Thu, Oct. 27th, 2016, 11:20 pm
Having written several abortive journal entries, I'm at least hoping this will make it past the draft stage. It's been a long time since I've been able to sit down and properly think about what's been going on, let alone give it a written narrative. It's been an emotional past month, but thankfully Die's operation went well and he's recovering at speed. The timing for the proceedure couldn't have been more fortuitous either (something that may or may not have had something to do with some intense background woo-woo work) and as Summer gentley segues into Autumn, things will progressively get better for Die - they've waited long enough. It's a huge relief to finally see them comfortable in their own skin - next summer shall no doubt see the rebirth of the Lizard King in a more fabulous and less cocaine-dusted form.
I was lucky enough to have a wonderful birthday and spent the best part of a week indulging in crafting and skating. Pob came up from Trowbridge and we got a full day in at the Stockport gaming centre hanging out with Melon and the Corehammer crew. I don't think I've played that many games (and actually had a working understanding of them) since I was about 14 - looking forward to doing that again soon.
This weekend marks the start of a very busy month, starting with several Halloween parties and a Goth all-dayer at the Tiv which features amongst others, Skeletal Family! I'll mostly spend my time infatuating over the fact that Anne Marie Hurst was a muse of sorts to the god that is John Blanche.
Aside from that, we've a few birthday parties, the Crystal Castles gig, a trip to the reenactment fair in Cov, Last Rites VI, the Sisters of Mercy gig, some snowboarding and the whole first season of RuPaul's Drag Race to watch.
In the immortal words of Mama Ru - 'You'd better werk!'
Mon, Jul. 18th, 2016, 08:36 pm
Obligatory holiday entry times! I did actually write the bulk of this over the holiday and didn't think to finish it until now. Today was the first day back at work after two weeks, but thankfully it wasn't half as guff as I expected. Anyway, cool stuff first,..( Holidays!Collapse )
The second week of the holiday was mostly spent jetting around the local(wish) area. We did try and keep up with the exciting itinerary of the first week, but weather and Antique shop closures kinda ruined the day trip out to Pendle. We did however, have a rad day out wandering around World's End with the longbow as well as a rad lunch in Liverpool with autumnpsyche
. I'm also stoked at getting through a load of painting too - just need to keep up the hype!
Thu, Mar. 3rd, 2016, 11:38 pm
Tempus fugit indeed - where has this year gone already? Loads to catch up on so strap in for a Rimmer-esque tour of the past few weeks,..
(edit - just before we do, has anyone else noticed LJ is really fucking difficult to use at the moment? I actually had to muck about with the html with this entry - it's nowhere near as exciting and glamorous as I recall it being,...)
( JANUARYCollapse )
( FEBRUARYCollapse )
With March upon us I've got a trip up to Barrow for Joxa's 30th mini-ramp jam this weekend and loads of little man activity. I've taken the plunge and bought one of the AoS boxsets which I'm about 25% through painting. I'll hopefully have a rad little Chaos warband to beat other little men up with soon.
On a dead up to date, relevant to the immediate present tangent, it's World Book Day! I have not one, but three recommendations for you all, all hailing from the same publisher, Scarlet Imprint which I've been fanboying over heavily since last August. All have been fanatastic pieces of research and recontextualisation on some pretty foundational occult guff which is really exciting. Firstly, both Peter Grey's 'Apocalyptic Witchcraft' and 'Lucifer Princeps' have been a massive impact on my mental landscape. Writing with a obsidian-sharp urgency, Grey's writing is passionate and wonderfully researched. Princeps in particular has profoundly changed the way I view the development of Judaism and Christianity as well as shining a long-awaited light (agh, pardon the bad pun) on the genesis and nature of the Lucifer(s) character. The most recent book (and the one Die very kindly bought for me) 'Starships' by Gordon White is a book which I believe will be seen a watershed publication in years to come. Gordon structures everything around Gobekli Tepe, an archaeological site I was only barely aware of which is threatening to reset the chronological timeline not only of mankind's material culture, but has the potential to completely transform our understanding of early spirituality too. With this as a background he explores and challenges the human migratory story based on shared mythological star-lore from the Polynesian Islands right through Mesopotamia and through to Ancient Egypt with a clarity and wit that will not disappoint.
Go buy these books and I guarantee you will not be disappointed!
