The Hiding Places Katherine Webb 2017 ISBN 9781409148586 408 pages £7.99
This Wiltshire author is an emerging talent who is now able to pursue writing full-time.The fictional tale of murder and intrigue, set in the sheltered community of Slaughterford is an interesting read.The story centres around the newly wed and new arrival at the manor, Irene Hadleigh; the tentative relationship which is formed with the stable girl ‘Pudding’ under extreme circumstances and on Irene’s internal search for herself.
Social relationships of people living in this rural community are uncovered and descriptions of the country and settlement along the By Brook. The local towns of Chippenham and Corsham are also represented.The difficulties of mental health problems and the legacy of WWI on families and communities are also touched on in a sensitive and empathetic way.There are deceits to uncover and the story takes an unusual twist which is cleverly conceived and executed.
An enjoyable and engaging read with local interest.
Available to view at the Wiltshire & Swindon History Centre (reference XWE.823 ) and on loan from Wiltshire Libraries.
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…
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.
Local Studies Library – the elderly volumes that might surprise you!
I can’t believe it’s been 5 years this month since I was lucky enough to become the County Local Studies Librarian here at the Wiltshire & Swindon History Centre. In this time, I’ve had the exciting opportunity to learn a lot more about Wiltshire’s fantastic Wiltshire Studies collection, both at the History Centre and in the county’s many local libraries. You could spend a lifetime delving into the items we hold; there is never enough time in the day to enjoy looking at the collection and the many and varied topics, people and places that span hundreds of years.
The items in our collection have found their way to us through many different means. Some have been purchased, others gifted or donated by kind individuals, many local residents who share our belief that Wiltshire’s treasures should stay in the county for everyone to access and enjoy. Others have been in the ‘library’ system much longer, from reading rooms at places such as the Mechanics Institute in Swindon, historically part of the Wiltshire local authority before Swindon became unitary in 1997.
Local Studies libraries are classed as a ‘special collection’, and within Wiltshire’s are items dating from the 17th century to today. You would be surprised to learn how robust the most elderly items in our collection are; the acid in modern paper makes modern books more troublesome to keep safe. Even so, we like to keep an eye on our oldest items to ensure they are well looked after. I am currently conducting a condition survey to check on their wellbeing and the process has been very informative, opening my eyes to the rich variety of items we hold.
Our journey begins with some of our oldest items; Civil War and Commonwealth pamphlets from 1647-1658 (ref. AAA.946). These include the impeachment of members of the House of Commons by Sir Thomas Fairfax in 1647, an account of the speech of King Charles I on the scaffold in 1649 and a copy of the Commonwealth Mercury dated 25 November 1658, describing the removal of the body of the late Oliver Cromwell from Whitehall.
Here at the History Centre, we’re no stranger to Morris Dancers. We’ve had dancers on the staff, while each May Bank Holiday Chippenham hosts its popular Folk Festival. It’s great fun watching the street theatrics, but there was once a darker side to Morris Dancing that led to the following stories being recorded by the Wiltshire Magistrates (and now appear in Records of Wiltshire).
What happened at Woodborough in May 1652 caused official concern, but how was it that Morris Dancing threatened the pillars of the state?
Capers against the Commonwealth On the evening of Sunday, May 16th 1652, Edward Smyth and Edward Hawking left their homes in Woodborough and went to All Cannings, where they met and conspired with about a dozen people. That same Sunday, Robert Golfe went from Woodborough into Marlborough “to get a drummer”, while Thomas Beasant went to Ram Alley in Easton and “there invited and procured a fiddler”.
The following day, their plans were revealed when a crowd gathered from the surrounding countryside; according to the records, “three hundred persons, or thereabouts … gathered together in a Riotous, Routous, Warlike and very disorderly manner’.” If anyone thought about stopping them, they were armed “with muskets, pistols, bills, swords drawn and other unlawful weapons”.
The musicians led the crowd from Woodborough to Pewsey where they “very disorderly, danced the Morris Dance”, and committed other misdemeanours, including “drinking and tippling in the inn and Alehouse”. While the prevalence of weapons may, happily, be less, it’s reassuring to see that the drinking still continues in and around Morris circles to this day (and sometimes, people still disapprove).
