On Friday 28th September Helen Winton and I gave a talk to the Corsham Civic Society at the Pound Arts Centre. Helen outlined how many fine 17th and 18th century stone houses there are in the High Street resulting from the wealth generated by the cloth trade. John Leland, when he visited in 1541 described ‘Cosham’ as ‘a good uplandisch toun’, which suggests that it was a thriving place even then. But what remains of this earlier town, if anything? Corsham seems to have sprung fully-formed in stone with no apparent trace of timber-framing.
Dorothy Treasure Principal Buildings Historian, Wiltshire Buildings Record
This year marks the 70th anniversary of the arrival of the Empire Windrush, which docked in London on 21 June 1948 carrying 492 passengers from the West Indies who planned on settling in the UK. The arrival of the Windrush is traditionally taken to mark the beginning of a period, lasting from 1948 to 1971, of migration from the Commonwealth to the UK – the “Windrush Generation”.
To celebrate the arrival of the Windrush and its passengers, and to mark Black History Month, we have put together the exhibition ‘Wiltshire Remembers the Windrush Generation’ to showcase the stories of some of the many West Indians who came to settle here in Wiltshire.
The exhibition draws on recollections gathered as part of the SEEME project, a Heritage Lottery funded community project where local people and organisations worked with Wiltshire Council, Wiltshire Music Centre & Salisbury Playhouse to collect life story testimonies from Black, Asian & minority ethnic (BAME) elders across Wiltshire to ensure that their stories are recorded and archived for future generations.
Using these recollections it covers the story of the Windrush Generation in Wiltshire, from their reasons for leaving the Caribbean and their first impressions of the UK to their working lives and sense of identity. One of the key themes that runs through all of these areas is the relationship between the new, Black, arrivals and the existing, White, communities in Wiltshire.
For example Rollin, who came to Britain in 1956, remembered clear examples of experiencing racism at work. In particular he recalled “working with a bloke and we’re working, he's my work mate, two of us are working. And he says why don't you go back on your banana tree and all that sort of thing, and I thought why, why you have to say that, y'know? Cause it's stupid! I’d say it's so good I have a banana tree I can go back, but what did he have?”
Likewise Glenda remembered experiencing casual racism throughout her life here, even very recently. “When I first came, I remember someone asking me if we lived in trees, and if we had a tail like a monkey, and but eventually comments like that sort of tailed off. But work wise, I've had problems with work. I mean just before I retired somebody I worked with called me a "black bitch” … I experienced other prejudices, like not being encouraged to further my training … And those sort of things stay with you for such a long time, and you end up getting sort of fearful for how people are going to treat you.”
The racism that many experienced was not confined to words, either – many people we talked to remembered experiencing, witnessing or hearing of physical attacks. Even before coming to Britain in 1961, Sylvia remembered hearing “that they attack black people” in Britain. Whilst living here “I never experienced it, but people would be pushing their babies - black people would be pushing their babies in a pram and some white people would come up and spit on the baby.”
Scotch had a more direct personal experience with racial violence: “in those days there what you call Teddy boys and Angels they used to walk with bicycle chain, knuckle duster and knife and things like that, ready to fight the blacks we have to prepare ourselves to protect ourselves otherwise we wouldn't be here. My brother almost got killed where four white blokes beat him up badly.”
Not all racism was as obvious as this. Tom joined the armed forces and remembers a more subtle (relatively speaking) form of discrimination. “In those days, wherever you got posted, the first thing that would happen was you would go to the camp, hand your papers in and whoever was sitting on the other side of that desk would say ahhh, a West Indian, cricket! And I would say, I do not play cricket. And they couldn’t understand that, you know they’d continue, you guys can really play cricket, what are you, batsmen or a bowler? I do not play cricket. You really don’t play cricket? And that was it. That was me ignored for the next three months. That happened everywhere I went.”
Whilst Tom’s experience of cricket was a tool of exclusion, for others it helped to bring the community together. Bert recalled that “Where I first started off in the type of work I was doing, back in 78/79 actually, there was a police who was killed by a black man in Trowbridge. And it was underlying tension, so I formed the Cavaliers, which was made out of all black people, who played for the Cavaliers. And each year we have two cricket matches against the police, we bring the black community and the police together.”
