As shown by one of this year’s Explore Your Archive themes #Archivecatwalk ‘the history of fashion is the history of people’. Archives can provide a unique insight into the fashion of the past from sources such as inventories, wills, household accounts, bills, photographs, drawings, magazines and periodicals, diaries and more. Sometimes they can provide evidence where little else has survived. I’ve picked a few examples from our collections for this blog, but there are many more out there!
Inventories, wills and bills
Inventories can provide evidence for the garments and quantities of clothing in households of varied status. Textiles and clothing are not only revealed through bequests in wills but in the given occupations of testators including clothiers, cloth-workers, glovers, haberdashers, hat makers, draper, cordwainers, weavers etc.
Bills and accounts give us dated evidence of prices paid for all sorts of clothing and textiles, such as this example in the papers of sisters Miss Mary Codrington of Walcot in Bath (died 9 March 1754) and Miss Dorothy Codrington (died at Bath in 1768).
We also hold a detailed bill for Lady Elizabeth Seymour dating to 1669 which is mostly for clothing. It includes white and coloured worsted stockings; fabrics including tabby, lutestring, satin, sarsnett, venetian, cambric, farindin, avignion, parrigone, tifiney; laced shoes, and a “pare of golosus”; damask and jessemy powder. Rather pleasingly it also includes an entry for 8 pounds of that most essential of items ‘iockaletta’ (no prizes for guessing!).
Women in the mid-17th century often wore low cut bodices laced down the front with ribbons and coming to a deep point, a linen collar (which was sometimes transparent) ¾ length sleeve with turn ups of lace. They would have worn gowns and petticoats (which are also listed in Lady Seymour’s bill). There was also a fashion for adding ‘patches’ to the face which satirist John Bulwer described as the ‘vain custom of spotting their faces out of affectation of a mole, to set off their beauty’. The shapes could vary from spots, to stars, crescents, or even ‘a coach and horses cut out of black ‘court plaster’. Amazingly this was a fashion which lasted for more than 50 years.
For men the custom of wearing a periwig was adopted following the King appearing in one in 1663. Samuel Pepys recorded his wearing of a periwig in his diary, and is seemingly a little disappointed not to have provoked more interest: “I found that my coming in a periwig did not prove so strange as I was afraid it would for I thought that all the church would presently have set their eyes upon me” The fashion lasted for nearly 100 years, although the use of powder did not begin until the latter part of the 17th century.
Nearly 100 years later, a 1741 inventory of the Earl of Ailesbury’s clothes in London and at Tottenham includes suits of cloth in various colours, flowered crimson velvet, bargen, camelet, flowered silk, 4 tied wigs and 3 bobs, silk and thread stockings, 4 swords, buttons, shoe and knee buckles in gold, silver, pinchbeck and enamel.
Magazines and periodicals:
In a collection of family papers we have 11 copies of ‘The Ladies Cabinet’ magazine covering fashion, music and romance. This 1835 edition includes an advert for ‘French and English Corsets’ with the Patent Black which is ‘instantly unlaced in cases of sudden indisposition’. There is also the Elastic Stay which prevents pressure on the chest in the case of pulmonary complaints and the Gestation Stay, which gives necessary comfort and support to ladies during pregnancy. The corset had come back into fashion after the earlier ‘Empire’ gown of the end of the 18th century. The pursuit of this style led to some extraordinary effort; Laver notes in ‘A Concise History of Costume’ (p162) that in one corset advert a mother is advised to make her daughter lie face down on the floor so she might place a foot in the small of her back to obtain the necessary purchase on the laces.
In slightly less restricted attire, a 1928 magazine snippet shows the remarkable speed record-holder Mrs Bruce (see our Principal Archivist’s blog on some of her favourite archives to learn more about Mary Bruce’s extraordinary story). Post war, fashion began to pick up again, and the flared skirt which had lasted throughout the war was replaced by a more cylindrical ‘barrel’ line with shorter skirts (knee length). This can be seen in this sketch where she is described as ‘a picture of practical smartness in her redingote of beige and grey tweed. With it she wears tan gloves and a felt hat to match’.
At the end of August I celebrated five years with the archaeology team here at the History Centre in Chippenham. I thought this a suitable milestone in which to reflect on some of the most exciting discoveries in the central part of Wiltshire (the area I cover), discovered through the advice we give on planning applications.
The Government set out its requirements for the planning system in the National Planning Policy Framework in 2012. Section 12 deals with conserving and enhancing the historic environment. The advice we give on planning applications follows this guidance which needs to be relevant, proportionate and necessary. It is important to understand the significance of heritage assets impacted by development, which is why we ask for a proportionate level of investigation to be undertaken prior to determining applications. Various stages of investigation are carried out. To begin with an archaeological Desk Based Assessment (DBA) pulls together existing information, using as a baseline the Historic Environment Record and other sources where available such as historic maps, aerial photographs, field surveys and site assessment. The DBA helps to establish the potential for archaeological remains to be present within a development site. Sometimes, there is little existing information available because there have been few investigations within the area. In such cases geophysical survey is a useful method for revealing unknown archaeological remains within a site. We get greyscale plots and interpretation plans to help understand what potentially is of archaeological origin. In most cases we ask for trial trench evaluation following geophysical survey. Trial trenching enables us to understand the significance of the archaeological remains which will be impacted by development. Depending on the heritage asset’s significance (to use NPPF terminology) we may ask for a site to be preserved in situ i.e. not impacted by development, or preserved by record i.e. it gets excavated, the remains assessed and then reported and/or published. The following examples show previously unknown settlements which have been found through such methods.
