John Cameron Andrieu Bingham Michael Morton, better known as J. B. Morton and, to his friends, as Johnny Morton, was born in Tooting, south London on 7th June 1893. He was an English humorous writer noted for authoring a column called "By the Way" under the pen name 'Beachcomber' in the Daily Express from 1924 to 1975.

His father, Edward Morton, began his career as a journalist in Paris and introduced his son to two of his greatest loves, France and wine. As an only child, at the age of eight, JB went to Park House prep school in Southborough, Tunbridge Wells and in 1907 to Harrow School, where he did not distinguish himself.
Failing to win a scholarship to Oxford he gained entrance to Worcester College, changing schools three times and leaving after one year. His first job was writing revue material in the Charing Cross Road for a minor publication and in 1914 enlisted in the University and Public Schools Battalion of the Royal Fusiliers, as a private, being sent to the trenches in 1915.

In 1916 the battalion was disbanded and JB who had fought at Cambrai and Vermelles was commissioned with the Suffolk Regiment, serving on the Somme, entering hospital in Etaples with shellshock. Pronounced unfit for active service, he spent the rest of the war in the Intelligence Service, branch M.I.(7B).
At the end of the war in 1918, he joined the staff of the Sunday Express, where he wrote mainly about country walks with a selection of jokes, poems and fairy tales. Three years later, he moved to the Daily Express as a feature reporter, taking over the ‘Beachcomber’ column from D.B. Wyndham-Lewis in 1924.
​
By 1922 he had joined the Catholic faith, becoming a friend of Hilaire Belloc and his son Peter, who were living in Shipley near West Grinstead. He bought a cottage in Rodmell near Lewes, whose best-known inhabitant was Virginia Wolff and nearby at Charleston, Firle, the Bloomsbury set. As a keen walker of the South Downs, he walked in several foreign countries including the Pyrenees, Italy, Poland, Ireland and Norway.

By 1926 he was sharing a room with Peter Belloc in Ebury Strett, London and on the 24th September 1927 married Mary Annunciata O’Leary. She was born on 15th March 1897 in Cappoquin, County Waterford and had qualified as a medical doctor.

​Little is recorded of their life at this time, possibly in London, until in 1939, they appear in the Register living at Potwell in Cagefoot Lane, Henfield. During this time, while still employed by the Daily Express, Morton published a number of books:

Acknowledgements
​
The information in this article has been taken from various sources including ‘Beachcomber, The Works of J.B Morton’ by Richard Ingrams. The photographs of John and Mary are taken from the Marjorie Baker Collection at Henfield Museum.

This tale begins with tumultuous days in early 19th century Brighton, but the Hall family played a notable role in Henfield's history for well over half a century. Working with and marrying into the Borrer family, Eardley Nicholas Hall took over Barrow Hill house after botanist William Borrer's death.
 
Eardley was born in 1803, and like his father, was a well-known banker and sometime wine merchant, working at the family bank of Hall, West & Borrer at 6 North Street, Brighton. Known by various partner dependent names, it was often simply known as the Brighton Union Bank. It was one of only two in Brighton to survive the 'Panic of 1825' stock market crash, to which Eardley would no doubt have lost sleep as a young banker.

This 19th century version of the South Sea Bubble of the previous century was in part caused by overly speculative Latin American investment. One particularly extreme example involved the almost unbelievable story of soldier, sometime colleague of Simon Bolivar - and fraudster of massive ambition - Gregor MacGregor, who embarked on multiple society publicity tours to encourage settlement and investment in the country of 'Poyais'. Which to the horror of the settlers arriving off the wild coast of South America, turned out to be entirely mythical (an extraordinary tale well worth a read into).

The crisis brought down sixty banks across the country and required the bank of England to be bailed out with gold from the Bank of France! By 1843 the Union Bank was the last one standing of seven that had opened in Brighton in the past half century and so became the primary bank of the town for the rest of the 19th century. It was eventually bought out in 1894 by what was to become Barclays. The old Lloyds branch in Henfield High Street, (formerly the Barclays site), was originally a branch of the Brighton Union Bank.

On 26th March 1892, the Brighton Herald published a complimentary account by stockbroker William Baines which well captures the spirit of this era, contrasting greatly perhaps with common ideas of bankers in the 21st century!

'The house next to the Duke of Devonshire’s was occupied by Mr Thomas West, the well-known banker of The Union Bank, North Street. The Union Bank at that time was an old-fashioned round fronted building with a flight of steps leading up to it. The proprietors were Messrs Hall, West and Borrer, and with their white-haired managing clerk, old Mr. Pocock, formed a quartet of the most genial looking old gentlemen that the eye could look upon. One and all of them had something lively to say to their customers. In their general style and deportment they used to put the writer in mind of the Brothers Cheeryble*.'

*Brothers Cheeryble, the kind-hearted employers of Nicholas Nickleby in Charles Dickens’s novel.'

Eardley married Henfield botanist William Borrer's daughter Annette (his second cousin) in 1835 and they lived at the Hall family mansion of Portslade Place - an imposing Georgian mansion with extensive grounds built in 1795. In 1836, he was involved at the genesis of the railways, being listed as a subscriber to the Bath and Weymouth Railway Company, having bought 40 shares with a value of £2000 (and 5 more in his role as a partner at the bank). This company was soon to be bought out by the Great Western railway which moved on under Brunel to complete the line we know today.

On William's death in 1862, Eardley purchased Barrow Hill from William's son Dawson - well known for his voyage to Lebanon and his return with Lebanon Cedar seeds planted at Henfield. They afterwards moved in and rented out Portslade Place, which survived until 1936, by then long out of place amongst the envelopment of the modern town. A few years after the Hall family had moved in, Barrow Hill gained its local 'Snake House' nomenclature when a house martin nest taken over by sparrows was knocked from the eaves to disgorge a feasting snake!

