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The secrets of settlement papers

Last summer we were fortunate to have two MA History students from the University of Essex on placement with us, jointly sponsored by the University and the Friends of Historic Essex. In this post, David Perkins tells us about his placement project: cataloguing settlement papers for the parishes of Rayleigh and Hadleigh. Thanks to David, you can now find more information about individual settlement papers on Essex Archives Online. For Rayleigh, search for the reference ‘D/P 332/13′ and for Hadleigh, search ‘D/P 303/13‘.

Photograph of an old document with slanted handwriting and red seal. The bottom line ends 'In the year of our Lord 1739'.
Removal order of John Smith, labourer, his wife Ann, and Ann’s son George from Chadwell St Mary to Rayleigh in 1739 (D/P 332/13/3/1)

The work I did for my placement forms a small part of a larger project by the Essex Record Office (ERO) to make more information about individual settlement papers available through Essex Archives Online. By making this information digitally available, the ease of accessing and the searching of those documents for details, of say, name, age, location, or date, is then greatly increased.

As a current MA student, the opportunity to not only undertake research for my dissertation in an archive and with the primary sources, but also to be a small part in the process of making those same documents more accessible and available to future researchers has been an absolute pleasure.

As a historian, the physical connection with the material past, both through the handling and reading of the settlement papers, has given me a far better sense of the real lived lives of those people named on the page. And in turn, this has given me a better appreciation for the existential realities of the people noted in those documents.

The settlement papers for Rayleigh and Hadleigh span from the late seventeenth century through to the early nineteenth century, and comprise three main types of documents: settlement certificates, removal orders, and settlement examinations.

Settlement certificates were given by the overseers and churchwardens of a parish to an individual or family as evidence that they had been granted legal settlement in that parish and so were then entitled to poor relief in that parish. Removal orders were issued by the Justices of the Peace against an individual or family, ordering them to be removed to their parish of legal settlement. Settlement examinations recorded an account of the life of an individual or family who had applied for poor relief from that parish but did not have legal settlement there. These three types of documents are individually quite formulaic in how they record the information. The date, name, and location is given in each case. Of the three types of documents, it is the settlement examinations that provide the most detailed information of that individual or family’s history.

The number of settlement papers that the ERO have for the parishes of Rayleigh and Hadleigh are markedly different. For Rayleigh there a total of 824 documents; 147 settlement certificates, 231 removal orders, and 446 settlement examinations. Whereas Hadleigh has a fraction of that, with only 54 documents in total, comprising of 48 settlement certificates, 5 removal orders, and 1 settlement examination. The difference in the volume of the ERO’s holdings for these two parishes is not necessarily a reflection of the contemporaneous quantities of those documents, but rather a reflection of what has survived. The difference between the number of documents that remain from these two parishes is a telling example of the un-uniform survival, even amongst similar items, of materials from the past. 

Aside from the most beneficial use that these documents have, in informing genealogists and researchers of family history, by looking at the settlement papers in a different way there also lays a vast wealth of other fascinating information that can be gained.

In the papers we can see a changing world over the course of more than a century. A world that in 1752 changes its observation of the new year from 25 March to 1 January, we can see the transition in the way that the names of settlements are described, from the Norman-French ‘Magna’ and ‘Parva’ (D/P 332/13/1A/70) to the English ‘Great’ and ‘Little’ (D/P 332/13/1A/79). We can even detect glimpses of changes in society’s attitudes and use of language and terminology; in the early documents single pregnant women are noted as ‘with child that is likely to be born a bastard’ (D/P 332/13/1A/96), whereas in the later documents we see the term ‘singlewoman, now pregnant’ (D/P 332/13/2/121). In local administration we can see the regularity of bureaucracy with a move away from handwritten documents (D/P 332/13/3/1) to the increasing use of printed and standardised official forms that are purchased from a state authorised stationer (D/P 332/13/3/4).

Close-up photograph of old document, with signature 'J Poynter'.
John Poynter’s signature on his settlement examination, 1806 (D/P 332/13/4/247). Originally from Asheldham, John had entered into a partnership with William Bellingham of Rochford ‘in the business of malting’ three years earlier, and lived in the house above the maltings in Rayleigh.

It cannot be forgotten that settlement papers are both official and legal documents that represent one part in the machine of poor relief. And although they do contain accurate information, that was sworn on oath, the information that has been written down on the documents, especially in the case of the settlement examinations, is a condensed and edited form of what the examinee said, it is not a verbatim transcription of their voice. The documents only tell us the facts; they do not and cannot convey an accurate account of that person’s emotional and social experience as they were when they came to request poor relief. The only place where we can see the real presence of the person is with their sign or signature. Although ranging from a shaky X (D/P 332/13/4/295) to an experienced hand (D/P 332/13/4/247, see above), the mark made is the only physical act on the document that is attributable to that individual.

