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              <text>Gammalnorsk sheep wool</text>
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              <text>Spinning, industrial spinning. The wool is sorted out from the sheep of the local farmers, selecting the kinds of wool according to the desired textiles the yarn will be more adecuate for. Then is sent to the wool mill to clean it, comb it and spin it, after which it returns to Stamsund, to the Lofoten wool headquarters. There, the yarn is unwinded and made into skeins for selling</text>
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              <text>The use of local wool from old sheep breeds that are adapted to the climate and landscape as a way of preserving animals that pre-date industrialized production, makes customers feel more connected with the culture and the land. Both the tourists who look for an exclusive, locally made and usable souvenir, and the people who buy the yarn to craft their clothes look for the feeling of doing something good for the planet and the local economy. The branding of the wool also refers to elements of cultural interest, landscape and climatic characteristics of the region using suggestive names and photographs.</text>
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                <text>Yarn skein made out of Gammalnorsk sheep breed from the Lofoten islands, raw color.</text>
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                <text>https://lofoten-wool.no/en https://www.nibio.no/prosjekter/amazing-grazing-baerekraftig-kjott-og-ull-fra-sau-som-beiter-i-norsk-utmark?locationfilter=true https://www.smabrukarlaget.no/aktuelt/bonde-og-smaabruker/, https://www.norskekunsthandverkere.no/kunstnerregister/ragnhild-lie https://husflid.no/ https://www.utdanningsforbundet.no/ https://www.bondelaget.no/ Esther Haukeland, Innføring til plantefarging. Cappellen, 1982. Animalia: Norwegian wool Standard. https://www.animalia.no/no/Dyr/ull-og-ullklassifisering/norsk-ullstandard/  Beder, Nicolina J., Seyður Ull Tøting. SPF. Sprotin, 2010. Flååt, Inger. Votter i Namdalen. Nauma Husflidslag, 2010. Grimstad, Ingun K. and Sårdal, Tone t. Norsk Strikkehistorie. Vormedal Forlag. 2018. Grimstad, Ingun K. and Sårdal, Tone T. Ren ull. Aschehoug, 2013. Hrútaskrá. https://www.rml.is/is/kynbotastarf/saudfjarraekt/hrutaskra Joensen, Robert. Seyðabókin. SPF. Sprotin, 2015. Johnston, Elizabeth and Juuhl, Marta K. The warp-weighted loom. Kljásteinavefstadurinn: kljásteinar klingja. Oppstadveven: klingande steinar. Skald, 2016. Kjellmo, Ellen. Båtrya i gammel og nyt tid. Orkana, 1996. Sundbø, Annemor. Usynlege Trådar i Strikkekunsten. Samlaget, 2006. https://www.norskebilledkunstnere.no/</text>
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                <text>Full Storm ullnøste rå farge</text>
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                <text>10/07/2025</text>
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              <text>Used for transfer liquids, such as oil, milk or wine from one container to another. It facilitates the transfer of liquids without spilling.</text>
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              <text>First, the pattern is transferred to the sheet metal using a pointer and a compass. Then, the sheet metal is cut with special shears. The part is then shaped with a wooden mallet and an iron hammer on an anvil or rounded block. Finally, the die is used to make the necessary seams, folds, or edges. He also uses tin solder to join the parts that make up the funnel.</text>
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              <text>Lobão da Beira, Tondela, Portugal</text>
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              <text>https://culturality.museum/wiki/index.php/Funnel</text>
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                <text>https://old.cm-tondela.pt/index.php/servicos/museu-terra-de-besteiros/investigacao/funilaria https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/</text>
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          <name>Email</name>
          <description>The email address of the museum.</description>
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              <text>info.wildbynature.uk@gmail.com</text>
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              <text>natural oils, tallow, milk, beeswax and botanicals, many of which are sourced locally from the Scottish Highlands, including using honey and beeswax from mine or my friends beehives here in Brora.</text>
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          <name>Social Media</name>
          <description>The social media links.</description>
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              <text>facebook,https://www.facebook.com/people/Wild-By-Nature/61566338644307/;instagram,https://www.instagram.com/wild_by_nature_scotland?igsh=N3doZXByZXh4djI0&amp;utm_source=qr;</text>
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              <text>https://culturality.museum/wiki/index.php/Gabbie_of_WIld_by_Nature</text>
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&#13;
From formulating my very first products to now seeing others enjoy them has given me such a sense of personal achievement. I have been inspired by the wild beauty of the Scottish Highlands where I live and rugged Cornwall where I grew up and raised my own family.&#13;
&#13;
Wild by Nature began with a simple idea. I wanted to create everyday Skin Care products that are made with quality ingredients that have been carefully chosen.&#13;
&#13;
Everything is made by hand using traditional methods. I work with natural oils, tallow, milk, beeswax and botanicals, choosing ingredients for how they feel on the skin rather than how they look on a shelf. Many of which are sourced locally from the Scottish Highlands. Including using honey and beeswax from mine or my friends beehives here in Brora.&#13;
&#13;
Wild by Nature is shaped by my love of nature, slower living, and products that are made to be used. I endeavour to be considerate to the environment, it’s not always easy. So much of my packaging can be recycled, composted or repurposed.&#13;
&#13;
I don't aim for perfection, but I do aim for honest simple recipes, using considered ingredient all of which are made in small batches.&#13;
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              <text>Used for decoration</text>
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              <text>The lamp was designed by the designer, as part of the UA.LABDESIGN 2025 immersion project in Múceres, and the prototype was produced in conjunction with the craftsman.</text>
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              <text>tinsmithing</text>
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              <text>The aim of this artifact was to take advantage of the shape of a cruet set, which is no longer in use, and transform it into a lamp.</text>
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              <text>UAVEIRO_AR_36</text>
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              <text>The craftsman uses a pair of scissors to cut the galvanised sheet metal. On the anvil, the leaf is given a curved shape with the help of a hammer, which is used to hit the leaf. He also uses tin solder to join the parts that join the leaves and flowers to the main stem.</text>
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          <name>Place</name>
          <description>The town or city</description>
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              <text>Múceres, Tondela, Portugal</text>
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          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
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              <text>https://culturality.museum/wiki/index.php/Galhetto_Lamp</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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            <name>Type</name>
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                <text>Physical Object</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>A lamp inspired by the shape of a Portuguese cruet. It features holes in different positions, allowing it to be hung on the wall in a variety of ways.</text>
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            <name>Date</name>
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            <name>Creator</name>
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                <text>918</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Portuguese</text>
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                <text>30cm x 25cm x 50cm</text>
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                <text>https://uniaodasfreguesiastondelanandufe.pt/2022/01/18/museu-terras-de-besteiros/</text>
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                <text>27/10/2025</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Luminária Galhetto</text>
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            <description>Spatial characteristics of the resource.</description>
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                <text>current,40.521326,-8.032804;</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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                <text>TEXT</text>
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Museum: University of St Andrews</text>
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            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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                  <text>4</text>
