One week in January I took in an accession from Colerne Church. The day after it arrived I was sorting through some of the documents in the final box. One bundle I had tentatively named “Correspondence, specifications and plans relating to the Lady Chapel and the building of the organ loft”. The very last document in the file was a yellow piece of paper entitled “Yeovil, Holy Trinity – The Organ”.
It was a report from a visit to Holy Trinity Church in Yeovil, Somerset, and the visit was undertaken in 1994, whilst discussions were in place to make the church redundant. The organ was therefore being assessed for its value “as a diocesan asset”.
I excitedly mentioned it to my colleague Steve Hobbs, who was sitting opposite me: we are both originally from Yeovil and I thought the randomness of the document would appeal to him as well as me. At first I thought this document had ended up in the wrong place, and I was all for sending it down to Somerset Record Office when it occurred to me that the organ taken from Yeovil might have been the one that ended up in Colerne. I checked back in some of the documents and there was indeed a reference to the dismantling of the organ in Yeovil.
The coincidence of finding these documents is even more astonishing when I tell you that Holy Trinity was my old parish church. I used to attend the church every Sunday with my mother. When it was closed and became accommodation, a new church was built elsewhere in the town, and Mum is still involved with the benefice. The rector, John Bennett, who is mentioned on the yellow document, was a good friend of the family and has long since moved away. My father was a church organist and played for another benefice just outside Yeovil, but occasionally played the organ at Holy Trinity for their services. When the church was closed, there was a final service and I (aged about 8) was in the choir, and I still have vivid memories of singing in the choir on that day. Dad wrote a special anthem for the service, which was played by him on that organ on that day.
Is this the old manor house of Longbridge Deverill?
During our investigations of houses in the Deverills for the on-going Victoria County History study we visited Longbridge Deverill House nursing home. This was described in the listed building description as an 18th century house rebuilt in the 19th century and given as a rectory by the Longleat Estate in around 1840. The house presents as a gabled, L-plan Tudor-style mansion in Flemish bond diaper brickwork attractively picked out in burnt headers. In addition it has typically 19th century fish-scale tiled roofs and impressive ornamental diagonally-set brick stacks.
It looks fairly complete and has the Thynne motto over the doorway ‘J’ai Bonne Cause’, ‘I have good cause’ encircled by the Order of the Garter. Nobody would have thought that hidden away in what is now the kitchen and service wing to the north was evidence of a high-status dwelling of at least early 16th century date. The photograph shows an early type of partition known as plank and muntin, once with an arched door head. In the hierarchical society of the 16th century, the lord of the manor would have sat on a chair or bench backing onto this screen, which is finely carpentered in oak. Other similar surviving examples have been found in Wiltshire including at the King and Queen Inn, Highworth dating to the late 15th century, and at Bolehyde Manor near Chippenham.
A large box, filled with Bronze Age finds recovered in Netheravon, was brought to the conservation lab here at the Wiltshire and Swindon History Centre. The objects were covered in moss and smelling rather musty, this however was explained when we were told that the finder of these objects wasn’t an archaeologist but a badger. Deciding to make its home in a convenient mound, the badger inadvertently unearthed finds of a similar style and importance to those found with the nearby Amesbury Archer.
The group of finds include sherds from a large ceramic urn, various bone and antler tools, 2 metal objects (one a serrated blade and the other is still a complete mystery) and most significantly a copper chisel with the decorated bone handle still attached.
The owner of these objects was probably an archer as the finds included a wrist guard used for protection when firing a bow and stone tools used for straightening arrow shafts.
As the objects were damp when they were unearthed we needed to let them slowly dry out before conservation could begin. This is particularly necessary for the bone and antler finds, as with all organic material, bone and antler swell and contract depending on the moisture content of the object and surrounding air. If the objects were to dry out too quickly then cracks and other damage may be caused.
Back in the summer of 2015 Louise Tunnard from Salisbury Museum interviewed Ella Egberts, a researcher from Bournemouth University:
One of the joys of Museum life is to welcome researchers to Salisbury Museum and allow them access to our collections. Recently Ella Egberts from Bournemouth University came to spend many hours studying our collection of handaxes. I decided to find out more.
