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Young archaeologists and time-travelling diaries

By Georgia (BA Archaeology, University of York)

I’m Georgia, an undergraduate student at the University of York, currently completing my dissertation on communicating archaeological techniques to children.

Georgia welcoming the young archaeologists to Avebury.

Back in December 2023 I welcomed a branch of the Young Archaeologists’ Club (YAC) to Avebury, to explore the henge, discover how the Avebury Papers team goes about transcribing diary entries, and explore the ways that archaeologists have historically made records. 

Walking around the South West sector at Avebury.

The session began with a short walk through the henge, where we talked about Keiller’s method of excavation and restoration at Avebury.

There were two activities, separated by a ten-minute break where the children had a snack and a drink. The first activity was based on transcription, where the children were given a range of extracts to try to detangle. The diary pages that were used in the session were taken from Denis Grant King’s 1938 account of his time at the site, as well as the 1934 excavation log written mostly by Alexander Keiller himself, with some entries penned by Stuart Piggott when he was absent.

These diaries represent a range from most complex handwriting (Keiller) to least difficult (Piggott). While I was researching and planning this session in August 2023, I visited the Avebury Papers volunteer team who were in the process of transcribing the excavation logs, which prompted conversation surrounding Alexander Keiller’s slightly illegible penmanship and inspired this activity. 

Young archaeologists have a go at transcribing handwriting from copies of archival materials.

As they had a go with transcription, a few of the kids asked about what the “answers” were for unfamiliar or indiscernible words. This began a discussion about what the Avebury Papers volunteers do when a word is unidentifiable, such as leaving a blank space or inserting their best guess between square brackets to show their uncertainty. Some of the children incorporated this methodology successfully into their own transcriptions.

The second activity asked the children to attempt to write their own diary entries, imagining that they had spent a day excavating on site. 

The influence of the sources from the previous task was evident in some of the children’s diary entries. An example of this is in the picture below, in which it is clear that the child noticed and incorporated some of the style of Keiller’s excavation log, such as the abbreviation of names (e.g. Alexander Keiller becomes AK), the description of the weather, and his brief sentences. Although I’m glad they didn’t incorporate his indecipherable handwriting! 

An entry for ‘July 1924’ by one of the young archaeologists.

To end, I want to give a big thank you to the YAC members for being so enthusiastic, and to the YAC leaders for all their help throughout the planning process and the session itself.

You may freely view, download, and reuse the diary extracts (images and transcriptions) below. Right click to save images.

West Kennet Avenue 1934 excavation diary,
accession number 78510467

78510467: 19-20 April, written by Alexander Keiller, spread 71a-71b

WestKennetAvenue_Diary_spread_71Download
78510467: 19-20 April, written by Alexander Keiller, spread 71a-71b.

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78510467: 5-6 May, written by Alexander Keiller, spread 79a-79b

WestKennetAvenue_Diary_spread_79Download
78510467: 5-6 May, written by Alexander Keiller, spread 79a-79b.

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78510467: 2-3 August, written by Stuart Piggott, spreads 123-124

WestKennetAvenue_Diary_spreads_123-124Download
78510467: 2-3 August, written by Stuart Piggott, spread 123.
78510467: 2-3 August, written by Stuart Piggott, spread 124.

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Denis Grant King, ‘Journal of my visit to Avebury:
Book Two’, accession number 1732623-002

Extract from 15 November 1938, spread 28

Extract_1732623-002-028Download
1732623-002: ‘Journal of my visit to Avebury: Book Two’, extracts from 15 November 1938, by Denis Grant King, spread 28.
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Happy 90th Anniversary

The game is afoot! Today is the 90th anniversary of the very start of Keiller’s first campaign of sustained fieldwork at Avebury.

Alexander Keiller’s ‘Excavation Diary’, 1934, page 65. Accession number 78510467.

On Sunday the 8th of April 1934 the initial trenches were surveyed on the line of the West Kennet Avenue. Keiller’s own excavation diary records this in a rather matter of fact fashion:

‘11.15am staff also WY, PW and FC to site. Elephants [small tents] and Mammoth [large tent] erected. Gear unpacked.