Close-up photograph of old document, showing a handwritten list of costs.
Removal order for William Thorrowgood and his wife Mary from Rayleigh to Great Stambridge, 1795 (D/P 332/13/2/17)

Aside from the individual or family, or the churchwarden and the overseers as named on the documents, and indeed the purpose of the document, be that a certificate, removal order, or examination, there is no other indication or comment given on what would happen next, or by whom. Fortunately for us however, there is amongst the documents evidence of how poor relief operated in the real world. On the reverse of William Thorrowgood’s removal order (D/P 332/13/2/17) there is a glimpse into the costs incurred by the parish. The removal of William and his wife Mary from Rayleigh to Great Stambridge, a distance by road of only about seven miles, on or shortly after 12 February 1795 tells us that the total cost of removal was 15s 10d, from which 5s was paid for the horse and cart, and 8d paid for the turnpike. This then gives us evidence of potential local travel costs in late eighteenth century Rayleigh. Further, the cost list on the reverse of the document also notes that 2s 2d, later altered to 2s 8d, was paid to a tailor. From this we can likely conclude that since it was the end of February, therefore late winter, the Thorrowgoods were insufficiently clothed for the journey, and so by reasonable inference had insufficient clothes in general. Although the removing parish were entitled to, and able to, and, in general, did claim the money back from parish that the individual or family was being removed to, the very evidence of the parish of Rayleigh ensuring the well-being of the Thorrowgoods, even on such a short journey, provides evidence of a social contract between the parish and the parishioners that not only works to fulfil a legal obligation, but one that also cares for the individual’s wellbeing.

Since we know that 8d was paid for the turnpike, it is then a confident statement to make that the Thorrowgoods travelled on the horse and cart, in their new warmer clothes, along the turnpike. The turnpike road that they travelled on left Rayleigh and went to Leigh, from where the Thorrowgoods would have travelled north to Great Stambridge. The 1746/47 Act of Parliament (20 Geo. II. c. 7) gave rights to twenty-six miles of turnpike roads around Rayleigh, and as much as the improved roads were to the speed and comfort of travel, there were those who saw the new roads as an opportunity to take poor relief into their own hands. In the November of 1772 the toll gate at Hadleigh, a few miles south of Rayleigh, was robbed of 19s 6d by masked men on horses, who then after rode to the Stroud Green toll gate just east of Rochford, about five miles east of Hadleigh, and repeated their crime (Chelmsford Chronicle, 6 November 1772). Although the story of the Thorrowgoods and the highwaymen are not related – the incidents are after all separated by twenty-three years – the knowledge that highway robbery was a real lived possibility can help with building a better picture of the society and potential concerns that the Thorrowgoods may have had but are not, nor could be, written down on theirs, or anyone else’s settlement papers.

The operation of poor relief relied on more than just the gentlemen overseers, churchwardens, and parish vestry. In the case of the Thorrowgoods, we know not the name of the person who drove the horse and cart, nor the name of the place where the clothes were bought. These additional actors in the mechanism of poor relief are seldom named. However, on the reverse of the removal order of William Maize (D/P 332/13/3/77) we can see a named third party involved in the process.

Close-up photograph of document, showing rows of slanted handwriting. At the end it is signed with an 'X'.
Removal order of William Maize from Sittingbourne, Kent, to Rayleigh, 1830 (D/P 332/13/3/77)

A note on the reverse of the removal reads that ‘John Pretty is charged to convey William Maize from Sittingbourne to Rayleigh’. This note then raises the question of why the person being removed was to be accompanied. Unfortunately, we do not know the age of William, but it is possible that he was a child, and so was accompanied for his safety. Should William have been an adult, then we can consider, if elderly he may have needed accompaniment, or as in the case of John White and his wife Mary (D/P 332/13/3/81 and D/P 332/13/3/92), that they do not return again after having been removed on two previous occasions.

Since it was the parishioners of the parish who through the levy of the poor rate paid for poor relief in the parish, those same parishioners desired that those administering the system of poor relief were doing so in an economical way.

Two white posters on a green background, advertising a one guinea reward for the return of two 'strayed' dogs, who answer to the name of Don and Bell.
Reverse of John Rout’s settlement examination, 1826 (D/P 332/13/4/425)

Evidence of this comes first from John Rout’s settlement examination (D/P 332/13/4/425), which is written, although it should be noted as not being signed or dated, on the reverse of two lost dog posters. The posters state that two dogs have strayed from Dunton Hall, about ten miles west of Rayleigh, and a reward of 1 guinea will be given by Mr W. Gale on their return. The poster states that the dogs went missing on 30 July 1826, with the poster being published on the 2 August. This then can help us in giving a date to John Rout’s Examination as no sooner than 2 August 1826.

Old document laid on light brown surface. The document has a table printed on it, but is turned 90 degrees clockwise and has handwriting at the top of it.

The frugality of Rayleigh’s administrators is further bolstered by their use of old tax ledgers. Beginning with William Waight (D/P 332/13/4/271) on 21 January 1807 and ending with William Synett (D/P 332/13/4/305) on 2 February 1809, there are in addition five other incidents where the settlement examination has been written on a page cut from what appears to be a ledger for the receipt of tax payments. The rectitude shown in recycling the paper is admirable, and no doubt the contemporary parishioners of the parish would have been pleased to know that the administrators were not needlessly spending their rates. But the length of time over which these ledgers were re-purposed is curious. One or two on the same day, or even concurrent months would show a short-term solution to the lack of other paper. But since this occurred over a period of two full calendar years – and it must be remembered that we only have remaining to us a small fraction of the documents produced – then it has to be concluded that the administrators of Raleigh had a vast excess of unused tax ledgers. Why this was so is of course speculation, but a possible cause is the discontinued use of that form of ledger, so making the pages suitable for another purpose.

In helping to catalogue the settlement papers I have been overwhelmed by the research possibilities that they can offer. Apart from settlement papers being an invaluable source for their names, dates, and places, they do also contain hidden secrets about the lives and world of those past people. I look forward to finding many more.

If you’ve enjoyed this post, you can also read about Aaron Archer’s experience of cataloguing parish Poor Law documents for Colchester for his placement back in 2021. Next week we’ll be publishing David’s guide to settlement papers – watch this space!