1. Can you tell me a little bit about your studies and how you came to be looking at our collections at the Museum?
For my doctoral research I am studying the Palaeolithic record of the Hampshire Avon Valley. This area is of interest because during the Pleistocene it was a large river plain that formed a corridor through the landscape for animals and early humans (hominins). The presence of hominins in the Avon Valley is evidenced by its rich Palaeolithic record that includes some of the largest concentrations of Palaeolithic finds in southern England. These large concentrations of Palaeolithic artefacts are sometimes referred to as ‘super sites’. Two of 19 known ‘super sites’ in Britain are located in the Avon Valley, found at Woodgreen and Milford Hill. Opposite of Milford Hill is an additional site, Bemerton. Although smaller, its position on the other side of the valley from Milford Hill makes it an interesting case for comparison. With my research I hope to better understand the formation of such ‘super sites’ and through analysing the artefacts found at Woodgreen, Milford Hill and Bemerton, I hope to reconstruct hominin behaviour through answering questions such as what tools did they make? What raw material did they use? And why? Together with geomorphological research and the development of a dating framework for the Palaeolithic artefacts I will also be able to situate the three sites in time and relate the timing of hominin presence in the Avon Valley to evidence of hominin presence elsewhere in Britain.
The majority of the Palaeolithic artefacts from Woodgreen, Milford Hill and Bemerton are stored at Salisbury Museum, offering me the possibility to look at each individual artefact and discover clues about the lives of their makers.
2. What have you enjoyed about looking through our collections?
It was a great pleasure to study over 1000 Palaeolithic artefacts, to be able to handle them and take a very close look. Every single artefact is different. The flake scars show the decisions its maker made in producing the tool. But you also see recurring shapes and modes of production. Maybe because they just liked it or because that was how it was learnt. So with every tool you see new things. What made it particularly interesting are the notes left on the tools themselves by collectors like Blackmore when the tools were first discovered. Those notes sometimes provide clues to where the artefact was found, for example in ‘Miss Saunders garden’. The notes on the tools and in Blackmore’s notebook offer a glimpse into a different period of time: the end of the 19th century when the evolutionary theory was consolidating and antiquarians were collecting the evidence of human evolution in the form of stone tools made by early humans.
Just before Christmas I was invited to an afternoon at Chippenham Museum to celebrate the contribution volunteers have made to the Museum over the past year.
I listened with great interest and a growing sense of wonder as Curator Melissa Barnett thanked all those who had given their time for free, speaking about all the work that had gone on throughout the year and the projects and events volunteers had been involved in.
Working with a small team of paid staff, the efforts of the volunteers are vital in creating an active and bustling community based Museum. They have a group of around 75 people who give their time to help in all areas, both front of house and behind the scenes. Amongst other things volunteers welcome visitors on the reception desk, carry out educational activities and workshops, answer enquiries, research and document the collections and work on special events. They also provide an important link with the local community, ensuring that the Museum provides what people in the town want.
As I reflected on the afternoon, it struck me that Chippenham isn’t the only museum in Wiltshire with a vibrant and hard-working group of volunteers. Having recently started working as Museum Officer for Wiltshire Council, I’ve been busy visiting many of the museums across the county and meeting the people who run them. Time and time again I’ve been mightily impressed by the levels of dedication, enthusiasm and expertise shown by the volunteers I’ve come across, including those here at Wiltshire and Swindon History Centre.
Within the Lacock Archive is a collection of recipe books, many of them were created by Ann Talbot around the late seventeenth – early eighteenth century. Some of them are for wonderful food dishes, but there also others that are remedies for numerous ailments and illness. They provide an interesting insight into the history of society and medicine. Today, some of ingredients might seem unpalatable to say the least and here is one that I come across that our blog readers might find of interest. It is a cure for sore eyes and headache, just the thing after the excesses at Xmas and New Year, but be warned, it is not for the faint-hearted as it includes strange ingredients and nasty things happening to cute furry animals … and please do not try this at home!
The fine pigg water:
“Take a gallon of the best white wine and put to it 2 quartes of garden snails well cleansed of their filth and shells, 2 quarts of the finest rosemary flowers, 2 quarts of the bean blossoms picked from the blacks, 1 quart of cowslip flowers, one ounce of march grossly pounded, half a pint of flaxseed cleansed from the dust and brus(h)ed, six sheets of venis (venice) paper cut in bits, 4 large lemons paired and sliced thin, the crum of 2 penny manchetts sliced, then 2 spaniel puppies of a week old the head, skin and guts taken away and they cut in quarters, 2 pigs of a week old, the head and guts taken away and they cut in quarters, a pound of the best virgin honey. Let all steep 24 hours in the wine, then lay a good handful of balm and mead sweet, in the bottom of the still, and then put all your ingredients, and then draw it off with a gentle fire, you may still it in a linbeck or cold stil which you please, when it is stil’d mix it to your sort for if you mix it so small, it will be apt to turn sour, if you please you may put in 2 drams of flower of prepared pearl to illustrate it, but it does very well without. It is good to strengthen week eyes by dropping it in them, it will take the bloodshot in the eye, it comforts the brain if sniff up into the nostrils, and good for the head ache if you wash the temple and behind the ears with it.”
So there you have it, all that effort when nowadays all you have to do is go to your local chemist...