Description of Organisation:

The Llŷn Maritime Museum was established in 1977 to display a collection of items and tell the story of the area’s remarkable maritime history. After 23 years the doors to the museum which was housed in Eglwys Santes Fair (St Mary’s Church) Nefyn were closed in 2000 for health and safety reasons. A fresh group of volunteers came together around 5 years ago in an effort to reopen this significant resource. In June 2011, following a successful application, the Heritage Lottery Fund awarded the Museum project £39,500 of development funding, in order to appoint a project coordinator and prepare a second round application of £294,500 for the work of renovating the existing building, the former Saint Mary’s church in Nefyn, and to re-open the museum.

In November 2012, the Heritage Lottery Fund awarded Amgueddfa Forwrol a Chanolfan Treftadaeth Llŷn (Llŷn Maritime Museum and Heritage Centre) a grant of £294,500 to transform Eglwys Santes Fair (St Mary’s Church) Nefyn into an interactive exhibition centre to showcase the museum’s maritime artefacts.

The foundations of the Grade II listed church date back to the 6th century where a priory once stood and was used as a resting place for pilgrims on the route to Bardsey Island. The church, rebuilt in 1825-27, will be fully restored, with the interior adapted to create a modern exhibition space. Visitors to the museum will be able to explore the themes of voyages and adventures, fishing, shipbuilding, farming and quarrying, utilising the museum’s rich collection of film archives, oral history recordings and a variety of artefacts from shipwrecks, items belonging to captains and seamen, and old pictures of everyday life in Llŷn.

Since then work has been underway with regards to the planning and redevelopment of the church. The first phase of redevelopment has been completed, through the re-roofing of St Marys Church, and the construction of a ramp, providing disabled access to the church is underway. Structural plans are being finalised and the tender for the redevelopment of the museum has gone out, in preparation for the start of building works from the summer, in time for its scheduled opening on St David's day (March 1st) 2014.

In the mean time, museum volunteers are undertaking numerous research projects focused on the collection (collection care/conservation and research), publicity events (lecture series', exhibitions and digital projects including a short film about the local quarrying industry and 'then and now' a digital imaging project) and fundraising events. The museum has Working towards Accreditation status and hopes to secure full accreditation within 6-8 months of opening, as recommended of CYMAL (Museums , Archives and Libraries Wales).

The organisation comprises of 5 trustees, a part time project development manager and a team of 12 dedicated core volunteers, as well as a Friends network.

The grant would be used to undertake a conservation and restoration project on the largest item in the museum's collection- a 7.5m long logboat . At the heart of this project is legacy- to stabilise the logboat for the future and for public display in the new museum.

The Llŷn Maritime Museum has recently been successful in its Round 2 Heritage Lottery Funding application which will enable the museum to be reopen after over 10 years of closure. The funding will cover the redevelopment costs- both capital and interpretation. However due to the scale, rarity and condition of the items in question, a separate programme of conservation is needed.

This project would develop from research work in progress into these items, part of the museum' ongoing collection research and management priorities. The logboat has been researched for four years now by one of the museum's committee members who is a Durham University Archaeology Undergraduate (See Appendix). His research has identified that the vessel is not from Polynesia as previously thought, but more likely West Africa possibly the Niger Delta and dating from the early 20th century. As part of the research, ethnographic comparison was undertaken through discussions with museums around the world, which in turn has highlighted the significance and uniqueness of the vessel. Mystery remains about how such a vessel ended up in the Menai Straits from West Africa, however the aim is to display the vessel as a curiosity, presenting possible scenarios and encouraging visitors to propose their own interpretations, part of the museum's principle of the active construction of meaning.

The project to date has been one of collaboration. Including timber identification by Dr Damian Goodburn (Museum of London Archaeology) and Dr Chris Caple (Durham University) who has also assisted in the development of the conservation scheme for the logboat. A scale drawing of the logboat was created by volunteers during a training day by Gwynedd Archaeological Trust. We have been working closely with CyMAL to create a conservation plan for both items.

