Horsham Museum

Horsham Museum
Established	1893
Location	Causeway House, Horsham
Type	Heritage centre
Curator	Jeremy Knight
Website	Horsham Museum

Horsham Museum is a museum at Horsham, West Sussex, in South East England.^[1] It was founded in August 1893 by volunteers of the Free Christian (now Unitarian) Church and became part of Horsham District Council in 1974. It is a fully accredited museum and serves both Horsham and its district with the support of the Friends of Horsham Museum and an active volunteer base.

Contents 1 Location 2 Exhibits and collections 2.1 Galleries 3 Museum projects 4 See also 5 References 6 External links 7 Further reading

Location

Horsham Museum has been situated in Causeway House since 1941, but prior to that the collections found a home in the basement of Park House, North Street in 1921 and before that anywhere the artefacts could be stored. The Museum occupies the entirety of Causeway House as well as a purpose built archive, a separate display and education building, and a reconstructed barn holding agriculture-related items. It also uses the nearby White Lion Barn for off-site storage.

Archive

The archive building at Horsham Museum was built after the arrival of the current curator, Jeremy Knight. He persuaded Horsham District Council to construct the store to properly hold the Albery collection. He discovered that the documents were considered to belong to the Horsham Museum Society by right but in the course of research, and the discovery of the will of William Albery, it became apparent that the documents belonged to the town, not the Museum Society. This meant that they could no longer be kept locked away, as they had been, in a sixteenth-century chest. In return for the archive store, a ground floor office was given over to the Horsham Council that become the Tourist Information Centre (previously destined to be a fine and applied art gallery). This gave the council an effective Tourist Information Centre.^[2]

Library

The Curator's Library has over 2,000 books on the Museum's collections and can be consulted upon request. The library also features some small displays, including Edward Bainbridge Copnall's (born 1903–died 1973) oil painting entitled 'Whither.' ^[3] It is an unusual, allegorical painting of a funeral, set in a Horsham graveyard. An oil on canvas painting by British painter Robert Wallace Martin (born 1843–died 1923) of Captain Thomas Honywood, in 1869, can be seen in the library. In this painting Honywood is shown in his uniform as a Captain in the Horsham Volunteer Fire Brigade. This portrait was presented by the townspeople in recognition of his services to the Brigade. In the 1881 census, Honywood gave his occupation as "Captain of the Horsham Volunteer Fire Brigade". ( Honywood had been appointed Captain of Horsham's Volunteer Fire Brigade sometime in the early 1860s ). Thomas Honywood took an early interest in photography and is thought to have taken the earliest known photographs in Horsham.^[4] A number of clocks including a beautiful, working Striking Vienna regulator style pendulum wall clock can be viewed also.

Stairwell

On the landing hang works of art from the Museum's extensive painting collection, featuring a large eighteenth century portrait of Charles Eversfield and his wife of Denne Park House, along with portraits of Horsham worthies and characters.^[5]

