The Building Blocks of the New Archives Hub

This is the first post outlining what the Archives Hub team have been up to over the past 18 months in creating a new system. We have worked with Knowledge Integration (K-Int) to create a new back end, using their CIIM software and Elastic Search, and we’ve worked with Gooii and Sero to create  a new interface. We are also building a new EAD Editor for cataloguing. Underlying all this we have a new data workflow and we will be implementing this through a new administrative interface. This post summarises some of the building blocks – our overall approach, objectives and processes.

What did we want to achieve?

The Archives Hub started off as a pilot project and has been running continuously as a service aggregating UK archival descriptions since 1999 (officially launched in 2001). That’s a long time to build up experience, to try things out, to have successes and failures, and to learn from mistakes.

The new Hub aimed to learn lessons from the past and to build positively upon our experiences.

Our key goals were:

  • sustainability
  • extensibility
  • reusability

Within these there is an awful I could unpack. But to keep it brief…

It was essential to come up with a system that could be maintained with the resources we had. In fact, we aimed to create a system that could be maintained to a basic level (essentially the data processing) with less effort than before. This included enabling contributors to administer their own data through access to a new interface, rather than having to go through the Hub team. Our more automated approach to basic processing would give us more resource to concentrate on added value, and this is essential in order to keep the service going, because a service has to develop  to remain relevant and meet changing needs.

The system had to be ‘future proof’ to the extent that we could make it so. One way to achieve this is to have a system that can be altered and extended over time; to make sure it is reasonably modular so that elements can be changed and replaced.

Key for us was that we wanted to end up with a store of data that could potentially be used in other interfaces and services. This is a substantial leap from thinking in terms of just servicing your own interface. But it is essential in the global digital age, and when thinking about value and impact, to think beyond your own environment and think in terms of  opportunities for increasing the profile and use of archives and of connecting data. There can be a tension between this kind of objective of openness and the need to clearly demonstrate the impact of the service, as you are pushing data beyond the bounds of your own scope and control, but it is essential for archives to be ‘out there’ in the digital environment, and we cannot shy away from the challenges that this raises.

In pursuing these goals, we needed to bring our contributors along with us. Our aims were going to have implications for them, so it was important to explain what we were doing and why.

Data Model for Sustainability

It is essential to create the right foundation. At the heart of what we do is the data (essentially meaning the archive descriptions, although future posts will introduce other types of data, namely repository descriptions and ‘name authorities’). Data comes in, is processed, is stored and accessed, and it flows out to other systems. It is the data that provides the value, and we know from experience that the data itself provides the biggest challenges.

The Archives Hub system that we originally created, working with the University of Liverpool and Cheshire software, allowed us to develop a successful aggregator, and we are proud of the many things we achieved. Aggregation was new, and, indeed, data standards were relatively new, and the aim was essentially to bring in data and provide access to it via our Archives Hub website. The system was not designed with a focus on a consistent workflow and sustainability was something of an unknown quantity, although the use of Encoded Archival Description (EAD) for our archive collection descriptions gave us a good basis in structured data. But in recent years the Hub started to become out of step with the digital environment.

For the new Hub we wanted to think about a more flexible model. We wanted the potential to add new ‘entities’. These may be described as any real world thing, so they might include archive descriptions, people, organisations, places, subjects, languages, repositories and events. If you create a model that allows for representing different entities, you can start to think about different perspectives, different ways to access the data and to connect the data up. It gives the potential for many different contexts and narratives.

We didn’t have the time and resource to bring in all the entities that we might have wanted to include; but a model that is based upon entities and relationships leaves the door open to further development. We needed a system that was compatible with this way of thinking. In fact, we went live without the ‘People and Organisations’ entity that we have been working on, but we can implement it when we are ready because the system allows for this.

Archives Hub Entity Relationship diagram
Entities within the Archives Hub system

The company that we employed to build the system had to be able to meet the needs of this type of model. That made it likely that we would need a supplier who already had this type of system. We found that with Knowledge Integration, who understood our modelling and what we were trying to achieve, and who had undertaken similar work aggregating descriptions of museum content.

