'Gateway Project' bid goes to Heritage Lottery Fund

Historic barn andstable to joincollections

Discover thearchaeologyofHangleton’shearth

Events,Courses and What’s on2014-15

AUTUMN 2014

WEALD & DOWNLANDO P E N A I R M U S E U M

‘Gateway Project’ bid goes to Heritage Lottery Fund

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2 Weald & Downland Open Air Museum AUTUMN 2014

News ....3, 4, 6, 8, 25, 28, 29

Historic buildings .......5, 7, 13, 14, 15

Historic gardens ...............9

Events...................................11

What’s On ........................17

Interpretation........18, 19,26, 27

Courses........21, 22, 23, 24

Friends’ news ...............31

Collections...............32, 33

Farming .........................35

People ................................37

Schools services .........38

Partnerships...................39

From the DirectorA year ago I wrote that the 2013season had not been an easy one, soone year on I am pleased to reportthat 2014 has been much better,albeit not without its challenges!A considerable amount of time has beenspent preparing our Stage 2 HeritageLottery Fund (HLF) bid for theGateway Project which was submittedat the beginning of August. We will hearwhether we have been successful

during mid-November, and we hope to publish the details of the project in the Spring magazine.

We have also been preparing our submission for MuseumAccreditation with Arts Council England (ACE). Accreditation represents an extremely important achievement, demonstrating thatour museum has met the national standard for quality and perform-ance. We have been Accredited for some years (and before that were Registered in an equivalent scheme), but periodically thescheme is updated to reflect changes in museum operation and visitors’ expectations, and to encourage museums’ sustainability.

One of the highlights of this season was the Horses at War:Remembering WWI & WWII commemorative event. Supported by a grant from the Heritage Lottery Fund and co-ordinated by historian Andy Robertshaw, the event involved a week of workshopsfor schools focusing on life at the home front, and during a busyweekend of re-enactments, displays, readings and commemorations,the largest display of First World War horse-drawn vehicles since the1940s took place.

Our major events attract good crowds, but one of our key aimshas been to build up our core day numbers, and we have been work-ing hard to stage a number of smaller events during the season. TheShepherding & Shepherd’s Huts and Historic Gardens weekends wereexamples of how important elements of the museum’s collectionscan be highlighted for smaller audiences.

Weekends are naturally the most popular times for the public tovisit, but are also often the most difficult for volunteers, due to othercommitments. This is something we were are very keen to address sothat weekend visitors experience more activities, enriching their visitand in turn encouraging more visitors.

Recently, it was agreed that the Friends of the Museum would passover its administration to the museum. Having worked closely withthe Friends both in my time as Director and also during my previousemployment at the museum, I would like to express my sincere thanksand admiration for the tremendous support they have given themuseum since its foundation. And I would like to re-assure membersthat the Friends, with all its benefits, will continue to operate as before.

This autumn we will be dismantling a late 18th century barn andearly 19th century stable from May Day Farm, in the way of the A21Tonbridge-Pembury bypass scheme in Kent. It is proposed that thebuildings, having been dismantled this autumn, will be re-erectedduring 2016. This project, together with the proposed dismantlingand re-erection of the 15th century aisled hall from Sole Street andPallingham Quay wagon shed (the current catering facilities), as partof the Gateway Project , means that over the next few years, we shallhave some very exciting exhibit building projects taking place.

We are a museum of all seasons and the autumn and winter canbe a very special and atmospheric time to visit. A number of seasonalevents and activities are planned for the next months, particularlyaround Christmas, which I hope you will be able to come and enjoy.

Richard PailthorpeMuseum Director

WEALD & DOWNLANDO P E N A I R M U S E U M AUTUMN 2014

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Front cover picture: 17th century PoplarCottage after its re-thatching andmaintenance work earlier this year, withvolunteer Gavin Lichfield scything the grass in early summer.

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Christmas Card 2014This year’s Christmascard features aglorious scene of 17thcentury PendeanFarmhouse in thesnow, photographedby Leon Barc. On theback is a seasonalimage of themuseum’s geeseforaging in theorchard. The cardsare available in the museum shopin packs of five at £3.50, or by post, for a minimum order of twopacks (10 cards) for £7.00 plus £2.50 p&p. Order by phone on 01243811020 or online at www.wealddown.co.uk.

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The project aims to transform the way inwhich visitors experience the museum fromthe moment they enter the site. A new ‘gateway’ will be built by the museum’smillpond comprising two clusters of build-ings either side of a central courtyard(reflecting the plan of many traditional farmyards) housing new ticketing, retail andcatering facilities, a new orientation andinterpretation gallery and a learning/com-munity space. In addition, the main car parkwill be upgraded to improve accessibility andsafety, and two historic structures currentlyused as visitor facilities, the medieval aisledhall from Sole Street and the PallinghamQuay wagon shed will be moved andbecome exhibit buildings.

Work has been progressing to secure plan-ning permission from the South DownsNational Park Authority. The museum is alsobusy raising another £1 million as its con -tribution to the overall scheme. If all goes toplan, construction work will commence inmid-2015 and should be completed about 18 months later.

Central to the initiative is how themuseum interprets the history reflected in itshistoric buildings and rural life collections,helping visitors learn more about life andlandscape in the Weald and Downland area ofthe South East over the centuries. We are alsoworking with the South DownsNational Park Authority on ideasfor the museum to act as a ‘gate-way’ to the South Downs. Theproject will include a newintroductory exhibition tothe museum and interpreta-tion signs around the site andwork is ongoing on the con-tent and design of these elements of the project. Animportant part of the scheme is theinclusion of apprenticeships and trainee-ships, building on our nationally recognisedexpertise in education and skills in the build-ing conservation and heritage sector.

Paul Rigg, Chairman of the museum’sTrustees says: “The Gateway is a very

exciting and ambitious project thatis crucial to ensure the museum

looks ahead and secures itsfuture. The museum is at theheart of the local communityand we will continue toinvolve our communities,stakeholders and partners in

the project. We want to appealto old and new audiences with

an interest in our heritage. We wantto build on everything that is great about

the museum and retain what makes it a veryspecial place for everyone.”

Museum Director, Richard Pailthorpe,

adds: “We must adapt to meet the needs andexpectations of 21st century communitiesand keep our enviable reputation. TheGateway Project will help us to do this formany years to come. It will help us to inspireand attract the next generation of visitors,staff and volunteers.”

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Weald & Downland Open Air Museum AUTUMN 2014 3

Museum transformation . . . the Gateway Projectbid is submitted to the Heritage Lottery FundFollowing many months ofplanning and development themuseum submitted itsapplication for £4 million forits Gateway Project to theHeritage Lottery Fund (HLF) inAugust, and is expecting adecision in mid-late November.The HLF has already grantedthe museum nearly £250,000to develop the plans.

Above, architects’ plan of the site for the Gateway buildings (the museum entrance is mid-right,and the millpond with its island is to the upper left. Below, artist’s impression of the interior.

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£3.4 million –

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The Activity and Interpretation PlansWhile the most obvious manifestation of the Gateway Project will be the new buildings, two essential componentsof the scheme are the Activity Plan and the Interpretation Plan. The Activity Plan has been compiled by Jo Watsonof Conservation Plus, our project managers, and includes a wide range of opportunities for people to engage withthe museum. The Interpretation Plan has been produced by Jonothan Potter of Potter Associates and sets out howthe heritage experience can be brought to life in an exciting and informative way.

The museum’s ambitions for the project go much further anddeeper than the Gateway buildings. We aim to create a wealth ofnew opportunities for existing and new audiences to learn about,engage and get involved with our heritage. Hambrook Barn willbecome a Family Learning Hub, housing new activities, trails andhands-on interactive stations. We will showcase the museum’scollection of 15,000 artefacts and also our woodland, both ofwhich have enormous potential to bring to life stories of theregion’s landscape, environment, trades and agriculture. Newvolunteering opportunities will encourage a wider range ofvolunteers to work with us, and outreach activities will targetspecific audiences, such as young people between 16 and 24,older people with dementia and local minority communities.Supporting these activities will be a new marketing programmeand the redevelopment of our website, raising the profile of themuseum and increasing visitor numbers through developing newmarkets. Finally, traineeship and apprenticeship roles will becreated to provide opportunities for people who are starting outon their career in heritage to gain workplace experience in areasranging from building conservation to volunteer coordination andheritage education.

The Activity Plan

The overriding ambition of the museum’s new interpretation isto reconnect the collection to the landscape from which itcame. Using artefacts from the Downland Gridshell store, and toready visitors for their on-site experience, three new gallerieswithin the project’s Gateway building will create a journeyacross the Weald and Downland, explaining the area’s geologyand landscape, and the diverse agriculture that sprang from it.The craft of turning this managed cultivation into usable materialfor building work will be explored, and finally, visitors will beimmersed in a space depicting nature’s annual cycle, illustratedby the museum’s own yearly journey. For the first time on site, acoordinated narrative explaining the nature and importance ofthe environment, from its wooded upper slope to the valleybelow, the fields and the millpond, will be created. Thislandscape story will be strengthened by new wayfinding signsaimed at encouraging exploration to the furthest corners of themuseum so that all who visit will be able to experience thesehabitats at first hand. Visitors will better appreciate the ability ofour ancestors to connect to their environment and exploitnature’s raw potential to fabricate the buildings that are the coreof the museum’s collection.

The Interpretation Plan

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These agricultural buildings will con-tribute a valuable addition to theGeorgian/Regency farm buildings thatthe museum currently has either on siteor in store. One option being consideredis to site them in the vicinity of RedvinsYard to link in with the contemporaryGoodwood and Kirdford shelter shedsand the hay barn from Ockley. Here theywould enhance the ability of the museumto further interpret the agricultural revo-

lution and the subsequent changes to therural landscape and farming practices.

This would also enable the museum tomeet one of its long term strategic aimsto present three historic farmsteads. We already have a 16th century one atBayleaf, are developing plans for a 17thcentury one attached to Pendean, andthese two newly acquired buildings fromthe Weald would form the centre of anearly 19th century farmyard.

historic buildings


Exploring Shepherding &Shepherds’ HutsIn April the museum staged an unusual weekend dedicated to theskills, traditions and culture of the downland shepherds. Visitors wereable to meet the local Southdown sheep and their lambs, exploreshepherds’ huts old and new, and discover tools of the shepherd’strade. David Morris signed copies of his book Shepherds’ Huts &Living Vans, and the renowned Copper family sang Sussex folk andshepherding songs. The museum displayed some of the shepherd’shuts in its collection, and there were new-build 21st century examples,manufactured by Roundhill Shepherds Huts, based locally in Singleton.Shepherds’ huts, once a familiar sight in the countryside with theircorrugated iron roofs and iron wheels, were used as the shepherd’shome during lambing when their cast iron stoves provided essentialwarmth to new born lambs. Today they are making a comeback as a modern, moveable space, for home offices, playrooms, holidayaccommodation, or just a peaceful hideaway. Pictured is the Copper family at Titchfield Market Hall. Next year’s event is on 11/12 April.

Historicagriculturalbuildingsoffered tothe museumA historic barn and a stableare to join the museum’sbuildings collection thisautumn. The late 18thcentury, three bay, barn andan early 19th century, twobay, stable, are from the EastKent Weald. These twoformerly listed timber framesare from May Day Farm,Burgess Hill and are among asmall number of buildings inthe way of the A21 Tonbridge-Pembridge by-pass scheme.Work on the dismantling willtake place throughout theautumn. The dismantling,repair and re-erection costswill be funded through thecontractor, Balfour Beatty, aspart of mitigating works.

Clockwise from top, the barn and stable from the south, the north elevation of the barn, its internal wall framing, and the rafters of the stable.

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Friends administrationpasses to the museumAt the end of this year the administration of the Friends of theWeald & Downland Open Air Museum will pass over to the museumitself, providing cost benefits and streamlining fundraising activity.

Friends will not notice the difference, asall their current membership privilegeswill remain the same – including freeentry at all times, emails with advancenotice of news and events, discount inthe café and shop, and of course thetwice-yearly magazine.

The Friends has supported themuseum since its foundation in1970, raising a total of some £2.5million towards the museum’s workthrough memberships and fundrais-ing events.

To formalise the change a generalmeeting of the Friends was held inSeptember, when 119 memberspresent voted on the following reso-lution: That the Friends of the Wealdand Downland Open Air Museum bedissolved with effect from the 31 December 2014 and that all responsibilities and assets be trans-ferred to the Weald and Downland Open Air Museum. It was passed by a substantial majority.

Friends’ Chairman Sarah Casdagli said: “I would like to thank all our members foryour support – subscriptions have helped the museum hugely over the years as have ourfundraising events. There have been suppers, lunches, grand draws, barn dances, murdermystery evenings and two balls. It has been a privilege to serve the Friends and I wouldlike to record my great thanks to all who have served on the present committee and topast members, and also to Lisa Neville, Membership Secretary, who has worked for theFriends for many years”.

Museum Director Richard Pailthorpe said: “The Weald & Downland Open AirMuseum’s Friends is one of the largest museum friends groups in the country, withsome 4,850 memberships representing about 10,500 individuals. It has always been agreat support to the museum and will continue to be with the museum office runningits administration. Merging our fundraising capacity and reducing costs is a sensiblesolution at a time when major developments are in the pipeline and our efforts aredirected at future sustainability. I look forward to seeing the Friends continue todevelop.”

The ‘Friends’ was first mentioned in 1968 when the museum’s Promotion Committeestaged its first major public exhibition, launching its first appeal (for £35,000) andextended a first invitation to subscribe to the ‘Friends of the Museum’. The Friends was inaugurated in 1970 and developed as a support organisation for the museum,providing financial assistance and running social events for its members. Early eventsincluded auctions, art exhibitions, spring tours and ‘Proms by the Lake’. Membershiprose rapidly, with some 1,000 supporters by 1973: former Honorary Treasurer KimLeslie remembers the thrill of opening a letter with a cheque from one of the best-known early supporters – Sir John Betjeman. Membership approached 5,000 by themid-2000s, when the Friends were able to give grants to the museum of some£200,000 each year. Last year’s grant amounted to £226,850 with core funding beingspent on exhibit improvements, historic garden development, marketing, livestock, andcuratorial activities: special grants in that year contributed to the furnishing of TindallsCottage and the Historic Clothing Project, helped with setting up the History Gang, paidfor a fundraising search engine, and sponsored the Rare Breeds Show. Chairmen of theFriends have included Major General L A Hawes, Virginia Lyon, Sir James Waddell, TimHeymann, Frances Messenger, Jean Piggott, and the current chairman, Sarah Casdagli.

IN BRIEFWARM WELCOME FOR VISITORSTHIS YEAR (MOSTLY!)2014 has been a better season thanlast year with visitor numbers at theend of August 7% up on 2013. Theseason began well over the Easterholiday period, followed by agenerally excellent summer withlittle rain. Frustratingly, we havesuffered from wet weather on themain bank holiday Mondays, notablythe August one when it poured allday. The main events continue to bewell supported, attracting 5-6,000thousand visitors, whilst a single dayevent such as the Rare Breeds Showaverages 4-5,000.

