10 things you probably didn’t know about windmills

Posted on May 6, 2020 by Joanna Baines

Did you know that Special Collections & Archives hold not one, not two, but four collections relating to windmills and their history? To celebrate National Mills weekend (being held virtually over the bank holiday, 9 – 10 May 2020) we thought we’d put together some interesting facts based on our marvellous mill material! (Alliteration encouraged but not necessary.)

We challenge you not to find windmills awesome after this post

1. Windmills are important sources of local history

We’re so used to living in an age with electrical everything, but before the industrial revolution happened mills were vital sources of power across the UK and Europe. They didn’t need to be near water sources to generate energy and were used for all kinds of work, especially grinding wheat to make flour – vital in a world before mass imported food.

Because mills could be found almost everywhere until the 19th century, they’re a unique source for exploring local history and a great starting point for archive research: who owned the mill? What was it used for? Where was it in the community and how long did it operate for? If it’s no longer around, what’s replaced it on the site? Who worked in mills and how much did they earn? Mills are a great resource for economic, local and art historians alike.

2. Know your mill types: tower mill

Lots of tower mills: note the brick and cylindrical body

If you’ve been following our #WindmillWednesday hashtag on Twitter, you’ll notice that there isn’t just one type of windmill to explore. We traditionally associate windmills with tower mills – they’re fairly cone-like in shape, often brick-based and the sails are attached to a wooden roof that can rotate in the direction of the wind. Tower mills have existed since the 13th century but they became popular from the 16th century onwards; however they’ve always been more expensive to build than other types of mill. In the UK, the tallest existing tower mill can be found at Moulton in Lancashire.

Moulton windmill’s workers must have been extremely fit to get all the way to the top (image taken in 1938)

3. Kent has so many windmills there’s an entire book about them

At one point, Kent had over 400 windmills – with Deal and Sandwich hosting 6 each! Today 12 still exist; Kent County Council look after 6 of them. The definitive work about Kent’s windmills was written by historian William Coles-Finch (1864 – 1944) in 1933. Windmills and Watermills was republished in 1976; we have several copies of each edition. We often get asked “why do you have things relating to windmills anyway?!”; our answer – alongside the local history and generally awesome elements – relates to the creators of the three main mill collections we hold. Keep reading for more information…

4. Know your mill types: post mill

Post mills, not to be confused with post boxes

Post mills are the earliest known type of European windmill and generally the most affordable to build. They can be recognised easily – they have a blocky, boxy structure that sits on top of one post, often hidden by a cylindrical base. Architecture aside, the main difference between tower mills and post mills is that in post mills the mechanisms are enclosed within the box of the mill (around a single post, hence the name) and it’s this part that turns. In comparison to a tower mill, this is a huge difference – in tower mills it’s only the top of the mill that rotates. Sometimes you’ll see post mills without the cylindrical base, but as it’s pretty useful for storage many are built with this area included as part of the design. In the UK, the longest working post mill can be found in Outwood, Surrey; the oldest non-working mill is in Great Gransden, Cambridgeshire.

Great Gransden windmill shows off its best side (1979)

Miller Stanley Jupp looks mighty proud of his Outwood windmill, as he should (1961)

5. The Muggeridge family really liked windmills

The Muggeridge family – father and son

The largest collection of mill material we look after belongs to the Muggeridges. William Burrell Muggeridge (1884 – 1978) started taking images of mills in 1904 and continued for most of his life; we hold his glass plate photos. William passed his love of all things windmill onto his son, Donald (1918 – 2015) who spent much of his spare time cycling around the UK with his wife Vera. Vera and Donald were interested in all things heritage-related and windmills formed a large part of that interest. Donald’s photographs also reside with us. You can read more about the Muggeridges here.

6. Know your mill types: smock mill

Smock mills in all their finery

Like tower mills, smock mills only rotate through the top of the building where the sails are attached. The main difference between smock mills and tower mills is that smock mills are generally constructed of wood and have 6 or 8 sides, whereas tower mills are made of brick and generally cylindrical in shape. Because of their multiple sides smock mills resemble smocks traditionally worn by farmers. In the UK you can find the oldest existing smock mill in Lacey Green, Buckinghamshire.