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        <element elementId="233">
          <name>Context</name>
          <description/>
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            <elementText elementTextId="26350">
              <text>All of this intricate system—the high mountain livestock culture, the relationship between human beings and their natural environment expressed through culture—ultimately materializes in each and every wheel of cheese. Around the making of Gamoneu cheeses, a whole set of unique elements has taken shape over the decades and across generations: aging in natural caves, traditional architecture of the majadas, the social structures that developed within them, the shaping of the vegas (highland meadows), the coexistence of humans, domestic animals, and wild fauna, and even a distinct culinary tradition.                                                                                                                                                                                           Era também um alimento asociado a festividades importantes da comunidade: “En las bodas […] el postre era queso de Gamonéu […] cuñas de queso de Gamonéu.</text>
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          <name>Field Worker</name>
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              <text>Carmen Pérez Maestro</text>
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        <element elementId="193">
          <name>Policy Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26352">
              <text>Lack of conservation policy,Threatening regional planning policies</text>
            </elementText>
          </elementTextContainer>
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        <element elementId="195">
          <name>Demographic Threats</name>
          <description/>
          <elementTextContainer>
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              <text>Rural-urban migration</text>
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          </elementTextContainer>
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        <element elementId="198">
          <name>Weakened Practice</name>
          <description/>
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              <text>Reduced practice</text>
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        <element elementId="199">
          <name>Loss Threats</name>
          <description/>
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              <text>Loss of cultural spaces</text>
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          </elementTextContainer>
        </element>
        <element elementId="201">
          <name>SDG</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26356">
              <text>Zero Hunger,Good Health and Wellbeing,Clean Water and Sanitation,Affordable and Clean Energy,Life On Land</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26357">
              <text>LAPONTE_CP_03</text>
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          </elementTextContainer>
        </element>
        <element elementId="276">
          <name>Knowledge</name>
          <description/>
          <elementTextContainer>
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              <text>Raising and grazing (of cows, goats, and sheep), milking, and the production of cheese itself</text>
            </elementText>
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        </element>
        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
          <elementTextContainer>
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              <text>The entire process is a tradition passed down through families.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="277">
          <name>Practitioners</name>
          <description/>
          <elementTextContainer>
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              <text>Currently, within the DOP (Protected Designation of Origin), there are 4 producers of queso del Puerto and 18 producers of queso del Valle. In the past, the entire family was involved in the process: the men (fathers, grandfathers, children) in the grazing and cheese-making, and the women (grandmothers, mothers, and girls) in the maintenance tasks and, to a lesser extent, in cheese production. Today, it is mainly couples, as young people study outside rural areas. Women have increasingly joined in the cheese-making process as well as its distribution and sale at markets. Regarding the decline in the number of shepherds, the Picos de Europa Shepherd School was created in 2004, reflecting the concerns voiced by shepherds from the Asturian municipalities within the National Park’s sphere of influence. Its core initiative has been an Introductory Course in Alpine Shepherding, designed to encourage a new generation to take up the profession. By showcasing the value of this role, the school seeks to reinvigorate the region, curb the pressing depopulation trend, stimulate the local economy, and help preserve the traditional landscape (Prieto, 2019).                                                                                                                                                                                                 The coexistence of extensive livestock farming and large predators is one of the most important social conflicts now affecting this tradition. In this context, we highlight an initiative created by three biologists, Les Mastines, a solidarity project aimed at promoting practical solutions with an effective and positive impact both on livestock farming and on the local wildlife. It focuses on assisting through surveillance and protection of herds that are vulnerable to attacks by large predators. </text>
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        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
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              <text>Traditional practices, such as livestock farming, which have long been known as short-distance transhumance, involve moving herds and shepherds every year from the valleys to the highlands in search of prized high mountain pastures for the livestock. This process also results in the production of artisanal cheeses, which are the livelihood of the families dedicated to this work. Associated with this tradition and aimed at tourists, there is a festival declared a 'tourist attraction' called 'The Shepherd's Day,' celebrated as a tribute to the shepherds of the Picos de Europa. It brings together people dedicated to this tradition and tourists</text>
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        <element elementId="278">
          <name>Origins and change</name>
          <description/>
          <elementTextContainer>
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              <text>The management of high-altitude pastures in the Asturian mountains has been documented since the late prehistoric period (Polledo, 2024). Although no archaeological evidence specifically documenting the production of cheese (ceramic cheese-making vessels) has been found in this area, as has been documented in other locations since the Neolithic period, it is assumed that cheese was one of the products made by the high mountain shepherds. Since the 17th century, this cheese has served as a basic sustenance 'for the poor of the council,' as expressed in records from the 18th century. The name 'Gamonéu,' which seems to be recent, refers to two homonymous villages: Gamonéu de Cangas and Gamonéu de Onís. The most significant changes in land management, and consequently in the production of dairy products in this area, occurred in the early 20th century with the creation of the 'Picos de Europa National Park,' which intersected with the social history of shepherd-cheesemakers, breaking the integrity of the community management system and the way of life that was inseparable from it. The conservationist ideas of the landscape in the established national parks in Spain, in this case, made the shepherding community vulnerable by assuming official entities took over the management of the land. It is estimated that from the mid-1950s to 2018, the number of shepherds in the region decreased from 100  to 11 (Prieto, 2019). The main factors behind the decline in Gamonéu‑cheese production have been: wolf attacks; the shrinking of grazing land inside the National Park because controlled burning to renew pastures is now forbidden; the drop in goat and sheep numbers; and the lack of generational succession to keep the shepherd‑cheesemaker trade alive. In 2003 the Asturian regional government created the Gamonéu PDO (Protected Designation of Origin) to valorize and safeguard this cheese and to stimulate the area’s production sector—an initiative that has especially benefited the valle</text>
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        <element elementId="279">
          <name>Organisations</name>
          <description/>
          <elementTextContainer>
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              <text>The Association of Artisan Cheesemakers of the Principality of Asturias is a non-profit, regionally based organization founded in 1991. There are eight producers of Gamoneu cheese who are members of this association. The Brotherhood of Friends of Gamoneu Cheese is made up of a group of friends who, without any profit motive, support, promote, and take pleasure in sharing everything related to the world of Gamoneu cheese.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="280">