Data Standards

The Hub works with Encoded Archival Description, so descriptions have to be valid EAD, and they have to conform to ISAD(G) (which EAD does). Originally the Hub employed a data editor, so that all descriptions were manually checked. This has the advantage of supporting contributors in a very 1-2-1 way, and working on the content of descriptions as well as the standardisation (e.g. thinking about what it means to have a useful title as well as thinking about the markup and format) and it was probably essential when we set out. But this approach had two significant shortcomings – content was changed without liaising with the contributor, which creates version control issues, and manual checking inevitably led to a lack of consistency and non-repeatable processes. It was resource intensive and not rigorous enough.

In order to move away from this and towards machine based processing we embarked upon a long process, over several months, of discussing ‘Hub data requirements’. It sometimes led to brain-frying discussions, and required us to make difficult decisions about what we would make mandatory. We talked in depth about pretty much every element of a description; we talked about levels of importance – mandatory, recommended, desirable; we asked contributors their opinions; we looked at our data from so many different angles. It was one of the more difficult elements of the work.  Two brief examples of this (I could list many more!):

Name of Creator

Name of creator is an ISAD(G) mandatory field. It is important for an understanding of the context of an archive. We started off by thinking it should be mandatory and most contributors agreed. But when we looked at our current data, hundreds of descriptions did not include a name of creator. We thought about whether we could make it mandatory for a ‘fonds’ (as opposed to an artificial collection), but there can be instances where the evidence points to a collection with a shared provenance, but the creator is not known. We looked at all the instances of ‘unknown’ ‘several’, ‘various’, etc within the name of creator field. They did not fulfill the requirement either – the name of a creator is not ‘unknown’. We couldn’t go back to contributors and ask them to provide a creator name for so many descriptions. We knew that it was a bad idea to make it mandatory, but then not enforce it (we had already got into problems with an inconsistent approach to our data guidelines). We had to have a clear position. For me personally it was hard to let go of creator as mandatory! It didn’t feel right. It meant that we couldn’t enforce it with new data coming in. But it was the practical decision because if you say ‘this is mandatory except for the descriptions that don’t have it’ then the whole idea of a consistent and rigorous approach starts to be problematic.

Access Conditions

This is not an ISAD(G) mandatory field – a good example of where the standard lags behind the reality. For an online service, providing information about access is essential. We know that researchers value this information. If they are considering travelling to a repository, they need to be aware that the materials they want are available. So, we made this mandatory, but that meant we had to deal with something like 500 collections that did not include this information. However, one of the advantages of this type of information is that it is feasible to provide standard ‘boiler plate’ text, and this is what we offered to our contributors. It may mean some slightly unsatisfactory ‘catch all’ conditions of access, but overall we improved and updated the access information in many descriptions, and we will ask for it as mandatory with future data ingest.

 Normalizing the Data

Our rather ambitious goal was to improve the consistency of the data, by which I mean reducing variation, where appropriate, with things like date formats, name of repository, names of rules or source used for index terms, and also ensuring good practice with globally unique references.

To simplify somewhat, our old approach led us to deal with the variations in the data that we received in a somewhat ad hoc way, creating solutions to fix specific problems; solutions that were often implemented at the interface rather than within the back-end system. Over time this led to a somewhat messy level of complexity and a lack of coherence.

When you aggregate data from many sources, one of the most fundamental activities is to enable it to be brought together coherently for search and display so oftentimes you are carrying out some kind of processing to standardise in some way. This can be characterised as simple processing and complex processing:

1) If X then Y

2) If X then Y or Z depending on whether A is present, and whether B and C match or do not match and whether the contributor is E or F.

The first example is straightforward; the second can get very complicated.

If you make these decisions as you go along, then after so many years you can end up with a level of complexity that becomes rather like a mass of lengths of string that have been tangled up in the middle – you just about manage to ensure that the threads in and out are still showing (the data in at one end; the data presented through interface the researcher uses at the other) but the middle is impossible to untangle and becomes increasingly difficult to manage.