• In the painting Eversfield is giving his wife some violets which signifies fidelity, love and honesty. It is likely that the picture was cut down at some time as it was unusual to stop just below the knee. The picture remained at Denne House until the last of the Eversfields died out and the house was sold off for flats just after World War II. The picture was bought following a fund raising campaign in 1948. It may have been painted by more than one person: someone who specialised in clothing, another in drapes, and so on, with perhaps the great court painter Sir Godfrey Kneller painting the heads, for it was the portraits that gave the sitters their identity, everything else is rather formulaic. There is nothing in the background to identify it as Denne House, so the picture was probably painted in a London studio rather than the artist travelling to Horsham.
• Under the portrait of Charles Eversfield and his wife (to the bottom left) a painting of a Young Boy, c.1820 can be seen. Unfortunately nothing is known of the boy. The painting was in the museum collection by 1988 but it is not known who donated it. From the style of clothing worn, the painting dates to around 1820 or 1830.
• To the right of the painting of a Young boy is an oil on canvas painting of an Old Fisherman by Edith Harms. It was painted between 1920–1930.^[6] Edith Margaret Harms worked in Horsham, Sussex 1897-1932.^[7] Edith Harms was the art teacher - or as recorded in the County's Educational year book, "Drawing Mistress" - employed at Horsham Girls School in 1909/10. She was a member of Horsham Art School, which grew out of the art classes established by the Horsham Mutual Improvement Association in 1881. Some 10 years later the School moved to Hurst Road.
• Next to the Old Fisherman is a portrait of a gentleman. It is unclear who the gentleman is, who the painter is and when the portrait was painted.
• Two oil paintings of a Husband and Wife, c.1840 can be seen opposite the portrait of Charles Eversfield and his wife though unfortunately their names are unknown. They are though typical of the type of portrait painted by jobbing artists who would tour country towns offering to paint portraits before the age of photography.
• To the top left of the oil painting of the Wife is the portrait of Joseph Marryat. Artist unknown.^[8] In 1808 Joseph Marryat became MP for the Borough of Horsham. His son became the celebrated novelist "Captain Marryat." He was a very wealthy West Indies merchant who petitioned Parliament against the abolition of the slave trade. He had stood as MP for Horsham back in April 1807 but was defeated, so appealed and it was while the appeal was going through the motions that he petitioned Parliament. In February 1808 Marryat won the appeal and became one of Horsham's two MPs, though by then the campaign for the Abolition of Slavery had been successful.
• To the left of Joseph Marryat's portrait is the oil on canvas portrait of Reverend George Marshall by unknown artist c.1820.^[9]
• Two portraits of Henry Michell (father), born 1809 died 1874, and Henry Michell JP (son), born 1843 died 1908 can be seen. In 1834 Henry Michell moved to Horsham to take over a brewery run by Mr. Allen, who would later be come famous for one of the largest tax frauds schemes in British history, where he hid barrels of beer to avoid paying tax. Henry Michell had previously worked in his father's Steyning Brewery and he made a success of brewing in Horsham, buying up a number of pubs along the way. Michell also got into brick making, often linked to the pub trade as the brick makers drank a great deal and it was a seasonal business, and property development, buying the old Horsham gaol which he then demolished and sold the salvage to the railway company to make various bridges and embankments, the gas and water industry as well as the local church, all of which he recorded in an autobiographical account he wrote towards the end of his life. He and his family lived in the Carfax. The portrait of the son was painted by 'J.B.' dated 1905.
• Horsham Pie Men by F. Burstow, c.1850 is the last painting to be viewed on the stairwell. The painting is of John Hamilton-Smith and Charles Price. Charley Price was a pie man who would today be known as a 'character,' with all that entails. Henry Burstow, in his well known book Reminiscences of Horsham remembered Charley thus: "Price was an ugly little brass-whisker'd man with a club foot; dressed in a pot hat, red neckerchief, white smock frock, drab breeches and white stockings; on his good foot he wore a low shoe with a flash buckle; on his other foot he had a thick boot ... (he) used to attend the fairs, markets, club feats in Horsham and the neighbouring villages (with Charlotte Venn aka Cherry Ripe) each with a basket. Price selling pies and cakes, and Venn selling sweetbread, whelks, fruit &c. Charley had a well to do sister who lived in a nice little house in Brighton Road, and when he had drunk all his money he used to replenish by serenading her with such shocking language that she used to throw money out of the bedroom window to get rid of him." Charley was also the last person to be punished in the Horsham stocks as in 1837 the stocks and Pillory were officially abolished as punishment. Horsham stocks were last used on Charley in 1834 and soon after, on 5 November, they were set alight. New stocks were made, but never used and after the abolition they were kept at the south end of the town hall. The painting of the pie men shows them standing in a brick archway with a seat. It is likely that this was the old Town Hall before being re-built.

Garden

The museum garden was, until 1981, a derelict area after many years of neglect. A project run by the Horsham Museum Society (now Friends of Horsham Museum) led by Sylvia Standing was developed to restore the garden to a fit state. For 23 years, Sylvia led the team to restore the garden before retiring in 2004, allowing a team of volunteers to continue the project. A plaque was placed on a wall in the garden commemorating Sylvia's success. In 2007 the team won the Community Services Gold Award in the Horsham in Bloom Floral Display competition, recognition of the hard work put in to the garden throughout the year.^[10] Edward Bainbridge Copnall's 10-foot-tall (3.0 m) sculpture of the Crucifixion of Jesus, made of coal dust and resin, was installed in St John's Church, Broadbridge Heath, Horsham, in 1964, but was removed in December 2008 to Horsham Museum.^[11][12]

Exhibits and collections

The Museum has a large and varied collection arranged in 26 galleries. It has a significant collection of books and memorabilia relating to the Warnham-born poet Percy Bysshe Shelley (1792–1822), including many early editions of his works and that of his second wife Mary Shelley (1797–1851). It also possesses original letters and books relating to the wider Shelley circle.