          <name>Places</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26364">
              <text>Gamoneu cheese is produced in two distinct zones: Gamoneu del Puertu, which preserves the ancestral cheesemaking tradition of the Picos de Europa region, and Gamoneu del Valle, which is made in small dairies located in the lower areas of the municipalities of Onís and Cangas de Onís. Gamoneu del Valle cheeses are smaller in size than those from the Puertu, but they are produced year-round. In autumn, the cheeses reach their optimal point of maturity, which is why producers attend fairs held in the capitals of their respective municipalities. Cangas de Onís celebrates the Feria del Pilar on October 12th, featuring the Exhibition and Contest of Picos de Europa Cheeses. In Benia de Onís, the Annual Gamoneu Cheese Festival takes place on the third Sunday of October.</text>
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        </element>
        <element elementId="292">
          <name>Artefacts</name>
          <description/>
          <elementTextContainer>
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              <text>"Arnios" or molds made of plastic or metal are used, although wooden ones are still in use as well. The "artesa" is a wooden piece designed to collect the whey released by the cheese. The "presugo" is a thin board that allows the cheese to be easily flipped. The "talameras" are shelves placed inside the cabin above the hearth or fire, where the heat and smoke slowly dry the cheeses.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="287">
          <name>Policy Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="26366">
              <text>An overly conservationist policy applied to a territory whose landscape has been shaped by humans since prehistoric times</text>
            </elementText>
          </elementTextContainer>
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              <text>The sons and daughters of the families devoted to this tradition no longer wish to carry it on because of its harshness; they move away to study in the cities</text>
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              <text>The number of high‑mountain (‘puerto’) cheese producers has fallen because the area where they work was declared a national park and because of wolf predation.</text>
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              <text>Again, this is largely due to strict environmental conservation policies</text>
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              <text>It contributes to community development, since this activity provides a livelihood for several families in a rural mountain area</text>
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              <text>Gamoneu cheese is traditionally made by seasonal transhumant shepherds on the maritime slope of the Picos de Europa, a region that currently forms part of the political territory of the autonomous community of the Principality of Asturias, specifically in the municipalities of Onís and Cangas de Onís. It is a high mountain landscape characterized not only by its steepness, but also by its majadas—places where pastures have traditionally been used for cows, goats, and sheep. These meadows or valleys have also been shaped by human activity through stone constructions used for livestock and shepherds during the summer season.  This cheese holds great importance for the local community. Its production involves a mixture of three types of milk: goat, cow, and sheep. There are two varieties: Gamoneu del Valle and Gamoneu del Puerto.  The different types of milk used in the production of Gamoneu del Puerto come from herds that graze in the vegas or majadas of the northwestern areas of the Picos de Europa National Park. The livestock feeds exclusively by grazing in the highest mountain pastures of these territories. To produce Gamoneu del Puerto cheese, at least two types of milk from the three—cow, sheep, and goat—must be mixed, with a minimum of 10% being sheep and/or goat milk. The production of Gamoneu del Puerto is seasonal due to the weather conditions and the difficulty of grazing in winter, so its production is limited to the spring and summer months. For this reason, the production volume of this variety is lower compared to Gamoneu del Valle. This variety, like Gamoneu del Puerto, is made following the eight essential steps for Gamoneu cheese production: mixing the milk, letting it rest and curdle to form a solid mass, cutting and draining the whey, molding, salting, slow drying and smoking, and finally aging in a cave, where the cheeses mature for a month and acquire their final flavor thanks to the action of fungi and yeasts. Another difference from Gamoneu del </text>
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                <text>It is a fatty, matured cheese with a natural rind, which can be made with cow’s, sheep’s, and/or goat’s milk. It is lightly smoked and has slight Penicillium blooms along the edges. Gamoneu becomes a blue-veined cheese after a long aging period in the cave. With a shorter maturation time, it is predominantly white to yellowish in color, with greenish-blue veins of Penicillium spreading from the outside toward the center. The paste is semi-hard and crumbly, with a strong but not overpowering aroma, and smoky notes. Some wheels are quite large, weighing up to eight kilograms, with an intense smoky aroma and a spicy flavor</text>
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                <text>González-Álvarez, M. (2015). Denominaciones de Origen y Parques Nacionales: actividad quesera en Picos de Europa. Revista de humanidades (25), 57-84.&#13;
Monesma, E. (2003). La vida de los pastores de los Picos de Europa y el queso de Gamoneu. Oficios Perdidos. Documental. https://www.youtube.com/watch?v=RTFXabGx6Ro&#13;
Oliveira e Oliveira, T. C. D. (2023). Revalorização de alimentos símbolo de comunidades-território. Os casos do mel virgem de abelhas Pisilnekmej no território maseual (México) e do queijo Gamonéu de pastores de Picos de Europa (Espanha).&#13;
Prieto, D. (2019). La Escuela de Pastores de Picos de Europa: revitalizando la cultura de pastoreo quesero. PH: Boletín del Instituto Andaluz del Patrimonio Histórico, 27(98), 298-307.&#13;
Polledo, M. (2024). Evidencias arqueológicas de actividad humana en áreas de alta montaña: los Picos de Europa y su entorno durante la prehistoria. En RUIZ-FERNÁNDEZ, J., LUELMO-LAUTENSCHLAEGER, R., PÉREZ-DÍAZ, S., GARCÍA-HERNÁNDEZ, C., LÓPEZ-SÁEZ, J.A., ALBA-SÁNCHEZ, F., GALLINAR, D., RUIZ-ALONSO, M., GARCÍA, A., GONZÁLEZDÍAZ, B., (Eds.) Socio-ecología, arqueología y geohistoria de los paisajes de montaña ibéricos: una mirada multidisciplinar. Oviedo: CeCodet (Universidad de Oviedo) – Ed. Trabe. págs. 491–507.&#13;
Valle, F. (2007). Quesos artesanos de la comarca oriente de Asturias. Llanes: Consorcio del Oriente de Asturias.</text>
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                <text>18/12/2025</text>
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                <text>Queso Gamoneu</text>
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                <text>University of St Andrews</text>
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                <text>Netty Sopata</text>
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              <text>To fire pottery after it has been shaped. Gas kilns can be used to create different coloured glazes due to their ability to complete an oxidised firing process. This means the potter can control the oxygen within the atmosphere inside the kiln and thus make the flames seek the oxygen in the glaze and in doing so, create a oxidised red colour (if the pots have glazed in certain types of glaze). This is a specialised technique associated with chiness ceramics.  </text>
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              <text>The specialised technique to create rich red glazes was a successful technique implemented by Sue nad her late husband Alec during the 1980s. Although these colours are no longer popular with customers Sure has recently reverted to using the gas kiln over the electric one due to it being more cost efficient. </text>
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http://www.duo-kunsthandwerk.eu/news_sl/detail/833&#13;
https://www.podblegaske-novice.si/sl/news/navdiha-ne-crpam-saj-zivi-v-meni.html&#13;
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            <name>Title</name>
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              <text>The function of a carpenter’s gouge is to carve, hollow out, and shape wood. It is used by LAPONTE_PR_09.</text>
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            <description>An entity responsible for making contributions to the resource</description>
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            <name>Identifier</name>
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            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Gubias</text>
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                <text>Two gouges: manual tools used to carve and shape wood. They consist of a curved steel blade, one U-shaped and the other V-shaped, which allows for making concave cuts, grooves, and decorative details. They are fitted with an ergonomic wooden handle, making them easier to hold and control during use.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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      <name>Physical Object</name>
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          <name>Technique</name>
