III.—ARCHÆOLOGICAL ENTERPRISE

There is quite a good Museum at Burford. It was formed, I believe, in the pre-Corporation days, and so it is under intelligent control. Local antiquities are represented with some attempt at completeness and classification, and its educational value would be very great if the people of the neighbourhood could be induced to give to it some of the time that they devote to football. A few years ago, however, an irresistible appeal was made to the culture of the town by the acquisition for the collections of a human hand from the Solomon Islands. As soon as it was understood that this treasure had just been added to those in the Museum there was a rush to see it, and thousands of persons paid their sixpences for a glance at it, and in the course of a day or two after its arrival it had become the topic of the place. If you had not seen it you were regarded as a complete outsider. It was considered a great hardship that visitors were not allowed to touch this exhibit; for, after all, a look at such an object is unsatisfactory—quite different from a hearty handshake. To shake such a hand would be satisfying, it was generally thought, and I have much pleasure in associating myself with such an expression of opinion. A little of it would satisfy any but the most grasping nature.

It was in this Museum that there reposed for years in one of its glass cases an interesting exhibit labelled “Fragment of ancient pottery, probably Saxon, effects of lead glazing still visible.”

It was thought to be part of a pitcher, and some ingenious and imaginative antiquary had made an excellent drawing of the original vessel, showing the bulge in the body from which the piece had been broken. Many papers had been written about the fragment, some authorities contending that it was not of Saxon but Roman origin, and others that, as it had been found on a part of the coast which had at one time been covered by the sea, it was almost certain to be of Scandinavian origin: it had been on board one of the Norse pirate galleys that had harried the whole of the South Coast, and marks were pointed out along the edge which were said to be the traces of a rude decoration of Scandinavian design.

For years the controversy was carried on with a large display of learning on all sides, until one day a geologist of distinction visited the Museum, and announced that the specimen of pottery was a section of a human skull. A little examination and a comparison of the specimen with an ordinary human skull showed beyond the possibility of doubt that this view was the correct one, and the label was changed without delay. But when it became known that the Museum was in possession of part of a human skull, it was visited by hundreds of people all anxious to get a glimpse of so interesting an object, and if possible—but this was rather too much to hope for—to hold it in their hands; and for weeks the contents of other cases lay unnoticed. The broken skull was the real attraction.

It was an amazingly thick skull: if it had not been so thick it would probably not have led its original owner to forfeit it, but would have suggested to him a way of escape from those unfriendly persons who had deprived him of its use. But the owner would certainly have made a good show at an old election fight, or have reached a green old age in Tipperary.

I once saw on a shelf in the Museum a piece of old ironwork in the form of a rushlight holder. So it was labelled, and the date 1609 assigned to it. It was stated on the label that it was probably the work of a well-known ironworker of the neighbourhood in which it had been found. I ventured, however, to differ from this last suggestion, the fact being that this particular example of seventeenth-century ironwork was not made during that century or by that craftsman, but by a more crafty person during the latter years of the reign of Edward the Seventh. My reason for coming to this conclusion was not the result of the possession on my part of any special acquaintance with wrought-iron or the methods of the old workers, but simply because I had been present when the thing was in course of being forged—in both senses forged. The craftsman had been called away from his job suddenly, and when I entered his unostentatious forge there the thing was lying as he had left it, in an unfinished condition. Some days later I saw it among a heap of scrap iron of various sorts in his yard, and it rather took my fancy. I pulled it forth and asked the man if he had any idea what it was. He replied that, so far as he could remember, an antiquarian gentleman had told him that it was for holding a rushlight. I looked at it closely and said that I did not think it was old, and he replied that he didn't believe it to be very old either; but it wasn't a handsome thing anyway.

I threw it down and began to talk about other matters, and the next I saw of it was in the Museum above its neatly lettered label.

I told the craftsman where I had seen it, and he smiled.

“It seems that there are people who know more about these ancient old things than us, sir,” he said. “A man that has a great fancy for his own opinion came round here shortly after you were here, and I could see that he had his eye on that thing, though it was lying among the scraps; and when he had talked long enough to put me off thinking that it had caught his eye, he picked it up and asked me what I would take for it. I told him half a sovereign, and he beat me down to three half-crowns. Then he sold it to Anson in the Corn-market for a pound, and Anson took it to the Museum and got thirty-five shillings for it. That's the whole story. The others got a good bit more out of it than me.”

“That was a shame,” said I; “considering that you made it, you should have had the largest share of the profit.”

He smiled and said—

“I don't complain. What would be the use?”

