The Covid pandemic has affected us all. Last year the Wiltshire & Swindon History Centre put out a call to arms, asking for contributions to a new collection that we are building; ‘Living in Lockdown: A Creative Response to Challenging Times’. We had an amazing response! A big thank you to everyone who has contacted us with material to include. It’s been exciting to look at the scope and variety of Wiltshire’s responses to the issues we face and continue to grapple with.
I’d like to share with you some of the material we have received to give an idea of not just the variety, but also to show how a collection is created, collated and preserved for the future here at the History Centre. We see our collections as the county’s treasures. The precious knowledge contained within them about you, our county’s residents and communities, and how we have faced the Covid challenge can now be discovered and studied by future generations thanks to your generosity and the facilities here at the Wiltshire & Swindon History Centre.
We began our collecting process by sending out details of the project Living in Lockdown via our website and social media channels, utilising the help of some of the other teams we work with, such as the communications team at Wiltshire Council. As soon as the material started to wing its way to us, we began entering it on a spreadsheet; basically an ‘accessions’ record to help us register all the material, document where it came from and where it is being stored at the History Centre. We soon built up hundreds of entries, with donations from History Centre staff and other teams within Wiltshire Council such as Wiltshire Libraries, plus local residents, groups, organisations and creative practitioners living and working in the county.
Many types of formats have been received (paper copies, digital images and documents, CDs) and types of material, from cards, booklets, local newsletters, official letters, drawings, newspaper articles, writing and poems - the list goes on…
The creativity that has come out of these dark times has been wonderful to see. From artworks to music, poetry, writing and photography – it shows how intrinsically intertwined creativity is within us as a positive response to challenge and change, and how valuable and essential culture is to us as human beings and communities. We feel honoured to play our part in this cultural experience.
The type of material will determine where it will sit within the collection. The History Centre is home to an archive and a local studies library. They have distinctive specialisms, for example on a basic level, the library deals with published material and the archive unpublished, but there are also some crossovers, for instance photographs could sit within the Local Studies Historic Photograph and Print collection but also within the archive collection too. We also have a new digital repository for born digital works. This is great for us, as it means the History Centre is well placed to welcome all sorts of material. The only items we can’t take are 3D items which are better placed in one of Wiltshire’s fantastic museums!
The next stage in the collection’s journey will be for myself as the County Local Studies Librarian and one of my Archivist colleagues to assess the collection and formally decide where everything should be placed (this is called ‘appraisal’). This usually involves a lot of excitement and quite a bit of time, as I know I always find so much of interest, but I must take a proper look at it all – we have to spend time getting it right, don’t we!
The documents and creative items will go into the archives, with the books and pamphlets that have been published finding their home in the local studies library. We have yet to make a decision on the digital material, but it is safe to say it will be stored in the most appropriate location. Anything left over after this process will make a valuable addition to the Ephemera collection in Local Studies. We usually define it as a miscellaneous collection of materials that you might often throw out, but believe me, in the future, these items will be a fantastic source of information…
On Tuesday evening on the 27th July I led a free walk around Lacock for the Festival of Archaeology. It was a showery day and I had my fingers crossed for a dry walk, which unfortunately didn’t work! We had to shelter at least once while the heavens emptied a torrent on us. The village is a huge draw for tourists, not just for the Abbey, but also to see the where so many dramas and movies have been filmed, Harry Potter not the least, both in the village and in the Abbey. What makes Lacock so special? The newly-revised Pevsner volume on Wiltshire edited by Julian Orbach states that Lacock village is ‘one of the best in the country, compact and without any loss of scale anywhere, and with a wealth of medieval buildings, both apparent and disguised. The extraordinary degree of preservation is thanks to the Talbot family who owned nearly every house until they gave the estate to the National Trust in 1958’.
Outside 2-5 High Street, Lacock – a range of medieval timber-framed hall houses. Image credit: Tom Sunley
The village as it stands is said to date substantially from the early 14th century, though there is a documented settlement before then, probably soon after Lacock Abbey was founded in 1229 by Ela, Countess of Salisbury, as an Augustinian nunnery. At the same time she also founded Hinton Charterhouse Priory in Somerset, about 20 miles from here. Both were in memory of her husband William Longspee, whose tomb can be seen in Salisbury Cathedral.
The village was started soon after the Abbey and is said to have been completed in 1247. Very little of this original village remains, though there are 13th century fragments of what look to be the very first building on the site inside at King John’s Hunting Lodge in Church Street. Every one of the buildings lining the four core streets are listed, and there are more grade II* buildings than you can shake a stick at, something of a rarity considering the normal rate of development elsewhere. Here you can see seven centuries of buildings in a 10-minute walk around in a variety of materials: ancient crucks, timber-frame, rubblestone, fine ashlar and brick. What you won’t see is concrete or anything after about 1926, the date of the extension to the 18th century Red House in Church Street.
Dr Kay S. Taylor, 2015 ISBN 9781906 641818 72 pages £6.95
The publication is one of a number of books in the series ‘Chippenham Studies’, aiming to describe subjects and places in the town and its vicinity.
Although the focus is understandably on the mill itself; the people who owned it, events that occurred such as the night attack and fire that destroyed the mill buildings in 1816, and the premises themselves, what is also included is a history of the manors associated with the mill, including Rowden and the Monkton Park Estate.