SPECIAL TUDOR MONASTERYFARM TOURSFollowing the BBC 2 Tudor MonasteryFarm series broadcast in autumn lastyear, the museum added a tour to itsWalks and Talks programme allowingvisitors to see the locations used andlearn more about filming tricks of thetrade. Led by Julie Aalen, who co-ordinated the seven months of filming,and volunteer Vic Constable whoappeared in every episode, visitors wereguided around the principal filminglocations enjoying anecdotes such as thesheep washing escapade in the lowerlake. They met other costumed volunteerinterpreters involved in the filming, andexperienced some of the aspects ofTudor life that presenters Ruth, Peter andTom were living. The tours ended inWinkhurst Tudor Kitchen, meeting thecooks and tasting Tudor sweetmeatsprepared on the griddle over the fire. TheTudors would have drunk small ale butfor our guests tea was the order of theday – funnily enough it’s RuthGoodman’s favourite to sustain herthrough a long filming day!

BIRTHDAY PARTIESThe museum hosts children’sbirthday parties with a range ofactivities to choose from relevant tothe museum’s themes. These partiesare fun, hands-on and can betweaked to suit the ages of thechildren. The museum’s café ishappy to provide a celebration teaor parents are welcome to bringtheir own refreshments. Find outmore on our website atwww.wealddown.co.uk

The Friends stand at one of the museum’s special events in the late 1980s, with, left to right, the Duke of Richmond,Richard Pailthorpe (then assistant director),Virginia Lyon (Friends’ chairman) and BrucePailthorpe (Friends’ vice chairman).

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Saxon hall to grow on themuseum siteThe museum is to build a replica Saxon hall based onarchaeological excavations in Steyning, West Sussex. The buildingwill be constructed in the museum’s woodlands, directly aboveTindalls Cottage on the site of the former woodland exhibition.

In the early years of themuseum two Saxonstructures were on dis-play – a small sunkenbuilding interpreted as aSaxon weaver’s hut, andposts marking the out-line of a Saxon hall. Inthe last 20 years muchacademic work on theSaxon period has takenplace at a national level,and the museum hasspent much time andeffort researching and planning the construction of this new Saxon structure with thehelp of many specialists, including Dr Damian Goodburn, Saxon treewrighting expertand archaeologist.

Following our investigation into recent Saxon excavations in the weald and downland region, the building we have chosen to reconstruct is ‘Building A’ from theexcavation led by Dr Mark Gardiner in 1988/89 at Market Field in Steyning, WestSussex. The excavation of this 10th century site was fully recorded and published at thetime; the finds are held at Worthing Museum. Dr Gardiner has been generous with histime in recent months helping us to understand the site and its context. This was anearthfast structure, evidenced by post-holes, and is an oak, daub and thatched building.Its dimensions are 4.4m wide by 8.9m long.

The methods of timber framing in this period differ substantially to later methods oftimber framing seen in our current historic building exhibits, and will form an interesting contrast. All the preparation work for the building is being undertakenauthentically, using axes of the shape known to be used by the Saxons, and no saws.

Following the receipt of planning permission in August the first step for our in-houseconstruction team was further training in cleaving the timber, this time with the

support of woodwork specialistRichard Darrah. As with allexhibits, we decide on a particulardate for the building’s interpretationand the Saxon reconstruction willdate to the year 950AD. Preliminarywork on the furnishings and cloth-ing is taking place, again drawing onthe archaeological reports. Thestructure will be built over a periodof slightly more than a year, enablingvisitors to watch the process.

The timber for the frame haslargely been donated through variouslocal sources; we are especiallygrateful for the support of JonathanWest, Mr & Mrs R Hatthorthwaite,Ms K Wootton and the NationalTrust estate in Haslemere. We havealso had invaluable support in mem-ory of Mary Cowin, and trainingsupported by the Historic HousesAssociation.

historic buildings


From theChairman

The ‘GatewayProject’ is theworking title forthe museum’sexciting £5 millionproject toimprove visitorfacilities andexperience onour site. We

have written about the proposals inprevious issues and on pages 3/4 in thisedition, but in summary the projectcomprises new ticketing facilities and shop, a new restaurant and learning/community space, an introductoryexhibition with enhanced interpretationand display of artefacts and better indoorfacilities for wet days, as well as improvedinterpretation and way-finding on themuseum site and redesigned car parkingwith more spaces and safer and easieraccess to the museum.Our project application has been submittedto the Heritage Lottery Fund and we expecttheir final decision in mid-late November.Meanwhile the design of the new buildingscontinues to evolve and discussions areunderway with the South Downs NationalPark planning team. A planning applicationand decision will follow in due course.

The original Stage One Heritage LotteryFund (HLF) approval supported us with agrant of £0.25m to be spent on detaileddesign and development fees. We expectthe project to cost some £5 million and taking into account HLF support we have setourselves a target of raising £1 million ofadditional funding.

Fundraising specialists DevelopmentPartners has been working with us to imple-ment a fundraising strategy and so far wehave raised over half of that target, or a littleover £0.5m from major trust funds. Thelargest grants, pledged or received, are fromthe DCMS (Department for Culture, Media &Sport)/Wolfson Fund (£250,000), the Gar -field Weston Foundation (£150,000) and theErnest Kleinwort Charitable Trust (£75,000).

A number of other trust funds have yet todetermine our applications while others areshortly to be submitted. We have also begunour approach to individuals and will belaunching our public appeal, including to ourmuseum Friends, in the New Year, by whichtime I hope that we will have positive newsfrom the HLF and building designs to display.

Progress is positive, and I remain opti-mistic that we will be in a position to beginconstruction during 2015.

Paul RiggChairman of Trustees

A drawing of the proposed Saxon hall, and below, RichardDarrah providing timber cleaving training for the museum’sconstruction team.

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Dogs are welcome – in all shapes and sizes!The museum is often complimented on the way it welcomes dogs onto thesite. We have been dog-friendly since we opened in 1970, and are happy tohost well-behaved dogs (always on leads!) enjoying a visit with theirowners.

The award of Accreditation demonstratesthat a museum has met the highest standards in quality and performance. TheWeald & Downland Open Air Museumhas been Accredited for some years (andbefore that was Registered in the pre -decessor scheme begun in 1988), butperiodically the standard is updated toreflect changes in museum operation andvisitors’ expectations, and to encouragesustainability.

“The museum aspires to be profes-sional, historically accurate, educationaland inspiring, in terms of the compe-tence and expertise of staff and volun-teers and in the way we carry out andcommunicate our work,” says MuseumCurator Julian Bell, who is leading theproject. “This ‘industry’ standard ofAccreditation is different to many similarstandards, as rather than have a standardimposed upon the sector it was museumsthemselves who established the scheme,which is administered for theGovernment by Arts Council England.”

Accreditation incorporates nearly everyaspect of museums’ activities and helpsguide them to perform at the highestlevel. The scheme aims for all museums toachieve agreed standards in how they arerun, how they manage their collectionsand the experience of their users.

By meeting these standards museumsshare a professional and ethical basis fortheir operation, encouraging and rein-forcing public confidence in them asorganisations that manage collections forthe benefit of society in an appropriateand responsible way; this is particularlyimportant where the donation of arte-facts is concerned.

The documents produced to meet therequirements of the AccreditationScheme also help provide a structure forthe operation of the museum and itsactivities. For example, we can outlinechanges in the range of items which wewish to collect in the future, or explain ashift in the way we present the museumto visitors, tying the changes into ourother policy documents, such as theForward Plan, and resulting in a coherentdirection for the museum’s operationalframework and diverse activities.

The Accreditation Scheme enablesspecific benefits such as: Performance – it’s a quality standardthat serves as an authoritative benchmarkfor assessing performance, rewardingachievement and driving improvement. Profile – it raises awareness and under-

standing of the museum, building confi-dence and credibility both within ourgoverning body and among the public. People – it helps us improve our focuson meeting our users’ needs and interestsand developing our workforce.Partnerships – it helps us examine ourservices and encourages joint workingwithin and between other appropriateexternal organisations.Planning – it helps with forward planning by formalising procedures andpolicies. Patronage – it demonstrates that themuseum has met a national standard,which strengthens applications for publicand private funding, opens up additionalavenues of funding and gives investorsconfidence in the organisation.

The timing of our Accreditation submission, which fell in October of thisyear, is timely given the major GatewayProject, due to begin next year. This project will not only provide themuseum with improved services andfacilities, but also an opportunity to re-assess how the museum presents itself tothe public and what aspects and activitieswe wish to focus on. The Accreditationdocuments will provide an outline planfor our operations over this busy periodof the museum’s life.

Keeping our standards high – how we become ‘Accredited’The museum has been busythis year preparing itssubmission to continue itsAccreditation – the nationalquality standard formuseums throughout the UK.

IN BRIEFEUROPEAN LIFELONG LEARNING CONFERENCEThe museum’s Head of Learning, DianaRowsell, travelled to Den Gamle By, anurban open air museum in Aarhus inDenmark, for the seventh biennialgathering of the European LifelongLearning in Open Air Museums group.Thirty-three delegates from 19museums from all over northern Europeattended, many delivering a paper oncurrent special projects such as workingwith dementia patients, inspiring youngpeople without work, and working withspecial needs children. Diana gave apaper about the museum’s courses inhistoric building conservation for whichwe recently received the Europa NostraGrand Prix and internationalrecognition through Best in Heritage.

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The use of plants to treatinfectious disease is notconfined to history: nearly 80%of antibacterial agents that areused today are derived fromnatural products such as plants,fungi, and other microbes.

The threat of antibiotic resistance and therise of the superbug has stimulatedrenewed interest in the many and variedchemicals that are produced naturally, andapproximately 10,000 plant compoundsare being newly characterised every year.It is hoped that somewhere there are plantspecies that have antibiotic properties tostave off the onslaught of antibiotic resist-ance: the question we asked was, what ifsuch plants are growing in the medicinalherb gardens at the Weald & DownlandOpen Air Museum?

Museum Gardener Carlotta Holt andmyself together with Dr Derek Stevenson,an analytical chemist, and project studentRachel Street from the University ofSurrey, set out to analyse some of theplants from the museum that have hist -orically been used to treat infectious diseases. Modern-day hospital superbugs

were used in the experiments, togetherwith Salmonella typhi, which causestyphoid fever, and bacteria related totuberculosis and the bubonic plague.

Culpeper, the 17th century physician,suggested that garlic be used to treat theplague, rabies, ulcers, and blemishes.Elecampane was similarly recommendedto protect against the plague and also treattuberculosis. Extracts from both of theseplants showed the greatest ability of allplants tested in our studies to kill microbesand were the only ones to kill the bac teriaclosely related to the plague. Angelica,burdock, elecampane, and garlic were alsovery effective in destroying Staphylococcusaureus, which can cause MRSA.

From our studies, however, none of theplant extracts were able to kill the‘mycobacteria’ similar to those that causeTB – a notoriously difficult disease totreat even with the use of modern drugs.

In addition we found no evidence to sup-port Culpeper’s assertion that angelica“doth the like against the plague”. The com-mon practice in the 1660s of keeping apiece of angelica root in the mouth toward off the plague may therefore havebeen futile, although according to ourpreliminary results there may be more justification for popping some of it inyour mouth if you need to go into hospital!

Reference to hyssop in Psalm, 51:7:“Purge me with hyssop, and I shall be clean”and by Culpeper: “hyssop . . . purges grosshumours” made this one of the plants wewere most keen to study. Interestingly, wefound hyssop to be the only plant extractof all those that we tested to kill typhoidfever bacteria, and we are continuing theresearch in order to further characterisethe antibiotic properties of extracts fromthis plant.

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Green fingers – down the agesVisitors to our Historic Gardens Weekend enjoy a rare glimpse into the gardens ofordinary people across the centuries, from the 16th to the 19th. The museum’s sixperiod gardens provide curtilages for many of the historic homes, representing asaccurately as possible the period of each house. The museum’s new historic gardensfilm was showing in the hall from Crawley, explaining how they developed and how

they are managed in a traditionalway. An interactive display anddemonstration of the uses of ourgarden plants, both medicinal and culinary, was the centrepiece of the weekend’sexhibits, with extra dyeing and spinning demonstrations taking place. The museum’sherbarium, our collection of pressed flowers and plants from the gardens, was also ondisplay. The weekend will be repeated next year and we have plans to extend andenhance the exhibition. Pictured left is Helen Mbye hanging herbs beneath TitchfieldMarket Hall, and Jo Shorter right displaying the use of natural colour dyes in the housefrom Walderton. Next year’s event is on 3-5 July.

Microbiologist and gardening volunteer Dr Alison Cottell describes the scientific testing of medicinal plants from the museum’s historic gardens

“Purge me with hyssop”

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Burdock, left, and hyssop.

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The museum staged the largest display ofFirst World War vehicles drawn by horsesin the UK since the 1940s in June at itsHorses at War: Remembering WWI andWWII event, the culmination of a week ofspecial displays including free activitiesfor schools. Supported by a HeritageLottery Fund award of £9,000, and withthe help of military historian andbroadcaster Andy Robertshaw, the weekincluded re-enactments, demonstrationsand commemorations, as well as a visitfrom the Military Ancestry Road Show.There was a focus on the work of theWomen’s Land Army and the Women’sForestry Corps, and demonstrations ofhurdle making and charcoal production –these were in demand from the SouthDowns for trench warfare. Singleton WI –the first WI in England – formed in 1915 to help the war effort on the home front,produced an interesting display inWinkhurst Hall. We also looked at theeffect the First World War would have hadon the occupants of three of our buildings,South Wonston Church, the SouthwaterSmithy and Whittaker’s Cottage. Ahighlight was the Horses at War parade ofhorse-drawn vehicles, including a watercart, a field kitchen, and an ambulance.Pictured are, clockwise from top, theSampson family from Harbridge,Hampshire and six Percherons drawingFort Nelson Royal Armouries’ 18 poundergun and limber; the Heritage Lottery Fund banner; Mark Buxton driving themuseum’s Shires, Mac and Major, to a GSwagon, complete with First World Warharness; the 16th Lancers Display Troop’scavalry display; military historian AndyRobertshaw; ‘soldiers’ at rest, and a ‘LandArmy girl’ outside Whittaker’s Cottages.

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Painted cloths in the 16th centuryVery few painted cloths survive.However, we know from documentaryevidence that they were an extremelycommon form of interior decoration inthe 16th century and were found in thehomes of both the wealthy and the rela-tively poor. An example of a poor house-holder who possessed painted cloths isRye fisherman, Richard Goodwin,whose goods were sold off by public auction after his death in 1583 to pay his debts, fetching a sum of £4 9s 6d.Amongst his relatively meagre possessionswere four or five ‘old painted cloths’which sold for between 2d and 5d each.We have no idea how ‘old’ Goodwin’spainted cloths were or how much theyhad cost him new but they are likely tohave been relatively crude in both theirdesign and execution. Cloths likeGoodwin’s would have been cheap toproduce. In the late 16th century crafts-men could expect to earn about 10d aday and the cost of the materials was rel-atively low: schemes were painted onto

coarse linen cloth using natural pigmentswhich could cost as little as 1d a pound(with about half an ounce of pigmentcovering a square yard). The total cost ofthe cloth depended on the complexity ofthe scheme and the amount of time ittook to produce.