Since the arrival of the logboat to the museum in the 1970s, no conservation work has been undertaken on it. As a result immediate conservation work is needed to stabilise the condition of this unique vessel. Conservation is recommended rather than restoration, as the cracks are a visible reminder of the artefact's biography. The grant would fund the creation of a metal support frame, similar to those of the Viking vessels in Scandinavia as seen in the Bergen and Roskilde maritime

museums. Aside from acting as a display frame, the support frame would stabilise the condition of the vessel, which currently has no support.

The project has a significant potential to share knowledge, notably the designing and development of a support frame for a logboat, as museums with similar vessels in their collection including Liverpool Maritime Museum and EISCA, could chose to copy the design.

Therefore this project illustrates the commitment of the museum in understanding of collections, appreciation of the potential of collections and use of collections.

Ultimately there will be public dissemination of the research into both items, through the inclusion of research papers into relevant academic archaeology and history journals. However the main focus is that the research will be central to the interpretation of the items in the new museum, in association with our partners at Headland Design. Therefore this therefore benefit not only visitors and users of the museum but also the academic community.

The project will provide a lasting legacy through the conservation and restoration of the largest item within the museum collection. New research has identified the artefact biography of this item, which will be essential to their interpretation and display within the museum. However both items will be central to the museum' principle of active communication of meaning which will inspire and encourage visitors to the museum to provide their own interpretations.

Throughout the project we will ensure that conservation standards are met both during the conservation process and when on display in the museum.

Despite the successful round 2 Heritage Lottery Fund grant, the focus of the grant is the capital costs towards the redevelopment work at St Mary' Church, furthermore the conservation needs and costs were not sufficiently developed at the time to include within the application costs.

Therefore within the past two years, we have had the time to research and assess the conservation needs and conditions of the museum' collection. As a result we identified that the two largest items within the collection, were the priority, due to their size, their state of conservation and conservation needs.

Furthermore as a result of the successful Round 2 Heritage Lottery grant, conservation work on these large items has become an immediate priority, with building work expected to take place within the museum from midsummer. Due to the size of the items, especially the logboat which cannot be removed from the museum, due to its size (nearly quarter the length of the church). Therefore conservation work is needed to stabilise its condition and place it within a safe and secure context prior to construction work this summer.

Logboat Quote:

C.E. BradyBlacksmith, Welder & Fabricator

The SmithyTudweiliog

PwllheliGwynedd

LL53 8ND

Tel/Fax: 01758 770659Mobile: 07920 026127

QUOTE

To: Llŷn Maritime MuseumDate: 25th March 2013

                 

 To fabricate and fit steel cradle to support logboat,  

 (on site) which consists of 6-7 no. cradle frames  

  with cross piece bracing and legs     

 If additional work is required, this can be carried out at an extra cost  

        Materials and labour £1,831.90          Subtotal £1,831.90  V.A.T. £366.38          Total £2,198.28

This quote is valid for 14 days from above date.

Vat Registration No:862 5946 88

Appendix 2: Llŷn Maritime Museum Logboat Report and Research Paper by Jamie Davies

The largest artefact within our collection is a 7.35m dugout canoe also known as a logboat (Figure 1). Despite being the largest item within the collection, it has been a curiosity, as in reality little was known about this centrepiece of the museum.

Basic observations (Figure 1) identify a pointed bow and stern seat. The logboat contains two seat slots built into the dug out canoe. The photographs show the decaying nature of the vessels with two large (growing) cracks down the hull. There is evidence of attempts to stablise the vesell with metal straps used to hold it together, whilst recently discovered fabric held by tar on the underside of the logboat which was prehaps another form of structural support.

The logboat has been in the museum since it opened in the 1970s, and donated by one of the members, who had it sitting outside their garage (Trenholme Garage) in Nefyn for years before that. The only certainty regarding its origins is that it was moved to the garage in Nefyn from outside a garage in Caernarfon for where it had been for many years. How it ended up outside a garage in Caernarfon has become a matter of local legend-some believe it was found on a sandbank in the Menai Straits, others believe it was found floating in the Irish sea and others that it was found in the mud off Nefyn. Despite these conflicting reports of where it was found- the consensus was it was a curiosity and from abroad.

