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                  <text>Miscellaneous Photos</text>
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                  <text>Photographs  which have come from multiple sources. They include a huge variety of photos of subjects which appear elsewhere. </text>
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                <text>Three men at a presentation</text>
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                <text>Presentation (possibly to a Mr. Hocking)  of a pewter tankard .</text>
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                <text>Flimsy Negative - Quarter</text>
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                  <text>Beryl Richards was born in 1928, and died in 2024, having lived all her life in West Penwith.  The family lived in St Just, where her mother had a shop, and her brother had an ice cream shop.  &#13;
&#13;
Her father Herbert  (who was a cousin to the three Richards brothers, photographers)  served as a gunner in the First World War.  The family were involved in St Just carnivals and Herbert made some of the floats.  He was also involved in raising funds for building the  clock tower.&#13;
&#13;
Beryl worked at the telephone exchange in Penzance where she became the Night Manager inOctober 1976.</text>
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                <text>Three men at an event</text>
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                <text>Tom Gwynn</text>
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                <text>Morrab Library&#13;
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                <text>Print</text>
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                <text>Penzance</text>
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              <description>A name given to the resource</description>
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                  <text>The collection consists of 422 photos which were donated by the St Just in Rosalind and St Mawes Heritage Group. The collection consists of images of people and views from a number of photographers who were working in Cornwall from the mid 19th Century.&#13;
It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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            <description>A name given to the resource</description>
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                <text>Three men at the boatyard</text>
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                <text>Three men at the boatyard</text>
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            <name>Publisher</name>
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                <text>1930-1960</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Morrab Library</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>PC.377</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Pye Collection</text>
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                  <text>The collection consists of 422 photos which were donated by the St Just in Rosalind and St Mawes Heritage Group. The collection consists of images of people and views from a number of photographers who were working in Cornwall from the mid 19th Century.&#13;
It seems that almost every town in Cornwall had one or more photographers working in studios. Brooks, Beringer, Burrow, Collenso, Gibson and Preston are just some of those.&#13;
Many won awards for their work and won medals awarded by the Cornwall Polytechnic Society which opened in Falmouth in 1833.&#13;
Carte-de-visite became very popular after 1854, often used as calling cards containing the photographic mount, there are many examples of this type.&#13;
It is apparent that people turned up in their "Sunday Best" to be photographed , it is interesting to note the fashion changes over time from the Victorian era to the Edwardian.&#13;
All the while changes were taking place with the photographic process, from plate and gradually to film and negative and the digital process that we have today.&#13;
This collection is a very interesting record of the work of the Victorian photographer.</text>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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          <name>Damaged?</name>
          <description>Is the item damaged? Select Yes or No then describe in the "Condition" field.</description>
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          <name>Condition</name>
          <description>Record observations about the condition or conservation of the item, e.g. any damage (e.g. cracked, broken or chipped glass negative).</description>
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              <text>Image is broken , 2/3  1/3</text>
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          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
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              <text>6 x 4.5</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Three men in Plumbers store/workshop</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Three men in plumbers store/workshop</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>R.H. Phillips St Ives</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Morrab Library</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Morrab Library</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Print</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>PC 67</text>
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        <name>Crafts and trades</name>
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      <tag tagId="2442">
        <name>Personal life</name>
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        <name>Portrait</name>
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  <item itemId="8598" public="1" featured="0">
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                  <text>The Angove Collection consists of over 3000 photographic prints. Collected by Dick Angove (1917-1992), a prolific writer on all aspects of Cornish life, the collection covers industrial archaeology, farming, fishing, railways, and rural life. He was an avid collector of old photographs, as well as producing his own.&lt;br /&gt;&lt;br /&gt;Richard Angove himself is pictured in the following photos, taken at Cable &amp;amp; Wireless in Porthcurno: &lt;a href="http://library.morrab.lan/omeka/items/show/8323"&gt;Comm 4.002&lt;/a&gt;, &lt;a href="http://library.morrab.lan/omeka/items/show/8327"&gt;Comm 4.003&lt;/a&gt;, &lt;a href="http://library.morrab.lan/omeka/items/show/8334"&gt;Comm 4.005&lt;/a&gt;, &lt;a href="http://library.morrab.lan/omeka/items/show/8397"&gt;Comm 6.009&lt;/a&gt;, &lt;a href="http://library.morrab.lan/omeka/items/show/8365"&gt;Comm 8.012&lt;/a&gt; and &lt;a href="http://library.morrab.lan/omeka/items/show/8395"&gt;Comm 8.032&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
