Hello! I have just joined the team at CMAS as an object conservator, having spent the last four years working on the Burrell Collection in Glasgow.
In my first three weeks I have had some lovely objects to get stuck into; one of which is a cream painted plaster model horse with a leather and textile collar from the Mere Museum.
We think this was a display model for a saddlery, although the records are a bit thin on the ground. It was brought in for conservation with fractures across all four lower legs and pieces of plaster had come away from the hind right leg exposing the iron armature inside. On top of this, the paint surface was flaking in places and is rather uneven, having been touched up and repainted several times.
Both the body of the horse and the base show signs of previous damage and repair, and indeed there are records of the horse having already been conserved twice by CMAS in the last 20 years.
When is a stone not just a stone? – when it is a guard stone, also sometimes known as a glance stone. None the wiser? Don’t worry – I’m not about to try and convince you of these stones’ magical or archaeological properties, etc., but to make you see what is so easily missed in many historic street scenes in both town and country.
Following an interesting article on cornerstones in buildings in the Oxon Recorder Winter 2021 I was inspired to think about cornerstones, and also guard stones, in my home town of Warminster. These occur in a couple of narrow lanes in Warminster town centre and I’ve noted them in passing, but given little thought to what they were doing there.
The Oxon Recorder speculates that these may have had several purposes originally; the most obvious, as observed in the very narrow North Row which leads off the High Street in Warminster, was to prevent traffic striking the walls. Wikipedia describes a guard stone: A guard stone, jostle stone or chasse-roue (French lit. "wheel chaser"), is a projecting metal, concrete, or stone exterior architectural element located at the corner and/or foot of gates, portes-cochères, garage entries, and walls to prevent damage from vehicle tires and wheels. This is also true in Chinn’s Yard on the opposite side of the road. These can be rough local stones just leant against a wall, which over time become set into the asphalt in a road when this is resurfaced. They are unspectacular, and anachronistic in today’s bare, tarmacked roads and lanes.
Wiltshire is home to many stories and tales of local hauntings, and many local history sections in libraries hold books on ghosts and folklore. Malmesbury is no exception. The abbey is possibly the first site that one would turn to for ghostly encounters, as it towers over the town as one of the few survivors of Henry VIII’s dissolution of monasteries due to its purchase by William Stumpe, who turned it into a parish church (Scanlan, 48). It is said that a former monk has been seen walking through the cemetery, and that monastic singing has been heard in the abbey itself.
Another famous haunted site in the town is the Kings Arms hotel and restaurant, where a deceased landlord seems to have never left his workplace.
December 1903 saw the introduction of the Motor Car Act. A requirement of the new act meant that owners of existing and new vehicles had to register their motor vehicles with the local authority. Under the act, each registered vehicle was assigned a registration number, which had to be displayed at the front and the back of the car. This caused many car owners to complain, who felt they were being treated as if they drove Hackney carriages. The first car to appear in the newly opened vehicle register was a vehicle not owned by a wealthy landowner, as you may expect, but was, in fact, owned by Wiltshire County Council. This vehicle was purchased in 1902 and was used for official county business; in effect was the County Car.
“AM-1 was registered on the 12th of December 1903 to Wiltshire County Council, Charles Septimus Adye, the County Surveyor, County Offices, Trowbridge. 10hp Benz Parsifal; four seated tonneau body, painted blue with yellow lines; 17¾cwt; County purposes”.
Stourhead: Henry Hoare’s Paradise Revisited Dudley Dodd Head of Zeus, 2021 ISBN: 978178854620 319 pages £40
In his introduction to this publication James Stourton, Stour Provost, tells us of the author’s feeling of the garden as ‘enduring rather than timeless’. Dodd looks to capture these enduring changes, of the owners, the history and landscape of this iconic site, to help us learn more about it and how it came to be.
From Stourhead: Henry Hoare’s Paradise Revisited we learn more about the dominant characters who have shaped the life of the house and gardens. Dodd enables us to get closer to the Hoare family; entrepreneurs who managed to gain a standing in society. Their interest in art and culture is illuminated, as is their expansion of creativity towards the gardens too which led to rich imaginings and radical ideas. The Hoares, like many, toured Italy, bringing a little of the country back with them through the items they bought and the influences that helped develop the house and landscape.
Cinema as an art form has its origins in the late Nineteenth Century, when a range of techniques were developed to give paying audiences the impression of moving images beamed onto a screen. Most techniques deployed a machine through which a sequence of connected photos were driven. These amusements were usually presented by travelling exhibitors, who toured society gatherings, music halls or fairgrounds. By the 1900s photographs had made way for cellulose nitrate film which though effective in purveying motion, were also highly flammable. Following several fires the government was prompted to regulate this fledgeling industry
The resulting Cinematograph Act of 1909 gave local councils the power to grant annual licenses for the exhibition of films, provided safety precautions were in place. Breaches of these safeguards could result in a fine of £20 – a considerable sum to any proprietor. Demand for moving pictures was huge and following the Act various entrepreneurs invested their money in creating permanent cinema buildings. Though by no means complete, here are a few fine examples of early picture houses in Wiltshire.
In 1910 two rival companies established cinemas in Salisbury, both located on Endless Street. On 24th August 1910 planning permission was submitted to build a new Electric Theatre situated at the north-east corner of Endless Street and Bedwin Street. The request was made by the Grampino Syndicate, based in London’s Crystal Palace, and was approved by the City of New Sarum on 1st September. Designs for the venue, to be known as the Queens Hall Cinematograph Theatre, show an impressive classical frontage, with three sets of welcoming doors. This was a single-screen venue, with seventeen rows of seats on the ground floor, plus a further six rows on an upstairs balcony. The upstairs foyer also had a small sweet shop, demonstrating that even at this early date refreshments were seen as an integral part of the movie-going experience.