Malcolm and his sister Hilda Lucy Milne (1874-1959) were born in Cheadle, Cheshire and were children of Lucy Midwood (1847-1899) and John Dewhurst Milne (1847-1899). Malcolm was born on the 14th October 1887 and attended Sedbergh School from 1900 to 1906, and was articled to a firm of Manchester architects, Thomas Worthington & Sons, but ill health prevented him following that career. He turned to art, and between 1908 and 1911 studied at the Slade School of Fine Art under Professor Henry Tonks, and the Westminster School of Art in London under Walter Richard Sickert. During WW1 he enlisted in 1914, but no doubt due to his ill heath served with the First British Ambulance Unit in Italy, and produced drawings of Dolegnano and Udine while there.

In the early 1920s he was painting in Italy, Sicily, and travelled quite extensively in Europe and the Middle East throughout his life going to such places as Egypt, Syria and Turkey. In 1926 Malcolm and his sister Hilda came to Henfield and stayed with their relative Miss Winnifred Shaw Harrison at ‘Dykes’, a cottage on the north side of Henfield Common. Malcolm had his studio in a wooden hut in the garden just to the east of ‘Dykes’. In 1927 a house was built on the site which was named ‘Dykes Studio’; it is now called ‘Camellias’. It was here that he lived with Dr Walter Archibald Probert (1867-1946) a retired physician, and had his studio. In 1928 Malcolm was elected a member of the Manchester Academy of Fine Arts where he showed his work until 1952.

Hilda lived with Miss Harrison at ‘Dykes’, and had her studio in a building at the bottom of the garden bordering on Henfield Common. This building can still be seen in ruinous state when walking along the top of the Common - in a former life it had been the cottage 'Dogham Place', once subdivided into two tiny households in the Victorian era. When Miss Harrison died in 1939 she left ‘Dykes’ to Hilda.

Malcolm was the more recognised of the two artists. He specialised in flowers, for which he is noted, but also painted landscapes, portraits, and did pen and ink drawings. A collection of 31 of his paintings and drawings were exhibited at Arthur Tooth & Sons 155, New Bond Street, London from October 21st to November 7th 1931. He converted to Roman Catholicism in 1943 and died at the Radcliffe Infirmary in Oxford on the 19th August 1954. Hilda died on the 15th September 1959 at Henfield. Both are buried in Henfield Cemetery.

The Tate Gallery, British Museum, and the V & A hold examples of Malcolm's work. In 1966 the Ashmolean Museum put on a retrospective exhibition of 91 of his paintings and drawings, and in 1969 an exhibition of 69 pieces of his work was put on at the Worthing Art Gallery.

The paintings in Henfield Museum (seen below) were done to form part of the 1951 Festival of Britain exhibition staged in the school on Henfield Common. He also painted the scenery for some of the productions put on by The Henfield Players.

by Alan Barwick, Curator

For more on Hilda, see the 2022 article by Rebecca Welshman within her project, Violet and Crimson: Radical Women in the Sussex Countryside (1900-1951).

St Peter's Church at Twineham is a rare early 16th century brick structure with Horsham slab roof and broached shingled spire. As you walk into the porch, glance to your left and you may notice something that looks a little out of place.

Within lies a sombre reminder of the aerial battlefields of WW1 - a temporary grave cross made from the propeller of an aircraft, brought over from Esquelbecq Military Cemetery in France. It memorialises Captain Eric Horace Comber-Taylor, K.I.A. on the 16th of June 1918, at the age of 29.

Born in June 1889, ​the son of Mr. William Overton Comber-Taylor and Mrs. Ida E. Comber-Taylor of "Furzelands" in Albourne (since renamed "Firslands"), Eric attended St. John's College (now Hurstpierpoint College). After school he became a bank clerk for the National Provincial Bank at Folkestone, moving to 33 Alexandra Street and later moving on to the Hythe branch.

Volunteering in Brighton in September 1914, soon after the outbreak of war, he began as a Private in the Royal Fusiliers, heading to the Western Front over a year later in November 1915. Returning for officer training in March 1916, he began his journey to becoming a pilot of the Royal Flying Corps (RFC), being commissioned as 2nd Lieutenant in August 1916. Switching into the RFC within a few months, he earned his aviator's certificate on 7th December of that year. 1918 found him serving in the newly formed RAF with No. 10 (Reconnaissance) Squadron on spotting and bombing duties. 10 Squadron mostly flew BE2s well suited to their recce role, but for about 4 months from June 1918, they were supplied with a small number of the Bristol F2b 'Fighter', which Comber-Taylor also flew.

​Artillery observation or 'spotting' was an unexciting, but necessary job. It involved flying within a small area for extended periods, reporting back to artillery posts via radio transmitter as to the impact of their volleys until they were zeroed in on their target. While the artillerymen on the ground couldn't radio the aircraft back, they could relay simple acknowledgements or queries with fabric laid out on the ground or other visual signals. The task could be quite an arduous one for the pilot and observer, depending on the skill of the particular artillerymen they were directing. However, while it required close attention, the surrounding skies could not be neglected - repeatedly circling artillery spotting aircraft could make tempting sitting ducks for enemy pilots. On occasion, this scenario would be used by Allied pilots who would sit in the clouds above the spotting plane, awaiting the arrival of an opportunistic Fokker or Albatros to take the bait.

