End of the Line: short life and strange death of a white elephant

At shallow depth, just inside of the gates of the Linwood Cemetery, lies buried the remains of a white elephant, or, perhaps more accurately, just the archaeological trace remains of her 19th century tracks. More than eight years ago now I wrote one of my first archaeology blogs, which was about the archaeology of our old city tramways. Back then, lots of old tramline remains were resurfacing as a result of the post-earthquake   SCIRT infrastructure rebuild. In that blog I made brief mention to the tram line that once ran out to the Linwood Cemetery, and the strange saga of the Council’s tramway hearse. I was excited to discover that not only part of that 1880s cemetery tramline still survives to this day, but of all the many old tram routes the city once had, this particular one had perhaps the most interesting tale to tell. And so, some eight years down the track (no pun intended), the time has finally come to further flesh out the story of the city tram that once went out to the Linwood Cemetery, (or sort of once did), and the tramway hearse that, for better or worse, never got a chance to fulfil its true potential (or at the very least, fulfil its intended function). So, dear readers, the time has finally come to buy the ticket and join us for the ride, (don’t worry, in this instance a one way ticket is fine), for today we get off at the last stop, the cemetery at the end of the line.

Map of the Linwood Cemetery. Image: Christchurch City Council [online].

The Linwood Cemetery

Located off Butterfield Avenue behind Bromley Park, the Linwood Cemetery is the fifth oldest public cemetery in Christchurch, established in 1884. Although now surrounded by suburbia, 139 years ago this was a sparsely populated rural spot that was located a safe distance outside the city limits. This was important, as by this time there were genuine public health concerns about the practice of continuing to bury the dead in cemeteries that were located within built up urban areas. Christchurch’s biggest cemetery, in Barbadoes Street, was filling up fast (with over 300 internments a year), and the Council were starting to receive complaints from local residents about the objectionable odours that emanated from the swampy cemetery grounds, and of fears that the groundwater in their backyard wells would become contaminated by the decomposition of the dead (Bowman et. al. 2009). And so, in October 1883, the City Council formed a cemetery committee (made up of Councillors Bowman Vincent, Louisson, and Kiver) to look into finding an appropriate new spot where the dead could be buried a safe distance away from the living (Star, 16/10/1883: 4). The chosen location in Linwood was a most suitable one. It wasn’t too close to town but not too far away (something of a ‘Goldilocks Zone’). Spread out across a rolling sand dune, the sandy ground here was easy to dig, with tests confirming that except for the spots where there were hollows, no groundwater was encountered at a depth less than six feet (Press, 29/11/1883:3). In a peculiar irony, the first person to be buried here was Sarah Ann Freeman, the wife of the cemetery’s first sexton (caretaker/gravedigger), on 10 July 1884, a few months before the cemetery was officially opened in October (Burgess et. al 2006:12).

Gated entrance to the Linwood Cemetery, off Butterfield Avenue. Meet you here sometime, Morrissey Photo: Hamish Williams.

The Corporation Tramline and the tramway hearse

In March 1884, while the cemetery site was still being prepared, the City Council decided that given its location out of town, they would need to construct a tramway linking the city and cemetery, in order to make it easily accessible. This tramway, (which became known as the Corporation Line) was intended to have a threefold function. Firstly, it would be used to convey funeral traffic to the cemetery. Secondly, it would be used to convey rubbish and nightsoil to the Council’s rubbish and nightsoil reserve, which was located just past the cemetery, near what is now Rudds Road. And thirdly, it would serve as a passenger service. The council would operate the rubbish and nightsoil service themselves under the cover of darkness, while during the day the business of conveying passengers out to the cemetery (both dead and alive) would be leased out to private contractors (Alexander 1985:11). A substantial loan was taken out by the council to cover the costs of the trams and the building of the tramline, which ran from the Council’s yard on Oxford Terrace, via Worcester Street, Linwood Avenue, and Buckleys Road to the new cemetery and the rubbish reserve. John Brightling won the tender for laying the three miles of track, which took four months to complete, and was officially opened on April 23, 1886 (Alexander 1985:11).

It was Councillor James Bowman, chair of the Council’s Cemetery Committee, that championed the call for the city to invest in a custom-built tramway hearse to operate on the new Corporation Line. The intention was that the tramway hearse, otherwise known as the Corporation Hearse, could be leased out, evidently to funeral directors, to provide Christchurch’s less wealthy citizens with a low-cost funeral transportation option. Local coachbuilder William Moor and Son won the contract to build the special tram hearse, which was delivered to the Council yard in September 1885 at a cost of £300 (Alexander 1985:11). Capable of carrying up to four caskets at a time, it was a painted a dignified black colour, had fine wooden panelling, elliptical plate glass windows, and up top had decorative brass railings where one could fix floral tributes. When not in use, the tram hearse lived at the council yard in a purpose built storage shed.

The only known picture of the infamous tramway hearse. Image: Press 21/2/1970:5.

As well intentioned as the idea of a tramway hearse was, unfortunately, the concept of ‘funeral procession by public transport’ never ever took off and in the end, there would be no [under]takers keen on using it. To make matters worse, little money was to be made from leasing out the line to private operators for a daytime passenger service. Of the three original intended functions of the Corporation Line, the only one that proved to be of any value was the nighttime conveyance of rubbish out to the rubbish reserve. Nightsoil removal by this time was not so much of a pressing issue for the Council, as the Drainage Board’s new sewerage system was well in operation. The night-time rubbish removal trams kept operating on the line until 1902, by which time city rubbish was being dealt with by burning it in town instead of carting it away and burying it. Interested in finding out more about the Municipal Destructor? – we wrote a blog a while back about that too, check that out here.

Sitting idle in the Council yard, the reality that the tramway hearse was in fact just a white elephant soon set in. In late 1887, Councillor Gray considered the tramway hearse to be a useless asset and suggested that it might be sold or otherwise repurposed into something the city might find useful, like a dust-cart (Star, 15/11/1887:4). But the £120 cost of conversion was not considered economical, so it was decided that for now, the council best just retain it as it was, just in case the city was struck by a ‘municipal emergency’ like an epidemic (Timaru Herald, 11/1/1888: 2). Thankfully no big epidemic came, and three years later the Council decided to try to sell the hearse, hoping to recoup at the very least the £90 cost of the 5% interest on the loan raised six years earlier to help pay for its construction (Press,17/3/1891:6). Unfortunately, not a single soul was interested in buying the tram hearse. In 1892, Councillor Gray again brought up the subject of the useless ‘Corporation Hearse’ that was languishing in the council yard and how it might be repurposed or otherwise disposed of (Press, 7/6/1892: 6). Little however came of this, short of Gray having to make a formal public apology to the community, and especially to Bowman’s widow, in respect to his callous character attacking of the recently deceased former Councillor (Press, 14/6/1892:3). It appeared that the Council might possibly just be stuck with this white elephant forever. By July 1894 the Council had still not managed to get rid of it, but at least they had managed to free up some space in their storage yard. The hearse was finally relocated out to the cemetery, where here the proverbial ‘white elephant on wheels’ got a new lease on life, being fixed up by the sexton and transformed into a fowl house (Star, 31/7/1894:2). Fresh eggs anyone?