          <description/>
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              <text>The metal comes from a distributor in Harstad.  Tor-Vegard collects the stoes himself from Finnmark. </text>
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          <name>Conecept</name>
          <description/>
          <elementTextContainer>
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              <text>The object is closely related to the local identity and Lofoten itself. The cormorant sculptures from Sund are emblematic souvenirs, that recall the Lofoten islands. Decades of work built the reputation of the Blacksmith in Sund, and many of the local families also prouldy display his works in their homes. </text>
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              <text>The great corminrant, or as it is called, the "Kongeskarven", the king cormorant is Tor-Vegards signature product, that is sold in the workshop and from the webshop. Each piece is unique, the scale varies, but he always has to have a base stock. </text>
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          <name>External ID</name>
          <description/>
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              <text>A metal cutter, coal forge, pliers, hand hammer, machine hammer, welding machine, brushes to polish the object</text>
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          <name>Place</name>
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          <name>Prim Media</name>
          <description/>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Great cormorant with wings</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>Metal sculpture of a gret cormorant, with a less detailed wing. The bird is looking towards the sky and opens up its wings.  </text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2024</text>
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            <description>An entity primarily responsible for making the resource</description>
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            <description>An entity responsible for making contributions to the resource</description>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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            <description>A related resource from which the described resource is derived</description>
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                <text>https://lofoten-wool.no/en&#13;
https://www.nibio.no/prosjekter/amazing-grazing-baerekraftig-kjott-og-ull-fra-sau-som-beiter-i-norsk-utmark?locationfilter=true&#13;
https://www.smabrukarlaget.no/aktuelt/bonde-og-smaabruker/,&#13;
https://www.norskekunsthandverkere.no/kunstnerregister/ragnhild-lie&#13;
https://husflid.no/&#13;
https://www.utdanningsforbundet.no/&#13;
https://www.bondelaget.no/&#13;
Esther Haukeland, Innføring til plantefarging. Cappellen, 1982.&#13;
Animalia: Norwegian wool Standard. https://www.animalia.no/no/Dyr/ull-og-ullklassifisering/norsk-ullstandard/ &#13;
Beder, Nicolina J., Seyður Ull Tøting. SPF. Sprotin, 2010.&#13;
Flååt, Inger. Votter i Namdalen. Nauma Husflidslag, 2010.&#13;
Grimstad, Ingun K. and Sårdal, Tone t. Norsk Strikkehistorie. Vormedal Forlag. 2018.&#13;
Grimstad, Ingun K. and Sårdal, Tone T. Ren ull. Aschehoug, 2013.&#13;
Hrútaskrá. https://www.rml.is/is/kynbotastarf/saudfjarraekt/hrutaskra&#13;
Joensen, Robert. Seyðabókin. SPF. Sprotin, 2015.&#13;
Johnston, Elizabeth and Juuhl, Marta K. The warp-weighted loom. Kljásteinavefstadurinn: kljásteinar klingja. Oppstadveven: klingande steinar. Skald, 2016.&#13;
Kjellmo, Ellen. Båtrya i gammel og nyt tid. Orkana, 1996.&#13;
Sundbø, Annemor. Usynlege Trådar i Strikkekunsten. Samlaget, 2006.&#13;
https://www.norskebilledkunstnere.no/</text>
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                <text>https://prvi.rtvslo.si/podkast/intervju-radio/3633109/174860660 &#13;
https://mro.si/en/iron-forging-museum-kropa&#13;
Slavec Gradišnik, Ingrid, 2011: Kovaštvo (Blacksmithing). In: Slovenika, slovenska nacionalna enciklopedija. Ljubljana: Mladinska knjiga (pp 627-628).</text>
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                <text>This beautifully hand-knitted blanket reflects the distinctive symbolic patterns of traditional fishermen’s jumpers or ganseys. Each distinct hand-knitted square depicts patterns from a particular port or harbour along the Moray Firth region, from Buckie in the southeast to Helmsdale and finally to Wick in the far north. &#13;
The Timespan Knitting Group was formed in 2005 to keep this traditional knitting heritage connected to the sea alive and share these traditions with people of all ages. The group meets weekly at Timespan in Helmsdale, a once-thriving herring fishing port and one of the busiest in Scotland. Salted herring from Helmsdale was exported to the West Indies slave plantation, the Baltic, Ireland, and Europe and traded locally.&#13;
The group has created this wonderful artisan blanket, each knitter contributing a square, creating a map of the patterns from the Moray Firth fishing district. The blanket can be displayed as a wall hanging with an accompanying annotated map with the port names.&#13;
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              <text>The practice is in decline in the region, with few tinsmiths still working. It is a profession that is no longer passed on to younger people, as it once was.</text>
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              <text>Hand snips and bench shears; folding brake; stakes/anvils and bick; wooden and steel mallets; hammers; punches and rivet sets; seamers/groovers. Beading machine (“caneleira”/“máquina de carrete”) for rolling stiffening beads. Soldering iron or blowtorch, flux/appliances; clamps and simple jigs. Measuring/marking tools: steel rule, dividers/compass, protractor/angle blocks, scriber, templates. Domestic/agricultural: funnels, watering cans, buckets, oil cans, storage containers. Measuring device: corredor — grain-measuring vessel (volume-calibrated).</text>
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          <name>Economic sustainability</name>
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            <name>Title</name>
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                <text>Handcrafted sheet metal work (working with zinc sheets).</text>
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            <description>An account of the resource</description>
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                <text>Traditional practice of working with zinc sheet metal to produce utensils (e.g. gutters, grain measuring troughs, funnels, pitchers). Today, tinsmithing is merely a residual activity, reminiscent of other crafts that were once more prominent. The municipality of Tondela is no exception. It is therefore important to learn about this art form, which is almost extinct, and to understand the whole range of objects that tinsmiths used to make in the past, now struggling against competition from equivalent items made from other materials, mainly plastic.</text>
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            <name>Language</name>
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                <text>Portuguese</text>
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            <description>The size or duration of the resource.</description>
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              <text>There's clear realtions to other practices. Most straight-forward being the wood craft that's needed for the tools of weaving, and secondly the crafts that can be made from the fabric such as folk costumes for example.</text>
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                <text>Den vackra nyttan : om hemslöjd i Sverige / redaktör: Gunilla Lundahl. ISBN 9178442982&#13;
Verkstad : ett tidsdokument : Arvika Konsthantverk 100 år / Kristine Thenman, Liv Midbøe, Hilda Grahnat. ISBN 9789152743508&#13;
Klässbol - att väva sin historia ISBN: 97891978252 52</text>
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Roza, G. (2006). La indumentaria tradicional asturiana: Guía práctica. Gloria Roza Cuesta.&#13;
Santoveña Zapatero, F. (2018). Traje tradicional, indumentaria popular y construcción del cuerpo en Asturias (1860-1920). Muséu del Pueblu d’Asturies; Fundación Municipal de Cultura, Educación y Universidad Popular; Ayto. de Gijón / Xixón. https://sedeelectronica.gijon.es/publicacions/show/8549-traje-tradicional-indumentaria-popular-y-construccion-del-cuerpo-en-asturias-1860-1920/</text>
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                <text>Creative Commons Attribution-ShareAlike License</text>
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                <text>Paula Labrador, Enrique Meléndez y Santiago Rodríguez</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1">
                  <text>Site: Barn</text>
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              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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                <elementText elementTextId="2">
                  <text>929</text>
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          </elementContainer>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
      <elementContainer>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7211">
              <text>597</text>
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          </elementTextContainer>
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        <element elementId="132">
