Category Archives: Collections

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Geneva Bible

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A blog written by Museum Remote Volunteer Amanda Ciccone.

Epping Forest District Museum has in their possession a Geneva Bible, also colloquially called a Breeches Bible, printed in London by Robert Barker, “Printer to the Queen’s most excellent Majesty” in 1600. It is oak-covered with metal corners and edges, and is in delicate shape, showing many years of usage. Historically speaking and as a piece of literature, it is a fascinating object.

The etymology of “Geneva” Bible comes from where it was written and initially printed. The scholars who wrote it were English Protestants driven out of Catholic England in the mid-1550s to Geneva, Switzerland where they found the freedom to write their own translation, heavily Calvinist in ideology. William Whittingham, one such English exile and a follower of Reformation leader John Knox, largely oversaw the project. The New Testament was printed in 1557 and the full edition, including a revised New Testament, in 1560, but was not printed in England until the 1570s. The Geneva Bible’s sources came from a variety of other Bible translations, ranging from English, the Vulgate (Latin), Greek and Hebrew. This was never an “authorised” Bible version in England, though it was very popular and influential.

“Breeches” Bible refers to a particular word choice that had not been used in earlier versions: in Genesis 3:7, instead of Adam and Eve making apurns/aprons for themselves to wear, as was used in the previous Great Bible, Coverdale, and Tyndale’s translations, in the Genevan, they are making breeches.

There are a few ways that this version is unique. For one, it was the first time in an English translation that chapters were divided into numbered verses. Secondly, the font was in Roman type rather than Blackletter[1]. Thirdly, this version includes illustrations, charts and margins with commentary notes and summarisations. The EFD Museum Bible copy contains two “concordances” (alphabetical lists), for instance, of word translations and explanations. These formatting choices functioned for facilitated cross-referencing and comprehension.

The margin notes were controversial, for they were seen as containing antigovernment sentiments: Calvinists – and eventually Puritans – did not believe in the hierarchical structure that made up the Church of England. As a reaction to this fundamental difference in belief and the concern born out of it, the Bishops’ Bible was created in 1568 under Queen Elizabeth I, which was the next authorised Bible in England after the Great Bible under King Henry VIII.

The next significant English Bible translation that is often used to contrast the Geneva Bible is the King James Version (KJV) of 1611. It has been said that King James I also took issue with the Geneva version’s margin notes, calling them “seditious”. One example is in Exodus 1:19, where the corresponding margin note reads:

“Their disobedience herein [to the Pharaoh] was lawful, but their dissembling was evil.”

While it is easy to see how the direct lawful disobeying of a monarch put in text would cause an inflamed reaction, it is questionable the true extent to which King James disapproved the Geneva version, and to what degree this disapproval motivated the creation of the KJV. King James had only occupied the throne for less than one year, a succession which merged the Scottish and English crowns, when he convened the Puritans and the Church of England at the Hampton Court Conference in 1604 with the objective of exploring further religious reforms. This is where plans to make a new Bible version first developed. The translators under King James consulted previous English translated Bibles, even the Geneva version, in writing the KJV.

The Geneva Bible was banned soon after the KJV was published in 1611, though it certainly did not disappear. The Geneva Bible is often called the Bible of Shakespeare, and it continued to be influential in the political turmoil that led to the English Civil War. This was even the Bible version that the Puritans carried across the Atlantic in 1620. It has been said that the failure that the Puritans saw of not being heard by King James at the Hampton Court Conference in 1604 was what led to their separation from England, going first to the Netherlands, and eventually to the “New World”.

We can detect constant and varying levels of tension when studying the subject of Bible translations: that between language, the ethics of translating at all, accessibility to the public, and authority. Furthermore, we see a pattern of cause and effect: one Bible version causing another to develop, causing a reaction from one entity, which causes another Bible version to develop…and so on and so forth.

These themes are certainly at play in the evolution of the Geneva Bible. So significant this version has been, it is difficult to imagine certain historical events happening without it.

References

Daniell, David (2003). The Bible in English: its history and influence. New Haven, Conn: Yale University Press.

Forman, Rev. Dr. Charles C (1959). Four Early Bibles in Pilgrim Hall. Pilgrim Society Note, Series One, Number Nine.