The Horsham Museum owns a number of prints by local artist John Guille Millais (1865–1931). They also have a significant sculpture by Millais of fighting game birds that is now on permanent display

Other collections include ceramics, ethnography, local Sussex trades and industries, working life, geology, archaeology, bicycles, and horses. A particular feature of the Museum's collections is the Archive of documents relating to Horsham and its history, including the collection of William Albery.^[13]

Galleries

There are 26 galleries at Horsham Museum, most of which are given over to permanent displays. There is currently a 3-year programme of display and interpretation updating. The permanent displays are:

• Blazing Saddles - Fire engines and bicycles
• British Craft & Art - Objects as works of art
• Cabinet of Curiosity - Weird and wonderful objects from a range of locations and times. Cabinets of Curiosity were the forerunners of museums. They were the personal collections of wealthy owners and were assembled to evoke a sense of curiosity and wonder. In their own way they offered means to categorise and understand the world. They eventually developed into museums as we know them today.^[14] This Cabinet of Curiosity is in the style of a typical Cabinet of Curiosity from the 1550s, with all the objects coming from Horsham Museum's collection. By looking at this Cabinet you will see how people in the Sixteenth and Seventeenth Centuries would display the objects in their collections. Objects on display include:

1. a Narwhal Horn (at one time thought to have been a unicorn horn) ^[15] which comes from a medium sized toothed whale, called the Narwhal, that lives year-round in the Arctic. The tusk (or horn) can be up to 3 meters (9.8 ft) long.
2. Unicorn Horn. No museum or Cabinet of any standing was considered complete without a unicorn horn. It was believed to have magical and healing powers. The horn in fact comes from the narwhal (see above).
3. the Mummified Cat which was found behind the fireplace of a farmhouse in Southwater (a village near Horsham) and given to the Museum sometime before 1965. In the 16th and 17th centuries, live cats were bricked up behind fireplaces, as it was thought that the cries of the cat as it slowly died in the heat were evil sprits leaving the house. As the cat was walled up the dry conditions in its cell helped to preserve it.
4. a Pre-Columbian Pot. This means the pot was made before Columbus arrived in the Americas, that is pre-1500AD. The Cabinets' owners collected contemporary items because they were unusual. This pot was made by one of the three great Empires in South America, the Incas (based around the coastalstrip and the Andes mountains of Peru), the Mayan and the Aztec (based around the Gulf of Mexico).
5. Romano Greek Stone Sculpure. This carved head of an unknown boy comes from an area of Greece that around 200AD was under Roman control. At that time Rome was thought of as the great military power, whilst the Romans viewed the Greeks as the great cultural elite. If a Roman wanted to appear cultured he filled his home with Greek art or Roman copies of Greek art. Some 1,000 years later the Italian city states of Venice, Florence and Rome rediscovered the ancient world of Greece and Rome finding in monasteries scattered throughout Europe early manuscripts of Greek and Roman literature. Instead of dealing with religious debate, this literature dealt with human emotions; their gods had human foibles. Essentially man not God became the centre of debate, with much deliberation about man's relationship to the world and to God. Instead of being destroyed because they were considered pagan, statues along with manuscripts were now admired. This boy's head is just the type of object to feature in the Cabinets.
6. The Crystal Skull. Crystals have always been regarded as magical. Skulls, meanwhile, are a potent symbol of death in cultures across the globe. Together they make a powerful artefact. The crystal skull in Horsham Museum's Cabinet of Curiosity is a modern example made in China and was bought for this Cabinet.
7. Renaissance book covers. One of the key differences between the museum and the Cabinet of Curiosities is that the museum tends to display old objects and the Cabinets would display contemporary objects. When these book covers were donated in the 1930s (by Mrs (Emma) Henderson), they were said to be from the Renaissance period, therefore contemporary with the Renaissance Cabinet and not out of place in such a setting. They are, however, fakes made around 1880-1900. They may have been made by Icilio Frederico Joni, a Siamese painter who specialised in making fake painted book covers at the time the donor was travelling through Europe.
8. A Podanipter. Possibly a foot bowl 340-300 BC. Made in Taranto, Apulia in Southern Italy, this bowl was said, according to the label on the back, to have been excavated in Naples in 1845. However, this is thought to be unlikely. It was probably given this false provenance by dealers hoping to deceive the English tourist. This type of 'sharp practice' is not new and was common at the time Cabinets of Curiosity were constructed, when false locations, some of them mythical, were given to unusual objects. That said, Greek and Roman antiquities were still popular items in Cabinets.
9. Corals and Shells. Coral became a highly desirable object for a Cabinet because although dead, it was also seemingly alive as it continued to grow. The fascination for this world between life and death led to coral being fixed to the walls on the outside of the compartments of a Cabinet, as it did not fit into any defined order. Occasionally coral was used to adorn other objects giving them an air of mystery. Shells brought a touch of the exotic to the Cabinet, diplaying the wonder of the natural world, bringing colours and shapes that skilled craftsmen and artists were unable to create. Occasionally, making objects and ornaments from the shells would capture this wonder. For example, the nautilus shell could be turned into a fine goblet or the body of a swan through the skill of the gold or silversmith. Such objects combined the ingenuity of man and the wonder of nature so became celebratory pieces in Cabinets. Other collectors would admire the shells, building up sizable collections with very little attempt at classification.
10. Nature Deformed. In a time when belief in the monsters of myths, fables and legends were commonplace, creatures born with abnormalities gave credibility to these beliefs. Often dying at birth these creatures were preserved by pickling, stuffing or stripping their flesh from their bones and turning them into skeletal models. Their freakishness made them much sort after for Cabinets of Curiosity. Even in Horsham a photograph of a hairless horse from New Zealand and a photograph of a potato in the shape of a human foot were exhibited at the Museum, as was the deformed piglet you see on display. The mummified rat is a freak of preservation.
11. Egyptian items.
12. Human skull.
13. Fossils and Stones.
14. Plaster Cast Reliefs. Plaster casts became popular towards the end of the 17th century. They are included in this display, as collecting and displaying Roman and Greek antiquities was popular with the owners of Cabinets of Curiosity. Henning made these small plaster reliefs around 1812 to 1819. Sold at the British Museum. The moulds were used for a number of years so the exact date of manufacture is not known. He made these ones as small tourist souvenirs.