          <name>Material</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7212">
              <text>Horn; Iron</text>
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          </elementTextContainer>
        </element>
        <element elementId="189">
          <name>Natural Cultural</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7214">
              <text>Cultural</text>
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          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7215">
              <text>Container</text>
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          </elementTextContainer>
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        <element elementId="224">
          <name>Creation Purpose</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7216">
              <text>Agricultural tasks; Herding</text>
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          </elementTextContainer>
        </element>
        <element elementId="225">
          <name>Technique</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7217">
              <text>Horn carving; Forging </text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7218">
              <text>Enrique Meléndez Galán</text>
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          </elementTextContainer>
        </element>
        <element elementId="274">
          <name>Craft</name>
          <description/>
          <elementTextContainer>
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              <text>other (specify)</text>
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          </elementTextContainer>
        </element>
        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="7222">
              <text>https://culturality.museum/wiki/index.php/Horn_container</text>
            </elementText>
          </elementTextContainer>
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      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Horn container</text>
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            </elementTextContainer>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Physical Object</text>
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            </elementTextContainer>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7204">
                <text>Horn container with an iron handle. The front side features a scene of a man with a scythe, surrounded by garlands and vegetal motifs. The inscription “I belong to Manuel Jesús Calvo” (“Soy de Manuel Jesús Calvo”) indicates the ownership of the object.</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>ca. 1875/1880</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7207">
                <text>Art,PEOPLE,SOCIAL HISTORY</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="78">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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              <elementText elementTextId="7208">
                <text>20cm x 12cm x 8cm</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7209">
                <text>melendezenrique@uniovi.es</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="7210">
                <text>361</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="59">
            <name>Date Submitted</name>
            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
            <elementTextContainer>
              <elementText elementTextId="7213">
                <text>04/05/2025</text>
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            </elementTextContainer>
          </element>
          <element elementId="52">
            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
            <elementTextContainer>
              <elementText elementTextId="7219">
                <text>Cuerna</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="7221">
                <text>current,43.53689604607413,-5.634997934103013;</text>
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      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="7206">
                <text>TEXT</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="13">
        <name>horn carving</name>
      </tag>
    </tagContainer>
  </item>
  <item itemId="600" public="1" featured="0">
    <fileContainer>
      <file fileId="367">
        <src>https://culturality.museum/omeka/files/original/f521250f642e5a56db4c273171bc5db9.glb</src>
        <authentication>399dd59f0a0cdcea838f45e2577d316b</authentication>
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      <name>3D Object</name>
      <description/>
      <elementContainer>
        <element elementId="110">
          <name>DescriptionEN</name>
          <description>English Description</description>
          <elementTextContainer>
            <elementText elementTextId="7227">
              <text>A carved horn with a wooden base. Used as a gaxapu, its surface is decorated with various motifs. A man riding a horse, vegetals, and flowers are part of the decorative program, which concludes with two animals: a peacock and a snake. The latter takes the shape of an "S" to begin the inscription "Soy de Jose Cavallin" ("I belong to Jose Cavallin").</text>
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          </elementTextContainer>
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        <element elementId="310">
          <name>Vertices</name>
          <description/>
          <elementTextContainer>
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              <text>45230</text>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="7224">
                <text>Horn container</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7225">
                <text>3D Object</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7226">
                <text>A carved horn with a wooden base. Used as a gaxapu, its surface is decorated with various motifs. A man riding a horse, vegetals, and flowers are part of the decorative program, which concludes with two animals: a peacock and a snake. The latter takes the shape of an "S" to begin the inscription "Soy de Jose Cavallin" ("I belong to Jose Cavallin").</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7228">
                <text>2025</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="7229">
                <text>melendezenrique@uniovi.es</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7231">
                <text>model/gltf-binary</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="64">
            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="7232">
                <text>Creative Commons Attribution-ShareAlike License</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="7234">
                <text>ba725a6095204996951b9e5a9e52d35e</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="7237">
                <text>current,43.53689604607413,-5.634997934103013;</text>
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            </elementTextContainer>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="7230">
                <text>3D</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="93">
            <name>Europeana Data Provider</name>
            <description>The name or identifier of the organisation that contributes data to Europeana.</description>
            <elementTextContainer>
              <elementText elementTextId="7233">
                <text>Universidad de Oviedo</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="97">
            <name>Object</name>
            <description>The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy.</description>
            <elementTextContainer>
              <elementText elementTextId="7235">
                <text>https://sketchfab.com/models/ba725a6095204996951b9e5a9e52d35e/embed</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="99">
            <name>Europeana Rights</name>
            <description>Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal.</description>
            <elementTextContainer>
              <elementText elementTextId="7236">
                <text>Paula Labrador, Enrique Meléndez y Santiago Rodríguez</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="602" public="1" featured="1">
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      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1">
                  <text>Site: Barn</text>
                </elementText>
              </elementTextContainer>
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            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="2">
                  <text>929</text>
                </elementText>
              </elementTextContainer>
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        </elementSet>
      </elementSetContainer>
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    <itemType itemTypeId="15">
      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
      <elementContainer>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7257">
              <text>600</text>
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          </elementTextContainer>
        </element>
        <element elementId="132">
          <name>Material</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7258">
              <text>Horn; Iron; Wood</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="189">
          <name>Natural Cultural</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7260">
              <text>Cultural</text>
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          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7261">
              <text>Container</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="224">