​Aerial bombing in WW1 was of a very different nature to WW2. Although larger, specifically designed bombing aircraft had arrived by the war's end and Zeppelins made some costly sorties to bomb from the skies above Britain, most often a few bombs on underslung racks would be dropped from small aircraft like the Bristol fighter of Comber-Taylor at a relatively low height, or sometimes simply thrown from the cockpit. Although accuracy depended on the pilot having the required skill and taking the necessary risks at low height, it was a world away from the massed area bombing to come in WW2.

​On Sunday the 16th of June, he lined up his only recently delivered Armstrong Bristol F.2B (C967) for take off from Droglandt aerodrome. A few miles north west of Poperinghe, he and his Observer, 2nd Lt. G. A. Cameron were scheduled for an artillery observation mission. Sadly, on take off, the engine immediately failed, causing the aircraft to stall. Whether due to a mechanical issue or due to Comber-Taylor not being familiar with the performance of the type, he was killed in the ensuing crash, while Cameron survived with serious injuries. Unfortunately such events were not uncommon, although perhaps more tragic than as a result of enemy action. Returned, the wreck of C967 was struck off charge as unrepairable four days later.

Eric's father placed the battlefield cross at Twineham Church, having had it returned from France when the cemeteries were formalised with stone markers in the 1920s. Around the 2000s, it was apparently moved from its original location outside, to within the porch. The original inscription reads: 'R.I.P. CAPTAIN E. H. COMBER-TAYLOR RAF KILLED IN ACTION 16/6/18'. An inscription added to mark the return reads: 'PROPELLER CROSS FROM THE GRAVE OF HIS SON ERIC HORACE ESQUELBECQ MILITARY CEMETERY FRANCE'. The memorial may possibly be made from the propeller of Comber-Taylor's own crashed aircraft itself; however most Bristol Fighters in service had two bladed propellers rather than four. The grave is now marked within Esquelbecq Military Cemetery, Plot III, Row B, Grave 20, with the same personal inscription noted below. He is also named on the Woodmancote war memorial.

At the red brick church at Twineham, a brass plaque is mounted within on the north wall, near the pulpit, and reads: 'IN MEMORY OF AN ONLY SON/ CAPTAIN ERIC HORACE COMBER-TAYLOR/ FLIGHT COMMANDER ROYAL AIR FORCE/ KILLED IN ACTION IN FRANCE JUNE 16TH 1918/ LOVED BY ALL FOR HIS GENTLENESS AND QUIET BRAVERY'.

Article by R. S. Gordon, February 2017. This updated version was published December 2020. Additional background information provided c/o Adrian Vieler.

References
​
​- CWGC: https://www.cwgc.org/find-records/find-war-dead/casualty-details/25099/ERIC%20HORACE%20COMBER-TAYLOR/
- Airhistory: http://www.airhistory.org.uk/rfc/files/names_combined_C.txt
​- Great War Forum: https://www.greatwarforum.org/topic/158755-no-10-squadron-rfcraf/
- Imperial War Museum: https://www.iwm.org.uk/memorials/item/memorial/16776
- Natwest Group Remembers: https://www.natwestgroupremembers.com/our-fallen/our-fallen-ww1/c/eric-comber-taylor.html
- RAF Web: https://www.rafweb.org/Members%20Pages/Casualties/1918/Casualties_1918_C.htm
- Roll of Honour: http://www.roll-of-honour.com/Sussex/Twineham.html
​

 
​Mudlarking Requirements
​
Please note: in order to go mudlarking in London, a Thames Foreshore Permit must be obtained from the Port of London Authority. Check their website for full details. Digging, scraping, and metal detecting are restricted or prohibited in some areas. All objects which are 300+ years old must be reported to the Museum of London for recording on the British Museum's Portable Antiquities Scheme.

Introduction

Imagine digging a deep hole and finding a beautiful, perfectly preserved medieval knife (Fig.1). Now imagine collecting 860 medieval and post - medieval knives while mudlarking along the River Thames. That's exactly what veteran mudlark, Graham duHeaume, has done during his 16 years of searching along the foreshore in London! Graham, who turns 83 years old this year, has amassed an astounding collection of historical artefacts, some of which are on display in various museums around Britain. His passion for mudlarking was sparked back in the 1950s when he heard Ivor Noël Hume speaking on the radio during an interview on BBC Children's Hour. Ivor wrote the legendary mudlarking book, Treasure in the Thames and was an archaeologist at the Guildhall Museum (London) as well as being the chief archaeologist and director in the Colonial Williamsburg (USA) archaeology programme. During the radio broadcast, Ivor described how he walked along the north bank of the Thames in the City of London and dis covered medieval pins, clay pipe bowls, pottery sherds, coins and many other artefacts. Graham first heard of the term 'mudlark' on the television show called 'Animal, Vegetable and Mineral'. During the broadcast the noted archaeologist Sir Mortimer Wheeler told the story of Billy and Charley, notorious mudlarks in the 19th century who produced many fake medieval artefacts, claiming they were from the Thames.
​

First Mudlarking Exploits

​In 1969, Graham first tried mudlarking for himself. According to Graham, "I first wrote to the Port of London Authority in late 1969 asking them for permission to search the foreshore. They replied saying that they had no objection as long as I refilled any holes I made. Those were the rules in those days. In early 1970, I convinced a friend of mine to accompany me. Of course, like the early radio broadcast, I came home with pipe stems and bowls, pins, pot sherds and guess what? A broken knife! I was heady with excitement and wanted more. This was a symptom of 'Thamesitis', a condition well known by today's mudlarks. I started with a shovel and it was a case of small excavations, a bit of checking the spoil and wandering around eyeballing at low water. It soon became apparent that you could tell if you were on undisturbed strata. So, the deeper you dug (Fig. 2), the older the pieces. It was a progression through the periods. This was where the ironwork was in exceptionally good condition. I didn't have a metal detector in the early days, that would come later. ​

