To celebrate the 70th anniversary of the archive service we are putting together an online exhibition of 70 favourite documents from the archive chosen by staff and volunteers. One of the items chosen was only recently deposited and is a remarkably detailed record of its type; Thomas Pinniger's farming diary for Little Bedwyn and Beckhampton farm, Avebury 1828-1832 (ref 4381/1/5).
Entries of note include the purchase of Beckhampton farm and Beckhampton Inn from Anthony Guy of Chippenham, 27 Feb and 18 Jun 1828; a note about Guy's subsequent bankruptcy, Nov 1829-Jan 1830; Work on the new house began 25 Sep 1828, completed Oct 1830; difficulties in digging chalk for the roads led to an accident in the chalk pit, 29 Jan 1830; note about the 'Swing Riots', Nov 1830 (pictured above); efforts to clear snow from the main road (A4) , 21 Jan 1830; fruit trees planted in garden, 8 Mar 1830; fire at Mr Neat's farm at Monkton, 5 Jun 1831; trees planted in the yard, 10 Dec 1831; notes of the deaths of relatives and friends, including son Thomas (Large), 31 Jul 1828; verse by rev William Lisle Bowles on the death of Richard Sadler Smith at Bremhill, 31 Mar 1832; and references to thrashing machine, 6 Mar and 23 Jul 1832.
Unsurprisingly diaries can be one of the most engaging sources in the archives because they enable us to hear such a clear and individual voice from the past.
We have some interesting examples in our collections, including an almost complete series of diaries belonging to writer Edith Maud Olivier (ref 982/32-78). The entries are daily and written in detail covering 1894-1948 including this entry relating to a visit of Laurence Olivier and Vivien Leigh in February 1944.
The Wiltshire Record Society has also published volumes of transcripts of diaries and notebooks including:
‘Cherished memories and Associations,’ a manuscript memoir by William Small 1881 (Volume 64; original document reference 2713/2)
William Small, a painter and glazier of 1 New Street, Salisbury, of his life in Salisbury, with biographical details of his family and Salisbury people, tradesmen, apprentices and inhabitants of the Close. There are also details of the history of several houses, particularly in East Harnham where Small was born in 1820. The text is interspersed with poetry and items of local and national interest such as the funeral of Benjamin Disraeli in 1881, the Shrewton flood 1841 and an account of the history of Salisbury probably based on the work of Robert Benson and Henry Hatcher. There are also notes of various events in the Salisbury area 1737-1739 (probably taken from the Salisbury Journal).
These entries provide an insight into his trade, historic Salisbury, particular buildings, and into the detail of everyday life that would otherwise be lost to history. Plants and animals often feature as well as the agricultural area surrounding the city.
Through his description of The Close of 50 years previous, we gain an insight into how the area changed:
“The Close was quite different then from what it is now, Wild thorn and elder hedges in a wild state, a great many large trees about… the Grass was laid up for Hay and Farmer Drake of Netherhampton, used to bring his Waggons in, & cart it away. In 1836 or 1837 there was a very high wind in January I think, & blow down all the stately Elm trees on one side of the walk (called lovers walk) but one, prostrate across the field, then the same year the present young ones were planted” (volume one, page 161-2)
Wilfrid Gabriel de Glehn has often been described as “one of England’s leading Impressionists” due to his ability to capture variations in sunlight and shadow as well as a painterly style and a feel for colour that perfectly captured his subject. He has been highlighted while researching for Creative Wiltshire, a Heritage Lottery Funded project and we discovered that we hold one of his pieces within the county; a portrait of Dr. Edwin Sloper Beaven dated 1939 and held at Dewey Museum in Warminster. (Ref. WAMDM:D4414)
However, while he was known for his portraits and received regular commissions, it is perhaps his landscapes that inform us of the man; often capturing a sense of place with huge accomplishment and care. He worked in oils or watercolours and travelled widely, so his subject matter is hugely varied and genuinely reflects his love of people and places.
In 1891 he was invited to assist in the murals for Boston library by Edwin Austin Abbey and so began his long association with America, leading to his marriage in 1904 to Jane Erin Emmet, cousin of the novelist Henry James. He also began a lifelong friendship with John Singer Sargent and the three often travelled together, painting side by side as they visited wonderful locations such as Venice, Rome, Corfu, Granada, St. Tropez and areas in the south of France along with locations closer to home, such as Hampshire, Wiltshire and Cornwall. Wilfrid and Jane settled in London, in Cheyne Walk, close to Sargent’s studio, and Wilfrid began to establish himself as a portrait painter, exhibiting at the Royal Academy and other private galleries in the early part of the 20th century.
His painting was interrupted by the First World War when he and his wife worked as orderlies in a French field hospital and this contrast with his earlier pre-war life had an impact on them both. He took time to return to painting after the war but had produced watercolour sketches during his experiences depicting patients resting in the landscape, playing cards and recuperating, and these demonstrate his eye for figures and a wonderful ability to capture a sense of place and nature.