Lacey Green smock mill looking mighty atmospheric (1934)

7. Not just the UK: windmills across the world

The majority of our mill collections focus on UK windmills, but they’re well documented across Europe and beyond. The Netherlands is particularly famous for milling – in 1850 they had 10,000 windmills in operation out of Europe’s 200,000 total! After the Second World War Donald Muggeridge moved to North America (Canada then California), so his collection contains many photos of American mills and others across the globe from his travels. You can explore the listing of Donald’s adventures here.

8. C.P. Davies was also a big mill fan

Our other significant mill collection belonged to C.P. Davies, a Kent based librarian in the 20th century. The Davies collection differs from the Muggeridges’ in that it is much more text and ephemera based – you can find newspaper cuttings, articles, pictures and handwritten notes amongst its c.100 boxes. Davies was primarily focused on mills along the south coast (Kent and Sussex), but there’s information about a wide variety of mills across the UK and Europe. You can browse the listing of the collection here.

9. One final Kent name to remember: the Holman family

Two of the scrapbooks from the Holman family. There’s at least one cute sheep photo within.

If you’ve visited Special Collections & Archives on an open day in the past few years, you may well have seen one of our gorgeous windmill scrapbooks. These scrapbooks were made by John Holman; his collection also includes engineering notebooks and many other memorabilia relating to mills. The Holmans were a famous milling family in Kent; they built twelve wooden smock mills across the county between 1793 and 1928, of which six still stand. The Holman milling business (which included engineering and designing mill parts too) ran for 150 years. If you’re interested in finding out more about them, The Mills Archive have a wonderful biography of the Holmans online.

10. Mills have switched from practical structures to heritage buildings

Nowadays most mills aren’t in use for power generation as there are far more efficient methods, and the number of buildings that still exist are far fewer. As you might expect given their structure and components, windmills are at risk from bad weather, neglect and occasionally fires – there are a lot of photos across all our mill collections that record the damage time does to these marvellous machines. However many mills now are managed either through county councils (Kent County Council looks after eight of twelve remaining) or via volunteer charities. They often open for visitors in the summer months, and initiatives like the National Mills weekend help to raise support and awareness.

If you’ve read this far…congratulations! You may now call yourself a molinologist, aka someone who studies mills! Maybe one day you will find yourself seeking out windmills far and wide, like the author of this blog:

Zaanse Schaans windmills in 2018 and 1982.

Windmills: guaranteed to make you happy!

Resources and references:

Kent County Council have a fantastic resource pack to teach children (and adults) about windmills: https://shareweb.kent.gov.uk/Documents/Leisure-and-culture/heritage/heritage-education-packs/windmills-education-pack.pdf

The Mills Archive is a fantastic site for molinologists of all ages but we particularly like their biography of the Holman family: https://millsarchive.org/explore/features-and-articles/entry/158534/holman-bros.-millwrights-of-canterbury-a-history/6817

For much-needed reading, the Wikipedia pages on windmills are a great place to start (and very thorough): https://en.wikipedia.org/wiki/Windmill

The majority of our windmill collections are catalogued; you can view details of their contents here: https://archive.kent.ac.uk/TreeBrowse.aspx?src=CalmView.Catalog&field=RefNo&key=MILL

We are continuously cataloguing our library of mill-related books, and you can view up to date listings on LibrarySearch: https://librarysearch.kent.ac.uk/client/en_GB/kent/search/results?qu=windmill&qf=LOCATION%09Location%091%3ASCA%09Special+Collections+and+Archives&if=el%09edsSelectFacet%09FT1&ir=Library&isd=true

All photographs used in the hybrid images in this post are from our Muggeridge collection: https://archive.kent.ac.uk/Record.aspx?src=CalmView.Catalog&id=MILL%2fMUG

Shopping in Special Collections & Archives

Posted on April 24, 2020 by Joanna Baines

In addition to keeping the Templeman Library a welcoming place for all, our Learning Environment Assistant Christine Davies has been exploring fashion in our collections this year! We hope you enjoy this blog post by her – and look out for details of rescheduled events when we’re open again.