This is eventually going to create problems for three main reasons. Firstly, it becomes harder to introduce more clauses to fix various data issues without unforeseen impacts, secondly it is almost impossible to carry out repeatable processes, and thirdly (and really as a result of the other two), it becomes very difficult to provide the data as one reasonably coherent, interoperable set of data for the wider world.

We needed to go beyond the idea of the Archives Hub interface being the objective; we needed to open up the data, to ensure that contributors could get the maximum impact from providing the data to the Archives Hub. We needed to think of the Hub not as the end destination but as a means to enable many more (as yet maybe unknown) destinations. By doing this, we would also set things up for if and when we wanted to make significant changes to our own interface.

This is a game changer. It sounds like the right thing to do, but the problem is that it meant tackling the descriptions we already had on the Hub to introduce more consistency. Thousands of descriptions with hundreds of thousands of units created over time, in different systems, with different mindsets, different ‘standards’, different migration paths. This is a massive challenge, and it wasn’t possible for us to be too idealistic; we had to think about a practical approach to transforming descriptions and creating descriptions that makes them more re-usable and interoperable. Not perfect, but better.

Migrating the Data

Once we had our Hub requirements in place, we could start to think about the data we currently have, and how to make sure it met our requirements. We knew that we were going to implement ‘pipelines’ for incoming data (see below) within the new system, but that was not exactly the same process as migrating data from old world to new, as migration is a one-off process. We worked slowly and carefully through a spreadsheet, over the best part of a year, with a line for each contributor. We used XSLT transforms (essentially scripts to transform data). For each contributor we assessed the data and had to work out what sort of processing was needed. This was immensely time-consuming and sometimes involved complex logic and careful checking, as it is very easy with global edits to change one thing and find knock-on effects elsewhere that you don’t want.

The migration process was largely done through use of these scripts, but we had a substantial amount of manual editing to do, where automation simply couldn’t deal with the issues. For example:

  • dates such as 1800/190, 1900-20-04, 8173/1878
  • non-unique references, often the result of human error
  • corporate names with surnames included
  • personal names that were really family names
  • missing titles, dates or languages

 When working through manual edits, our aim was to liaise with the contributor, but in the end there was so much to do that we made decisions that we thought were sensible and reasonable. Being an archivist and having significant experience of cataloguing made me feel qualified to do this. With some contributors, we also knew that they were planning a re-submission of all their descriptions, so we just needed to get the current descriptions migrated temporarily, and a non-ideal edit might therefore be fine just for a short period of time. Even with this approach we ended have a very small number of descriptions that we could not migrate for the going live date because we needed more time to figure out how to get them up to the required standard.

 Creating Pipelines

Our approach to data normalization for incoming descriptions was to create ‘pipelines’. More about this in another blog post, but essentially, we knew that we had to implement repeatable transformation processes. We had data from many different contributors, with many variations. We needed a set of pipelines so that we could work with data from each individual contributor appropriately.. The pipelines include things like:

  • fix problems with web links (where the link has not been included, or the link text has not been included)
  • remove empty tags
  • add ISO language code
  • take archon codes out of names of repositories

Of course, for many contributors these processes will be the same – there would be a default approach, but we sometimes will need to vary the pipelines as appropriate for individual contributors. For example:

  • add access information where it is not present
  • use the ‘alternative reference’ (created in Calm) as the main reference

We will be implementing these pipelines in our new world, through the administration interface that K-Int have built. We’re just starting on that particular journey!

Conclusion

We were ambitious, and whilst I think we’ve managed to fulfill many of the goals that we had, we did have to modify our data standards to ‘lower the bar’ as we went along. It is far better to set data standards at the outset as changing them part way through usually has ramifications, but it is difficult to do this when you have not yet worked through all the data. In hindsight, maybe we should have interrogated the data we have much more to begin with, to really see the full extent of the variations and missing data…but maybe that would have put us off ever starting the project!

The data is key. If you are aggregating from many different sources, and you are dealing with multi-level descriptions that may be revised every month, every year, or over many years, then the data is the biggest challenge, not the technical set-up. It was essential to think about the data and the workflow first and foremost.