Afternoon. Cutting Ci, Cutting Cii, Cutting Ciii, Cutting Civ, Cutting Cv, Cutting Cvi, Cutting Cvii, Cutting Cviii, Cutting Cix inclusive plotted by theodolite according to new “Central Line Method”.

Evening. Above plotting completed. 

Sunshine: clear: warm till evening: then chilly.’

Pages 68-69 of William Young’s Diary No 9, generously loaned for photography by Wiltshire Museum.
Pages 70-71 of William Young’s Diary No 9, generously loaned for photography by Wiltshire Museum.

In his own diary entry for Sunday the 8th of April WEVY (William Young) is a little more eloquent:

‘Spent the greater part of the day, (until dark!) in Mr Peak Garlands field, helping Mr Keiller and his staff who were engaged in plotting out the cuttings in preparation for the commencement of the forthcoming excavations tomorrow morning. The spot where Mr Keiller has selected to begin is at the S.E. end of the existing double row of stones, (seven on the left and four on the right of the avenue as one looks towards Kennett) situated along the foot of Weedon Hill, or Windmill Boll. It is Mr Keiller’s intention to search eventually for the stone holes of those missing from the right hand row, as well, and he has plotted out a skeleton plan to include the existing stones, beginning with cutting 1 at end S.E. end, which incidentally marks the boundary of the field. Each cutting will be 100 ft in length and 80 ft in width across the avenue, (i.e. extending 40 ft on either side of the avenue axis), and will follow, naturally, in direct succession.’

WEVY then marks in his diary ‘The Kennet Avenue Excavations’ in large handwriting on Monday 9th April… so this Avebury anniversary might properly be celebrated on both days.

Today is a fitting day then for introducing a new phase to Avebury’s history: read more about our commissioned artists, Gayle Chong Kwan and Kialy Tihngang.

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Avebury Papers: Artist Commission Announcement

We are delighted to announce our two Artist Commissions for the Avebury Papers.

Gayle Chong Kwan and Kialy Tihngang will be exploring the Avebury archive in the coming year, and we are excited to see what they make of the archive’s varied materials and stories.

Our artist commission began with an open call in September, and we were overwhelmed with the quantity and quality of proposals. Avebury clearly inspires creativity, and we look forward to seeing the new works, and ways of understanding Avebury, emerge through this commission.

Gayle Chong Kwan’s and Kialy Tihngang’s proposals caught our attention for their serious attention to the complexities of archives and archive practices. Their practices are varied, but what both artists have in common is an open and expansive approach to mixed materials.

A portrait of Gayle Chong Kwan, photograph courtesy of the artist.

Gayle Chong Kwan

Gayle Chong Kwan is an award-winning multidisciplinary artist and academic, of Chinese /Mauritian and Scottish heritage, whose work is exhibited internationally in galleries and the public realm. Her large-scale photographic and video work, immersive installations, and sensory ritual events act within and against histories of oppression and positions the viewer as one element in a cosmology of the political, social and ecological. She has a PhD in Fine Art on ‘Imaginal Travel’ from the Royal College of Art, UK (2023) and has been Artist Fellow at Compton Verney (2024), the British Museum (2023), V&A Museum (2021), Ca’ Foscari University Venice (2020).

A portrait of Kialy Tihngang holding ‘Untitled (‘Useless Machines’), 2021, photograph courtesy of the artist.

Kialy Tihngang

Kialy Tihngang is a multidisciplinary Glasgow-based visual artist, working in sculpture, video, textiles, animation and photomontage, often in collaboration with performers and musicians, involving elaborate handmade sets, costumes and props. As a first-generation British-Cameroonian, she is particularly interested in the constructed (and therefore inherently deconstructable) nature of British national identity.

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An Avebury folk song

In addition to Keiller’s records, papers, and correspondence connected with his activities on the property, the Avebury archive also contains material belonging to some of his collaborators on the Avebury project. Among these are the papers of William EV Young (or WEVY) who was the custodian and later curator of Avebury museum.  

Amongst Young’s sundry papers unconnected to the work of running the museum, under the same accession number are documents about local incidents and superstitions – including extracts from a local Reverend’s diary – and several versions of a folk song. 