We could see the enemy’s whole body of horse face about and run with speed… and our horse in close body firing in their rear, till they had chased them down the hill in a steep place, where never horse went down and up again.
Sir Henry Slingsby, Royalist Cavalry Commander, describing the endgame of the battle of Roundway Down.
Slingsby’s laconic words describe the best-known moment of the 1643 Battle of Roundway Down, when the broken Parliamentarian cavalry were chased from the field by the troopers of King Charles I. During this rout, both those fleeing and their pursuing enemies rode off the steep, western edge of the chalk down. The moment captured the imagination and that part of the down is known as the Bloody Ditch!
The rout of the Roundheads might be the most famous part of the action, but it was part of a bigger battle that was, in turn, part of a wider campaign as both sides tried to take control of the west of England. Both sides were seeking to exploit the region’s resources, recruit its menfolk, seize the horses and tax the populace, who were, often unwilling, participants in the increasingly bitter civil war that had broken out in 1643. Meanwhile, the battle took place on chalk downland that had already seen millennia of human activity, the landscape is rich in archaeological remains as a result, with barrows and a hillfort. The edge of the downs also gives superb views across the surrounding landscape and its archaeology.
In early September, we led an archaeological walk across part of the battlefield to explore and explain both the flow of the battle and the more ancient remains in the area.
The Roundway Landscape
The Wiltshire Historic Environment Record includes data for a number of later Neolithic or Bronze Age barrows. Like many other barrows in Wiltshire these occupy prominent locations with extensive views into the wider landscape. They have also, like many similar monuments, been investigated by 19th century antiquarians. Although some of these monuments are similar to others in the county, with prehistoric burials beneath and within earthen mounds, one barrow is exceptional. When it was opened in the 19th century a number of metal fixings were found that suggested there may have been a bed burial inserted into the Bronze Age mound during the Anglo-Saxon period. Bed burials are an unusual Saxon burial practice, usually reserved for women of high status, another example in Wiltshire comes from Swallowcliffe, between Salisbury and Shaftesbury, with others known elsewhere in Wessex and around Cambridge. These bed burials appear to date to the 7th Century AD and may relate to the conversion of England to Christianity, and the woman was buried with a dress pin decorated with a cross. The burials may also relate to the wider power struggles between the Anglo-Saxon kingdoms, including the expansion of Wessex. The mound and the artefacts were re-investigated by Sarah Semple and Howard Williams in 2001 when they suggested that the Roundway burial might actually have included an elaborate coffin, rather than a bed. Whatever the mode of burial, the status of the deceased remains in no doubt, while the reuse of the much older burial mound is typical of Anglo-Saxon burials associated with barrows. This practice suggests not only the use of the barrows as landmarks, but also that they retained some form of mythic or folkloric power to the people of Anglo-Saxon England.
The walk also visited Oliver’s Castle, an Iron Age hillfort that overlooks St Edith’s Marsh. This monument includes a ditch and bank creating a rampart that encloses a promontory on the edge of the downs. The ramparts respect two earlier Bronze Age burial mounds. When excavations took place in the later 19th century, there was little trace of settlement, suggesting that the hillfort was, perhaps, used as a place of safety in time of danger, or that it was used for ceremonial events. In either case, the prominent location meant that views of the surrounding landscape were excellent, whether to see enemies or to be closer to the gods. The site enjoyed a later life as a sheep fold; a dew pond, providing water for sheep and probably originating in the 18th century, still survives within the ramparts. By the later 19th century, a shepherd is known to have had his hut close to the pond.
Below the fort is a site known as Mother Antony’s Well. This has been the site of excavations in recent years that have found probable Bronze Age barrows, an Iron Age enclosure, and Roman remains that included kilns used to dry grain. In addition, the Romano-British population seem to have regarded the springs in the area as special, and one had an elaborate well head that may suggest a shrine.
I can’t believe that the first year of university is over! It goes so fast and with so much information it can be a bit overwhelming, but trust me, all that hard work and studying will pay off. The Conservation of Objects in Museums and Archaeology undergraduate course at Cardiff introduced me to a whole new world of practical science, as well as in-depth theory, of conservation materials and specialised equipment, such as x-ray and air abrasion machines. By the end of the year I felt pretty confident with the concept of conservation but was still nervous on how to actually apply the theory with real, archaeological objects; in a true work environment. This is where a work placement comes in. My first-year placement was at the Wiltshire and Swindon History centre, as part of the Conservation & Museum Advisory Service (CMAS), a commercial business which deals with issues both in museums and in public collections.