It was important to think about what the contributors can do – what is realistic for them. The Archives Hub contributors clearly see the benefits of contributing and are prepared to put what resources they can into it, but their resources are limited. You can’t set the bar too high, but you can nudge it up in certain ways if you give good reasons for doing so.

It is really useful to have a model that conveys the fundamentals of your data organisation. We didn’t apply the model to environment; we created the environment from the model. A model that can be extended over time helps to make sure the service remains relevant and meets new requirements.

 

12 days of Christmas – Archives Style! (2016 remix)

Archives Hub feature for December 2016

The Twelve Days of Christmas song poster
“The Twelve Days of Christmas song poster” by Xavier Romero-Frias is
licensed under CC BY-SA 3.0

There are several versions of the traditional folk melody The Twelve Days of Christmas. This feature is based on the 1909 publication by English composer Frederic Austin.

On the twelfth day of Christmas, my true love sent to me…

Twelve drummers drumming

‘The Little Drummer Boy’ greetings card, c. 1968-1999. An illustration of the well-known carol, the card is part of a collection of publications, prints and original artwork by the illustrators, twins Janet and Anne Grahame Johnstone. The Johnston Memorial Collection, 1951-1999, is held by Seven Stories, the Centre for Children’s Books.
http://archiveshub.ac.uk/data/gb1840-jaj/jaj/02/04/10

Logo for Seven Stories
Logo for Seven Stories, the Centre for Children’s Books

Sarwar Sabri Collection, 1985-2005. Sarwar Sabri (Sarvar Sabri) is an internationally renowned tabla player and composer. As a composer he has provided music for TV, radio and various dance theatre companies. The collection is held by Special Collections, Brunel University Library.
http://archiveshub.ac.uk/data/gb1975-ss

Eleven pipers piping

Dagenham Girl Pipers, 1937-2000. Founded in 1930 by Reverend Joseph Waddington Graves, they were the first female pipe band in the world. The Dagenham Girl Pipers toured the world, and in 1937 appeared in Berlin before Adolf Hitler, who told Mr Graves he wished Germany had a similar band. The Dagenham Girl Pipers Veterans’ Association was formed in 1998. The collection includes letters, newspaper cuttings, scrapbooks and photographs and is held by Barking and Dagenham Archive and Local Studies Centre.
http://archiveshub.ac.uk/data/gb350-bd7

Papers of John and Myfanwy Piper, 1882-1990s. John Piper (1903-1992) was a major figure in modern British art. He was a painter in oils and water colour, designed stained glass, ceramics and for the stage, made prints and devised ingenious firework displays. In addition to this he was also a gifted photographer of buildings and landscapes. Piper also wrote poetry, art criticism and several guidebooks on landscape and architecture. the collection is held by the Tate Gallery Archive.
http://archiveshub.ac.uk/data/gb70-tga200410

Ten lords a-leaping

Petitions from Nottinghamshire to Oliver Cromwell (1599-1658), Lord Protector, c.1658. The principal items in the collection are two original petitions to Oliver Cromwell from inhabitants of Nottinghamshire, dating from c. 1658. The first petition requests tougher control on profanity, libertinism and heresies, revision of the laws of the nation, and asks that during Cromwell’s lifetime provision for future government is secured. The second petition requests regulation of the ancient laws regarding the Sacrament of the Last Supper and has 15 signatories. The collection is held by the University of Nottingham.
http://archiveshub.ac.uk/data/gb159-ms215

Captain Stanley Lord, Master of the SS Californian, career papers, Titanic articles and other papers, 1891-1997. The collection contains documents dated between 1891 and 1997 and mainly concerns the campaign to clear Captain Stanley Lord (1877-1962) of the accusations levelled against him with regard to the sinking of the Titanic. It contains Captain Lord’s career papers, and some contemporary items from 1912. Held by National Museums Liverpool: Maritime Archives and Library.
http://archiveshub.ac.uk/data/gb136-d/lo