      <elementContainer>
        <element elementId="55">
          <name>Period Costume</name>
          <description>Does the photograph contain a notable example of period costume?</description>
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              <text>N</text>
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          <description>Is the item damaged? Select Yes or No then describe in the "Condition" field.</description>
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          <name>Original Format</name>
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              <text>photo</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Three Men outside Country Mansion</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
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                <text>General Group</text>
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              <elementText elementTextId="59279">
                <text>Building Gardens Tree</text>
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              <elementText elementTextId="59280">
                <text>MPlay</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="59282">
                <text>1930</text>
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                  <text>The Richards Collection represents the work of one Penzance family of professional photographers over several generations - from the early 1850s until the late 1970s. It consists of several thousand negatives, glass plates and prints, covering everything intrinsic to Cornish life from fishing to flower picking and graphic views of shipwrecks as well as portraits of the people of Penzance and surrounding areas. &#13;
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          <description>Does the photograph contain a notable example of period costume?</description>
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            <name>Identifier</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Three Men picking Daffodils at Boskenna </text>
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            <name>Date</name>
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            <description>An account of the resource</description>
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                <text>Three men on hillside picking daffodils, possibly at Colonel Paynter's</text>
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                <text>Half Plate Glass Negative</text>
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  <item itemId="6007" public="1" featured="0">
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              <description>An account of the resource</description>
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                  <text>The Stanley Opie Archaeology collection (1001 quarter plate glass negatives) covers archaeological sites and excavations from the 1920s to 1950s. It covers hillforts, megaliths, ancient villages, artefacts, excavations such as the Roman villa at Magor near Redruth, and Cornish cultural events such as the first Cornish Gorsedh at Boscawen-ûn in 1928.&lt;br /&gt;&lt;br /&gt;In 1935 Stanley entered a News Chronicle competition called "Britain 1935". A copy of his entry form was found attached to the back of a small print, listing his address, camera model and film type. He lived at Barncoose, Redruth, Cornwall, and used an Ensign Cameo No. 2 camera with Imperial Eclipse plates.&lt;br /&gt;&lt;br /&gt;The glass negatives were cleaned, repackaged and digitised thanks to funding from &lt;a href="http://www.cornwallheritagetrust.org"&gt;Cornwall Heritage Trust&lt;/a&gt;.</text>
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          <name>Acknowledgements</name>
          <description>Funding acknowledgements where appropriate.</description>
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              <text>Digitisation and conservation of the original glass negative was kindly supported by &lt;a href="http://www.cornwallheritagetrust.org/"&gt;Cornwall Heritage Trust&lt;/a&gt;.</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="194368">
                <text>TA.119</text>
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  <item itemId="11994" public="1" featured="0">
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        <src>https://photoarchive.morrablibrary.org.uk/files/original/Richards_Collection/11994/WRECKS_32OF_229.tif</src>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
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                  <text>Richards Collection</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The Richards Collection represents the work of one Penzance family of professional photographers over several generations - from the early 1850s until the late 1970s. It consists of several thousand negatives, glass plates and prints, covering everything intrinsic to Cornish life from fishing to flower picking and graphic views of shipwrecks as well as portraits of the people of Penzance and surrounding areas. &#13;
</text>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
      <elementContainer>
        <element elementId="57">
          <name>Street Name</name>
          <description/>
          <elementTextContainer>
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              <text>Juan Ferrer</text>
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      </elementContainer>
    </itemType>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>WRECKS 32OF 229</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="91112">
                <text>Three of the survivors from coaster Juan Ferrer, October 23rd 1963</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Aground</text>
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                <text>Shipwreck</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1963</text>
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          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Lamorna Cove</text>
