We’ve recently reviewed the Integrated Pest Management (IPM) programme that we have in place at the history centre so that we can effectively protect the archives from the possibility of any damaging insect pests.
IPM is a multi-faceted approach to pest management and our program is used alongside a number of other preventative measures such as good cleaning and housekeeping routines, thoroughly checking new accessions for any hitchhiking pests before they are put into the strong rooms and maintaining a stable environment within the strong rooms so that pests do not feel at home. This way we can continue to protect our archives into the future.
Insects can cause a real problem for historic collections, which can be tasty treats for them to feast on, causing irreversible damage and loss of information.
It is really important to protect the archives against possible pest infestations. A small number can quickly increase to become a big problem if left unchecked and cause substantial damage to a collection.
During the pandemic some collections such as The National Trust have reported increased pest activity due to the reduction in footfall and reduced monitoring and cleaning of spaces, leaving areas undisturbed for pests to thrive. With such large numbers of documents held in repositories such as WSHC it is impossible to frequently check all items individually, so programmes to monitor and reduce numbers are put in place.
We have set up ‘blunder traps’ in the History Centre, strategically located around the strong rooms and other areas of the building, and by frequently monitoring them we are able to get a picture of any pests present and which areas they are visiting.
The traps we use do not control pest infestations they simply allow us to monitor levels of pests. If we find a pattern of large numbers of any particular archive pest, we can then look into dealing with any problems and target them specifically.
If you are anything like me you may be giving quite a few books as gifts this Christmas, and you might have spent a long time considering their content and choosing the right book for the right person. But have you ever looked at the structure of the book and thought about how it has been made? Although the process is mechanised today, the traditional skill of bookbinding is still practised and over the last few months some of the staff here at the History Centre have been giving it a go after work, guided by our Archives Conservator, Sophie. It’s been a lot of fun and certainly makes you appreciate the work, skill and time that it takes to create books by hand.
Much more interest and scholarship has been directed towards the decoration of books rather than their components or the processes used to create them. However, it is often the ‘forwarding’ of the binding (making it fit for the finishing or more decorative elements) that makes a book really pleasing to use.
Books can be bound in many different styles and vary according to age, value and the use to which the book will be put. Bookbinding first begins in the 4th century AD with a change from rolls to flat sheets, which, although easier to transport and store, required some kind of protection. The first bindings were simple folded sheets sewn together and wrapped in leather.
The development of the printing press created a surge in binding activity and prosperity for the bookbinder. In contrast to previous manuscript versions which were often richly ornamented with costly materials such as enamels and carved ivory, the printed book was often covered with plain leather, calf or deerskin, or occasionally parchment. Covers could also be wooden boards, sometimes backed with leather, which was drawn partly of wholly over the wooden covers, the latter usually fitted with clasps.
The above example is an early 14th cent. -16th cent. wooden covered Liber Evidentiarum B (the 'B' indicates that it belongs to the bishop, as opposed to a similar volume, 'C', belonging to the chapter). It contains copies of royal and other charters (including Magna Carta  and the Forest charter, compositions, ordinances, etc., and was mostly written in the early 14th century, but with 15th and 16th century additions. We think the wooden cover is original but it has been rebound many times (you can see holes for previous binding, and where there used to be a clasp).
A faster form of decoration - blind stamping (creating an image, design or lettering formed by creating a depression) - became prevalent as the numbers of books increased in the sixteenth century. This was superseded by the more visually appealing gold tooling technique (decorating the cover and spine with gold leaf, impressed into the cover with a heated finishing tool). Around 1750 the construction process also changed, when many books began to be sewn on cords let into the backs of sections. This, in contrast to the usual practice of sewing on raised cords, gave a smooth back. The spines were often lined with many layers of paper, which gave a good surface for tooling work but could mean that they were difficult to open.
The demand for books and bindings increased following the industrial revolution, although the quality of hand-binding was poorer; the construction of the binding deteriorated and attempt was often made to conceal the poor quality with lavish gold ornament on covers and spines. With the industrial revolution also came mass production, and machinery for cutting, blocking, case-making and pressing. Later in the 19th century, techniques for machine decoration were also developed.
The arts and crafts movement countered this industrialisation and inspired individuals such as lawyer, T.J. Cobden-Sanderson to study the craft, and to experiment with binding construction and decoration. His designs continued the methods of gold and blind tooling, and often incorporated flowers, leaves or branches in a geometric design. The scope for originality and creativity also prospered following World War One, and artists, designers, and amateurs all made worthy contributions to the craft.
Our local studies and archive collections includes examples of different binding constructions. However, the tools and equipment of the trade can also be explored through looking at wills and inventories...
One of the pleasures of working in a History Centre or County Record Office is that you are always discovering new material. There are many occasions when a customer has requested something and I think ‘that looks interesting, I must have a look some when.’ The list is growing ever longer and I will probably never get round to looking at everything that interests me. A few months ago one of our regular customers spent several days looking at the Great Rolls. These documents have always been a mystery to me as I have never known exactly what’s in them and how easy they are to use.