Preserving a photograph collection for the future

Erica Donaghy writes about repackaging the photographs and enhancing the catalogue for the collection of Mr J Hayllar and requests your help to identify some mystery buildings!

An important aspect of the work we do here at ERO is ensuring items are housed in a way which protects them, assisting with their long-term preservation, whilst also allowing easier access to researchers where possible. Our first County Archivist, F.G. Emmison, wrote an article, ‘The Sage of the Big Intake’ (Essex journal, 26 (3) 1991, pp.56-58, 71) in which he described the ‘astonishing accumulation of historical documents’ in the first years when ERO was established. We constantly strive to improve the storage of these documents, especially as we now have access to acid free materials and un-dreamt of resources that our predecessors were not so lucky to have.

(Click on a picture above to be taken the a gallery for more information)

With this in mind, the Hayllar Collection (catalogue reference: I/Ha), which was deposited with the ERO in June 1950, has recently been re-housed and listed to item level. Not much is known about Mr J. Hayllar, other than that he lived in Hoddesdon, Hertfordshire. He travelled through various parishes in Essex photographing the parish churches, as well as secular buildings and other parts of the parish between 1920 and 1950. The photographs range from the exterior and interior of parish churches, to local estates, farms and mills as well as other local landmarks. The photographs are mostly focussed on the buildings themselves, but some show fascinating human elements such as vehicles, shop fronts, children playing and people going about their day.

The photographs were arranged by parish and stored in envelopes labelled with the parish name. These had already been catalogued to parish level by ERO staff.

(Click on a picture above to be taken the a gallery for more information)

In 2023 a project began to re-house the photographs into pocketed transparent melinex sheets which would then be kept in acid-free boxes. This would not only contribute to their long-term preservation by protecting them from environmental factors, but would also reduce the risk of them being damaged or affected by being handled.

As this re-housing project was being undertaken, it was also a good opportunity to look more closely at their catalogue and it was decided to list each photograph individually. Mr J. Hayllar labelled his images clearly, often providing the names of buildings and streets or roads. This information has now been included in the catalogue in more detail, enabling researchers to search for photographs that might be of potential interest to them.

Whilst many photographs were labelled with enough information to identify the subject, whilst others were simply labelled ‘view in the village’, ‘street in the village’ or ‘old house in the village’. To try and identify as many of these as possible, staff here at the ERO used other images in the collection, images on the Historic England website as well as Streetview through google maps online. This has helped identify at least some of the subjects of the photographs, and if researchers have any further information to offer about other still-unidentified photographs we would be happy to hear from them!

(Click on a picture above to be taken the a gallery for more information)

The Collection has now been fully re-housed, labelled and stored at a new location in the repositories here at ERO. Fortunately for us, the new packing has not created a lot more volume than the original, as so often happens when items go to conservation! The item listed catalogue will be published online in due course at Essex Archives Online, and hopefully at some point in the future the photographs might be digitised to further protect them and increase access to these fascinating and beautiful images.

Defining “Industrial Archaeology”

Archive Assistant Robert Lee explores the origins of Industrial Archaeology in Essex and the impact of John Booker’s 1974 book Essex and the Industrial Revolution, ahead of our April Mini-Conference “Discovering the Industrial Revolution in Essex”.

In the scheme of things, Industrial Archaeology seems a relatively young discipline. The term first appeared in print in 1955, in an article by Michael Rix in ‘The Amateur Historian’ that explains the previously unexplored influence of the Industrial Revolution on British heritage. Whilst not a widely accepted discipline at the time, Rix does mention a small number of contemporaneous organizations that were pursuing something that resembled it (The Newcomen Society of London, for one, had been promoting the legacy of the Industrial Revolution since its foundation in 1920, particularly the early steam engine).

Train 'carrying farm' at Chelmsford D-DU 3094-2

D/DU 3094/2

Interestingly, Rix fails to mention a 1925 article by Miller Christy in the Essex Review, regarding the need for study and ongoing preservation of early railway stations in the county. Christy’s article seminally begins, “The study of railway stations from the archaeological point of view has not yet become popular… some might even ask whether such a study exists or could exist” (Christy, 1925:146).

Whether this study “exists or could exist”, was an ongoing contention within the school of Industrial Archaeology. The crux of this unease, intimated by Christy, is that “archaeology” is thought to apply to history which precedes the industrial revolution. Archaeology is the study of ancient things, he writes, a classification that apparently excludes industrial relics. But this criticism is based on an arbitrary median between the antique and the modern, separating “the archaeologically approved from the archaeologically disreputable” (Hudson 1976:16). A reluctance to classify industrial monuments as worthy of study, Rix argues, is what has (and still does) lead to the nescient destruction or neglect of significant examples in the country. Importantly, the semantic focus of archaeology (an active noun) signifies the empirical and practical methodology of the school. Industrial Archaeology is not mere industrial history: history suggests a bookish, diligent approach to study, where archaeology suitably describes the investigations of “a researcher collecting evidence in situ” (ibid). An Industrial Archaeologist is as much a fieldworker as an excavator of Roman ruins[1].