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            </elementTextContainer>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>The Juan Ferrer of Valencia was a handsome, well-equipped motor coaster of nearly 700 tons, thrashing her way up towards Land's end on her usual run from her home port of Liverpool. &#13;
&#13;
Owned by Frederick Ferrer of Valencia, the Juan Ferrer was only three years old and had been built in her home port of AST Neptune. Her cargo was several thousand bundles of staves, large sheets of thick plywood, and sporting shotguns. &#13;
&#13;
The weather was bad: a strong damp south-west wind had brought thick drizzle and occasional fierce rainstorms in from the Atlantic, and a heavy ground swell broke beneath the Lamorna Cliffs. &#13;
&#13;
Steadily the Juan Ferrer rolled on through the wind and rain: at 2:30 am the light of another vessel astern suddenly vanished  as she ran into a thick bank of fog. Her young captain, 32-year-old Luis Ruiz, made for the radio room to contact Land's Land and establish his position. Minutes ticked by with only the crackle of static coming through, then came a cry from the deck, "Rocks Ahead!" which sent him racing topside. &#13;
&#13;
Right in front of the Juan Ferrer's bow towered 'great looming shapes' as the captain later described them and his shout for "Full Astern" was drowned as the coaster's elegantly flared bow smashed into a wall of granite below Carn Boscawen. Deck Cargo broke lose under the impact and, calling for all hands, the captain ran back to the radio room. &#13;
&#13;
At 3 am, Land's End radio picked up 'Juan Ferrer. Am ashore vicinity of Mount's Bay.' It was the only signal Captain Ruiz could send out before the sea put the generators out of action.&#13;
&#13;
Jose Sevillano, a 21-year-old sailor who had been hurled from his bunk by the sudden shock, reached the deck to find the ship already heeling over into the surf. &#13;
&#13;
Benito Nuncy, another young seaman, joined in trying to launch the lifeboats which were carried on each side of the funnel, abaft the bridge. One boat was against the rocks, so the Spaniards turned to the other. After a struggle in the wind and darkness they lowered it,  but a heavy sea smashed it against the coaster's side and it was swept away. There was one other boat, a small dinghy carried in the bows, but there was no hope of reaching it over the jumbled chaos of wha had once been a neatly-stacked deck cargo.&#13;
&#13;
The Juan Ferrer listed until her decks were almost vertical, but the rocks were only twelve feet away and Benito Nuncy jumped overboard. He was dashed on to the rocks but managed to crawl up beyond reached of the waves: soon Jose Sevillano, Baldomero Garcia, the 19-year-old bosun and Jose Oijnaga, the 20 year-old chief engineer, also leapt overboard. Garcia vanished at once, even though he wore a life jacket like the others, and Oijnaga was swept away as he tried to get hold on the slippery granite. Jose Sevillano alone scrambled up to join Benito Nuncy on Carn Boscawen. &#13;
&#13;
Fifteen minutes later the gallery boy, Jose Alonso, got ashore half-naked, and the three huddled among the boulders to shelter for the wind and driving rain. They stayed there in hope that more of their shipmates had survived, although the Juan Ferrer was barely visible in the surf below.&#13;
&#13;
Captain Ruiz stayed with his ship until the last possible moment, when, although a non-swimmer, he leapt off the stern as the coaster rolled over beneath him. The suction dragged him down and when he surfaced it was to hear the cries of the crew around him, but they soon faded and he was left alone in the rough seas. Supported by a bundle of wooden staves from the cargo, he trod water and drifted back and forth with the current. The first streaks of dawn gave him hope, and as he rose on a wave crest he could just make out the distant shape of the Penlee lifeboat. He tried to shout and strike out towards her but his limbs were numb. Fortunately, his feeble cries were heard by two brothers, members of the Treen LSA company (another form of coastguard) who, along with every other rescue service had been searching for the Juan Ferrer since her distress call at three o'clock. The brothers signalled to the lifeboat and it closed in, hands reached down and Captain Ruiz was pulled from the sea in the last stages of exhaustion. He had been in the water for nearly four hours.&#13;
&#13;
The three survivors on shore had stayed near the wreck for several hours before they struck off inland across the fields, and they were met by a rescue part at seven o'clock as they wandered up a farm lane. They were hurried to the warm hospitality of a nearby farm, whilst the coastguards, LSA companies, an armada of rescue ships and a naval helicopter converged on Carn Boscawen. The Juan Ferrer lay submerged, nothing visible except the tip of her bows, rocking gently up and down with the waves swirling back and forth across the white letters of her name. &#13;
&#13;
Eleven of her crew had been drowned; nearly all of them young men in their early twenties. Only two were over thirty-two, and some, like the bosom, were hardly out of their teens. &#13;
&#13;
Months after the wreck, the cargo was found strewed over the shores form Lands End to Marazion. The goods were particularly useful for local people, who used them in a variety of ingenious ways. &#13;
&#13;
Description from Richard Larn and Clive Carter, Cornish Shipwrecks: The South Coast (Newton Abbot: David &amp; Charles, 1971), p.215-218.</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Richards</text>
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        <name>1951-1970</name>
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        <name>Wrecks</name>
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                  <text>Family photos taken throughout Barbara's  childhood and teenage years.  The collection includes photos of her mother Marjorie, nee Stevens and other family members.  Reggie Richards, of Richards Photographers, features in many of these family photos.  In the 1960s Marjorie changed her surname by deed poll to Richards.&#13;
&#13;
Barbara, who was deaf,  was born in Penzance  on 18th February  1936 to Marjorie and Wilfred Beckerleg.   She attended St. Gertrude's School.  Her mother raised her after her father left.&#13;
&#13;
Barbara married David Thomas and had a son.  She died on 16th May 1995 at St. Julia's Hospice, Hayle.</text>
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                  <text>Morrab Library</text>
