Cats of Lacock

on Friday, 29 April 2016. Posted in Archives, Wiltshire People, Wiltshire Places

When I visited Lacock recently, I was privileged to meet the lovely Morag, whom I had seen featured a few times on the National Trust’s Facebook page and was delighted to meet in person. She was taking this in her stride, used to being fussed over, as one of the resident cats of Lacock.
Morag and bunny. Image courtesy of National Trust Images - Alana Wright

The Lacock archive is as full of references to cats as there are currently cats living in and around the abbey. Although these are mostly photographs, there are also text references to cats. The earliest reference I’ve found is from the 19th century. Charles Henry Talbot, who owned Lacock from 1877, kept most of the letters written to him (although sadly didn’t make copies of the ones he sent) and from there we can find several interesting references to his home life and relationships with his family and friends – and animals! We know from correspondence that Charles had at least two cats in the last part of the 19th century, called Stripy and Bunny. It appears that he was very fond of them. Matilda Talbot, who inherited Lacock from her uncle Charles, was equally fond of them and many photographs of cats have appeared from amongst her papers.

In a letter to his uncle of 1893, William Gilchrist-Clark advises Charles regarding the mange that his pet is suffering from: “On my way from Brighton I heard of your cat’s illness. I said to Auntie Monie [Rosamond Talbot] that I thought it must be mange, and she asks me by letter this morning to write to you about it. I thought the cat was not in a healthy state when I saw it in Jan – the hair was too matted and it didn’t look right. The regular vet is laid up, but I am sure the best thing you could do would be to have the matted hair cut off as much as possible and the skin dressed with sulphur and hair oil – the cat would be in an unpleasant state for a bit and would hardly do for the house – but if it was kept in a stable for a bit it would soon feel right again – you could get the dressing from any local vet, and at the same time find out if it was the best thing to use – I always use it for dogs myself.” Personally, I think the first thing I’d do is visit the vet, and find out if it was suitable before I even considered buying the dressing. But it is interesting to see how people dealt with animals’ illnesses. Charles must have been very worried about his cat, and William likewise as he wrote to him so quickly. Let’s hope the strange concoction for the cat’s skin worked, and 1893’s “Grumpy Cat” (I would be if I was kept in a stable and dressed with sulphur) got over his mange and his health improved!

 

2664/3/1B/125, letter 10

A letter from Rosamond Talbot to Charles of 1898 suggests that Charles has had to find a new home for one of his cats due to it possibly hunting his chickens, and she is helping: “We think that a good home has offered for poor old Bunny, in Somersetshire – people who want a grown up tame cat, so I must see about it when I get home. I cannot think that she has been interfering with the chickens again, now that they are grown so much older – besides she has been so constantly and carefully kept indoors during the middle of the day when the chickens are free, but still it is best to be on the safe side, if we can, for the future. Do you think the fox has put in an appearance again?” The phrase “poor old Bunny” is very apt here. It appears that the poor cat was rehomed as a scapegoat for the fox, although we cannot rule out the possibility of Bunny being a natural hunter and deciding that actually, grown-up chickens were also quite appealing. It is not known if Bunny was eventually rehomed. Maybe Charles decided to just be a bit more careful about where she was kept in relation to the chickens. 

Discoveries from the Deverills, Part 5: Never judge a book by its cover!

on Thursday, 21 April 2016. Posted in Architecture, Archives

In our on-going investigations into the Deverill parishes south of Warminster for the Victoria County History we visited Hedge Cottage. This looks like just another charming little early 18th century rubblestone and thatched rural idyll, gable end to the road, with a rear service outshut under a catslide roof. Once inside, we had a pleasant surprise: the interior told a very different tale of a one-and-a-half storeyed timber framed house of the earlier 16th century. The 16th century structure is of four uneven bays, that is, widths between the structural cross-frames that divide it. It was entered through something called a cross-passage, a medieval plan where a passage with doors at each end divided the house in half. It was too narrow for stairs, which had no prominence at that time, and tended to be stuck into a recess between the chimney breast and outer wall. This design lingered on in some rural parts such as the Deverill Valley until the 16th century.