Thu, Dec. 31st, 2015, 06:23 pm
Ooof, Yuletime was a bit of a mission this year eh? Despite a mercifully brief concentration of Chrimbo activity, the season has been utterly draining, a fact that wasn't helped by being in work throughout. Usually it's a pretty quiet affair, but the past few days have been stinkers. However, I'm not going to let that detract from what has been a pretty good few weeks. Firstly, despite catching an awful stomach bug, it was great to catch up with family back down in Cov. The whole crew seem to be doing really well - especially stoked on how well Issac's growing up and that James is now getting things sorted after a few sketchy years financially. I've managed to crank out a load of painting recently and have also finished up some reading too!
Christmas itself was cool. I was spoilt by Die (again) and now have enough shortbread and hot chocolate (cheers Megan!) to last me until at least March if I'm not a gut-lord. Pretty sure Die was stoked with their hat that I had commissioned - can't wait to see it as part of their 17th century costume ensemble! Most of the long-weeked was spent trying to not be entirely sedate or to exist soley on melted cheese and panatone; sadly, neither goals were achived. Still didn't feel particulary well rested though, I think the inter-calandery inertia and overwhelming pressure to be festive has exhausted me on some subconscious level. Hopefully the ticking over of the new year will help with that.
2015 is now on it's last legs and we're off to Alan and Becky's for a low-key party. Very odd not to be going over to Liverpool, really hope that it's not too grim over there. It still catches me unaware at times, thinking that we'll just arrive at a club and see all the old pre-implode crowd, drinking and dancing badly. I guess it's a lesson to not take anything for granted. Anyhow, pretty sure Die and I are going to head up to World's End tomorrow and spend sometime amidst the wind and rain - should be a good way to blow out the hangover cobwebs!
Anyway, without being too maudline, I hope everyone has a great start to the new year, you beautiful, beautiful mutants. May 2016 bring all things that are good.
Tue, Nov. 24th, 2015, 10:15 pm
The days of being able to get away with writing LJ updates at work are now long gone, as are the days in which there were comfortable amounts of time inbetween jobs at work. Responsibility has well and truely caught up with me (after what - nine years?) and it's proper lame. Things should be winding down a little in the next few weeks as the amount of roles I'm covering drop from three to two. Even so, it feels like a watershed moment and I'm not liking it right now at all. However, on the positive side, I've been given a payrise and all the overtime I want, so I shouldn't be too bummed out - just wish I didn't feel so anxious and jaded when I finally get home.It's not all lame though, the past few weeks have had some great things happen. Firstly, my 32nd birthday was fun. Die spolit me rotten as they are want to do and gift me a copy of 'Spirit of the House' by Kate Murray. The book is really hard to get hold of and features illustrations by everyone's favourite Uncle, Charles Paget Wade, and from what I've read so far, the central male character seems to be based on him too! I also had some great cards and some money to spend on skateboarding and little men, which is always good. A few weeks ago we were lucky enough to be graced with the presence of Milla and Billy as well as fleeting visit from Megan in which much radness was had. It's always a pleasure getting to hang out with that crew and we had some great days and nights out. I'm so stoked that Die and Milla had a good time in Ireland and Die came back oozing confidence - I'm buzzing that they've got the travel bug back. Very much hoping that we can start planning trips again soon!There's been some grim happenings with the crew over in Liverpool (which would be wrong to illustrate here) that well and truely tarnished the usually bouyant Halloween celebrations. Sadly I feel that events may have permanantly damaged the social fabric and it's going to be awkward in the extreme seeing certain people again. Both Die and I are really bummed and torn over what has occured and I'm hoping that the passage of time gives some clarity and truth. Until then, it looks like Last Rites may now be the only dedicated Goth night in the Chester / Liverpool area.There's been some really good stuff happening with skating recently though! Weasel asked me if I'd be keen shooting a little advert for the Mersey Grit / Bold Street Coffee cruiser collaboration a few weeks back. Was lucky enough to have Chester's finest Owain John on filming duties too! The whole thing was really good fun to make and despite still nursing a janky knee, it turned out rad! Here's the edit that came out just the other day,..Owain has recently finished his amazing documentary on the Boneyard which I was lucky enough to help out with too. There's some great footage from the various incarnations of the park since it was first built in 1996 and the interviews with all the usual suspects really shed some light on why it's such a great place. Owain got some great footage of the crew too, so stoked to have been involved!In lame hobby news, I finally finished off my RT inspired Alaitoc Eldar and have now got the bug for painting RT era orks, specifically the amazing Kev Adams sculpts. Melon and Pob have kindly furnished me with several amazing figures and sets (including the classic Ork Battlewagon - cheers Melon!) that are all in the process of being painted up right now. Add to that the amazing new figures from 'Wild in the Streets' and some old Warhammer figures I'm keen to work on, the Winter project diary seems to be properly filled! Bringing everything up to date, I'm currently sat at home whilst Die is out at the Green Jelly gig at the Compass. After the day I've had I just couldn't dig myself out of the work-head hole and I'm starting to to wish I'd gone to have exorcised those demons. Saying that, I've had the chance to do some more painting and listen to really bad 90's dance music without being verbally/physically abused.No shame.