Visits to France became part of the couple’s lifestyle; both had studied in Paris and they regularly returned to the city as well as favouring the area around Chartes, the Seine valley and Provence. Wilfrid’s portraiture work funded these summer trips to Europe and in turn fuelled his interest and love of landscape painting. Both he and Jane travelled with their artist’s tools and regularly set up their easels together to enjoy their painting. A love of the English countryside grew and Cornwall became a firm favourite, as well as Hampshire and the River Avon. A theme of castles brought de Glehn to Wardour Castle in the south of the county, and a visit to Downton led to them renting the rectory at Wilton during the 1920s and 1930s, introducing them both to the Wiltshire countryside. The rectory backed onto Wilton Park which provided de Glehn with more subject matter, and he became fascinated with the Palladian bridge spanning the River Nadder. He also painted Heale, a seventeenth century house owned by a friend and many of these paintings were shown at Wilfrid de Glehn’s exhibition at Knoedlers in 1935.
By 1941 the couple were searching for a new home, having lost Cheyne Walk, London in the Blitz and it was at this point that they bought the Manor House in Stratford Tony where they settled for the remainder of his life while still returning regularly to Provence.
I have written before about some of the amazing finds at the site that will become the Larkhill Service Family accommodation. Archaeologists from Wessex Archaeology and White Young Green have been ensuring that the archaeology has been excavated, with archaeologists from the Wiltshire Council Archaeological Service (mostly me!) helping to ensure that anything affected by the development is properly excavated and recorded. We’ve had Neolithic, Bronze Age and Iron Age finds, including a Neolithic causewayed enclosure, a new (probable) henge and an enclosed settlement (with associated roundhouses). I’ve also mentioned before that we have the remains of a First World War training battlefield, with what has turned out to be over 8km of trenches that have been excavated by the archaeologists and unexploded ordnance specialists that have been working on the site (an example of some of these trenches are shown in this picture – the trenches are white from the excavated chalk being backfilled into them. The second photo shows part of the trench system).
In addition to the trenches, we can now reveal that the practice battlefield also included tunnels and dugouts. On battlefields, dugouts were used for lots of reasons, including troop shelters, medical posts, headquarters and stores. Their position underground meant that they were less likely to be affected by bombs, shells or bullets. We have a number of these at Larkhill, along with a number of tunnels. Both sides dug tunnels into no-man’s-land in order to lay mines that could blow up the other side’s trenches. Counter trenches were also dug to try to stop this. Tunnels were also used as listening posts (listening for the sound of the other side’s digging).
(These pictures show the entrance to one of the dugouts, with steps leading down, and another with a cob wall and doorway forming a room inside.)
The presence of these tunnels and dugouts (along with the trenches, ammunition, grenade fragments and food containers – amongst other things!) show that the troops training here were learning to undertake all aspects of trench warfare. They may well have come from all over the Commonwealth, but we know for a fact that we have people from the Wiltshire Regiment, drafted West Yorkshire coal miners, Manchester Scouts and troops from Australia. We know this thanks to the over 100 pieces of graffiti that have been found written on and carved into the chalk of the defences. Sometimes the graffiti was written in soot from candles, but more often if was written in pencil on the chalk.
The care and provision for people with mental health issues is a current high-profile concern, but how have people been cared for historically in Wiltshire? The availability on Ancestry of the Lunacy Patients Admission registers from 1846-1912 (held at the National Archives MH 94) – an index giving the name of each patient, date of admission, discharge or death and name of institution - the census returns from 1841-1911 and death certificates –have led to numerous enquiries about ancestors in Wiltshire institutions. The County Asylum at Devizes ( Roundway ) opened in 1851 and we have extensive detailed patient case records; similarly for Fisherton House , later known as the Old Manor Hospital, Salisbury. Visitors can use these records to find out more about their ancestors’ treatment (although they are subject to a 100 year closure period), but what of mental health care before this time?
The term ‘lunatic’ is a pre-20th century word used to describe someone who was mentally ill or emotionally disturbed; it was a very broad term. Many so described were perhaps eccentric, very intelligent, physically or mentally handicapped in some way, senile ,or suffering from conditions that today would be treated with drugs and in the home such as epilepsy or post natal depression – few were ‘mad ‘ but their behaviour was such that they could not be cared for at home.
The earliest asylum, Bethlem or ‘Bedlam’ Hospital in London was established in the 13th cent but generally provision was not widespread until the 18th cent. Private asylums or madhouses were set up to cater for those who could afford to pay. Pauper lunatics were dealt with locally by their families or ended up in workhouses or prisons; however, if the parish agreed to pay the fees they could be treated in the private asylums. The first Act to regulate madhouses was in 1774 by which the institutions were licensed by the local magistrates; a further Act of 1828 appointed committees of visitors to inspect and report on the premises and the medical care provided. In Wiltshire 7 private asylums were licensed:- Laverstock House, Laverstock ; Fiddington House, Market Lavington ; Fisherton House, Fisherton Anger ; Kingsdown House , Box ; Belle Vue , Devizes ; Fonthill Gifford and Calne.
