The Retreat Letters Project: The Proctor family

Many researchers into the history of mental health treatment will already be familiar with the Borthwick’s Retreat Collection, an extensive archive from York’s Quaker mental health asylum, established in 1796 by Samuel Tuke.[i] But the collection should also be helpful to many others, including social, family and Quaker historians. Of particular interest to this group will be the Retreat’s incoming correspondence. Following a recent update to the catalogue, summary information on the 12,000 letters the Retreat received between 1795 and 1852 is now available online.[ii] Each letter can also be viewed online at the Wellcome Collection (bundled by year).[iii]

The Proctor family’s story of coping with mental illness in the family is one of many told in these letters.

An 1826 envelope from the correspondence series

 “Stockton 24 / 3^mo 1826

Respected Friend,

I duly received thy acceptable favor this morning and it has indeed afforded us the greatest satisfaction to find that our dear son appears pretty comfortable and I trust that thro’ divine favor he will in time be restor’d to us. … … …

Thy Assured Friend, John Proctor”[iv]

John Proctor was plainly relieved to hear from the Retreat’s Superintendent that his son, also John, was settled and was optimistic about his chances of recovery. John Jnr had suffered from a fear of personal injury since he was twelve. Now, aged twenty-six, things had come to a head. His phobia was causing him such severe depression that after a particularly severe attack, his Quaker parents sought help from the Retreat in York.[v]^,[vi],[vii]

Sadly, despite many years of care and treatment, John never fully recovered from his mental anguish. Over his adult lifetime, John Jnr was discharged from the Retreat several times, only to be re-admitted following the recurrence of his symptoms.

Throughout that time, his family’s support and feelings for their son are evident in the letters they sent to the Retreat. In fact, the Proctor family were prolific writers, and their letters chart the highs and lows of their experience.

Many of the letters are very practical, and his family often advised the Retreat of parcels of food or clothing they were sending to make John comfortable. New coats were especially popular! Others share items of news that may interest him, such as family events or alerting him to their upcoming visits.

Letter from Jane Thomas to Thomas Allis, 1836

But the letters also reveal tensions. Two years before admission to the Retreat, John had married Jane Spence, and she often disagreed with his parents on his treatment. On one occasion in 1836, Jane was keen to see him return home, where she felt he would be less anxious and have a better chance of recovery.[viii]

His parents, especially his mother, Mary, disagreed with this, although later said there had been a misunderstanding.[ix]^,[x] On another occasion, John Snr was so frank that he ended his letter asking that it be burnt after perusal.[xi] Several more bursts of letter-writing can be found lobbying the Retreat regarding John’s discharge. Such family disagreements were not limited to the Proctors. For instance, in 1848, Isaac Wright asked that his sister-in-law Elizabeth Wright be prevented from meeting her husband and removing him from the Retreat.[xii]

Most letters in the Retreat collection use a distinctive writing style; kind, considerate, humble and supportive. However, the writer rarely gives you a glimpse of their underlying emotions, making you wonder, “what are you really thinking?” or “how do you really feel?”

Long-term correspondents like the Proctors occasionally relax their writing style, giving you a glimpse

Letter from John Bright to John Candler, 1845

of their underlying feelings. For instance, in her later letters, Jane’s writing strays beyond a ”functional” exchange about clothing and provisions. Instead, you get a deeper insight into her feelings for John and how his absence affects her. In a touching letter addressed to her “dearly beloved Husband”, Jane tries to lift his mood, assuring him, “thou are not forgotten, my love”.[xiii] She talks in poetic terms about the arrival of good weather, recalling his enjoyment of hay-time and how he used to like its “getting up”. “I hardly know what is sweeter than new made hay”, she says. In another letter, Jane is remarkably open with John Candler, the Superintendent at the time.[xiv] She explains that she had been unaware of John’s condition when they married and that “the sympathy of our friends is a mitigation”. However, she now finds herself quite embittered at their fortune and feeling “hardly [unfairly] dealt with in 19 years out of not quite 21, being so bereft”.

John died at the Retreat aged fifty-two, and Jane sent her final letter in July 1852, ending twenty-six years of correspondence.[xv]

Letter from Proctor and Son, 1849

The archive’s incoming correspondence is a fantastic research resource and is not limited to family letters. For example, there are regular letters from a wide range of Friends’ Meetings across England, sending subscription payments to support the Retreat’s work or paying the accounts of Friends they have placed there. In addition, prominent Quakers often made contact. Sometimes they requested admission for Friends in need or sought advice on setting up and running their own asylums. Occasionally they engaged in discussion about important topics of the day. For example, the 1845 Lunatics Bill prompted a flurry of letters expressing concern that the introduction of new commissioners could interfere with the smooth running of the Retreat.[xvi]^,[xvii]

The correspondence also gives a flavour of life in the early nineteenth century. For example, visitors

from afar often explained the types and routes of transport they would take, whether road, river, or rail. In addition, the postal options appear to be very efficient, with many letters being received the next day. Some even arrived on the same day!