Sat, Aug. 29th, 2015, 10:32 pm
It wasn't too long ago when the idea of putting a goth night on in Chester seemed like an impossible task. For a start, there's very few appropriate venues, the fact I'd never dj'ed or ran something that wasn't a skate event, not to mention a very small audience in Chester to cater for such a night. However, with the help of some planetary alignment, supplications to Ganesha and the pull of Die's birthday, it all seemed to work out pretty well. Infact, it's something that Die and I are really looking forward to doing again later next month and hope to keep on doing in the future. Last Rites is officially a thing and I hope it'll have people hyped on going out in Chester for a change.
Things are pretty good right now. I've had a kind of promotion at work as well as a payrise and although it's pretty busy, it's rad to be doing something new. On top of doing my usual rounds and looking after all the v/c guff, I'm now looking after several soft-service contacts and creating new project management standardisation templates for our facilities team. Pretty out of my depth being sat behind a desk for half the day, but I've managed to keep my head above the water so far. That said, the novelty of having a desk at work still hasn't worn off - being able to listen to music at work off the computer is awesome!
Had a few amazing weekends recently too. Melon came down for a day or two a few weeks back for a skate. We had such a rad time hitting up spots in Liverpool before geeking out on our shared GW and Lego obsessions. Not too long ago Die and I went down to Bristol for the DLH fun day and had a blast. Bristol is always an amazing place to visit and it was great to hang out and skate with the crew down there. I'll never get bored of sessioning with Pob, Sam, Dave and the crew! On the way back from Bristol we visited the Snowshill costume collection at Berrington Hall and fell in love with Charles Paget Wade some more. This weekend saw Mystery Steve visit from Lancaster and it's been great getting to skate with him again. It's always rad seeing any of the Barrow dudes, especially being able to inroduce them to the Boneyard. We had the addtional treat of skating a new spot in town too before having a surprisingly good night at Grind - so stoked to hear that he's doing well and really hope to hang out with him and Becca soon.
Pretty excited about the rest of the weekend too. We've around 2000 Civil War re-enactors in Chester right now and both Die and I are in full-geek mode. It was amazing (and pretty intimidating) to see them all march in through the east gate. Very much looking forward to seeing the battle tomorrow and getting to walk through the encampment on the Roodee.
Agh, so tired, very relieved that it's a Bank Holiday weekend!
Wed, Jul. 22nd, 2015, 10:29 pm
The two weeks that I'd looked forward to most (so far) this year have been and gone. Both Die and I are bobbing around aimlessly in their wake, counting down the days and weeks until the radness that coeur_de_noir
's visit in October will undoubtedly deliver. Still, kind of bummed out that the majority of life seems to be taken up with waiting and thinking about doing fun things rather than experiencing them.
Life, what the fuck is you?
So Cornwall was amazing as usual. We had our traditional trips to Totnes, Tintagel, Constantine and Booby's Beaches as well as a few jaunts out into the unknown. Lostwithial was a particular highlight, with some great little antique shops, a charming museum and the jagged remains of Restormel Castle looming on the outskirts. A whole day was spent at the always wonderful Museum of Witchcraft, which has undergone some great re-design in places. We were both really impressed at all of the new and revised information on display and the temporary exhibtion showcasing the illustrative work of Jos Smith was fantastic. We spent a good few hours in the library and I've now another long (and unfortunately expensive) list of book on the list of things to read now! Also quite excited to get to talk about some developments on showcasing some of the Snowshill objects in a more interesting context too, but will write about that when I know a little more!
Other fun things we got up to included bothering various species of rockpool dwelling creatures, hunting for hagstones, reading (and getting toasted) on the beach and eating (not enough of) lavender ice-cream. The last day was spent visiting St Nectern's Glen, a magnificent waterfall which plunges into Rocky Vallely. Sadly, this spot has been cashed in on by new-age lamers who sell polyester ribbons for tourists to tie to the trees in the area for vague 'spiritual' reasons. The tradition of cloughtie rags is an old one, but seeing it done in such a throw-away and trite manner is so depressing. In short, Cornwall left us yearning for more of the same and we're already planning a long weekend back there in September. We both have dreams about maybe living there one day and when nearly all of the property there looks a bit like this
, why wouldn't you want to?