To the right of the passage is an originally unheated parlour with panelled ceiling of 13cm chamfered beams. The widest chamfers seem to occur in 16th century beams, and they get progressively narrower and less conspicuous down the centuries as the craft of timber-framing diminishes and is replaced by brick and stonework with plainer finishes.  To the left is the living room/hall with a later fireplace set in a deep smoke bay, just like the one at Manor Farm up the road mentioned in an earlier blog.

The extensively smoke-blackened roof at Hedge Cottage

Conservation of finds unearthed by a badger

on Saturday, 16 April 2016. Posted in Archaeology, Conservation

You may remember the image of a group of ceramic sherds from one of our previous blog posts. Following reconstruction of the vessel we now have true understanding of the magnificence of the objects found. Watch a time-lapse video showing elements of the reconstruction of the vessel.

 

Conservation treatment involved a task like a jigsaw puzzle without a picture. The size, shape and colours of the sherds were used to determine their original location within the urn. Due to the uneven firing of the vessel and areas of burning caused by hot ashes being placed inside the vessel some areas were easier to piece together than others.

When the collared urn was originally manufactured ceramic technology was in its infancy with the kilns used never reaching the temperature required to permanently set the clay in position. During the time the vessel was in the ground, moisture from the surrounding earth also weakened the under-fired structure. This effect, on top of the unconventional excavation method, has meant that the overall shape of the vessel has become distorted.

Before reconstruction the edges of each fragment were strengthened by allowing a weak adhesive to be drawn into the rough surface to hold the loose and sometimes crumbling structure together. The adhesive is well used in conservation and has been developed and tested to ensure that it is long-term stable meaning it will not degrade causing damage to the original fragments of the vessel.

A stronger concentration of the same adhesive was used to adhere the fragments in position, small strips weak masking tape were used to hold the fragments in position as they dried. As the vessel was so large the reconstruction had to be undertaken in stages to ensure each level of fragments were securely in position and ready to support those placed on top.

Spring is Sprung in Wiltshire’s Museums

on Monday, 11 April 2016. Posted in Museums

The clocks have gone forward, days are getting longer, the sun (hopefully) shining brighter and the museums in Wiltshire that have been closed over the Winter are staring to open their doors to the public.

But don’t be fooled – these museums have not been hibernating, inactive over the last few months. Hard working volunteers have been busy behind the scenes doing all the work required to look after the collections and create new, vibrant and interesting exhibitions.

Enjoying the displays as a visitor it is can be easy to overlook all the time and effort that goes into producing them and keeping the museum ship shape. This includes a wide range of activities such as keeping the building tidy, making sure historic collections are well cared for, documenting and cataloguing objects to appropriate standards, researching local history, writing labels and telling stories, selecting the most suitable items for display and talking to members of the local community – to name just a few!

Bradford on Avon Museum recently re-opened following their mid-winter closure, which was spent cleaning, tidying and repainting. Work carried out in the gallery includes new interpretation and displays of the Museum’s collection including road and shop signs from the town. Visitors now also have the opportunity to view pieces of plaster from a Roman Bath Complex, excavated in Bradford-upon-Avon in 1976. Not all of the changes at the Museum are immediately visible however. In addition to what’s been happening front of house, work has also been carried out with the collections in storage to make the most of the available space.

 

Roman plaster loaned from the Wiltshire and Swindon History Centre is now on display at Bradford on Avon Museum.

There has also been a hive of activity in Aldbourne and I was very pleased to attend the opening of Aldbourne Heritage Centre in the village over the Easter weekend.

The Heritage Centre tells the story of the village of Aldbourne through stories, photographs and historic collections collected from local residents. A large crowd of people gathered outside the Centre to witness the proceedings.

Chairman Terry Gilligan addresses the throng gathered outside Aldbourne Heritage Centre.

On the day the ribbon was cut by archaeologist, broadcaster and Time Team regular, Phil Harding. He spoke to the assembled visitors about how important the Heritage Centre is to the village and how it can help the community remember its history and discover more about its roots.  

