Lymehurst Hall

A few photos of decor within the hall (dark brown paint modern):

Lymhurst Lounge

Having had the opportunity to take a look at most of the walls in the 'Lounge', there's nothing that's really exciting, but I'll record what I've found, which may be of use to someone - there are a few imprints & stains that give an idea of furniture placement, and some of the fittings have left a trace.

The chimneybreast reveals the imprint of triangular shaped early light fittings (the visible brass light fittings are later additions). The position of some fature (perhaps a picture?) can just about be seen at the the left, by a dust / wear mark:

In the centre of the chimneybreast, above the top of the original light oak fire surround, are marks showing the position of an object - it may be conjectured, perhaps related to a clock (measurements to follow):

The original copper plated light switches have been reinstalled at some point: the ceramic fitting can here be seen with modern wiring:

The position of probable furniture may be indicated here by marks on the wall. The presence of holes shows the position of probable shelving (or panelling) - the filling appears to be a mixture of older and modern material, so although it's not possible to be certain of the phase of this feature, it may be conjectured that it's an earlier feature, which has been consolidated during a later phase of decoration:

It appears here that a surface once rested here, upon which a heated feature (lamp, or possibly electrical feature, such as a radio) has left a patch of burning on the wall:

Lymehurst: doorbell

Door furniture - and features such as doorbells & name plates - are important considering the persona that residents wish to project to visitors and the local community. Much of the original door furniture remains in situ (with a few additions): the bronze handle and letter box is original, and the bronze and porcelain name plate still proclaims the identity of the house (fig. 1).

Fig. 1 Replica doorbell (early 20th century examples may have had a wooden pattress) and original house name plate

However, the doorbell has at some point been changed to a modern transparent plastic button (of a type that might be more at home beside the door of a flat, considering the integral space for a card bearing the tenant's name). The bell is of particular interest as a socially significant instrument: whilst the door provides the interface between vistitor and resident, over which the resident, to some extent, has control, the bell is more under the control of the visitor. Consequently, it may play a part in defining relationships between outside and insider (particulalry those based upon imbalance of power) - whether to announce the presence of an outsider sometimes engaged on some service for the resident (e.g. the postal worker with a parcel), or to demand the attention of the resident (e.g. door to door sales people, official visitors etc.). The role of time is important with regard to these relationships: the postal worker may be expected at a particular time (and especially considering their position, providing a service to the resident, may therefore be welcome). The same may be said of those within closer reationships, such as visiting friends. Conversely, the saleperson or official representative may not be expected: their visit may consequently be seen as an intrution.

The use of new technologies and materials may also be used demonstrate the modernity of residents: change from, e.g., brass to plastic perhaps fulfiled this function. In addition, the personalisation of an otherwise mass-produced item provides the opportunity to demonstrate the individuality of the resident: particular selections of noise or melody for the bell may be a way of demonstrating to visitors a particular part of character that one wishes to 'expose' (I am here thinking of the use of, for example, tv theme tunes etc.)


The oportunity to examine the the doorbell has highlighted transformations in the public personas of the residents over the years at Lymehurst, although of course, as is typical of archaeology, we are only left with slight traces of change, and consequently a partial picture.

Fig. 2 Replica connector housing within phase 1 cavity

Before removing the modern bell button, it was clear that an earlier fitting had covered a larger area, due to evident filling (with mortar) of the cavity that was left behind. When the modern fitting was removed, it became clear that, before this final bell had been fitted, there had been an interim bell. A piece of wood had been used to fill a hole in the bricks - which I believe had been made to hold the electrical contact housing of the first bell button (fig. 2) - and to provide fabric into which a screw might be placed to anchor the bell button to the the wall; another piece of wood had also been inserted for the same purpose (fig. 3). The use of wood, rather than plastic raw plugs, suggests a relatively early date for this change.