Our second week off was mostly spent local to Chester, but we had a great day out on Newborough Beach on Anglesey, spending the day bothering Welsh sea-life, lurking amongst ruined churches and getting burnt again. We also had a few days out looking for some caves in Wales on the site of an old Priory, but were defeated by sketchy barbed wire - will be going back with Duffy soon on a proper mission! On the Saturday we had a visit from Melon and drove over to Liverpool to check out the new Otterspool park and to also session Newbird as well as a quick trip to the Boneyard too. We were all stoked to stumble upon the best pizza and gin courtyard in Liverpool that day too, pretty sure Lento Pizza
is going to be seeing a lot more of my greedy face.
Being back at work isn't too bad when there's so much to look forward to though. We've Die's birthday night and the debut of (and possibly only) Last Rites
night, a trip down to the DLH funday in Bristol in August, as well as a host of games nights with Stu and Mel. I've a load of really fun painting on the go right now and skating has been super good recently too. I just wish we didn't have to wait so long for the fun things to be happening.
A Return to Snowshill
“Mystery is most valuable in design; never show all there is at once.” C.P.Wade
To those who are not familiar with Snowshill, it is difficult to describe without a sense of awe. Situated close to Broadway in the heart of the Cotswolds, the picturesque Manor is home to a unique collection of items that were amassed by Charles Paget Wade (1883 - 1956). These artefacts were chosen due to their “good design, colour and workmanship” 1 and were collected throughout his life. Wade himself was an architect by trade and a gifted artist and draughtsman, influenced predominantly by the romantic tastes of the Arts and Crafts Movement. The Manor is full of themed rooms showcasing everything from musical instruments, tools and crafted curios right through to looming furniture, samurai armour and early bicycles. Wade hoped to preserve these items as examples of disappearing craftsmanship and design during a period characterised by the introduction of mass-production and standardisation. The aspect that this article is concerned with is the collection of items related to witchcraft and the occult that was to be found in the top most part of the Manor - The Witch’s Garret. When Wade died, new custodians the National Trust seemed unsure what course of action to take with such a room. It was not ideally located to allow visitor access and its theme was unpalatable to general tastes of the time, Cecil Williamson describing the atmosphere of the period, stating that “the dislike of Witchcraft in England is deep-rooted and still very much with us.” 2 Conveniently for the National Trust, Williamson and his museum were at that point located nearby at Bourton-on-the-Water and he was contacted by them to offer his opinions on the collection. Using his typical ‘maverick method of approach’ 3, he described the Garret not only as a “magician’s den’, but that of an “especially dangerous black magician.”4 A selection of items were removed and reputedly burnt as “unclean things”, but happily, this never occurred and they can now be viewed together at the Museum of Witchcraft in Boscastle. It has been over a year since my last article concerning the Garret and its contents was published. As mentioned in the conclusion of that piece, my research into the depth of Charles Paget Wade’s interest in the occult, the items from his Witch’s Garret and Cecil Williamson’s relationship with these items has been ongoing. During that time, a great deal of new information has been unearthed that both supports and refutes statements I previously made and during the course of the past year I have been lucky to have had the opportunity to discuss the subject with extraordinary people on both sides of the magical fence. The recent digitisation of the National Trust’s Snowshill collection, as well as the publication of Steve Patterson’s work on Cecil Williamson, has been of great help in reassessing past assumptions. This article aims to clarify points previously raised and to present new evidence regarding the provenance and origins of some of the artefacts. It will also hopefully provide a little more context for the collection, and personalities associated with it during the past seven decades.
The last article raised the possibility that there may have been two separate rooms in the attic space at Snowshill that featured occult themes. This idea was based on drawings by Wade that featured sketches of an ‘Alchemist’s Room’; a similar sized room to the Garret, but instead leaning towards influences of alchemy and astrology. Recent research has however disproved its existence; instead, this illustration showed a design that was a precursor to the Witch’s Garret. The idea of this original room seems, judging by Wade’s notes, to have started in 1934. Why Wade chose to abandon this theme and instead create the Witch’s Garret instead is unknown. However, clues as to why he did this can be seen by looking at features in the garden. In his illustration of the Alchemist’s Room, a copy of what seems to be his astrological birth chart is depicted on the floor where the now-present Solomonic styled seal is. This birth chart, featuring Wade’s own horoscope can now be found on one of the garden terraces, but unfortunately not in its entirety due to the erosion of the original flags. There are also other astrological points of interest in the garden such as the striking zodiacal ‘Nyychthemeron’ clock and the mounted astrolabe. It seems like Wade may have decided to use the garden to feature his interest in astrology as it provided a grander context for the subject. The Garret space is relatively small and the star-gazing chair that features in the design for the Alchemist’s room certainly isn’t practical for observing anything more than a limited portion of the night sky. Continuing with Wade’s sense of practicality, these items related to astrology are actually more at home outside where the vista of the western sky opens dramatically over the rolling hills, rather than being crammed inside the smallest room inside the Manor.
