A number of Roman finds were recently uncovered in the back garden of Marc Allum, a specialist on the Antiques Roadshow, during excavations organised by Chippenham Museum volunteers Clive Green and Mike Stone.
Mr Allum kindly donated the finds to Chippenham Museum. The Friends of Chippenham Museum worked hard to raise funds for the conservation of one of the finds - a fine Samian ware bowl - and conservators at CMAS were privileged to undertake the reconstruction of this beautiful piece.
The Samian ware is an example of a Dragendorff type 37 bowl, suggesting it is Gaulish dating from c. AD 70-130. The bowl has intricate decorative panels with repeating motifs of Gladiators battling wild cats and a more risqué scene thought to depict the deity Bacchus.
The Samian ware was found in 51 fragments forming almost half the bowl. Due to the fine nature of the form and decoration it was decided to fully reconstruct the piece, replacing lost areas to give more complete impression of its original form.
The conservator worked hard to piece together all the fragments. Interestingly the way the ceramic had broken into layers reveals its method of construction. Samian ware with such detailed patterns was formed by pressing clay into preformed moulds. The ceramic has split along the lines of the layers that were built up.
Graham Taylor of Potted History (@Pottedhistory) has created replica moulds for the vessel and its decorative features in order to produce a facsimile using the same techniques.
Once the form of the original ceramic was determined it was possible to create an accurate profile from base to rim using measurements of the thickness of the ceramic fragments and the diameter of the base and rim, comparing these with known examples.
The profile was used to form an accurate core in clay to which the original ceramic could be secured. Plaster replacement fills were then ‘spun’ using the profile as a guide. It was decided to only replace larger areas and those smaller areas required for strength.
Henry Goddard, a pluralist clergyman, was imprisoned in the debtors’ prison of King’s Bench in 1817 (he was admitted 7 March).
At the time he was rector of Castle Eaton (from 1797), vicar of Longbridge Deverill with Monkton Deverill (from 1805) and curate of Maiden Bradley (from 1797), livings which he held until his death in 1829. His petition to the Court for the Relief of Insolvent Debtors is filed in the diocesan archives together with the various sequestration bonds and writs, which allowed for the income of the benefices to be diverted in for the benefit of the creditors of the incumbent.
The document provides a detailed record of his parlous financial position. The schedule of debts, amounted to almost £8000 (including £4000 due to rev Christopher Rigby Collins, Salisbury, for an annuity granted in 1811 who had sequestered Goddard’s livings in 1816 for arrears). In the list of 79 creditors are members of the local gentry, as well as Collins, who had loaned him money. These included JD Ashley (recte Astley) of Bury cottage, Warminster (£150), the executrix of William Hinton of Bishopstrow (£230), and Richard Long MP, Rood Ashton (£20). The vast majority of creditors were tradesmen for goods and services supplied. The latter are mainly from Warminster and its vicinity and illustrate the range of trades in this town (William King coach maker, William Cox cabinet maker, William Manley perfumer and toyman (seller of toys, fancy goods), Sampson Payne Glassman, a fruiterer, pastry cook, druggist, surgeon, hairdresser, tailor, pork dealer, milliner, seedsman, wine merchant and stationer). Several of these appear in the 1830 trade Directory of the town which gives addresses. Beyond the town the trail of debt reached millers, maltsters and innkeepers, as well as John Dwall (Doel), Horningsham, butcher, and Thomas Morsfield, Longbridge D, blacksmith, John Tucker Brixton Deverill, carpenter and John Heall, Hill Deverill, miler. It also reached to Bath and London and even touched Mr Sims, landlord of The Old Down Inn, outside Wells in Somerset. A former servant also appears: Ann Churchill, now at Capt Jennings at Chitterne, owed £10 for wages to 1816.
Evidence of his son’s education can also be gleaned through debts to: rev Rowlandson, Warminster in 1815 (£30 owed); rev John Cutler, Free Grammar SEast Woodhaychool Sherborne to Midsummer 1817 (£25), and then to Winchester College in 1817 (£6.18s). Tragically the boy, Henry William, whose was baptised in 1807, died, aged 13, and was buried at Winchester college in 1818 (both events recorded in the Longbridge Deverill parish registers).
Loans of money dated as far back as 1802; goods and services as back as far as 1812, which indicate the potential difficulties of cash flow that small independent traders faced.