• Childhood Gallery - The history of childhood and toys
• Costume Gallery - Selections of costume throughout the ages, changed once a year
• Costume Accessories - Everything you wear from shoes to hat pins
• Crime & Punishment - Gaols, prisons and the justice system in the Horsham area
• Drying Courtyard - Currently used to display large objects related to the wheelwright industry
• Ethnography - A small collection of oversees objects collected by Horsham explorers and antiquarians. This small space is in the oldest part of the Museum, dating back to the 1420s. The landing features items brought back from overseas by Charles and Emma Henderson, who travelled to the Far East in the 1880s and 1890s. They returned with many unusual items to decorate their home at Sedgwick Park, near Nuthurst, Horsham.^[16] These include (on the plinth):

1. The reclining bronze Buddha from Thailand
2. The Death of Buddha: Japanese bronze stele of the Meiji period. This bronze 'Death of Buddha', according to the inscription on the back, is said to have been made in the 6th year of Enpo (1678) by Fujiwara Ienaga, a sculptor of Kyoto. However, it is now thought to be a 19th century copy of a stone carving or a 19th century fake made for the tourist market. The item is cast in bronze and depicts the death of Buddha.
3. A 19th century Japanese enamelled grey stoneware vase and cover. Purchased in Japan in 1885 by Mr & Mrs Henderson. Although the Hendersons thought the vase to be at least 700 years old, experts today think that it is mid to late 19th century and made for the tourist market. Reading the letter written to the Victoria & Albert Museum one can sense the 'chase'; the Hendersons being shown the object, being tantalised by it, negotiating over a long period then finally being allowed to buy it. This bears all the hallmarks of a well thought out 'sting' with the Hendersons being duped. That said, the vase is an extremely decorative piece of Japanese pottery and has a great deal of merit as a fine example of the tourist trade. The fact that the vase is not as old as the Hendersons thought does not detract from its artistic quality.
4. (by the stair post) A bronze Qilin figure (also known as a Kylin figure), or Dog of Fo, from China. Probably an outdoor tomb guardian. This mythical beast who appears in both Japanese and Chinese art consists of the body of a deer, the tail of an ox and a single horn. Occasionally the head might be that of a horse or goat or the pug nose and round eyes of the Buddhist lion. According to tradition, Buddha, or Fo, was accompanied by two tame lions who were instructed to wait outside the temple for him. The bronze Qilin displayed in Horsham Museum was brought back by the Hendersons and was used as an incense burner with smoke pouring from the mouth.

Emma and her husband Charles, businessman, director of R & J Henderson, East India Merchants and Director of the Bank of England, travelled to the Far East collecting large decorative items with which to dress her home. Mrs Henderson offered these items to the V&A , who declined to accept them and later, on her death in 1931, they were donated to Horsham Museum. Also donated were some smaller items including the 'Renaissance' book covers on display in the 'Cabinet of Curiosity' gallery and jewellery on display in 'Horsham Its History Room'.