Indeed, by the time John Booker’s work was published, Industrial Archaeology was more recognised as a genuine field. Kenneth Hudson had published Industrial Archaeology: An Introduction in 1963 and is said to have introduced the discipline to the United States through his 1967 lecture at The Smithsonian. The North American Society for Industrial Archeology [sic] was subsequently founded in 1971, and the British Association for Industrial Archaeology followed two years later. What is so influential about Booker’s work, however, is the candid representation of industrial history within Essex; a county pigeonholed into its agrarian identity. De-mythologizing the pastoral veneer behind the county’s heritage, Booker systematically wades through individual strands of industrialism, their slow integration and socioeconomic influences. As such his chapters are titled:

  • The Foundries,
  • Technology and Agriculture,
  • Technology and the Traditional Industries
  • Technology and Communications, I: Roads and Bridges,
  • Technology and Communications, II: Water and Rail,
  • Technology and the Public Services
  • The Perspective of Change

Clearly the work is not the product of a single hand. Much of the work’s subject matter was taken from findings of the Essex Survey of Industrial Archaeology, completed in 1971.

Index card related to the Chelmer Navigation.

T/Z 193/11

The purpose of this survey was to itemize all known surviving industrial monuments, investigate possible monuments attested to by historical sources, and to study contemporary industrial sites. The fruits of this survey, many conclusions of which were not implemented in the final work, survive and are kept by Essex Record Office (in addition to the various historical sources footnoted in Booker’s work, which are available for inspection under their original reference numbers).

Index card related to Hartford End Brewery

T/Z 193/3

The Survey’s materials (catalogued as T/Z 193) comprise index cards naming sources, photograph albums, negatives & slides, site ‘survey cards’, and Booker’s own notebooks. It is somewhat uplifting to see the modicum of contributions made towards this survey: record cards written up by history groups, and long reminiscences told by aged locals.

Photograph Hartford End Brewery

T/Z 193/9 – Photograph Hartford End Brewery

Such was Booker’s pre-eminence in establishing Essex’s industrial heritage that a subsequent survey, the Comparative Survey of Industrial Sites and Monuments, was begun by Essex County Council in 1996. And in 2013, Essex Industrial Archaeology Group (EIAG) was created as a sub-group of Essex Society for Archaeology and History (ESAH)[2]. During this period we have seen the publication of several more works on Essex’s Industrial Past: A Guide to the Industrial Archaeology of Essex (Crosby: 2012), Discovering Essex wind and water mills (EIAG: 2022), and Chelmsford Industrial Trail (Rev. ed., EIAG: 2018), to name a few.

2024 saw the 50th anniversary of Essex and The Industrial Revolution. Accordingly, ERO is hosting an event in April 2025 to celebrate this milestone, full details and booking available here: Discovering the Industrial Revolution in Essex

 

Booker, J. (1974) Essex and The Industrial Revolution. Chelmsford: Essex County Council.

Christy, M. (1925) ‘Some Early Essex Railway Stations’, Essex Review, 34, pp. 146–155.

Hudson, K. (1976) Industrial Archaeology: a new introduction. 3rd edn. London: J. Baker.

Rix, M. (1955) ‘Industrial Archaeology’, The Amateur Historian, 2(8), pp. 225–230.

[1] It is important to reinforce that Industrial Archaeology does not have to be exclusive to post-revolution history. More traditional industries such as brick making, malting, brewing, may also be suitable branches of study, i.e. pre-1750.

[2] EIAG’s newsletters are available digitally via ESAH’s website, and are also preserved physically by Essex Record Office

Our free digital guide is now live

We’re excited to announce that our free digital guide on Bloomberg Connects is now live!

The guide has floor plans, images, audio and video content to help you explore our collections, whether you’re visiting in person or browsing from home.

Once you’re in the guide, you’ll find online exhibitions of pictures from the Essex County Council art collection, examples of historic recipes from the archive and a film recreating two quince recipes, some Sounds of Essex from ESVA and information about visiting, future events and how to get involved with the ERO – there’s a lot to explore! We’ll be updating the content regularly so do follow us in the app to be notified.

Get the guide

You can download the Bloomberg Connects app on your phone’s App store and Google Play. Scan the QR code on the right to download the app or following this link to view the mobile web version of the guide.

About Bloomberg Connects

Bloomberg Connects is a free app offering digital guides to over 750 museums and cultural organisations around the world. We are delighted to work in partnership with Bloomberg Philanthropies to make this digital guide possible.

Of tombs and parish registers: sailing into the afterlife!

Edward Harris, Customer Service Team Lead, together with Neil Wiffen, Archive Assistant and “Tintinophile” (though he prefers Asterix) have been exploring the connections between newly listed tombs at St Clements, Leigh on Sea and Hergé’s salty sea-dog Captain Haddock.

Here at the Essex Record Office, we all love the history of our county, and are always on the lookout for further research. We were pleased to hear recently news about the listing by Historic England, of the chest tomb dedicated to Mary Anna Haddock (neé Goodlad, c.1610-1688), mother of Sir Richard Haddock (c.1629-1715), in the churchyard of St Clement, Leigh-on-Sea (https://historicengland.org.uk/listing/the-list/list-entry/1481879).

Engraving of Leigh Church (St Clement) I/Mb 220/1/6

Leigh Church (St Clement) – I/Mb 220/1/6

An added attraction was the suggestion of a connection with Hergé’s Captain Haddock, Tintin’s nautical sidekick.

Historic England state that the tomb ‘is relatively unusual as a single memorial to a named women of this date’ and that it is ‘an exceptional early example of a churchyard memorial … for the craftsmanship evident in the carved panels, posts, and tomb slab.’ How interesting and what might the Record Office have on Mary Anna Haddock and her important tomb?

While we do not focus on physical monuments in themselves, we do look after parish registers of baptisms, marriages and burials for the Diocese of Chelmsford (under which St Clement falls) so, ‘do we have Mary Anna’s burial entry’ in the archive? If we do, it’s always nice to then share it with our followers – simple really. Well, no! As is so often the case when undertaking historical research.

