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My grandfather purchased Silbury Hill, introduced the first legislation to protect ancient monuments, and placed the hill under permanent guardianship. As owner of the site, I am concerned by the conflicting messages now being sent out by English Heritage, such as their plan to allow a “time capsule” to be buried in the monument. The current Silbury Hill conservation project, for which EH deserves credit, is designed to restore the original fabric by backfilling with pure chalk. Placing a foreign object in the monument offends conservation principles, as well as the spiritual beliefs of some people. Describing the object as a time capsule means that EH expects it to be retrieved at some future date, requiring further tunnelling, yet the current works have been undertaken to correct the mistakes of past excavations.
English Heritage should give the public clear uncomplicated messages about how to enjoy ancient monuments respectfully, and should set the very best of examples themselves.
House of Lords
Source Wikimedia Commons. Image credit Sean O’Connor
che dopo ‘l sogno la passione impressa
rimane, e l’altro a la mente non riede,
cotal son io…
Dante, Paradiso, Canto XXXIII
‘Like somebody who sees things when he’s dreaming
And after the dream lives with the aftermath
Of what he felt, no other trace remaining,
So I live now’, for what I saw departs
And is almost lost, although a distilled sweetness
Still drops from it into my inner heart.
It is the same with snow the sun releases,
The same as when in wind, the hurried leaves
Swirl round your ankles and the shaking hedges
That had flopped their catkin cuff-lace and green sleeves
Are sleet-whipped bare. Dawn light began stealing
Through the cold universe to County Meath,
Over weirs where the Boyne water, fulgent, darkling,
Turns its thick axle, over rick-sized stones
Millennia deep in their own unmoving
And unmoved alignment. And now the planet turns
Earth brow and templed earth, the crowd grows still
In the wired-off precinct of the burial mounds,
Flight 104 from New York audible
As it descends on schedule into Dublin,
Boyne Valley Centre Car Park already full,
Waiting for seedling light on roof and windscreen.
And as in illo tempore people marked
The king’s gold dagger when he plunged it in
To the hilt in unsown ground, to start the work
Of the world again, to speed the plough
And plant the riddled grain, we watch through murk
And overboiling cloud for the milted glow
Of sunrise, for an eastern dazzle
To send first light like share-shine in a furrow
Steadily deeper, farther available,
Creeping along the floor of the passage grave
To backstone and capstone, holding its candle
Under the rock-piled roof and the loam above.
13 April 1939 – 30 August 2013
Ian Constantinides, a leading figure in architectural conservation
17 September 1955 – 15 April 2013
Master Naohachi Usami, 8th generation head of the Kyoto Shōkaku-dō Conservation Studio, at work in 1978 on a Japanese painting
It is with very great sadness that The Heritage Trust reports the death this morning of Mr Naohachi Usami, 8th generation head of the Shōkaku-dō conservation studio in Kyoto – one of only a few studios in Japan accredited with conserving and restoring Japanese National Treasures and other pictorial works of national and international importance.
Beginning with his father, Naoyuki Usami, Naohachi Usami continued and promoted a policy of accepting and training foreign students in the centuries’ old Japanese tradition of mounting, restoring and conserving works of art on paper and silk. Some of those students studied at the Shōkaku-dō for only a few weeks, while others trained tirelessly there for a decade or more, eventually taking back to their respective countries skills and techniques which are now being used to conserve our precious heritage of Far Eastern pictorial art.
In Asia, Europe and the United States there are national museums and private conservation studios that have conservators, trained at the Shōkaku-dō, who are now working at those studios or running them. The Hirayama Asian Pictorial Art Conservation Studio at the British Museum is just one example which has grown out of Naohachi Usami and the Shōkaku-dō’s open-door policy towards training foreign students and will remain his abiding legacy to the world of Far Eastern pictorial art conservation.
Naohachi Usami was 86, he is succeeded by his son at the Shōkaku-dō, Mr Naohide Usami.
From The Kyoto Shimbun –