McAfee, Cleland Boyd (1912). Lecture 1: Preparing the Way – The English Bible Before King James.

[1] This is not a consistent feature in every edition, however. In the Geneva Bible at EFD Museum, the margin notes are in Roman type, but not the verses, which are in Blackletter. This is also the case in one of the Geneva Bibles brought over by the Puritans to Plymouth, Massachusetts in 1620.

New Acquisition – Love Token

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A blog written by Museum Remote Volunteer Amanda Ciccone.

Epping Forest District Museum (EFDM) would like to highlight a recent acquisition, a James I penny, that was previously modified as a love token. I will describe this penny and its background, explain the love token coin phenomenon, and finally, explore the ways to dig deeper into the emotions that surround it.

This pierced, silver James I penny, struck in the first quarter of the 1600s, was found by a metal detectorist in 2017 at North Weald Basset, Essex near Latton Priory. The obverse, or front of the penny, has a Tudor rose and the legend surrounding it I D G ROSA SINE SPINA, which translates to James by the Grace of God a rose without a thorn. The reverse has an image of a thistle as well as the words encircling TUETUR UNITA DEUS, translating to May God protect these united kingdoms.

In addition to its antiquity, what makes this penny special is its S shape; being bent in this way, it was concluded in the Treasure process that the coin was used as a love token and not currency. Its unique shape, the single piercing at the top, and it being made of more than 10% silver, makes the penny ‘treasure’ as defined in the Treasure Act of 1996.

There are endless examples of love as manifested through artefacts throughout history, though this trend of turning a coin into a love token, like in the style of the James I penny, appears to have existed off and on from the post-Medieval to modern eras [1]. The purpose of bending the coin wavily would be to avoid spending it accidently, though we do not see every token changed in this way. Other modifications we might see on a love token are text engravings (initials, small phrases), shape and dot indentations, and the relief purposely rubbed away. The single piercing at the top of this penny indicates that it was likely worn as jewellery.

Regarding purpose, there were several, the most obvious being to make a love declaration. A suitor would give a token to their “crush”, and the reciprocity of affections would be known by whether the coin was kept or not. A love token, though, could mean a good luck charm, be used to make birth and marriage announcements, or act as a keepsakes in the event of a death. There were even ones called convict love tokens in the 18th and19th centuries, where prisoners in England being sent to Australia and elsewhere customised coins for their loved ones, to be kept as personal mementos.

To discover what a love token coin meant to those who used them – that is to say, what emotions they might have felt – has its challenges. For one, attempting to uncover an individual story behind a coin is sometimes a success, but sometimes not.[2] Even if there is an inscription or initials, this will often be too generic to yield more information. Furthermore, a coin being a movable object – not a static piece of architecture, say – gives a coin infinite possibilities of definition relative to its immediate environment.

How else can we elevate the discussion to include emotions? One way is to find more context to put love token coins in, which I believe means drawing attention to the role of silver in England from the 17th to 19th centuries.

Silver was known as being easily bendable, which proved problematic in England over the centuries. In the 17th century, coins could be clipped, meaning, one could shave off the silver, boil it down into bullion, and use as counterfeit. English silver at one point had more value abroad than domestically. The English government attempted to face these challenges through the Great Recoinage of 1696. However, the updated currency transition was slower than expected, and the counterfeit activities continued through the following century and beyond, until the Great Recoinage of 1816.

It is interesting to note, then, that while some people saw an illegal opportunity in silver, others[3] used it for the more innocuous purpose of creating an emotional connection with another. Understanding this does at least two things: For one, it makes us consider the practical reasons for choosing a coin as the medium for a love token (an accessible object that is easy to manipulate). It is also a reminder that the same object can produce varying emotions: love, loss, and greed to name a few.

It should be acknowledged that archaeologists since a few decades have been incorporating emotions into their discipline, and those experts even acknowledge the difficulties of studying an unwritten, unseen entity. They have posed worthy questions and have encouraged the usage of a uniform vocabulary, though, in helping to look at an artefact from other angles. The discussion regarding the relationship between emotions and material things or culture, (Tarlow; Harris and Sørensen) and the action of exchange as emotional (Thomas Maschio, as explained by Harris and Sørensen) are particularly relevant, and very compelling literature.