At the end of 1897, what to do about the hearse again came up for discussion in Council meeting – and whether the undercarriage of the tram hearse could be repurposed into something useful, like a water cart (Press, 7/12/1897:3). The undercarriage was inspected, but determined unsuitable for conversion, but that it would surely fetch a good price at auction (Press, 21/12/1897:6). Sadly, again no so soul came forward with an interest in buying it (Lyttelton Times, 5/2/1898:3).

For sale: one tramway hearse, mint condition, never been used. Image:  Lyttelton Times, 5/2/1898:3

Eventually, in August 1901, the tramway hearse would finally be sold at auction, for the sacrificial sum of just £3. Local MP Samuel Paull Andrews brought it and gave it a new lease of life. Andrews relocated it to his St Andrews Hill quarry, where it served as an explosives store until about 1906 or 1907. Thereafter, his sons Hastings and George built a wooden pontoon and placed the hearse on it, turning it into a houseboat (or hearseboat?) that had four bunk beds and a collapsible table. It was moored for some time off what was known as Moncks Jetty in Redcliffs, near the site of what is now the Christchurch Yacht Club, and the boys spent many summers living on it. One night, just before World War 1, a storm broke it free from its moorings and carried it across the estuary, beaching it on the New Brighton Spit. It was towed back across the estuary to Mount Pleasant and beached up near the site of the present bowling green. The pontoon had by this time begun to leak badly and often needed a great deal of pumping to stay afloat. The fate of the hearseboat after that time remains something of a mystery (Press, 24/2/1970:18). Do any of our readers know what ever became of the hearseboat? If so, we’d really love to hear from you.

The approximate last known location of the hearseboat, as far as we can tell. Image: Jamie Hearfield.

Archaeological trace remains of the original 1885 Corporation Line tram tracks still survive today within the Linwood Cemetery grounds, and these are well worth a visit to check out. Although since covered over by a thin layer of asphalt, you can still make out where the 2.2 m long timber sleepers were placed in alignment some 139 years ago, set apart at approximate 600 mm intervals. Over time the sleepers have all seemingly rotted away, leaving behind shallow depressions into which the asphalt has sunk and settled, marking their location. There is also a small section where the iron rails, nailed to the sleepers (at the standard gauge of 4ft 8 and a half inches) remain in-situ, because for whatever reason back in the day these weren’t ripped up and removed for reuse elsewhere.

Tram tracks in the cemetery. Image: Hamish Williams.

Tram tracks in the cemetery. Image: Hamish Williams

Tram tracks in the cemetery. Image: Hamish Williams

Tram rails in the cemetery, laid at the standard gauge of 4ft 8 and a half inches. And four-legged archaeologist. Image: Hamish Williams.

Although good intentioned, the fact that the Bowman’s tramway hearse was rejected by the community it had been built to serve and was never used for its intended purpose of transporting the dead – reflect strong feelings of the time that no matter how poor people are, all people deserve more respect and dignity than being transported, en masse, by means of public transport, to their final resting place (Burgess et. al 2006:65). A fine reminder that inextricably tied in with the surviving physical bits of the past that constitute an archaeological site, are the intangible, and sometimes elusive – thoughts, feelings, values, and intentions of the past peoples whom that physical stuff once related to. God bless, everybody.

Hamish Williams

References

Alexander, M., 1985. Rails in the Roads: the steam and horse tram era in Christchurch. Christchurch NZ: Christchurch Transport Board and Tramway Historical Society.

Bowman, I., Wilson, J., Beaumont, L., and Watson, K. 2009. Conservation Plan, Barbadoes Street Cemetery. [online]. Available at:  https://ccc.govt.nz/assets/Documents/Culture-Community/Heritage/BarbadoesStreetCemeteryFinalPlan.pdf

Burgess, R., Bowman, I., May, J., and McKenzie, D. 2006. Conservation Plan, Linwood Cemetery. [online]. Available at: https://ccc.govt.nz/assets/Documents/Services/Cemeteries/FinalConservationPlanLinwood.pdf

Lyttelton Times [online]. Available at: https://paperspast.natlib.govt.nz/

Press. [online]. Available at: https://paperspast.natlib.govt.nz/

Star. [online] Available eat: https://paperspast.natlib.govt.nz/

Timaru Herald. [online] Available at: https://paperspast.natlib.govt.nz/

 

 

 

 

 

 

 

 

 

 

 

 

Where did that wood come from?

Archaeology is a broad discipline, with a multitude of subsects and specialisations. One of these is buildings archaeology, where we use archaeological methods to record and analyse buildings and see what that can tell us about the people that constructed them. We’ve written various blogs before about some of the different houses that we’ve recorded, and while this blog is also within the realm of buildings archaeology, it’s also quite different to those other blogs. Part of our work as archaeologists is to place things within the historical context of the period that they date to. If we were excavating a Roman villa and we found glass windowpanes, then we’d be interpreting that villa as probably belonging to a pretty wealthy individual. However, when we find window glass in Christchurch, that doesn’t really tell us anything about the status of the person that built that house, as window glass was readily available and used in the majority of buildings. We’re really lucky as historical archaeologists that there are large historical datasets that we can use to help us with determining the context of the period that our sites date to. However, there’s hours and hours of research that goes into building a database from raw historical data, and even more hours spent looking at patterns and trends to help us establish that historical context.

Returning to buildings archaeology, one of the key elements that we look at when we record a building is what it was made from. Here in Christchurch, that’s almost always timber. From our recording, we know what types of timbers were typically used here in Christchurch for houses, but that’s only half the story. By doing detailed historical research on the timber industry, we can find out if there were patterns in what species were available for purchase and then use that historical information to provide more context to what we find in the archaeological record. It all sounds so simple, but let me tell you it’s not. I’ve spent countless hours doing research into the Christchurch timber industry, and I’ve only gotten through the first 20 years. That period is going to be the focus of this blog.

That sure is some nice timber, I wonder where it came from?

Prior to 1850, the year that the city of Christchurch was founded, the Canterbury Plains were largely devoid of forests. Although opinion is divided on the exact extent of forested area in Canterbury at the time of Pākehā settlement, Roche (1990) estimates that the combined forest area in the Canterbury settlement added up to only 240,000 acres, or 12 % of the total land area (Roche 1990: 75). Near Christchurch there was a small forest of 54 acres where Christchurch’s most notable pioneers, the Deans brothers, established their Riccarton farm in 1843 (Orwin 2015: 25-26). The largest areas of forest were located some distance away. These included the native podocarp forest of Banks Peninsula, comprised mainly of matai (then known as black pine), kahikatea (white pine) and totara (for some reason just known as totara); and the mixed podocarp and beech forest at Harewood Forest, with kahikatea, rimu (red pine), matai and totara, with silver and black beech (they called it birch back then and were big time into their colour naming system; Roche 1990a).

Map of bush cover in Canterbury collated and reconstructed from 1850s and 1860s surveyor’s notebooks and maps by W. B. Johnson and redrawn for Pawson and Holland (2005: 171).

An 1851 sketch of the upper reaches of the Waimakariri River showing Harewood Forest, one of the largest areas of bush close to the city of Christchurch. Image: Fox, W. and Allom, T., 1850-1851.