The records that survive consist of admission registers, minutes of the visitors, annual reports and plans. The admission registers record the name, date of admission, parish, marital status, occupation, by whom sent, whether pauper or private and date of discharge or death. No treatment records survive. They do show how Wiltshire’s institutions attracted patients from a wide area of the south-west and London- whether this was because of the ‘facilties’ offered and reputation or simply because families did not want their ‘lunatic’ relatives close to home.
An advertising prospectus survives for Laverstock House from the 1830’s which extols its virtues. ‘The situation of Laverstock House is peculiarly eligible. Surrounded by large Gardens and Pleasure Grounds in the midst of a fine and extended Country, it is at once retired and cheerful, and affords the most ample means for indulgence in those exercises which are so essential to the happiness and health of the Patients’… Male and female patients had separate apartments, subdivided by disease, habits and ‘station in life’ with superior accommodation for ‘Persons in the higher walks of Society’…’ Every possible kind of amusement was provided for them; billiards, backgammon, cards, books etc indoors; bowls, cricket, greyhounds, riding on horseback and in a carriage, out of doors; a Chapel on Sundays’
Conservation has been undertaken on a rare Visigoth Brooch here at the Wiltshire and Swindon History Centre. We were honoured with a visit by the finder of the artefact Matt Smith, who came for a tour of our facilities and to view the work being undertaken.
Thought to be only the second of its kind found in the country the iron and copper alloy brooch has been identified as a late 5th, early 6th-century AD type, predominantly found in southern France and central Spain. The brooch was uncovered during excavations undertaken by Operation Nightingale and Wessex Archaeology at Barrow Clump on Salisbury Plain.
The brooch formed part of the grave goods associated with one of the female burials on the site, and Matt’s first solo grave excavation. Significantly, well preserved organics remain on the surface of the object with the weave of the fabric visible through the microscope.
The brooch arrived at the conservation labs after x-radiography revealed the decorative copper alloy inlay. Still covered in corrosion products and soil from the burial environment, clues to the presence of preserved organics were just showing through the soil covering. Cleaning started slowly with scalpels and pins under the microscope to remove the soft chalky soil and reveal the extent of the organics.
Wiltshire at War: Community Stories is a five year Heritage Lottery Funded project, aiming to discover, explore and share stories about Wiltshire’s response to the First World War. Since 2014 we’ve travelled the county collecting stories of the amazing men and women who were affected in some way by the war a hundred years ago, such as ‘Fiesty Aunty Olive and the Women’s RAF’, ‘Young Freddy Butler – from the farm to the Royal Flying Corps’ and the ‘Soldiers and Sailors Free and Easy Club’.
While we’ve written about the project before, it’s worth taking another look as we’ve just launched the fascinating fourth exhibition – ‘Keeping the Home Fires Burning’. This explores how the war affected everyday life in Wiltshire, including the new roles taken on by women, rationing, daylight saving and the refugees who fled to England from Belgium.
The new exhibition was launched on Friday 3rd March at Athelstan Museum in Malmesbury. A large crowd gathered for the event and following the official opening of the exhibition, musician and singer Louise Jordan took to the stage. Louise spent a year researching and writing songs about the remarkable women involved in World War One, who are often overlooked in conventional histories.
The title of Louise’s show ‘No Petticoats Here’ is inspired by Sir Arthur Sloggett’s words to Dr Elsie Inglis. Elsie graduated from the Edinburgh School of Medicine for Women in 1892 and started working with the poor in Edinburgh. Through this work she became aware of the needs of greater rights for women and was an active suffragette. When war broke out, Elsie offered her medical knowledge and expertise, coming up with the idea of treating wounded soldiers from mobile hospital units, run entirely by women. When she presented the idea she was told by Sir Arthur:
‘My good lady, go home and sit still. We don’t want any petticoats here’.
Not to be discouraged, she set about raising the funds to set up hospitals and field units across Europe, staffed by over 1000 women, often in dangerous situations. A truly inspirational woman whose contribution deserves to be remembered.
Louise weaved beautiful melodies through the fascinating tales of these women, with plenty of audience participation along the way! We learnt about many incredible women including engineer Hertha Ayrton who amongst other achievements invented a fan to clear poison gas from the trenches, Louise de Bettignes a French spy employed by the British army and Elsie Knocker and Mairi Chisholm, keen motorcyclists who joined Dr Munro’s Flying Ambulance Corps on the front line.
Also celebrated was one brave woman who is already familiar to Wiltshire at War – Dorothy Lawrence. In 1915 Dorothy was a teenager living in the Cathedral Close in Salisbury, with ambitions of becoming a war correspondent for the newspapers. Determined to report on the fighting in Europe she set out from England by bicycle, heading for the Somme. With a uniform borrowed from soldiers she met along the way she posed as Sapper Denis Smith, spending 10 nights on the frontline before giving herself up.