Lord David Owen, 1962-2006. David Owen was born in 1938 in Plymouth. He studied medicine at Cambridge University and became a Senior Neurology and Psychiatric Registrar but upon becoming Parliamentary Under-Secretary of State for Defence for the Royal Navy in 1968, resigned his hospital work in favour of politics. He later served as Foreign Secretary until the defeat of the Labour Party in the 1979 General Election and in 1982 became Deputy Leader of the new Social Democrat party. The collection comprises personal papers, papers relating to the Labour Party, SDP papers, papers collected from work with independent organisations and Lord Owen’s Office. Held by Liverpool University, Special Collections and Archives.
http://archiveshub.ac.uk/data/gb141-d709

Nine ladies dancing

Photograph of ballet dancer, Anthony Crickmay Dance Photographs, © V&A Department of Theatre and Performance.
Anthony Crickmay Dance Photographs (THM/20), © V&A Department of Theatre and Performance, Victoria and Albert Museum, London.

Papers of Diana Gould, 1926-1996. Diana Rosamund Constance Grace Irene Gould was a British ballerina. Early in her career Sergei Diaghilev spotted her and invited her to join his Ballets Russes but he died before this could be arranged, events said to have been
fictionalized in the film ‘The Red Shoes’. Diana married Sir Yehudi Menuhin in 1947. the collection is held by the Rambert Dance Company Archives.
http://archiveshub.ac.uk/data/gb2228-dpdg

Dorothy Madden Collection, 1912-2002. Dr Dorothy Gifford Madden, former Professor Emerita of the University of Maryland, United States of America who was responsible for bringing American modern dance practice to the United Kingdom. Held by Trinity Laban Conservatoire of Music and Dance (Laban Archive).
http://archiveshub.ac.uk/data/gb1701-d23

Collection of material relating to Anna Pavlova, 1875-1965. Anna Pavlova (1881-1931) was the most celebrated ballerina of her generation. The collection includes accessories originally worn by Pavlova in performance, scrapbooks containing many assorted press and illustrated magazine cuttings featuring Pavlova and sepia prints of Pavlova at a young age. Collection held by The Royal Ballet School, White Lodge Museum.
http://archiveshub.ac.uk/data/gb3208-rbs/pav

Eight maids a-milking

Logo: University of Leeds
Logo: University of Leeds (Leeds University Library Special Collections)

M. Russell-Fergusson papers, 1914-1990. M. Russell-Fergusson, Women’s National Land Service Corps, served as a milk maid in Norfolk from Aug. 1917 and later in Leicestershire and at the Royal Dairy Farm, Windsor. Held by Leeds University Library.
http://archiveshub.ac.uk/data/gb206-liddlecollectiondf112

Programme for The Foresters, Robin Hood and Maid Marian, 1892. Forms part of The Ellen Terry Collection, materials relating to the Lyceum Theatre series. Actress Ellen Terry (1847-1928) made her stage debut in 1856 as Mamillius in The Winter’s Tale. In 1878 was invited to join Henry Irving’s company at the Lyceum Theatre as its leading lady. Ellen Terry and Henry Irving were soon regarded as the leading Shakespearean actors in Great Britain and they achieved huge success in both Shakespeare and non-Shakespeare plays. In 1888 she gained excellent reviews for her portrayal of Lady Macbeth in Macbeth. The Lyceum Company toured extensively in both the UK and America to capacity audiences. Held by the V and A Department of Theatre and Performance.
Programme description: http://archiveshub.ac.uk/data/gb71-thm/384/thm/384/44/3
Collection description: http://archiveshub.ac.uk/data/gb71-thm/384

Express Dairies, 1904-1974. The Express Country Milk Supply Company was established in London in 1864 by George Barham. It became the Express Dairy Company Limited in 1892. Milk was transported into London by rail, and delivered to homes. The Dairy Supply Company was formed as a separate company selling dairy equipment such as the milk churn which was invented by Barham. The company grew, purchasing College Farm, Finchley, London to conduct dairy experiments. The farm was sold in 1983. The firm also ran Express teashops, cafes and bakery and became a limited company in 1937. In 1969 Express became part of Grand Metropolitan and in 1992 part of Northern Foods. In 1998 the name of Express Dairies Plc returned, with the division of Northern Foods into two sections. Collection held by the University of Reading, Museum of English Rural Life.
http://archiveshub.ac.uk/data/gb7-trexp