Suitable building timber was not readily available in Christchurch and so Canterbury’s pioneer settlers built their houses from materials that they either brought with them from elsewhere, such as canvas, calico and sheets of iron to form tents and rudimentary temporary dwellings, or resources that might have been available on or near their chosen sections. These included volcanic stone, rammed earth, sod or mud brick for the walls and thatched or slab roofs made from raupo, toetoe, tussock, or bark (Bowman 1941, Isaacs 2015, Salmond 1986). In areas where timber was more plentiful wooden slabs or logs were used to build basic wooden structures, but even then, some timber had to be imported because of the difficulty in getting the logs milled once they were cut down.

Although it was located right beside one of the largest stands of forest near Christchurch, Deans Bush, the first house on the Canterbury Plains built by the eponymous Deans brothers was constructed from framing timber that they brought with them from Wellington (Bowman 1941).

Photograph of the first house built by the Deans brothers near Riccarton Bush in 1843. The house was built with timber brought from Wellington but was dismantled in the late 1890s. Image: Canterbury Times, 1900.

With the founding of Christchurch city and the rapid expansion of its Pākehā population, an increasing number of settlers had to obtain the materials they needed to construct their permanent residences, fuel their fires, and fence their farms. Although Canterbury was comparatively bereft of a sustainable supply of timber, wood was still the dominant building material for houses in Canterbury in the nineteenth century (Government Statistician, Registrar-General’s Office 1874). This all led to the establishment of a burgeoning timber importation trade (Roche 1990).

Banks Peninsula was the largest and most easily accessible source of timber close to Christchurch, meaning this region was one of the major suppliers of building timber and firewood to the colony. If you want to read more about sawmilling on the peninsula and what happened after the timber arrived in Christchurch, I highly recommend that you read Lydia’s excellent post on the topic from earlier in the year. The timber supply from Banks Peninsula was, however, short lived and the capacity to saw and ship it was limited, so in this post we’re going to explore exactly where Christchurch got all its wood from.

By combining the magic of PapersPast and the dark arts of Excel, I tracked the ups and downs of the Canterbury’s timber economy over the first few decades of Pākehā settlement in Christchurch to figure out where the town was getting its timber from and how this changed over time.

January 11, 1851, was the first issue of the Lyttelton Times to be published and the first issue to include a list of vessels that had arrived in Lyttelton Port since the previous December, including the first four ships carrying the pioneer settlers and all of their possessions to Lyttelton (Lyttelton Times 11/1/1851: 5). Included was a schedule of the cargo each vessel carried, with the schooner, Phoebe, the first reported timber carrying vessel arriving from Wellington carrying a load of timber. For the first few years of settlement Wellington was to be the predominant supplier of Canterbury’s timber.

Not the Phoebe. Also not Lyttelton, but this is probably what it looked like when the first load of timber arrived in Lyttelton. Image: Frederick Nelson Jones.

Although several gangs of pit sawyers had established themselves in many of the bays of Banks Peninsula by this time, their contributions to the overall timber supply in the first years of settlement were negligible in comparison to other regions. Timber imports soon picked up though, as did the quantity of timber arriving in the city from Banks Peninsula. By the mid to late 1850s, imports from Tasmania were contributing a significant quantity of timber to the market, and from the early 1860s vessels from North America and the Baltic region were bringing large cargoes of Northern Hemisphere timber, such as Baltic pine, Douglas fir and cedar.

Within the first ten years of the arrival of the settlers, timber imports had increased considerably. This coincided with an increase in the population of Canterbury, as well as the number of wooden dwellings that were being built. This was a pattern observed across the study period, although population tended to increase in a more or less linear fashion, while timber imports fluctuated more but trended upwards almost exponentially overall.

A steep decline in the quantity of timber being imported to Christchurch and Lyttelton occurred in the late 1860s. There were several factors that probably contributed this. The population had continued to grow, and wooden dwellings were also being constructed at an increasing rate, so it was not likely a lack in demand for house building materials. The market commentary in the newspapers around this time suggests that the timber supplies were overstocked, likely due to huge shipments arriving from overseas and the from the Nelson and Marlborough region. On several occasions in 1866 newspaper correspondents reported that the timber market was depressed, Sales were low and likewise timber prices had tanked (Lyttelton Times 7/7/1866: 2, 2/11/1867: 2). This glut in the market likely caused timber merchants to refrain from importing new stocks until the oversupply had diminished and prices had increased. Due to the time lag between orders and shipment this reduction in imports was not fully realised until 1867-1868.

Customhouse Street wharf area, Wellington, circa 1868, with the harbour and Queens wharf in the background. The sailmaking premises of John S Burn, a boat under construction, and a timber yard, are visible.  Couchman, (Mrs), active 1967. Customhouse Street wharf area, Wellington. Ref: 1/2-029401-F. Alexander Turnbull Library, Wellington, New Zealand. /records/22751906

A notable shift in the regions supplying timber occurred after 1864. Shipments from the Wellington and Auckland/Northland regions declined towards the late 1860s, but were replaced with considerable supplies from the upper South Island. Imports from the West Coast were non-existent until around 1867, which coincided with the end of the gold rush in this region. The milling industry in Westland was initially established in order to supply the requirements of gold miners, but, after the rush was over, had expanded significantly. By the 1870s the West Coast milling industry was supplying sawn timber to other regions, including Canterbury, as well as a thriving trans-Tasman export trade (Roche 1990a: 179).

While mainland Australia was a consistent, albeit minor, contributor to timber imports over the study period, Tasmania remained an important supplier to the Canterbury timber economy, from the first cargoes that arrived with the pioneer settlers in 1850, up until at least the early 1870s. It is likely that most, if not all of the timber that was imported from Tasmania at this time was harvested by convict labour. From 1804 convicted felons were transported to Van Diemen’s Land, as it was then known, and forced undertake hard labour while also forming a founding population for the new British colonies. Convict labour was employed in the harvesting of timber, a task that served both as punishment and progressed the economic ambitions of the colony by generating an exportable commodity, which found a ready market in Christchurch (Tuffin and Gibbs 2020; Tuffin et al 2020).

The original human centipede? Convicts hauling a log at Port Arthur c.1836. Image: State Library of Victoria: ML 185. 

The predominant target species were varieties of Eucalyptus, mainly stringy bark and blue gum. Stringy bark was favoured for construction and blue gum was used as a general-purpose timber and for ship building (King 2019; Tuffin et al 2020). The Tasman Peninsula remained a timber production centre until the closure of the Port Arthur penal settlement and prison in 1877. Although Tasmanian timber was available on the Christchurch market, imports from there declined towards the 1870s, possibly as a result of the decline in the use of convict labour.

The number of inward arrivals and quantity of timber being imported dramatically increased again towards the mid-1870s when large quantities of timber began arriving from Auckland. Commonly known as ‘The Vogel Era’, the 1870s was a boom time for the New Zealand economy, stimulated by the flow of money from the gold rushes of the previous decade and the success of the wool export market, and accelerated by a public borrowing programme instituted by Julius Vogel (McLintock 1966). Vogel instigated heavy public investment in infrastructure, such as a roads and railways, which saw a corresponding expansion in timber milling, including the revival of milling at Harewood Forest (Roche 1990a). This increase in arrivals to Christchurch is, therefore, predictable, as millers geared up to supply timber for railways and ports.