In London painted cloths were pro-duced by the Painter-Stainers’ Companywho guarded their monopolyassiduously but we know thatthere were also paintersworking in the provinces.Cloths were also importedfrom Flanders but thesemay have been orientatedtowards the upper end ofthe market. A rare set of sur-viving painted cloths whichshow the complexity and sophisti-cation such designs could achieve arethose at Hardwick Hall in Derbyshirewhich were probably created in 1600 forBess of Hardwick. These are clearlyintended to replicate Flemish tapestry.

The design or subject matter ofpainted cloths is rarely listed but is likelyto have had much in common withimagery used in other types of contem-porary decoration such as woven clothsand wall paintings. Many painted cloths –like the recreated cloth in Bayleaf – wereprobably ornamental, incorporatingflowers, fruits, abstract designs, animalsand texts. But others would have featurednarrative scenes drawing on well-knownBiblical stories like Adam and Eve, theprodigal son or Susanna and Tobias. Weknow that these forms of decoration – aswell as being similar to each other – oftenshared common sources such as books,ballad sheets and continental prints.

Many of the painters producing paintedcloths would also have been executingwall paintings.

There are a number of literary sourceswhich offer an insight into the subjectmatter of painted cloths and other deco-rative schemes. For example, in his Bookof Knowledge, first published in 1542,medical writer, Andrew Boorde, advised

that those who are ‘mad and outof their wits’ should be kept in

some ‘close house or cham-ber, where there is littlelight’, continuing: ‘Also thechamber of the house thatthe mad man is in, let therebe no painted cloths, nor

painted walls, nor pictures ofman nor woman, or fowl or

beast, for such things make themfull of fantasies’. This quote not only con-veys something of the subject matter ofwall paintings and painted cloths but alsosuggests the visual impact that suchschemes might have on a febrile mind.Similarly, in his Description of England of1577 William Harrison describes how‘the walls of our houses on the inner sides

historic buildings


The spring issue of thismagazine explained that wehad commissioned Hastings-based artist, Melissa White, tocreate a new painted cloth forBayleaf, the design of whichwas based on a set of wallpaintings surviving in a 16thcentury house, Althrey Hall, inFlintshire, Wales. The new clothhas been completed and hasbeen on display in Bayleaf sincethe beginning of July, replacingthe woven cloth at the high endof the hall. This article exploresthe subject of painted cloths inmore detail before moving on to examine the design andpossible iconography of theAlthrey Hall wall paintings andto explain how the new paintedcloth was created.

New painted cloth for BayleafFarmhouseBy Danae Tankard

Figure 1. The new painted cloth in Bayleaf.

Figure 2. The old woven cloth, shortly afterit was hung in 1989.

▲

1989 –Bayleaf Medieval

Farmstead research & furnishing project was

opened

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. . . be either hanged with tapestry, arraswork, or painted cloths, wherein diversehistories, or herbs, beasts, knots, and suchlike are stained . . . whereby the rooms arenot a little commended, made warm, andmuch more close than otherwise theywould be’.

The religious changes of the mid-16thcentury made much religious imagerysuspect – in particular anything associatedwith ‘popery’. In the second half of thecentury more neutral Old Testament subjects were favoured over those of theNew Testament and by the late 16th century allegorical subjects and portraitsbecame more common.

Despite Harrison’s observation thatwall hangings made rooms ‘warm’ it isunlikely that even relatively largeexpanses of linen cloth fixed to the wallsmade much difference to the air temper-ature. However, they would at least havecreated the appearance of warmth, as wellas adding some much needed colour tosoot-blackened interiors.

The Althrey Hall wall paintingsWith no suitable painted cloths survivingto base our scheme on we turned insteadto evidence from wall painting. After con-sidering a number of different examplesthe Althrey Hall wall paintings wereselected because they are largely intact,are of about the right date (c.1550;Bayleaf is interpreted to a date of c.1540)and also have the advantage of being non-figurative which meant potentialproblems with ‘Catholic’ imagery couldbe avoided.

In the early 16th century Althrey Hallwas the home of established gentry,Richard Ellis and his wife Jane Hanmer.

The wall paintings are in a first-floorchamber in a cross wing at the high endof the hall. The scheme is of bold alternate stripes, one featuring a pome-granate motif and one featuring rosettesin a diamond trellis. On the tie beamforming a top border there are largeopen, pomegranates, interspersed withbrown acanthus leaves with black veins.The predominant colours are red, yellow,black and white. At the centre of thescheme is a portrait of Richard and Janein contemporary dress. He holds his codpiece with a red ribbon; she holds a crocus. The symbolism of his gesture isobvious but the crocus too could be readas a symbol of fertility. They had ninesons and four daughters.

The striped pattern is intended toreplicate a paned woven textile hanging.This use of paint to imitate fabric is verycommon – we have already seen it withthe Hardwick painted cloths – and thereare many examples of wall paintings thatimitate textiles surviving at vernacularlevel. Whilst we do not know what theAlthrey Hall design was based on its sim-ilarity to another set of wall paintings at18 High Street, Halstead, Essex, suggests acommon source.

The pomegranate was widely used inthe decorative arts in the late medievalperiod and remained popular in Englanduntil the late 17th century. Its iconog -raphy was versatile, allowing it to be usedin both a religious and secular context. InClassical mythology the pomegranateplayed a prominent part in the legend ofPersephone and through this associationit became regarded as a symbol of fertil-ity and regeneration. In Christianity, themany seeds within its fruit encouragedthe pomegranate to be used to symboliseboth the fertility of the Virgin and theunity of the Church. The spiky top of thefruit, thought to resemble a crown, alsoallowed it to represent kingship ormajesty. The pomegranate was adopted asthe emblem of Henry VIII’s first wife,Katherine of Aragon who combined itwith the Tudor Rose and subsequently bytheir daughter, Mary Tudor, and as suchits use in a decorative scheme could indi-cate Catholic sympathies at a time whenmore overtly religious imagery was con-tentious. We know that Richard Ellisremained a staunch Catholic and it hasbeen suggested that the Althrey Hallscheme may have been intended to indi-cate his loyalty to Mary I who came tothe throne in 1553. However, Elizabeth Ialso used the pomegranate as her emblemand it is as likely that Ellis was attracted tothe design because of its association withfecundity.

Creating the painted clothMelissa worked from a set of high- resolution images of the wall paintingwhich we bought from the Royal Com -mission on the Ancient and HistoricalMonuments of Wales (RCAHMW). Shedescribed the process as a ‘kind of adetective game’, trying to work out howthe original design was created and inwhat order individual elements werepainted. She paid particular attention tothe brush strokes, for example noting thatdifferent thicknesses of white paint hadbeen used to create different effects suchas the delicate feathering within the trellis or the stronger white used on thetop border. Essentially, she had to try toput herself into the creative world of theanonymous 16th century craftsman.

Two pieces of medium-weight

historic buildings


Figure 3. The Althrey Hall wall paintings. (© Crown Copyright: Royal Commission on theAncient and Historical Monuments of Wales)

A film about the painted cloth project,funded by the University of Kent, hasbeen made by Darren Mapletoft, anindependent film maker & SeniorLecturer in Digital Film Production atthe University of Chichester. The filmexplores how textiles worked withinearly modern domestic interiors –what their visual impact was and howtheir original viewers might haveresponded to them. It is the result of acollaboration between the museumand the University of Kent, and buildson the findings of a network ofresearchers who have worked onthese questions over the last twoyears, as part of a project called ‘Waysof Seeing the English DomesticInterior’. The film can be viewed onlineat: http://vimeo.com/105563516.

Find out more

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historic buildings

unbleached canvas were stretched ontoseparate frames and primed with rabbit-skin glue (made from animal collagen)which tightens the canvas and provides asmooth surface for the paint to adhere to.

Whilst pigment analysis of the originalwall paintings has not been undertaken thepredominant colours are earth pigments –yellow and red ochre and umber – and thisis what Melissa has used on the cloth.Earth pigments derive their colour fromthe presence of iron oxide (or, in the caseof umber, from a combination of ironoxide and manganese oxide). Black or‘blacking’ was produced from charcoal orfrom the sooty deposits from lamps andcandles and white or ‘whiting’ was madefrom lime or chalk. As has already beendescribed, these pigments were verycheap: yellow ochre could cost as little as1d per pound and red ochre 2d per pound.There was one colour used sparingly inthe wall painting which may have beenimported and therefore more expensiveand that is the orange-red which appearson the rosettes and as the pips in the largeopen fruits. Melissa thought that this wasmost likely to have been vermilion, whichis made from powdered cinnabar.However, its mercuric content makes itshighly toxic and so Melissa replaced itwith a modern substitute. To produce apaint these powdered pigments were then

mixed with rabbit-skin size which acts as abinder and gives the paint its adhesion.

Once the cloth was finished Melissaremoved the two sections from the frameand hand-stitched them together. Tohang it a wooden batten was insertedinto the top and attached to rings whichhang on nails in the dais beam.Originally, painted cloths would havebeen nailed straight across the walls.

AuthenticityNo replica can ever be described as truly‘authentic’ and it could be argued thatthe first loss of authenticity in this projectwas in translating a wall painting into apainted cloth. When Richard Harrisundertook the research for the Bayleaffurnishing project in the late 1980s henoted the frequency with which paintedcloths were mentioned in inventories but

was concerned about creating a replicawhen so few examples survived, com-menting, “I personally find rather daunt-ing the stretch of conjecture that wouldbe necessary”. Instead, the woven clothwas commissioned, based on a survivingremnant of 16th century fabric. Sincethen, however, a significant amount ofnew research has been done on 16thdomestic interiors and we have a betterunderstanding of the relationshipbetween wall paintings and paintedcloths. So the ‘stretch of conjecture’,whilst it still exists, is no longer as wide.

The ‘Ways of Seeing the English Domestic Interior’ research network, funded by theArts and Humanities Research Council, has investigated peoples’ experience ofhousehold life in the 16th and 17th centuries, and considered how we might usethis information to enhance our experience of visiting historic properties like Bayleafin the 21st century. The network used the latest developments in computer scienceand cognitive science in order to understand how we move about and interact withdomestic interiors. Dr Catherine Richardson (University of Kent) and her co-investigator Dr Tara Hamling (University of Birmingham) brought togetherresearchers in the humanities and sciences, conservators, museums curators andheritage professionals, including individuals from English Heritage, the Victoria &Albert Museum, Historic Royal Palaces, the Shakespeare Birthplace Trust and, ofcourse, the Weald & Downland Open Air Museum. They experimented with, forinstance, virtual reality environments that recreate historic atmospheric effects andeye tracking equipment that measures where and for how long we look at oursurroundings. You can find out more about the network here:http://www.kent.ac.uk/mems/domestic%20interior.html and about some of Taraand Catherine’s other work related to Bayleaf here:http://materialhistories.wordpress.com/

‘Ways of Seeing the English Domestic Interior’

A sizzling steamextravaganza!The museum’s Vintage & Steam eventappealed to anyone who wanted toexperience a taste of life 80 years agowhen some vehicles didn’t start at theturn of a key! This wonderful day inAugust showcased a great selection of classic, vintage and steam vehicles. Highlightsincluded the steam-powered carousel gallopers – the most popular fairground ride ofthe steam era – powered by a Fowler showman’s engine; the St Giles horse-drawnsteam fire engine demonstration from the Sampson and McDermott families; over 30miniature steam engines, railway models and model boats, a steam car, and early

bicycles. There were demonstrations ofwinching, wood sawing and vintage caravans,and a vintage tea tent with traditionalrefreshments. Pictured above is a winchingdemonstration in the main arena, and left, early bicycles enjoying an airing around theshowground. Next year’s event will be on 15/16 August.

Figure 4. Melissa White in her studio.

Figure 5. Pigments and jar of rabbit-skinglue granules.

We would like to thank the Friends ofthe Museum for their generosity infunding the painted cloth. We wouldalso like to thank the University of Kentfor funding the film.

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NOVEMBER 8-9 Bringing Home The Bacon A fascinating insight into traditional pig rearing andslaughter, and the techniques used to preserve everypart of the carcase to feed the family through thewinter.

15-16 Christmas MarketBrowse over 130 trade stands in and around theMuseum’s historic buildings for local arts and craftsand unusual Christmas gifts. Plenty of seasonal foodincluding hot chestnuts, plus meet the donkeys andlisten to festive music.

DECEMBER 6-7 Christmas Shopping Weekend At the Museum Shop

7 Tree DressingA magical occasion for all the family, as part ofNational Tree Week. Join in traditional songsand dances. Bring a jam jar and turn it into a lantern,then join the procession illuminated by hundreds oflanterns and dress the trees as darkness falls.

16 Christmas Carol Evening At the house from North Cray, from 7.00pm

26-28 Tudor ChristmasDiscover how people celebrated Christmas in the daysof Henry VIII at our Tudor-themed event based aroundBayleaf Farmstead, where the BBC filmed its hugelypopular documentary series Tudor Monastery Farm in2013.

29 December-1 January 2015Special OpeningThe Museum is open until New Year’s Day. Enjoy astroll round our 50-acre site and admire buildingsdecorated in traditional seasonal style – the perfectway to gently work off any festive indulgences!

FEBRUARY16-20 Winter Half Term FamilyActivitiesWrap up warm for a week of creative activities andcountryside skills – outdoor trails, arts and crafts.Under cover if wet.

MARCH15 Mothering Sunday (Reduced entry)The perfect way to celebrate this special day, which alsomarks the start of our season. Enjoy the spring weatherwith discounted entry for all, plus a complimentarytraditional posy for mothers and grandmothers!

15-20 Historic Clothing ExhibitionAn exhibition of authentic traditional clothes createdas part of our Historic Clothing Project. Researchersand volunteers will be explaining and demonstratingneedlework techniques throughout the event.

APRIL3-17 Easter HolidaysA lovely time to visit the Museum and enjoy ourcarpets of flowers, new-born lambs, horses at workand other Spring treats.

11-12 Shepherding & Shepherds’ HutsThis two day event focusses on shepherds’ huts andtheir agricultural applications. The range of huts ondisplay will include visiting exhibits as well as theMuseum’s permanent collection. The character andcharm of shepherds’ huts has made them incrediblypopular as a modern, moveable space and someinspirational new builds will also be on display. Theevent will also encompass the skills, traditions andculture of the downland shepherds.

3-6 The Museum at EasterJoin us to celebrate Easter as our rural forebears did.See some of the houses prepared for Easter and joinin the bonnet making and parade on Easter Monday.

MAY3-4 Food & Folk FestivalThe very best of the South East’s produce, crafts,books and plants will be showcased at our Springevent. Cookery classes both days, demonstrations,tasty samples to try and buy, traditional folk music,dancing and storytelling.

10,11,12 Festival of ArchaeologyWeekendAs part of the British Festival of Archaeology, thisexhibition will introduce you to the deserted medievalvillage at Hangleton, near Brighton, and the buildingwe’ve reconstructed here at the Museum.