Also featured in this gallery (on the plinth) is:

1. Temple from India. In 1901, Mr Bray gave Horsham Museum this fine model of an Indian temple. Unfortunately, no records survived indicating which temple it is or when he bought it. Did he buy it in India while on a holiday or while in service there? Was it bought in a curiosity shop in England and then presented to the Museum? We shall probably never know.
2. Wooden Panel. We know very little about this panel, who donated it or when. However, we do know for stylistic reasons, that it is Japanese and we also know that it formed the top of a three legged table (though the legs may have been solid panels of wood). It was most probably made for the tourist market.

There are four framed black and white photographs on display:

1. (Top): Execution at Bankok (Bangkok) (An unusual choice by our standards but for the Victorians it was considered to be normal).
2. (Bottom): A Malay Family
3. (Under the jacket): Yokohama, Japan taken by Beato
4. (Above the plaque): Indian Cobbler

The four framed photographs are copied from four albums given to the Museum by the Countess of Leitrim, daughter of Mrs Emma Henderson. Said to be four of ten, the other six going to other museums, the albums contain over 300 photographs taken whilst on a world tour conducted between 1873 and 1874. When travelling at this time, people could visit the studios of photographers who displayed their more popular prints and were able to order reprints from the negatives. Mrs Henderson obviously took advantage of this as her albums contain photographs by the top photographers of the day including Samuel Bourne and Felice Beato amongst others. According to the newspaper account based on the curator's report, Mrs Henderson travelled before marrying, perhaps using part of the £12,000 settlement from her mother's death. However it has been suggested that the albums were from Mr Henderson who travelled to the far East for business. Either way they are a fascinating record of society in India, Malaya, China and Japan and the United States of America.

Further items on display within the Ethnography gallery include:

1. Carved Paddle. The 'paddle' comes from the Austral Island in the Pacific near the present day Panama Canal-Australia shipping route. Their use is not known. The fact that they were decorated all over and in some cases very thin, suggests a ceremonial use. The ornamentation itself is thought to derive from the human figure. It has been suggested that they were used in dances as in Tonga and the Easter Islands. Most paddles are thought to come from a period after contact with the West when they became curios for travellers.
2. (on the panel): 'Married Woman's' Girdle made from coconut shells from the Solomon Islands and a Mother of Pearl Ornament worn around the neck also from the Solomon Islands.
3. Club. The carved lettering on the side of the club reads, 'This club was brought to England from TU...HESTA by the Missionary Ship Duff. 1798 for J. Witton'. It is not known who J. Witton was or which island the ship visited. It has been suggested that J. Witton might have been a mis-transcription for J. Wilson (especially as in 1790s the long S was used) as Witton does not appear in published accounts of the journey. J. Wilson was the Captain of the 'Duff'. Timeline of Christian missions

Other Items on Display:

1. A Solomon Island comb with 15 teeth and a zig-zag decoration.
2. A New Island, Melanesia carved face.
3. A black wood paddle with a stirrup grip outlined in white pigment, said to come from the Pacific Islands but more likely to be Indonesian.
4. Chinese Lady's Short Jacket. During the Qing period (1644–1911) of Chinese history, ladies were largely excluded from official life so their clothing was not subject to the same dress codes as the men. The shorter robe, worn over the skirt, is based on the native Chinese tradition, whereas the full length robe is derived from the Manchu tradition, introduced into China after the Manchu invasion. As time went on, the long robe of the Manchu became shorter and the lower part of the sleeve disappeared altogether. It is probable that the embroidered motifs were taken from another garment and either used as patches on the silk jacket or applied in a random manner. Women's clothing in China. The Allington family brought the jacket back to Horsham during the Edwardian period. The photograph beneath the jacket is 'Yokohama' (Japan) taken by Felice Beato.
5. An Iranian Tile. The tile, according to the former Deputy Minister of Culture and Higher Education of Iran, Dr Mehdittodjat, comes from the Golestan Palace built around 1810-20, one of the foundation buildings of Teheran. It comes from the entrance to the Salone Beriliyon (brilliant diamond) room and was probably a reject or it may have been retrieved from the rebuilding of the palace in the period 1867-92. It was found, smashed beneath a gatepost in Shipley by Mr & Mrs Ayling, who kindly donated it to the Museum. The plaque has been set in plaster and unfortunately not all the glazed decoration survived. Above the tile there is a photograph, 'Indian Cobbler', from the Emma Henderson bequest. (See caption to the left of the entrance to the Childhood Gallery).
6. Dhal Shields. Dhal shields were a popular type of shield that spread across from India to Persia and were made from animal hide or occasionally steel. The steel shields are usually inlaid with silver and gold, though on some occasions they are covered with inscriptions.