Over the course of the entire study period Banks Peninsula supplied the greatest quantity and the highest proportion of timber in total, though this supply began to decline towards the end of the study period. Roche (1990a: 79) notes that the number of sawmills in operation on Banks Peninsula had dropped from at least ten in the late 1850s to just four by 1876; although those that remained were by all accounts “doing a brisk trade”. Milling on the Peninsula had all but ceased by the 1880s, and although the study period doesn’t cover these later years, the data for 1875 seems to reflect the decline of the milling industry on Banks Peninsula with a diminishing contribution to the Christchurch timber market.

Unfortunately, I wasn’t able to continue the shipping research beyond the latter 1870s. Scrolling through PapersPast collecting this data takes an extraordinary amount of time, but I really want to know what happened to the Canterbury timber economy in final decades of the nineteenth century, through the decline in milling on Banks Peninsula (and the regions that replaced this supply), the 1880s depressions era and the subsequent economic recovery. I probably wouldn’t get your hopes up, but one day I might write a sequel to this story.

Kirsa Webb

References

Bowman, A., 1941. The study of the historical development of domestic architecture in Canterbury, New Zealand. Thesis submitted for membership of the Royal Institute of British Architects.

Government Statistician, Registrar-General’s Office, 1874. Results of a Census of the Colony of New Zealand taken for the night of the 1st March 1874. Wellington, NZ: Government Printer.

Isaacs, N.P., 2015. Making the New Zealand House 1792-1982. Thesis submitted for the degree of Doctor of Philosophy. Victoria University of Wellington, Wellington, New Zealand.

King, S., 2019. The Architecture of Van Diemen’s Land Timber. Fabrications, 29(3): 338-358.

Lyttelton Times 1851-1920. Newspaper [online]. Retrieved from https://paperspast.natlib.govt.nz/newspapers/lyttelton-times. Accessed: April 2022.

McLintock, A. H. (ed.), 1966. “The Vogel Era: economic history”. An Encyclopaedia of New Zealand [online].Retrieved from: http://www.teara.govt.nz/en/1966/history-economic/page-3. Accessed: July 2022.

Orwin, 2015. Riccarton and the Deans Family – History and Heritage. Auckland: David Bateman Ltd.

Pawson, E. & Holland, P., 2005. Lowland Canterbury landscapes in the making. New Zealand Geographer, 61:167-175.

Roche, M., 1990. History of New Zealand Forestry. Wellington: New Zealand Forestry Corporation.

Salmond, J., 1986. Old New Zealand Houses 1800 – 1940. Auckland: Heinemann Reed.

Tuffin, R. and Gibbs, M., 2020. The Archaeology of the Convict Probation System: The Labor Landscapes of Port Arthur and the Cascades Probation Station, 1839–55. International Journal of Historical Archaeology, 24: 589–617.

Tuffin, R., Gibbs, M., Clark, D., Clark, M. and Rigozzi, P., 2020. ‘…One of the Most Severe Duties …’: Landscapes of Timber-getting at a Former Tasmanian Convict Station. Industrial Archaeology Review 42(2): 126-140.

Up in the Clouds: Aerial Archaeology

Today on the blog we are taking to the skies to talk about aerial archaeology; the investigation of archaeological sites and landscapes from a higher altitude. There is nothing quite like having a bird’s eye view, and, when investigating archaeological sites or considering the archaeological potential of an area, one of the first things we look at is aerial imagery. For much of the 20th century aerial imagery was recorded via a plane, but in our modern era we have access to high quality satellite imagery and drone footage. Aerial archaeology is just another everyday tool in the archaeologist’s belt, and today we are going to go through a bit of background before diving into some local examples.

If we go back to the very beginning, on a small farm outside of Temuka, a humble Kiwi farmer was one of the first people to fly and land a powered heavier-than-air machine (Figure 1). I’m talking of course about Richard Pearse, who flew in 1902, nine months before the Wright Brothers – not that I am keeping score. While our friend ‘Bamboo Dick’ (yes that’s what they called him) didn’t take any photographs from his ‘monoplane’, his inventions and trials mark the beginning of flight in New Zealand – it would be rude not to give him a shout out.

Figure 1: Richard Pearse and his ‘monoplane’ forever remembered on a limited edition stamp and in our hearts (New Zealand Post, 1990).

Once people were up the air, it didn’t take long before the first aerial photographs were taken, including those of archaeological sites. To begin with this largely took place in Europe and America with iconic sites such as Stonehenge being among the first to be photographed from the air (Figure 2). In New Zealand things were a little bit slower, but by the 1920s aerial surveys were being completed in specific areas throughout the country. Within Christchurch, the 1920s aerials are pretty much limited to the coastline and the Port Hills. Unfortunately, we don’t have coverage of the CBD at this stage, but we do have a great view of Lyttelton. The quality is actually really good, and you can easily see the contours of the topography and individual buildings. But one of the most striking things we can see, is the development of the Lyttelton Port over the past 100 years (Figure 3).

Figure 2: Stone Henge from a hot air balloon 1906 (Renfrew and Bahn, 2012:78).

Figure 3: Above: Lyttelton Port late 1920s. Below: Modern aerial imagery (Canterbury Maps, 2023).

The 1940s, and the advent of World War Two, resulted in widespread systematic aerial surveys of Canterbury and wider New Zealand, including Christchurch’s CBD (Figure 4). Photos from this era and much of the 20th century are black and white, which is preferential for us as archaeologists. Black and white photos clearly show contours, shadows, and topography, especially if they are oblique (at an angle to the landscape). In contrast vertical photos are much better for understanding spatial layout and are handy for mapmaking (Figure 5).

Figure 4: Christchurch within the four avenues, early 1940s (Canterbury Maps, 2023).

Figure 5: The two types of aerial image – yes, I took this from my first-year textbook (Renfrew and Bahn, 2012: 79).

Further aerial surveys were completed throughout the 20th century, with all of New Zealand photographed by the 1950s (Jones 1996: 25). By the 1990s we even had colour! But don’t get too excited as the quality is terrible, I tend to avoid the photos from 1995-2004 altogether (Figure 6).

Figure 6: A very blurry, but coloured, Christchurch Cathedral (Canterbury Maps, 2023).

By the 1950s and 1960s, the systematic use of aerial photographs for archaeological purposes had commenced and there are a few early reports and articles that talk about this ‘new’ technology (Gorbey, 1967). However, in the world of aerial archaeology in New Zealand, one person in particular comes to mind – the late great Kevin Jones. Kevin made both nationally and internationally significant contributions to aerial archaeology. I even learnt about him and his contributions while studying at university (and was just a tad starstruck when I met him). His book Ngā Tohuwhenua Mai Te Rangi: A New Zealand Archaeology in Aerial Photography is nothing short of quality research and sheer beauty. It showcases New Zealand’s archaeology much more eloquently than I could ever dream to discuss in a blog. For anyone who wants to check it out, his book is available digitally here (https://nzetc.victoria.ac.nz/tm/scholarly/tei-JonTohu.html). Thank you for all of your mahi Kevin <3

Figure 7: A key text typically found on most archaeologist’s bookshelf.

