so much the better.

Electric Art at Cragside

I was recently contacted, via the ‘Share your Stories’ section of the website, by Irene Brown, an artist who in 2013 made an art installation for Cragside called ‘Fulmination’. The installation was part of the Building Dreams exhibition, which marked the 150th anniversary of the house, and comprised a video of Cragside projected within a large glass chemistry flask, as you can see from the picture.

Irene says:

“A dramatic thunderstorm crashes repeatedly, flashes of lightning illuminating a tempestuous landscape where Cragside House appears held, fully three dimensional within the centre of the glass sphere. The piece provokes evocative associations between powerful natural forces and Armstrong’s harnessing of the elements to create hydroelectricity. The atmosphere in the room reflects the dangerous and magical potential of early experiments with electricity.”

For more pictures of this and other similar works by Irene, please visit her website, where you can also see the video used in the ‘Fulmination’ installation.

Lotherton Hall hosts Old Science Week

P5.1 LH from south shortly after 1903 extension (2)
Lotherton Hall, c.1903. ©Leeds Museums and Galleries

In a few weeks’ time on Monday 24 August I will be over at Lotherton Hall to take part in our very exciting Old Science Week. This series of fun activities for kids visiting the house will run from Monday until Thursday 27 August, and has been devised by Dee Matthews, Lotherton Hall’s Learning and Access Officer, in conjunction with Steve Hutcheon, Leeds Museums and Galleries’ Science Learning and Access Officer. It ties in very closely with the themes of the ‘Electrifying the Country House’ project which we’re running at the University of Leeds: a key focus of our work is on electric lighting in the domestic sphere, and during this week children will have the chance to think about light and how we use it.

We’ll have a range of objects from the Leeds Museums and Galleries collection for children to look at and handle related to light, and Steve will demonstrate some kaleidoscopes. We’ll be making lanterns as well, which connects with the way some Victorian ladies made shades for their new electric lights; they thought lightbulbs were brighter and harsher than the gas, oil or candle lights they were used to, and wanted to soften the glare. I’ll be on hand also to talk about what people first thought about electric lighting when they used it in their homes if older children or parents want to more about the history of light in the home.

The activities will run from 10am to 4pm each day; for full details of how to get to Lotherton Hall and for price details, have look here and here.

The Cragside Chronicles

IMAG1047

Graeme and me on our way to Cragside!

Over the past two weeks I’ve made a couple of trips up to one of our partner houses, Cragside, near Rothbury in Northumberland. I’ve met members of staff (including Katherine the house steward and Andrew the curator, both of whom have been very friendly and helpful), found things to film for the digital interactive (on which more here) and decided on electrical items to be animated for use around the house.

The digital interactive will tell the story of all three of our partner houses, drawing out common themes in the history of electrification as noted in the Principal Investigator Graeme Gooday’s book, Domesticating Electricity, on which this project is based. These themes will include the aesthetics of electric lighting, how electricity was used for communication, and how early electrical lighting systems were often unreliable. Where possible, we intend to illustrate these themes, and rooms in the houses to which they relate, with video footage, so it was important to look around and see what we should film. Here I was grateful to have my friend and colleague Paul with me taking photographs, while I furiously scribbled partially legible notes on my little pad.

A fire alarm in the Owl Suite.

A fire alarm in the Owl Suite. ©Paul Coleman

For example, did you know Cragside has two electric dinner gongs upstairs, which were operated by the butler from downstairs to let everyone know it was time for tea? The house was so big you wouldn’t have heard the normal gong at the bottom of the stairs! The old fire alarms are also a very practical and a very attractive technology, especially the one installed in the Owl Suite of bedrooms, where the Prince and Princess of Wales and their children stayed whilst staying at Cragside in August 1884. I can imagine it might have been a little too easy to set these off by accident though!

The animations we will produce will be cartoon-style explanations of various electrical items and systems around the house and wider estate. They will be used on tablets by volunteers and staff to show to visitors. For example, in the library are four vases which were originally oil lamps, but were converted over to use Joseph Swan’s lightbulbs in 1880, making them some of the very first such electric lamps. As there was no effective electric lightswitch yet, these lamps sat on a base which contained a small cup of mercury. When the wire which came down from the bulb through the vase dipped into the mercury, the lamps lit up; when the vases were moved, the bulbs went out. I don’t think you’d want one of those in your house today! We will also be animating the hydroelectric system to demonstrate how it worked, as well as the telephone system which was used by the butler to regulate the supply of electricity to the house.

The view from the Tower at Cragside.

Blessed with lovely weather on both of my visits, it was very useful to walk around the grounds and get a feel for the layout and the scale of the estate. On my second visit, with Graeme Gooday, the curator Andrew took us up to the top of the house to the tower, not normally seen by visitors. The view was fantastic. I also need to thank Andrew in particular for the treasure trove of primary sources he’s given me to read through, and which I’m very grateful to have. Over the course of the project I hope that maybe I can add to this, possibly by going through volumes of old electrical journals like the Electrician and the Telegraphic Journal and Electrical Review to find references to Cragside and Lord Armstrong from the 1880s and 1890s.

Later, Mark, the Cragside representative on the project, and Andrew took Graeme and myself up to the lake at the top of the hill. Armstrong had this lake built around 1886 to provide a supply of water for the turbine which, connected to a dynamo, provided electricity to light the house. This was the second major stage in a project which had begun at the other end of the estate in around 1878; however, the original hydroelectric generating system had been too far from the house and wasn’t efficient enough to deal with the increasing demand as Armstrong installed more lights, so he built a second, closer, generating system.

The lake which powered the electric lighting from 1886.

The lake which powered the electric lighting from 1886.

As you can just about make out from the photo, the view of the otherwise idyllic landscape also includes a couple of electricity pylons lurking in the background, marching their wires across the rolling hills. Some might consider this a rather unfortunate juxtaposition of natural beauty and artificial unsightliness. However, as Andrew pointed out, given Lord Armstrong’s passion for electrification, and pioneering efforts in providing electricity at a distance, maybe this symbol of progress and electrical infrastructure, forming the backdrop to a view of Armstrong’s own early attempts, is really rather appropriate.

I came back from Cragside with plenty to think about, and lots of notes, primary sources and photographs. I’m looking forward to sorting through everything and to doing the filming in early August. In the meantime, here is a photo, taken on the main staircase at the end of our visit by a very patient member of staff, of Paul and myself wearing funny hats. You’re welcome.

Look out for these funny hats at Cragside!