19 Rare & Traditional Breeds ShowThis year the Museum celebrates the 30th anniversarysince the first Rare Breeds Show held on 21 July 1985.The event boasts some magnificent rare breedanimals together with old time farm favouritesincluding Pygmy goats and friendly-faced Alpacas.With prizes at stake, and classes for young handlers,it’s one of the biggest shows of its kind in the SouthEast.

AUGUST2 William Cobbett Walk (ticketed)This four mile walk follows the route taken by farmerand radical journalist William Cobbett on his RuralRide through East Dean to Singleton, 202 years agotoday. Tea and short talk afterwards. Tickets £15 each.

15-16 Vintage & SteamThe Vintage & Steam event at the Weald & DownlandOpen Air Museum will appeal to anyone who wants toexperience a taste of life 80 years ago when somevehicles didn’t start at the turn of a key! Thiswonderful event will showcase a huge selection ofclassic, vintage and steam vehicles. With vintagemusic, themed tea tent, local crafts, traditionaldemonstrations and continuous arena displaysthroughout the weekend.

5,12,19,26 Wonderful WednesdaysJoin us for a day of hands-on countryside skills, crafts,activities and games. Suitable for all ages. Under coverif wet.

27-31 Woodyard and CharcoalWeekendFor five days the traditional early 20th century earthclamp will be built, tended and then dismantled onBank Holiday Monday. Woodland managementdemonstrations will also be held throughout theevent.

SEPTEMBER5-6 Harvesting and Brewing WeekendAn introduction to traditional brewing skills –transforming barley and hops into ale and beer – andusing other crops harvested in our traditional fieldsand gardens.

8 Women’s Institute Centenary EventSingleton and East Dean WI was the first WI formed inEngland. The Museum will host their celebrations withdemonstrations of the WI work over the century.

21-27 Narrative Cloth ExhibitionOriginal artwork drawing inspiration from the replicaclothing made by the Museum’s Historic ClothingProject and Danae Tankard, the Museum’s academicresearcher on 17th Century rural clothing.

OCTOBER10-11 Autumn Countryside ShowExperience the sights, sounds and smells of thecountryside at harvest time. Take a step back in timeand see heavy horses ploughing the fields, vintagetractors at work and steam-powered threshingdemonstrations. Watch the woodland and rural craftdemonstrations, thatching, traditional and horticulturalcompetitions held over both days. There is also achance to browse and buy gifts with a countrysidetheme at the many craft and trade stands.

26-30 Autumn Half Term FamilyActivitiesWonderful seasonal activities and fun for families. Playconkers or have a go at blacksmithing and muchmore. Under cover if wet.

NOVEMBER14-15 Christmas Market

DECEMBER6 Tree Dressing26-28 Museum at Christmas

15-16 Museum at Night (ticketed)Join us from 8.30pm for a guided walk round theMuseum and experience life in a world withoutelectric lighting. Tickets £15 each, includingrefreshments.

25-29 Spring Half Term FamilyActivitiesMake the most of long days and fine May weatherwith a huge range of arts, crafts, games and activitiesbased in and around the countryside. Suitable for allages. Under cover if wet.

JUNE20-21 Wood Show Since the 1980s a wood theme has formed part ofmany different shows at the Museum. Due to populardemand a two day event will be held in 2015 tocelebrate the many traditional uses of wood. Theweekend will include a range of wood craftdemonstrations, a working wood yard, teams of heavyhorses carrying out forestry tasks, exhibitors anddisplays. From the Museum’s own timber-framedbuildings to crafted bowls, furniture, tools, toys andwooden products there will be plenty to see, do andpurchase.

JULY3-5 Historic Gardens WeekendThrough guided tours, talks and demonstrations in oursix period gardens, discover the herbs, vegetables andflowers that rural households would have grown andused from Tudor times right up to the Victorian era.

WHAT’S ON 2014-15

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View the contents of yourkitchen bin with an objectiveeye. This collection of waste,wrapping and brokenpossessions, discarded, gives aglimpse into your way of lifelike a black-sack time capsule.

The people that lived in the buildingfrom Hangleton also discarded the con-tents of their kitchen bin when quittingtheir home almost 700 years ago. Their‘rubbish’ lay undisturbed, in pits insideand outside of the building and in situ inboth oven and hearth, until its discoverybetween 1952 and 1954 during the excavations of Eric Holden and John and Gillian Hurst. Each bone and shellwas meticulously recorded within theirreport which provided the archaeologicalplan for the museum’s reconstructedexhibit building. However, until thedomestic interpretation of the buildingincluded hearth cookery, this informationremained unused.

In 2012, prompted by the completionof early 14th century attire made by theHistoric Clothing Project, domestic lifeinterpreters took up day-long residencein the building from Hangleton, prepar-ing food and cooking, using replica‘coarse-ware’ cooking pots. But thereremained a dilemma – what should theinterpreter cook? Contemporary recipebooks such as The Forme of Curry and LeManagier de Paris were inconvenientlywritten at the wrong end of the century,the 1390s, and belonged to a social statustoo elevated for a Hangleton peasant.

The answer was found within thearchaeology report. Core ingredients

excavated (the ‘kitchen rubbish’) couldbe studied alongside documentation forHangleton and comparable villages, andthen read in context to the time, placeand social status. A landscape survey ofHangleton c.1300 was also completed togain an understanding of the topographyand geography of this Downland scarp-foot settlement. The findings of this workincrease the understanding of theresources available in late medievalHangleton and inform the domestic lifeinterpretation in the exhibit building.

The findingsCow, pig, sheep, geese and rabbit boneswere found hearthside. However, toaccept archaeology in isolation would beto disregard the animals’ context, theirreason for being ‘served forth’ on a peas-ant’s platter c.1300. Therefore, furtherreading of the documentary evidence wasundertaken to correctly interpretHangleton’s hearths.

OxThe ox’s primary function in Hangletonwas as an animal of traction. A peasantwould not eat his tractor until it stoppedworking; how else would he pull hisplough? Therefore the bones found inHangleton were from mature animals,those whose working days were over, andthey consisted of parts of the skeletonassociated with inexpensive cuts of meat.

The jawbones found correspond to oxcheek and ox tongue being consumed.Ox tail and offal were also eaten by thelow-status villagers. The remainder of theox went for a profitable sale elsewhere.

MuttonHangleton operated a sheep-corn hus-bandry in the late medieval period. Thevillage c.1300 probably had 500 acres ofarable, a figure consistent with theDoomsday survey of 1086 and the Titheaward of 1841. According to the histori-cal geographer Peter Brandon, latemedieval arable acreage to sheep rationever fell below 1:3; therefore there wereas many as 1,500 sheep fertilising thefields at night. During the day theycropped the steep downland land unsuit-

interpretation


Domestic interpreter Helen Mbye discusses the evidence that has informed the cookingdemonstrations in the building from Hangleton.

The archaeology of Hangleton’s hearth

Helen Mbye in the building from Hangleton, with fish in a ‘coffin’ on the embers, and potsof food cooking on the opposite side of the hearth.

The building from Hangleton,reconstructed by the museum fromevidence produced by the archaeologicalexcavations in 1952-54.

A bowl of food – conies in hoggepottserved with frumerty and wheaten bread.

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able for cultivation. In life a medievalsheep yielded 500g of fleece and between30 and 50 litres of milk annually. Manysheep bones were found around thehearths of Hangleton, and although sheeprearing in Sussex was primarily for wool,mutton was affordable and accessible tothe peasantry.

PorkWhile suckling pig was eaten exclusivelyby the nobility, Hangleton villagers ateolder animals. The bones found at theexcavation site, which included jaws withtusks, were from mature pigs of at leasttwo years of age and of ‘a fair size’. Pigbones were found sawn, a basic butcher-ing method to divide a carcass.

GooseA single goose bone was found in theexcavations. The medieval greylag goose,yielding around 20 eggs per year, wasmost valuable to Hangleton’s peasantrywhen sold for its meat. In 1310, a fat-tened goose could be purchased at market for 4d. Goose eggs sold foraround 2½d per dozen which is over fivetimes the price that could be asked ofhen’s eggs. Raising a gosling could be aprofitable business venture, although itremained a marginal sector of latemedieval animal husbandry, representingjust 3.5% of farming output in Norfolkfor the period 1250–1400, a percentagethat might be attributed to the birds’temperament. At lower social levels geesewere kept in groups of three – a male andtwo females – and served as excellentwatchdogs. A wandering goose could pil-fer crops and foul the soil, so they residedwithin the toft, the enclosed area whichserved as garden, orchard, harvest storeand chicken run. The presence of a singlebone may be evidence of a manorial feastin which the village participated, or aboon received in lieu of payment.

RabbitAnother anomaly is the presence of arabbit bone. Rabbits were a high statusfood during late medieval England. Theylived in man-made warrens and werecared for by the warrener. Both flesh andfur were so prized that in 1235 Henry IIIgave as a gift 100 rabbits to the Bishop ofChichester. How rabbit was served in anoble household is glimpsed in Walter ofBibbesworth’s late 13th century Treatisewhich recounts a rabbit dish served ‘ingravy, all coated with sugar’. Such farewas outside the reach of the Hangletonpeasantry: the market price of a singlerabbit was prohibitively expensive at 3d,equivalent of the pay for two days’unskilled labour. However, documentaryevidence informs us that poaching wasendemic in the late 13th and early 14th

centuries, so perhaps the Hangleton rabbit was illicitly obtained.

SnailsFive shells from the edible common gar-den snail were found around the hearths.Archaeologist John Hurst observed theywere well fed and ‘may or may not havebeen used as food’. However, as they wereconsistently large shells, this suggestsselection of the biggest and best snails forthe cooking pot. These snails were ‘wildfood’ and would have been gatheredlocally, perhaps in the toft, in the earlyevening after rainfall. They would then becleansed in a jar and fed only vegetablesfor about three days. Snails are cooked inthe same way as mussels, added to boilingstock water. The diet of the Hangletonvilleins already contained essential ingre-dients for a vegetable stock to accompanysnails. Snail shells have been collected andappear alongside oyster shells on the tablein Hangleton’s exhibit building. Livesnails have been collected and used toillustrate ‘wild food’ harvesting and thenare released. Thus far, interpreters havenot worked up enough courage to cooka batch of Escargot du Hangleton; themuseum’s Mollusca remain safe . . . for thetime being.

ShellfishThe most abundant of ‘food finds’ inHangleton’s archaeological surveys wereoysters. As well as a proliferation of oystershells, mussels, cockles and scallops werealso found in abundance. A few winklesand whelks were also identified.Hangleton was well placed for obtainingfresh fish and seafood being within anhour’s walk from Hove, a busy fishingport in the early 14th century. Shellfishwere gathered by raking the sand at lowtide, perhaps gathered for free in this way.

HerringOnly one fish bone was found, and itstype was not identified. Even allowing forthe biodegrading of fish bones, it stillappears that the villeins of Hangleton atea large proportion of shellfish and only acomparatively small quantity of otherfish. The fish eaten might have been herring, which were documented beinggiven to harvest workers in Laughton

during the 1320s. Herring was a popularcatch on the South Coast during the13th and 14th centuries. Atlantic herringcan be caught year-round and could benetted in the shallow waters near to thebeach. Herring can be preserved bysmoking, salting or pickling, the threepreservation techniques available to thelower classes. The Southampton tradeguild named salt herring (along withhoney and fat of any kind) as an itemwhich could not be traded by anyoneother than a guild member. This suggeststhat herring was a valued commodity, themain catch. The peasantry of Hangletonate herring year-round, but especiallyduring fasting and fish days, according toCatholic stricture.

CookingInterpreting food preparation inHangleton uses the archaeological evi-dence for fuel and cooking equipment.The excavations revealed that, althoughcharcoal and sea coal were in use, thedominant fuel was locally sourced wood.The archaeologists found a 13th centuryfire cover, which was used to safely con-tain but not extinguish hearth embersthrough the night, found (incomplete)near ‘Building 3’ suggesting coal andcharcoal being used at night. Openhearth cooking allowed many pots to beheated simultaneously and by placing apot away at a distance from the embers itis possible to achieve a simmering heat orjust to keep the food warm whilstaccompanying dishes are still cooking.The number of pots the hearth is able toheat may suggest that cooking was acommunal activity, to minimise fuel con-sumption, or that batch cooking waspractised in individual households.Numerous wheel-thrown cooking potfragments were found in Hangletonwhich fall into the category of ‘coarseware’, containing flint, shell, sand and gritin their constitution. In colour, EricHolden reported these fragments to be of‘earthy’ hues that ‘ranged from grey tobrown, buff and red’.

interpretation


Sheep’s jawbone found in Eric Holden’sexcavation of the building from Hangleton.

Medieval sheep. Luttrell Psalter, BritishLibrary, ADD MS 42130, c.1325-1335. continued on page 21

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P. 18-19_P. 3- 15/10/2014 09:14


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courses


Traditional rural tradesand crafts coursesWith many new courses there was a huge choice this year, and many will berepeated in next year’s programme. TheFlax to linen days were exceptionallypopular and engendered comments suchas: “How to turn straw into golden thread!Learned loads. Had no idea how labourintensive linen production was.” It wasfascinating watching some of theblacksmithing students returning todevelop their skills at the smithy andgoing home with a very authentic-looking‘Pyecombe crook’.

Medieval embroidery techniques learnton our 2015 courses will depict‘medieval beasties’ and the tutor hasadded an appliqué day. HerbalistChristina Stapley is offering a number of brand new days including Herbs,humours and astrology and The rosefamily: form, fragrance and flavour. Wehave also added to the glass courseswith a weekend in February devoted toFused glass jewellery making. More new

courses will appear in the new coursebrochures and will be announced

in the Spring 2015 magazine.

Evening talksThe Tales of the Downs &Beyond series of eveningtalks brought in the crowds

this year, with nearly 650people attending 14 talks.

Watch out for the next series inthe Spring 2015 magazine.

Historic buildingconservation courses2014 has been another busy year forthe adult learning department withmany courses oversubscribed. Ourprogramme for 2015 includes repeatsof popular existing courses and someexciting new ones. We have had toincrease the price of some due to risesin the costs of tutor travel and materials– for example, the severe flooding inSomerset has put up the price ofwillow. Learning is at the very core ofthe museum and we are committed tomaking the learning programme asaccessible as possible while ensuring asmall margin to support other aspectsof the museum’s work.

The new Lead-light window restorationcourse was a great success, withstudents reporting: “the listening partand hands-on were equally helpful andinteresting” and “I now feel confident totackle a project myself.” It returns in2015. The timber framing coursescontinue to be well subscribed and wehave a small number of bursaryplaces on offer – details and anapplication form are on themuseum’s website. Timberframes made on coursescontinue to be for sale.

Both the University of Yorkvalidated MSc courses inBuilding Conservation andTimber Building Conservationhave recruited well and students

will beunderway withtheir studies bythe time youread this. Asusual thestudents comefrom a hugerange ofbackgroundsand havenumerousreasons forwanting tostudy to thishigh level.

Museum’s award-winning courseprogramme for 2014-15

Lead light windowrestoration, with tutorDavid Lilly. Making a coracle.