Let’s look at some archaeology!

Perhaps the most iconic archaeological site type we have in New Zealand is the pā. Many pā, particularly in the North Island, have been photographed and surveyed from the air, as their earthwork features are stunning from this viewpoint (Figure 8). Cascading pits, tumbling terraces, and extensive earthworks really shine in oblique black and white photographs. While pā are more common up north, we do have some spectacular pā here in Canterbury, including those accessible to the public. One example is Ngā Niho Pā on the Kaikoura Peninsula (Figure 9). Its location against the Peninsula’s rocky edge provides both a natural defence and clear viewpoint along the coastline. Another example a little closer to Christchurch is Ōnawe Pā, located at the head of Akaroa Harbour (Figure 10). Its long thin neck provides a natural defensive feature, and from black and white aerials we can clearly see further defensive earthworks on the interior of the pā (Figure 11). Make sure you stop in to visit these sites on your next road trip, just remember to be respectful and follow any outlined tikanaga. And, of course, if you want to learn more about these places, check out some indigenous resources like the Kā Huru Manu: the Ngāi Tahu Cultural Atlas.

Figure 8: Cascading pits at Kohukete, one of the largest pā in the Hawkes Bay (Jones, 1996: 27).

Ngā Niho Pā on Kaikōura Peninsula. Strategically located against the steep hillslope. This pā is open to public access (Canterbury Maps, 2023).

Ōnawe Pā – using the environment to its advantage (Canterbury Maps, 2023).

Close up of Ōnawe Pā – can you see the defensive ditches? (Canterbury Maps, 2023).

Within the Christchurch CBD, most of what we see in aerial photography is buildings – no surprises there. But through aerial photographs we can see changes, additions, and demolitions, which is all useful information we need to understand the history of a site. Sometimes all we need to see is the roofline of a house to better understand how it has been added to over time (Figure 12). Sometimes all we have left to physically indicate a building ever existed is the footprint or the foundations (Figure 13, Figure 14, Figure 15). And sometimes you are just being nosey and stumble upon something a bit more interesting and uncommon than usual (Figure 16).

Figure 12: A cluster of late 19th century houses in Christchurch that were demolished after the Canterbury earthquakes. Can you see all those lean-tos? (Canterbury Maps, 2023).

Figure 13: At first glance you may think this was another pā but no! This is the site of Christchurch’s first (of three) quarantine Stations. It’s located over in Camp Bay and those are the former building platforms. The cemetery is located on the headland (Canterbury Maps, 2023).

Figure 14: The concrete foundations of ‘Mansion House’ in Cheviot (Canterbury Maps, 2023).

Figure 15: A photo of ‘Manion House’ in Cheviot c. 1890 (unknown, 1890).

Figure 16: Ripapa Island – former pā, former quarantine station (the second one), Russian Scare fort, WW1 and WW2 defence. What an over achiever (Canterbury Maps, 2023).

From the air we also see scars of the former landscape and environment. A good Christchurch example is Horseshoe Lake over in Shirley. The lake is a redundant and cut off loop of the adjacent Avon River (Figure 17). It would have likely been cut off following a flood event where the Avon changed course, leaving the lake behind. Other former or remnant river channels are visible in aerial imagery throughout Canterbury, and they attest to the dynamic nature of our braided river systems.

Another major scar we see is the impact of the Canterbury Earthquakes. A review of aerial imagery from after 2010 is a particularly sobering experience. Collapsed buildings, liquefaction, spilling bricks, and sheer chaos can be taken in from above. Many of the gaps left behind in the city still lay vacant today and if we move outward into suburbia the rise of the Red Zone resulted in the death of many neighbourhoods (Figure 18).

Figure 17: Horseshoe Lake (top centre) now isolated from the main body of the Avon River(Canterbury Maps, 2023).

Figure 18: The extensive Burwood Red Zone (Canterbury Maps, 2023).

In contrast we also see the birth of new towns like Pegasus Town, to the north of the city (Figure 19 and Figure 20). When comparing different decades of aerial imagery, it can feel like these new towns and subdivisions spring up overnight. They may seem like a major change, but in reality, it’s just another step in the urban growth of the region and the start of a new story.

Figure 19: The location of Pegasus Town prior to development in the mid 2000s. Woodend is tucked in the bottom left corner (Canterbury Maps, 2023).

Figure 20: Pegasus as it stands today (Canterbury Maps, 2023).

I could go on for hours showing off more sites and explaining the uses of aerial archaeology, but I am nearing my word count. So, lets park it for now and maybe we can come back again and share more finds from the sky in future. In the meantime, check out some historic aerial imagery and have a snoop! These resources are free and online. You never know what you will find!

Alana Kelly

References

Canterbury Maps, 2023. Canterbury Maps Viewer. [online] Available at: https://canterburymaps.govt.nz/

Gorbey, G. 1967. ‘Aerial Photography in New Zealand archaeology’, New Zealand Archaeological Association Newsletter, 10(4): 167-175.

Jones, K. 1996. ‘Aerial Archaeology in New Zealand Archaeology’, Australasian Historical Archaeology, 14: 25-33.

New Zealand Post, 1990. Heritage – the Achievers stamp issue. [Stamp]. Available at: https://teara.govt.nz/en/postage-stamp/6562/commemorating-new-zealands-first-flight

Renfrew, C. and Bahn, P. 2012. Archaeology: Theories, Methods, and Practice. 6th edn. London: Thames and Hudson.

Unknown, 1890. Mansion House, Cheviot Estate. [Photograph]. Available at: https://ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServlet?dps_pid=IE57788&dps_custom_att_1=emu Accessed March 2023.

 

A Disturbing Discovery

Disclaimer: the topics discussed in this blog post include descriptions of murder, torture and rape. Reader discretion is advised.

 

It was around a year ago that Underground Overground Archaeology again hit the mainstream news, this time with stories about our excavations at the site of the new Court Theatre (a few of those stories here, here, and here). While it’s great when media outlets publish stories about the archaeological work that we do, there are definitely pros and cons to the pieces. The main pro is, of course, that a much wider range of people get to hear about the archaeological work that we do in Christchurch, rather than just those that follow us on social media or keep up with this blog. The cons are that because the journalists that are reporting the stories aren’t archaeologists and often have word or time limits to keep to, their stories can be quite brief and often focus in on the stereotype that the only thing us archaeologists are interested in is ‘treasure’. Now, don’t get me wrong, us archaeologists are the first to get excited when we find a rare or unusual artefact, but we’re not pirates. For us, the real ‘treasure’ is the stories that the artefacts tell us about the lives of people of the past, rather than the artefacts themselves. Working out those stories comes long after excavation is finished and only happens once we have gone through all of the information we’ve collected, the notes on the features that we took when we excavated them, the results of the artefact analysis, and the information that we can draw from the historical record, and see what these three information sources, along with anything else we might have access to, can tell us. A lot of the time when we’re getting mainstream media interest, it’s at the time of the archaeological excavation, meaning that we haven’t yet worked out all the interesting stories as we are only at the start of figuring them out. That was very much the case when we were being interviewed about the Court Theatre site, where one of the ‘treasures’ that the journalists were most interested in was a clay pipe. A year later, we are now at a point where we’ve done most of the artefact analysis and we can actually start to narrow down some of those stories that the artefacts from the site are able to tell us.