Spring is in the air in February according to ‘Season on Seasons’…
This is the 1750 edition of the Speculum Anni, Almanack by Henry Season, physician and astronomer, of Bromham in the collection of the Gleed family of Ashton Keynes
Henry Season was baptised on January 23rd 1692/3 son of Henry Season and Sarah (previously Lad) who married on 29 March 1692.
His baptism is a nice example of the confusion that can arise where a baptism appears to have taken place before the marriage of the parents. No illicit behaviour took place however! Before the calendar change of 1752 the year officially began on Lady Day (March 25th) and so we record the dates of years previous to this as January 23 1692/3 (i.e. 1692 in the old style dating and what we could class as 1693).
He was buried on November 13th in 1775 recorded as Henry Season MD.
A monument to him in St Nicholas Church written by the Rev John Rolte reads:
Henry Season, M.D. Who Dyed Nov. the 10th 1775 Aged 82 years. Tis not the Timb, in Marble polished high, The scuptur’d Urn, or glittering Trophies nigh, The Classic Learning tells what English blush’d to own, Can shroud the guilty from the Eye of God, Incline his Balance, or avert his Rod; That hand can raise the Cripple and the Poor Spread on the Way, or gathered at the Door, And blast the Villain, though to altars fled, Who robs us living, and insults us dead.
Incidentally the west window is another memorial of note to the poet Thomas Moore (died 1852) who lies buried in the churchyard, commemorated by a Celtic cross.
Late last year Wiltshire Buildings Record was asked to look at Westbury Leigh Baptist Chapel. Now lying empty, this was the first of two Baptist chapels to be established in Westbury Leigh, an ancient village now within the town boundaries of Westbury. As there was no Anglican church until 1880, the Baptist church was the established church in the village, having a strong nonconformist tradition encouraged by the Baptist stronghold in Southwick.
Stephen Self, a clothier, allowed the use of a barn, called ‘Self’s Barn’ near his dwelling house in Leigh as a meeting place for Baptists after 1693. According to William Doel in his book, ‘Twenty Golden Candlesticks!' they continued to worship until 1714, when Mr Self converted the barn into a chapel, fitting it up with seats, galleries & c. This barn stood on part of the site of the present chapel, the freehold of which belonged to Granville Wheeler Esq.
By 1796 the congregation had so increased as to make it necessary to build a new Chapel. A meeting was held and a resolution passed to undertake the work, which was carried out at a total cost of £1,361. The new chapel was able to accommodate five hundred people, which gives an idea of the many devout souls in Westbury Leigh alone, not counting those in the main town of Westbury!
One hundred years ago people and politicians around the globe were contemplating a new world order following more than four years of war. In Britain, January 1919 and the following months were marked by strikes, civil unrest and military mutinies. The flu pandemic continued its deathly march. The month also saw the beginning of the Paris Peace Conference which lasted into the summer concluding with five treaties formally ending the war – including the Versailles Treaty signed 28 June – and the formation of the League of Nations.
As a nation we have spent the last four years commemorating the centenary of the First World War (FWW). A hundred years on from this cataclysmic event and we are living with its legacy – with regional conflicts that have their origins in the war; with advances in medicine (reconstructive surgery, improved anaesthesia); with the music, art, literature and poetry produced during and after the war; with universal suffrage; and with a landscape shaped by war.
But what of the legacy of these commemorations? What will future generations find when they delve into early 21st century archives and history books, looking for evidence of how we remembered? Without doubt they will find an amazing amount of new, high quality research that has changed our understanding of the Great War. But have the commemorations reflected this changed narrative or have they reinforced the myths and iconography associated with First World War and which are embedded in our collective memory? Some historians are asking whether the last four years have been a lost opportunity.
From a personal point of view it feels as though much of the national commemoration did focus on traditional themes and symbols such as the mud and blood of the western front, the experience of the war poets, the silhouetted soldier. There have been some stunning artistic responses to the centenary, commissioned by 14-18 Now, including Blood Swept Lands and Seas of Red, Jeremy Deller’s We’re Here Because We’re Here, Danny Boyle’s Pages in the Sea and film-maker Peter Jackson’s They Shall Not Grow Old.
But these have also drawn criticism. 14-18 Now estimates that 35 million people engaged with their commissioned events, but historians Professors Maggie Andrews, of the University of Worcester, and Sarah Lloyd, of the University of Hertfordshire, question whether people critically engaged or merely encountered them. Were these national events, exhibitions and installations sufficiently challenging of historical myths?