Other reasons for this change in design also present themselves when looking at the contents of the Garret. With the exception of a collection of stoneware jars and globes, there certainly isn’t any evidence of the classical instruments that have become associated with alchemy. With the exception of the window, there is no ventilation and it would have been an impractically small space to work in. The only specific reference to alchemy is the painting on the southern wall that mentions the ‘Lapidem Occultem’. It is likely that Wade found the idea of a Witch’s Garret easier to realise as it gave a wider creative scope, providing opportunities to diversify the theme of the space whilst still reflecting his interest in the imagery of the occult. Maybe he felt he knew more about witchcraft than alchemy and astrology alone and thought that he could achieve a more atmospheric tableau by unifying these themes. Intellectually flexible, it seems that Wade was more than happy to adapt ideas, this fluidity finding reflection in his collecting. Wade does not seem to have collected to order; his purchasing habits being such that if he saw something that he liked, he would buy it, regardless of what his original intentions were. One wonderful example of this is of when he stopped to buy a tap washer in Cheltenham and walked away with seven complete suits of Samurai armour.5 There is no evidence to suggest that the Garret was specially put together and appears to have been assembled organically like the rest of the collection. The earliest receipt discovered at present that relates to one of the items that furnished the Garret is the framed print of Mother Shipton that he purchased in Ipswich in November 1900.6 This reveals that, aged seventeen, he had an awareness of and interest in historical characters associated with magic. Perhaps too, when he moved to Snowshill he came to know of the local folklore regarding the witches of Long Compton and of the legends of the Rollright Stones7 and wanted to reflect this within his collection. It seems that we’ll never know what prompted the change of aesthetic direction for certain, but when comparing the original illustration and the finished Garret, the final design certainly has a greater sense of atmosphere, especially when presented to the lay-person. It could be argued that the success of this effect was double-edged; the depth of feeling evoked by it giving rise to its misinterpretation.
One of the most important items in the Garret that continues to fascinate is the Wondrous Candle. Since writing the previous article, more contextual evidence for its design and possible origin has come to light. The author Nigel Pennick describes a very similar design to that of Wade’s, albeit using different materials, in his book ‘Secrets of East Anglian Magic’. “First we cut a stave of blackthorn to an appropriate length. Next we take a copper wire, preferably one which has never carried electricity, and make two circular hoops, one large and one small. Then, we connect them to the blackthorn stave binding them on with red thread. Next we make a Dag sign (the runic letter ‘D’), out of silver in a silvery metal such as aluminium. This must be consecrated at midday. However, the parts should not be assembled immediately, as this must be done at sunrise on the day the trap is set up. In a sunrise ceremony, we call on the powers of the trap to entangle, ensnare and entrap these harmful sprites.”8 In addition, he also provides us with an illustration which shows the remarkable similarity between the two sigils. However, it seems more likely that Wade would have used inspiration from the ‘Petit Albert’ for the design, as it corresponds roughly with a sigil featured in the book relating to Mercury. A similar sigil is also found in Agrippa’s ‘Occult Philosophy’, and carries the means ‘to obtain’, instead resting under the influence of Jupiter.9 It is possible that this is an example of Wade drawing designs together to create a pastiche of his own, an idea that will be explored further on in this article. From the books we know of that Wade referenced, none of them had any information on the designs or meanings of runes. Although it is worth mentioning that the literal translation of the dagz or dagaz rune means ‘day’ which when considered in the context of a candle casting light, provides us with a coincidental, yet convenient interpretation.