‘Ground for the floor’, one of three versions in the archive, at 20000594-013-003, page 1.
‘Ground for the floor’, one of three versions in the archive, at 20000594-013-003, page 2.

The document dates from 1953 and, whilst it may be connected to the renewed post-war interest in folk collection generally, it is more likely to reflect Young’s specific interests in local Avebury lore. This version of the song was sung in the pub in Beckhampton, among other places, by John King of Avebury who died in 1917.  

An apparently earlier typed version of the ‘Ground for the Floor’ as sung by John King of Avebury, 20000594-013-001.

The song is Ground for the Floor – Roud 1269. In terms of genre the song is a ‘rustic idyll’ – characterising the simplicity of a rural life as one of contentment. It was also collected by others; including George Gardiner in Hampshire, Sabine Baring-Gould in Devon, and Alfred Williams from the village of Marston Mersey north of Cricklade, in the late nineteenth / early twentieth century phase of interest in folksongs. 

The lyrics and chorus collected have some degree of variation, which include distinct versions such as that collected by Cecil Sharp in Somerset, that by Gardiner in the South West, which are all broadly similar in structure, if varying as to the chorus . A more notable variation is the one recorded from George Maynard of Sussex, which differs substantially from the other preserved examples of the song. A tune was transcribed by Baring-Gould, and another is in Lucy Broadwood’s English Country Songs. The only recording of the song seems to be of George Maynard’s version of lyrics, first recorded in the 1960s – which appears on Volume 20: There is a Man Upon the Farm of the Voices of the People collection. 

Further research indicated that the lyrics Young and others collected closely match those of a broadside ballad of the same title, printed in London sometime between 1780 and 1812, and digitised by the Bodleian library.

A late 18th / early 19th century printing of Roud Number: 1269; Bodleain Library, Shelfmark: Harding B 11(2066), shared under Creative Commons CC BY-NC-SA 3.0 DEED.
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Visitors to Avebury and other names

Title page of Journal of my Visit to Avebury in August 1938, by Denis Grant King.

Denis Grant King’s (DGK) journals, written during and after his time spent at Avebury in the 1930s, are rich repositories of names. King notes down site visitors, correspondents, and more. As I’ve been transcribing his journals, I’ve noticed some names appearing frequently, or in contexts which suggest them as important types. I found this fascinating and so decided to do a little research for no other reason than to satisfy my own curiosity. And then I thought, “if I’m interested, other people might be too”; and so here is the first of what is intended to be several occasional nlogs about these people.

I should have come up with some witty heading along the lines of Avebury Additions, or Excavating Extras but alas, I seem to have lost my little pot of inspiration. Maybe you can come up with something suitable? Suggestions in the comments please.

Avebury Visitors: Part One (16 August to 20 August 1938)

Thursday, August 18th 1938 

(1732623-001-016). When DGK first arrived at Avebury he had a letter of introduction with him written by OGS Crawford. 

Page 16 of DGK's 'Journal One', accession number 1732623-001. The journal has been opened and photographed at a double page spread, showing Denis Grant King's handwriting. We are transcribing the full text of this image as part of the project.
Page 16 of DGK’s ‘Journal One’, accession number 1732623-001.

Osbert Guy Stanhope Crawford, CBE, FBA, FSA was a man who worked largely as the Archaeological Officer for the Ordnance Survey, plotting the locations of archaeological sites. He specialised in Prehistoric archaeology and wrote many books on the subject. During World War Two, as part of the Royal Berkshire Regiment, he made maps and took photographs of the German positions on the Front Line. In 1927 he founded  “Antiquity: A Quarterly Review of Archaeology”, which remains one of THE pre-eminent archaeological journals. The Avebury archive also contains many letters between Crawford and others, including a satirical letter to the Modern Mystic magazine.