A local newspaper article from July 3 1987 (Figure 2) states-'One of the more puzzling exhibits is an old dugout canoe which comes from west Africa or Polynesia but was washed ashore many years ago.' There is a photo of the canoe with the caption -'the south seas dugout canoe on display in the museum'.

This mystery and curiosity led me to undertake research into this artefact, as in order to display it for the public, more information would be needed to highlight the uniqueness of this curiosity and attempt to provide a story of how it ended up in North West Wales.

In order to help identify the logboat’s likely provenance, identification of the wood was necessary. Durham University (where I’m in my second year reading archaeology) offered to take a sample to attempt to identify the wood, as did Damian Goodburn , the UK’s leading ancient timber specialist at the museum of London archaeology.

The main interest around the research into the logboat was about its age and source (British or foreign). If the logboat was British prehistoric, it would be nationally important as the best surviving example. This generated great interest in the archaeological field including from the world’s leading expert in logboats-Professor Sean Mcgrail. The results however have only added to the mystery.

In November 2010, Damian Goodburn’s analysis concluded that it was tropical hardwood-probably but not certainly African. Durham University’s results concluded tropical hardwood maybe teak from south East Asia or India.

In order to confirm, it may be worth paying for timber identification at Kew Gardens, who would be able to provide a definitive answer, due to their large collections, allowing for comparative analysis.

Both results agreed it was not British and not prehistoric, both arguing it is post medieval (19 th-20th century). Radiocarbon dating at Oxford had been planned however the argument for post medieval in date was strong enough not to proceed with radiocarbon dating.

Polynesian (Figure 3)

Following research of comparative analysis of examples of logboats of this region through contacting maritime museums of the Indian Ocean region, this too disproves the traditional assumption that it was from Polynesia/south seas but from the Indian Ocean region.

With regards to comparison with similar boats from Malaysia , following contact with Melaka Museum, Malaysia , they noted a common local form to Sumatra, called the Perahu Jalur. This logboat from Melaka museum is different due to its shallower and poorer finish. Despite similarities with its flat stern- the stern seat, the bow is of a different shape.

South America (Figure 4)

At the National Maritime Museum, Falmouth, there is a dugout canoe similar to that of the Nefyn one. The Piroga Dugout canoe, 10.5m in length is ‘made from a single trunk of Goiticia, a rot-resistant hardwood’ and from east brazil. However illustrative of regional difference it contains no stern seat.

West African (Figure 7)

Roger Blench, who has worked out in Nigeria, argues that it is twentieth century and certainly from west Africa. He notes that West Africa has the oldest dugout canoe in the world, the Dufuna boat. ca. 8000 years old.

Brian Sheen, from, who during the 1980s canoed up the Niger Delta, west Africa, has supported this argument. Photographs taken by him from the Niger Delta during his 1980/81 trip from Onitsha to Port Harcourt, Nigeria. They is illustrate the similarities between the logboats of the Niger Delta and that in the museum. The length is similar, and the bow almost identical.

Therefore timber analysis and comparative ethnographic analysis, leads to the conclusion that the logboat, is most likely from West Africa, perhaps from the Niger Delta from the 19/20th century.

Observations:

A number of people, have commented on the higher standard of finish the boat has, in comparison with indigenous ones.

The research has only led to further questions and mystery. However it still begged the question - how did a logboat from West Africa end up on a sandbank in the Menai straits, over 5000 miles away?

Current theories include that it was a colonial souvenir brought back to Britain but possibly either fell overboard or was shipwrecked.

An alternative and working theory is that it could be linked to the nearby estate -Glynllifon owned by Lord Newborough (close to the initial garage it ended up in), where it is known the owner in the 19th century collected curiosities including canoes from Canada for storage at his curiosity museum-Fort Belan on the banks of the Menai straits , known from documentary evidence from Caernarfon Archives. Local research, with help from Gareth Cowell from Caernarfon, into whether anyone remembers the logboat outside the garage in Caernarfon, has to date proved unfruitful. During summer 2012, Gareth Cowell and myself will undertake further research work in Caernarfon and Fort Belan, in order to further verify this theory.