Seven swans a-swimming

Harold Thomas Swan Papers, 1945-1996. Papers on the history of the clinical use of penicillin, 1945-1996, with particular reference to its early use in Sheffield, and to the reputation of Sir Alexander Fleming. Assembled by Dr Harold T. SwanMD, FRCP, FRCPath, Honorary Lecturer in Medical History, University of Sheffield, and formerly Consultant in Haematology, United Sheffield Hospitals. Held by the University of Sheffield Library.
http://archiveshub.ac.uk/data/gb200-ms185

Archives of Swan Sonnenschein and Co, 1878-1916. William Swan Sonnenschein (1855-1934) was apprenticed to the firm of Williams and Norgate where he gained experience of second hand bookselling before founding his own company, W. Swan Sonnenschein and Allen, with the first of several partners, J. Archibald Allen, in 1878. This partnership was dissolved in 1882 when William married and the firm’s name changed to W Swan Sonnenschein and Co. The firm published general literature and periodicals but specialised in sociology and politics. Sonnenschein was involved with the Ethical Society and published their literature. In 1895 Swan Sonnenschein became a limited liability company and in 1902 William Swan Sonnenschein left to work at George Routledge and Sons and later at Kegan Paul. Swan Sonnenschein was amalgamated with George Allen and Co in 1911. The collection is held by Reading University: Special Collections Services.
http://archiveshub.ac.uk/data/gb6-rulmss3280,3282,4058

Six geese a-laying

Cuttings about Mother Goose pantomime, 1951. These records form part of the Unity Theatre, theatre company collection held by V&A Department of Theatre and Performance. Unity Theatre was founded in 1936 by a general meeting of the Rebel Players and Red Radio, left-wing theatre groups derived from the Workers’ Theatre Movement.
http://archiveshub.ac.uk/data/gb71-thm/9/thm/9/4/5/77

Gwynydd Gosling collection, 1990. Gwynydd Gosling is a private collector of Russian books and objets d’art. The collection comprises photographs of two tankard lids commemorating the Arrow Boat Club four-oared race, St Petersburg, 1870 (R. Butts, E. Gibson, W. E. Hubbard, A. W. Raitt, B. Wilding). Held by Leeds University Library.
http://archiveshub.ac.uk/data/gb206-ms1095

Barclays Group Archives logo
Logo: Barclays Group Archives

Goslings and Sharpe: private bankers, Fleet Street (London): branch records including customer ledgers, 1717-1972. One of the oldest City banks, the partnership originated c1650 with Henry Pinckney, a goldsmith banker trading from the sign of the three squirrels in Fleet Street, London. The firm was led subsequently by the Chambers family. In 1794 Benjamin Sharpe became a partner and from that date the customary name of the business was Goslings and Sharpe, the Sharpes remaining as junior partners with no right to nominate their successors. In 1742 Sir Francis Gosling joined the firm and thereafter the Goslings name predominated in the partnership. The Goslings’ original trade was that of stationers. Although most accounts are for individuals or family trusts, there are also non-personal accounts such as those of charities (including some schools and hospitals), public subscriptions (including relief of soldiers and of victims of natural disasters), colleges, businesses, and a few public corporations and parishes. Collection held by Barclays Group Archives (BGA).
http://archiveshub.ac.uk/data/gb2044-cfleetstreet19(goslings)

Five gold rings

The Golden Ring: a new and original fairy spectacular opera. by G[eorge] R. Sims with music by Frederic Clay. Stated as performed at “Alhambra Theatre, William Holland, Manager, 1883”. Part of the The George R. Sims Collection, 1858-1976. George Robert Sims (1847-1922) was an author, playwright, journalist and philanthropist. Collection held by The University of Manchester, The John Rylands University Library.
Volume description: http://archiveshub.ac.uk/data/gb133-grs/grs/2/11
Collection description: http://archiveshub.ac.uk/data/gb133-grs