I am by nature whimsical and self-indulgent, and not generally inclined to resolutions that champion achievement from self-deprivation. And yet, on January 1^st, 2020, I resolved not to buy any new clothes for a whole year. I have, like many others, been cluing up on the subject of sustainability in the fashion industry and if you haven’t already seen it, I can recommend Stacey Dooley’s ‘Fashion’s dirty secrets’ documentary released last summer and still available on BOB. However, I love clothes. I have always been fascinated with the creative and complex possibilities that clothing affords, for self-expression, negotiation, transformation. I enjoy the lure of fashion, but also take delight in ignoring its dictates with regard to my personal wardrobe. Make no mistake, I fully intend to return to the high street next year, just hopefully better equipped to make more ethical and considered choices. However, to mitigate my material loss in the meantime, I have been spending some time browsing the fashions of the past, and discovered a veritable boutique in our Special Collections & Archives. Since Covid-19 has put a temporary stop to my reading room visits, I thought this would be a good opportunity to take stock and share some of my favourite finds with you.

The history of fashion magazines goes back a long way, and we are lucky to have two examples of the ultimate trend-setter in this genre, The Lady’s Magazine – a monthly miscellany founded in 1770 that, from its inception, supplied readers with embroidery patterns and pilfered reports on fashions worn at court and in Paris. Special Collections has a rare single issue of The Lady’s Magazine for October 1771 and a bound volume for 1798, which, whilst sadly lacking embroidery patterns, nevertheless hold fascinating insights into historical dress. Another selling point for the magazine was its literary content, and each issue was illustrated with a monochrome copperplate engraving that often featured subjects wearing contemporary dress. As we can tell from figs. 1 and 2, 27 years can make a considerable difference – just notice the rising waistline!

Figure 1: The Lady’s Magazine Vol. 2(15), Oct. 1771.

Figure 2: The Lady’s Magazine Vol. 29, Oct. 1798.

For those interested in further contextualising the development of The Lady’s Magazine, you can access the entire run digitally on Adam Matthew. Also, check out Professor Jennie Batchelor’s blog for an exhilarating and in-depth discussion of the magazine, including its fashion content.

Moving into the nineteenth century, Special Collections also has some wonderful copies of La Belle Assemblée (vols. 5-11, 13, Jan. 1812-Jun. 1815, Jan.-Jun. 1816) and select issues of Le Monde Élégant, or the World of Fashion (nos. 455, Nov. 1861; 460, Apr. 1862; 461, May 1862; 473, May 1863; and 478, Oct. 1863), publications which show us how the form developed over several decades. Since I am not an expert in this field, I will keep my observations to the examples in Special Collections & Archives, but again, you can access the complete run of these publications on e-resources like Gale.

La Belle Assemblée was founded in 1806 and ran concurrently with The Lady’s Magazine; it employed a similar formula with regards to content, but swiftly invested in upscaling its fashion column to include extensive commentary and hand-coloured fashion plates. (It took The Lady’s Magazine thirty years to introduce its first fashion plates in colour, but of course this still preceded La Belle Assemblée by six). La Belle Assemblée also consistently supplied its readers with embroidery patterns in its monthly issues, and we are lucky that these survive in the Special Collections & Archives copies, providing key insights into Regency material life. In the issues at hand, the patterns typically consist of two running borders, either geometric or organic in style, which could be adapted for different garments; favourite motifs, as you can see from figs. 3 and 4, included wheat sheaves and neoclassical key patterns, or frets.

Figure 3: La Belle Assemblée Vol. 7, Jun. 1813.

Figure 4: La Belle Assemblée Vol. 9, Apr. 1814.

