During my ongoing survey of uncatalogued items from the collection I keep coming across unexpected and fascinating finds. This week was no exception. I opened up a paper document to find unusually dense lettering and was particularly interested as it had the signs of being iron gall ink.
Iron gall ink was extremely common from the Middle Ages through to 20th century. Unfortunately because of the chemical makeup of its ingredients it can be prone to deterioration known as ink corrosion. In its most extreme stages it can literally burn away the lettering leaving a text shape hole where it would originally have been. Because of this it is extremely important to keep an eye out for typical signs of early deterioration such as haloing around the text so that documents can be monitored for further deterioration.
However, in this case when I looked closely I found large crystals tightly packed on the surface of thicker areas of text.
Initially I thought this might have been a phenomenon of the ink itself which can reportedly create crystals on its surface, but with further investigation it became clear that these crystals are quite different in size and shape.
It turns out that these are most likely remnants of blotting sand. This was used until approx. the mid 1800s as an alternative to blotting paper. The writer would most likely have had a small shaker pot or box of sand or dust which they would sprinkle over the wet ink to speed up the drying process, the excess sand would then be shaken off. Although this is just a small detail, it offers an intriguing insight into the everyday life of a past age.
Various species of moth will eat materials around the home, such as wool, silk, fur and feathers including furnishings, carpets, clothes and natural history items.
Moth larvae hatch from eggs and eat any organic material around them to increase in strength and size. Once large enough they will form a cocoon and metamorphose into the adult moths. As an adult, a moth may stay put if there is enough food and potential mates – worsening an existing infestation. Alternatively they will fly to find a new location (typically during the warmer summer months) possibly starting a new infestation.
Moths like dark, undisturbed places to breed and eat; they are often to be found in wardrobes, drawers, cupboards and lofts. They can also prefer warm, damp environments.
How do you know if you have a moth problem… what are the tell-tale signs?
It is most likely that you will identify an infestation by the damage that has been caused rather than by seeing the pests themselves. It is therefore important to recognise the signs.
With most pests finding holes in items where the pests have been feeding are the most obvious clue. Frass - the name for insect poo and which looks like clumps of small grains – will often be found near the holes in an item or on the surface beneath where it is stored.
Additionally with moth infestations cocoons and webbing (silk woven over the area the lava is feeding) are sometimes left behind. The cocoons may be hard to see as they are often made from the material of the item which is infested.
Moths will often feed in the creases, folds and seams of clothing and curtains, preferring to hide away from light, remember to check items thoroughly!
In archives, as in everything else, some jobs take longer than others. The archivists at the History Centre can generally list small or medium sized deposits of documents within a few weeks or months of receiving them, but larger collections may take years, or even decades, to catalogue fully. A catalogue I recently completed was a case in point.
Forty years ago, archivists from the Record Office (then based in Trowbridge) collected a large number of clients’ papers from the offices of the Calne solicitors, Spackman, Dale and Hood. Once safely in the record office, they were placed in acid-free boxes (forty-eight in all) and allocated the collection number 1409. The boxes remained on the strongroom shelves, safe and secure but not listed. Eventually, in 2003, it was decided that I would devote my time (when not on public duty or attending to more urgent priorities) to sorting and listing the Spackman, Dale and Hood collection. My listing gradually proceeded, box by box, over several years. By 2007, when our office relocated from Trowbridge to Chippenham, about three-quarters of the work was done. Increasing public duties and other urgent matters in our new building meant that work on collection 1409 was again shelved for several years. Finally, two years ago, I completed listing the last couple of boxes, and then handed the collection over to my strongroom colleagues, who numbered and packaged each item. This took the greater part of another year. I then word-processed the lengthy catalogue and added it to our online catalogue.
So, what have we ended up with, after all that effort? A slimmed-down collection, reduced from 48 to 35 boxes, after weeding out the rubbish, rough copies, drafts and duplicate documents. But still a large collection – one thousand separate items, listed in detail in a 125 page catalogue (available in hard copy at the History Centre and on our online catalogue). As one might expect, a large proportion of the collection concerns Calne people and properties, and those of the neighbouring area. The two largest categories are sale particulars (the greater part dealing with Calne properties between the 1880s and the 1970s) and title deeds and associated conveyancing papers. Title deeds are useful to both family and local historians. To take one example, a bundle of deeds (1409/16/54) relating to a house in Calne Church Street, “commanding one of the best positions in the town”, prove that at various times between the eighteenth and twentieth centuries, the building was occupied by a shoemaker, a baker, a seedsman, and C. & T. Harris, Ltd., as well as being used as the library of the Calne Literary Institution and, later, as an Oddfellows lodge. There is also a series of 44 eighteenth century leases of properties in Castle Combe; the tenant of an enclosed three-acre field at Thorn Grove was given “liberty to set up cribs for sheep on Castle Combe fair day”, in 1779 (1409/16/259/33).
Other contents of the collection are more unusual. For instance, there is some correspondence (1409/10/5) concerning applications for midwives’ certificates by Mrs Sarah Gaby of Sandy Lane and Mrs Elizabeth Ponting of Cherhill, 1904-1905.
The conservation team have been very busy over the last year as part of the collection consultant team, led by Tim Burge Museum Services (www.timburge.org), helping Bridport Museum with their big redevelopment. We saw the fruits of the Bridport staff, many volunteers, contractors and specialist’s labour at the grand opening on the 26th of May.
The project, mostly funded by the Heritage Lottery Fund, brought the collection consultant team on board at an early stage to help and provide advice at every part of the process. Our work at the museum started just under a year ago, when we were on-site to assist with the safe removal and return to storage of all the objects on-display, before the builders moved in to improve and develop the building.
In the background work continued in many areas, with the collection consultant team advising on environmental controls required within the museum, to the materials which are safe to use in the display cases and mounts, many of which were bespoke made to fit individual objects.
Some of the objects from the collection required conservation treatment to look their best before they were ready to take the lime light on display in the new museum. We provided training so the large and dedicated group of Bridport Museum volunteers could undertake the majority of the cleaning required.
Some objects, though, required a more practised hand or treatments such as stabilisation for which we undertook conservation treatment both at the lab in the Wiltshire and Swindon History Centre and on site at Bridport Museum. This included a wide variety of objects, from a taxidermy tiger, to prehistoric fossils and copper alloy buckles from a set of Lorica (Roman armour).
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.
The conservation department have recently undertaken the conservation treatment of a bust of Alfred Williams.
Owned by the Swindon Museum and Art Gallery the bust has links to two prominent Swindonian artists. The bust is of Alfred Williams who worked for Great Western Railway in Swindon for many years. In his spare time he looked to improve his knowledge learning languages including Latin and Greek, reading the classics and learning about the natural world around him. He started writing in his early twenties and published a number of works, both poetry and prose, throughout his lifetime leading to him becoming known as ‘the hammerman poet’.
The creator of the bust is Swindonian artist Carleton Attwood. Although Attwood worked in many more traditional materials, this bust is made from moulded concrete. Some of his other well known public commissions are “Golden Lion” in Regent Street and “The Watchers” at Toothill Village Centre.
The conservation of the object has been undertaken to improve the condition of the bust so that it can be placed on display. Over the years a layer of dust and dirt had built up on the surface of the bust, as well as it being subjected to graffiti in the past.