In 1966 Graham started working at the Natural History Museum and was surrounded by many collectors. As the Head of the Technical Services Department, Graham worked for 5 years at the International Institute of Entomology situated in the Natural History Museum. He was responsible for sorting large collections of insects, illustrating technical papers with insect drawings and the identification of Thysa noptera (Thrips), Graham explains that "Having worked at a museum which is one large collection, it's not surprising that the environment I was in encouraged my desire to be a collector. After searching along the Thames from 1970 to 1986, Graham (Fig. 4) retired from mudlarking and moved away from London. Subsequently, he has spent countless hours carefully recording and documenting each piece in his collection. In this article, Graham gives us an exclusive insight into his extraordinary collection of fluvial treasures from both the River Thames in London and River Avon in Salisbury. ​

Philip Hedgcock died in November 1903, but in the preceding few years he had worked out an agreement with what was likely to have already been one of his main customers, the Brighton Corporation (forerunner of the council). The Brighton Borough Surveyor and the solicitors acting as Trustees to Philip's will had agreed that the sandpit, equipment and associated agreement with the railway would go on long term (35 year) lease to them at £600. As well as any profit going to the Trustees, a sixpence royalty per cubic yard of sand extracted would also be charged until the Corporation paid the sum off and took full ownership! From New Year's Eve 1905, the lease on the 'Mill House Sand Pit' became active. Having previously been the customer, the Corporation was now its own manager and supplier, with much of the sand going straight towards the 20th century expansion of the city of Brighton.

By 1909, the pits, along with the tramway, had expanded towards Windmill Lane where the windmill's long overwatch of the Downs had recently ended. Occasionally, if Bill or another of the labourers were watching carefully enough, the pit would reveal secrets of the area's past. Truly ancient pygmy flints from the Mesolithic era saw the light, painting pictures of long ago groups of hunter gatherers congregating on this high point knapping their tools, surrounded by the untamed wild. This many millennia before the idea of nations, settled villages or arguably even the idea of the individual as we know it had arisen. Evidence of later activity came too - Roman pot, perhaps last used by an inhabitant of the province of Britannia, surveying the tamer lands of the coastal strip from what would many centuries later, become Windmill Hill. At their back, the vast Forest of Anderida stretched from the edge of whatever name the limited settlement where Henfield now stands once had, almost to the capital at Londinium.

By the arrival of the 1930s, the pit was largely worked out. The last act came just before the Second World War when the field east of Windmill Lane was mechanically excavated from 1935-8, leaving a large pit and steep drops on both sides of the old, already sunken Windmill Lane. The north part of this new pit was then initially rented by the aptly named Greenfields for market gardening, with the south rented by David Stephens who ran a sawmill there. The pit is well evident today and now home to the house 'Sandpits'.  An afterlife for the old hand worked pits came in the form of allotments to the south and a chicken farm to the west of the site, active until the removal of the railway in the 1960s - the foundations of the chicken huts are still well evident today.

In recent decades, the former pit has returned to nature. With woodland having grown up across the site - the clamour of industry once having arisen, has now receded.

R. S. Gordon, 2020 

References
- Barwick, A. & Carreck, M, Henfield: A Sussex Village (Chichester, Phillimore, 2002) 
- c. 1912 photo series (held by Henfield Museum)
- Census returns
- Old Mill House investiture, 1907 (privately held)
- Oral recollections
- Historic Ordnance Survey maps c/o the National Library of Scotland.
- West Sussex Historic Environment Records: MWS3343 & MWS878

​Along with the leading image above, these photos have been suggestively colourised and in some cases enhanced, as indicated by the bottom left corner graphics. The first set of five photos was taken c. 1912 and were donated to the museum by a grandson of Bill Carter (licensed under CC BY-NC-SA).

This post mill was most likely first erected at some point in the 17th century - it probably takes a position as the second oldest of the Henfield windmills with another noted as existing in a field near the house 'Cannons' by 1575. Several 17th century sources refer to what is most likely to have been the mill on this prominent site, although it is not known when the Cannons mill ceased operating. For example, the Commonwealth Survey of 1647 refers to notable local landowner John Gratwicke of Shermanbury holding 'the Windmill house and lands'. The mill was definitively featured on Budgen's 1724 map of Sussex and also features on Yeakell & Gardner's 1778 map of the county, being a notable Henfield landmark for generations. But this was only a continuation of use of an ancient site, with finds of Mesolithic pygmy flints having shown that hunter gatherers once lived and worked at this high vantage point. It was commonly known as 'Henfield Mill' before the arrival of the 'New Mill' on the Common in around 1820, after which it tended to be known as the 'Old Mill' or 'Nep Town Mill'. 

A post mill body or 'buck' would be rotated on its post to allow its sweeps to face the prevailing wind direction - woe betide a mill facing the wrong direction in a gale! This meant that millers or assistants needed to be ready to turn the mill at a moment's notice if the wind got up from a new direction or if a storm arrived in the night. The turning pole with wheel attached at back to ease the job of rotation can be seen in the photos. Newer mills such as the Henfield Common windmill (built in 1820) were updated with fantails, which on post mills like these were attached to the ground wheel and automatically rotated the mill to face the wind direction. The veteran Nep Town miller at this time, Robert Loase, ran the mill and associated farm where his wife Mary ran the dairy. Shortly prior to the announcement of the new mill, he had recently had his worst year in a quarter century milling - so quite what came to mind when he heard the news of the upcoming competition may not bear repeating! As with many trades of the day, the fortunes of milling could turn as easily as the sails of the mill itself. Robert had willed the property to his daughter (via her husband), However, on his death, a £400 debt to local landowner (and botanist of note) William Borrer was still outstanding and Mary had no choice but to sell the dairy farm - the mill however, was kept in the family for now.