What strikes me the most, however, is the complexity of the fashion plates themselves. At first glance, they project a delightful whimsy, using colour, composition and exquisite detail to sell a lifestyle grounded in aesthetics and aspiration, and inflected, of course, with contemporary gender ideology. For the most part, the plates feature a female individual, predominantly as a full-length forward-facing standing figure – a format favoured in fashion plates generally at this time – to show both garment and figure to most advantage (think, Miss Bingley in Pride and Prejudice). I am particularly interested in fashion’s narratives of femininity, and figs. 5 and 6 are examples of plates that indisputably advocate the merits of beauty and domesticity, featuring women at their dressing-tables, pursuing sedentary activities or caring for children.

Figure 5: La Belle Assemblée Vol. 5, Jun. 1812.

Figure 6: La Belle Assemblée Vol. 6, Nov. 1812.

Having said this, the occasional plate was also dedicated to riding dress, (arguably the equivalent of sportswear today) featuring women with whip in hand. The plates must also be considered in the context of their accompanying commentary, which often reveals women in an alternative entrepreneurial light. In the Special Collections & Archives holdings of La Belle Assemblée, we learn that several of the featured garments derive from the creative and professional skills of the following London-based business women: Mrs. Schabner, of Tavistock-street; Miss Walters, of Wigmore-street; Mrs. Thomas, of Chancery-lane; Miss Powell, of Piccadilly; and, unsurprisingly, of a Mrs. Bell (who was successful enough to upscale from Bloomsbury to Bedford Square in the course of these few years).

In Le Monde Élégant, the fashion plates become the raison d’être of the women’s magazine – as would be the case from hereon (I don’t know about you, but it’s rare that I actually read a column in Vogue, etc., preferring to flip through the glossy photographs, cooing and grimacing by turns). By the 1860s, Le Monde Élégant had evolved through several different titles and had several achievements, not least becoming the first magazine to introduce paper sewing patterns in the 1850s, each month enabling readers to reconstruct one of the illustrated garments for themselves. The magazine also pointed out how readers could make variations with the patterns, to suit different tastes. Intended for immediate consumption – like the embroidery patterns of earlier magazines – these were an ephemeral component of the magazine, and unfortunately do not survive in the copies held in Special Collections & Archives.

Nevertheless, we can see how the magazine sought to have real material application for its readers whilst showcasing fashions that were, for the most part, unobtainable for the middle classes. The magazine supplied five plates per issue, larger in scale than those of La Belle Assemblée, of which four were in colour, consistently featuring a group of three figures, and one in black and white, covering millinery. Of the examples at hand, the figures are entirely female, though fashion magazines in Britain had started incorporating male figures as early as 1812 (yes, you’ve guessed it, in The Lady’s Magazine). Whilst there is surely a lot more that we could explore, I think for now, we should draw this post to a close. So, to end, here are my personal favourites from Le Monde Élégant (see figs. 7 and 8).

Figure 7: Le Monde Élégant No. 455, Nov. 1861.

Figure 8: Le Monde Élégant No. 460, Apr. 1862.

All details of Special Collections & Archives journal holdings can be found through LibrarySearch. Thanks again Christine for a wonderful blog!

Coronavirus: collecting your experiences

Posted on April 8, 2020 by Joanna Baines

SCA wants your experiences of the coronavirus pandemic – in any form you’d like

All of us are experiencing an exceptional time in our lives, where the COVID-19 coronavirus has had an impact on how we live, how we work, and how we interact with each other. Archives have an important role in recording these extraordinary times. In Special Collections & Archives we preserve the history of the University of Kent and the history of the regions and communities of which the University is a part, and we would like to create an archive collection that records the experiences of people in Kent in relation to the COVID-19 coronavirus pandemic.

We would like to collect records of your experiences of – and responses to – the pandemic. Your record of your experience can be anything – including diaries or journals, artistic responses, poetry, short videos, and photographs. This can be in digital or physical form and we invite responses from all members of the community – whether you are juggling working at home with caring responsibilities, trying to carry on studying, volunteering in your community to shop or chat to others, or working on the front line as a keyworker.