There are letters relating to running the Retreat, such as introductions for potential employees or purchasing goods and provisions. The records show that the Retreat was a big consumer of cheese. It received regular deliveries from Proctors of Selby, transported by steam packet along the Ouse. A typical order could amount to 4cwt of cheese, costing the equivalent of £1,400 in today’s money.[xviii]

The catalogue has been created by a small team of volunteers whose work has not always been plain sailing. They developed a skill in reading a wide variety of handwriting – some of which appears to have been done under candlelight using a broken ink quill! The writing of William Nainby is particularly challenging, closely followed by the cross-writing some authors used as a way of saving precious paper.[xix]^,[xx]

If you’re interested in finding out more about the Borthwick’s Retreat Collection, information can be found at https://www.york.ac.uk/library/collections/named-collections/retreatcollection/

Index of Incoming Correspondence https://borthcat.york.ac.uk/index.php/ret-1-5-1

Images of Incoming Correspondence https://wellcomecollection.org/works/g522gcy8

Written by Paul Wainwright, Retreat Letters Project volunteer

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[i] The Retreat Collection https://www.york.ac.uk/library/collections/named-collections/retreatcollection/

[ii] Incoming Correspondence subseries RET/1/5/1 https://borthcat.york.ac.uk/index.php/ret-1-5-1

[iii] Wellcome Foundation Images https://wellcomecollection.org/works/g522gcy8

[iv] Incoming Correspondence RET/1/5/1/30 (1826) https://wellcomecollection.org/works/ve2d7urv/items?canvas=102

[v] Admission Register RET/6/2/1/1 https://wellcomecollection.org/works/en2eated/items?canvas=68

[vi] Admission Papers RET/6/1/1 https://wellcomecollection.org/works/kvxqcqmq/items?canvas=683

[vii] Case Book RET/6/5/1/1A https://wellcomecollection.org/works/fe9cszjf/items?canvas=331

[viii] Incoming Correspondence RET/1/5/1/40/5/22 (1836) https://wellcomecollection.org/works/kqd8cjsv/items?canvas=399

[ix] Incoming Correspondence RET/1/5/1/40/6/8 (1836) https://wellcomecollection.org/works/kqd8cjsv/items?canvas=472

[x] Incoming Correspondence RET/1/5/1/40/7/2 (1836) https://wellcomecollection.org/works/kqd8cjsv/items?canvas=588

[xi] Incoming Correspondence RET/1/5/1/40/5/1 (1836) https://wellcomecollection.org/works/kqd8cjsv/items?canvas=429

[xii] Incoming Correspondence RET/1/5/1/51/9/14 (1848) https://wellcomecollection.org/works/cxhgsxx2/items?canvas=759

[xiii] Incoming Correspondence RET/1/5/1/48/7/16 (1845) https://wellcomecollection.org/works/aqsvr7j8/items?canvas=819

[xiv] Incoming Correspondence RET/1/5/1/48/5/17 (1845) https://wellcomecollection.org/works/aqsvr7j8/items?canvas=637

[xv] Incoming Correspondence RET/1/5/1/55/8/23 (1852) https://wellcomecollection.org/works/tndc2npc/items?canvas=689

[xvi] Incoming Correspondence RET/1/5/1/48/7/2 (1845) https://wellcomecollection.org/works/aqsvr7j8/items?canvas=741

[xvii] Incoming Correspondence RET/1/5/1/48/7/20 (1845) https://wellcomecollection.org/works/aqsvr7j8/items?canvas=767

[xviii] Incoming Correspondence RET/1/5/1/52/5/11 (1849) https://wellcomecollection.org/works/pqquupp6/items?canvas=343

[xix] Incoming Correspondence RET/1/5/1/60/6/20 (1857) https://wellcomecollection.org/works/zmzwux7n/items?canvas=543

[xx] Incoming Correspondence RET/1/5/1/44/2/17 (1840)  https://wellcomecollection.org/works/pcu4jg6p/items?canvas=175

Slow and Steady Wins the Pace

The renowned ecclesiastical architects Pace and Sims were prolific. Both were involved in a wide range of projects, from restoring Castle Howard, to designing memorials at churches and cathedrals, and constructing imposing new buildings such as Keele University chapel. During our work experience project, we unfortunately did not see any of the plans for the new builds. However, we were lucky enough to get the opportunity to catalogue renovations and extensions, which showed their subtle skill in combining modernism with medievalism. Indeed, Durham University’s Palace Green library bears witness to this. Another aspect revealed through the archives is the careful, methodical way in which they worked; it often took many years for projects to be completed for they were known for working at a slow pace. In fact, George earned the nickname ‘Snail’s Pace’ for this very reason! 