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            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                  <text>Morrab Library</text>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
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            <description>A name given to the resource</description>
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                <text>Three people and car</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Marjorie, Barbara and an unidentified woman  posing with a car, registration no.  BVR 591.</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Morrab Library</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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                <text>Morrab Library</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="171640">
                <text>Flimsy Negative - Other</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>MG.238</text>
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  <item itemId="21683" public="1" featured="0">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Barbara Beckerleg</text>
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                <elementText elementTextId="189854">
                  <text>Family photos taken throughout Barbara's  childhood and teenage years.  The collection includes photos of her mother Marjorie, nee Stevens and other family members.  Reggie Richards, of Richards Photographers, features in many of these family photos.  In the 1960s Marjorie changed her surname by deed poll to Richards.&#13;
&#13;
Barbara, who was deaf,  was born in Penzance  on 18th February  1936 to Marjorie and Wilfred Beckerleg.   She attended St. Gertrude's School.  Her mother raised her after her father left.&#13;
&#13;
Barbara married David Thomas and had a son.  She died on 16th May 1995 at St. Julia's Hospice, Hayle.</text>
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              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
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                <elementText elementTextId="189855">
                  <text>Morrab Library</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="189856">
                  <text>Morrab Library</text>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Three people fishing off rocks</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="188642">
                <text>Barbara, Reggie Richards and an older man  fishing off rocks.  The man wearing a cap has a fish on his line.</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="188643">
                <text>Morrab Library</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="188644">
                <text>Morrab  Library</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="188645">
                <text>Other Glass Negative</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="188646">
                <text>MG.556</text>
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    <tagContainer>
      <tag tagId="2462">
        <name>Hobbies and leisure occupations</name>
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      <tag tagId="2442">
        <name>Personal life</name>
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  </item>
  <item itemId="20897" public="1" featured="0">
    <fileContainer>
      <file fileId="16986">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="177224">
                  <text>Turner/Dennis Album</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>An album of photos was donated to the library with no information attached other than a signature inscribed inside the cover.&#13;
'Florence M. Woodman Turner April 1907'.&#13;
From this name we found that this lady was born in Essex in 1885, died in 1977 and was buried in Marazion cemetery.&#13;
She was the daughter of Samuel Thomas Turner and Florence Maud Dennis, the latter being the daughter of Charles Dennis and Mary Woodman who lived at The Bungalow, Perran Crossroads. (Now a Chinese restaurant.)&#13;
Many of the family came down from Essex to visit Charles and Mary, and later settled here themselves.&#13;
They took many photos of the countryside around the area.&#13;
Also in the album are many photos of the family at home in Essex.&#13;
Florence M.Woodman Turner married Charles Henry Lee, son of Henry Lee, butler for Lord St. Levan on St Michaels Mount.</text>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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                <elementText elementTextId="177226">
                  <text>Florence M. Woodman Turner</text>
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              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="177227">
                  <text>Morrab Library</text>
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              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                  <text>1900-1910</text>
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              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="177229">
                  <text>Morrab Library</text>
                </elementText>
              </elementTextContainer>
            </element>
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="182666">
                <text>Three people in a garden shelter</text>
              </elementText>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="182667">
                <text>Florence M W Turner</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="182668">
                <text>1910-1915</text>
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            </elementTextContainer>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="182669">
                <text>Morrab Library</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="182670">
                <text>Print</text>
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            </elementTextContainer>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>TA.068</text>
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            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="182672">
                <text>Surrey</text>
              </elementText>
            </elementTextContainer>
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                <text>Three people on archaeological dig Gurnards Head</text>
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            <description>The topic of the resource</description>
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