Your contribution to the archive will be kept by Special Collections & Archives as a donated item and we will catalogue and preserve it alongside our other archive collections. It will also be made accessible to others in our reading room, contributing to research and engaging people with this important part of history.

If you would like to contribute something, then please start to make your record in whichever form you choose. We’ll provide more information about how to send your responses in at a later date. If you have any questions about this project, then please contact specialcollections@kent.ac.uk

For information about Templeman Library resources during this period please click here. If you’d like to know about how Special Collections & Archives can support your research digitally please click here.

Templeman Library Closure: SC&A digital resources

Posted on March 25, 2020 by Joanna Baines

In light of recent Government announcements, the Templeman Library closed at 5pm on Tuesday 24th March and will remain so until further notice. This includes Special Collections & Archives; our team is working remotely away from campus.

The Templeman Library is closed from 5pm on Tuesday 24th March until further notice.

Our Reading Room may be closed, but many of our collections can still be accessed remotely! Here’s a list that we’ll keep updating throughout this period, curated in roughly alphabetical order:

Our archive catalogue contains details of the collections we hold along with images for some collections
The British Cartoon Archive’s catalogue has thousands of images of artwork along with publication details – click on the image in the record to view it full screen
Some of the Buffs (Royal East Kent regiment) collection – namely the ‘Dragon’ journal – is available to view through LibrarySearch. This includes the Dragon’s issues from the First World War.
If you’re interested in Local History, we have many images of mills from Kent (and beyond) for your perusal
The wonderful Prescriptions: Artists’ Books collection has been catalogued through LibrarySearch and there are images of every item we hold
Our next Templeman Gallery exhibition, Printworks, will be explored in this blog over the next few weeks so you don’t miss out

If you’d like to access any other material digitally – or have any other queries – please do get in touch with us. We hope you’re all safe and well and look forward to welcoming you back to the Library soon.

Women and Girls in Science: Mary Anne Atwood, alchemical thinker and spiritualist

Posted on February 11, 2020 by Joanna Baines

February 11 is the International Day of Women and Girls in Science. To commemorate this occasion, we’re going to delve back into our Maddison collection to see how women have been involved in sciences from the very beginning. Today let’s take a look at Mary Anne Atwood, who was afraid she had revealed one scientific secret too many…

Photograph of alchemical researcher Mary Anne Atwood, undated.

Who was she? Born in Dieppe in 1817, Mary Anne Atwood (nee South) grew up surrounded by her father’s books in Gosport, Hampshire. Like many women of the era Mary Anne received no formal education but learnt Latin, Greek, and the classics at home. Encouraged by her father Thomas South she joined a circle of theosophists; a religious group who believed that spiritual knowledge was held in a group of individuals known as the Masters. It was this circle that sparked her research in alchemy.

What did she write? In 1846 Mary Anne and her father released a book detailing their thoughts and research so far: Early Magnetism in its Higher Relations to Humanity as Veiled in the Poets and the Prophets, under the pseudonym Thuos Mathos. The work was well received and the praise encouraged the Souths to begin a much bigger project: a full explanation of the purpose and methods of the alchemical process.

What is alchemy anyway? Today, we know alchemy as the discipline of trying to turn lead into gold, practised between the 16th and 18th centuries. However during the 19th century, as it became more widely recognised that this was not possible, alchemy as a discipline took on a more spiritual slant. Researchers began to examine the relationship of mankind – and the soul – to the wider cosmos, exploring if it was possible to refine the soul away from the influences of the external world and society back to a state it would have been in when God created it. This branch of alchemy is known as Hermetism (or Hermetic writings) and it is this that Mary Anne Atwood and her father were interested in, rather than the Philosopher’s Stone story we know from J.K. Rowling’s world today.

Contents page of Atwood’s work ‘ A suggestive inquiry into the hermetic mystery : with a dissertation on the more celebratedof the alchemical philosophers, being an attempt towards the recovery of the ancient experiment of nature’. Long title, fascinating book.