From left to right on the panel:

• Hide Dhal from Afghanistan. According to a label on the back, it was bought on 27 November 1923 for six shillings at Cold Ashby Hall sale.
• Hide Dhal with brass edge from Bhutan. Bhutan is a kingdom in central Asia that has been disputed over by Tibet, China, India and Britain since the 18th century. It contains inaccessible stretches of the eastern Himalayas to the north.
• Metal Dhal dating from the 19th century and has a script running around the outside and etchings of animal and facial markings in the central area.

The Misses Hoper of Cowfold donated both the large shields in 1947 along with a number of other weapons. The central shield came from the Godman family of Storrington who might be connected to the Godman's of Lower Beeding, a well known family of collectors.

African spears on display include (From left to right):

• Nguni spear from South East Africa
• Spear from East Africa* Masai spear East Africa
• Masai spear East Africa

These very long spears of the Masai junior warriors or Moran, are some of the most distinctive African weapons, yet are comparatively recent in origin, occurring during the 19th century, possibly linked to the influx of slave and ivory traders into the region.

• Flints and Fossils - Local geology and skeletal remains, including part of a dinosaur
• Garman Gallery - Cooking and gardening during the last 400 years
• Georgian Room - Eating and serving, as well as the site of civil marriage ceremonies
• Horsham Its History - 1000 years of Horsham history
• Living Galleries - The garden and large items usually found out of doors
• Local Trades - The Piper family of blacksmiths and wheelwrights
• Saddlery - William Albery and his Saddlery display
• Shelley Gallery - The life of Percy Bysshe Shelley. There are very few surviving Shelley relics and what there is has been donated to major national collections. Horsham Museum has built up a collection of first and early editions that tell his life through books.^[17] Also on display there is:

1. a very rare bronze bust of Shelley
2. a model of the 'Ajax,' which saw action in the Battle of Trafalgar captained by Shelley's uncle, Captain John Pilfold

• Shopping Gallery - Shopping in the Victorian and 1950s and 60s periods
• Trades & Transport - Trade signs, carts and other wheeled vehicles throughout the ages
• Wealden Farmer - 200 years of agricultural tools and equipment from the 18th century to the 1950s

The temporary exhibitions spaces are:

• British Craft & Art - home to six exhibitions yearly
• Costume Gallery - Yearly themed costume exhibitions
• Main Exhibition Room - Four exhibitions and Charity Christmas Card Shop from October to Christmas
• The Hurst Room - Education centre and occasional small exhibition room, with some previous exhibition text panels on display
• Photographic Gallery - Small photographic display area displaying themed collections

Museum projects

• Outreach...
• School loans...

See also

References

• Albery, William, 1947. Horsham Millennium Horsham: Horsham Museum Society
• Djabri, Susan (ed.), 2000. The Shelleys of Field Place Horsham: Horsham Museum Society
• Djabri, Susan (ed.), 2000. The Letters of Bysshe and Timothy Shelley and Other Documents from Horsham Museum and the West Sussex Record Office Horsham: Horsham Museum Society
• Latourette, Kenneth Scott. A History of the Expansion of Christianity, 7 volumes, (1938–45), the most detailed scholarly history
• Wilson, James; Wilson, William, 1799. A missionary voyage to the southern Pacific ocean, performed in the years 1796, 1797, 1798, in the ship Duff, commanded by Captain James Wilson.

London, Printed for T. Chapman, by T. Gillet. (Found this book information through www.worldcat.org.)

External links

• Official site with collections database access
• Horsham Museum at Sussex Museums
• Tourist Information for Horsham

Further reading

Two publications below may, in particular, provide reference to the 'Missionary Ship Duff, 1798':

• Latourette, Kenneth Scott. A History of the Expansion of Christianity, 7 volumes, (1938–45), the most detailed scholarly history
• Wilson, James; Wilson, William, 1799. A missionary voyage to the southern Pacific ocean, performed in the years 1796, 1797, 1798, in the ship Duff, commanded by Captain James Wilson.

London, Printed for T. Chapman, by T. Gillet. (Found this book information through www.worldcat.org.)