Replica cooking pots were placedagainst the fire’s embers and turned frequently by 90 degrees to ensure the potsheated evenly and did not crack. Boilingand simmering provided the requirementsfor many dishes. Ox cheek, which behaveslike braising steak, simmered in fresh herbsfor approximately four hours boasts thetexture of a worn car tyre. Oil is heated forthe frying of fritters, which resemblebajias; they contain cheese or herbs in aflour and milk batter. Shellfish are placeddirectly on the embers which replicatesgrilling. Fresh herring are sealed in doughand placed on embers, known as a ‘fish incoffin’, which is a method of steaming.

Hoggepott’s (sometimes written asHodgepodge) recipe is simple: throw any-thing you have into a cooking pot andcook until it is ready. This has been triedwith rabbit (poached from the localbutcher) and ox tail. Using seasonal herbsand vegetables, stock, and a cut of meat, apleasing stew simmers for hours, addingaromas into the interpretation of domes-tic life in the early 14th century.

What is in your kitchen bin? Could anarchaeologist and an interpreter use yourwaste to recreate a scene of domestic life inthe early 21st century? It seems an unlikelythought that anyone would want to, but, Isuspect, 700 years ago the peasantry ofHangleton would have thought that too.

COURSE ENQUIRIESAll course enquiries should be made to the Lifelong Learning Department. Tel: 01243 811021. Email: [email protected]. Website:www.wealddown.co.uk. Leaflets can be posted or emailed on request and bookings can be made over the phone by credit or debit card.

20 years ago –

the museum’s MSc in Timber

Building Conservation was launched

Helen Mbye received a First-class BA(Hons) History degree at the Universityof Chichester in 2014. She has recentlybegun an MA in Medieval andRenaissance Culture at the Universityof Southampton. Helen has beenworking at the Weald & DownlandOpen Air Museum since 2006 as aDomestic Interpreter and SchoolsSession Leader. She lives in West Deanwith her two children and 25 rare-breed bantams.

The archaeology of Hangleton’shearth

Becoming a volunteerVolunteer helpers are vital to the museum’soperation – we couldn’t manage withoutthem. They steward the historic buildings,work with schools, help run the watermill orTudor kitchen, assist in the gardens and atthe stables, and carry out many other tasks.Apart from the help given to the museum,our volunteers enjoy the social side of theirtasks, meeting others with similar interests.If you would like to become a volunteer callthe volunteer coordinator on 01243 811933,email [email protected] or visitour website, www.wealddown.co.uk

Supporting the museum …

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P. 21-24_P. 3- 15/10/2014 09:15

courses 2014-15


Flint walling – FULLLeaders: Mark Middleton and Chris RosierTuesday 18 – Wednesday 19November 2014 £270

Oak timber framing: raftersLeader: Joe ThompsonMonday 24 – Friday 28 November2014 £520

Flint WallingLeaders: Mark Middleton and Chris Rosier Tuesday 24 – Wednesday 25February £270

Historic timber framing: modernengineering solutions Leaders: David Yeomans and Jim BlackburnMonday 9 March £110

Oak timber framing: jowl postsLeader: Joe ThompsonMonday 16 March – Friday 20 March£520

Repair of timber framed buildingsLeaders: Richard Harris and Joe ThompsonTuesday 24 March £110

Timber: Identification of speciesLeader: David WoodbridgeThursday 26 March £110

Oak timber framing: wall framingLeader: Joe ThompsonMonday 13 – Friday 17 April £520

An introduction to dating timber-framed buildingsLeader: Joe ThompsonFriday 24 April £110

Sash windows: historymaintenance and repairLeaders: Stephen Bull and Charles BrookingWednesday 29 April £110

Energy conservation in traditionalbuildingsLeader: Richard OxleyWednesday 6 May £110

Oak timber framing: raftersLeader: Joe ThompsonMonday 11 May – Friday 15 May£520

English brickwork: Tudor toEdwardianLeader: Gerard LynchMonday 1 June £110

Jointing, pointing & re-pointinghistoric brickworkLeader: Gerard LynchTuesday 2 – Wednesday 3 June£220

Timber decay and its treatmentLeader: Brian RidoutWednesday 10 June £110

An introduction to strawbalebuildingLeader: Barbara JonesSaturday 13 June £75

An introduction to timber repairsLeader: Joe ThompsonMonday 15 – Wednesday 17 £325

History of wall coveringsLeader: Treve RosomanTuesday 16 June £110

Historic lime plasters and rendersLeaders: Jeff Orton and Tim RatcliffeTuesday 23 – Wednesday 24 June £230

Lime plastering Leader: George TerryThursday 25 June £110

Fire and historic buildingsLeaders: Steve Emery, Richard Playle,Marjorie Sanders and Roger AngoldThursday 25 June £110

A practical introduction tosignwritingLeader: Wayne OsborneTuesday 30 June £110

Historic Building Conservation Courses November 2014-June 2015

Details of the full programme of courses for 2015 are available on the museum’s website, www.wealddown.co.uk.Alternatively, if you would like a brochure by post please ring 01243 811021.

Practical thatching – this year thatcher Chris Tomkins taught thisday school on a ‘live’ project: the Bayleaf woodshed neededrethatching and in a day a total of eight students learnt enoughabout thatching to make a reasonable job of it!

Practical introduction to cutting timber scarf joints.

Love love love this beautiful place. We’ve had a familymembership for ...years and it is STILL the children’s favourite

day out. Great special days throughout the year and the‘wonderful Wednesdays’ in the summer are just wonderful!

Olivia Aylott

Been a friend for a few years. I bring my grandchildren tothe museum a lot and I often visit with my wife. Five stars.

Gary Middleton

I really have a passion for Tudor buildings and lovely gardens,and also water, so this place has it in abundance! Along with very

polite and knowledgeable staff and volunteers, if you love oldbuildings and open grass fields this is certainly the place to come

for a walk around, and also have a cup of tea or coffee! It’s sonice to see how they keep the old trades alive too! You will notbe disappointed I’m sure. I go back as much as I can because I

have an annual membership; it’s the perfect place to go if you’refeeling a little down, you’ll always come away cheered up.

Tim Raven

Best of Facebook!

courses 2014-15▲

Ploughing with heavy horsesLeaders: Mark Buxton and JohnMcDermottSaturday 1 November £85 FULLSunday 2 November £85 FULLSunday 7 December £85

An introduction to chair makingLeader: Mervyn MewisSaturday 1 November £75 FULLSunday 2 November £75 FULL

An introduction to coppicemanagementLeaders: John Lindfield and JonRobertsSaturday 1 November £50 FULL

Tudor bakehouse: pies & pastriesLeader: Lesley ParkerSunday 2 November £60 FULL

Victorian papier mâché ChristmasdecorationsLeader: Linda ChiversFriday 7 November, Friday 21November (two linked half daysessions) £50

Print your own woodcut ChristmascardLeader: Will DykeSaturday 8 November £65Sunday 9 November £65

Christmas stain glass decorationsLeader: David LillySaturday 22 November £100

Woven hurdle makingLeader: John LindfieldSaturday 22 November – Sunday 23 November £165

Candlelit walkLeader: Jon RobertsFriday 28 November £15

Tudor Christmas foodLeader: Lesley Parker Friday 5 December £60 FULLSunday 7 December £60 FULL

Warming winter remediesLeader: Christina StapleyFriday 12 December £60

Herbal Christmas gifts &decorationsLeader: Christina StapleySaturday 13 December £60 FULL

Fused glass jewellery making Leaders: Andy and Pam Kallender Saturday 7 February – Sunday 8 February £200

Hedgelaying Leader: Vic SmithSaturday 7 February – Sunday 8 February £130

Living willow chair workshop Leader: Ganesh KingsSaturday 14 February £110

Make your own stick for countrywalking Leader: Charles HutcheonSaturday 21 February – Sunday 22 February £140

Stumpwork: Bugs and beetles Leader: Caroline VincentSunday 22 February £55

Traditional English longbow Leader: John RhyderFriday 6 March – Sunday 8 March£260

Spinning: preparation & the dropspindle Leader: Steve KennettMonday 9 March £55

Spinning: an introduction to thewheelLeader: Steve KennettTuesday 10 March £55

Leaded-light stained glass Leader: David Lilly Saturday 21 March £110Sunday 22 March £110

Learn to crochet Leader: Rose SavageSaturday 21 March £55

Horse loggingLeaders: Mark Buxton and RobertSampsonSunday 22 March £90

Make a Sussex Trug Leaders: Robin Tuppen, Chris Tuppenand Mike ChurchSaturday 28 March – Sunday 29 March £140

Hand smocked samplerLeader: Wendy TuppenSunday 29 March £55

Beekeeping for beginners Leaders: Christine Stevens andEmma O’DriscollSaturday 11 April £50

Nålebinding or single needleknittingLeader: Judith ResslerSunday 12 April £55

Irons in the fire Leader: Martin FoxFriday 17 April £90Saturday 18 April £90Friday 22 May £90Saturday 23 May £90

Medieval appliquéLeader: Tanya BenthamSaturday 18 April £75

Woven tapestry weekend Leader: Hilary CharlesworthSaturday 18 April – Sunday 19 April £95

Traditional Rural Trade & Craft Courses November 2014-June 2015

Bark basketry.


Make a Sussex trug.

P. 21-24_P. 3- 15/10/2014 09:15

A walk through the woods Leader: Jon RobertsSaturday 18 April £15

Exploring early medievalembroidery and art: needleworkmedieval beasties Leader: Tanya Bentham Sunday 19 April £75

Care, management and harnessingof heavy horsesLeader: Mark Buxton Sunday 19 April £90

Willow garden supports Leader: Ganesh KingsSunday 19 April £110

Pole lathe turning Leader: Mark AllerySaturday 25 April £60Sunday 26 April £60

Make a shave horse Leader: Mark AlleryMonday 27 April £80

Tudor Farmhouse day in Bayleaf Leader: Lesley ParkerSaturday 25 April £60

DowsingLeader: Pete RedmanSunday 26 April £50

Deer preparation and butcheryLeader: Dominic StruttSunday 26 April £75

Victorian cleaningLeader: Ruth GoodmanLate April (exact date TBC) £60

Historic cheese making Leader: Ruth GoodmanLate April (exact date TBC) £60

Bark basketry Leader: John RhyderFriday 1 May £65

Driving heavy horses Leader: Mark BuxtonThursday 7 May £90Sunday 24 May £90Thursday 11 June £90Sunday 28 June £90

Rag rugging workshopLeader: Linda Chivers Friday 8 May £55

Learn to mow using a scytheLeader: Mark AllerySaturday 9 May £60

Introduction to traditional dairyingLeader: Lesley ParkerSaturday 9 May £60

Willow workshop: weave & wale a basketLeader: Deborah AlbonSaturday 16 May £70

Hand shearingLeader: Phil HartSaturday 16 May £60

Skep makingLeader: Derek SleeSaturday 16 – Sunday 17 May £90

Historic quilting dayLeader: Norma McCrorySunday 17 May £55

Herbs, humours and astrology Leader: Christina StapleyFriday 22 May £60

Traditional earth charcoal burnLeader: Jon RobertsSaturday 23 May £50

Woodland herbs Leader: Christina Stapley Saturday 23 May £60

Tudor fyshe cookery Leader: Lesley ParkerSunday 24 May £60

Medieval tile making Leader: Karen Slade Sunday 24 May £125

Stone carving: Celtic knotLeader: Will Spankie Saturday 30 May £80

Letter cutting in stone Leader: Will Spankie Sunday 31 May £80

Animal tracking and trailingLeader: John RhyderFriday 5 June £75

Using and setting up your newtable loomLeader: Val ConwaySaturday 6 June – Sunday 7 June£95

Woodcut printing: Historicbuildings Leader: Will DykeSaturday 6 June £65

Make country dollsLeader: Wendy TuppenSaturday 6 June £50

Stumpwork: Dragonflies Leader: Caroline VincentSunday 7 June £55

Make a traditional hand-sewnbook Leader: Gaynor Williams Sunday 7 June £60

Meet the Rose family, form,fragrance and flavour Leader: Christina Stapley Thursday 18 June £60

Herbs in the stillroomLeader: Christina Stapley Friday 19 June £60

Patchwork for busy people Leader: Linda ChiversSaturday 20 June £55

Natural dyeing Leader: Lesley ParkerWednesday 24 June £55

Make a felt hat Leader: Hilary CharlesworthSaturday 27 June £55

Natural navigation walk Leader: Tristan Gooley Saturday 27 June £20

Carve a wooden bowlLeaders: John Vardon and Jen JaySaturday 27 June £65

courses 2014-15

▲

Details of the full programme of courses for 2015 are available on the museum’s website, www.wealddown.co.uk.Alternatively, if you would like a brochure by post please ring 01243 811021.


Traditional Rural Trade & Craft Courses November 2014-June 2015

Out of 248 reviews, 153 were ‘excellent’ and 78 were

‘very good’.

“Beautiful location” We’ve been to this place twice now andhave enjoyed it on both occasions, a tad

on the high side for the entry fee, but

these places have bills and upkeep likeeverywhere else. As long as the weather isnice you couldn’t wish for a better day out

if looking at old buildings is your thing.There were plenty of volunteers about

the place all willing to answer questions. I found it very informative and oozing

with information boards about how weused to live and how things wereconstructed. I particularly like the

way most of the properties had lit firesand had furniture to give the feel of a

home not just an old building, also veggardens producing and the water

wheel grinding wheat, all producingproduce to be used in the café, almostself-sufficient! Will go again no doubt,

every time I see something that I missed last time. Visited June 2014

Trip Advisor reviews . . .

Peg loom weaving.


CHRISTMAS MARKET

ADMISSION INCLUDES ACCESS TO ALL MUSEUM EXHIBITS

www.wealddown.co.uk

15-16 NOVEMBER 10:30-4PM

WE ALD & DOWN L AN D O PE N A IR M U S E U M

REDUCED

ENTRY £6 ADULTS

£4 CHILDREN

——

The museum is welcoming a special guest onthe weekends of 13/14 and 20/21 December –Green Father Christmas (Old Winter)! Old Winter was originally part of an old Englishmidwinter festival. Normally dressed in green, hewas a sign of the returning spring.Seated in a chamber in themedieval house fromNorth Cray, traditionallydecorated usingseasonal greenery, OldWinter will be selectingpresents from a largewooden chest to give toeach child he meets. Every child will receive a traditionalwooden toy, wrapped in brown paper and raffia. Old Winter will need to be seen by appointmentand tickets must be purchased through his LittleHelpers, Lesley or Ed, by calling 01243 811021 oremailing [email protected]. The cost willbe £10 for each child and £5 for accompanyingadults (maximum of two). For other accompanyingvisitors the usual museum admission charges will apply.

Meet Green Father Christmas

Everyone is invited to the Christmasshopping weekend on 6/7December when we will be offeringmulled wine and mince pies whileyou shop – and if you are a Friendtake advantage of your 10%discount on everything you buy!

Christmas gifts

Christmas at the Museum

With museum visits up 7% onlast year, shop sales are up by4%, with an average spend foreach visitor of £2.14, up by 8pon last year. Well done all thoseof you who have enjoyedshopping at the museum –every penny goes towards thehistoric buildings and ruralartefact collection and themuseum’s interpretation andlearning work. Autumn andWinter is a busy time in themuseum shop – once again weare selling On the Hop beermade with the museum’s hops– look out for it at the Christmasmarket and in the shop, wherea gift set with a museumtankard, On the Hop beer and aunique museum bottle openeris new this year. The shop isalso stocking a great selectionof museum hampers!

