I have been asked to write a few words about the participation of Wiltshire Buildings Record in the ‘survival’ of a suburban library in Swindon. To partly fulfil the requirement in WBR’s constitution, that is, to provide information to those who have any interest in Wiltshire’s heritage building stock, an ‘outreach’ policy has been pursued for the past few years, when volunteers and opportunities have been available. With a fixed location like a local library it is a situation where the public comes to a WBR source for advice or research resources. So the base is an intermediate role between archive and buildings of the area.
Wiltshire being a geographically large county contains a diverse mix of vernacular building styles, so the libraries’ resources need only reflect its own close vernacular characteristics. Volunteer-run village museums could offer the same opportunities but do not have as many communal facilities. Aldbourne on the Marlborough Downs, provides a very well-run active Heritage Weekend in March from their own created museum including tours. There was a large scale village street map on which almost every building was dated, a very creditable achievement. Purton to the west of Swindon has long had a museum in the same Victorian building as their County Library. The WBR’s published book stock is on sale at Beechcroft Library providing some basis for research. There are four schools within a half a mile radius, but with restrictions of all sorts weighing down on the education system they rarely use the facilities. Display boards of the history of Stratton buildings are on show with the contents eventually going to the WBR archive.
Clive Carter, Wiltshire Buildings Record Volunteer
“But here, on the downs, you are not compassed about with trees and boughs, and locked fast in rich meadows… Instead there are bareness, simplicity, and spaciousness, coupled with a feeling of great strength and uncontrolled freedom, an infinity of range, and an immortality of purpose.”
Alfred Williams is better known for his poetry, having gained the title ‘Hammerman Poet’ whilst working for the Great Western Railway in Swindon.
Williams wanted to sketch a view of the people and landscape covering a whole locality rather than just one village or parish. The site was well known to him; along the ridgeway overlooking the Vale of the White Horse which extends into Oxfordshire, now part of the North Wessex Downs AONB.
Alfred’s attempt was successful and what remains are a collection of stories and imagery that takes you from community to community over a 20 mile area. Alfred notes that the characters he writes about are exactly as he found them, and he paints a good picture, describing their clothes, their speech, their backgrounds and trades, but the picture appears to have always been so rosy… perhaps possible artistic licence makes for a more nostalgic read?
The downs are described in detail including how they were cultivated and the flora and fauna that could be found. There were also the buildings; where they were located, what they looked like and their uses. The journey is fondly itinerated, from village to village, up slopes, through thickets and coombs, beside springs. Information on the history of the locations as Alfred knew it is recorded, along with tales of poaching, thieves, smugglers and ghosts. Time was spent talking about local sports such as cockfighting and backswarding and their importance in the community, the relationship between locals and their bees, and the customs that bound these traditions together. Williams presents a unified picture of old village life with ballad sheets in every house and many songs sung in pubs; fairs and revels; village ales. He also vividly notes the changes in the area from the first threshing machine, the first train, the arrival of telegraph poles, the decline of village trades.
Alfred encapsulated the lives of a number of local craftspeople such as the carter, the sawyer, the weaver, the tailor and the basket maker to name a few, describing who they were and how they worked. He also went into great depth regarding how to make certain products, from soap and candlemaking to watercress and elderflower products. Elderflower wine stood high in the estimation of the villagers. The famous north Wiltshire bacon could not be excluded.
We are trying to get as many societies and history groups as possible to take photos of traditional farm buildings. The pressure on buildings that have lost their original use is enormous. Many redundant farm buildings are either converted into homes and offices or face demolition to make way for new development. Some are left to decay. In an effort to record this rapidly-changing farming landscape we are urging local history group to take a snap-shot or two from the public footpath, road or hill-top and send them in to us. We want to record buildings that have been converted as well as those in their original state, even if still in use. This will give us an indication of the rate of change in Wiltshire, and a record of buildings that may disappear in the future.
We are not a pressure group that wants to stop change, we merely want to chronicle the changes that occur, and keep the information for future study. We also want to learn from the information submitted, so that people living and working in Wiltshire can understand their built heritage better. Many traditional farmsteads have already been lost to the pressures of development, and maybe nobody will remember what they were like, which is a lost opportunity and a great shame. Once they are gone, they are gone, along with a way of life that has persisted for hundreds of years! If you are interested please contact the office and we can supply you with further details, or just get out there with your camera and snap away, making sure you can identify the farm, and date the photographs.
Principal Buildings Historian, Wiltshire Buildings Record
Wiltshire Buildings Record was recently asked to look at Red Lodge Farmhouse, Braydon. This was a farm created in the mid-17th century out of the royal forest of Braydon, which had formerly been a royal hunting ground. The house is of great interest and reflects changing ownership over time until the 20th century, as does almost every house we look at. This time, however, it was a very human tragedy that took our attention.