A classic example of the use of ‘treasure’ by the mainstream media. While they’re not wrong, it does perpetuate the stereotype of archaeologists as Indiana Jones type figures, which is very much not the case. Image: Otago Daily Times.

The clay pipe in question is probably the most violent and confronting artefact that we’ve had come out of an archaeological site in Christchurch, at least in recent years. The pipe was elaborately moulded and depicted a man, wearing a turban and Indian style dress, holding a sword above his shoulder, ready to strike. Next to him is a woman lying with one arm raised, her chest bare and her dress pooled at her waist. A baby lies at her feet. A woman is shown fleeing on the side of the bowl. Stamped on the stem of the pipe was “NA NA SAIB” and “DELHI”.

Image: C. Watson

The clay pipe is depicting an event known as the Bibighar massacre, which took place within the 1857 Indian Rebellion. This rebellion happened when sepoys, or Indian soldiers, mutinied against the East India Company. The East India Company had had a presence in India since the early 17th century, and by the 19th century was effectively responsible for the government of India and was employing sepoys within their army. The reasons behind the mutiny were complicated but were mainly a result of an accumulation of grievances, mostly around the structure of the army and treatment of the sepoys, and the treatment of landowners and high-status individuals by the British. Sepoys in Meerut and Delhi mutinied against the British officers in May of 1857, with the rebel sepoys taking control of Delhi. News of the mutinies spread, with sepoys in some regions also rebelling, while in other regions sepoys fought for the British. In June of 1857, the sepoys under the leadership of the British General Wheeler at Cawnpore (Kanpur) mutinied. This led to the Siege of Cawnpore, where General Wheeler, the British soldiers, and their families, were trapped by the rebel sepoys in an entrenchment for three weeks with little water or food. The siege came to an end on the 27th of June when Nana Saib, an Indian nobleman who was a prominent leader in the rebellion, offered safe passage to Wheeler and the British to the nearby river where they could board boats and leave Cawnpore. Wheeler trusted Nana, as prior to the rebellion he had been an ally to the East India Company. However, upon reaching the riverbank and beginning to board the boats, the Indian sepoys opened fire on the British, resulting in many casualties. The 120 women and children that survived the massacre were re-captured and taken as captives. They were taken to a local house, Bibighar, with a group of another 80 women and children captured from another town later also taken to the house. On July 15, this group of women and children were massacred in a brutal killing.

Sir Joseph Noel Paton painted In Memoriam in 1858 in honour of the victims of the Bibighar massacre. We suspect that this painting was one of the source works that inspired the design of the pipe, particularly the positioning of the central woman and child.

The Chamber of Blood’ is a tinted lithograph by Vincent Brooks after Lieutenant C W Crump, Madras Artillery, No. 2. It was part of the series ‘A Pictorial Record of the Cawnpore Massacre’ published by Henry Graves and Co., London, in 1858.

A memorial to the women and children killed in the massacre was erected by the British. The memorial is built over the well in which the women and children’s bodies were thrown.Image: S. Bourne.

Many reasons have been suggested for why the women and children were killed. Some historians have suggested that they were killed in the hope that it would stop East India Company forces from approaching Cawnpore. Others have suggested that it was to stop information from being leaked to the British if Cawnpore fell, or to undermine Nana Saib’s relationship with the British, or that it was simply an act of revenge for British murders of Indian civilians. Following the massacre at Bibighar, British soldiers retook Cawnpore and took the sepoys as prisoners. The British forced the sepoys to lick the blood that stained the walls and floors of the Bibighar as punishment. They were then hung, or ‘blew from the cannon’, a method of execution where the victim is tied to the mouth of a cannon, which is then fired. This method was used by the British in India as it destroyed the body and prevented Hindu and Muslim funerary rites from being carried out on the victim.  By the end of 1857, the British had largely regained control, with the final rebels defeated in June of 1858. The acts that took place as part of the Indian Mutiny included atrocious acts of violence by both sides. The rebellion resulted in the dissolution of the East India Company by the Government of India Act 1858, with the governing of India transferred to the British Crown.

Going back to the clay pipe that we found at the Court Theatre site, from an example in the Amsterdam Pipe Museum we know that the pipe was manufactured by French pipe manufacturers L. Fiolet. Louis Fiolet was a French pipe manufacturer based as St. Omer. Fiolet took over his grandfather’s business in 1834, adopting the usage of the ‘L. Fiolet’ mark at this time. Around 1885 Fiolet went into partnership with his son-in-law, George Audebert, as Fiolet and Audebert. Fiolet died in 1892 and the firm operated as Audebert Fiolet from 1893 onwards. Fiolet pipes are said to be second only to Gambier pipes in quality, and the company was one of the most prominent French pipe manufacturers in the 19th century, having a base in France and a shop in London (Hammond, 1987). While we can’t include a picture of the example from the Amsterdam Pipe Museum due to copyright, you can view it by clicking on the hyperlink. The Amsterdam Pipe Museum example shows that the pipe was coloured, with the Indian attacker’s skin coloured brown, and the British woman and the baby’s skin painted pink. Presumably our pipe was also painted, but that decoration  has weathered off our pipe due to it being buried in the ground for over 150 years.

At the time of our interviews a year ago, while we had worked out that the pipe was inspired by the Indian Mutiny, and we knew that it was made by L. Fiolet, we didn’t know the details of the Bibighar massacre that inspired the pipe. Having read the account of that massacre, it shines a new light on the brutality of the pipe. At the time of our interview, we made reference to how the pipe speaks to the globalised nature of the 19th century, the pipe being a French made pipe, inspired by Indian historical events, found in New Zealand. But it’s only now that we have done the more detailed research, that a more nuanced view appears.

The first reports of the Siege of Cawnpore and the massacre of British civilians were embellished by shocking tales of rape, torture and mutilation. Nana Saib, with his role in the munity and the massacre, became known as the ‘Tiger of Cawnpore’. Nana was the face of the massacre for the British public, and as a result of that became a pop culture villain who was referenced in tales about savagery and resistance to British authority within the empire. Plays, ballads, stories and paintings were quickly produced, with the sentiment of ‘remember Cawnpore’ an underlying message (Wallace, 2015). It is highly likely that Fiolet, with their presence in London and their targeting of the British market, were influenced by the popular culture of the period to produce the pipe, with the smoking pipe just one of several pop culture artefacts depicting the events of the mutiny and massacre. The depictions of Nana and the massacre in popular culture acted as propaganda, which was used by the British to generate public support for the British response to the rebellion, as well as justification for some of the atrocities carried out by British soldiers.