Saturday, August 20th 1938 

(1732623-001-023). At Woodbury DGK saw an excavation taking place on the crest of a hill in sight of Salisbury Cathedral (these excavations would later be called “Woodbury I and II”). Here he was introduced to Charles William Phillips who was the Hon Secretary of the Prehistoric Society, and a tutor or professor at Oxford, who was in Salisbury on vacation. DGK describes Phillips as “a fine tall Saxon type, with the muscles of a navvy, aged perhaps 45, with small — almost immature — moustache, and brown to fairish hair”. CWP was also an archaeologist who led the 1939 excavation of Sutton Hoo, and in 1946 replaced OGS Crawford as the Archaeology Officer for the Ordnance Survey.

Page 23 of DGK's 'Journal One', accession number 1732623-001. The journal has been opened and photographed at a double page spread, showing Denis Grant King's handwriting. We are transcribing the full text of this image as part of the project.
Page 23 of DGK’s ‘Journal One’, accession number 1732623-001.

(1732623-001-023). While at the above-mentioned Woodbury excavations, DGK was also introduced to Dr Gerhard Bersu of Frankfurt and his wife Maria (although DGK never mentioned Maria by name). They were a German couple who had left Germany on account of Gerhard’s Jewish heritage (on the maternal side). DGK describes him as presenting a very comical figure, short and dumpy, round moon-like face, very genial, somewhat discoloured teeth, blue eyes and brownish hair; dressed in loose sail-cloth trousers to the middle caff, a coat of weaving not generally seen in seen in England, and an old greenish Homberg with feathers and heather stuck in the band at the back.

DGK notes that Gehard “spoke in peculiar broken English”, and gives the example of what Gehard was calling “rocking seats” were actually “working seats”. What DGK seemed to be unaware of was Dr Bersu’s ingenious ability to interpret archaeological features. Far from being a ‘dumpy man in strange clothes and an old hat’, the revolutionary excavation techniques employed at this excavation by Gerhard that changed the way Iron Age Britain was interpreted. Before Dr Bersu’s arrival, it was common belief that Iron Age people lived in pits (as DGK mentions in his journal entries). However, by proving that these pits were not dwellings but had been dug for food storage, Dr Bersu was able to prove that Iron Age people lived in Round Houses.

While Dr Bersu was conducting DGK over the site, their group was approached by Lieutenant Colonel Charles Douglas Drew, the curator of Dorset County Museum (DGK mistakenly refers to this as “Dorchester Museum”) and the Secretary to the Dorset Natural History and Archaeology Society. When he died in 1956 The Drew Trust was set up in his name. Even today, this Trust gives outstanding A-Level History students prize money if they attend university.

Page 26 of DGK's 'Journal One', accession number 1732623-001. The journal has been opened and photographed at a double page spread, showing Denis Grant King's handwriting. We are transcribing the full text of this image as part of the project.
Page 26 of DGK’s ‘Journal One’, accession number 1732623-001.

(1732623-001-026). This entry, a continuation of the 20th August, doesn’t include anyone famous, but it shines a little light onto William Young’s life, and his family’s political interests. William is in charge of the excavations at Avebury and DGK is finishing the day by visiting Mr Young’s family home where he meets Mr Young, senior.  On the sideboard he sees two newspapers: The Daily Herald and “Action”. You’re probably wondering why this is worth noting? In those days, The Daily Herald was seen as a newspaper that supported the Labour Party and was aimed at the “working man”. However, Action was a newspaper published by Oswald Mosely’s British Union of Fascists. We don’t know yet what Young senior’s political leanings were, but it raises interesting questions about the circulation of ideas across the country at the time.

Denis was a busy guy on 20th August 1938. I wonder how often he looked back over his diaries and remembered the people he met?

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How to build Avebury: with Denis Grant King

'Methods employed for transporting and the erection of megaliths' drawing by Denis Grant King, Alexander Keiller Museum accession number 20000577-008.
A detail of the drawing 'Methods employed for transporting and the erection of megaliths', by Denis Grant King, Alexander Keiller Museum accession number 20000577-008.

I’m volunteer Kiri, studying for a Masters in Cultural Heritage in Southampton. My job for now is to check the photos and catalogues that have been captured so far. The first step is to check that the photos are clear, complete and standardised. Then make sure the description of the photo and other information in the catalogue matches the photo. I have also been creating catalogue information from scratch when needed. This work is a nice experience for me because it is usually very difficult for people to have access to and view all the archives in a museum’s collection. And the Avebury archives often have some interesting pictures.