By sheer coincidence I was on my way there and had called into another farm at Brinkworth nearby. When I mentioned my destination, the farmer exclaimed that his great, great uncle, Hezekiah Matthews, had been killed as a poacher at Red Lodge in 1882, and gave me a transcript of the poor man’s inquest.
Hezekiah Matthews had been one of a group of poachers, all cousins from Brinkworth, who were looking to bag something for the pot on the night of 27th December 1882. Because of previous incidents, a watching party consisting of the Neeld Estate head keeper, William Collins, Henry Reeves, Henry John Reeves, Thomas Reeves, and three others ambushed them, and after a struggle, apprehended them. Unfortunately, two of the keeper’s party were accidentally shot, and Hezekiah Matthews received a blow to the head. They were all taken off to Red Lodge Farmhouse to await the doctor and the police, who were coming from Purton.
Now in The Salisbury Museum, the Salisbury Giant and Hob-Nob were first mentioned in 1570 and 1572 respectively, in records from the Salisbury Guild of Tailors but it is probable he existed by the 1400s. Originally used by the Salisbury Guild of Tailors on the eve of the feast of St John (Midsummer’s Day), they have been a part of processions and festivals in Salisbury, originally to mark the eve of St John the Baptist’s Day (June 23rd) and the eve of the feast of St Osmund’s translation (July 15th), but later to be paraded for special occasions, such as royal weddings and jubilees.
The Salisbury Giant is a tall (now 12ft) figure made from a wooden frame; the oldest part of which is the head. Hob-Nob’s purpose in celebrations and parades was to clear the way for the Giant – he is smaller, and horse-like, with jaws fitted with hob-nails to snap at members of the crowd if they were in the way. In the nineteenth and twentieth centuries there were reports of the hobby horse chasing people and ripping their clothes with his teeth as a result of people throwing things at him. The Giant and Hob-Nob could each be supported by one man holding the frame. This resulted in the Salisbury Giant having a very life-like sway and movement.
The physical appearance of the Giant has changed frequently since the sixteenth century. Most depictions of him in the nineteenth century show a tricorn hat and tobacco pope, but in the twentieth century he was garbed in fifteenth century style robes. One of the biggest changes to his appearance was also in the twentieth century, when his face was painted over with shellac to preserve it, but had the side effect of making him look as if he was from African descent. A restoration later on discovered around 6 layers of pink-ish paint underneath.
Some say that the Salisbury Giant represents St Christopher, the biblical giant, and that he was detached of his religious significance during the Reformation and the Puritan era. However, it has also been pointed out that other than his bearing, the Salisbury giant has no other similarities to the saint.
One of our most frequent enquiries at the History Centre is along the lines of ‘I’m trying to find out where my great aunt is buried; her death was registered in Salisbury in 1923…..’ We can usually help them track down the place of burial, but what they really want is to find the plot to visit. People assume that all churches have a plan of their burial ground, when the reality is that most don’t.
My interest in this subject began as a small child when I accompanied my father, who mowed the grass in our village churchyard. While he was busy mowing I was busy wandering around looking at all the grave stones. Who were these people, where did they live, what did they do? Horningsham also has a number of listed tombs which are bigger and grander than a headstone and often commemorate whole families. I was fascinated by all these people and wanted to find out more about them.
Many years later I found two friends who were happy to help me survey the churchyard and this was the beginning of my project. Horningsham is a challenge geographically, as the church is on a hill and the burial ground is divided into three sections, all on different levels. I soon realised that this was not going to be straight forward! However, with the help of my friends (I couldn’t possibly have done it on my own), and countless visits to check my drawing, I have at last finished. It has taken me years and five attempts at drawing a map I am happy with, but it is a huge sense of achievement to have finished at last. Along with the map I have also transcribed the inscriptions and photographed all the stones.
Is this something that might interest you? There are countless parishes still to be done and the staff here are always happy to help you. The archaeology team will be able to provide you with a large copy of the ordnance survey map, to give you an accurate ground plan to work from. The first thing I did was to draw an outline of the church, as I used the row of pillars on the south wall as fixed points from which to measure the stones. The scale I used was 1:100. The graph paper was marked in millimetres.
From here I began plotting each stone from two fixed points.
On a 1:100 scale, 145cm and 130cm reduce to 14mm and 13mm. You then draw two arcs (using a compass), and where the two arcs meet is the centre of your headstone. A cross will probably suffice to mark a headstone, but a tomb will need a square.
Fortunately, I had the church on one side of the square and a wall on a second side which gave me a straight line of graves that were easy to plot. Together, these gave me two sides of fixed points that helped me plot the remaining graves.