The characterful c. 1865 painting in the gallery below harks back to an earlier era in the windmill's history. By Nehemiah Vinall, it shows the mill when still active - perhaps the bearded sawyer shown was the miller of the day. It links into interesting and tragic events in the mill's history and it is suggested he painted it due to a family connection. His great great grandfather William Vinall (the Elder) had been a miller and Henfield churchwarden in the latter 18th century. His son - and Nehemiah's great grandfather William Vinall (the Younger) was also Nep Town miller. One sad and dramatic day in 1795, he was drawn into the milling machinery and killed - a stark illustration of a time when workplace safety was largely an individual responsibility.

With the set price Corn Law debates of earlier in the century becoming a distant memory as free trade and large industrial interests won the day amidst the increasingly corporate and globalised industrial scene, small scale local production of the sort offered by Henfield's two windmills became less and less viable. Long time journeymen millers like James Randall originally worked at the Nep Town Mill, but switched over to the new mill on the Common as demand was squeezed. There however, his situation did not ease - he was now a widower with six children and a taste for beer. A taste which would ultimately lead to three months' hard labour at Petworth Gaol for embezzlement when it was discovered that he had only been recording some of the daily transactions in the day book, the others in his own purse alone... To make matters worse, direct local competition had arrived in the form of two steam mills in 1860 and 1874 - which would themselves succumb before long to the powerful forces of the wider economy. By 1871 master miller Richard Luff and his wife Harriett were living at the Mill House, with five children and son Richard also being noted as a miller. However, having been a steady source of flour for centuries, the windmill finally went out of use in ~1880 with either Clement Knight or John Sharp recorded as being the last miller (one perhaps gave the mill a brief resurrection). Papers of the time recorded a final drama before the end when a local lad jumped onto a sail, presumably aiming to ride it a short distance. However, his hand became caught and he was unable to dismount in time, being swept up into the air. The sails were stopped, but he fell from some height, luckily surviving, albeit with some bruising and no doubt a great deal of embarrassment. 

Its life of grinding corn over, the mill still provided a fine vantage point over the countryside. For Queen Victoria's Golden Jubilee in 1887, numerous bonfires - between 20 - 30 - were apparently spotted by those watching from its steps. The mill itself was retained as a Trinity House (and village) landmark, but according to de Candole's history of Henfield it finally collapsed with 'a loud crash in a mighty gale' on Friday, February 21st 1908. By the time of the First World War a few years later, a correspondent seeking it out reported very little remaining on site. The hill it stood on is now in many places much reduced in height having been subsequently dug out during the excavation of the Henfield sandpits, with the area now being almost entirely wooded. However, the sandpits did offer a small postscript for the mill - in the same way as the prehistoric flints, Roman pottery was discovered. Perhaps, many centuries before, it had last been used by someone standing atop what would become Windmill Hill, looking across the Roman province of Britannia.

Although going out of use at about the same time, the sole survival of the c. 1820 'New Mill' on Henfield Common for an additional forty-five years led to its having become much the better known of Henfield's mills today. 

R. S. Gordon, 2020

References
Barwick, Alan., Carreck, Marjorie, Henfield: A Sussex Village (Chichester, Phillimore, 2002)
Bishop, Lucie, Henfield in the News (Henfield, Private Print, 1938)
de Candole, Henry, The Story of Henfield, (Hove, Combridges, 1947)
Colgate, E. J., Henfield's 19th Century Egg Basket (Winchester, George Mann, 2020)
Budgen's Map of Sussex, 1724
Yeakell & Gardner's Map of Sussex, 1778
Census Returns
Sussex Mills Group
Henfield Museum records
West Sussex Historic Environment Records: MWS3343 & MWS878  

The limited number of known photographs of the Nep Town Mill are shown here (along with the leading colourised version in the photo above). This contrasts with the large number of surviving photographs of the 'New Mill' on the common.
​
(Images from the Henfield Museum collection licensed under CC BY-NC-SA).

​An account by Peter Bates​
​
When we came to Henfield in 1969 the residents of Hole Farm Studio at Woodmancote were the sculptress Fredda Brilliant with her husband, film maker and translator, Herbert Marshall. Fredda sculpted many of the great figures of 20th century history, including Mahatma Gandhi and J. F. Kennedy. Her most famous statue, a 12ft bronze image of Mahatma Gandhi, stands in the centre of London's Tavistock Square. The project for the statue floundered and was saved in 1966 when the Labour Government stepped in with a grant of £4,000 towards the cost of £9,500.
 
I remember giving them both a lift home after a jumble sale and being shown round the vast collection of small and large statues that there were in and around her studio. In the 1930s the couple lived in Moscow where Fredda, with no formal artistic training, cast in bronze many Russian film makers and authors, including Sergei Eisenstein and Anton Chekhov. She also sculpted Molotov for the Soviet Government.
​
Fredda Brilliant, who died in 1999 aged 95 in Illinois, USA, was born into a Jewish family in Lodz, Poland. The family emigrated to Australia where Fredda became an actress and continued to act after emigrating to America in 1930. She also worked there as a scriptwriter and singer. She married Herbert Marshall in 1935 and they came to England in 1937, after their Soviet sojourn, managing to leave while the going was still somewhat good. After the war, in 1947, she played the lead opposite Michael Redgrave in Thunder Rock in London's West End, directed by her husband. 
 