Historic England’s listing informs us that Mary Anna died on January 6th 1688, so taking a look at the relevant register (D/P 284/1/1), there is an entry for a burial taking place on January 13, 1688 (which seems right for arrangements to be made for burial from the time of death) for ‘Mrs [mistress – presumably stressing that she was elderly and respectable] Hannah Haddocke’ but not ‘Mary Anna Haddock’. Our interest was piqued!

Hannah Haddock burial 1688 - D/P 284/1/1

Hannah Haddock burial 1688 – D/P 284/1/1

A couple of obvious answers, as to why there are differences, might be that the names ‘Hannah’ and ‘Anna’ were interchangeable in the period, or that she was simply known by ‘pet’ or preferred name as opposed to the name given to her at birth. The incumbent could have also made a mistake, especially if he was writing up the ‘official’ burial entry later than when the burial took place. What else can we find out though?

We initially went, as is normal, to the relevant volume of the monumental inscriptions produced by our friends at the Essex Society for Family History. That for St Clement being T/Z 151/89 (which is indexed and contains a great plan of the church yard). Due to weathering of inscriptions, they pointed us towards John Bundock’s 1978 Leigh Parish Church of St. Clement: a historical description:

There are two tombs to members of the Haddock family … [one] a large altar tomb with only the top inscribed. Part of it is not very legible. For this and most of the churchyard monuments described here the author has reproduced the readings of earlier copyists. (p.54)

For an ‘earlier copyist’, when the inscription must have been legible, we consulted Philip Benton:

This tombe was erected by Sir Richard Haddock, Kt, in memory of his Grandfather, Capt Richard Haddock who died 22 May, 1660, aged 79 years. As also his father, Capt William Haddock, who died 22 September, 1667, aged 60 years. And his mother, Anna Haddock, who died 6 January, A.D. 1688, in the 78 year of her age, who all lie underneath in the vault. Also the body of Dame Eliz. Haddock, wife of Sir Richard Haddock, who died 26 Feby, 1709-10 aged 59 years. As also the body of Sir Richard Haddock, Comptroller of his Majesties Navy who died 26 January, 1714-15, aged 85 years. (P. Benton, The History of the Rochford Hundred, 1 (Rochford, 1867), p.352.)

Sir Engraving of Richard Haddock I/Pb 8/2/2

Sir Richard Haddock I/Pb 8/2/2

An early twentieth century publication, when the tomb might still have been legible, describes the tomb thus:

In churchyard – E. end … to Capt. Richard Haddock, (1660?), Capt. William Haddock, 166-, Anna Haddock, 1688, Elizabeth Haddock, 1709, and Sir Richard Haddock, 1714, Controller of the Navy, table-tomb. (Royal Commission on Historical Monuments, Essex, 4 (London, 1923), p.83.)

So, it is clear that the tomb contained several members of both sexes of the Haddock family and that Anna/Hannah was one of them. We have not found a sniff of a ‘Mary Anna Haddock’, the nearest we have got is the burial entry to ‘Mrs Hannah Haddocke’. As the tomb in question, and several others around it, are so weathered now as to be illegible, we must rely on previous authors and, of course, what is written in the burial register. We just hope that we are talking about the same tomb and burial as Historic England. Unfortunately, the Leigh parish register that we have consulted is the earliest still extant. Any earlier registers, dating back to 1538, do not survive so we cannot check baptism or marriage entries for the Haddock family, which might have made clearer some of the family connections.

We did however find an entry in the burial register of St Olave, Hart Street 1684-1805, held by The London Archive saying that ‘Mrs Anna Haddocke wid[ow] was caryed to be buryed at Leigh in the County of Essex.’ So this must have been where the funeral service took place, but still not, Mary Anna Haddock! (P69/OLA1/A/010/MS28870 – The London Archive)

As to the Tintin connection, like physical monuments this is not one of our areas of expertise, but a quick look at the online ‘go to’ place for answers, Wikipedia, states that:

Haddock’s name was suggested by Hergé’s wife, who noted that haddock was a ‘sad English fish’ over a fish dinner. Hergé then utilised the name for the English captain he’d just introduced … Although it has not been suggested that Hergé based Haddock on any historical persons, it transpired that there were several Haddocks who had served in the navy. (https://en.wikipedia.org/wiki/Captain_Haddock)

Tintin.com (a fantastic website for the avid Tintinophile) does add:

As for his family, we know that he is the descendant of the knight François de Hadoque, a navy captain who served under Louis XIV. The king of France entrusted François de Hadoque with the command of the frigate “The Unicorn” which the latter lost under circumstances which were revealed in The Secret of the Unicorn. (https://www.tintin.com/en/characters/captain-haddock#)

The original french language version has the The Unicorn in the background flying a Bourbon Flag, interestingly, the English translation shows it flying a union flag only adopted in 1801, 86 years after the death of Louis XIV. The English translation also has François Hadoque become Francis Haddock who sailed in the English Navy in the reign of Charles II. Coincidentally (as Tintin’s Unicorn is fictional with the art based on a model of the French second rate ship of the line Brilliant) our Captain Richard Haddock commanded the HMS Unicorn from 1648 -1652.

Blistering barnacles, what do you think?

So often with historical research, things are not clear cut and very rarely is there a definitive answer. However, that’s the joy of looking at archives. If you would like to look at the images of parish registers held by the Record Office, further details can be found at: https://www.essexarchivesonline.co.uk/ParishRegisters.aspx

What will you discover?