Shopping helps themuseum develop

30 years ago –

the medieval house from North Cray

joined the museum’s exhibits

Sold in the museumshop this year –

466 horseshoes461 scarves

8,623kg of museum flour6,745 museum biscuits

576 Building Historybooks

AND3,066 bags of duck food!

news

P. 25_P. 3- 15/10/2014 09:15

This year we increased our interpreta-tion of the woodland area. During WWIweek, demonstrators worked in theWoodyard, the Coldwatham shed, theCharcoal Camp and the coppice. Thisattracted a large number of visitors andwe were able to awaken real interest andenthusiasm. We repeated some of these

demonstrations during the last weekendof August, focusing particularly on theearly 20th century Charcoal Camp, inter-preting it with suitable clothing and‘props’. It attracted a lot of interest andnext August we will extend this to fivedays, to include bank holiday Monday.Visitors enjoyed seeing the historic cloth-

ing and learning that the charcoal pro-duced is all used on site; they were able towatch coppice work going on, see thedonkeys hauling logs from the woodlandto Bayleaf farmyard, and even take part intwo-man cross sawing to help create logsfor the charcoal burn itself. Pictured areRural Interpreter Jon Roberts andvolunteer Sarah Ridley tending thetraditional earth burn to producecharcoal during WWI week.

A good year forharvesting andbrewing

Autumn was traditionally the time togather produce to be preserved for thelong winter months, and on 6/7September we held a Harvesting &Brewing weekend. This year has seen abountiful harvest, with plenty ofhedgerow fruit as well as good crops inour historic gardens. There were demon-strations of preparing and preserving thegarden and wild produce which will be used not only for food but also formedicinal purposes. At the same time wehave harvested the first of the hops whichwere replanted in Tindalls Cottage gar-den – hop growing was traditional in thearea of Ticehurst, East Sussex where thebuilding was originally sited – and thiswas an ideal opportunity to try somebrewing in the Tindalls brewhouse. Wealso brewed ale in Winkhurst TudorKitchen and gave visitors the opportunityto sample beer and ale as well as cider, allproduced here on site. The Tindalls hopshave gone to the local Ballards Breweryfor their special On the Hop beer.Pictured is harvested produce fromthe museum gardens on display.

interpretation

Tindalls Cottage curtilage developsThe interpretation of thecurtilage of the early 18thcentury Tindalls Cottage isongoing, and will take a fewseasons before the arealooks established. We grew asuccessful crop of Chidhamwheat which has produceda good stock of seed fornext season. We also triedgrowing a small area of flax,which did quite well: it wasnot very tall, but this isbecause the soil still needsimproving, so next year wewill double the area and feed well with manure. However, we were able to pull asmall crop which we then retted (soaked) in the horse trough and dried on the fenceof the goose pen. It is now stored in Cowfold Barn next to Bayleaf Farmhouse readyfor the next part of the process to turn it into linen. More fruit trees will be plantedin the yard this autumn, and in the meantime the native hedging has done well andis becoming established. The hedging quicks were supplied by Mill Farm Trees nearPulborough, and we used the Sussex Hedgerows Inventory Project to find the cor-rect species for the Ticehurst area, the cottage’s original home. As the hedge growswe can make use of it to demonstrate hedge laying and hedge management.Meanwhile, the Needlework Group has been working on historic clothing for volunteers to use when working at Tindalls Cottage, and has now completed twooutfits, one male and one female. Pictured are interpreters harvesting flax atTindalls cottage in the summer.

Woodland and charcoal campinterpretation


P. 26-27_P. 3- 15/10/2014 09:16

Our interactive interpretation hasbeen increased during the Easter andsummer school holidays. Visitors youngand old have been able to ‘help’ withlaundry at Whittaker’s Cottage; have a goat bricklaying and blacksmithing; helpsaw up logs for the Upper Beeding TollHouse fire and for making charcoal, andplay traditional games indoors and out-doors. It has been great to be able to offermore interpretation of the Medieval shop

from Horsham, the Victorian school fromWest Wittering and at 17th centuryPoplar Cottage. We have also been able toopen 19th century Gonville Cottage tothe public on three afternoons a week,for visitors to view and explore theHistoric Clothing Project. Many of theparticipatory demonstrations have beenprovided by volunteer stewards which isof huge value, and we hope to expandthis further next year.

The museum atnight – seeingthings from adifferent perspective

The museum took part for the secondtime in the national Museums at Night celebration, organised by Culture 24, withtwo evenings of guided tours, looking atthe lives of the former occupants of ourhistoric houses during the hours of duskand darkness. It was an opportunity todeliver a different and deeper level of inter-pretation of the social history of the build-ings, plus the perfect occasion for visitors toenjoy a walk round our beautiful site on asummer evening, and see things from a different perspective. We plan to repeat the event in 2015 with similar evenings on15/16 May, rounding off with the usualcocoa and biscuits in the Building CraftsGallery. Bookings open in February, andwith limited places it is worth bookingearly to ensure your chance to take part.Pictured is the sun setting over themuseum’s market square on one ofthe guided tour evenings.

interpretation

Exploring Hangleton Cottage’sarchaeologyDuring British Festival of Archaeology fortnight in July, the museum stagedan exhibition on the museum’s Hangleton Cottage exhibit and the excavationwhich took place in the 1950s. A small collection of artefacts found during the digwere displayed, along with new research by museum interpreter Helen Mbye, oneof Museum Historian Danae Tankard’s students, who specialises in medieval history(see her article on Hangleton Cottage on page 18). Her work focuses on some ofthe people who lived in Hangleton during the 14th century, discovered throughcontemporary taxation records. There were also archaeological activities for childrenand live domestic interpretation at the building itself. Pictured is one of the chil-dren’s activities at the Downland Gridshell.

Completing Bayleaf’s re-interpretationThe creation of a new wall hanging for Bayleaf Farmhouse (see page 13) hasgiven us the opportunity to complete our updated interpretation of this building.We made the decision to remove the interpretation panels which had lived in theupper service chamber since 1989, and to refurnish it as a second bedchamberand store room. The interpretation panels are to be reinstated in Winkhurst Hall(the modern section alongside the Winkhurst Tudor Kitchen) at the beginning of2015. In the meantime Roger Champion has created some beautiful replicafurniture for the service chamber and we are now in the process of addingbedlinen and other smaller items.

Extra busy during school holidays!


Joining the FriendsThe Friends of the Weald & DownlandOpen Air Museum provide a vital sourceof support and income and make annualgrants to the museum (so far they havecontributed an amazing £2.5 million).Joining the Friends is a way of helping themuseum’s work, as well as entitling youto free entry. To join call the Friends’ office on 01243 811893, [email protected] or visit ourwebsite, www.wealddown.co.uk

Introducing the museum to asponsor or donorMajor rescue and restoration work on themuseum’s buildings or the developmentof visitor facilities can only be financed bysponsorship, donations or grants. If youcan help put us in touch with a potentialdonor please contact the museumdirector on 01243 811363 or [email protected]


P. 26-27_P. 3- 15/10/2014 09:16

Historic building exhibits get some TLC!

Poplar Cottage is re-thatched by Andy Pickering with thesupport of a £60,000 grant from Arts Council England’s(ACE) Designation Fund: the museum is one of asmall number in England and Wales Designated by the Government for its nationally importantcollections. The museum’s beautiful downland siteis in good heart after a sunny summer and we havemade good progress with repairs to the historicbuilding exhibits as well as fencing, coppicing, andhedging. During the spring Poplar Cottage, a 17thcentury labourer’s cottage, looked particularly splendidwith its re-thatched roof, lime-washed exterior and newly-erected garden fence. Pete Betsworth carried out daubing repairs and lime-washedPoplar Cottage, the early 15th century Bayleaf Farmhouse and the medieval house fromNorth Cray. The Bayleaf wood store was re-thatched as part of a thatching course led by master thatcher, Chris Tomkins. Volunteers Murray James, Gerry Dowsett, GavinOclee-Brown and Tim Magilton were busy with a wide variety of tasks includingrepairing the daub at Tindalls Cottage following last winter’s exceptionally wet weather.A structural survey of Titchfield Market Hall undertaken by Richard Oxley has shownthat significant repair and conservation work will need to be carried out in the nearfuture. Dating from 1619, the market hall was one of the earliest buildings to be re-erected at the museum.


Norwaycalling!

Joe Thompson, the museum’s carpenter-in-residence was recently invited toNorway to take part in a ‘Stavlaft’ work-shop. These buildings are a hybridbetween a log cabin and a timber frame;the wallplates, gables and purlins beinglogs and the posts being squared timber.The workshop was arranged by GrampusHeritage & Training, which promotes theEuropean Union ‘Leonardo da Vinci’programme, which includes the CulturalHeritage & Training (CHAT) project.This is specifically designed for thoseresponsible for delivering heritage train-ing, and to provide opportunities fortravel to another European country andexchange knowledge regarding tools,techniques and materials.

The workshop was led by master carpenter(Tømrermester) George Fuller, who has beenliving in Norway for 47 years and teaching logcabin and Stavlaft building for the last 20 years.His aim is to pass on to students specificallyNorwegian styles of this form of carpentry. Thetask for this third week of four was to cut and fitthe rafters and sarking boards, ready to take aturf roof. Herein lay the challenge; the loggables, consisting of Scots Pine logs stacked ontop of each other, to a height of 1m, in this case,are guaranteed to move with the seasonal mois-ture changes by up to 3% or 30mm. So therafters need to be able to slide freely on the logwallplates or they will push the walls outwardsas the logs shrink. The walls, made of Stavs(posts) do not move as shrinkage along the grainis negligible. Great care has to be taken to ensurethat the rafter couples are not fixed to these logs,a somewhat alien method to a carpenter fromSouthern England who is accustomed to regu-larly nailing rafters to wallplates and purlins!

“It was a wonderfully intense week,” saysJoe, “including not only the carpentry but avisit to a ‘Saeter’ or summer farm, where agri-cultural implements dating from the 18th, 19thand 20th century, made by the owners’ ances-tors, were on display. Also visible on the nearbyriver was evidence of other wood users, beaversand their lodge. All in all a tremendouslyinspiring experience that has deepened myknowledge of how other cultures use timberfor buildings.”

The ‘Stavlaft’ project in the Hola Valley,Hedmark.

Leaving a legacyThanks to gifts left in wills the historic buildings and rural life artefacts in the museum’s carecan be looked after and interpreted for many years to come. You can leave your gift to themuseum as a whole or to particular buildings or projects. A gift of any size is valuable andevery penny supports our unique collections, which are considered so important they areDesignated by the Government as being of pre-eminent national significance. Your help canalso ensure we work to inspire generations of visitors into the future. The museum is one of the UK’s leading independent museums, and as a charitable trust, receives no regulargovernment or local authority funding. Instead it relies on visitor income, voluntary effort,sponsorship, donations and legacies. For more information contact the museum office on 01243 811363, email [email protected] or visit our website,www.wealddown.co.uk. Thank you for your support – we could not do without it.


£1.3 million –

the annual value of the work of the

museum’s volunteers, AND each year they

put in 62,500 hours

news

P. 28_P. 3- 15/10/2014 09:16

The library first opened in 1982in the newly-re-erected CrawleyHall fulfilling museum founderRoy Armstrong’s vision for aspecialist collection that wouldsupport research into traditionalbuildings and associatedsubjects.

Whilst the library may not be an obviousvisitor attraction, the research undertakenin it underpins much of what the visitorsees when they come to the museum. For example, most of Danae Tankard’sresearch on painted cloths andwall paintings was done usingbooks in our collection, inparticular Kathryn Davies’Artisan art: vernacular wallpaintings in the Welsh Marches,1550-1650 (Almeley, 2008)which included images and adescription of the Althrey Hall

wall paintingson which thedesign of thenew paintedcloth in Bayleaffarmhouse wasbased (see sep -arate article inthis magazine).Building onthis research,Danae has now moved on to an investi-gation into the Reigate house extensionand its wall paintings.

Danae Tankard, Lucy Hockley and JonRoberts have all made good use of the

library recently to support theirwork on the Saxon house proj-

ect. New books have alsobeen purchased to enhancethe range of material onaspects of late Saxon societyand domestic culture. Museum volunteers, MSc

students and members of the

public also makeuse of the libraryfor a variety ofprojects – themost recentbeing enquiriesconcerning thehistory of wellsand pumps in villagesettings and for information on mathe-matical tiles.

The Library Team – DanaeTankard, Carol Brinson, Jo Minns

news


Glorious weather for Rare Breeds ShowThe Rare Breeds Show took place on one of the hottest days ofthe summer, drawing the crowds to one of our most popularevents, eagerly looked forward to by smallholders in the south.Celebrating the diversity of farm livestock, several hundredcattle, sheep, pigs, goats and poultry of numerous breeds wereon show. The fleece and handspun classes are an importantelement of the event, and, most importantly, the nextgeneration’s exhibitors and stockmen are encouraged to take

part. Local crafts, tradestands with farm animaland countrysidethemes, and locallyproduced food add tothe friendly, traditionalatmosphere of theshow. Pictured right isNick Page, shepherdon the GoodwoodEstate, receiving theprize for his winningSouthdown ewe fromactress GeraldineJames, who narratedthe commentary forthe recent BBCtelevision series Tudor Monastery Farm, which was filmed at the museum, and, left, the show depends on a large number of volunteers to ensure it runs smoothly: here’s Ann Allen, hitching a lift after a hard day’s work! Next year’s event is on 19 July.

The Museum Library helps to paint the picture . . .

747 – items added to the Library

so far this year

Library catalogue website:

www.wdoam.co.uk

The Reference Library is usually open onMonday mornings; at other times byappointment – tel 01243 811037 oremail [email protected], orphone 01243 811027 on a Mondaymorning. The catalogue can be viewed onwww.wdoam.co.uk. The Loan Library –on the ground floor of the Reigate building– is available to museum volunteers andstaff at all times.

P. 29_P. 3- 15/10/2014 09:17


This Christmas givesomeone a special gift . . .a year’s membership of

the Friends of the Museum

Share with your family and friends the pleasureof visiting the Museum and the satisfaction ofcontributing to the development of this uniqueheritage project.

Friends enjoy a year’s unlimited freeentry, including special events!

Just complete the application form and return it tous at the address below by 7th December. We willsend the membership card to the address on theform. If you would like a card enclosed, let us knowthe greeting to put inside. If you want it sent toanother address, enclose a note with the details.

FRIENDS OF THE WEALD & DOWNLAND OPEN AIR MUSEUM

Singleton, Chichester, West Sussex PO18 0EU

Phone: 01243 811893 Email: [email protected]

Registered Charity No: 288962

Friends of the Weald & Downland Open Air MuseumApplication for Gift Membership

Title....................Initials........................Surname...............................................................

Second name (for joint members at the same address)

Title....................Initials........................Surname...............................................................

Address .................................................................................................................................

................................................................................................................................................

Post Code........................................Telephone.................................................................