The design of the smoking pipe highlights the British view of the mutiny, and of Nana Saib as the ‘Tiger of Cawnpore’. The Indian sepoy’s skin is coloured brown, he is wearing a turban and Indian dress, and is armed with an Indian style sword, all clear indicators of his race and position. The woman is bare breasted, her clothes pooling at her waist and her hair loose. Her skin is painted pink, a clear reference to her ethnicity as British, and her half-nakedness both symbolises her vulnerability and gives connotations of rape. The baby at her feet is also painted pink and is naked, emphasising its vulnerability. The scene of the pipe depicts the atrocity of the Bibighar massacre and the most horrific of the actions by the Indians at the Siege of Cawnpore and is clearly designed for the British narrative of the events. The choice to depict women and children as the primary victims of the mutiny, rather than the largely male-dominated East India Company and military power structures the sepoys were rebelling against, was a deliberate one, and can be seen as the weaponization of white femininity in defence of the (patriarchal, European) imperial power structures at play in India at the time. Of course, historical events are often filled with contesting views. If the pipe manufacturer had been influenced by the Indian sepoy perspective on the Siege of Cawnpore, then the pipe might show the sepoys attacking the British, or the British forcing the sepoys to lick blood off the walls of the Bibighar, or tying them to cannons to execute them. In the 21st century we can’t ignore the power imbalances created by colonialism and the impossible standards that disempowered people were held to, where there was never a correct means of resistance. But we can acknowledge this and acknowledge that the British also committed atrocities, while still viewing what was done to the British women and children as a horrific act.

For the Victorian British and the perspective that was created through depictions of the mutiny in popular culture, Nana was the embodiment of the nightmare of British imperialism and empire building. He represented “the latent treachery of all subject races, the rejection of British Progress, the destruction of the sacred family unit” (Wallace, 2015: 611). The rubbish pit in which our smoking pipe was found dates to the 1860s, around the year 1866. In 1860s New Zealand, the New Zealand Wars were being fought in Taranaki and Waikato. By understanding the history of the events that the pipe depicts, and the image of Nana Saib in Victorian popular culture as the Tiger of Cawnpore, one has to wonder if the pipe’s presence in Christchurch was intended as a warning to British colonists living in the city, a reminder of what the local population can do when oppressed. The pipe is more than an example of the global trade connections that existed in the 19th century, it’s a symbol of British imperialism and the consequences of that. And understanding that history, and the relevance of that history to our current day society, is the true treasure that archaeology can uncover.

Clara Watson

References

Hammond, P., 1987. The London Commercial Agents of French Clay Pipe Manufacturers Fiolet and Audebert Fiolet. Society for Clay Pipe Research Newsletter. 15: 16-21.

Wallace, B., 2015. Nana Sahib in British Culture and Memory. The Historical Journal. 58 (2): 589-613.

 

Milsom, Mace and More

Today’s blog is the start of a three-piecer on one of Christchurch’s earliest aerated water factories, once located on St Asaph Street. Now we have written plenty of blogs about aerated waters in the past (see here, here, and here) so we won’t cover much of the general information on the industry. Instead, we will start by diving into the history of Milsom and Mace, two big fish in the pond of aerated waters, before getting into the archaeology discovered on site in our next blog. So, settle in with a glass of your favourite soft drink and enjoy.

The St Asaph Street aerated water factory, which is the subject of these blogs, was in operation from 1860, which is pretty early for the Christchurch setting. The only other manufacturer set up in central Christchurch before this was Thomas Raine, who was in operation from 1859. Raine (great name for a fizzy drink man) was initially located over on the corner of Peterborough and Colombo Street, but later moved to the corner of Gloucester Street and Cambridge Terrace.

The St Asaph Street aerated water factory was owned and operated by Joseph Milsom from 1860, although it wasn’t ‘officially’ purchased until 1863. The Milsom family became somewhat of a powerhouse in the world of 19th century aerated waters in Canterbury. So, before we get into it, J. Milsom is not to be confused with R. Milsom (his brother), H. J. Milsom (his nephew), G. P. Milsom (another nephew), J. B Milsom (yet another nephew), or any other potential Milsoms out there. The many Milsom businesses are summarised below.

Keeping up with the Milsoms. A summary of the many Milsom businesses of Christchurch and surrounds, their locations, names, and operation dates. Honestly, it was a whole family affair. Compiled based on information from Christchurch Antique Bottle and Collectables Club Inc (2022).

Once established in 1860, J. Milsom initially traded under his name, before entering a partnership with his brother Richard in 1861. Richard also had an aerated water factory, which was located on London Street in Lyttelton. For the next two years the pair traded as R. & J. Milsom, operating out of both Richard’s London Street factory and Joseph’s St Asaph Street Factory. For reasons unknown the partnership ended in 1863 and the two went back to operating out of their own factories under their own names

An advertisement for R. & J. Milsom, detailing their dual locations. Lyttelton Times, 8/5/1861: 8.

Advertisement for J. Milsom’s goods. Southern Provinces Almanac, 1864: 126.

During this early operation period, two buildings are shown to be located on the property. It is likely that the building fronting St Asaph Street was the house where Milsom and his family lived as it matches the placement of the other neatly arranged houses on the surrounding sections. The second building to the south was most likely the original aerated water factory. No buildings were established on the western town section and the southern areas of the two sections were otherwise vacant at this time.

The St Asaph Street aerated water factory site highlighted in red, as shown on Fooks 1862 map of Christchurch. The eastern section was ‘officially’ purchased in 1863, and the western section was purchased in 1875. Note: Southwark Street was originally named George Street.

In 1866 J. Milsom formed a new partnership with his nephew Henry J. Milsom, with the business operating under J. Milsom & Co. Unfortunately, the partnership filed for bankruptcy in 1871, which, to be fair, was a pretty common occurrence during the 19th century. A newspaper article from the time suggests that something a bit scandalous happened between the pair as Joseph Milsom declared that he was carrying on the business in his own account having ‘no connection with Henry Joseph Milsom’ who was a former business partner. Although whatever happened can’t have been too serious as Henry Jospeh Milsom remained in the employ of the Aerated Water Company. What exactly went on remains a mystery, but we haven’t seen the last of Henry.

A public notice. Lyttelton Times, 17/4/1871: 1

Following the resolution of the bankruptcy, the 1870s and 1880s proved to be a successful period for the Milsom family as branches were operated in Dunsandel, Ashburton, Sheffield, and Leeston (Christchurch Antique Bottle and Collectables Club Inc, 2022: 152). During these two decades, the family certainly had a strong hold on the market and by the mid-1870s, the St Asaph Street factory had grown. In Stout’s 1877 map of Christchurch, we can see the expansion of the factory in the centre of the site, with two smaller associated outbuildings to the east. Additionally, J. Milsom’s house in the northeast corner of the site appears to have been either expanded or replaced by this period.

Interestingly, Henry Joseph Milsom appears to have returned to the partnership with his uncle by 1876. It is possible that the returned partnership was triggered by Henry Joseph Milsom’s purchase of the neighbouring property to the west. There are two houses shown on this section in Strout’s 1877 map, a larger one facing St Asaph Street and a smaller one facing Southwark Street. It is likely that these were the original houses built on the property by Mr James Long Fleming who purchased it in 1863. A sales notice from 1864 describes the property as a quarter acre section of freehold land with a dwelling house of five rooms (likely the one facing St Asaph Street) and a cottage of two rooms (likely the one facing Southwark Street) (Lyttelton Times, 30/8/1864: 4).

The St Asaph Street aerated water factory site highlighted in red, as shown on Stouts 1877 map of Christchurch. Facing St Asaph Street are two houses, the large building in the centre is the new factory building, with two outbuildings to the east. Another small cottage faces Southwark Street.

