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.
History is fun, but it’s even more fun with archives which provide us with that tangible connection to fascinating stories of amazing people and places who have shaped our history.
And this year we have so many reasons, if reasons were needed, to go searching through the Wiltshire & Swindon Archive to see just how connected the county is to some of the major national commemorations that are taking place in 2020.
Already garnering national attention are the 800th birthday celebrations for Salisbury cathedral and the city of Salisbury. And Salisbury can also lay claim to ties with another 800th anniversary – that of the unveiling of the shrine to St Thomas Becket at Canterbury cathedral. This year is also the 850th anniversary of Becket’s murder.
In a busy year Wiltshire will also be marking the bicentenary of Florence Nightingale’s birth. Most people will know of her as ‘the lady with the lamp’ – a phrase and image made famous in her lifetime following her pioneering work during the Crimean War – but how many know of her connections to Wilton House and the Pembroke family?
Florence was born in Florence, Italy, on 12th May 1820 and named after the city of her birth. (Her older sister Frances Parthenope was named after her birthplace of Parthenope in Naples.) The family moved back to England in 1821 and Florence grew up at Embley Park in Hampshire, just 15 miles from Salisbury. She wanted to be a nurse from an early age and had hoped to take up the career at Salisbury Infirmary – then in Fisherton Street – but her family opposed the idea, believing nursing to be an inappropriate activity for a young woman of her social standing.
She spent much of her twenties travelling and it was in Rome, in November 1847, that she met Sidney Herbert, the younger son of the Earl of Pembroke, and so began a lifelong friendship that was to prove so important to her work.
In 1853 Florence began her nursing career as the superintendent of a women’s hospital in London but it was the outbreak of war in the Crimea in 1854, and reports of horrendous conditions endured by sick and injured soldiers, that propelled Florence into spotlight.
With the support of Sidney Herbert, the minister for war, Florence Nightingale led a group of nurses to the Crimea and so began her campaign to improve conditions at Scutari hospital. Her work, alongside the work of a government Sanitary Commission, transformed the survival rates for the soldiers treated at Scutari.
Accounts of her work in her own words and the words of others are held here at the Wiltshire & Swindon History Centre and form part of the Pembroke archive (WSA 2057). There are two series of correspondence and documents – 2057/F4 and 2057/F8 – which include letters sent by Florence to Sidney Herbert and others.
In a letter written from Scutari in January 1856 (WSA 2057/F4/64), Florence attempts to explain to “dear Mr Bracebridge” how she will use the money given to the newly established Nightingale Fund. “The people of England say to me by their subscriptions ‘We trust you, we wish you to do us a service’. No love or confidence can be shown to a human being greater than this – and as such I accept it gratefully…” She goes on to say: “And if I have a plan in me, which is not battered out by the constant ‘wear and tear’ of mind and body I am now undergoing, it would be simply this – to take the poorest and least organised hospital & putting myself in there, see what I could do…”. She concludes that she is “overwhelmed at present not with plans but work.” And adds that she wishes she could say “how much I feel the love & confidence of the people of England, in whose service I have lived, so I shall die.”
Florence’s work, and that of her nurses, had made headline news in Britain and the public began giving money for a gift honouring her efforts, but so much money was given that the Nightingale Fund was created, with her friend and support Sidney Herbert its honorary secretary.
Florence’s uncertainty about the details of what to do with the fund did not last long and in July 1860 the first school of nursing was opened at St Thomas’s Hospital in London. As well as transforming and professionalising the training of nurses, Florence also influenced the design of new hospitals, introducing the eponymous Nightingale Wards.
Following on from her work during the Crimean war, Florence campaigned for improved sanitary conditions at home and went on to work on improving conditions for the British army in India. Florence was an effective social reformer and campaigner, making the most of her friendship with Sidney Herbert and not afraid to use the media of the day. But she was also careful to support her work with evidence, especially statistics, and became the first woman elected to the Royal Statistical Society.
The Florence Nightingale letters in the Pembroke archive, and letters written by others about Florence’s work, are a fascinating insight into one of Britain’s most iconic Victorian figures and it is fitting that we mark the bicentenary of her birth on 12th May this year.
Quite often I come across interesting things as I go about my business in the strong rooms at the WSHC. Today was no exception when I discovered this rather odd-looking book. On first glance it appears that someone has rather hurriedly wedged a large book into a small bag but on closer inspection I discovered I was looking at a medieval chemise binding.
The binding contains an Act and Memoranda Book for the Tailors’ Guild of Salisbury including byelaws, admissions of freemen and apprenticeship indentures, dating from 1444-1838 and gives us a wealth of information regarding their organisation and activities.
It is big and extremely heavy and has a particularly large piece of leather skirting along the tail edge (lower edge). It has visible sewing stitches along the edges and two metal clasps on the foredge (front edge) that attach to corresponding slits in the cover. The book dates from 1444 so is most likely an original medieval binding, although more recent sewing repairs are visible around the edges. The text block pages are made from parchment and contain varying manuscripts, some with illuminations.