National Union of Gold, Silver and Allied Trades, 1921-1985. The National Union of Gold, Silver and Allied Trades was formed in 1914 by the amalgamation of the Amalgamated Society of Gold, Silver and Kindred Trades and the Birmingham Silversmiths and Electroplate Operatives’ Society. In 1969 it absorbed the Society of Goldsmiths, Jewellers and Kindred Trades. In 1981 it became part of the Amalgamated Union of Engineering Workers (Technical, Administrative and Supervisory Section). Held by Modern Records Centre, University of Warwick.
http://archiveshub.ac.uk/data/gb152-mss.101/st

The rings may in fact refer to ringed-necked pheasants:

Glasgow School of Art logo
Logo: Glasgow School of Art

Pictorial tapestry rug featuring a pheasant, 1888.
Tapestry rug of worsted yarn and jute in acid colours featuring a pheasant in a floral landscape. Part of the Stoddard-Templeton Carpet and Textile Collection (c. 1840s-1960s). James Templeton and Co. was established in 1843, making Chenille, Axminster, Wilton and Brussels carpets. It employed artists of international calibre such as Charles Voysey, Walter Crane and Frank Brangwyn, with their carpets used in Coronations and in liners such as the Titanic. The collection is held by The Glasgow School of Art Archives and Collections Centre.
https://archiveshub.jisc.ac.uk/data/gb1694-dc077/dc077/2

Four calling birds

This could be song birds, such as Canaries, or may be ‘colly’ or black birds:

Descriptions of the Canary Islands and of the Azores, c. 1610.

Image: Transport for London Metropolitan Line
Image: TfL Metropolitan Line, Transport for London Corporate Archives.

The manuscript consists of two works, bound together. The first is a description of the Canary Islands, detailing the history, religion and laws of the natives, called the Guanches, as well as observations on the geography and fauna of the islands. The second work is a compilation from other works describing the Azores.The existence of the Canary Islands, a chain of seven islands off the northwest coast of Africa, was known to the Romans and later the Arabs, and European navigators reached the islands in the 13th century. The Azores, an archipelago in the Mid-Atlantic, were discovered in 1427 by the Portuguese and their colonisation by them began in 1432. The collection is held by  The University of Manchester, The John Rylands University Library.
http://archiveshub.ac.uk/data/gb133-engms17

Briefing on Canary Wharf Station, 1989.
Paper concerning delays and changes in the redesign of Canary Wharf Station. Subjects include construction and negotiations, unresolved issues and financial risk. Part of a series of minutes of meetings belonging to the Transport for London Group Archive.
http://archiveshub.ac.uk/data/gb2856-%28new%29lt000099/%28new%29lt000099/035

Production contracts for ‘Study from ‘Blackbird”, 2002. Part of the Rambert Dance Company Archive: Productions collection (1920s – 2010s), the folder includes choreographer contracts, production budget and correspondence concerning casting travel and rehearsals.
http://archiveshub.ac.uk/data/gb2228-rdc/pd/rdc/pd/06/01/0423

Three French hens

Michael French Collection, 1887-2006. Photographs and documents inherited and collected by Michael French relating to the French family of millers and their mills. Collection held by the Mills Archive Trust.
http://archiveshub.ac.uk/data/gb3132-fren

The Mills Archive Trust logo
Logo: The Mills Archive Trust

Richard Hughes, Ty Hen Isaf Manuscripts, 1693 – 1910. Richard Hughes of Ty Hen Isaf, Llannerch-y-medd, Anglesey was born in 1837 and died in 1930. As a young boy, he worked on Dyffryn Gwyn farm for the Rev. John Prytherch, who was one of the largest farmers in Anglesey. He also served as husbandman for two spinsters, who unexpectedly left him all their property. This enabled Richard Hughes to satisfy his two ambitions, to travel and to own a library. Then began a series of visits to Palestine and the Mediterranean. He became a great collector of rare and precious books and a friendship sprang between him and Thomas Shankland, the Welsh librarian of the University College of North Wales. Held by Bangor University.
http://archiveshub.ac.uk/data/gb222-bmssrh