From the late 1940s Fredda and Herbert spent much of their time in India where she sculpted a whole generation of Indian politicians and he made films for the Indian Government. From the mid 1960s the couple alternated between Illinois, where he was professor of Soviet Film and Literature, her London studio in Belsize Park and the converted barn studio in Woodmancote. Herbert Marshall died at Homelands Nursing Home in Cowfold in 1991.
 
In an obituary in the Independent in June 1999, Patrick Reade writes that Fredda and Herbert returned to Sussex in 1989 and faced a bitter fight to reclaim their home from tenants and lived a very reduced state for many months. Doubtless folk will remember that 'she promenaded around the village of Henfield dressed in long black dresses, tasselled shawl about her shoulders and brilliant headscarf encircing her dark hair and small face - in winter she would wear a fur cost to the knees. With her emotions unleahed, her language let loose and her clothes trailing behind her, she became something of a local legend'.
 
Text by Peter Bates, as first published in the Henfield Parish Magazine, 2020

With pinned back chestnut hair and piercing blue-grey eyes, few could resist the intensity of the gaze - nor the personality to match - of Miss Elizabeth Robins. Actress, writer, suffragist and feminist, in her time a darling of the London literati, a friend of Oscar Wilde, Bernard Shaw and Henry James, she was known in this country as the 'High Priestess of Ibsen'.
​
~

Born in Louisville, Kentucky during a thunderstorm amidst the savage bloodletting of the American Civil War, her father moved the family to Staten Island, New York. A self made businessman and follower of the Utopian socialist policies of Robert Owen, he instilled in Elizabeth the spirit of inquiry and social and scientific scepticism.

From the age of 10, 'Bessie' Robins was largely raised in Zanesville, Ohio by her grandmother Jane, a devout and forthright woman who became her 'touchstone' and strong formative influence. Her father Charles moved around frequently for work and her mother Hannah was often considered mentally unstable, spending the majority of her latter years in an asylum. This was blamed on family marriage to cousins, a hereditary weakness which the family was all too aware of. In fact, all of the Robins children avoided having children of their own as a result. Given a book of Shakespeare by Jane and inspired by seeing Hamlet aged 14, she yearned to start a career on the American stage, despite family reservations and her father initially having had a scientific career in mind for her.

​As a last attempt at distraction from this lure, Charles made the somewhat dramatic, but characteristic move of taking the 17 year old Elizabeth along with him during the summer to his job at a gold mining camp in the Colorado mountains - to be tutored by him and to learn more of nature. Although these skills were to come in useful later, she was not dissuaded from the theatre and a little later realised that her father did not truly have the money to send her to college anyway. Boldly, on 24th August 1881 she left for New York at the age of 19 with little of her own money and few contacts. A striking and perhaps crucial exception to this was her mother's cousin, Lloyd Tevis. The wealthy President of the Wells Fargo bank, her mother arranged a $500 loan from Tevis, who would also prove a future saving grace in an era when members of companies would have to fund such things as costume entirely themselves. Payment for acting and elocution lessons as well as direct loans to her theatrical troupe later resulted from his promise to be her 'good genie and good friend'.

However, money was only one part of the equation. She met her 'first useful dramatic friend' James O'Neill, by chance, as they lived at the same boarding house. After a fruitless tour around agencies, she seized her chance  to join his touring troupe. Her three line debut came on Boxing Day 1881 in the play The Two Orphans, set in Ancien Régime France. Determination and hard graft did the rest. Almost bywords for Robins - or 'Clare Raimond' as she branded herself for the character roles O'Neill cast her in. With O'Neill's company breaking up in early 1883, she joined H.M. Pitt's, choosing this moment of independence to revert to her own name - but, on the advice of her family the more seriously theatrical 'Elizabeth' rather than 'Bessie' was chosen. As the 1880s gained pace, her increasingly large roles soon began to gain attention. One typically favourable notice in the Dramatic Times of June 12th 1882 for her role as 'Rose' in Forgiven remarked that she was 'attractive in appearance, remarkably intelligent and does her work with an artistic discrimination and a natural force that promise much for the future'. Pitt was no doubt pleased, as he had given her the role as a result of a loan arrangement with Tevis. Maintaining such traits in the theatrical life of the time was no easy feat - arduous travel, little sleep, preparation for dress and role, before even reaching the 10 performances a week, usually with no understudy and a written or unspoken contract not to let the company down due to illness.

In August 1883 her choice of career became more secure after she moved to the long established Boston Museum Theatre Company. Pitt had run into financial trouble and been unable to pay his players - Boston Manager R. M. Field had his eye on the talent and Tevis had negotiated a strong three year contract for Elizabeth - $25 per week, rising to $50 by the third year. This was to involve an estimated 200 smaller and larger roles in Shakespeare and modern melodrama. Her debut in front of the refined Boston audience as the heroine Adrienne in A Celebrated Case was a challenge and a considerable shift in gear. Of the many admirers who she was surprised to find now pursued her, a fellow Boston Museum actor, George Parks, had done so with such alacrity, that finally, despite initial personal and family reservations, he succeeded in convincing her to marry in January 1885 - at a secret ceremony in Salem with just one witness. But of course the news quickly got out. As a direct result, Field informed her by letter of her early release from her Boston Museum contract at the end of that season. 