Finally, there is a folklore quality that surrounds love token coins: while there is much that is lost over time, we recognise the feelings in regarding a love token without quite knowing how to prove or explain it. The number of societies, coin collecting websites, Facebook groups, and YouTube videos that focus on love token coins was noteworthy in researching for this article, and I believe their existence reinforces the idea of love token coins as a living, yet bodiless culture.

And so, while there may be much that we do not and cannot know about the emotions that surround a love token coin, perhaps this might not be seen as an obstacle. We can, instead, be encouraged to take emotions out of the equation and go in a different direction, such as studying the context of an artefact. There is potential to develop ideas and theories that might not otherwise be possible.

On the other side of the coin, the emotions that love tokens conjure in us in the present day, without knowing an individual token’s origins, are part of what sustains their legacy.

The following articles were highly influential in the writing of this blog and in considering every possible angle on the topic of studying emotions and artefacts:

  • Tarlow, S. 2012. The Archaeology of Emotion and Affect, The Annual Review of Anthropology, 41:169-85
  • Harris, O.J.T. and Sørensen, T.F. 2010. Rethinking emotion and material culture, Archaeological Dialogues, Volume 17, Issue 2, Cambridge University Press, pp. 145-163

[1] Though the research for this article focused on the love token coin trend in the English-speaking world, it could very well have been a practice in other communities, or something close to it, a coin being such a common object across so many cultures.

[2] Interestingly, convict love tokens coins seemed to tend to contain more specific information – complete names and dates – than other types of love tokens. 

[3] Perhaps the same person engaged in both activities, making this discussion more complicated!

Windmills, hermits and milk maids: Local life in the eighteen century

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Epping Forest District Museum has a huge collection of old photographs and pictures. These can be a great way to learn about how our local area looked in the past, and how people lived. We’ve been finding out about life in the 1830s, when London-based artist James-Paul Andre visited this area. He created an album of watercolour sketches in Chigwell and the villages and countryside nearby.

This was a time when the industrial revolution was creating massive changes in the way many people lived, and London was rapidly expanding; but before the railways had reached this part of the country and before the advent of the motor car. This area was on the cusp of changes which would have a profound effect people’s way of life, and Andre’s album is a fascinating portrayal of rural life here nearly two hundred years ago.

Let’s have a look inside the album… Imagine a time when Chigwell was dominated by a huge, dark-wooden windmill on the hill, overlooking fields and rolling open countryside. It is striking how far you can see into the distance in many of the sketches, with the views open due to the lack of buildings. One image shows an adolescent boy trying to herd a nonchalant group of cows.

The High Road in Chigwell is much easier to recognise, with the familiar outline of St Mary’s Church and the historic buildings of Chigwell School pretty much unchanged in two hundred years. A view of Pudding Lane near Chigwell Row also shows a familiar wood-framed farmhouse, surrounded by fields and trees much as it is today. But the man and lady talking in the lane outside are unmistakably of the rural eighteenth century: The lady carries a basket and is wearing a wide bonnet and full skirt, while the man sports breeches, stockings, a waistcoat and a low top hat. He also appears to be holding a pitchfork, used for hay making and throwing straw.

In another scene of rural life a milkmaid is shown walking down a tree-lined lane in Chigwell in the early morning moonlight, a wooden yoke across her shoulders with a milk pail suspended from each side. The picture creates an idyllic image, but the reality of life for a lowly milk maid at this time was likely very tough. Perhaps the modern world we live in, with a free, decent education for all; running water and sanitation; and much higher standards of housing would have appealed to this young woman more than the rural life portrayed?

A number of sketches feature Hainault Forest, showing gently rolling hills with a delightful patchwork of forest, meadows and meandering streams. There is even a sketch of the Hermitage, a ramshackle structure deep in the forest where a hermit famously lived for decades. It is poignant to think that within twenty years of Andre’s sketches, much of Hainault Forest had been erased from the map.

When painting these watercolours, it is likely that Andre knew he was capturing a way of life about to change forever. Perhaps he came here to make these sketches for exactly that reason. But although many of his pictures have a romantic quality which creates rather an idealised view of life, it is wonderful to have a record of the landscapes and way of life in the district two hundred years ago, before life for most people changed forever.