Public nuisance, party, or Sedition? In 1652, England was a republic, following the execution of Charles I. The Commonwealth kept a close eye on signs of dissent, looking for evidence of Royalist insurgency: traditional sports and pastimes were suspect. Ales, Morris and other customs had been the target of religious reformers since before the Civil War. The opposition from these authorities meant that Morris and other customs now symbolised the old order prior to the Civil War, when license and liberty were, supposedly, more freely allowed; as such, Morris dancing and the open drinking of ale was as much an open challenge to the authorities as the bearing of arms. Although the weapons offered a challenge to the authorities, the Morris spoke of tradition, culture, custom and a perceived stability before the upheavals of the 1640s. The new rulers of England were right to view the emotional power of such demonstrations with suspicion.
While the Morris at Pewsey may not be as famous as folksinger Pete Seeger, who was blacklisted by McCarthy in Cold War America, or Victor Jara, the Chilean musician executed during the 1973 coup, the Wiltshire boys used their folk art and their rootedness in the traditions of their place to show dissent toward the Authorities. Were the ringleaders seeking to incite rebellion, or just standing up for traditional fun? No doubt motives were mixed and shifting, including a mass of local and national grievances, as well as people being there for the fun, the beer and the free entertainment. What also seems remarkably modern was the casting of The Commonwealth as an alien, faceless Authority that stopped fun and meddled in the lives of “ordinary folk” (“Bonkers Conkers” anyone?).
However, as our next story shows, the dancers in Pewsey were evoking an idealised past in an “imagined village” …1
Archives are regarded, quite rightly, as vital sources of information about past lives and times, and are pored over for the fascinating details that they offer. However, in the quest for knowledge it is easy to overlook the format and appearance of the documents, which are also informative, but are worthy of consideration and appreciation for their style and artistic achievement. A good example of this is seals, which were used to validate or authenticate documents, much as we might provide a signature or enter a PIN. A soft material made of beeswax with tree resin and pigment that was pressed into a metal matrix onto which image and text was engraved, to make an impression. Usually the seal would have writing around its edge (known as the legend) which was often in Latin. They might identify the owner, or be relevant to the image. One of my favourites, in The National Archives, appears on the seal of a lady, ‘Love me and Lyve’.
Why are they important and so deserving of such attention? Because they are examples of the skill of the engravers who made the moulds or matrices, which produced exquisite miniature works of art. This small scale medieval sculpture complements the work of masons, carvers, painters and other craftsmen in buildings, statues, paintings and devotional and personal objects that survive from the Middle Ages.
The choice of motif was a matter of personal taste surviving from a time when people had few personal items. They are revealing about the owner: their social status, indicated by the use of heraldic symbols, emphasising his or her power and authority: their occupation, by an image of the tools of their trade: or their personality and mindset, by devotional motifs indicating their piety, or amusing images suggesting a sense of humour. Wit, sentimentality, and popular devotion, all appear in the designs the seals of individuals below the elites. Delight in the absurd and the burlesque, such a hare blowing a horn while riding on the back of a dog and humorous punning designs and pictograms were commonly displayed. Images of saints with their emblems, such as St Catherine and the wheel on which she was tortured, a pelican in its piety, pecking their breasts to feed their young, were also popular designs.
I will be giving an illustrated talk on this subject, entitled Good Impressions: Seals from the 13th-20th centuries, at the History Centre on Thursday 9 August at 10.30. Tickets £4.00.
No the History Centre is not trying to compete with the Whale and Dolphin Conservation Society, also based in Chippenham, and taken on a wider brief in the preservation of the Natural World. This is about the seals, archival not mammalian; the lumps of beeswax impressed with intricate and elaborate designs that authenticated legal documents. Relevant in a time when only the few could read or write their names, the conservative nature of the law means that they continue in use today; if reduced to the ignominy of a self-adhesive red circle stuck alongside the signatures on deeds.