 

Phil Harding officially opens Aldbourne Heritage Centre, assisted by the village’s most senior Dabchicks, Ethel Underwood and Douggie Barnes

The Open Road Awaits...

on Tuesday, 05 April 2016. Posted in Archives

I don’t know if any of you saw the wonderful BBC TV programme back in September last year called ‘A Very British Map: The OS Story’. It fascinated me as I enjoy a walk in the countryside and my husband just loves maps, having quite a collection of his own. Friends and relatives always know that if in doubt, a 1:25,000 inch Explorer is a sure fire hit as a gift!

To get back on track (pardon the pun!), it was the turnaround in use of Ordnance Survey maps from military aids to the traveller’s companion which interested me most, especially as here at the History Centre we hold a large collection of OS maps which include copies of Ordnance Surveyor’s drawings of 1789 on microfiche to maps of the modern day, charting this development.

The OS was initially pipped to the post when utilising their maps for commercial purposes, with John Bartholomew & Son Ltd. beginning to sell travellers maps based on the one inch OS series in the early 20th century, calling them ‘reduced Ordnance Survey’ maps. The time was right and they were phenomenally popular due to the rise in car ownership. The War Office had, by 1901, been purchasing Bartholomew’s half inch maps due to their improved layered colouring methods for relief and roads but in 1902 the Treasury allowed OS to publish its own half inch scale maps and withdrew orders from Bartholomew’s, although at first the OS version was inferior. The 1911 Copyright Act changed the field; the OS could thereafter control the use of their maps and the term ‘Crown Copyright Reserved’ can be seen appearing on their maps at this time. Bartholomew’s was not happy, canvassing the views of other commercial publishers, lobbying against the new rules and battling with OS. It was to no avail; they were forced to change the name of their maps to ‘Reduced’.

Bartholomew’s New Reduced Survey, Berks & Wilts (c. 1911-1920)

Wiltshire Women's Institutes

on Thursday, 24 March 2016. Posted in Archives, Wiltshire People

"We leave the theoretical Utopias to others and concentrate on the down-to-earth ways in which ordinary lives can be improved" Pat Jacob, National Chairman in ‘Jam and Jerusalem’ by Simon Goodenough, 1977.

The Women’s Institute is probably the largest and most widely known women’s organisation. Over the years it has not only survived, but thrived. 

The first WI was formed in 1897 at Stoney Creek, Ontario, Canada by Mrs Adelaide Hoodless. A suggestion that women could form their own group was put forward at a Young Farmer’s Institute and the following week over 100 women attended. Adelaide Hoodless had suffered the loss of a baby from contaminated milk, and, recognising this, she was determined to prevent others suffering similar losses through a lack of education. She went on to be involved with founding Domestic Science courses for girls, as well as holding positions of president of the national YWCA and treasurer of the National Council of Women of Canada.

It wasn’t until 1915 that the WI came to Britain when the first group was formed at Llanfair in Wales by Mrs Watt. Mrs Watt had been a member of the Canadian WI, one of only four women on a committee to advise the Department of Agriculture in British Columbia and promoted the Women’s Institute movement following its official recognition in 1911. Upon the death of her husband in 1913 she moved to Britain and set about encouraging the movement here.

The Wiltshire federation came into being in 1919 following the establishment of six WI’s. Founded in September 1916, Redlynch and District WI is the oldest in Wiltshire and probably the second oldest in the country. There are currently over 4000 members in 125 WIs across the county and here at the History Centre we hold an array of archive material from many of them.

One of the most interesting aspects of many of the WI collections are the scrap books, which showcase local life, are often a work of art in their own right. Bradenstoke WI scrapbook highlights some of their achievements as well as hiding unexpected gems such as the beautiful examples of a 19th century lace collar and lace neck tie below.

 

WI scrapbook of the history of Bradenstoke with Clack, ref 2626/1

Example of 19th century lace work ref 2626/1
Example of 19th century lace neck tie, ref 2626/1
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