Fig. 3 Doorbell cavity and phase 2 wooden inserts

Considering the spread of the mortar filling, it appears that the first door bell was up to 9 cm wide. Door bells of the 1920s and early 30s seem to have been quite limited in range (I'm trying to find some copyright free images of contemporaneous doorbells, which I'll post if & when I'm able): most commonly rectangular or circular brass or bronze plates, with a porcelain button. Having taken a leisurey stroll around the neighbourhood, quite a few early doorbells (though probably not contemporaneous) remain in situ, besides the doors of the mainly Edwardian houses: most around here are circular brass. The horizontal spread of mortar filling at Lymehurst suggests that the first bell was circular. A replica bell of this type has now replaced the latest plastic example: measuring 7.5cm in diam., it just about (but not quite) covers the mortar spread.

Fig. 4 Early doorbell wire, showing worn dark fabric casing

One of the original (or perhaps 2nd phase) wires was still in situ (figs. 4 & 5): a steel wire (of approx. 1mm diam. - but couldn't get in close enough to measure this accurately), covered with purple-brown fabric. I tried to take a photo of this, but it doesn't show up very well (it can aso just be seen to the left of the cavity in fig. 2).

Fig. 5 Doorbell cavity, showing wooden plug and early wire

The screws holding the second bell were about 3cm apart, on a horizontal plane (the wooden insert may have moved at some point, making it difficult to be sure of this measurement). It may be conjectured that this door bell was a small circular type (or rectangular, although this seems less likely, considering the position of screws, unless a pattress was used) - perhaps again of metal housing, or an early plastic such as bakelite, considering the use of wood, and not plastic raw plugs. If so, this suggests a change to a more 'fashionable' fitting, although of course the first bell may have developed a fault etc.

Domesticty and the 'oucast' single parent

I've recently read a great book (In Darkest London), written in 1926, by Mrs Cecil Chesterton (sister-in-law to GK), who went undercover as an 'outcast' in 1925. I'm currently writing an article for the voluntary action history society blog - I'll post a link if & when this gets posted, which will outline the book - as domesticity is considered (within institutions such as Salvation Army hostels and workhouses), it's of relevance here.


One thing that's of interest (considering gender relationships and identities) is the fate of the unmarried mother. So here are extracts from a letter on this subject that appear within the book. It's a startling reminder of the alternatives to the Welfare State:

(Extracts from a letter sent to the Sunday Express - from a young unmarried mother who had spent time at a Salvation Army Rescue Home - ‘Home for Mothers and Babies’ - after Ada Chesterton published her account of her ‘undercover’ experiences as a homeless woman in 1925)

“There I remained for seven months, hiding from a curious and unsympathetic world, the shame I had brought on myself, living with just the sort of girl you saw at Mare Street [a Salvation Army clearing house, where, as elsewhere, the majority of women were unmarried mothers] that night, and many other sorts too ; girls taken from practically every walk of life, ex-chorus, factory, office, shop and servant girls, with here and there a waitress or a farmer’s daughter ; plenty of types, plenty of different perspectives, and always plenty of courage ; that was the most wonderful part of it all, the courage which these girls, mostly the victims of an unfortunate fate, displayed in the face of overwhelming tragedy. A hopeless. Blank future, with the added burden of an illegitimate child to support…

…Later they would return from the Women’s Hospital at Clapton, hugging tightly their precious woollen, cuddly bundle of humanity, their faces paler and manner subdued ; some were only eighteen, mostly all in their early twenties, but they had lived and seen life.

As weeks succeeded week, and the end of the six months (the ordered time to remain after baby is born) draws to a close, you would see they get perturbed. The fatal day arrives – the parting is hard, ah, how hard only God knows ! Tomorrow those arms will be empty. That baby will be in a strange foster home, that mother will be breaking her heart, working feverishly…working like grim death to kill the ache. Oh the horror of that first night in a strange bed [as a domestic servant], with no cot to rock, a nameless child, perhaps, but a mother’s baby for all that. To-day [when she leaves the shelter] as she says ‘Good –bye, girls’, she smiles, yes, even laughs outright, shrilly, and when someone says ‘ Good luck, dear ‘ the tears will trickle down her cheeks, still she smiles, waves her hand almost flippantly. ‘ The big, brown door swings on its hinges – she is gone gone – to face – what?

