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”.
November marks 173 years since the birth of this talented Wiltshire writer whose life was so tragically cut short. Chippenham Library’s Local Studies Champion wanted to discover more about him.
Richard Jefferies (John Richard Jefferies) was born on the 6th November 1848 at Coate farm, Swindon, which now houses the Richard Jefferies Museum. His father was a farmer. His childhood had a great influence on him, providing many of the characters he later wrote about in his novels.
Between the ages of 4 and 9 he stayed with his aunt and uncle at Sydenham and went to a private school, returning to Coate during the holidays. His father would read and explain Shakespeare and the Bible and taught him and his siblings what he knew of natural history. Richard would collect bird eggs, he loved to fish in the brook, climb trees, was also a keen reader and had inherited his father’s handiness with tools. A letter he wrote to his aunt mentions his having made a sundial so he could tell the time.
At 16 he and a cousin ran off to France, intending to walk to Russia. After crossing the Channel, they soon realised that their schoolboy French was not good enough and they returned to England. Before they reached home they saw an advertisement for cheap crossings from Liverpool to America, so set off in this direction, but after buying the tickets they had no money for food and were forced to return home.
George M Barbour Cromwell House Publishing, 2021 ISBN 978-1-80049-797-9 £14.95 107 pages (unpaginated), hardback
This collection of photographs represents the work of Wiltshire photographer JJ Hunt who had studios in Calne, Malmesbury and Ludgershall before settling in Marlborough where he established his photographic studio.
The title of the collection suggests that the photographs relate to north Wiltshire, but in fact they span the length and breadth of the county.
The images include street views, business premises, properties, local residents and events. Notable inclusions feature Draycot House (now demolished), Emma Vaughan, licensee of the New Inn, Amesbury, and the Marlborough mop fair c.1925.
The quality of the images are good and as clear as they can be, given the date of the originals and the laudable commitment by the author to manipulate them as little as possible. The photographs are interesting, and captions provide additional details, sometimes with quotes by JJ Hunt’s family at the time, which add further interest and a feeling of stepping back in time, giving a more intimate connection with the past.
The book forms part of a journey. The author is JJ Hunt’ great grandson and knew nothing of Hunt’s photographic career before researching his great grandfather’s life and work. I felt honoured to be able to join him, as a reader, at this journey’s end. JJ Hunt’s Wiltshire Camera manages to capture a Wiltshire lost to us. It is an interesting and enjoyable look back to a time long gone. A well-produced publication.
JJ Hunt’s Wiltshire Camera is available to view at the Wiltshire & Swindon History Centre or borrow via your local Wiltshire library, reference AAA.771.
Julie Davis County Local Studies Librarian Wiltshire & Swindon History Centre
About two miles north of Dilton Marsh is the ancient manor house of Bremeridge, which we were fortunate to be able to visit a month or so ago. It was once one of the smaller manors that made up the parish of Westbury. Its settlement dates from at least the late 12th century, and a hoard of gold nobles of Edward III (1327-77), Richard II (1377-99) and others were found outside the back door in 1877. It has a commanding view from its ‘brambly ridge’ of the valley north towards Fairwood and Rudge on the Somerset border.
The National Heritage List for England suggested this was an altered 18th century house, which its exterior features indicated. The only clue to its far more ancient beginnings were its monumental double-skin studded door, worthy of any church. As we looked, we realised that this door was still attached to a vestige of timber-framing that survived after the house was rebuilt in the late 18th century. As we looked deeper, we realised that buried within this substantial building was an original three-bay timber-framed yeoman farmhouse; deeply-chamfered beams, and the original through-passage could all be seen and deciphered in the original plan. It was in the roof that the whole story of the house was told, as it so often was.
At one end of the long range was the remains of a cranked collar and tie beam truss roof with angled struts, rather in the manner of goats’ horns. This was an indication that we were probably dealing with a house of the second half of the 16th century. Incidentally, in urban areas such as Salisbury the same kind of roof would not be seen after 1550. It is recognised that a time-lag effect operates whereby new fashions in building are often introduced in cities or other important sites, percolating down to towns and then villages and hamlets in due course. Here we speculate that the farmhouse, long in the ownership of Edington Priory, was rebuilt for a new owner some time after the dissolution of the monasteries between 1536 and 1541.
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…