Westbury Trial trench evaluation followed a geophysical survey in 2015 which discovered a number of features dating to the Romano-British period including a number of trackways and ditches. The site has yet to be developed.
Melksham Trial trench evaluation followed a geophysical survey in 2014 which confirmed the presence of a Romano-British settlement. The site is currently being excavated, more detail to follow.
At another site in Melksham, a geophysical survey identified a number of features and the trial trench evaluation confirmed remains dating to the prehistoric, Roman, medieval and post-medieval periods. The site has yet to be developed.
Trowbridge Geophysical survey across a large proposed development site highlighted two sites of particular interest. Trial trench evaluation confirmed a concentration of early Romano-British ditched enclosures associated with trackways and pits and posthole features which appear to represent settlement remains. The relationship between the two sites is of interest. More ephemeral prehistoric activity was represented in other parts of the site which the geophysical survey did not pick up.
This leather sedan chair was on display at the Assembly Rooms, Bath. Staff from the Roman Baths Museum and Pump House contacted CMAS conservators with concerns about the condition of the item following an active pest infestation in objects displayed close to the chair.
The chair was removed from display and treated to remove the pest infestation using a non-destructive heat treatment.
On closer examination following the pest removal treatment it was determined that the chair was too fragile to return to display, and in need of a little TLC.
The leather exterior had been damaged and repaired a number of times during the life of the object. Notably, blue chalk script on a back panel identifies HF Keevil as the repairer of the chair in April 1942 following an air raid!
Many of the old repairs were failing and risked more significant damage if the loose areas were caught. Some small areas of fresh damage and loss had been noted, possibly due to areas being caught and knocked whilst the item was on open display; a common occurrence, for example by the bags of unsuspecting visitors.
In addition the textile interior was extremely fragile with large splits and tears and unravelling braiding.
Due to the size of the item, its fragility and the combination of materials from which it is composed this project has proved challenging. The complexity of the textile repairs necessitated the expert assistance of specialist textile conservators from the studio Textile Conservation Limited. The large size and the fragility of the sedan chair’s surface meant that transportation was not recommended, requiring the work to be carried out on site.
on Wednesday, 02 September 2015.
Posted in Archives
The five year Creative Wiltshire & Swindon Heritage Lottery Funded project has now been running for just over 6 months, and we’ve been thoroughly enjoying researching (with the help of volunteers) creative people who have been, and who still are, working in and being inspired by the county of Wiltshire.
We have now identified over 400 individuals, many of whom can be included in the project, and are busy actively acquiring items on behalf of the Wiltshire & Swindon History Centre, Swindon Museum & Art Gallery, and some of Wiltshire’s museums (a full list can be found under About on our Creative Wiltshire site).
Some highlights so far have been…
A set of 1930s ceramics by Katharine Pleydell-Bouverie. Katharine, of Coleshill House near Swindon and Kilmington, Warminster, was one of the founder members of the Craftsman Potters Association. She was also instrumental in setting up the Crafts Study Centre at Holbourne Museum, Bath. Her glazes are very well documented and have been a source of inspiration and study for many potters ever since.
An etching by Robin Tanner of Kington Langley, 1930. Robin was not only a unique etcher; he was also influential in bringing art and creativity to the school curriculum and environment with his pioneering work at Ivy Lane School, Chippenham, in the 1930s and later as HM Inspector of schools.
During some research I’ve come across a wonderful woodcut engraving of the pillory at Marlborough in an article on obsolete punishments by Llewellyn Jewitt in “The Reliquary” Quarterly Journal, January 1861.
The pillory was used for a range of moral and political crimes, most notably for dishonest trading - the modern equivalent of implementing trading standards. Its use dates back to Anglo-Saxon times where it was known as “Healsfang” or “catch-neck”. In France it was called the pillorie. It was well established as a use of punishment after the Conquest. It was considered to be a degrading punishment with offenders standing in the pillory for several hours to be abused by fellow citizens, sometimes being pelted with all manner of organic material such as rotten eggs, mud and filth. If that was not enough, sometimes the offender was drawn to the pillory on a hurdle, accompanied by minstrels and a paper sign hung around his or her head displaying the offence committed.
Yes, you did read the title correctly. For all you keen cricket lovers who have been following the ups and downs of the England cricket team, Alistair Cook’s batting form, Jimmy Anderson’s swing bowling and the furore over Kevin Pietersen’s omission from the team; well here at last is some cheering news. Unfortunately we do have to travel back to … 1900.
Cricket in Wiltshire actually dates back to the mid eighteenth century. Now we like to think we are a pioneering lot in Wiltshire and one of the earliest matches involved 11 married women versus 11 single women at Upham near Aldbourne in 1768. Other early matches include the tradesmen of Marlborough playing their counterparts from Devizes in 1774 on Beckhampton Down and several matches near Stonehenge. Around 50 years later a Stonehenge Club had been formed and their ground was much admired (now we know what the stone circle was really used for!). For fans of ‘sledging’ (for the uninitiated that means trying to put your opponent off through pointed and sometimes humorous verbal interaction) in 1783 a Westbury cricket team were reprimanded for ‘conduct unworthy of true players’ in their match against Devizes.