In the same neighbourhood there is another excellent workman. He has always in the backyard of his house quite a number of antique Sussex firebacks maturing. He lays down firebacks as wise people lay down wine to mature. They look absurdly clean and fresh when they come from the place where he casts them, but time and the oxide of iron soon remedy all those defects, and when they have been lying rusting for a month or two the aspect of the design is changed. A rough scrubbing—not too much, but just enough—and an exposure in a brisk fire to produce the marks of long years of duty in the sturdy old yeoman's grate, with the crane swinging over it, and another specimen of the Sussex fireback is ready for the market. The market is always ready. It will take the sturdy old yeoman's crane, with its hooks and its levers, as well as his fireback, and so the industry of the craftsman and the craft of the dealer man are stimulated.

There is still a brisk trade done in the manufacture of ancient flint weapons—hatchets, spear barbs, arrow-heads, and the like—in our county, though I have heard that there has been a melancholy falling off in the volume of business done in this particular line during the past twenty years. It is never well to be too certain about the treasures one acquires nowadays, either in iron or flaky flint, but I have heard that long ago a collector had quite as great reason to be cautious. A large number of interesting flint weapons were with reasonable luck to be dredged out of the sand and mud of some rivers. It was only reasonable to suppose that these things had some thousands of years ago been in active use in battles fought at the ford, and that they had remained undisturbed for centuries in the bed of the river. I heard of an eminent archaeologist having acquired quite a number of these implements bearing unmistakable signs of antiquity. They had been dredged out of the Thames from time to time, he heard. Unfortunately he mentioned this fact to a dealer who had also heard of these dredgings, and offered to lend him the collection for examination. The first experiment upon them was the last. They had only to be boiled in a strong solution of soda to have their true character—their false character—revealed. When taken out of the kettle the things were as fresh as if made the day before. They had not been made the day before, but they had certainly been made within the year. They were nothing more than flaky fakes.

After all, it is safer for a tradesman to use his own imagination in the preparation of his wares than to ask his customers to use theirs. For instance a dealer in curious things, in Burford, seeing some funny wooden dolls in a shop window, bought the whole five and then used up some scraps of old brocade and remnants of Genoa velvet in dressing them in costumes to be found in the recognised authority. He exposed them for sale sitting in a row, and very amazing they must have appeared.

“Quaint things, are they not? Mediaeval puppets. I don't know that I ever saw the like before. Of course you see what they are meant to represent? Why, the Five Senses, to be sure. Fifteen guineas for the five. If I don't sell them at once I'll send them to the Victoria and Albert Museum. They'll jump at them.”

“I shouldn't mind buying one of them,” said the customer; “but I could not do with the whole five.”

“Sorry, sir; but you could scarcely ask me to break the set—I don't believe there is another set in existence,” said the dealer.

“I think you might let me have one. I have bought a lot of things from you from time to time.”

“I should like to, sir—yes, I should indeed like you to have one, but—you see the whole beauty of the set is that it is a set—the Five Senses.”

Some further conversation ensued, and at last the dealer showed himself to be less inflexible than he had been at first, and the customer secured one of the mediaeval curiosities for four pounds.

A few days later another customer called and duly inspected the four remaining dolls.

“Very curious, sir—very unique, I think. Of course you see the idea, sir—the Four Seasons. Fifteenth-century Venetian, I should say. You can see the bit of brocade—old Venetian beyond a question. I wish I had half a dozen yards of it. Twenty guineas I'm asking for the set. I'm afraid I couldn't break the set. It's hardly fair to ask me, sir.”

But eventually he yielded to the importunity of the customer and got five guineas for a second of his creations.

“Singular things, sir—Early Italian Church puppets beyond doubt. They used to dress them fantastically and stand them on the altar, I believe. You observe the symbolic character of the set, sir—the Trinity. Votive offerings and that, you know. Even in the present day you see such things at wayside shrines in Catholic countries. I'm afraid it would spoil the set to sell one out of the three, sir. You had better take the three now that you have the chance. Very unique, I call them, and only eighteen pounds for the three.”

But the man had no use for the three, and after some haggling he got the one he wanted for £5, 10s.

“And then there were two,” as the story of the ten little nigger boys has it.

“Church pieces, madam. Fourteenth-century Spanish—the embroidery is Spanish, I am sure. I wish I had a yard of it. Adam and Eve they are meant to represent,” etc. etc.

It seemed as if no one could do with more than one of these “very unique” treasures; so he was forced to let the lady separate our first parents, paying five pounds for making the divorce decree absolute.

Before the end of the week he had sold a unique example of a Flemish doll—“One may see the like in some of Teniers' pictures. They treasure them up from generation to generation in the houses of the old nobility. It is very rarely that one gets into the market. You see they regard it as a matter of family honour never to sell one of them.”

He sold it for six pounds, and took his wife to a theatre where, curiously enough, the diverting play of La Poupée was being performed. It is a diverting play, but not, I think, “absolutely unique.”

It will be gathered from these instances of local business enterprise how amply the modern spirit of making the most of one's opportunities of “getting on” is represented among the commercial population of Burford. Its manufacturers may be divided into two classes: the makers and the fakers, and it is generally understood that the latter make the most money.