          <name>Creation Purpose</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7262">
              <text>Agricultural tasks</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="225">
          <name>Technique</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7263">
              <text>Horn carving; Forging </text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="236">
          <name>Field Worker</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7264">
              <text>Enrique Meléndez Galán</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="274">
          <name>Craft</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="7266">
              <text>other (specify)</text>
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          </elementTextContainer>
        </element>
        <element elementId="108">
          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
          <elementTextContainer>
            <elementText elementTextId="7268">
              <text>https://culturality.museum/wiki/index.php/Horn_Container</text>
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          </elementTextContainer>
        </element>
      </elementContainer>
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      <elementSet elementSetId="1">
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7248">
                <text>Horn Container</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Physical Object</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7250">
                <text>A carved horn with a wooden base. Used as a gaxapu, its surface is decorated with various motifs. A man riding a horse, vegetals, and flowers are part of the decorative program, which concludes with two animals: a peacock and a snake. The latter takes the shape of an "S" to begin the inscription "Soy de Jose Cavallin" ("I belong to Jose Cavallin").</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7251">
                <text>ca. 1885/1900</text>
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          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7253">
                <text>Art,PEOPLE,SOCIAL HISTORY</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="78">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>17cm x 10cm x 7cm</text>
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          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
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                <text>melendezenrique@uniovi.es</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="7256">
                <text>362</text>
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          <element elementId="59">
            <name>Date Submitted</name>
            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
            <elementTextContainer>
              <elementText elementTextId="7259">
                <text>05/05/2025</text>
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            <name>Alternative Title</name>
            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
            <elementTextContainer>
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                <text>Cuerna</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="81">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
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        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
        <elementContainer>
          <element elementId="100">
            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="7252">
                <text>TEXT</text>
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    <tagContainer>
      <tag tagId="13">
        <name>horn carving</name>
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  <item itemId="621" public="1" featured="0">
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          <name>DescriptionEN</name>
          <description>English Description</description>
          <elementTextContainer>
            <elementText elementTextId="7537">
              <text>A large horn container featuring a wide range of decorative motifs and notable inscriptions. Garlands, plants, and flowers are accompanied by animals and hybrid creatures. One inscription indicates ownership: “I belong to Juan Rodríguez” (“Soy de Juan Rodríguez”), while another reflects on the creation of the object:“I cannot do it better / because my sight is failing / and I also lack / both study and the help of grace” (“No puedo acerlo [sic] mejor / porque la vista me falta / también faltan falta [sic] los / estudios y la yuda [sic] de gracia”).</text>
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          <name>Vertices</name>
          <description/>
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              <text>46182</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7534">
                <text>Horn container</text>
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            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>3D Object</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>A large horn container featuring a wide range of decorative motifs and notable inscriptions. Garlands, plants, and flowers are accompanied by animals and hybrid creatures. One inscription indicates ownership: “I belong to Juan Rodríguez” (“Soy de Juan Rodríguez”), while another reflects on the creation of the object:“I cannot do it better / because my sight is failing / and I also lack / both study and the help of grace” (“No puedo acerlo [sic] mejor / porque la vista me falta / también faltan falta [sic] los / estudios y la yuda [sic] de gracia”).</text>
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                <text>melendezenrique@uniovi.es</text>
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                <text>model/gltf-binary</text>
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            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
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                <text>Creative Commons Attribution-ShareAlike License</text>
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                <text>Universidad de Oviedo</text>
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            <name>Object</name>
            <description>The URL of a suitable source image in the best resolution available on the web site of the data provider from which small images could be generated for use in the portal. This will often be the same URL as given in europeana:isShownBy.</description>
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                <text>https://sketchfab.com/models/72913f9e2701443b83a695c1f14594e7/embed</text>
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            <description>Information about copyright of the digital object that is specified in isShownBy and isShownAt and, by extension, to the preview images used in the portal.</description>
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              <elementText elementTextId="7546">
                <text>Paula Labrador, Enrique Meléndez y Santiago Rodríguez</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Site: Barn</text>
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          <name>Prim Media</name>
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          <name>Material</name>
          <description/>
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              <text>Horn; Iron</text>
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          <name>Natural Cultural</name>
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              <text>Cultural</text>
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          <name>Function</name>
          <description/>
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              <text>Milking in mountainous areas</text>
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          <name>Creation Purpose</name>
          <description/>
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              <text>Household ware; Dairy industry</text>
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          <name>Technique</name>
          <description/>
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              <text>Horn carving; Forging </text>
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        <element elementId="236">
          <name>Field Worker</name>
          <description/>
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            <elementText elementTextId="7574">
              <text>Enrique Meléndez Galán</text>
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          <name>Craft</name>
          <description/>
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              <text>other (specify)</text>
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          <name>Wiki</name>
          <description>A link to a wiki entry about this item.</description>
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            <elementText elementTextId="7578">
              <text>https://culturality.museum/wiki/index.php/Horn_container</text>
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        <name>Dublin Core</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Horn container</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Physical Object</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>A large horn container featuring a wide range of decorative motifs and notable inscriptions. Garlands, plants, and flowers are accompanied by animals and hybrid creatures. One inscription indicates ownership: “I belong to Juan Rodríguez” (“Soy de Juan Rodríguez”), while another reflects on the creation of the object: “I cannot do it better / because my sight is failing / and I also lack / both study and the help of grace” (“No puedo acerlo [sic] mejor / porque la vista me falta / también faltan falta [sic] los / estudios y la yuda [sic] de gracia”).</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7561">