Finally a third and more likely hypothesis can be proposed. Following a presentation on research into the logboat at the MOROL 2012 conference. I was approached by a local sailor who has worked on the Elder Dempster lines (Figure 8). He noted that the Elder Dempster ships would 'They'd make first landfall in Freetown, Sierra Leone, where they'd pick up 'crewboys'. These would come to the ship in their canoes which would be hauled up on deck and the crewboys would sail with the ship to their various destinations as far south as Angola, then back to Sierra Leone. They did various laboring jobs on the ship in return for a daily meal. Sometimes the canoes didn't return to their owners but stayed on board (often mixed with the timber cargo) and would be thrown overboard when the ship approached Liverpool Bay. Sometimes there would be up to 9 canoes still on the ship.'Furthermore he noted that on one occasion they threw around 15 canoes overboard on between Anglesey and Liverpool- before reaching port. Another Elder Dempster sailor noted a similar incident off the coast of Devon.

Therefore it seems this was a widespread practice and that at the time nothing was thought of it- however it may provide a source of origin for canoes within museum collections? We are working with the Elder Dempster society to contact other sailors and find out more, to verify this potential origin and with the RCAMHW to record peoples stories.

Conservation

Conservation is now a priority for the survival of this artefact. Before being moved into the museum, it remained outside, open to the elements which have escalated the process of decay. Since being in the museum, little effort has been made to stabilise the ongoing process of decay, which makes it difficult to study and move such an object.

Therefore whilst research is an important tool, immediate conservation is needed. The first step has already been achieved, by way of a section drawing of the logboat.

On Saturday 26th March 2011, a training session was held at museum by Gwynedd Archaeological trust, where up to 10 volunteers came to assist in the recording of the logboat (Figure 8). The session was part of CADW’s Arfordir-coastal heritage project. As a result a scale drawing of the logboat has been created which will preserve it digitally for the future and will be of significant use when it comes to interpretation and display of the logboat as a centrepiece for the new museum.

Photographs

Figure 1:

Bow

Stern

Figure 2:

These pictures show the old interpretation sources present at the original museum exhibition.

It contained a newspaper article, as discussed outlining the belief that the logboat was from either west Africa or Polynesia.

The interpretation document (right), states ‘A nearly completed dugout canoe being carved out of a single log of wood’. However this is completely unlike the museums logboat, with its deep draught.

Comparative analysis

Figure 3

Malaysia

Figure 4:

South America

http://www.nmmc.co.uk/index.php?/collections/featured_boats/piroga_dugout_canoe

Africa

Figures 6

Source: http://davidwallphoto.com/searchresults.asp?n=4237&enlarge=1

Dugout canoe, Congo River, D. R. Congo (Zaire), Central Africa

Waterside Market beside Lake Nokoue, Abomey-Calavi, near Cotonou, Benin, West Africa #IAfN006

Pirogues (dugouts) at Sunrise, Congo (Zaire) River, D.R. Congo, Central Africa #IAfE057 http://davidwallphoto.com/searchresults.asp?tx=dugout&ts=&c=&Lids=&Gids=&p=3&n=3485&phrase=

Pirogue (dugout) at Sunrise, Congo (Zaire) River, D.R. Congo, Central Africa #IAfE056

http://davidwallphoto.com/searchresults.asp?tx=dugout&ts=&c=&Lids=&Gids=&p=1&n=3465&phrase=

West Africa-Brian Sheen-Figures 7

Copyright: Brian Sheen

Figure 8:

Figure 9: Recording Training Day

The above photographs show the museum volunteers at work recording the logboat, with guidance from Robert Evans from Gwynedd Archaeological trust.

Figure 10

This section drawing of the logboat, was the end result of the training day. It illustrates the distinctive bow and stern, and the slight curvature in the shape of the boat, this may be however a result of decay.

Figure 11- Similar metal support frames from Scandinavia

Paper presented at the MOROL 2012 Conference titled: From the Niger to the Menai: The Mystery of the Llŷn Maritime Museum Logboat. By Jamie Davies.

Every object has a story to tell.