The twists and turns of ownership are laid bare alongside economic difficulties such as the impact of the corn law.
Also included is the information of the mill scale model of the C19 created by Michael Brotherwood in 2003.
Details abut the former uses and owners of properties associated with the mill and the redevelopment of the site which included the Island Park and the sad tale of the plane tree and the mill stone were fascinating. The photographs used to illustrate the text have been well chosen and varied, and the use of footnotes and a bibliography and index are a huge bonus for researchers.
The author notes that the mill was an iconic part of the town’s former landscape. This book is an interesting and detailed reminder of what was lost.
From Domesday to Demolition is available to view at the Wiltshire & Swindon History Centre or to loan via your local library.
Redevelopment of a former tannery site into a mix of housing and business use prompted research into the business that had previously existed there. In the centre of the village of Holt is a local business that provided employment from the 1770s until the latter part of the 20th century. The business was based on tanning and the use of leather as a material. The earliest use of leather can be dated to the Palaeolithic period and is depicted in cave paintings in Spain, showing its use as a material for clothing. The strength of the material also meant that it had other uses, including for buckets and bags, horse tack, fastenings and jewellery to name a few.
The business of J. & T. Beaven Ltd. was at one time a major employer in the village of Holt and generations of local families provided their workforce and passed down their skills. Their story begins with Christopher Beaven who bought the property in 1758, which later became the administration offices for the business. His nephew, Thomas Beaven, moved from Semington to Holt to work in the business, which was then described as a ‘Woolstapler, Fellmonger and Leather Dresser’ Business. Through his marriage he also had a stake in a Fellmongering yard at Westbury, a separate branch of the Holt business. Thomas’ sons, James and Thomas, took over the business after their father’s untimely death in 1810 by drowning in the Semington Brook near Whaddon. Sadly, James discovered his father’s body after he failed to return home. The ‘J’ and ‘T’ in the business name refers to these two sons and they continued the business by purchasing fleece wools from farms in Wiltshire, Dorset and Gloucestershire. They were later joined by the sons of Thomas junior; Albert, who was a sailor and worked in the business after twenty years at sea, Frederick Thomas who worked in the business from a young age and Edwin Charles who really wanted to become a lawyer but returned to Holt to work in the family business. It was very much a family concern and in 1935 could proudly boast that 14 male employees plus the chairman had all served the business for 50 years or more. The local Usher family had over 100 years of uninterrupted loyal service to the firm. This gives an indication of the importance of Beaven’s as a local employer during the 19th and 20th centuries.
Asked to do a piece for Local History Month I was considering various buildings and people of Warminster. Then with the ongoing Covid virus affecting us all I remembered my lunch time walk through the town park. A glorious spring day, people were meeting friends and family. A joyous sight, seeing grannies and grandads meeting up with young grandchildren, not seen for weeks, friends were picnicking from a distance. There was a lot of smiles and laughter. A real tonic for people after a long lockdown. We are so lucky to have this lovely environment to go to. Long may it be a place for meeting friends and family, for children to play in the playground, and paddle in the paddling pool. For friends to sit on bench’s round the lake, admiring the ducks on the lake, the glorious trees and lovely flowers. The Smallbrook Nature Reserve to walk through with lovely wildflowers and lots of birds, what’s not to like!
The History of the Park
The idea for the Town Park was originally suggested and designed as a Remembrance of the Coronation of King George V in 1911. This did not happen then, but was brought up again in 1922. After the First World War unemployment was high so it became a work creation scheme. A loan was received from The Ministry of Health in the December, and the Unemployment Grants Committee also paid an unemployment grant. Half the £8,000 cost of scheme was wages for the workers.
The site chosen was the town’s Old Refuse Tip in Weymouth Street, a boggy area, and the need for a major removal of soil, then levelling the site.
In his book on Wiltshire Gate Lodges James Holden states that: ‘The obvious purpose was to provide accommodation for the people protecting the entrances to estates, but they had a second role also. From the 18th century on, the grand houses of the gentry were often built out of sight in secluded locations. The passer-by could not see and admire the big house; only the lodge was visible. So the lodge stood in for the house, its appearance designed to make a statement about the wealth and good taste of the owner’.
Seend, near Devizes is a village of two halves. As you drive through the one long main street the north side of the road is lined by pretty cottages and respectable, solid Georgian houses. The opposite side is a different matter – a series of high brick walls mainly obscures the view south. However, behind these walls are a series of large and palatial mansions taking advantage of the spectacular views across Bulkington, Poulshot, Bratton, Edington and other villages right to the foot of the Salisbury Plain.
These are the houses of wealthy clothiers such as Thomas Bruges, the owner of Seend Green House in 1798, who built himself another mansion soon after 1805, now known as Seend House (you need to keep track of the several similarly-named houses here!). Although much of the construction material came from the just-demolished Seend Row House, there was nothing second-hand about the rather lovely classical, ashlar-faced Seend House with its pedimented centre bay and paired-column portico when it was finished, complete with twin Tuscan Lodge-houses at each end of the looped drive joining to the High Street. The growth of vegetation fronting the road means that the house is not visible. The only indications of the hidden architectural jewel are the themed lodges with their porticoed stone fronts in emulation of the house they served.