                <text>ca. 1875/1900</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7563">
                <text>Art,PEOPLE,SOCIAL HISTORY</text>
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          <element elementId="78">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>37cm x 26cm x 14cm</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>melendezenrique@uniovi.es</text>
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            <name>Identifier</name>
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              <elementText elementTextId="7566">
                <text>370</text>
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            <name>Date Submitted</name>
            <description>Date of submission of the resource. Examples of resources to which a Date Submitted may be relevant are a thesis (submitted to a university department) or an article (submitted to a journal).</description>
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              <elementText elementTextId="7569">
                <text>15/05/2025</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Cuerna</text>
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            <description>Spatial characteristics of the resource.</description>
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                <text>current,43.53689604607413,-5.634997934103013;</text>
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        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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                <text>TEXT</text>
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      <tag tagId="13">
        <name>horn carving</name>
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  </item>
  <item itemId="725" public="1" featured="0">
    <itemType itemTypeId="43">
      <name>Intangible</name>
      <description/>
      <elementContainer>
        <element elementId="130">
          <name>Prim Media</name>
          <description/>
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            <elementText elementTextId="9493">
              <text>722</text>
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        <element elementId="233">
          <name>Context</name>
          <description/>
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              <text>The practice doesnt stand alone, it is a part of the concept that the practitioner excersises in the forge. The practice is part of the interpersonal experience the blacksmith offers to his visitors and groups. Entertainment, jokes, stories and anecdotes are told by the  blacksmith are part of the demonstation of making the objects, and building a connection. The practitioner creates objects using the same practice in the lower  seasons, without visitors attending, to keep up the stock.</text>
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        <element elementId="236">
          <name>Field Worker</name>
          <description/>
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              <text>Agnes Csenki</text>
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        <element elementId="190">
          <name>Climate Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9499">
              <text>Sea-level rise,Increased rainfall,Deterioration of space</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="191">
          <name>Economic Threats</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9500">
              <text>Insufficient financial resources,Rapid economic transformation</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="198">
          <name>Weakened Practice</name>
          <description/>
          <elementTextContainer>
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              <text>Diminishing youth interest,Reduced practice</text>
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        <element elementId="199">
          <name>Loss Threats</name>
          <description/>
          <elementTextContainer>
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              <text>Loss of knowledge,Material shortage,Loss of cultural significance</text>
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          </elementTextContainer>
        </element>
        <element elementId="201">
          <name>SDG</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9503">
              <text>Responsible Consumption and Production,Partnerships for the Goals</text>
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          </elementTextContainer>
        </element>
        <element elementId="187">
          <name>External ID</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9504">
              <text>MN_CP_03</text>
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        <element elementId="276">
          <name>Knowledge</name>
          <description/>
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              <text>Both practical and theoretical knowledge is required, and a basic knowledge in metallurgy. Planning, and designing of products, a practical setup in the smithy or workshop is also helping the working process.&#13;
Forging is a hard physical work, that requires physical strength knowledge of the properties of the material in use (iron, bronze, sopper, other metal), temperatures, tools and how the material reacts during the process. &#13;
Most of the knowledge is practical. Speed, movements to create the wished form, knowledge of the use of different tools (pliers, hammers, brushes), knowledge of the properties and the effect of different temperatures to the metal to create the desired quality, how the metal will react in different stages of the work. &#13;
Important to have good safety routines in personal safety and fire safety. Tor-Vegard has his own safety routines that he implies them to the visitors too in the workshop (for example hearing protection). </text>
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        <element elementId="230">
          <name>Knowledge Transfer</name>
          <description/>
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              <text>Tor-Vegard learned his skills from Hans Gjertsen, and was a trainee for two years under his supervision between 1987 and 1989. The practice is closely connected to the practitioner (Blacksmith of Sund). Tor-Vegard himself accepts trainees, his latest trainee was his son, who hopefully will carry on with the legacy of the previous practitoners in the Forge in Sund, as the new generation of the Blacksmith of Sund. The practice is well displayed in the workshop for visitors. All in general forging in Norway: It is possible to study forging in official Secondary education. That includes 2 years of theoretical and practical school studies and 2 years of practice at a company. Successful formal education results in a “svennebrev”, an official document, that secures quality and knowledge in the field. Forging course (smikurs); depending on the content and subject can vary form a few hours form several days (occasions). That provides a very basic knowledge of the skills and materials, an gives the possibility to create an object. From a practicing blacksmith who accepts trainees with a will to learn, outside formal education. </text>
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        <element elementId="277">
          <name>Practitioners</name>
          <description/>
          <elementTextContainer>
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              <text>The bearer of the core of the practice is the blacksmith in Sund. Tor-Vegard worked alone in his workshop in the past years and was the soil bearer of the practice. Prior to him, it was Hans Gjertsen who carried and practiced the knowledge. Recently, the third generation of blacksmith, Tor-Vegards son, Hans is the candidate to carry on with the practice. He is a freshly graduated blacksmith. </text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="223">
          <name>Function</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9508">
              <text>The two generations of practitioners built a reputation around the cormorant sculptures, that is well known from Sund. The emblematic form and product is well recognisable. It contribites to the local identity, and many locals follow the practitioner and his work on SoMe. The practice contributes to the local communty to be on the touristic map, and it creates a huge visitor number each year in the small village of Sund. During the touristic season, the practice is a part of  a social setting. The practitoner interacts with the visitors during the process of making scultputes in the workshop. The interactions, stories and the multy-sensory experience creates and deepens the interest among visitors, and a will to buy. </text>
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          </elementTextContainer>
        </element>
        <element elementId="278">
          <name>Origins and change</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9509">