It is this principle, which allows visitors to museums to connect and experience, rather than be passive. In the process of re-opening Llŷn Maritime Museum, we recognise the practical importance of material culture and communication theory in museums.

Therefore we are ensuring that when open, visitors will not come to a museum, full simply of labelled artefacts, where there is top down communication.

But one, where there is active communication, which allows the active construction of meaning by the visitor .

Another important notion recognised, is that of 'Artefact Biography', where an objects history and significance over time is identified, rather than simple identification and description.

This paper will note how such theoretical approaches can be beneficially applied in museums other than the national museums.

Following the closure of the museum in 2000, the collection remained within the church, despite the poor environmental condition, due to the damaged roof.

Therefore when the new committee was formed in 2005, the priority was to create a stable condition within the church by fixing the roof, and assessing the condition of the collection.

When we approached our collection, we began by re-cataloguing all objects, for the first time into a database.

All items were photographed and measured and their condition assessed. Once the items were catalogued, they were carefully boxed and placed into storage, until the museum opens.

In the mean time we have began the long process of undertaking research on items within the collection, to discover their 'Artefact Biographies', which will be crucial for their interpretation and display when the new museum opens.

Where to start in the process was obvious!

At 7.35m in length, the logboat or dugout canoe, is over a quarter the length of the museum itself! Despite being the largest artefact within our collection, it was also the most mysterious.

When I joined the museum back in 2009, this object stood out - with so little known about it and due its poor condition, as an archaeologist it was worth a challenge.

Little is known about the vessel, especially as any paperwork regarding the vessel is missing.

As a result its origins has become a matter of myth- with rumours that it was found on a sandbank in the Menai Straits, others believe it was found floating in the Irish sea and others that it was found in the mud off Nefyn.

A local newspaper article from July 3 1987 (Figure 2) states-'One of the more puzzling exhibits is an old dugout canoe which comes from west Africa or Polynesia but was washed ashore many years ago.'

Whilst the museums caption for the canoe was -'the south seas dugout canoe on display in the museum'.

Despite these conflicting reports of where it was found- the consensus was it was a curiosity and from abroad.

The vessel is a 7m long logboat or dugout canoe, formed from a single trunk of wood-with a pointed bow and stern seat, as well as two built in seat slots.

What is known, is that the logboat has been in the museum since it opened in the 1970s, and donated by one of the committee members, who had it sitting outside their garage (Trenholme Garage) in Nefyn for years before that.

Prior to that it was in Caernarfon, believed to be in the old shell oil depot at Victoria Docks.

How it ended up here and from where - were to two biggest questions which needed to be answered to extend back its biography.

The main interest around the research into the logboat was about its age and origins (British or foreign). If the logboat was British and prehistoric, it would be nationally important as the best surviving example. This generated great interest in the archaeological field including from the world’s leading expert in logboats-Professor Sean Mcgrail.

Due to its high quality finish and survival, it was ruled out that it was prehistoric and more likely a ethnographic item dating to the 19th or 20th century.

Timber identification

However such vessels are a common mode of transportation across the world from native American bark canoes, to Africa to Polynesia.

Therefore, In order to help identify the logboat’s likely provenance, identification of the wood was necessary.

Back in 2010, Durham University, where I had just began studying archaeology, offered to take a sample to attempt to identify the wood.

As did Damian Goodburn , the UK’s leading ancient timber specialist at the museum of London archaeology.

In November 2010, Damian Goodburn’s analysis concluded that it was tropical hardwood-probably, but not certainly, African.

However, Durham University’s results concluded tropical hardwood maybe teak from south East Asia or India.

In order to confirm, it may be worth paying for timber identification at Kew Gardens, who would be able to provide a definitive answer, due to their large collections, allowing for comparative analysis.

I am aware that Liverpool Maritime Museum are considering this for some of the logboats in their large collection- it would be interesting to know if this gets the go ahead and to see if the results match the vessels current interpretation .

Both results agreed it was not British and not prehistoric, both arguing it is early modern (19 th-20th century). Radiocarbon dating at Oxford had been considered however the argument for post medieval in date was strong enough not to proceed with radiocarbon dating.