The firm became one of the Europe’s most productive ecclesiastical architecture practices in Europe, with over 700 churches and cathedrals being built, extended, and updated by Pace and Sims. This is certainly reflected in the Borthwick’s collection. Whilst they did work for larger and more famous churches such as Armagh and Newcastle cathedral, the majority of their work focussed upon the parish church, like St Mary’s, Beverley, St Giles’, Copmanthorpe, and St Mary’s, Northchurch. 

St Mary's Northchurch Church Elevation

St Mary’s, Northchurch has an ancient history; the church claims to be one of the oldest in Hertfordshire. It is believed that a Saxon church was on the site and some Saxon stonework can still be seen in the west and south walls. The majority of the building is related to the 13-15th century, which matches the parish church expansion pattern seen nationally, as well as some Victorian additions (a vestry, a porch and a new north aisle). Sims was involved in quite a radical alteration of the interior of the church: the choir stalls and organ were moved from the north transept to the west end of the church. This significantly altered worship as it affected the acoustics and the procession. However, the changes did not end here as a new nave altar was built underneath the crossing. The Victorian interior was thus heavily impacted upon by Sim’s efforts. The simple but robust style effortlessly blends into the sensitive Victorian-cum-Medieval décor. 

Copmanthorpe Church in York has a similarly extensive history with its Roman and Saxon roots. It began life as a Norman single cell church but slowly expanded over time; its plain outside does not continue inside as the elegant beamed roof adds a touch of symmetrical sophistication. St Giles’ church required some more modern features and hence, Sims was called upon. He designed a new vestry and kitchen. Whilst searching through the archive we discovered extensive sketches and photographs of what the interior was to look like as well as being treated to a photograph of the finished product. 

St Mary's Beverley floor plan 1985

 In Beverley stands the beautiful church of St Mary’s, called by Sir Tatton Sykes in the 19th century, “Lovely St Mary’s, unequalled in England and almost without rival on the continent of Europe!” It has undergone numerous building phases. Indeed, in the medieval period building work was almost continuous. This is reflected in a plan, from 1895, catalogued by us whilst on the placement, which dates each section of the church. Both Pace and Sims worked on the Beverley church but the archive contains plans from Leslie Moore and John Bilern too. Therefore, we were able to see the metamorphosis of the interior and exterior over a period of 100 years. The new roof for the south chapel in its rich blue effortlessly works alongside the stained glass and other decorated ceilings. 

The Pace and Sims archive therefore allows the transformation of churches to be investigated, illluminated, and inspected. By just briefly analysing three parish churches, it is possible to notice how much of an impact, whether subtle or sublime, both architects made upon the ecclesiastical fabric of England.  

This post was written by students from the University of York on a work experience placement.

You can read more about the experience of earlier students on the work experience programme and the Pace and Sims Archive at Keeping Pace and Keeping up the Pace (and Sims) at the Borthwick. 

Keeping Up the Pace (and Sims) at the Borthwick

Death and Dairies at Castle Howard
 

Our week began with a brief introduction and tour of the Borthwick Institute’s archives and stores. The collection is massive and the works are housed in strong rooms which we were certain could survive the apocalypse! The collection varies from maps and photographs to books, wills, church registers and architectural plans which is what we focused on for the week. The Pace and Sims collection includes plans and sketches to English landmarks like Castle Howard. The works we were assigned are relatively contemporary, primarily dating between the 1960’s and the 1980’s with our most recent plan dating to 1999. The plans include designs for everything from entire buildings to notice boards and toilets. We even came across a full size sketch of a pillar in the Castle Howard Mausoleum which, at nine meters, stretched the length of the large Lifelong Learning Room!

Loooong drawing of pillar at Castle Howard Mausoleum

 The sketch was not very detailed and we believe this was because the architect may have been attempting to get a better idea of the height of the column.