Why has she not become more famous? In 1850, Mary Anne published A Suggestive Inquiry into the Hermetic Mystery which was the culmination of years of research into spiritual alchemy. The work was supposed to be published alongside a poem written by her father, The Enigma of Alchemy. When A Suggestive Inquiry… was published it had not been read (or edited) by Thomas South, and shortly after its release to the world the Souths decided it was not fit for sale and withdrew the book along with most existing copies (to the ire of their publisher). The reasons for this withdrawal are twofold. Firstly (and most importantly) Mary Anne and her father believed that they had explicitly written about secrets that should have stayed hidden within allegorical texts, and that this knowledge could be dangerous if in the wrong hands. Secondly there is a suggestion that Thomas South became more devoutly religious between the writing of the texts and that this prompted a change of heart about the matter.

Following A Suggestive Inquiry…‘s withdrawal, Mary Anne retreated from alchemical society. In 1859 she married Reverend Alban Thomas Atwood and lived a very quiet life in Yorkshire. After her husband’s death in 1883, there is some evidence that Mary Anne was approached about a possible reprint of A Suggestive Inquiry… and whilst she did not wish to see it in print again – for fear of it being reproduced and sold without her consent – she gave a few copies to friends and made some minor amendments to the text itself before her death in 1910.

Why is she important? A Suggestive Inquiry into the Hermetic Mystery is the first work that gives a comprehensive insight into alchemy as a discipline, and consequently Mary Anne’s work is vital for establishing this particular area of historical scientific research. In 1918 it was republished by Mary Anne’s friend, the painter and thinker Isabelle de Steiger, for the first time since it was withdrawn from sale in 1850.

Title page of the new 1918 edition of Atwood’s work ‘A Suggestive Inquiry…’

Freemason Walter Leslie Wilmshurst, who wrote an extensive introduction in the new edition, suggested that the societal and spiritual impact of the First World War led to increased interest in alchemy and Hermetic writings:

“It was not, I think, the destiny of such a treatise as this to perish at its birth, but rather, when the time should be more ripe for it, to re-emerge from its obscurity and assert that influence which its great merits are capable of exercising. With that clear, sure prophetic vision with which its writer…penetrated the tendencies of modern world movements and conditions, she discerned the impending catastrophe to human society and institutions through which we are now passing.” (p.64)

The copy of Mary Anne’s work we hold is the 1918 edition, which contains additional quotes by the writer. It was collected by the writer and librarian R.E.W. Maddison for his ongoing collection of books relating to the history of chemistry and physics, within which there are many books about alchemy. Whilst the language of Hermetism appears somewhat obtuse by today’s standards, Atwood’s work is a fascinating summary of alchemical studies – and a solid testimony that there are many ways to discover the world beyond traditional education.

Bibliography and further reading:

Mary Anne Atwood, A suggestive inquiry into the hermetic mystery : with a dissertation on the more celebrated of the alchemical philosophers, being an attempt towards the recovery of the ancient experiment of nature. William Tait, 1918. University of Kent Special Collections & Archives: Maddison Collection 19A15.

R.A. Gilbert, ‘Atwood [née South], Mary Anne’, Oxford Dictionary of National Biography, 2004. DOI: https://doi-org.chain.kent.ac.uk/10.1093/ref:odnb/53866

Robert P. Multhauf and R.A. Gilbert, ‘Alchemy’, Encyclopaedia Brittanica, 2019: https://www.britannica.com/topic/alchemy.

Brown University in Providence, Rhode Island holds the majority of material by Mary Anne Atwood in its Special Collections department.

As ever, more information about the Maddison collection and visiting us can be found on our website.

University of Kent Special Collections & Archives

News and views from the Special Collections & Archives team at the University of Kent.

Category Archives: Collections

10 things you probably didn’t know about windmills

Shopping in Special Collections & Archives

Coronavirus: collecting your experiences

Templeman Library Closure: SC&A digital resources

Women and Girls in Science: Mary Anne Atwood, alchemical thinker and spiritualist