VE Day 8 May 2020

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The 8 May 2020 marks 75 years since VE Day, the end of the Second World War in Europe.  Over the years Epping Forest District Museum has marked many anniversaries connected with WW2 through special exhibitions.  These have explored the impact of the war on the district and the role local people played. From airfields and the defence of London, through bombing raids, evacuees, GIs, Land Girls and POWS, the war left an amazing legacy in our district.  Over the years many people have shared their stories of the war with us, and donated objects to the museum.  These form an legacy that helps us tell the story of this important part of the district’s history today.

Sadly, the exhibition we had planned for the 75th anniversary year, The Boys: Holocaust Survivors in the Epping Forest District has had to be postponed until next year.  We thought we’d take this opportunity to look back at some of the other exhibitions from previous years.

Poster Victory WW2 & Time for Tea

In 1995 to commemorate the 50th anniversary of VE Day, the museum hosted the Victory exhibition, alongside Time for Tea.

In 2005 the museum received funding to record the memories of people who had lived through the war, and these featured in the special exhibition ‘Keep Smiling Through’. These memories now form an important part of the museum’s oral history collections.  The late Ray Sears, well known for his historical photograph collection of Waltham Abbey, recalled how he spent his time at school during the war sitting in the headmaster’s office, taking phone calls,

‘if the air raid warning ‘red’ comes through … you just used to say thank you and put the phone down …  you then dashed out to the playground and you had a whistle and you blew that whistle at the top of your voice … you had to make sure you had orderly lines of [children] running down there so they went into the shelters …we did that for, well I was there for what, near enough two years doing that.  You just sat in the shelter.’

Another fascinating story was that of Josef Kox, a German Prisoner of War who was transferred to England just before the war ended.  He was sent to a farm in Theydon Bois to work, then on to Hayes Hill Farm in Waltham Abbey where he met, and eventually married the farmer’s daughter, making his future life and home here.  You can still read about his experiences on the BBC People’s War website

https://www.bbc.co.uk/history/ww2peopleswar/stories/48/a7564548.shtml

Josef recalls, ‘At this late stage I would like to pay a tribute to the people of Waltham Abbey. Considering the war, six years of it… and people here suffered and everyone suffered. Everybody suffered in that war, didn’t matter where you were, or who you were, you suffered to some degree. So I was really surprised to find that people took to us, they were very tolerant and friendly and I will never forget that.’

 

In 2008 the special exhibition ‘Onwards and Upwards’ told the story of the Royal Naval submarine, HMS Sickle, that was sponsored by the people of Epping during WW2.  The commander, Lieut. J R Drummond, became known as the man who broke the bank at Monte Carlo when one of the torpedoes fired from the submarine exploded under the casino.  Tragically, the submarine was itself lost with all hands on board on 18 June 1944.  A commemorative plaque for HMS Sickle and those who lost their lives has now been placed on the wall of St John’s Church in Epping.

 

Poster Make Do & Mend

In 2009 the museum’s collections were the inspiration for ‘Make Do and Mend’ a special exhibition in partnership with the Epping Forest District Council’s Arts Team, who worked with care home residents and young people on a project combining reminiscence and creativity.  Inspiration was taken from the Make Do and Mend campaign of WW2 to recreate new clothing from old materials.

 

 

 

 

The exhibitions themselves are now wonderful memories to share of the role the museum plays in bringing the district together to commemorate significant events and our part in them.  We very much look forward to welcoming you here again one day.

Local Legends: Edward Goldinge

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Local Legends: Edward Goldinge 

We’ve come across some fascinating stories while researching our new school workshop, Local Legends, telling the stories of some important local people…

Did you know that Epping Forest District Museum occupies two old houses on Sun Street in Waltham Abbey? The older house was built in around 1520, during the reign of King Henry VIII.

The earliest resident who we think lived here was Edward Goldinge. He was a groom for Elizabeth I, in charge of the horses at the royal stables near to the Abbey Gardens. Kings and queens were frequent visitors to Waltham during this period, especially for the excellent hunting the ancient forests in the area offered.