This hand-drawn picture is from archaeologist Dennis Grant King, and caught my eye while I was checking the catalogue. The title is ‘Methods employed for transporting and the erection of megaliths’, and unfortunately it is undated, but possibly produced between 1940-1950. In fact this piece caught my attention because it is so exquisitely composed, simple but not simplistic. And I’m sure many people who come across Avebury have similar questions about how the ancient people moved and erected these huge and heavy stones during the Neolithic period. This drawing by King gives a reasonable speculation.

Here is an image of a watercolour drawing by Denis Grant King. It is on cream paper, in red, blue, green, and black inks, showing neolithic people erecting a stone at Avebury.
‘Methods employed for transporting and the erection of megaliths’ drawing by Denis Grant King, Alexander Keiller Museum accession number 20000577-008.

King suggests that Avebury’s megaliths were moved by wooden rollers. People put wooden rollers on the ground and used the rolling of the wooden rollers to keep the megaliths moving. The use of ropes can also make it less difficult to manoeuvre giant stones. When lifting heavy objects, the use of ropes allows the lifting force of multiple people to be combined, reducing the amount of weight each person needs to carry.

The erection of the boulder depicted in the picture was carried out by means of ramp and lever. Inclined planes reduce the force required to move heavy objects, and wood placed on a slope lessens the friction between the object and the ground. Due to the force of gravity, the megalith could slide down the ramp into the stone hole. Plus the use of long wood for leverage saves the force needed to erect the megalith. The friction stakes standing at the other side of the Stone hole helped to keep the megalith balanced without falling over towards the far side of the stone-hole, whilst also preventing the stone from damaging the edge of the stone-hole as it slid into it.

In Smith’s edited volume ‘Windmill hill and avebury: excavations by Alexander Keiller, 1925-1939’, reference is made to evidence of construction techniques found by archaeologists at Avebury in the 1960s. The archaeologist Richard Atkinson suggested that the most efficient way of transporting monoliths was sleds and rollers, although these two methods may not necessarily have been used. And the process of erecting the stone vertically probably used levers and ropes.

Smith explains some of the evidence found in the holes at the base of the megaliths. Sometimes varying numbers of stakes have been inserted against the back side of the base of the stone hole to reduce the friction between the megaliths and the edge of the stone hole. In addition, some smaller stones have been found at the bottom of the stone hole, perhaps acting as another anti-friction device and also providing support for the megaliths. After the megalith was erected, the space around the megalith would have been filled with earth and sarsen packing stones to support the stone and keep it standing.

King’s suggestion of how the megaliths were moved and erected is partly similar to Atkinson’s and Smith’s views, including the use of wooden rollers, levers and ropes. And archaeological evidence proves that when erecting boulders, Neolithic people used ramps and stakes to reduce friction.

Reference

Windmill hill and Avebury: excavations by Alexander Keiller, 1925-1939, ed. by Isobel Smith (Oxford: Clarendon Press, 1965), pp. 218-222.

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Pinning down the Keiller cuttings – Part 7 (all done for now)

This blog post is part of a series: you may want to read Part 1, Part 2, Part 3, Part 4, Part 5, and Part 6 first.

We now have, for the very first time, an accurate mapping of the 1934 excavation cuttings that can be used to locate the various features and finds that Keiller and his team excavated, recovered and recorded. There is still work to do. As you will see, these are the basic cutting shapes and as a result all of the various extensions and alterations I talked about in blog post 5 will need to be added in due course. But it’s a solid start.

As this is digital data, we can use a nifty piece of software called a Geographical Information System (GIS for short) to explore and analyse spatial patterns and relationships at a host of scales. 

The cuttings displayed using a GIS

This is important as it will not only allow us to anchor the various elements of the site archive in space, but it also enables us to directly relate Keiller’s findings to the results of other archaeological fieldwork that has taken place since the 1930s.