              <text>The practice cannot be divided form the practitioner: The Blacksmith of Sund. The origin of the hand forged cormorant dates to the time of the old blacksmith, Hans Gjertsen. He opened his workshop in 1947, but became well known after 1963, when he surprised the Kind of Norway, Olav V. with a hand forged cormorant, sitting on a rounded granite stone from the Lofoten mountains. The cormorant design became known as "Kongeskarv", that we can translate as "King Cormorant". That first known cormorant memorabilia from Lofoten paved the road for Hans Gjertsen to establish the forge as one of the oldest tourist attractions in Lofoten. &#13;
Tor-Vegard was a trainee 1987-89 and took over the forge in 1989. Hans Gjertsen was relatively active until 2004 and passed away in 2006. Tor-Vegard as the second generation of the blacksmith in Sund changed and adapted the practice to his ways, and to the larger demands, and introduced new products using the same starting point (cormorants in different variations, pinguins).  Tor-Vegard uses the mechanical hammers in a different scale and he purchased an new mechanical hammer too. He also stoped forming a crown onto the top of the "King Cormorants" head. The third generation of blacksmith just got introduced and further development is expected in the future. </text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="279">
          <name>Organisations</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9510">
              <text>Fishery Museum in Sund and the Forge in Sund are the closest related to the practice. In Norway, all in general, forging has a long traditon and history. In all fishing villages in Lofoten operated at least one forge at a time. Norwegian Fishing Village Musuem has a forge that disseminates forging, Lofotr Viking Museum is an important hub for different crafts, alongside iron age forging (the smithy unfortunately burned down in 2021, the reconsruction of the forge is still in progress).  Forge Association: https://norsksmedforening.wordpress.com/; Hjerleid Håndverksskole https://www.hjerleid.no/no/vg2-smed, blacksmith groups on social media.</text>
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          </elementTextContainer>
        </element>
        <element elementId="280">
          <name>Places</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9511">
              <text>The workshop itself in Sund, that is a part of the Fishery Museum in Sund. </text>
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          </elementTextContainer>
        </element>
        <element elementId="292">
          <name>Artefacts</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9512">
              <text>We can group the artefacts, connected to the practice. Preparing the material: metal cutter. Warming up and forming the metal: coal forge, airing system-blower to keep the fire at a high temperature, hammers, pliers, mechanic hammers, anvil. Polishing the finished product: brushes, polishing machine. Protective wear, as leather apron, leather gloves, protective shoes, glasses, hearing protection. Tor-Vegard wears his glasses, a hat, black top and trousers and a leather apron on top of it. The finished products.</text>
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        <element elementId="281">
          <name>Climate Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9513">
              <text>Sea level rising is a threat in a coalstal community, like Sund. The rising sea level would efeect the toursism, that per today scapes  80-90% of the practitioners income. Several bridges are connecting the islands, the steep mountains are avalanche danger. If the bridges are closed due to weather conditions and the roads close due to avalance, supplies would be hard to get, the visitors cannot reach the forge.</text>
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          </elementTextContainer>
        </element>
        <element elementId="286">
          <name>Economic Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9514">
              <text>If the practice is no longer economilcally profitable, it reduces the possibilities of the practitioner to carry on. Sund in Lofoten islands is a remote village.  Poor connections make it difficult for visitors to arrie to Lofoten.</text>
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          </elementTextContainer>
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        <element elementId="285">
          <name>Weakened Practice Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9515">
              <text>Without successor, the practice is facing a threat. </text>
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          </elementTextContainer>
        </element>
        <element elementId="290">
          <name>Loss Threats Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9516">
              <text>Without the knowledge, materials and the significance, the practice is loosing its basis, that threatens the practice. </text>
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        <element elementId="298">
          <name>State of the practice</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9517">
              <text>stable</text>
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          </elementTextContainer>
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        <element elementId="293">
          <name>Social sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9518">
              <text>The practice contributes to a small fishing village in Lofoten to be significant for visitors, arriving to Lofoten. The practitoner is an active member of the community, and lifts it throughout the practice. </text>
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          </elementTextContainer>
        </element>
        <element elementId="294">
          <name>Environmental sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9519">
              <text>The practice contributes to enviromental sustainability, with it´s waste management and optimised logistics and material use. </text>
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          </elementTextContainer>
        </element>
        <element elementId="295">
          <name>Economic sustainability</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9520">
              <text>No</text>
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          </elementTextContainer>
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        <element elementId="155">
          <name>Place</name>
          <description>The town or city</description>
          <elementTextContainer>
            <elementText elementTextId="9521">
              <text>Sundveien 118, 8384 Sund, Flakstad Municipality, Lofoten Islands, Nordland County, Norway</text>
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        </element>
        <element elementId="291">
          <name>Place Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="9522">
              <text>Sund is a traditional fishing village in the Lofoten Islands. These fishing villages were built on the cod fishery in Winter, and the production of stockfish. Northeast Atlantic Cod migrates from the Barents Sea to the Norwegian coast to spawn and can be found by the coastline of Lofoten from approx. January to April. That period is called the Lofoten-Fishing in Lofoten. &#13;
Stockfish is unsalted, dried cod-a traditional food, produced by hanging and air-drying cod on wooden racks for 3-4 months. The winter fishery traditionally attracted fishermen from both south and north on the mainland. They were seasonally accommodated in the villages in cabins (rorbu).&#13;
Stockfish was Norway’s most important commodity, and most of the production was sold to export. &#13;
These fishing villages in Lofoten were owned by the crown until the late 18th century.&#13;
Privileges were given to individuals: innkeepers, cargo-vessel owners, fish traders, who built up enough capital could buy them and the land surrounding. That was the start of the landowner system in Lofoten. Landowner or squires had monopoly on trade, land and properties in their villages, they rented out cabins to the travelling fishermen and bought the fish from them. &#13;
Locals paid in free labour for the plot where their house stood. &#13;
The forge had an important role in the fishing villages, as the blacksmith produced objects for the landowners, the locals need and served the fisheries needs: tools, equipment, nails, supplies for reparation work and other metal objects. The blacksmith workshop is part of the Fishery Museum in Sund, both are operated by Tor-Vegard Mørkved, the Blacksmith of Sund. </text>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Ida Fossli Image</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Still Image</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>iain</text>
              </elementText>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>image/png</text>
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          <element elementId="64">
            <name>License</name>
            <description>A legal document giving official permission to do something with the resource.</description>
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              <elementText elementTextId="19972">
                <text>Creative Commons Attribution-ShareAlike License</text>
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      <elementSet elementSetId="4">
        <name>Europeana</name>
        <description>Specific elements of the Europeana Semantic Elements.</description>
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            <name>Europeana Type</name>
            <description>The Europeana material type of the resource.</description>
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                <text>IMAGE</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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