Next, ethnographic comparison was undertaken to identify similar vessels which could confirm its provenance.

Comparisons were based on the identification criteria for logboats- their distinctive bow and stern.

The Llŷn maritime museum logboat has a distinctive bow and stern- a pointed bow and stern seat.

Following comparative analysis of examples of logboats from Polynesia by contacting maritime museums of the Indian Ocean region, this too disproves the traditional assumption that it was from Polynesia/south seas but from the Indian Ocean region.

With regards to comparison with similar boats from Malaysia , following contact with Melaka Museum, Malaysia , they noted a common local form to Sumatra, called the Perahu Jalur.

This logboat from Melaka museum is different due to its shallower shape, poorer finish, lack of internal seating and different shape bow- despite having a stern seat.

At the National Maritime Museum, Falmouth, there is a dugout canoe from Brazil. The Piroga Dugout canoe, 10.5m in length is ‘made from a single trunk of Goiticia, a rot-resistant hardwood’ and from east brazil.

However it is illustrative of regional differences, as it contains no stern seat-but is well finished and have a pointed bow similar to that of the Nefyn one.

During my research, I contacted numerous museums and anthropologists, the majority noted its similarity to those found in Africa, notably west Africa- for example those at Durham University and Zachary Kingdom, Head of the African Collection in the Liverpool World Museum.

Roger Blench, who has worked out in Nigeria, argues that it is twentieth century and certainly from west Africa. He notes that West Africa has the oldest dugout canoe in the world, the Dufuna boat. ca. 8000 years old.

Brian Sheen, from, who during the 1980s canoed up the Niger Delta, west Africa- as part of scout expedition, has supported this argument.

Photographs taken by him from the Niger Delta during his 1980/81 trip from Onitsha to Port Harcourt, Nigeria. They is illustrate the similarities between the logboats of the Niger Delta and that in the museum.

The length is similar, and the bow almost identical.

It's worth noting Liverpool Maritime Museum has a collection of logboats in their boat store. Despite great variety there is one with similarities in the bow and stern..

Therefore timber analysis and comparative ethnographic analysis, leads to the conclusion that the logboat, is most likely from West Africa, perhaps from the Niger Delta and dating from the late 19 - early 20th century.

The next question- how did a 7m long dugout canoe , which took 5 fireman to lift it , travel over 5000 miles from the Niger Delta/ West Africa to North Wales?

Currently we have two working hypothesis, which I will propose.

However the benefit of having such a curiosity is that we are open to alternative suggestions/stories- from you here today and visitors to the new museum!

One hypothesis is that it could be linked to the nearby estate -Glynllifon near Caernarfon, owned by Lord Newborough.

It is known that the Lord Newborough in the 19th century collected curiosities including canoes from Canada for storage at his curiosity museum-Fort Belan (26) on the banks of the Menai straits , known from documentary evidence from Caernarfon Archives.

Local research, with help from Gareth Cowell from Caernarfon, into whether anyone remembers the logboat in Caernarfon, has to date proved unfruitful, but is continuing as their can't have been that many 7m long dug-out canoes there!

An alternative, is that it may be connected with the Elder Dempster shipping company which monopolised the freight and passenger trade routes to west Africa and the Niger delta, from the 19th century and was based in Liverpool.

At the turn of the 20th century the Elder Dempster management company which incorporated the African Steamship company and British and African Steam Navigation company Ltd, managed 95 vessels with a gross tonnage of over 300,000.

By that time it was even run by a Welshman- Alfred Jones, who was described as the Shipping Napoleon.

This trade route to west Africa was built on the growing need for palm oil from the mid 19th century.

Palm oil kernels were imported for use in as lubricate for machines, to make soaps and candles and margarine instead of animal fats.

Palm oil imported into Liverpool went from 1000 tons in 1810 to 30,000 tons in 1851! It wasn't only palm oil that was imported from west Africa.

As it can be seen from the freight rates for the African Steamship company from 1855, imported goods could range from Timber to Coffee to Cotton to Fruit to Animals including Turtles and small animals and birds!!!

Such logboats were a common site for such seafarers when on service in that part of the world, as for they were the means of transport for local inhabitants.