Although Elizabeth had through half a decade of hard work gradually become quite successful, if with very little choice over roles, she suffered multiple personal and public blows as the '90s approached. In 1885, suffering from continuing fears and 'delusions' of violence towards her children, her mother had been placed into 'the living grave' of an asylum where her own Doctor later committed suicide -  Elizabeth felt ongoing guilt about her inability to support her mother personally. In September of that same year, she learned at curtain down one evening that her Grandmother and in some ways the family glue Jane had died. Further, although they were not very close, in November, her sister Una also died from malaria. After leaving the Boston Museum Company she had to rejoin O'Neill's - she saw success in the prominent female role of Mercedes in his very successful productions of the Count of Monte Cristo, including in her hometown of Zanesville where she and production were given rave reviews. But as expected, she found the repetition of the role oppressive and only stayed for the autumn of 1886 - a decision hastened by the drastic setback of a boiler flood ruining all of the expensive and especially fitted theatrical gowns she had had made over the summer for the following season.
​
While there was passion and fondness in her relationship with George, they were often apart due to the nature of the work. He had not matched her consistent success in acting, but certainly had with his insistence on marriage and his level of emotional dependency on her, which she would and could not reciprocate. He, as more of a traditionalist than most in the theatre set of the time, wished for nothing more than to have Elizabeth cease acting and be provided for by a level of success that ever eluded him. In 1886, further struggling with illness which had forced him to stand down from a role, subsequent financial distress, and a general susceptibility to serious depression, George weighed himself down with his theatrical chain mail and committed suicide by jumping into the Charles River. He left a stark and what can only have been emotionally traumatising note, stating amongst expressions of love, doubt and regret - that 'I will not stand in your light any longer.' ​His body remained undiscovered for almost two weeks - when it was found, the tragic case made front page news. Six pages of her diary for the period prior to discovery were torn out, with only the phrase 'usual shuddering dream' remaining as stark testament to that time. George's family blamed Elizabeth for the tragedy and at times she certainly also blamed herself. In addition, allusions and inferences from Elizabeth and several other sources suggest the possibility of an aborted pregnancy around this time, although this is never stated explicitly enough to be completely certain.

Despite this dark time, Elizabeth was nothing if not indomitable and had now built up considerable experience. Before George's death she had attempted to assist their financial situation by boldly going to meet and then gaining a contract to join the foremost American Shakespearean company of Lawrence Barrett and Edwin Booth, both former Boston company men. The latter had long since resigned himself to being equally known as the brother of the assassin of Abraham Lincoln. She had seen Booth perform in her first year in New York, describing his Iago as 'a perfect piece of unrestrained art', so it was a welcome move. They travelled 30,000 miles across the breadth of America from the east coast to the 'wild' west by train, the company as a whole staging 258 performances in 72 venues and ending on the Merchant of Venice in San Francisco. Needing to cut the size of the troupe, Elizabeth's contract was ended, after which she visited her benefactor and mother's cousin Lloyd Tevis, who was for once unable to negotiate her a contract extension. From this largely positive experience she would in 1890 write her first published article: Across America with Junius Brutus Booth.

Having so completed her contracted tour (which she could not have known would be her last in America) and travelled back to the east coast via  Panama, a sorely needed opportunity arose to forge paths afresh. Elizabeth accepted an invitation from her friend the widow Sara Bull and left for Europe in September 1888. To begin, she spent a week sightseeing in London, followed by her one and only visit to Norway, to Lysøen Island - the Island of Light. This was the former home of Sara's husband, the Norwegian composer and proponent of the Romantic movement, Ole Bull. She described the trip there as 'like a dream floating into fairy harbors & seeing shores that fade with day.' and noted that it certainly provided at least a beginning of the needed escape from recent experiences past. Ole's brother Edvard provided a strong welcome, but his 'quiet old wife' in Elizabeth's words, was in fact her first true connection to Ibsen, In her youth, she had worked with him at the Norwegian Theatre at Bergen - founded by Ole Bull. It is not however certain whether any special weight was given to this in their conversations of the time. This experience was both Elizabeth's introduction and her one and only visit to the captivating home country of the playwright she would soon come to be defined by. 

On her return to London, she had telegraphed home to accept a role in New York with a reliable but autocratic actor manager she would certainly not have got along with. But the combination of her striking looks, personality and theatrical intensity quickly won many admirers and stalwart friends for 'Lise' as she would soon become known to friends. Amongst these was the budding Ibsenite Oscar Wilde, then the toast of London, if not yet quite at the peak of his fame. Despite her rather equivocal initial diary description of him as ‘smoothshaven, rather fat face, rather weak; the frequent smile showed long, crowded teeth, a rather interesting presence in spite of certain objectionable points.', in her words many years later, 'he was then at the height of his powers and fame and I utterly unknown on this side of the Atlantic. I could do nothing for him; he could and did do everything in his power for me.'  With encouragement from Wilde and with all too vague promises of a role from theatre manager Herbert Beerborm Tree (to whom Wilde had introduced her), she made the decision to cancel her return steamer and stay in London. Wilde was to remain a friend and enthusiastic attendee of her later productions until his downfall. With her decade of experience, much further effort and initially through the web of social introductions, she managed to find initial steady work before then building a reputation as a leading lady of the London stage through the 1890s. This at a time when actor managers still dominated, many of whom, like Henry Irving - as she discovered to her disappointment - often viewed female parts simply as a visual means of showing dramatic pathos. 
And what of her literal theatrical voice? Elizabeth in fact made several radio broadcasts for the BBC in the 1920s, but unfortunately, typically for the time, recordings were not made. Tree provides a clue, as Elizabeth noted him as saying to her "How American you are, in spite of your voice!". The elocution lessons she had taken had no doubt reduced signs of any American accent she may once have had. Her having some degree of the trained Transatlantic accent of the late 19th and early 20th century might perhaps be a fair guess.
​
As her situation stabilised somewhat, Elizabeth was drawn to the challenging nature of Henrik Ibsen's plays and their radical challenge to societal expectations and gender roles. But she, initially with actress Marion Lea and later the help of her close supporters such as the theatre critic and early Ibsen promoter William Archer, had first to engage in a delicate and frustrating game of diplomacy over the thorny issues of rights, translations and professional pride. Powerful men such as early Ibsenite Edmund Gosse and up and coming publisher William Heinemann were successfully charmed and placated and the path ahead was free. She was now able to organise, manage and produce entire productions independently.
One of her many theatrical and personal admirers was (George) Bernard Shaw - although she rebuffed his amorous advances, the strength of his efforts and her fieriness in resisting them have frequently arisen in recent accounts due to his tongue in cheek later description of her having fended him off in her flat with a gun - but by her own account a prop gun, waved at him theatrically!
After her earlier tragic experience with George Parks and as someone who delighted in never revealing her true self to those who seemed determined to want to discover it, Archer, her stalwart sounding board throughout her time in London, was the one man of her many male admirers that she allowed herself to become truly intimate with throughout the 1890s.
​
​​With the morality of the 'New Woman' being strongly debated among not only avid theatre goers but the wider society of the day, Elizabeth's passion in these roles, drawing strongly upon her own experiences, entranced many. These included the 21 year old Bertrand Russell, who revelling in the rebellious mood of the times, stated that Ibsen's plays 'excited me in a very high degree'. Within a few weeks in the summer of 1893, he had read the plays and gone on to see Robins play Helda Wangel in The Master Builder, Rebecca West in Rosmersholm and the title role in Hedda Gabler. For Russell, Elizabeth's parts were 'embodiments of his own fantasies of being released from the confines and restrictions of his past by a woman unfettered by conformity to tradition.' 