Take for example the results of a geophysical survey (soil resistance) that was undertaken  on the Avenue line in 2012 in advance of a campaign of excavation (2013 – 15). When we combine these results with the 1934 data we are immediately able to see how well the geophysical survey data has detected Keiller’s cuttings. We can do the same with the 2013-5 trenches and the features revealed by these more recent excavations.

The 2012 resistivity survey results alongside the newly geo-referenced cuttings plan.

So far so good, but you do not need a GIS in order to view and access the 1934 cuttings. Everyone can make use of the newly located cuttings data using free software such as Google Earth. To that end I have created Google Earth compatible files that everyone can use in order to place Keiller’s 1934 cuttings back into the landscape.  

I now need to find a way to share these files with you – so please watch this space!

That’s it for this part of the blog. Next will be 1935, when Keiller decided to take a very different approach to laying out his excavation cuttings; an approach that raises a new set of problems and challenges. See you then. 

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Representing Avebury’s Assemblages

Dr Ben Chan arranges arrowheads from West Kennet Avenue, Alexander Keiller Museum, photograph by the Avebury Papers.

With a new year, we have a new round of events coming up! Our first update of 2024 will explore assemblages, and how to photograph them. All welcome!

The Avebury Papers Community Update: Representing Avebury’s Assemblages

Update 26 Feb: please note slight location and time change from previously advertised

Monday 4 March, 1:30pm – 3.30pm

The Chapel, Green Street, Avebury

Free! Please register for a seat via this form.

Join Dr Ben Chan, lithics expert and postdoctoral researcher for the Avebury Papers project for this community update and feedback session.

This event will explore assemblages of objects. Assemblages are simply groups of things that we give meaning to. Archaeologists are constantly in the process of gathering things into one type of group or other, and the same was indeed true of people in prehistory. This talk details how the Avebury Papers team set out to capture the material qualities of some of Avebury’s assemblages through photography. The results provide representations of people’s attempts to assemble together parts of Avebury in both the past and present.

We’d like to invite your thoughts on these photographs, and explore the questions that they raise for you! We’ll be making notes during this event so that your feedback can shape the future design of the digital archive.

Dr Ben Chan arranges arrowheads from West Kennet Avenue, Alexander Keiller Museum, photograph by the Avebury Papers.
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A medieval face

This little chap turned up today in one of the boxes of medieval pottery excavated by Alexander Keiller between 1937 and 1939, that I am currently examining.

It’s quite an unusual piece, almost certainly from a 13th-century jug. The ‘face’ is formed from an added blob of clay, shaped into a rough nose and mouth and with ring-and-dot stamps for the eyes. There is a hint of another ring-and-dot stamp on the right-hand edge, so there may have been a series of applied faces around the jug rim. 

Face jugs were made by many of the medieval pottery industries, for example the Laverstock kilns outside Salisbury, but this example is in a different fabric and may instead come from the Nash Hill kilns at Lacock. This is still quite a distance from Avebury but fine decorated jugs like this were traded over long distances. At least one other example is known from Avebury.

This photograph is a close up of a pot sherd with a 'face' detail of added clay, shaped into a nose and eyes. It is about twice the size of a fifty pence coin, included in the photograph for scale.
Visual description: This photograph is a close up of the pot sherd with a ‘face’ detail of added clay, shaped into a nose and eyes. It is about twice the size of a fifty pence coin, included in the photograph for scale.
A drawing, unsigned and undated, likely an imagined reconstruction of the jug, accession number 20000573-017-006.
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Preparing for War

A cropped image of page 97 of Denis Grant King's 1939 diary, showing the start of the entry for 26 August 1939. Accession number 1732624-003.

While transcribing Denis Grant King’s journals, it has struck me how little mention there is of tensions in Europe caused by Hitler and Germany. Of course, my view comes with the gift of hindsight with full knowledge of the tsunami that is about to crash across Europe in the form of the Second World War.

I am now transcribing pages covering spring and summer 1939, and with the exception of the one or two mentions of problems caused by soldiers out on manoeuvres, and occasional musings on war and politics, relatively little has been mentioned of the looming threat of the UK going to war – that is until 26th August. In the journal entry for this day there is mention of some of the steps people were suddenly making, obviously dreading (or expecting) a turn for the worse.