I have seen several of them again quite recently, those girls who shared a tragic period with me. I think they have nearly all altered, they are happy enough and quite smart, too, some of them – not all ; marvellous how it is done on, say nine shillings weekly dress allowance and pin money, for baby [to send to the foster family] and self, isn’t it?..."

Building investigation report: Holmfields

Report of a brief survey undertaken on Holmfields available here

C19) shop fittings in situ, in C17-18 building. (With 30s bits)

Something for the weekend:

http://www.flickr.com/photos/kjare/sets/72157627152318974/

(With 1930s electrical fittings & lino)

Graffiti in Lounge

Came across this bit of graffiti (in pencil), which was drawn after the first phase of decoration. In looking at it again, it's likely to date after the second phase of decoration (but before the 3rd phase), as it overlies fragments of wallpaper (or lining paper) and abrasion marks that may represent attempts to remove wallpaper.

It reads (within the heart shape) "I love John". Outside, but overlapping, the heart (in brackets), the text appears to read "If he wasn't such a chauvinist"

If used to suggest male chauvinism (rather than other forms of chauvinism - and the use of this term in the context of expressing a male-female relationship perhaps makes this more likely), this may indicate a 1970s date for this text
(Mansbridge, Jane and Flaster, Katherine 2005 'Male Chauvinist, Feminist, Sexist, and Sexual Harrassment: Different Trajectories in Feminist Linguistic Innovation', American Speech 80: 3)

John was the name of one of the children born into this house during the early 30s. It's possible that he lived in this house as an adult (and that this text refers to him), but at this point, this is only conjecture. If this were to be the case, I have read about someone that I believe to be the man in question (now deceased) - he was truly admired and liked by many...

As an indicator of date, the 2nd phase wallpaper (a textured paper) stylistically dates to during or after the mid 30s (no surprise, considering the date of the house) - though it may even be as late as the 60s (the house was seemingly modified during or after the late 30s). The 3rd phase paper was a plain lining paper, with 'scrunched' paint effect - a decoration technique that became popular during and after the mid 80s

Edwardian interiors

Edwardian interiors:

http://edwardianpromenade.com/home/edwardian-interiors-an-edwardian-town-house/

Lymehurst coalhouse & outdoor toilet

The outdoor coalhouse and toilet have since been incorporated within a kitchen extension, to bring them indoors. Modifications transformed this space into a downstairs bathroom, by removing the wall between these 2 rooms, and plaster-boarding the room; therefore, there were no visible remains of the previous building features.

Having removed the later finish, the wall coverings and dimmensions of the 2 earlier spaces is revealed. Both spaces were initially whitewash, then were subsequently painted in gloss paint: the coalhouse in cream (similar to that seen in the bathroom), and the toilet in green. Above the green of the toilet was embossed wall paper (Lincrusta?) :

Lymehurst bathroom

Most of the original bathroom remains in situ, although the toilet has been replaced. Traces of a high level cistern are present on the same wall (although do not show up very well photographically), in a different location to that indicated on the original building plans (which was on the same wall as the window). By the 1930s, low level toilets were more frequently installed indoors.

The wall on the bath and cupboard walls have been tiled, and other walls painted, although the original paint is visible in places. This consists of a gloss cream or pale yellow paint, which corresponds with the colour remembered by one of the first occupants in later life (a child at the time), who informed a previous owner of this, and other information on the house. The bath exterior had been painted cream'; beneath this paint was a bright green gloss, which lay above a cream or pale green paint.