The fact that Pennick’s work features an extraordinarily similar item (albeit operating under the guise of a Spirit Trap rather than a Wondrous Candle) lends support to the idea that the design comes from an East Anglian magical tradition. Wade spent a good deal of his childhood in and around East Anglia being quite familiar with its environs, Great Yarmouth in particular holding a great deal of personal nostalgia. Although it is clear that Wade drew upon magical and folkloric inspiration, there is no written evidence to suggest that he was ever in contact with any East Anglian practitioners. In correspondence, Pennick claims that the illustration in his book was based on a Spirit Trap found by him and an associate in a Cambridge City Graveyard in 1968. Further evidence for this regional connection is found at Snowshill in the form of three witch bottles that show remarkably similar designs to that of Pennick’s illustration of a witch bottle type unique to East Anglia. These feature small, repurposed fire-extinguisher vials filled with coiled, coloured threads each with an additional wire or thread around the neck to attach to a door or window frame. What is interesting is that these witch bottles were never noted as being part of the Garret collection, hinting perhaps that Wade may have utilised them for their intended purpose. It should also be noted that Wade hung horseshoes at Snowshill and it is not a great stretch of the imagination to conceive that the witch bottles were hung in the same spirit. This idea expresses the possibility that Wade may have unconsciously accepted and adopted some folk-magic traditions, especially if they appealed to his sense of romance and nostalgia.
Despite these connections, there is a possibility that the Snowshill candle may have inspired the one found by Pennick as it may have been on display at Boscastle. Williamson claimed that when he came into ownership of the Garret collection that he “never did put any of the stuff on show”10 but there is evidence contradicting this statement. Film from the late 1960s11 shows a charcoal burner from Snowshill furnishing part of one of Williamson’s famous tableaus at Boscastle, namely ‘The Altar of the Living Dead’. Postcards from the Museum from around the same also show the same item on display.12 If we assume that Williamson did place the Snowshill articles on display when the museum at Boscastle opened in 1960, there is a possibility that the artefacts may have been on display for eight years, or over a decade if he displayed them at Bourton-on-the-Water. It should also be noted that Williamson himself must have been familiar to some extent with the design of the candle. A similar item is described in one of the old, typed display cabinet descriptions, unfortunately damaged in the 2004 flood and reads; “Believing that moths were spirits of the dead, Hilda Freeman from Okehampton would use a spirit trap which was a candle flame set up in front of a circular wire cage with wires like cob-webs to attract and catch moths which was set up in the fork of a tree in a graveyard. When she caught these moth spirits she would then converse with them. When not in use, it was hidden behind the loose surface of a surface tomb, where it was found after her death.”13 The similarity of this construction and location of operation is striking when compared with the Cambridge example. However, it is not entirely certain if this trap was ever owned or displayed at the museum or if Williamson made the connection between Hilda’s spirit trap and Wade’s candle. Indeed, there is evidence to suggest that Williamson may have displayed Wade’s candle with the aforementioned description. In his introduction to ‘A Magical History’ Professor Ronald Hutton describes how “the present custodian had recently visited his Museum and spotted the main items from the catalogue among the exhibits, not burned at all but given new identities.”14 This mistake concerning the possible mismatching of Freeman’s spirit trap and Wade’s candle on Williamson’s part may however have hidden depths. Levannah Morgan describes a certain technique that Williamson used in order to garner information about certain objects. Taken from correspondence and in his own words, he tells us “my Museum presentation has always been based on asking a number of questions to my visitors without them being aware of the fact. Example, present a showcase exhibit. Deliberately write a showcase caption card containing an error. In no time at all some clever Dick visitor will step forward and explain at length the error of ones statement and fill you in with first hand information.”15 This admission of a rather unconventional research method matches Professor Hutton’s account of the visiting custodian of Snowshill. Furthermore, it may suggest that the Freeman spirit trap card was one of Williamson’s spiderwebs designed to capture information on the candle that wasn’t available to him. This leads me to postulate that Williamson was also keen to learn more about the candle and was prepared to use his usual brand of cunning in order to do so.
There is no description of the sigil featured in Wade’s or Pennick’s examples and although all three are similar in design, their intended functions are all subtly different. Pennick eloquently offers us a compromise to this tangled situation by suggesting in correspondence “if the one I saw in Cambridge all those years ago was inspired by the Witchcraft Museum exhibit then this only shows the mutability of magical practice. It is clear that magical praxis in any place or time has always been fluid and taken on any available techniques, so the easy rubric of localising magic is just a handy way of dealing with regional praxis.”16 We may never know the exact provenance behind the sigil design of Wade’s candle, but it is now clear that Wade took the initial description featured in ‘Le Petit Albert’ directly from De Grivy’s seminal 1931 book ‘Witchcraft, Magic and Alchemy’,17 a book that would also inspire other visual elements of the Garret discussed further on. Although rude in manufacture, I feel at this point it is more likely that Wade created rather than purchased it. When viewed in context with the collection inside the Garret, the candle occupies the centre stage, high on the shelf next to the skeletal remains of a seal’s flipper which in itself shares similarities with traditional woodcut depictions of a hand of glory. This seal flipper too is simply mounted in a similar fashion and it could be argued that Wade designed these to be rustic in construction to complement the rest of the collection. Conversely, the manufacture of the candle is so far removed from Wade’s usual precise, Arts and Crafts inspired style that it difficult to reconcile with the rest of the collection outside of the Garret. Again, we are left in no stronger position as to the exact nature of this artefact and it is unlikely to further reveal any of its secrets in the future.