The Rolls are part of the Quarter Sessions records. Prior to the Local Government Act 1888 and the creation of County Councils, the Quarter Sessions presided over by JPs were responsible for the administration of justice. As well as dealing with criminal cases, examples of their responsibilities were the administration of poor law, apprenticeship indentures, ale house licences, plans of canals and railways, coroners’ accounts, the County Militia, Meeting House certificates, registers of gamekeepers, the supervision of prisons, the drawing up of jury lists, regulations regarding highway maintenance, the licencing of lunatic asylums and recording the names of parish constables. All of which is a wealth of information for both the family and local historian.
Here in Wiltshire we are fortunate enough to have an active Family History Society which has transcribed and indexed many of the criminal and poor law registers. One of our archivists has transcribed the ale house records. But what about the many hidden gems that we don’t know about? As well as the rolls themselves, which in Wiltshire date back to 1603, there are also rough minute books, entry books and order books. The rough minute book was effectively the clerk’s notebook. The order book records the full minutes of the court. The entry book includes names of the jury, presentments (a formal presentation of information to the court) and the names of people who were bound to appear at the court. I have chosen the year 1750 as an example.
The term ‘rolls’ describes the documents perfectly, as the parchment and paper documents used in the court were spiked, threaded on string and rolled for storage. There are four bundles for each year, one for each of the sessions. They are still known by the four English court terms during the calendar year, Easter, Trinity, Michaelmas and Hilary. Each bundle consists of smaller rolls each covering one subject, one of which is returns of jurors.
As well as giving names, which will be of interest to family historians, the return also gives a glimpse into the workings of local government. The next layer of government below the Quarter Sessions was the hundred court. (Wiltshire was divided into 40 hundreds; a hundred was a group of parishes that functioned as one administrative unit). This dealt with petty crimes committed in one of the parishes within the hundred. At the top of the document are the names of the constables of the hundred. They were senior law enforcement officers (prior to the establishment of professional police forces). Next are the gentlemen summoned to serve on the grand jury at the Quarter Sessions. Finally, all the men who served on the hundred jury, with their parish, are listed. Sometimes the list will include the juror’s occupation.
In 2017 I graduated from the Conservation MA at Camberwell College of Arts and having volunteered for several years in the Archives Conservation department I began work as Assistant Archive Conservator at the WSHC. My role involves being part of the Conservation Museums Advisory Service (CMAS) who support heritage organisations in Wiltshire and beyond. Primarily I work with the archive material held at the WSHC to help maintain and preserve it for current and future generations.
Since beginning at the WSHC in August 2017 it has certainly not been quiet. So far amongst other things: I have begun to master map repair, mounted and tensioned parchment, attended several conservation surgeries, found some exciting things whilst surveying archive boxes, spent seven hours hoovering the strongrooms and made several gluten free cakes for the staffroom! Here are some of the highlights:
One of the parchment maps from our collection was extremely distorted so I used a conservation tensioning method to gradually reduce the cockling. Because parchment is animal skin it behaves very differently to paper and requires specific methods of treatment. It was left tensioning for two weeks before being put in a polyester enclosure and returned to the archive.
Overseers of the Poor Account Book
A project I am currently working on is the Overseers of the Poor Account Book
This is a large project this time involving a very fragile set of pages from 1732. These would once have been bound but now just remnants of thread remain in some pages. The paper is so damaged in areas that it is crumbling away.
One leaf had a pile of severely degraded papers attached with a pin. I carefully removed the loose pieces and pieced them back together where possible.
To make it accessible to the public again each page is being lined with a Japanese tissue. This is translucent enough that the writing on the side of the lining tissue is still visible whilst making the page strong enough to be handled.
Above: applying the lining tissue to a leaf from the volume
The above photograph shows the main leaf and one of the attachments that I was able to piece back together, after both have been lined. The remaining pieces were grouped together by ink and writing type and enclosed in bespoke polyester pockets in the hope that they may be of use to future researchers.
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.
The Wiltshire and Swindon History Centre have been preparing an up-coming display to mark the 800th anniversary of the Magna Carta, which is to be held at Lacock Abbey.
The display will feature three original documents: a facsimile of the 1225 Magna Carta presented to Lacock abbey after the original charter was presented to the nation; and two enrolled copies of a 1300 confirmation of the charter in the archives of the marquis of Ailesbury of Savernake and Marlborough borough which are held at the Wiltshire and Swindon History Centre.
These documents will be supported by a display illustrating life in Wiltshire in the 13th century and the impact of Magna Carta. Copies of documents will include images from the pageant in 1932 to celebrate the 800th anniversary of the founding of Lacock abbey.
The exhibition will be at Lacock Abbey in June and July and then at the Wiltshire and Swindon History Centre. The screens will then be available for display around the county.
A project to conserve and display 13th Century documents for the Salisbury Cathedral Magna Carta exhibition.
The Archive conservation team have recently been working on a project to conserve and display four 13th Century parchment documents for the 800th Anniversary of the Magna Carta exhibition at Salisbury Cathedral.
The documents are: a charter, an indulgence, a declaration of canonical obedience and an agreement of tithes.