MEMBERSHIP REQUIRED (please tick a box)

Family (a household of two adults and their dependentchildren or grandchildren under 18 or full time students) □ £83

Adult □ £31

Adults (joint) □ £62

Senior citizen (65 plus) □ £28

Senior citizens (joint) □ £56

Child/Student (under 18 or full time student) □ £16

METHOD OF PAYMENT

□ Cheque (payable to Friends of the Weald & Downland Museum)

□ Credit or Debit card (Visa, Mastercard or Switch/Maestro only)

Card number.......................................................................................................................

Expiry date.............Start date..............Issue number..........Security Code..............

Signature............................................................................Date.........................................

OFFICE Cheque/CC Total £USE Number Category Change

Robert E Rodrigues

Reliable Effective Research

Your house in its historical context33 Queen Anne House, Admiralty Road, Portsmouth PO1 3GT. Tel: 023 9285 1789

BABYLON TILE WORKSManufacturers of handmade Kent Peg Tiles and Fittings

Babylon Lane, Hawkenbury, Nr Staplehurst, Kent TN12 0EGTel: 01622 843018

www.babylontileworks.co.uk

Chichester,West Sussex PO18 0HU

Tel: 01243 811609Mobile: 07939 515896

Email:[email protected]

Website:www.lillywhite-charltonsawmill.co.uk

Charlton Sawmills

Quality Timber and Fencing etc.

MA in Cultural HistoryTaught in collaboration with Pallant HouseGallery, the George Bell Institute and theWeald and Downland Open Air Museum.

www.chi.ac.uk/history

Contact: Dr Danae Tankard,[email protected]

ACCOUNTANTS, AUDITORS AND ADVISORS TO CHARITIES

We wish the Weald and Downland Open AirMuseum deserved and continuing success.

Contact: Neville Lacey 01243 789031

[email protected]

www.jonesavens.co.uk

CharteredAccountants


The Friends has conferred honorary mem-bership on Carol Brinson. One of those withthe longest continuing involvement with themuseum, Carol has undertaken a plethora oftasks in the operation of the museum sinceits earliest days. Arriving as a volunteer in1972 she helped in the ticket office, the shop,

with car parking,stewarding thebuildings andthatching andspar-making inthe woodcraftarea. Whilst fol-lowing a careerwhich includedthe posts of assistantto the then director ofWest Dean College and later, administratorof Farnham Maltings Arts & CommunityCentre, Carol also took on volunteer rolesconnected with the Friends, including minutes secretary, committee member, andhonorary secretary during which time sheran the Friends’ spring tours. She has alsotaken on administrative roles for themuseum, in fund-raising, as a part-time war-den, running the Dovetail arts programme,with adult education courses and acting asevents co-ordinator. She is currently workingwith the Armstrong Library’s volunteerteam.

Gift Aid – The museum is helped enor-mously by the amount of tax we are able toclaim back each year from Gift Aid. Last yearthis was over £35,000. When we send outmembership renewalrequests we include abox for members tofill in if they arenot already signedup for Gift Aid.Please watch forthis and help us inthis way if you are aUK taxpayer.Direct Debit – It helps usa great deal in reducing administrative effortif members pay their subscription by DirectDebit. We also give the opportunity formembers to initiate payment by Direct Debiton the membership renewal form so if youcould help us in this way, please watch outfor the Direct Debit invitation on this letter.Email news – We are now emailing thosemembers whose email addresses we have col-lected with information about special eventsand other museum news. We send out aboutsix emails a year and would like to extend theservice more widely. If you would like toreceive news in this way please include youremail address on your membership renewalform or let us have your email address [email protected].

If you have any queries about your mem-bership, the office contact details are as follows: Friends of the Weald & DownlandOpen Air Museum, Singleton, Chichester,West Sussex PO18 0EU. Tel: 01243 811893.Email: [email protected]. The officeis manned part-time, normally on a Mondayand Thursday morning, though this canvary. If your call is not answered please leavea message and we will contact you as soonas possible. In the case of an urgent prob-lem, call Sarah Casdagli on 01243 811726.

friends’ news


Colour in historic homesWe devoted a day in September to the fascinating topic of the domestic interior ofhistoric homes, including wall paintings, materials and furniture. The day includedtalks from eminent speakers, including Jonathan Foyle, Chief Executive of theWorld Monuments Fund, Clare Gittings of the National Portrait Gallery, Ian Bristow,architect and specialist in historic architectural colour, and scientist Craig Gershater.

They ranged from the scientific understandingof how we perceive colour to sources forcolour in homes from the 16th-20th centuries.Evidence came from portraits, paintings,scientific analysis and written documents. Inaddition participants heard about the trail ofresearch, including paint samples, on the marriage bed of Henry VII. Demonstrations took placearound the site focusing on how colour played a part in our historic buildings. A similar day onthe topic of historic clothing will be held on 27 September 2015. Pictured are World MonumentsFund Chief Executive Jonathan Foyle and the museum’s historic clothing consultant BarbaraPainter in the market square, and left, a display focusing on colour extracted from plants.

From the Chairman of the FriendsThis will be my last article for the Museum magazine as Chairman of the Friends.As you will have read elsewhere in the magazine, at the end of this year the Friends’ adminis-tration will pass over to the Museum. Your membership privileges will remain the same, freeentry at all times, emails with advance notice of events and news, discount in the café and shop,and of course the twice-yearly magazine.

It has been a privilege to serve on the Friends’ committee first as a committee member thenas Honorary Secretary and finally as Chairman. I would like to record my great thanks to allwho have served on the present committee and to past members. As you see elsewhere on thispage the Friends has supported the Museum since 1970 and in that time has raised some £2.5million towards its projects.

A General Meeting of the Friends was held on Saturday 6 September, when 119 memberspresent voted on the following resolution: That the Friends of the Weald and Downland Open AirMuseum be dissolved with effect from the 31 December 2014 and that all responsibilities and assets betransferred to the Weald and Downland Open Air Museum. The resolution was passed by a substan-tial majority.

I would also like to thank Lisa Neville, Membership Secretary, who has worked for theFriends for many years. Indeed, she is one of the longest serving staff at the Museum. Thankyou too to all our members for your support. Subscriptions have helped the Museum hugelyover the years as have our fundraising events. There have been suppers, lunches, grand draws,barn dances, murder mystery evenings and two balls.

With exciting new developments happening soon at the Museum I am sure the Friends willcontinue to grow from strength to strength.

Sarah Casdagli

The Friends is a support organisation forthe museum, which runs fund-raisingevents and social activities for its mem-bers. It is one of the largest museumFriends groups in the country, withsome 4,850 memberships representingabout 10,500 individual members. Sinceits inception it has raised a total of £2.5million for the museum, making a majorcontribution to the museum’s work.

How the Friends helpthe museum

Honorary membership

Membership matters

Contacting the Friends

21% of visitors are members of the Friends

P. 31_P. 3- 15/10/2014 09:17

collections


STABLES’ TIP CARTAny item which is actively used at the museum suffers from wear and tear, and thestables’ tip cart is no exception. Worked on a daily basis by the stables team to collectmanure and empty the litter bins, the tip cart reached a point earlier this year wheresome of the body side panels had worn almost right through. Although not formallyaccessioned into the museum collections we treated it with the same approach as wewould any of our wheeled vehicles; retaining as much of the original material aspossible whilst repairing those areas which are most in need. Using ash boardsprocessed during our Woodyard Weeks with the powered rack saw we replaced twopanels and two top rails, the top rails having succumbed to rot and woodworm. Aswith many old items, the theory behind the repair and the actual practical work donot always marry. The side panels were fixed to the bed of the cart using long ironbars which penetrated the boards vertically from top to bottom, secured with nuts. We planned to undo the nuts and slide the panels off until the damaged area wasreached. Unfortunately moisture had penetrated the panels and caused the bars torust severely, expanding into the boards and making their removal impossible. To getaround this problem for the side panel, we chiselled away the damaged timber,leaving the rusted bars in place and routed the new panel to fit around the bars. We fixed it in place with resin and fitted small cover plates over the routed areas. For the front panel we took a different approach and cut the vertical bars, adding newones once the replacement board was in place. Following the timber repairs thebodywork was repainted and the cart returned to the stables where it is once again in daily use.

REDVINS YARDThe open-fronted cattle shed from Goodwoodwhich forms the main part of the yard complexbehind Winkhurst Tudor Kitchen is undergoingrepairs to the weatherboard covering at the rearof the building. This has degraded over the years,particularly as this side of the building facesdirectly into the path of the predominant weathersweeping up the Lavant Valley. The replacementof weatherboarding is not an uncommon practiceat the museum, with Watersfield Stable havingreceived the same treatment in 2012, since theboarding is there as a somewhat sacrificialprotection to the main timber frame of thebuilding and is expected to wear out over time.What makes the repairs to the Goodwood Shedunusual is the type of timber involved.Weatherboards are more commonly formed fromeither elm or oak. However, in this instance theboards are beech. The original reason for beechhaving been used is unclear but as this is thematerial which was in place when the museumdismantled the building in 1986 we are replacinglike for like.

Maintenance & Conservation

P. 32-33_P. 3- 15/10/2014 09:18

collections


To encourage more visitors to explore our woodland, the Collections Team has put togetherideas for ‘installations’ and two have been constructed: they are to be interpreted by ourvisitors on whatever level they choose. The first used one of the felled ash trees adjacent tothe path running between the Downland Gridshell and Pendean Farmhouse. We used thetrunk where it fell and some of the side branches have been re-attached, together withsmaller butts to form steps and different levels. We have called this installation ‘Trunk’. Thesecond, called ‘Roots’, used the many timber beams which have been hewn during ourWoodyard Week demonstrations. We chose one of the large hornbeam trees on the upperpath between the Woodyard and the blacksmiths’ tree markers as the base for thisinstallation. The beams have been arranged in a root-like pattern radiating out from the baseof the hornbeam, giving an impression of the root system of a tree, and cross-cut, round

wood sections have been interspersed to enable access between the ‘roots’. The structures and names of the installations has partly been designed to mirror the layoutof the forthcoming interpretation galleries in the new Gateway Project buildings: these willbe subdivided using different sections of a tree; root system, main trunk and canopy.Children (and indeed adults) may see them as structures to climb and play on, whilst othervisitors may see them more as sculptures, use them as a picnic spot or a place to rest. Wehave deliberately not added any signage to them for this reason. We aim to construct atleast another two installations over the coming months and include them in a woodlandtrail leaflet.

CARPENTRY TOOLSA call from Newdigateresident Mr Callcut ledthe museum to accept a small part of acollection of carpentrytools belonging toanother Newdigateresident, the late Fred Collinson. Whilst the museum has anabundance of carpentry tools in its collections, it was feltimportant to accept these due to the interesting historyassociated with them. The Collinson family had lived in the villagefor about 150 years since available records indicate that EdwinCollinson (1843-1892), whose father James was a farmer in Capel,was married to Ellen Charman at Newdigate church in 1865. Theirfirst two children were born in Capel but then Edwin came toNewdigate and worked as a grocer’s assistant at Mr Farringdon’sshop (later Dean’s Stores and now Zieglers) and he and Ellenlived in rooms at Brooklag Farm. They in turn had nine childrenand moved to a cottage next to the shop which eventuallybecame known as Collinson’s Cottage: unfortunately this wasdemolished in 1955. Edwin died in 1892 and Ellen remarried andmoved away. Their third son, Charles Edward Collinson (1862-1942) worked at the local brickyard and lived in the same cottagewith his wife and, by coincidence, nine children. Frederick GeorgeCollinson (1908-1988) was the second youngest child and trainedas a cabinet maker. He and his wife Joyce and their childrenSheila and Viviane lived in a house at the newly built WinfieldGrove and when work became scarce Fred took a job with thelocal Schermuly Pistol Rocket Apparatus company which wasbased in Newdigate until 1981: he moved to 4 Kiln Cottageswhich was an easy walk to the factory. As Viviane, who finallydonated the tools, had moved away, the recent death of Sheilasadly brought an end to the Collinson family in Newdigate.

ALTAR FRONTALThe museum acquired the ‘TinChapel’ from South Wonston nearWinchester in 2006 and re-erectedit here in 2010. Along with thechapel came a small number ofassociated items, but anotherwhich came to light earlier thisyear via Mark Bailey, the currentvicar of the new Church at South Wonston, was a beautifullydesigned altar frontal. The piece was made by local resident andaccomplished embroiderer Jean Stanway, who sadly died in Aprilthis year and who had also made a number of items for the newchurch in the village and carried out work for Winchester Cathedral.The frontal was rescued from the old chapel in the mid 1990s once itceased to operate and was retained by Jean until her death.

COUNTY WEIGHTS & MEASURESDisposals of items from our collections are a rare occurrence, butthey are, however, an important part of responsible collectionsmanagement. Whilst there is a presumption against disposal thereare times when it is fully justified. One such instance took place inJune this year when the Sussex County weights and measurescollection was finally transferred to West Sussex Trading Standards:bringing to a close a process which began in 2002. The weights andmeasures collection was an impressive groups of objects, comprisingsome 100 brass, copper and rosewood items. These imperial weightsand measures formed the standard by which all traders in Sussexhad their own sets of weights and measures calibrated and checked,to ensure that customers were being treated fairly. The county setwas in turn checked periodically against the National Standards heldin London and was given an appropriate authorising stamp. Thecounty standards came to the museum as a long-term loan in 1991although they would perhaps have been more appropriate in amuseum concerned with the urban social history of Sussex: they aretherefore something of an anomaly. In 2010 West Sussex TradingStandards contacted the museum regarding their possible return andthe collection has now been transferred to their Horsham offices.

Installations

New Acquisitions

Julian Bell

P. 32-33_P. 3- 15/10/2014 09:18


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We have produced 80 large round bales ofhaylage which will provide winter feed forthe livestock. The barley crop yielded 13tonnes of grain and produced 24 largeround bales of straw which will be used forwinter bedding, and will also be sufficientfor the cattle lines at next year’s RareBreeds Show. Over the last few years wehave become self-sufficient in bedding andwinter feed which represents a consider-able financial saving.

The wheat crop was harvested duringthe Rare Breeds Show in July by ourhorseman Mark Buxton and our pair ofworking Shires drawing the Albion binderfrom the museum’s collection. This isthought to be only the second time that ithas been cut so early. Pete Betsworth andthe stables volunteers, including Gill and

Peter Nightingale, Ros Hart, PhilGreenfield, Mark Fraser, Mark Noble,Natalie Rayner and Will Stanford, did asterling job stooking the sheaves and col-lecting them in before any wet weatherarrived. The corn rick was ready to bethreshed at the Autumn CountrysideShow in October, and the straw will beused for thatching the museum’s proposedreplica Saxon house. We are most gratefulto trustee Lady Elizabeth Benson, DavidPenney and Graham Lambert for theircontinued support throughout the yearwith our arable farming activities.

Two Tamworth pigs have spent thesummer months in the woodland adjoin-ing the Woodyard and one of the sowsproduced a litter of five for visitors toenjoy watching. The Southdown sheepand two Sussex X Dairy Shorthorn cows,Gwynne and Graceful, have enjoyed agood summer grazing the various pad-docks around the site.

