Gladys Taber

In September 2014 archaeologists discovered an encampment  about 1.5  miles away from Stonehenge. Using carbon dating it has taken until now to be able to determine the age of the encampment to be around 6,000 years old.

Canada Now reports:

The site of the encampment has been named Blick Mead and it is about 1.5 miles from the Stonehenge monument. Archaeologists tested charcoal remains at the Blick Mead site and carbon dating determined that these charcoal remains date from around 4,000 B.C which is hundreds and possibly even a thousand years before Stonehenge was constructed.

Archaeologists also uncovered a number of other remains and artifacts that point to a settlement or encampment being present in the area around Stonehenge. Archaeologists have uncovered the remains of large cattle called Aurochs, the ancestors of our modern cows and bulls that were eaten by early hunter gatherers at Blick Mead. In addition to cattle remains archaeologists have found burnt flints used to start fires for cooking and warmth and other tools such as primitive knives. The newly discovered Blick Mead site probably attracted early hunter gatherers in Britain because of a natural spring in the area providing a steady source of fresh water for both humans and animals and rare algae that has changed the color of native rocks from brown to pink. No doubt this area would have been an excellent place to have a settlement or encampment.

Historians and anthropologists believe that artifacts and structures from the Blick Mead site could shed light onto the pre-history of Stonehenge and its inhabitants which has long remained a mystery. There are still buildings that need to be studied such as a 33 meter long wooden structure that was possibly used for ritual burials that was unearthed at the Blick Mead site this September.

Archaeologists and historians are concerned for the future of the site due to a plan to build a tunnel beneath the Stonehenge landscape in order to divert traffic from the nearby A303. The Department of Transport have said the will consult with experts to ensure the planned tunnel project does not disturb historical and cultural areas and artifacts.

Mompesson House, ‘The House in The Close’, is a perfect example of Queen Anne architecture and was built for Charles Mompesson in 1701. It is noted for its elegant and spacious interior, especially the magnificent plasterwork and fine oak staircase.

See the important Turnbull collection of 18th century drinking glasses, fine period furniture and charming walled garden with its garden tearoom. Mompesson House featured as Mrs Jennings’ London home in the award-winning film ‘Sense and Sensibility’.

This season we also have a contemporary sculpture exhibition in the house and garden ‘Material Connections across the Ages’. It looks at connections between contemporary sculpture and historic objects. There are pieces made from glass, paper, stone, textile and wood, among others.

A glimpse of two of the artworks can be seen in the first two photographs.  The final photograph is an artwork by Jane Hall and is entitled ‘Lady of the Woods’.

Work is currently underway to restore the imaginary fishing village of Wolf’s Cove which previously stood around the large pool at Snowshill Manor.

National Trust SW reports in May 2013:

Snowshill has a lost village called Wolf’s Cove which will be excavated this year. It will then be completely reconstructed based on documents and archaeological evidence.

Quirky and true to Snowshill’s spirit of place. Wolf’s Cove was a model village with canals, harbour and railway created and developed into the 1930s and then removed in the 1970s.

The World of Wolf’s Cove:

Whilst living in Hampstead, Charles Wade built one of the first model villages designed for use outdoors, based on a Cotswold village, which he called ‘Fladbury’. Later, when laying out the gardens at Snowshill, he incorporated the village but changed it’s name to ‘Wolf’s Cove’ and added a port. The name was taken from a hulk he had seen  and sketched in Ipswich harbour.

An article in Our homes and Gardens in 1920 describes it in detail; ‘The river meanders through a pleasant meadow…. Here a punt is moored to the landing stage…. A watchman stands all day to prevent fishing in these preserves.’ In English Journey (1934) J. B. Priestley recorded his pleasure at seeing the village; ‘The miniature seaport…. has a proper harbour in one of the ponds of the garden. It has its quay, its fleet of ships, its lighthouse, its railway system with station, sidings and all, its inn, main street and side streets, thatched cottages and actual living woods.’

John Betjeman endowed the village with real characters to such good effect that his article about it in The Architectural Review (1931) persuaded at least one reader that the village really did exist!*

The building you can see in the last photograph is the roof-space of the Sancta Maria Byre. Wade converted this into a small room which he called ‘The Jolly Roger’.  Jolly Roger was intended to be part of the seaport of Wolf’s Cove, with the pond in front containing the ocean. In summer Wade used this cabin as a bedroom and would plunge into the pool every morning for a bracing wash.

*From the Snowshill Manor guidebook 2010 edition.

There is a recurring dragon theme in the gardens at Snowshill Manor.  The photo above is of a statue of St. George and the Dragon. It was commissioned by Charles Wade from a Tyrolean craftsman, A. Dapre. It is a copy in teak of a statue that is housed in the Victoria and Albert Museum.  The replica is faithful in every detail except size – the original is approximately one foot ten inches high.*

*Info from the Snowshill Manor and Garden guide book 2010 edition.

The music room contains instruments from the 18th and 19th century, showing some fine examples of English craftsmanship. A Latin inscription above the door translates as ‘Man is carried to heaven on the wings of music’.  Within the room there is an angel with no wings hanging from the ceiling.

The instruments are displayed in groups around the room, more or less in the order that would be found in a small orchestra. Thus on the left are the strings, in the centre the woodwind and the brass, and on the right percussion.*

The woodwind section of the orchestra is well represented by the oboes and clarinets on the shelf, and the flutes on the wall are made from wood or ivory. Beside them hang two curious German flutes shaped like walking sticks. The three serpents, despite being made of wood and having finger holes rather than keys, are in fact classed as brass instruments.*

*From the Snowshill Manor and Garden guide book 2010 edition.

Henry Van Dyke (from the poem Katrina’s Sun-Dial)

The first hint of Charles Wade is seen even before entering the house: the post-box to the left of the door carries his coat of arms together with his motto NEQUID PEREAT, which means ‘Let nothing perish’. The phrase not only reflects the purpose of the collection but also the way in which Wad went about his work, whether restoring a broken object of using scraps of paper for drawing, including both sides of each sheet. this is a marked contrast with modern attitudes, where consumer goods may be recycled but rarely repaired, and basic materials are used once and thrown away.*

*From the Snowshill Manor and Garden guide book 2010 edition.

Built in the 15th century and extended several times since, Snowshill Manor owes its current form to many people but above all to Charles Paget Wade, who restored it to house his collection, displaying what were to him the essentials of colour, design and craftsmanship.

Nestling in  the head of a Cotswold valley, Snowshill Manor has the stature of an idyllic country house. The manor of Snowshill has a long history and was first recorded when the King of Mercia gave it to Winchcombe Abbey in 821 AD. After the dissolution of the monasteries in the 16th century, another monarch, Henry VIII, included it in his dowry to Catherine Parr. After a succession of somewhat less regal owners and tenants, Charles Wade purchased it in 1919. He spent three years restoring it in order that anyone with an interest in design and craftsmanship could marvel at and learn from his collection. The extent of his achievement can be seen today in the huge number of items on show in the twenty rooms of the manor house.*

*From the Snowshill Manor and Garden guidebook 2010 edition.

Belly pork and black pudding accompanied by onion mash and red cabbage…

Delicious

More about our visit to the ‘Haunch of Venison‘ can be found at the end of my ‘Salisbury Day Two‘ post.