There has been much work on myth-busting over the past four years but it can be tough going up against advertising executives and picture editors who are not historians. An enduring myth, reinforced by TV adverts and wrongly credited photographs, is that the Christmas Truce of 1914 happened throughout the western front and that football matches were organised between German and British troops. Neither is an accurate picture of what happened. (Check out Dan Snow’s mythbusting articles for the BBC.)
At a regional and local level, however, I feel very positive about the projects and events that have taken place. Over the last four years much of my work as an education officer has focused on researching Wiltshire’s role in the First World War and passing on that learning to others, especially primary school teachers and pupils keen to make the most of the local history study that is part of their curriculum.
Another aspect of my work has been supporting other organisations in delivering the educational side of their FWW projects. My colleagues in archives and local studies have also been busy acquiring new collections and publications that support the study of the Great War.
The number and range of FWW projects in Wiltshire has been impressive and sadly I cannot list all of them, but a good place to start is the History Centre’s own Wiltshire at War – Community Stories project.
If you are anything like me you may be giving quite a few books as gifts this Christmas, and you might have spent a long time considering their content and choosing the right book for the right person. But have you ever looked at the structure of the book and thought about how it has been made? Although the process is mechanised today, the traditional skill of bookbinding is still practised and over the last few months some of the staff here at the History Centre have been giving it a go after work, guided by our Archives Conservator, Sophie. It’s been a lot of fun and certainly makes you appreciate the work, skill and time that it takes to create books by hand.
Much more interest and scholarship has been directed towards the decoration of books rather than their components or the processes used to create them. However, it is often the ‘forwarding’ of the binding (making it fit for the finishing or more decorative elements) that makes a book really pleasing to use.
Books can be bound in many different styles and vary according to age, value and the use to which the book will be put. Bookbinding first begins in the 4th century AD with a change from rolls to flat sheets, which, although easier to transport and store, required some kind of protection. The first bindings were simple folded sheets sewn together and wrapped in leather.
The development of the printing press created a surge in binding activity and prosperity for the bookbinder. In contrast to previous manuscript versions which were often richly ornamented with costly materials such as enamels and carved ivory, the printed book was often covered with plain leather, calf or deerskin, or occasionally parchment. Covers could also be wooden boards, sometimes backed with leather, which was drawn partly of wholly over the wooden covers, the latter usually fitted with clasps.
The above example is an early 14th cent. -16th cent. wooden covered Liber Evidentiarum B (the 'B' indicates that it belongs to the bishop, as opposed to a similar volume, 'C', belonging to the chapter). It contains copies of royal and other charters (including Magna Carta  and the Forest charter, compositions, ordinances, etc., and was mostly written in the early 14th century, but with 15th and 16th century additions. We think the wooden cover is original but it has been rebound many times (you can see holes for previous binding, and where there used to be a clasp).
A faster form of decoration - blind stamping (creating an image, design or lettering formed by creating a depression) - became prevalent as the numbers of books increased in the sixteenth century. This was superseded by the more visually appealing gold tooling technique (decorating the cover and spine with gold leaf, impressed into the cover with a heated finishing tool). Around 1750 the construction process also changed, when many books began to be sewn on cords let into the backs of sections. This, in contrast to the usual practice of sewing on raised cords, gave a smooth back. The spines were often lined with many layers of paper, which gave a good surface for tooling work but could mean that they were difficult to open.
The demand for books and bindings increased following the industrial revolution, although the quality of hand-binding was poorer; the construction of the binding deteriorated and attempt was often made to conceal the poor quality with lavish gold ornament on covers and spines. With the industrial revolution also came mass production, and machinery for cutting, blocking, case-making and pressing. Later in the 19th century, techniques for machine decoration were also developed.
The arts and crafts movement countered this industrialisation and inspired individuals such as lawyer, T.J. Cobden-Sanderson to study the craft, and to experiment with binding construction and decoration. His designs continued the methods of gold and blind tooling, and often incorporated flowers, leaves or branches in a geometric design. The scope for originality and creativity also prospered following World War One, and artists, designers, and amateurs all made worthy contributions to the craft.
Our local studies and archive collections includes examples of different binding constructions. However, the tools and equipment of the trade can also be explored through looking at wills and inventories...