Model of Tudor House showing smoke bayThere is a record of Edward living on Sun Street, in a location that could correspond with the house the museum is in today.  At this time the ground floor of the house was divided into three small rooms. The back room, known as the smoke bay, had a fire in the centre for cooking and heating the house. There was no floor above the smoke bay, so the smoke went straight up to the roof of the house and escaped through the rafters.

elizabeth I coin found in 1975 at 41 sun street

Chimneys became much more common later in the Tudor period, and one was added to this house to replace the smoke bay in around the 1560s.  When the museum was being refurbished a small silver coin dated 1562 was found near to this fireplace, which has helped us to date when this change took place.

Also on display in the museum are the remains of a leather Tudor shoe. This was found along with a piece of black Tudor stocking in the house opposite the museum, and together they make an unusual remnant of the past, as such biodegradable objects have usually rotted away over hundreds of years. Edward may have worn something very similar to this.

We have also found clues about what Edward may have done in his spare time. A die dating back to the sixteenth century was found at nearby Romeland in Waltham Abbey. Dice and card games were very popular in Tudor times, and people often gambled money on their games. Elizabeth I was reputed to be a keen card player. It is easy to imagine Edward relaxing at home on Sun Street with a few friends, playing dice or cards and perhaps even gambling a few Tudor coins on them.

If you have ever mislaid a coin, die or other small item at home, perhaps one day an archaeologist will find it and wonder about who you were, how you lived and what you liked to do…

 

 

Local Legends: Dick Turpin

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We’ve come across some fascinating stories while researching our new school workshop, Local Legends, telling the stories of some important local people…

1986.8.958

Turpin’s Cave

Did you know that the notorious highwayman, Dick Turpin, was said to have lived in a “cave” at Loughton Camp, Epping Forest at the height of his criminal activities? In 1735, with his accomplices in the Gregory Gang, Turpin is believed to have broken into Traps Hill Farm in Loughton, the home of an elderly widow named Shelley.

 

When Shelley refused to reveal where her money was hidden, the gang apparently threatened to roast her over a fire. The threat prompted her terrified son to say where their valuables were hidden. The gang found £100, which was a fortune at the time, a silver tankard and some other household items. Rather than making a quick getaway though, the gang made themselves at home, cooking up some supper, drinking beer and wine from the cellar and popping next door to rob the neighbour while their victims looked on:

“They afterwards went into the cellar and drank several bottles of ale and wine, and broiled some meat, ate the relicts of a fillet of veal … and then they all went off, taking two of the farmer’s horses, to carry off their luggage…” – Read’s Weekly Journal, 8 February 1735

Following the incident, worried residents of Loughton, which in those days was a small village in the forest, installed ‘Turpin traps’ in their homes to protect themselves. These were heavy wooden flaps that could be let down to block the stairs, and were wedged in place with a pole. These traps remained in some homes for decades – apparently people living in the 1890s could still remember local homes having them.

Turpin themed ornaments were popular for many years as the legend of Dick Turpin grew. He was seen romantically by some as another Robin Hood – but although an important figure in our local history, sadly all the evidence points to Dick Turpin as being nothing more than a ruthless criminal.

 

 

You Wear it Well – volunteer blogs

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Hear from some of our volunteers about their latest project, helping with the You Wear It Well exhibition and why they want to be a volunteer!

helenName: Helen

What is the current exhibition you are working on about?

The costume exhibition is called ‘You Wear it Well’. It tells the story of the museum’s costume collection and how we care for it.

Which has been your favourite costume you’ve worked on so far and why?

The 1914 wedding dress, it has swing to its structure and style.

 

 

What are you working on at the moment and going to work on next?

I have been working on condition checking and preparing for the exhibition. I have also been steaming the costume ready for photography and display. The next steps will including searching for ephemera related to the exhibition.

Why have you chosen to volunteer at Epping Forest District Museum?

I have an interest in history and museums in general. Also, a local resident in Waltham Abbey.

You Wear it Well – volunteer blogs

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Hear from some of our volunteers about their latest project, helping with the You Wear It Well exhibition and why they want to be a volunteer!

MichaelaName: Michaela

What is the current exhibition you are working on about?

‘Wear it well’ – costume exhibition, deals with various aspects of the history of clothes from early 20th century up until the present day. This exhibition also explains how to look after the costume collection and what damages could occur.

Which has been your favourite costume you’ve worked on so far and why?

One of them would be an evening dress with floral decorations, a light blue one from the 1950s. It has a lovely ballroom feel, it’s in great condition, and as I love that time period, it is one of my favourites of this exhibition.