A small crop of the Chidham wheat andflax has been successfully grown and har-vested at Tindalls Cottage. The Tindalls hopgarden also produced a good crop of greenhops for Ballards Brewery to once againbrew their harvest ale On the Hop whichwas on sale at the Autumn CountrysideShow and will also be available through themuseum’s shop this autumn and winter.

The recently seeded wildflowermeadow on the northern embankmentwas given its first cut at the end of July andhopefully next year will produce a variety

of colour, having had time to establish. TheOlympic turf meadow adjoining PoplarCottage has matured well with a goodshow of flowers this year, and was cut byscythe by Mark Allery.

farming

Harvesting the wheat crop – HorsemanMark Buxton with Shires Mac and Majorcut the crop with the museum’s Albionbinder, to produce straw for thatching, and below left, Pete Betsworth (left) andvolunteers Mark Noble and Will Stamfordstack the sheaves into stooks to dry in thesummer sun.


The Olympic turf meadow by PoplarCottage alive with summer flowers.

Farming updateThis year has been a good

season for our crops, reportsSite Manager Nick Conway.

P. 35_P. 3- 15/10/2014 09:18


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Main contractor for the Downland Gridshell

Over 60 years of craftsmanship in residential,community and commercial projects


WelcomeTo help themuseum progressthe GatewayProject against achallengingtimetable TonyDrew wasseconded fromWest SussexCounty Councilfrom March this

year to work with the Museum Directoruntil at least the end of November. His role is to help the museum achieve itsambitions, principally for the GatewayProject, and to provide crucial additionalcapacity during an intense period ofdevelopment activity. Among other things,Tony has a long track record of workingwith partners to deliver successfuloutcomes and to make a difference forlocal communities. Contributing to theHeritage Lottery Fund bid is an importantachievement and the museum hopes tosecure Tony’s help to implement theproject once funding and planningpermission are secured. The museum is grateful to the county council for thishelp.Sally McCubbinhas joined themuseum’s learningteam as the newSchools ServicesAssistant. Sallytrained as a nurserynurse and morerecently has workedsupporting adultswith learning andphysical difficulties. She began volunteeringat the museum in 2012 and has been

supporting the schools team in workshopdelivery. Sally has replaced Nancy Wright,who has worked at the museum since2011: we wish her all the best followingher recent move to London.

Moving onVery sadly we are saying goodbye to ourCommunications & Business DevelopmentManager, Kate Russell, who has taken anew job with a marketing agency close toher home and with flexible hours. She isadamant that she is not disappearing fromthe museum, however, having made manyfriends whilst here, and will continue to beinvolved where she can, particularly withthe Vintage & Steam Show, which shemasterminded this year. “It’s a shame that Iwill not be part of the team working on theGateway Project, but I feel sure thatwhoever is recruited will inject a freshperspective into the process,” she says. Inthe comparatively short time she has beenwith us her dedication has led to a numberof initiatives and improvements inmarketing and communications. We wishher well in her new role.

Congratulations!Adult EducationAssistant LesleyFeatherstone(née Denham)married SimonFeatherstone inAugust. Simon is Duty &OperationsManager at theHouses ofParliament. They met four years ago whilstworking together at Hampshire Museum

Services. They married at St TyfaelogsChurch in Pontlottyn, the South Walesvillage where Lesley grew up. The couplecelebrated the day with 110 of their familyand friends, and spent their honeymoon ina 17th century timber-framed cottage, theWarren House in Cambridgeshire, run bythe Landmark Trust.

ObituariesWe are sad to report the deaths of anumber of volunteers. They include OliveHiscock, who was a house steward andretired from volunteering several years agofor health reasons: she was a formersolicitor for the Crown Prosecution Service. A small legacy has been left to the museum to be used towards thepurchase of a wooden bench tocommemorate Marjorie Nichols, whowas a regular volunteer for many years. Dr Edward Lynn Howells (Ted) diedaged 75 in July. Born in Wales, he studied medicine in London and became a consultant in Hampshire whilst following his passions of sailing, walking,performing and sharing his outstandingsense of humour. Ted volunteered formany years at the museum, includingstewarding the Toll Cottage, and was astalwart in the winter on hot chestnut andfire lighting duties. John Miller (71)worked as a printer in the East End ofLondon before moving to West Sussex tobecome the head of art and design atManhood College. John loved the outdoorsand turned his hands to craft workincluding furniture making both here at themuseum and at other establishments. Johnjoined the museum volunteer force in2010 and quickly became an integral partof the milling team in Lurgashall Mill onMondays.

people


Tony Drew

Lesley FeatherstoneSally McCubbin

Lord Mayor ofLondon’s visitThe Lord Mayor of the City of London, AldermanFiona Woolf CBE visited the museum in July at theinvitation of the Worshipful Company of Plumbers,whose museum was established in Court Barn atthe museum in the early 1980s. Alderman Woolf,who is only the second lady to be elected to theoffice of Lord Mayor of the City of London in over900 years, is a Liveryman of the company. The LordMayor was given a tour of the museum by theDirector, Richard Pailthorpe, including a visit toCourt Barn where Brighton City College wasdemonstrating lead castings. In the DownlandGridshell 120 guests enjoyed a buffet lunch duringwhich the Master of the Worshipful Company ofPlumbers, Nick Gale, presented the Lord Mayor with a quodra-pod lead planter, which had been made in Court Barn and bears herpersonal coat of arms, together with the coats of arms of the Worshipful Company and the City of London: an embossed inscriptioncommemorates her appointment as Lord Mayor of the City of London. Greeting the Lord Mayor in the market square is RichardPailthorpe, Museum Director and Edward Hopkinson, president of the Plumbing Museum & Workshop Trust.

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Finger loop braiding, trying on a his-torical outfit, a game of skill and chancein farming, and the nine herbs charm arejust a few of the new activities that schoolgroups have tried as part of our historicallife workshops for pupils this term. FromSeptember we have been delivering anew series of workshops, alongside ourexisting ones, which respond to the cur-riculum changes that came into force thisacademic year. For Key Stage 2 pupils we

run workshops that explore everyday lifethrough the ages – clothing, food, health& medicine, a child’s life and farming. Wehope the activities will also be enjoyablefor groups who may not be following thecurriculum. (And yes, if you’re wonder-ing, finger loop braiding is quite similarto loom bands!) Pictured are childrendiscovering Tudor games and someof the traditional products exploredby school groups in the health andmedicine through the ages workshop.

schools services


The nine herbs charm!

Working in partnership with five otherlocal cultural organisations (ChichesterCathedral, Chichester Festival Theatre,Fishbourne Roman Palace, The Noviumand Pallant House Gallery), themuseum has been successful in a bid todevelop Arts Award in our area. We arekeen to explore how the Arts Awardinitiative can work within a heritageenvironment to inspire young people.Arts Award aims to inspire youngpeople to grow their arts andleadership talents and can be achievedat five levels, with four accreditedqualifications and an introductoryaward. Arts Award is managed byTrinity College London in associationwith Arts Council England working with10 regional bridge organisations. For further information go towww.artsaward.org.uk or contact themuseum’s Schools Services team [email protected] fordetails of what we can offer.

Arts Awarddevelopment hub

History Gang

Our youth group, the History Gang,has had an exciting year! They’ve takenpart in activities ranging from black-smithing, lino printing and working on awood project (pictured) to dancing,photo graphy and poetry competitions.The summer camp went really well, especially as the tail end of hurricaneBertha did not affect us! We are nowaccepting members between the ages of8-12-years-old for 2015 so please get intouch on 01243 811459 or by email [email protected] if you’dlike to enrol a young person as a member.

The museum is delighted to have hadthe support of local publishingcompany, John Wiley & Sons, who havecontributed to our 2014 coach fund.This is designed to help school groupswho are finding the costs of transportto the museum a challenge. We arelooking for other organisations tocontinue this support in 2015.

Transport grants forschool visits

Shakespeare’s World& WorksIn March this year we took part in thefirst annual Shakespeare week, and in2015, again working with ChichesterFestival Theatre, we will offer a similarexperience enabling pupils to exploreShakespeare’s world and works. For furtherinformation see www.wealddown.co.uk,clicking on the schools news tab.

Outreach visits to schoolsThe Schools Services team hasalready undertaken a number ofoutreach visits this Autumn term. If you would like to find out moreabout what we can offer on such avisit please contact us [email protected]

IN BRIEFEXHIBITIONSThe museum staged two interestingexhibitions this year. West SussexRecord Office used the hall fromCrawley to display work from a uniquecollection of photographs by DavidJohnston. They depicted the county’srural scenery, flora and farm buildingsand were taken over many years(pictured is his photograph of thebridge at South Ambersham, WestSussex). Davidwas present totalk to visitorsduring thetwo-weekshow whichwas visitedby nearly1,500 peopleincluding the Lord Mayor ofLondon during her visit. And 14 fine art students from West Dean Collegestaged Collective: an exhibitionreacting to the unique space of theJerwood Gridshell. Working togetherover several months their work rangedacross a wide variety of media. Onewrote in the visitors’ book: “I verymuch enjoyed the Gridshell in a newlight. Wonderful to see such a varietyof interpretations bringing the space to life.”

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Have you ever heard of theSouth Downs Society? We arethe National Park Society forthe South Downs, the onlycharity dedicated to protectingthe whole of the National Parkand its heritage.

Independent and member-led we werefounded in 1923 (as the Society of SussexDownsmen) in response to a threat ofhousing development which would havestretched across the cliff tops of the famousSeven Sisters. We are as passionate today, aswere our founders, that the South Downsshould be available for the enjoyment ofall as well as future generations.

We aim to –• fight campaigns against inappropriate

development and fund conservationprojects

• take an active role in safeguarding andimproving the rights of way networkand extending areas of open access landacross the National Park

• encourage the public to learn moreabout the National Park

• as the National Park Society we watchover the activities of the National ParkAuthority as a challenging friendincluding suggesting things they mightdo to enhance the National Park.We are an entirely independent

charity, not funded by the Government,and so the interest of our members is ourpriority in retaining the beauty of theDowns.

Based in Pulborough, every year weorganise over 200 walks, strolls and bikerides as well as events, talks and focusedworkshops, so do consider joining theSouth Downs Society.

At only £23.00 for the year as an individual or £32.00 for a couple, mem-bership bought for yourself, or as a gift,will help to ensure the work of the society continues and the Downs are pro-tected for generations to come. We have agrowing local discount scheme for ourmembers and our quarterly society journal keeps all members up to datewith South Downs issues and news.

Please visit us at www.southdownssociety.org.uk or call us on 01798875073.


Protecting the South Downspartnerships

Clockwise from top left, Harting Down; walking on the South Downs Way above Cocking;the Meon Valley.

IN BRIEFHOSTING MIDHURST U3AWe regularly hold special study days for colleges, universities and specialinterest groups. This year we worked with Midhurst U3A on a very fullday of activities to suit a wide variety of interests, including theirsketching and creative writing sections, with students inspired to drawand write based on their museum visit. Tours explored various aspects of the museum including the gardens, the Historic Clothing Project, an in-depth look at timber-framing, Lurgashall Mill and the SouthwaterSmithy. The participants had the use of the Downland Gridshell as a basefor the day, with a constant supply of coffee and tea! Here’s one of thecomments we received: “Such an interesting day at Singleton. It is yearssince we last visited and there is so much to see now. I thought thevolunteers doing the clothes talk were excellent, the costumes were trulyfascinating. Thanks to all involved in organising the day.”

“An excellent family visit” We visited with our three young grandchildren. It was

our first visit. We arrived at 10:30am and left at 4:30pm.It was on a Wednesday – with full activities for the

children. They had a wonderful time, getting involved ineverything from candle making to weaving to taking thereins of a Shire horse. They were also fully engaged in

visiting and appreciating the various houses andstructures. We were particularly impressed with the

enthusiasm and helpfulness of the staff/volunteers. Agreat day was had by all – and we will visit again. The

family ticket was good value.

Visited August 2014

Trip Advisor review . . .

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A warm winter welcomeawaits visitors to themuseum keen to enjoy itsstunning setting in theSouth Downs NationalPark whatever the season.Crackling fires will greet

you in some of our historichomes, while other buildings recall rural life across thecenturies with traditional customs and seasonal food.And don’t forget our special events in the winter season– Bringing Home the Bacon (8/9 November); our ever- popular Christmas Market (15/16 November) withreduced entry; Christmas Shopping Weekend at the museum

shop (6/7 December);Tree Dressing (7 Dec -ember); Christmas CarolEvening from 7.00pm(16 Decem ber); TudorChristmas (26-28 Dec -ember) and ourSpecial Winter Opening(29 December-1 January 2015). Picturedare, main image, Bayleaf Farmhouse inthe snow; left, Tindalls Cottage ready forChristmas; right, visitors celebrating theproperties of trees during the Tree Dressingevent, and a Saddleback pig.

DirectionsBy car: Just off A286 Chichester to Midhurst road at Singleton village.

By bus: No 60 from Chichester or Midhurst. 20% entry discount on presentation of StagecoachCoastline bus ticket, valid on day of purchase only.

By rail: Chichester 7 miles, Haslemere 15 miles.

Until 1 Jan 2015 open daily until 22 Dec, plus daily for Christmas opening26 Dec-1 Jan. From 3 Jan-27 Feb open Wed, Sat and Sun only with theexception of half term week, 16-20 Feb, when Museum is open daily.From 28 Feb open daily until 22 Dec and daily for Christmas openingfrom 26 Dec-1 Jan 2016. Opening times: 10.30am-6.00pm BritishSummer Time and 10.30am-4.00pm rest of the year.

Admissions 2014: Ticket prices including Gift Aid (standard charge inbrackets). Adults £11.90 (£10.70); children (4-15 years/full-time students)£6.50 (£5.90); 65+ £10.90 (£9.70); Family £33.50 (£30.40); Registereddisabled/single helper £4.15; under 4s free. Call 01243 811363 for detailsof group rates and disabled access. Free car and coach parking, dogs onleads welcome, lakeside café, picnic areas, gift and bookshop.

Weald & Downland Open Air Museum Singleton, Chichester West Sussex PO18 0EUMuseum office Tel: 01243 811363 Fax: 01243 811475 Information line: 01243 811348 Email: [email protected] Website: www.wealddown.co.ukFriends membership Tel: 01243 811893

The Museum is open throughout the year

Singleton, Chichester, W Sussex PO18 0EUTelephone 01243 811348 www.wealddown.co.uk

WEALD & DOWNLANDO P E N A I R M U S E U M

Museum Director: Richard PailthorpeMagazine Editor: Diana ZeunerAdvertising: Katie Jardine Tel: 01243 811016Registered as a charity No. 306338 ISSN 0953 6051Weald & Downland Open Air Museum Magazineis printed on Edixion Offset, uncoated paper withISO 14001 environmental certification andcovered by the European EMAS standard,produced from sustainable forests.

Typeset by Dorchester Typesetting Group Ltd, Dorchester, DorsetPrinted by Pensord (www.Pensord.co.uk)

A warm winter welcome!

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'Gateway Project' bid goes to Heritage Lottery Fund

Documents

Transcript of 'Gateway Project' bid goes to Heritage Lottery Fund