As the 1890s progressed, Elizabeth found the time to supplement her often unsteady theatrical income by becoming a successful novelist, at first under her old pseudonym of C. E. Raimond (until outed by the papers). Novels such as The Open Question drew strongly upon her own experiences both growing up in America and more recently in England. A criticism friends and she herself often levelled was a lack of focus on any single project at one time - nonetheless, her output on all was impressive.

In 1909 Elizabeth met the young Octavia Wilberforce, Great-Granddaughter of William. Elizabeth supported her goal of becoming one of the second generation of female doctors, for which Octavia's father was to disinherit her. The two became lifelong friends, with Octavia coming to live in Henfield with Elizabeth. The First World War was to provide her with much experience of treating casualties and she achieved her goal in 1920. With the driving support of the new Doctor Wilberforce, Backsettown was to be formally set up as a women's shelter in 1927, remaining so for many decades afterwards. It was insisted upon that there be no mention of illness and frequent provision of fresh produce, some grown in the Backsettown gardens and others no doubt sourced from Henfield's many commercial market gardens of the time.

Both women funded and supported women's health services locally including the Lady Chichester Hospital and the New Sussex Hospital for Women. Robins became a familiar (if perhaps remote to most) figure in Henfield and was involved with the formation of the Henfield Women's Institute, where she initially served on the committee of what was then a particularly political branch of a much more political organisation than the WI of today. Virginia and Leonard Woolf were to become friends and visitors of the two women during the inter-war period. Never short of stylish elan, an essential during her acting days and later a useful counter to attacks on 'dowdy' suffragettes, the daughter of the owner of the local bicycle shop nonetheless fondly remembered her frequent visits where she would knit clothes for her dolls. 

During the inter war years, with Backsettown a busy convalescent home, she was largely based in Brighton at Octavia's surgery. Despite declining health, she continued to write articles for magazines such as Time and Tide as well as working on books, both retrospectives and novels. To her distress, shortly after the outbreak of the Second World War, the then almost 80 year old Elizabeth - being an American citizen - was compelled to return to an America she no longer felt at home in by a mixture of onerous wartime 'alien' reporting requirements, the thought that she could advocate more effectively for Britain stateside and ultimately firm advice from the US Embassy. However, she afterwards returned as soon as possible. She had spent the war years working on a comprehensive autobiographical work - tragically her trunks were rifled on the Liverpool docks on her return and the manuscript was never recovered, her legacy suffering as a result. Elizabeth spent her final years in Brighton at 24 Montpelier Crescent, looked after by her long time friend Octavia and regaling visitors with stories of her life and the Victorian stage.

~ Postscript ~

In 1960, a plaque in her memory was unveiled at Backsettown by amongst others, her latter life friends Leonard Woolf and Sybil Thorndike. Famous in her time, her legacy has been partly obscured perhaps by her early theatrical retirement, her long life, and a thirty year hold she put on the opening of her extensive archives in New York. However, the last three decades have seen an increased appreciation, with two biographies leading the way and a spotlight shone upon Votes for Women! during the centenary of the Representation of the People Act in 2018. With the Backsettown convalescent home at Henfield finally sold in 1991, the managing Trust subsequently passed the rights to the Robins papers to the charity Independent Age - a cause Elizabeth would doubtless have supported in struggles to stay productive in the face of health issues in her later years. In 1919, she had written in her diary - 'To be a successful old woman - that's the great achievement.'

It is hoped her story will now be better known in her beloved Sussex too. In 2019, as part of the Horsham District Year of Culture, two new community mosaics were unveiled in Cooper's Way, Henfield, highlighting the village's role in women's suffrage. One shows a violet, both symbol of the suffragettes and a tribute to the Misses Allen-Brown, female owners of their own famous violet nursery and suffrage supporters and friends of Robins. The other shows Backsettown, with the waving figure of Elizabeth as suffragette standing in front.

By R. S. Gordon, 2020

Research into Elizabeth always reveals many fascinating sketches of her life and times - it is hoped to release further articles focused on specific aspects in the future.

For a further selection of restored and colourised photos of Elizabeth, see her page in our 'Henfieldians Past' section.