Henry Joseph Milsom’s return to St Asaph Street appears to have been in preparation to take over the factory from his uncle, who seems to have retired in 1880. Although J. Milsom does seem to continue to have had some involvement in the business, as it was not until 1882 that the firm begun to trade as H. J. Milsom and Co. But all up that makes over 20 years in the aerated water industry, which is a pretty good innings.

The business seemed to have prospered under Henry’s lead, as in 1884 he was advertising the removal of an old house, buildings, sheds, and other things to make way for the construction of ‘new and extensive buildings’ (Press, 5/4/1884: 3). It seemed as though he was planning another revamp of the factory and accommodations. However, in less than a fortnight after placing the advertisement, Henry died of a ‘short but severe illness’ at the St Asaph premises aged 42 (Press, 14/4/1884: 2). Henry’s widow, Mrs Amelia Jane Milsom, initially took over the running of the business, and later sold it in December of 1884 to Henry Mace (Star, 6/01/1885: 2). Thus, marking the end of the Milsom era at St Asaph Street.

Auction notice for the removal of buildings at the Milsom’s Lemonade and Cordial Factory, 1884. Press, 5/04/1884:3.

A public notice detailing the sale of the St Asaph Street factory to Henry Mace, following the death of Henry Milsom. Star, 6/01/1885: 2.

Henry Mace had an interesting life and was quite the successful man. He was born in Yorkshire, England in 1837, and, like many others, was drawn out to Australasia after the discovery of gold (The Cyclopedia of New Zealand [Canterbury Provincial District] 1903:367). In 1861, after a few years on the Australian goldfields, Henry crossed the ditch and began looking for gold in Otago. He, along with his brothers John and Charles, began prospecting at the junction of 12 Mile Creek and the Arrow River, with the ensuing settlement named ‘Macetown’ after the trio. Following his success on the goldfields, he became an important figure in the aerated water industry. Prior to his purchasing of the Milsom factory, he also ran factories in Hokitika and Wellington.

The man, the myth, the mohawk? The Cyclopedia of New Zealand [Canterbury Provincial District] 1903:367.

Tancred Street, Hokitika in the 1870s, looking towards the Southern Alps with the Hokitika River on the left. Part of the Mace & Dixon building is visible on the left. Image: westcoast.recollect.co.nz/nodes/view/26468  .

After purchasing the Milsom business from Mrs Amelia Jane Milsom, Mace renamed the business ‘H. Mace’ and traded from the factory. He seems to have continued on with the site renovations started by Henry Milsom, as an 1885 description of the factory states he had a large main building, a stable, and a coach house. These buildings are likely the ones shown on the 1899 survey plan.  Here is a full description of the factory:

“His large and commodious building is built of brick and stone, as also is a large six-stalled stable and coach-house, with an extensive loft, and is situated in St. Asaph-street, running through to George-street. The upper storey of the factory is used as a storeroom for the numerous articles used in the manufacture of cordials bitters, sauce, &c. The ground floor contains the factory, cordial room and office. Water is laid on throughout the premises, and the frequent use of it keeps the place pleasantly cool. The machine at work is a soda-water machine (by Barrett and Foster) with double cylinders, each containing eight gallons, capable of turning out 1600 dozen daily. It is driven by an Otto silent gas-engine of 3-horse power. This also drives the oat-crushing and chaff-cutting machines in the stable loft-Among the other apparatus are the several bottling machines, which are used for filling the Hogben, Lamont, and Coad patents, as well as the ordinary plain bottle—all of which are in use by this firm—a siphon, filler, and a gasometer, one of the largest in the colony. In the cordial room are the several casks in use for the manufacture of cordials, sauce, bitters, &c., whilst all the shelves are kept constantly filled up with them. They are all corked by the French. Gervais corking machine, which compresses and drives in the cork at the same time.”

 – Illustrated Guide to Christchurch and Neighbourhood, 1885: 208.

The St Asaph Street factory site as shown on an 1899 survey plan. The factory is now in the centre of the western section. LINZ, 1899.

Henry Mace’s brand became known for their dogs head logo, variations of which featured on the bottles produced, and the business powered on through the 1880s and 1890s. In c. 1901, H. Mace became H. Mace & Co., with William Longton becoming a partner. But, soon after this, in mid-1902, Henry Mace died of rheumatic fever. Nevertheless, the business continued under his name, trading until 1923 (Christchurch Antique Bottle and Collectables Club Inc, 2022: 126-127).

H. Mace bottle with dog head logo in centre. Image: C. Watson.

Advertisement for H. Mace & Co.. Davie, 1902: 35.

By the turn of the 20th century, the factory site was still owned by Mrs Amelia Jane Milsom. In 1900 she sold the eastern section to Grummitt, White, and Co., who were clothing manufacturers that specialised in waterproof clothing, and in 1906 she sold the western section to James and Catherine Rattray. Through the 20th century the site became heavily built up with commercial buildings, but nothing too major seems to have happened. By 2004 much of the former factory site was used as carparks, which are an archaeologists best friend. You’ll see why next time.

Grummitt and White Christchurch clothing factory St. Asaph Street, Christchurch. The aerated water factory site is on the right. Image: CCL-KPCD13-0006, Christchurch City Libraries, 2021.

Alana Kelly

References

Christchurch Antique Bottle and Collectables Club Inc, 2022. Unearthed: Bottles of the Christchurch & District Soft Drink Industry 1860-1980. Christchurch Antique Bottle and Collectables Club Inc, Christchurch.

Christchurch City Libraries, 2021. [online] Available at:  https://christchurchcitylibraries.com

Cyclopaedia Company Ltd., 1903. Cyclopaedia of New Zealand [Canterbury Provincial District]. The Cyclopaedia Company Limited, Chistchurch.

Davie, M., 1902. Tourist’s Guide to Canterbury. P. A. Herman, Christchurch. [online] Available at: https://christchurchcitylibraries.com/DigitalCollection/Publications/1900s/TouristGuide1902/Pages/83338-001.asp

Fooks, C. E., 1862. Christchurch, Canterbury, New Zealand [map].

LINZ, 1899. A 8690, Canterbury. Landonline.

Lyttelton Times, 1851-1920. [online] Available at: https://paperspast.natlib.govt.nz/newspapers.

Mosely, M., 1885. Illustrated Guide to Christchurch and Neighbourhood. J. T. Smith & Co., Christchurch. [online] Available at: https://nzetc.victoria.ac.nz/tm/scholarly/tei-MosIllu.html

Press, 1861-1945. [online] Available at: https://paperspast.natlib.govt.nz/newspapers/.

Southern provinces almanac, directory, and year-book, 1864. Lyttelton Times, Christchurch. [online] Available at: https://canterburystories.nz/collections/publications/southern-provinces-almanac/ccl-cs-11851

Star, 1868-1935. [online] Available at: https://paperspast.natlib.govt.nz/newspapers.

Strouts, F., 1877. Map of Christchurch, Canterbury compiled from data supplied to City Council and District Drainage Board [map].

West Coast Recollect, 2023. [online] Available at: https://westcoast.recollect.co.nz/