Recent access to clearer photographs has provided much better provenance for the floor paintings in the Garret. These photographs show in greater detail the additional, faded elements that were previously difficult to interpret. These new details reveal that Wade was indeed using De Grivry’s 1931 publication ‘Witchcraft, Magic and Alchemy’ as inspiration for this image. The additional elements included in the seal that can now be interpreted are stylised sigils of Michael, Jod, Saday and Hela. The latter three all originate from the same page detailing ‘Six pentacles to influence good spirits favourably’ which in turn has been taken from an 18th century copy of ‘La Clavicle de Solomon’.18 What is interesting is that there is no sigil for Michael featured in De Grivry’s book, leaving the origin of Wade’s knowledge of this design unknown. They have not been copied line for line, but have all been altered slightly, presumably for aesthetic reasons. However, this could also suggest that Wade had deliberately altered the designs as to deny them of their suggested power, echoing the idea that he was a cautiously superstitious man. This composite design utilising pre-existing seals reveals not only Wade’s skill as a designer and draughtsman, but of an adaptive mind-set that is peculiarly modern in terms of occult practice. It echoes back to Pennick’s comments on the mutability of magical praxis and suggests that even if there is no direct evidence that Wade was actively pursuing magic, he was gifted with a creative flair that would have made him an imaginative practitioner. It must be noted however, that this mutability seems to be from a primarily western perspective; Wade owned several other items relating to eastern religious and mystic traditions, the most interesting being a wonderfully gilded and etched Magicians Hat from Siam that was not included in the Garret. Perhaps it is not because its exoticism didn’t suit the theme of the room; Wade may have thought that it found a more fitting home elsewhere in the collection, again hinting at a clear theme to the room.
Another assumption that was made in the previous article that has subsequently been re-evaluated was that the majority of the collection was taken by Williamson. In fact, Williamson only took around ten items from a room that he described as “a magician’s den”19 which seems odd given his magpie-like nature when it came to acquiring any items or information on the subject. One explanation for this is that Williamson only took the items he was interested in as he was able to discern these objects of genuine interest to him as a traditional witch. Perhaps he realised that the Garret, like the other rooms in the house, was another dramatically themed set, albeit created by someone who knew what they were dealing with. None of the ‘very definite Caribbean symbols’ that Williamson described appear in the Garret at this present time, and it seems unlikely that they ever existed. However, Williamson’s later recollections of the Garret do warrant re-examination when we consider Wade’s playful nature. It was not uncommon for Wade to lead visitors around the house in costume, disappearing from one room to the next and reappearing to startle with trademark flair. When Williamson describes his first encounter with the Garret in a later interview, explaining “it was quite clear that somebody had been doing something in there...a chair had been thrown over and a bottle had been smashed on the floor. There were the skeletons of two dead rats and a lot of herbs which had all rotted”20 it is not hard to imagine that this may have been the remaining detritus of a dramatic tour that was never cleared away. Other information that has come to light recently is the discovery of a bell hung in the eaves towards the rear of the Garret. This bell is rigged with string which enables it to be rung from the wall opposite. It has been suggested by Simon Costin that this another veneer of theatricality, explaining in correspondence, “Wade possibly liked to stand by the entrance as his friends explored the room in semi-darkness and then at a given point he would clang the bell, scaring everyone to death.”21 It cannot be overlooked that bells have had a long history of being tools of invocation and banishment in ritual workings throughout the world. Another recent discovery is a collection of designs based on the Tarot of Marseilles, featuring all twenty-two cards of the Major Arcana. These designs form part of a decorative inclusion to a turret clock mechanism. Other tarot related items from the collection also include an incomplete pack of cards from a deck of unknown origin. Again, it only shows us the depth of Wade’s interest and knowledge of esoteric imagery, providing us no further evidence either to prove or disprove that Wade actively practised any form of occultism.