World Digital Preservation Day 2024

As well as making 1000 years’ worth of historical documents available to present day researchers, Essex Record Office also has a role in preserving current information for researchers of the future to access. As it is World Digital Preservation Day, we thought we would share some of the work we have been doing on the latter, preserving digital records for future generations.

A minidisc, CD-R, mini-DV tape, and floppy disk laid flat on a yellow background.

Types of media in the archive: clockwise from top left – minidisc, CD-R, floppy disk and mini-DV tape

Digital preservation is defined as ‘the activities necessary to ensure the continued access to digital materials as long as necessary….beyond the limits of media failure or technological and organisational change’. (Definition taken from the Handbook: Digital Preservation Handbook, 2nd Edition, https://www.dpconline.org/handbook, Digital Preservation Coalition © 2015, accessed on 29 August 2024). It encompasses documents and files that are created and only exist digitally, known as born-digital; scans of paper records that have been destroyed, known as digitised records; and digital copies of existing paper and analogue records, known as digital surrogates.

Essex Record Office does not have many digitised records, but we do have a considerable number of digital surrogates and a growing number of born-digital records in our collections. Put together, we have over 83 terabytes of digital records, up from 64 terabytes in 2021. 97% of these are digital surrogates e.g. images of parish registers and wills. Only 3% are born-digital, but these include Word-processed documents, images, and sound and video recordings that form part of the Essex Sound and Video Archive.

Looking after digital records poses some challenges that are very different to looking after paper and parchment. Risks to the survival of digital records come from the fact that software is needed to view them, which can become obsolete; and hardware is sometimes needed to view them, which has the same problem. For example, we have quite a number of floppy disks in our collections. How many people have computers that still have floppy disk drives? Some risks are however similar to those faced with physical documents. Just as paper can decay through high acidity levels or the effect of moist environments, digital records can decay electronically, often when being copied from one file location to another.

We have been looking at the risks our digital holdings face and how we can mitigate against them, and have been benchmarking our activities against various digital preservation standards that have been devised by the National Digital Stewardship Alliance and the Digital Preservation Coalition. The risk to the holdings has been assessed against a framework provided by the UK National Archives. This was first done in 2022, and revisiting the framework this year has shown that we have made significant progress in lowering the risk of the records becoming inaccessible. This is largely owing to the fact that in 2022, our digital holdings were not particularly well documented, particularly in terms of technical information. We now have a lot more information about the digital records that we hold, which means that it is easier to establish where vulnerabilities exist. This means for example that we can transfer the content kept on file types most at risk of obsolescence onto file types with more longevity.

We are also making progress against the standards, partly through the extra information we now have, but also because we have been busy copying all the files kept on CDs, floppy disks and other portable media onto the cloud. This reduces the risk that this information will become inaccessible because the hardware can no longer be read, either because readers are not kept or maintained, or because the CDs or floppy disks themselves have degraded.

We have also invested in a dedicated computer to carry out digital preservation work, and with it, some specialist software to help. When we have any digital records deposited, we now check it to see what file formats are included and what size they are. File formats are also checked against the National Archive’s PRONOM directory, which helps us see how much longevity they have and if we therefore need to move anything to a new format. If we move records from one file location to another, we now always use a piece of software to check that the transfer has completed successfully and not caused any damage to the files.

We are additionally trying to plan for the types of records that we are likely to receive in the future to make sure we can take them when offered them. Two examples of this are websites and emails. We have a system that can capture copies of websites and present them offline as they would have looked. Consequently, if anyone runs a website of Essex interest that they feel should be preserved, please contact us on ero.enquiry@essex.gov.uk to discuss giving to us to look after. This is particularly pertinent if it can no longer be maintained, but a copy of it is wanted for posterity. Emails are particularly complicated as there can be replies from multiple people, they can include attachments and links and they are littered with personal information. We now have software that allows quite a sophisticated search function for email collections. Names of people and keywords can be searched for as well as labels that we can allocate to an email or groups of emails. It also allows personal information to be identified and redacted and access restrictions to be put on emails where necessary. We can currently only accept email mailboxes in mbox format, which limits it to people with Hotmail or Gmail email addresses, but we would certainly welcome deposits of email mailboxes from these accounts.

A VHS tape, reel-to-reel tape, cartridge, and cassette tape laid flat on a green background.

More media: clockwise from top left – VHS tape, reel-to-reel tape, cassette tape and cartridge

Much more work needs to be done here in the area of digital preservation, particularly relating to how we provide access to these records. Furthermore, even the cloud is not infallible and back-up copies need to made of the information kept on it in case of disaster. We also need to develop our email preservation to include outlook mailboxes. Importantly, we are beginning to work on a long-term plan for digital preservation activities alongside how our records are presented online generally.

Digital Preservation is going to become ever more relevant with increasing quantities of information now being digital only. It is incredibly likely for example that people will now have collections of digital rather than printed photographs, and we have done a lot of preparation to make sure that we are ready to accept these types of collections. This is a rapidly developing area and one with many future uncertainties, but it is one we feel we can tackle and advise on.

The Digital Preservation Coalition are launching a toolkit for community archives today, so if this article has prompted questions about how you safeguard your own digital records for the future or those of an organisation you are part of, please feel free to make use of this, or ask us for guidance. More details can be found at https://www.dpconline.org/.

New! Guide to the Essex Record Office for creatives

Green box tied like a present with white string (archive tape). The label on the front of the box reads 'Essex Record Office: Guide for Creatives'

Archives are a rich source of inspiration for many creatives interested in the histories of people and place – artists, writers, filmmakers, photographers, musicians, designers and producers. But it can be difficult to know where to start.