The airing cupboard doors have been stripped, although a stain is present. It was uncertain whether or not this was original, and if so, whether the doors were painted over by the early occupants (as was more common).

After removing the modern (1990s + vinyl), and what may be 1970s-80s (cork tiles) floor covering, a number of features were revealed. From beneath the cork tiles, a tin of dark stain (probably from the stairs) had been placed on the floorboards, suggesting that the bathroom floor was intended to be covered from the first phase of occupation. tThere were also lighter stains overlaying the stain from the stairs, and on the bathroom floorboards, suggesting that the cupboard doors may have been stained after the first phase, but before the cork tiles were laid. Green gloss paint from the bath exterior was splashed on the floorboards, suggesting that this should also date to before the cork tiles.
The sink had also been moved since earlier use, as indicated by the presence of a stain:


There's also an outline indicating the position of an electric switch on the wall - the rather unsafe method for turning on the lighting before the pull switch was installed - although the reflective nature of the modern silk wall paint means that this doesn't easily show up photographically

Building B: Hall

Hall, pre investigation (above)

Note the final phase of decoration on the walls - papered with textured paper, and painted white; the handrail has been stripped and varnished (note the stratification of varnish from the base of a tin above the paint on the stairs), the stair treads painted a light gloss colour (over a layer of cream paint, which itself lies over a dark gloss stain to the wood) and banisters painted with a white matt paint.

Note traces in paintwork showing the position of stair carpet holders:


Close investigation revealed slight traces of the oiginal dark paint on the woodwork (phase 1):

and phase 2 paint effect corresponding to a greenish glaze, found on woodwork across much of the house (with the exception of the Kitchen), as seen here on the back of the front door:

The paper on one wall has been removed, to reveal 2 earlier phases of decoration (NB: radiator - though a contemporaneous feature - is a modern addition, and would not be expected in this size of house at this time):

Phase 1: buff paint (above). The hall is in the process of renovation, hence the dark paintwork, reflecting the original (Phase 1) colour.
Phase 2: textured paper (above)

A numer of holes at the bottom of the stairs lay beneath the phase 2 paper, and suggest the location of a feature - perhaps a shelf, mirror, or hooks? (Although note the presence of what appear to be original brass coat hooks in Photo 4, above)

Building A: decorative scheme in the hall

Preparation for decoration by the owners revealed the previous schemes of decoration.

The first scheme may have included a lighter green below the dado level, although removal of the secondary scheme - a buff colour (a staple of the 1930s, possibly suggesting the period in which the decor was updated) - was not possible, and therefore we were unable to determine whether there had been any form of dado rail

There appears to have been wall-mounted coat hooks (above), and a stair handrail (below). Note the dual colour scheme on the stairs (below)

Building A: parlour and hall - changes to house layout?

By looking at the cornice and doorframe (the architrave surrounds only the righthand side and top of the door), it appears that the hall of this property was a later addition, although was probably done quite soon after the construction of the house - it may even reflect rectification of a mistake made by the builder, or changes to the syle of house undertaken during construction. Beacuse...


...The cornice of the adjoining room is of the period. The unusual shape of the hallway: look at the door of the back room as it turns inwards at an angle:

And of the skirting at the outside corner of the room, and architraving around the arch, also give away this modification:

Floorboards also run through the hall and into the frontroom (parlour) - we would expect longitudinal boards or tiles in the hall (note also the floorboard stain in the parlour, and buff-coloured semi-grained stain of the hall):


It might be conjectured that this change perhaps indicates the desire to assert status by having a seperate parlour and hall, rather than entrance straight into this room, as commonly found within terraced houses in this area. However, it may as easily represent changes to layout by the builder during construction.

Building A: Scullery chimney - for 'copper' or a small range?

The house clearly had a chimney in the scullery - probably for a copper, or less likely, a small range :


The top of the chimney can be seen within the modern kitchen, although the chimney alcove has now been covered by modern units (top middle-right of picture):