One hundred years ago people and politicians around the globe were contemplating a new world order following more than four years of war. In Britain, January 1919 and the following months were marked by strikes, civil unrest and military mutinies. The flu pandemic continued its deathly march. The month also saw the beginning of the Paris Peace Conference which lasted into the summer concluding with five treaties formally ending the war – including the Versailles Treaty signed 28 June – and the formation of the League of Nations.
As a nation we have spent the last four years commemorating the centenary of the First World War (FWW). A hundred years on from this cataclysmic event and we are living with its legacy – with regional conflicts that have their origins in the war; with advances in medicine (reconstructive surgery, improved anaesthesia); with the music, art, literature and poetry produced during and after the war; with universal suffrage; and with a landscape shaped by war.
But what of the legacy of these commemorations? What will future generations find when they delve into early 21st century archives and history books, looking for evidence of how we remembered? Without doubt they will find an amazing amount of new, high quality research that has changed our understanding of the Great War. But have the commemorations reflected this changed narrative or have they reinforced the myths and iconography associated with First World War and which are embedded in our collective memory? Some historians are asking whether the last four years have been a lost opportunity.
From a personal point of view it feels as though much of the national commemoration did focus on traditional themes and symbols such as the mud and blood of the western front, the experience of the war poets, the silhouetted soldier. There have been some stunning artistic responses to the centenary, commissioned by 14-18 Now, including Blood Swept Lands and Seas of Red, Jeremy Deller’s We’re Here Because We’re Here, Danny Boyle’s Pages in the Sea and film-maker Peter Jackson’s They Shall Not Grow Old.
But these have also drawn criticism. 14-18 Now estimates that 35 million people engaged with their commissioned events, but historians Professors Maggie Andrews, of the University of Worcester, and Sarah Lloyd, of the University of Hertfordshire, question whether people critically engaged or merely encountered them. Were these national events, exhibitions and installations sufficiently challenging of historical myths?
There has been much work on myth-busting over the past four years but it can be tough going up against advertising executives and picture editors who are not historians. An enduring myth, reinforced by TV adverts and wrongly credited photographs, is that the Christmas Truce of 1914 happened throughout the western front and that football matches were organised between German and British troops. Neither is an accurate picture of what happened. (Check out Dan Snow’s mythbusting articles for the BBC.)
At a regional and local level, however, I feel very positive about the projects and events that have taken place. Over the last four years much of my work as an education officer has focused on researching Wiltshire’s role in the First World War and passing on that learning to others, especially primary school teachers and pupils keen to make the most of the local history study that is part of their curriculum.
Another aspect of my work has been supporting other organisations in delivering the educational side of their FWW projects. My colleagues in archives and local studies have also been busy acquiring new collections and publications that support the study of the Great War.
The number and range of FWW projects in Wiltshire has been impressive and sadly I cannot list all of them, but a good place to start is the History Centre’s own Wiltshire at War – Community Stories project.
With all this lovely sunshine in the last few weeks, it has been good to see so many people of all ages getting out and about in the great outdoors. I have been doing quite a lot more walking myself recently and it has reminded me how lucky we are in Wiltshire having so many monuments and historic places that are easily accessible and make great walks. Many of our sites and monuments are very impressive, give commanding views and are free to enter.
I have always enjoyed that physical engagement with the past that you get from climbing up to a steep ancient monument, such as an Iron Age hillfort, a castle mound or the top of the spire of Salisbury Cathedral. The physical exertion has always helped me to understand the scale of effort required by the people who built them and encourages enquiry about who, when and how the monuments were built.
I distinctly remember my first visit to Maiden Castle Hillfort in Dorset when I was 9 or 10, and after a steep walk the sense of discovery and wonder at the size of the ditches and banks. Several decades later, three of which as an archaeologist, I still get that same buzz about visiting these types of site, and what better way is there to get fitter and heather and explore our wonderful monuments at the same time?
Since 2007 the Wiltshire Council Archaeology Team has been organising annual archaeology walks each summer, usually to coincide with the annual Festival of Archaeology organised and promoted by the Council for British Archaeology in July and August. The walks, led by members of the Archaeology team have been very popular and have include places such as Avebury, the Stonehenge landscape, Littlecote Roman Villa, Barbury Castle, the Wansdyke, Adams Grave and Knap Hill and Oldbury Castle.
The very first walk I led as County Archaeologist in 2007 was one of the most challenging. It was a very rainy and wet Spring and Summer and the July walk to Avebury, Silbury and West Kennett Long Barrow was hampered by flooding, so much so that we lost some of the group as they weren’t wearing appropriate footwear to wade across the flooded Kennett on the way to the Long Barrow. Nevertheless, there was plenty to talk about at Silbury as English Heritage were in the process of repairing the Hill after a partial tunnel collapse some months earlier. The repair work was a great opportunity archaeologists to learn more about the monument and how it was built. The 2014 publication of the results by Historic England are fascinating.