Although it can seem daunting at first, this experience is essential for developing those practical skills and applying the theory with real, archaeological objects, as well as understanding the treatment of different materials and the ethical choices conservators must make; focusing on what’s best for the object and adjusting treatment plans with the client’s wishes accordingly. Keep in mind that work experience is for your benefit, so don’t panic when you have millions of doubts and questions because the people you work with are there to help you (even if you ask questions every 5 mins).
So anyway, onto the actual conservation, hooray!
First things first, you will need to assess the object just by looking at it and writing up a condition report, which simply states any observable issues with the object. The majority of my time was spent working with a Roman ceramic oil lamp in the shape of a foot! Quite a fun object from Chippenham Museum, but as you can see there is a bit of a messy application of adhesive around the centre of the lamp where it has broken in two and was re-joined. There were also scratches, dust and cobwebs on the inside, layers of red dirt/soil on the surface as well as white flaking corrosion (see figures 1-4).
Ok, so the lamp required a good clean and that adhesive definitely needed to come off. Ultimately, the decision was to completely remove the adhesive and undo the join so that I could re-attach the two pieces with a better, cleaner join. In order to remove the adhesive, I needed to work out what solvent it was soluble in. For this, I took small samples of the adhesive from the lamp by slicing off some of the softer areas with a scalpel, under a microscope. I then put the samples into a petri dish and tested them with different solvents (see figures 5 & 6).
Testing solvents on the adhesive:
After about 30 minutes, I could see which solvent made the adhesive go soft and rubbery. The process of removing the adhesive required quite a lot of patience as the it didn’t want to budge; a scalpel was used to remove larger chunks of the adhesive and a poultice was placed around the join. A poultice was a way of creating a solvent environment to help loosen the adhesive and separate the two pieces. *Just to give you an idea of the tools used in this process, I’ve taken a couple of photos for reference.
Figure 7 From left to right – pin vice, plastic tweezers, scalpel, wooden stick and cotton wool
In conservation, we usually make or own cotton swabs by using a bamboo stick or cocktail sticks (depending on what you’re working on) instead of regular, pre-made cotton swabs. Making your own means that when the cotton gets dirty it can be easily replaced and the size of the swab can be varied so you can get into the small nooks and crannies that need a good clean. It also means that we aren’t throwing away millions of cotton swabs and being more environmentally friendly.
After many tries, the poultice wasn’t loosening the adhesive, so I went in with the scalpel and pin vice to try and dig out some adhesive in the join. Another poultice was then left on for a couple of hours. When it was removed I was able to gently pry apart the two pieces (finally!) and clean the new surfaces (see figure 9).
Secret Swindon by Angela Atkinson Amberley Press, 2018 95 pages, includes bibliography, paperback ISBN 9781445683386 £14.99
The aim of this colourful publication is to prove that Swindon is so much more than you might think; a multi-layered, unique and vibrant town. As a reader you are invited to discover things you never knew, aided by ‘Did you Know’ fact boxes to guide the way.
The book begins with an interesting synopsis of the history of the town before the railway. The stories of Swindon’s major families, writers such as Richard Jefferies, Edith New, Swindon suffragette and houses now lost figure here, alongside secret locations and tips on how to while away a happy hour in the town on a historical theme.
Travel back with the GWR and the amazing feats of its employees to create a healthcare system and some wonderful works of culture; also included are the origins of the Mechanics Institute and Swindon’s aviation history for good measure. Modern Swindon is not overlooked, with architecture, the magic roundabout and the strength of today’s cultural activities being investigated.
Angela’s style is witty, snappy and easy to read, weaving information with a conversational tone reminiscent of her origins as a successful blogger.
The content is a lovely mix of old and new on a multitude of topics that goes to the heart of the character of the town. The images reflect the content and complement the text well.
The aim of the book has indeed been met. It will prove an eclectic revelation to both Swindonians and non-Swindonians alike.
It is available to view at here at the History Centre under ref: SWI.940
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.