The collection also included sketches of the Mausoleum on the grounds, originally designed by Nicholas Hawksmoor. These photos are copies of the original plans by Hawksmoor. These were interesting in that they included a stamp and address of where they were kept as well as, presumably, a signature from the person who kept or collected these plans. With these copies we were able to see the differences and similarities between older and more modern plans. Here, we observed likenesses in handwriting between eighteenth-century architects and twentieth-century architects. Most interesting was the stamp from National Buildings Record Office in Swindon. This was interesting as we discovered that the office in Swindon housed records and archives from various collections that were thought to be at risk from bombing during the Second World War. 

Memorials and Mysteries at Newcastle Cathedral

Amongst mountains of architectural plans emerged designs in a language which we could not decipher….Danish! These were plans for the organization of text for Danish memorials at St.Nicholas Cathedral in Newcastle at which Ronald Sims was Cathedral Architect for a time. In researching, we discovered that the memorials are still displayed at the cathedral in recognition of the Danish merchant navy which made Newcastle its home port during World War II (see http://www.danskekirke-newcastle.co.uk/kirke/uk/window-uk.htm for more information).  We found these plans to be poignant as we were not expecting to handle documents for World War II memorials, especially to those outside of England.

The plans for Newcastle Cathedral also included sketches for a stolen noticeboard which was replaced in 1999. It was interesting to watch the progression of designs from the original board to the creation of a new board. This included many revisions which allowed us to experience the evolution of something that is seemingly insignificant.

 A Canadian in England!

In the first roll of plans from Clifton Campville Church we found plans for memorials and various inscriptions for the Confederation Centre of the Arts in Prince Edward Island. We have tried to make a connection between Prince Edward Island, Canada and Clifton Church in Staffordshire (a tiny parish in English midlands) but have not been able to find its relevance. This was particularly significant for one member of our team as she is a Canadian. It was fun to come across something that was tied to Canadian heritage and history within mounds of rolls of English architecture.

Detail of the Canadian inscription

This week has been particularly useful and full of surprises. Not only were we given the opportunity to handle and catalogue archival materials but also learned how to clean these sketches (rolls from the Atkinson Brierley drawings). We were given the opportunity to view and handle doodles, names and scribbles within the margins of these plans giving us insight into the personality of the architect and the day-to-day management of a major architectural firm.

One of our volunteers in action!

This post was written by students from the University of York on a work experience placement. 

You can read more about the experience of earlier students on the work experience programme at Keeping Pace

The Tuke Work Experience Project, Part 3: Views of York

We are finishing off the series of Tuke work experience blog posts with an entry from Alex and Martha who looked at some views of York, and the Tuke house.

We start with some views of York from Alex:

One of the most interesting items I have had the opportunity of handling this past week has been a collection of 10 photographs of the City of York c.1860. Seeing photos of instantly recognizable sites dated over 150 years ago is absorbing. The collection of photographs had been selected to be included in the memoir of Samuel Tuke, 1784-1857. It is of great interest that these particular images were chosen to best represent York and Samuel Tuke’s life, suggesting they were just as important to the local area then as they are now.  Samuel was heavily involved in The Retreat, a mental health hospital in York that still survives today, just 5 minutes from The Borthwick Archives. The Retreat was established by Samuel’s grandfather William Tuke, and the Borthwick holds most of their records.

Collection - Tuke 79 – TUKE/2/2/6/3/6

Above we can see a photograph of Micklegate Bar, a photograph of a print of Ouse Bridge, a photograph of 8 figures in front of Ackworth School, a photograph of the south side of York Minster, a photograph of a print of Walmgate Bar, a photograph of Lindley Murray's house in Holdgate, a photograph of a print of Chichester Cross, a photograph of the tomb of Archbishop de Gray in York Minster, a photograph of a sketch of the Shambles in York, and a carte de visite photograph of Samuel Tuke.

Martha found some photographs of the Tuke's house in Lawrence Street:

Whilst going through the Tuke archives one of the most fascinating things I discovered was in the photography collection. The pictures show where the Tukes used to live in York, and the family’s house was located on Lawrence Street. It is a shame that the house has not been preserved, as it is now surrounded by a busy road, and the beautiful gardens attached to the house have since been filled with an industrial estate. It is sad to think that the many people, who pass the house every day, are unaware of the rich history that it holds.

The pictures show the house and garden in there former glory taken in the 1850s, and we can see members of the Tuke family in the pictures. 

Tuke 85 -  photograph of the front of the Tuke's house in Lawrence Street, 1850s Reference TUKE/2/4/1/19/1.

Tuke 85- Esther Tuke in the Tuke's garden at Lawrence Street, ?1850s Reference TUKE/2/4/1/19/3

To read more about our student volunteers' work with the Tuke archive, please see Growing Up Tuke and Who Do You Think You Are Kidding, Mr Bonaparte?