This year for the first time in 27 years the Council for British Archaeology is taking a break from organising the Archaeology Festival. However, the County Archaeology team are still organising three exciting and diverse walks, one each in July, August and September.
Sunday 29th July - Iron Age Hillforts. Starting at Battlesbury, Warminster
Long before the Army started training on Salisbury Plain, and even before the Romans ruled, massive earthwork defences were created on the chalk downland. The edge of the Plain above Warminster has been sculpted to created massive hillforts over 2000 years old. Were these structures intended to defend ancestral lands, or to say "this is us”? Were they citadels, granaries, or temples? The hillforts enclose older remains – sites of burials and sacred places, so there may be more to them than defence and power. Join us as we explore these massive monuments and the landscape that they occupy, see how archaeology has deepened our understanding of the hillforts and wonder why, after so much work, one fort may have been abandoned before it was finished.
Sunday 5th August - Avebury World Heritage Site
Avebury is well known for having the largest Prehistoric stone circle in the world. However, the stone circle is surrounded by a range of other funerary and ritual monuments dating to the Neolithic and Bronze Age, some of which are unusual and unique. This exciting tour takes you through and between the monuments, exploring the monuments and their relationship with the landscape. The tour will take in the Avenue, Waden Hill and Silbury Hill amongst others and explore the reasons why the Avebury landscape has been designated as a World Heritage Site.
Sunday 2nd September - Oliver’s Castle Roundway Down Battlefield, Bromham
The Battle of Roundway Down was fought on 13th July 1643, when the armies of King Charles I and Parliament clashed on the hills above Devizes. Our walk will explore the battlefield and its importance, as well as its place in the wider landscape. Join us to find out why there were Lobsters on the battlefield, how the Bloody Ditch got its name and what occasioned Charles I’s only recorded joke. We might also explain where Devizes castle went.
We will also explore the remains of much older monuments, Oliver’s Castle Iron Age hillfort and associated burial mounds, which are testament to how our Prehistoric ancestors used this landscape for settlement, defence and ritual activities.
The walks promise to be interesting and stimulating events for all age groups. They all start at 11 AM on a Sunday morning and will involve walking for 2-3 hours. The Iron Age Hillforts walk may be a little longer (3-4 hours).
All our walks are free but you will have to book a spot as we have a limit on numbers.
I was interested to read a recent news story which described scientific work to extract DNA from parchment using a non-destructive technique, giving us remarkable and unexpected source of information about the animal the page was created from. It has also proved possible to extract DNA of people who have touched or kissed the manuscripts over the years (devotional prayer books for example).
Thinking about the physical fabric of the archives led me to consider our more common archive material; paper. We see paper as a prosaic item nowadays and take it for granted, but it used to be much more valuable and remained expensive until the advent of the steam-driven paper mill.
There is limited documented evidence about paper making before the 18th century and the knowledge and skills would primarily have been shared directly between family members and master and apprentice. We have records of apprenticeships in our parish collections including Edward Hayword from Bradford-on-Avon who was apprenticed to a Gabriel Sweet, Weston, Somerset in July 1745 and a Thomas Whale from Chippenham, apprenticed to a Charles Ward, papermaker at Doncombe, North Wraxall in November 1804.
The process of making paper was a complex one involving many stages and can be read about in more detail in various publications including The British Paper Industry 1495-1860 by D.C Coleman available in our local studies library (shelfmark 338.476). The cellulose fibres in plant tissues were macerated and mixed with water until the fibres separated and were lifted from the water using a sieve-like screen, leaving a sheet of matted fibres on the screen’s surface. This then required pressing, drying, sizing, and finishing before it could be used as paper.
We have several wills in our collection left by papermakers. These can give some indication of the kind of wealth and social standing of the profession.
In the 1792 will of John Lewis, paper maker of Yatton Keynell he bequeathed all his household goods and furniture to his wife, Mary Lewis. He also left an annuity of £8 to be paid to his sister, Elizabeth Parker, to be paid in equal quarterly instalments every year until her death. John Lewis makes it explicit that this money ‘is not liable to the debts or engagements of my said sisters husband or any other husband he may hereafter have and that her receipt alone…’ He also bequeathed to Thomas Vincent, a grocer of Calne (named as executor alongside his wife), all his real estate at Longdean and Yatton Keynell. It is pleasing given his profession that he sees fit to mention the paper that the will is written on:
“… to this my last will and testament contained in two sheets of paper set my hand and seal as follows (that is to say) my hand to the first sheet thereof and my hand and seal to the last sheet and my seal at the top where both sheets join”.
Another will belonging to Thomas Bacon, papermaker of Downton, dating to 1679 includes an inventory of his goods. These include materials and goods from the mill house including scales and weights, paper moulds and their respective values.