In his preface to his book ‘Triumph of the Moon’, Hutton offers up a summary of the development of modern occultism; “If it is the child of any single phenomenon, then it is the belated offspring of the Romantic Movement.”22 Wade’s approach to Snowshill can certainly be seen as reflecting this. The Garret collection and indeed Wade himself can be viewed in a similar fashion to that of Edward Lovett, whose recently republished book ‘Magic in Modern London’ showcases a plethora of magical charms collected from the perspective of a folklorist. Indeed, Wade and Lovett’s passion for collecting shares many things in common, although whereas Wade was primarily interested in preserving the traditions and crafts of the past, Lovett was also preoccupied with preserving the folklore of the present. Both also show signs of adopting superstitious thought, although Lovett is the only one we have solid evidence of as being consciously superstitious; his ‘Lovett Motor Mascot’23 providing us with a wonderfully modern adaption of the traditional lucky charm. Despite there being no strong evidence pointing to any structured involvement of magical practices or with practitioners, Wade’s Garret still offers an incredible view into an educated perception of the occult before the popularisation of modern magical traditions and the emergence of Wicca. The Wondrous Candle and its provenance still remain a mystery, one that will continue to tantalise far into the future. It now seems very unlikely that Wade ever handled a copy of ‘Le Petit Albert’, but the similarities to the designs for sigils in that book and the one mounted on the candle, as well as Wade’s connections to the West Indies cannot be completely overlooked. Thanks to the National Trust’s recent digitisation of the Snowshill collection, any future discoveries will be easier to cross reference and contextualise. At present, the Trust is involved in a project to digitise Wade’s written correspondence, and that may yet offer up more evidence relating to his associates, influences, and to the manner in which the collection was drawn together. It is a subject that continues to fascinate me and I’m sure that Snowshill has many more secrets remains to reveal.
I would like to extend a huge thanks to Simon Costin, Hannah Fox and Peter and Judith Hewitt at the Museum of Witchcraft for their invaluable suggestions and support. I would also like to thank Nigel Pennick, Steve Patterson and Die Booth for their sage advice and opinions. Lastly, grateful thanks to Jenny Rowley-Bowen at Snowshill Manor for her generosity and patience regarding the provision of material for this article. All images belong to their respective owners and are reproduced with their permission, for which I thank them greatly.
When spirit’s fled
When life’s flame’s dead
As iron to rust
Body to dust.
Article first published in The Cauldron May 2015. Copyright Mark Hewitt( References and BibliographyCollapse )
Wed, Jun. 3rd, 2015, 12:35 am
Lost in time and lost in space.
Thu, Apr. 2nd, 2015, 01:06 am
Die and I have now been together for ten years. I'm so, so grateful that they haven't discovered that I'm a total goon yet. Lets all keep that a secret for another ten yeah? While Empires burn down, forever and ever and ever and ever / If I have to switch the lights off, I want to switch them off with you.Shh
people!Tempus fugit and all that jazz
The past few weeks have been extremely busy. There's been loads of work at the Boneyard, rebuilding and revamping an entire third of the park to make it a little more appealing to the cool kids. It's turned out amazingly and everyone seems proper hyped on it. A particular treat is the bank to rail - it's been an experience learning to skate it as we've never had anything like it at the park and it's the kind of thing that would freak me out in the wild. Who'd of thought I'd ever skate proper rails? I've also been pretty busy at work attempting to justify an award that I won recently. I've been on quite a few of the idols evenings in the past, but ended up winning being one of seven people who got one of the new platinum awards. I was the last to be awarded one and recieved a standing ovation from everyone which freaked me out a little. it was really nice, but I kind of wanted to hide the entire time. One day they'll work out that I just walk about and drink tea all day and that'll be me buggered! Still, stoked on the £50 M&S voucher - not so stoked on the portrait of me looking like a French Duke though. In the past week, we've had the wonderful Megan up for a few days and have had a few great nights out; the evening with Arthur Brown being a particular treat. Last weekend was a bit of a blur, with a very brief trip down to Coventry to see the family after Issac's christening, which I thankfully managed to get out of. It was great to see the family for the meal though, stoked that Sarah, Valentino and Issac are doing well. We've a few gigs coming up soon too - Adam Ant and Dav Ford in Liverpool this month and Los Savages in Bristol in May!
Both Die and I have a few days off to celebrate our decade of mutual retardedness. Yesterday we visited Chirk castle for a long walk and plan to have a few drinks at the Tap tonight. We've Oswestry antiques fair on Friday and a meal with Liz and Frank at the Botanist on Saturday. I'm hoping to get another skate in and also get some painting done too! Right, I could elaborate on more stuff, but I'm super tired and I'd rather be snuggled up in bed with Die.