“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.
Iron Age hillforts must be one of the most visited types of archaeological sites in the country. Recently I have been up to Barbury Castle a couple of times and have been reminded how impressive and commanding this site is, not just because of its massive ramparts, but also its good state of preservation and all of the other archaeological features you can see from here. It is one of the most impressive of the 35 hillforts we have in the Wiltshire and Swindon area, with panoramic views that take in the Marlborough Downs and the Vale of Pewsey.
Barbury is located between Wroughton and Swindon and the County boundary, as well as parish boundaries, run through the middle of the hillfort. The hillfort was built in the Iron Age, probably around 700 BC and is likely to have been continuously used until the Roman invasion in the mid 1st century AD. It was one of a string of hillforts built close to the line of the Ridgeway, considered to be an ancient long distance routeway. Three other hillforts, Liddington, Uffington and Martinsell are all intervisible with Barbury. It is the most developed and most impressive of the Ridgeway hillforts, having double ramparts on the south side and triple on the north side (possibly an unfinished circuit). In places the banks or ramparts stand over 3 metres in height even now and in the Iron Age would have been topped with wooden palisades and defensive towers. Located at 262 metres above sea level Barbury was built on the highest point of the local area, a beneficial defensive position with commanding views of the landscapes below.
The ramparts at Barbury enclose an area of about 5 hectares and there were two original entrances that survive today at the east and west sides. Unfortunately there has been little modern archaeological investigation to tell us details of the lives lived at Barbury. However, the results of a geophysical survey carried out by English Heritage in 1998 indicate that the interior is littered with hundreds of pits (probably for grain storage) and other features, some of which are the remains of huts or roundhouses.
The interior of the hillfort as well as the ramparts have suffered some damage in the 1940s from the activities of American troops and the Home Guard who were based at the nearby Wroughton Airfield during the war and used Barbury as a training ground. The original hillfort entrances were unfortunately widened by American troops in order to get their trucks into the interior. Fortunately, we have a measured survey drawn in 1884 by General Augustus Pitt Rivers, the first ever Inspector of Ancient Monuments, to show how they would have been.
One of the best things about my job is visiting different museums around the county, seeing behind the scenes and finding out about all the exciting things that are happening. Last week I was lucky enough to go to two museums and get a peek at things not normally seen by visitors.
First up was a visit to the Fox Talbot Museum https://www.nationaltrust.org.uk/lacock-abbey-fox-talbot-museum-and-village/features/learn-about-the-history-of-photography in Lacock, with the Wiltshire Museum Group. The Museum tells the story of the history of photography, from the very first photographic chemical processes to the modern smartphone. It also celebrates the life and work of William Henry Fox Talbot who lived in Lacock Abbey. A Victorian pioneer of photography, Fox Talbot created the earliest surviving photographic negative, taken in 1835, of a window of the Abbey. Upstairs there’s a gallery with a changing temporary exhibition programme, which explores photography as an art form.
Curator Roger Watson, told the group about a current project to acquire and manage the Fenton Collection. Thousands of photographs from the 19th and 20th centuries were collected by James Fenton, along with a wide range of photographic technologies – including cameras, exposure meters and stereoscopic viewers. He displayed them in his own Museum of Photography on the Isle of Man, before donating them to the Museum of the Moving Image in 1986. All the items had been in storage since the museum closed in 1999 and last year the British Film Institute had donated them to the National Trust’s Fox Talbot Museum.
Funded by the Heritage Lottery Fund www.hlf.org.uk and the Prism Fund www.artscouncil.org.uk/funding/prism the project has brought the collection to Lacock, where it is being catalogued and cared for, including being re-housed in a newly created store.
The new store is built inside one of the traditional buildings in Lacock – from the outside you wouldn’t be able to tell what’s kept within. A room has been built inside the barn to house the objects. This is insulated to help keep the environment stable and the conditions the best possible to ensure the preservation of all the treasures kept within.
‘Wiltshire Murders’ by Nicola Sly (AAA.343) in our local studies collection describes an unpleasant case of the murder of Judith Pearce. It tells of Edward Buckland, a gypsy who had been begging and odd-jobbing around the area of Seagry for many years. Judith Pearce had been known to give him the odd crust, but one evening, refused his request to come into her cottage to warm himself by the fire. Later that evening the thatched roof of Judith’s cottage caught fire. The fire was extinguished without too much damage, but it was widely believed to have been deliberately started by Buckland, who swiftly left the area.
Later in the year, Judith and her grand-daughter Elizabeth were woken by the sounds of someone trying to enter the cottage. They barred the kitchen door, but the intruder attempted to break through with a hatchet. Judith and Elizabeth succeeded in breaking through the lathe wall of the cottage into the garden, but were pursued by the assailant. Elizabeth managed to escape and ran to relatives for help. Sadly by the time they returned Judith Pearce was dead. Nothing from the house was stolen, suggesting it was likely to be a personal grudge.
Edward Buckland, having recently returned to the area, was apprehended close to the scene the following morning, tried at the Lent Assizes in Salisbury, 1821 where he was found guilty and sentenced to death.
‘I am damned if I killed the old woman’
Records of Assize trials are held at the National Archives in Kew, and Buckland does not appear in the calendar of prisoner. However, the fact of his trial is recorded in the criminal register, viewable on Ancestry, along with the guilty verdict.
The Devizes and Wiltshire Gazette March 22nd 1821 provides a detailed account of the trial and account of the murder.