What are you working on at the moment and going to work on next?

I have been measuring and condition checking the costumes we chose for the exhibition, also I have started steaming them and will continue to do this.

Why have you chosen to volunteer at Epping Forest District Museum?

I have always been interested in history (any field) and have visited various museums since I was a child. As I don’t live far away and have a keen interest in behind the museum scenes, Epping Forest District Museum was an easy choice. I have learned a lot and have met lovely people.

You Wear it Well – volunteer blogs

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Hear from some of our volunteers about their latest project, helping with the You Wear It Well exhibition and why they want to be a volunteer!

JoanName: Joan

What is the current exhibition you are working on about?

‘You wear it well’ exhibition is the new display for 2020. It involves fashion and accessories portraying the museums costume collection.

Which has been your favourite costume you’ve worked on so far and why?

A long black velvet evening coat, its timeless! It is elegant in good condition and the coat can be worn and suited over any dress.

 

 

What are you working on at the moment and going to work on next?

At the moment we are working on conditioning reports for the exhibition, such as accessories. Next, we have plans for laying out the Perspex exhibition cubes.

Why have you chosen to volunteer at Epping Forest District Museum?

I have a love of history, its interesting to learn low artefacts are cared for through conversation. Meeting new friends, in the last two years I have enjoyed working on the costume.

Being an apprentice at Epping Forest District Museum

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Melis 1`Hi there, my name is Melis and I am a business admin and customer service apprentice at Epping Forest District Council. My first 6-month placement was here at Epping Forest District Museum.

My journey started off with leaving Harlow college with a distinction in music, and not knowing my next step to success. I had no interest in going to university or carry on being in education. My initial plan was to carry on doing music, but my route changed after having the suggestion of joining the council as an apprentice by my own mother.

I applied not knowing anything about the council at all, and within a few weeks, I had received an email to inform me that I will be interviewed but with a pre-training week taking place beforehand.

During my pre-training week, I met other apprentices to be, who were part of my age group, I wasn’t expecting this at all. I had learnt more about the departments in the council and a few skills on how to undergo an interview. All of this really helped me with succeeding in securing my apprenticeship placement at the council.

My interview had taken place right after that week and I believe that was the best interview I had ever experienced. This was because I felt more comfortable knowing that I had practiced this time. Whereas with my part time jobs in the past, I hadn’t prepared for an interview before and my interviews were based on how well I worked in a team activity rather than having a discussion in a one-to one meeting.

Melis 3My interviewer had asked which placement I’d be interested to work in first, and straight away I wanted to work at the museum as I had an interest in history and really liked working with children.

On induction day, we were presented to our managers and I was so delighted to meet my manager knowing that I had got the placement I wanted, I was very grateful. The next day, I had toured round the museum and Hemnall street and all my colleagues had introduced themselves to me and made me feel welcome.

 

I have been doing a variety of things at my first placement. I focused on a schedule that I’d be doing from Monday to Friday. On Mondays and Tuesdays, I’d be working with a colleague on marketing tasks, which would include marketing theory and updating contact lists for upcoming events. On Wednesdays and Thursdays, I would be helping the volunteers with the museum collection which was a great experience because, I had the opportunity to hold old items even from the Victorian period. I’d add new collections onto a spreadsheet, move boxes around to see what needs to be put on display and sometimes clean these items in a specific way as these were really old and delicate things to take care of.

On Friday mornings I’d sit on reception, deal with customers face to face as well as over the phone. I learnt how to use the till and learnt more about the shop stock which was interesting.

Aside from these specific projects I’d also deal with customers over the phone whilst being in the office and help with a number of activities and events that took place. For example: Toddler Tuesdays which is once a month and Museum Movers which is a movement class for those over 55. It was great to participate in these activities because not only was it fun but, I’d meet new customers all the time and they were very friendly.

I do not know where my next placement will be, but I am excited as there are so many opportunities coming my way. My apprenticeship lasts for 2 years meaning I get to work in four placements in total. Even if I am not keen on one placement, I will remain optimistic because firstly, it will give me the benefit of learning new skills, and secondly, it will help me decide which areas I would like to work in when I apply for a job at the council in two years’ time.

I have had a lovely experience here and I will really miss the Museum and staff and the volunteers, and surely will visit again soon!