To help, we’ve put together a new guide to the Essex Record Office for creatives. The guide covers how to search, access, and use the archives, what we can offer, case studies, and inspiration from the collections.

If you haven’t come across us before, the Essex Record Office is the county archive for Essex. We’re based on Wharf Road in Chelmsford, where we preserve nearly 1,000 years of Essex history. That includes all sorts of records, from medieval charters to twenty-first century digital files. You can search the archives on our catalogue, Essex Archives Online, and access them either online or in-person in our searchroom.

Painting of a large bright room, with windows to the left and bright lights above. In the room are long desks and orange chairs.

The Search Room at Essex Record Office, Robert Priseman

As visual, material, textual objects, the archives preserved at the Essex Record Office can tell many different stories. We hope that this guide will help you find something that inspires you in your creative practice.

In turn, creative interpretations of the archives can give us new ways of understanding them. They also help to share them with a wider audience and open up a conversation about what has been preserved from our past – and what we should preserve for the future.

We’re thinking of the guide as a work in progress – let us know if you think we’ve missed anything that would be useful to know!

Please note that the charges given in the guide are accurate for 2024-25, and may change in future.

If you are part of a creative network or studio and would like a physical copy of the guide, please get in touch.

Access the guide online here.

Photograph of Basildon town centre from above at night, with the lights on in the office windows and along the pavement. Above the photograph is text: 'The Future is About to Begin'

Page from the Commission for New Towns guide to Basildon, 1980s (A8389)

 

Cydonia Oblonga – the Quince

Neil Wiffen HeadshotIn his latest blog on fruits and vegetables, ERO Archive Assistant and Orchard Authority Neil Wiffen, considers quinces.

Cydonia Oblonga – the Quince

The autumn is when the English apple and pear season really gets in its stride. What a delight that the D’Arcy Spice is soon to be back in season, the Ribston Pippin on the shelves, a Doyenné du Comice pear slowly ripening in the fruit bowl. A poor relation to these well-known orchard fruits is the quince. Such a jolly, good-looking fruit, glowing all gold and yellow among the foliage but as hard as iron!

Yellow quinces in a wicker basket.

Yellow quinces in a wicker basket.

The quince is not native to Britain, it probably originated far to the east, in Turkestan and Transcaucasia. It was known on Crete at an early stage, and it was from here that it derives its name, Cydonia, from the city of Cydonea, now known as Canea. It appears that it was not introduced into Britian until after the Norman Conquest, and it is recorded that Edward I had some in 1275. (F.A. Roach, Cultivated Fruits of Britain: Their Origin and History (1985), pp.221-223).

Possibly the quince was generally a fruit of the gentry and aristocracy as being hard and gritty it must be cooked, often with wine, sugar and honey. Quince jelly and quince cheese perhaps have their origins here. Philip Miller, in The Gardener’s Dictionary (1731), goes as far as to say that ‘the fruit is sour and astringent’ (ERO, D/DU 588/1). The recipe ‘To p[re]serve Quinces’ (ERO, D/DBy Z1) uses a lot of sugar along with rose water and cinnamon – all expensive ingredients in early modern England.

Extract from D/DBy Z1 a recipe for preserving quinces.

Extract from D/DBy Z1 a recipe for preserving quinces.

It can also be used in savoury dishes, so perhaps this is where it would have found a role in most households. However, in the first half of the eighteenth century, someone decided to note down a recipe for quince wine (ERO, D/DRe Z5, c.1725), another way to make use of them, although with you still needed ‘3 pound of sugar’ to ‘every gallon of licker’.

Extract from D/DRe Z5 a recipe for quince wine

Extract from D/DRe Z5 a recipe for quince wine

It is generally a very good ‘keeper’; it would have found a welcome shelf in the fruit store to help provide a supply over winter in an age before refrigeration and imports from around the globe. Mixed in with apples, it makes a wonderful crumble, bringing a lovely, distinctive taste and colour. I can imagine that it was ‘valued’, as an addition to the diet, but possibly not loved.

1st ed 25inch OS 1873-4 Blackmore

Quince Hall in Blackmore 1st ed 25 inch OS 1873-4

The quince has left little in the way of records, the odd place-name, such as Quince Hall in Blackmore, and Quince Tree Farm in South Ockendon – perhaps both named after a distinctive and unusual quince tree in their gardens? The quince as a landscape feature.

Quince Tree Farm 1st ed 25inch OS c.1875

Quince Tree Farm 1st ed 25inch OS c.1875

If you want to find out more about apple days and all things celebrated around orchard fruits see: https://www.commonground.org.uk/apple-day/

If you want to see how the ERO got on ‘p[re]serve[ing] Quinces’ or how the c.1725 quince wine recipe came out then take a look at our video.

You can download the recipes here:

Preserved Quinces Recipe – Transcription

Quince Wine Recipe – Transcription

If you would like to see the quince recipe in D/DBy Z1, it will be on display in the ERO Searchroom until the end of November.

Take a trip to your local farm shop to hunt out a quince – let’s put it back on the menu!

New art collective Care Contractors visit Essex Record Office to research Pilot Basildon Public Art Trail

Back in August, we were delighted to welcome the Care Contractors to the ERO Searchroom to explore the records of the Basildon Development Corporation. In this guest post, they tell us about their work and how the archives have helped them.