Such vessels were also used to bring cargo to the merchant ships- therefore there would have been regular contact.

And, It is known that one of the Elder Dempster ships had once rescued some local inhabitants from an overturned canoe.

Many men from North Wales indeed served on Elder Dempster ships and throughout the history of seafaring is the tradition of bringing back souvenirs, therefore is it possible that it was brought back as a souvenir/gift?

It is unlikely, as it would have only been possible for a very senior ranking officer to have done so, due to the size of the vessel, which would have taken up a lot of valuable space in the cargo hold.

Equally, it must have been for/by someone very wealthy due to the high freight charges, especially for such a large item.

However, It's worth noting that one of the logboats which used to be in Liverpool Maritime Museum' collection, until it was lost during the bombing of WWII, which was collected by Arnold Ridyard, who the African ethnology collection of Liverpool World Museum was donated.

Arnold Ridyard was a steamship Chief Engineer on the S.S. Niger, a ship of the Elder, Dempster & Co. line. His collection comprises of 6,450 items- souvenir collecting on a large scale!

It is worth noting a point raised to me of the social and economic implications- if the logboat was bought from a local inhabitant, it would effectively be removing their source of transport and perhaps livelihood.

With all this traffic between Liverpool and west Africa, The possibility of it being from a shipwreck or falling overboard must also be considered. Especially due to the number of shipwrecks within the Irish sea and trade to Liverpool as highlighted by Elder Dempster.

It has been argued that the smooth finish - is similar to that of salt abrasion which could indicate time in the sea, as well as damage to the hull of the vessel.

Therefore it could have been found in the menai straits / Irish sea by a passing vessel then brought to Caernarfon docks, as there would be no use for such an item, which also would have taken up valuable space.

There are some other interesting observations:

What does the higher standard of finish in comparison with indigenous ones mean?

It does appear there has been previous attempts to stabilise the condition of the vessel. The photographs show the decaying nature of the vessels with two large cracks down the hull. There is evidence of attempts to stablise the vesell with metal straps used to hold it together, whilst recently discovered fabric held by tar on the underside of the logboat which was prehaps another form of structural support. It would be interesting to know similar examples?

Conservation is now a priority for the survival of this artefact. Before being moved into the museum, it remained outside, open to the elements which have escalated the process of decay.

Since arriving in the museum in the 1970s, little effort has been made to stabilise the ongoing process of decay, which makes it difficult to study and move such an object.

Therefore whilst research is an important tool, immediate conservation is needed. The first step has already been achieved, by way of a scale drawing of the logboat.

On Saturday 26th March 2011, a training session was held at museum by Gwynedd Archaeological trust, where up to 10 volunteers came to assist in the recording of the logboat.

The session was part of CADW’s Arfordir-coastal heritage project. As a result a scale drawing of the logboat has been created which will preserve it digitally for the future and will be of significant use when it comes to interpretation and display of the logboat as a centrepiece for the new museum.

Our next stage is to undertake preventative conservation to stabilise the condition of the vessel, as restoration is not an option as the cracks in the hull and previous restoration attempts are part of its artefact biography and give it its unique character.

We are now working with Cymal, Phil Parkes from Cardiff University and Dr Chris Caple, Durham University to design a metal support frame which will lift the vessel off the floor- as at the moment it is sitting on the floor, taking all the weight causing the cracks to get worse. The metal support frame will be designed to fit the shape of the hull, similar to those used for Viking boats in Scandinavia (FIGURE 11). Plastazote foam will be used to sit between the wood and the metal acting as a cushion.

This will be an experimental approach to conserve and display logboats and therefore its hoped that if successful other museums with similar collections will follow- Liverpool maritime museum, World of boats, Cardiff and National Maritime Museum, Cornwall.

It is hoped this latest phase of its biography , will ensure that this curious centrepiece, of hopefully the forthcoming Llŷn Maritime Museum, will enable visitors to experience the logboat, to discover its unique biography which remains to be definitely written- and become part of it, by adding their own interpretation / an active construction of meaning- on how the Llŷn Maritime Museum logboat got from the Niger to the Menai.

Diolch