Two turtle doves

Ms transcript of song, ‘The Turtle Dove’. 2 leaves belonging to a series of ms and ts transcripts of songs and ballads (1925 to 1965) by the poet and author Robert Graves (1895-1985). The papers are held at St John’s College, Oxford.
Item description: http://archiveshub.ac.uk/data/gb473-rg/m/rg/m/ballads/4
Collection description: http://archiveshub.ac.uk/data/gb473-rg

Records for the Dove Brothers Ltd, builders, 1850-1970.
Dove Brothers Ltd was a prominent construction company based in Islington from 1781 to 1993 which worked with most of the major architects of the late 19th to 20th century. The company was founded by William Spencer Dove (1793-1869). His sons formed the Dove Brothers partnership in 1852. The collection is held by Islington Local History Centre.
http://archiveshub.ac.uk/data/gb1032-s/dov

Reader’s Digest presents Christmas Stories for the entire family, Dove Audio, 1995. Featuring Paul Scofield reading ‘A Christmas Carol’ by Charles Dickens. This forms part of the Paul Schofield Collection, 1807 – 2010. Paul Scofield (1922-2008)  started his stage career in the 1940s and his name soon became synonymous with Classical theatre. Later in his career Scofield worked closely with the Royal Shakespeare Company for a number of years as well as The National Theatre, his roles were numerous and diverse. Beyond the theatre Scofield won acclaim through a number of films including ‘A Man For All Seasons'(1966) and ‘Expresso Bongo'(1958), as well as copious amounts of audiobooks and plays for BBC radio. Collection held by: V&A Department of Theatre and Performance.
Item description: http://archiveshub.ac.uk/data/gb71-thm/397/thm/397/5/2/27
Collection description: http://archiveshub.ac.uk/data/gb71-thm/397

And a partridge in a pear tree!

David Cassidy Collection, 1972-1976. The Amercian singer David Cassidy was best known for the musical sitcom The Partridge Family. The collection, created by  fan Kay Chesterman, consists of cuttings, publications and memorabilia relating to David Cassidy and members of his fan club. Held by the V&A Department of Theatre and Performance.
http://archiveshub.ac.uk/data/gb71-thm/378

Image of title page from "The 12 days of Christmas", 1780
Title page from the first known publication of “The 12 days of Christmas” in 1780.
Image in the public domain.

Bernard Partridge Drawings Collection, 1861-1905. Bernard Partridge (1861-1945) was a painter and illustrator who became the principal cartoonist of Punch magazine. This collection includes drawings of actor-manager Henry Irving (1838-1905) in some of his most famous roles, including Shylock, Hamlet, Mephistopheles, Dubosc and Lear. Collection held by the V&A Department of Theatre and Performance.
http://archiveshub.ac.uk/data/gb71-thm/227

Artworks by James Joshua Guthrie and relating to the Pear Tree Press, 1897-1930s. Designs and illustrations, along with other book illustration work and bookplates for the Pear Tree Press. Forms part of the British Library: Western Manuscripts‘ collection The Gordon Bottomley Papers, 1773, 1831-1958.  Consisting of correspondence, diaries, literary materials, artwork, photographs, and printed ephemera by, relating to, or collected by poet and playwright Gordon Bottomley (1874-1948).
Folder description: http://archiveshub.ac.uk/data/gb58-addms88957/addms88957/4/4
Collection description: http://archiveshub.ac.uk/data/gb58-addms88957

Trustees of W S Brown – proposed purchase of Deep Mines under Pear Tree House, Tyldesley. 1905. 2 items of correspondence, maintained by the trustees of the Bridgewater estate Ltd. Forms part of the Bridgewater Estates Archive, 1895-1960s, held by the University of Salford.
Item description: http://archiveshub.ac.uk/data/gb427-bea/bea/i/1774
Collection description: http://archiveshub.ac.uk/data/gb427-bea

Related information

Birds of the Twelve Days of Christmas, 10,000 Birds blog post, 2015: http://10000birds.com/birds-of-the-twelve-days-of-christmas.htm

The Twelve Days of Christmas – archives style! Archives Hub feature for December 2014