We are a newly formed art collective called Care Contractors, interested in public art, its maintenance, commissioning, and fabrication. Our members are Emma Edmondson (sculptor, educator and organiser), Lu Williams (artist, publisher), Shaun C. Badham (sculpture, artist, technician) and Laura Whiting (designer, researcher). Our first project commissioned by Creative Basildon is to develop a pilot cultural trail and community engagement for public art in Basildon that will take place this autumn.

Publicity photograph, opening ceremony of Wendy Taylor’s Armillary Sundial (1989) part of the Roundacre Improvement Scheme. Wendy Taylor is shown standing in front of the stainless steel sculpture with Harry Bacon and Gordon Roberts from the Commission for New Towns (catalogue ref: A8287 box 4)

As part of our research we want to understand how early public artworks were commissioned by the Basildon Development Corporation, what funds were allocated and how conversations between artists and government officers unfolded. To prepare for our visit to Essex Record Office, we were introduced by Alina Congreve of New Jerusalems to archivist Victoria West for an initial video call. This helped to plan our research day, as the collection features an enormous 1,065 boxes of Basildon Development Corporation material.

One box (from accession A8287 box 4) containing letters, papers and publicity material from the administrative department proved really useful for our research: photos of the iconic Mother and Child (1962) fountain being built in Maurice Lambert’s studio (that for a time was also the Basildon logo); photographs of the bronze Homer (1961) by Frederick Edward William in Brooke House, now sadly missing; along with photos of the opening ceremony of Wendy Taylors’ Armillary Sundial (1989) attended proudly by the Commission for New Towns officials Harry Bacon and Gordon Roberts. As we looked through the materials some common questions arrived – what plans were put in place for maintenance? Who is responsible for this work? And what might be a sustainable vehicle to undertake this today?

From looking through promotional brochures in A8389 box 3 the role public art played in attracting new business, residents and shoppers was very apparent. Basildon produced its own district guides, commonly featuring well-loved artworks such as Pussiewillow III (1981) by Rowland Emett outside Savacentre (now ASDA) on its cover. We wondered what would be the equivalent today? And the contemporary role public art plays in promoting the town.

Booklet: Welcome to the District, published by Basildon Council, No date, estimate 1982, cover featuring a crowd admiring the newly installed Pussywillow III sculpture (catalogue ref: A9389 Box 3)

Booklet: Welcome to the District, published by Basildon Council, No date, estimate 1982, aspirational quote set against photograph of Mother and Child Fountain (1962) Maurice Lambert, and Keay House (now Southgate House) in the Background before remodelling (catalogue ref: A9389 Box 3)

With our project we had already decided to focus on the work of Wendy Taylor for its hybrid approach to public realm design. Still innovative today, Taylor’s approach was feminist, pedestrian and cycle focused; her designs wove together a series of roundabouts and underpasses at the Eastern and Western gateways to the town centre. Commissioned by the Development Corporation, The Roundacre Improvement Scheme Underpasses (1985-90) were designed to increase safety with curved walls that prevented attackers from pressing their victims up against the sides, and coloured patterned tiles specified for their light reflective qualities, as seen with The Avenue of Trees underpasses. Since 2013, these underpasses have been left with half the tiles removed after the installation of new lighting. Now under the care of Essex County Highways, since the disbanding of the Development Corporation, advocating for their repair is a more complex task. 

Amongst the archive photos, we rediscovered the currently overgrown sculptural letters of Taylor’s Compass Bowl (1980) at Southernhay / Long Riding. Understanding the original intention of these environmental works could, for example, inform instructions given to gardening teams today, and reinject the meaning to this unique outdoor sunken ‘room for contemplation’. We also found photos of another currently underloved artwork – Taylor’s Animal Fesco Underpass, completed in Phase II of the Roundacre improvement works connecting Gloucester Park and what was previously a boating lake and public swimming pool. Its sloped sides are just steep enough to climb if you have good shoes, it encourages you to scramble over the silhouettes of life size animals cast with dyed concrete. Common across public art in New Towns is its availability to be climbed and played on, and intentionally or not, concrete of all textures has proved useful over time, which might not be the most ecological material choice today, but is nonetheless easy to maintain.

As Basildon reaches its 75th year, we can reflect on the generosity, co-ordination and ambition of the late stages of the Development Corporation projects. With new redevelopment plans afoot, what opportunities may arise for thoughtful and sensitive new infrastructure? How will public art be integrated, and most importantly who will care for, clean and curate it? Through our project we will be establishing conversations with residents, council officers, shoppers, festival goers, artists and commissioners with what new forms of artworks are relevant today, and who does the work of care in a time and cash poor society? 

Photograph, year unknown, Wendy Taylor’s Compass Bowl (1980) at Southernhay / Long Riding roundabout showing directional floor paving and angular raised planters and stylised compass letters (catalogue ref: A8287)

Colour photograph showing present day Compass Bowl conditions, resurfaced floor, and abundant vegetation that obscures stylized lettering. Members of Care Contractors Art Collective Lu Williams, Poly (dog) and Shaun C. Badham in the mouth of the tunnel (credit Emma Edmonsdson, 2024)

You can follow the Care Contractors on Instagram here: www.instagram.com/care_contractors/

For full list of public activities and events please see: creativebasildon.co.uk/care-contractors/

You can find our more about the New Jerusalems project here: www.newjerusalems.info/ and follow on Instagram here: www.instagram.com/new.jerusalems/

Essex Record Office has two guides to the Basildon and Harlow Development Corporations records: Guide to help you start exploring the New Town Development Corporation Records and Harlow and Basildon in the Essex Sound and Video Archive