In the journal, it is unclear what discussions had happened at Avebury on this particular day, but the impending war had clearly become enough of a cause for concern for two things to happen. The first was that Alexander Keiller, who considered war to be “imminent”, asked his excavating staff to continue working on the Saturday afternoon to complete recording features and records before the government “called up all the men” for military service. The second thing was that two individuals, Commander Rupert Gould and Leslie Grinsell sent valuable manuscripts to Alexander Keiller so they could be kept safely at his Avebury museum. Commander Gould actually visited Avebury to hand his manuscripts over personally as he travelled to Bath to take up duties at The Admiralty.

For those wondering what significant event happened on 26th August 1939, it was what is referred to as the “Jabłonków Incident” when German agents tried to take over the Jabłonków Pass, a strategic railway tunnel, in order to help Germany’s invasion of Poland. However, the Germans were fought off by Polish soldiers and the planned invasion was postponed.

On September 1st, the German Luftwaffe started bombing Poland including the town of Katowice, where a young reporter for the Telegraph newspaper called Clare Hollingworth was staying. Clare was a remarkable persona and is known as being the first woman to be a war reporter. Witnessing the bombing raids first hand she tried to alert the authorities but Polish leaders and the Second Secretary at the British Embassy in Warsaw refused to believe her urgent phone calls; after all, negotiations were still ongoing. Later, she saw first-hand thousands of German troops and tanks lined up across the border, facing Poland. It was only when she reported it and the Telegraph ran the story that the British public at large realised what was happening.

1053 miles away from Katowice, the lives of the people Avebury would quickly change.

DGK mentions a news report – which is likely the one by Clare Hollingworth – and writes that war will be declared in the next couple of days. The government thinks, upon declaration of war, the Germans will carry out a huge bombing campaign. Children in the cities are soon transported to the country, and a bus load of 70 children from the East End with their teachers arrives in Avebury. DGK arranges for his parents to join him. By 2nd September, Black Out precautions are put into place.

Avebury, along with the rest of UK, is bracing itself for war.

**

The full extract for Saturday 26 August 1939, from Denis Grant King’s diary, Alexander Keiller Museum Accession Number 1732624-003.

“Saturday, August 26th 1939
Beautiful sunny weather that must remind the older folk of August 1914. It is difficult to believe in the reality of the international crisis, or indeed that the human race lacks the intelligence and good will to compose its differences without recourse to war. Still, the forces which lead nations to war gather momentum in fair weather and in foul; and every intelligent person who has lived and observed events during the past twenty

years would be unduly sanguine if he had not expected another holocaust sometime. The question is, when?

No doubt statesmen will try to put it off as long as possible, that is, as far as delay is consistent with imperial interests. Churchill suggested that the zero hour would occur in August.

Anyway, Alexander Keiller believes that war is imminent and has asked us all to continue work on Saturday afternoon to reveal the “Z arrangement” as much as possible, and complete the records, before the Government calls up all the men.

Another reminder of 1914 came in the person of Commander Gould, R.N., who fought at the Battle of Jutland. He was then on his to way to Bath to take up duties under the Admiralty and called in at the caravan, where Alexander Keiller introduced him to me. He is a six foot man, 18 stone, so he says, clean shaven and grey hair; also very friendly and talkative, giving an account of various talks he had broadcast from the B.B.C., mostly, I understood, of an informative character on a variety of topics.

His object in calling was to leave certain manuscripts of value to be deposited in the Museum, which he considered to be a place of comparative safety. L.V. Grinsell also sent us some of his MMS [manuscripts] for safe keeping.

After Commander Gould said good-bye, Alexander Keiller told me a little about him. It appears that after the War was over, his wife left him, and his distress affected him mentally, so much so that he lost his job and sank into very low water. He then spent ten years perfecting the Harrison chronometer and making it work (which apparently it never did before), for which service the government rewarded him with the paltry sum of £100. One should see his work in the Greenwich Naval Museum. A queer story. One would not have thought that such an immense robust fellow could have been so upset by a little bit of fluff; but that is life!”