{"id":6697,"date":"2026-08-24T10:00:00","date_gmt":"2026-08-24T09:00:00","guid":{"rendered":"https:\/\/stevenallain.co.uk\/Blog\/?p=6697"},"modified":"2026-08-22T13:57:16","modified_gmt":"2026-08-22T12:57:16","slug":"museummonday-a-quick-visit-to-the-dorking-museum-and-heritage-centre","status":"publish","type":"post","link":"https:\/\/stevenallain.co.uk\/Blog\/museummonday-a-quick-visit-to-the-dorking-museum-and-heritage-centre\/","title":{"rendered":"#MuseumMonday: A quick visit to the Dorking Museum and Heritage Centre"},"content":{"rendered":"\n

A couple of months ago now, I visited the Dorking Museum and Heritage Centre<\/a> with a few friends of mine, one of which whom is a volunteer at the Museum. The Dorking Museum and Heritage Centre is a small but remarkably ambitious local museum in the heart of Dorking, Surrey. Housed at 62 West Street in a building that incorporates part of the former Dorking Foundry, the Museum tells the story of Dorking and the surrounding area from deep geological time to the present day. Its collections encompass natural history, archaeology, social history, industry, transport, domestic life, art, literature, military history and the personal stories of local people. What makes the Museum particularly successful is the way in which these apparently disparate subjects are brought together to explain how the landscape and community of Dorking developed. The result is not simply a collection of old objects but a narrative about the relationship between geology, landscape, economy and people. Dorking Museum has an unusually broad chronological ambition. Its permanent exhibition begins with the Cretaceous period and the geological formation of the landscape before moving through prehistoric and medieval Dorking, the development of the market town, the great country estates, industry and transport, the First and Second World Wars, and the people who have shaped the town’s identity. Among the Museum’s headline subjects are the Pilgrim Father William Mullins, composer Ralph Vaughan Williams, the Wedgwood family, the Deepdene estate and the Rob Walker motor-racing team. The Museum also explores the lives of ordinary residents, making the distinction between famous and ordinary people less important than the contribution each makes to the history of the place.<\/p>\n\n\n

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A map of Dorking from 1649 shows how the town has grown from a population of 1,500 to the approximately 18,000 today<\/figcaption><\/figure>\n<\/div>\n\n\n

The origins of Dorking Museum can be traced to the late 1930s. The idea of establishing a museum was first proposed in 1939, although the outbreak of the Second World War prevented the project from progressing. In June 1945, Captain Evelyn Broadwood of Capel approached influential local residents to seek support for establishing a museum serving Dorking and the surrounding villages. A committee was subsequently formed and began assembling objects. This was a characteristic origin for many British local museums: rather than being established by a national institution or local authority, the collection grew through the enthusiasm and determination of people who believed that their community’s history deserved to be preserved. One of the most important early acquisitions was the Ashcombe Collection. This substantial collection of fossils and bones of extinct animals, all found locally, together with a valuable mineral collection, was donated following the death of Henry Cubitt, 2nd Lord Ashcombe, in the late 1940s. The importance of this donation can hardly be overstated. It established a strong natural-history component within what was fundamentally a local-history museum and provided the foundation for one of the Museum’s most distinctive characteristics: its ability to tell the story of Dorking through both geological and human evidence.<\/p>\n\n\n

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Few historical reconstructions demonstrate what a place used to smell like, as can be trialled in the barrel<\/figcaption><\/figure>\n<\/div>\n\n\n

The Museum eventually required a permanent home. In 1974, a building forming part of the former Dorking Foundry, just behind West Street, was identified. The Museum opened there in 1976 and attracted approximately 5,000 visitors during its first year. A second building was subsequently leased to accommodate the Museum’s rapidly expanding archive of photographs and ephemera, and an extended museum opened in 1983. The continuing growth of the collection meant that even this additional space eventually became inadequate. A major restructuring resulted in a ‘new’ museum opening in June 2001. The next major stage in the Museum’s development followed a substantial bequest. In 2003, Owen Russ, one of the Museum’s stewards, left \u00a3500,000 to the Museum. This enabled the organisation to undertake a much more extensive refurbishment of its buildings and improve conditions for storing and displaying the collections. The Museum was closed in 2008 while the building underwent major work after problems with water ingress threatened the collections. Objects were temporarily moved into storage at three locations around Dorking. The resulting redevelopment effectively transformed the Museum, bringing the archives into the first floor of the Old Foundry building and creating a large ground-floor gallery from three former rooms.<\/p>\n\n\n

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The Museum houses a wealth of archaeological finds such as these flint scrapers, arrowheads and hand axes<\/figcaption><\/figure>\n<\/div>\n\n\n

This history is important because the Museum’s character is inseparable from its community origins. It remains an independent institution rather than a municipal museum funded by a local authority. The Museum states that it receives no local council funding and depends upon donations, membership and volunteer involvement. The Dorking Society oversees its operation, and the Museum is a registered charity. In 2024 it received full Accreditation status from Arts Council England, a significant recognition of the standards applied to its collections and operation. One of the Museum’s greatest strengths is its understanding that Dorking’s history begins long before human settlement. The town occupies an important geographical position where the River Mole cuts through the hard chalk ridge of the North Downs. This geological gap, known as the Mole Gap, creates a natural route through the Downs and has helped determine the location and development of the town. Today the A24 and the railway follow this broader geographical corridor. The Museum’s geological collections make this relationship tangible. The landscape around Dorking was produced by enormous geological processes, including the uplift of southern England and subsequent erosion. The result is a complex landscape containing the chalk of the North and South Downs, sandstone outcrops associated with Leith Hill, Holmbury Hill and the Nower, and the Weald Clay to the south. These geological materials were not merely scenic features. They provided resources that supported human settlement and economic activity, including water, sand, chalk, clay and timber.<\/p>\n\n\n

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The Mantellisaurus<\/em> atherfieldensis<\/em> tail on display in the Museum. It is a shame that the rest of the skeleton does not seem to have been fossilised<\/figcaption><\/figure>\n<\/div>\n\n\n

The fossil collection is consequently much more than an assortment of prehistoric curiosities. The local chalk preserves evidence of life during the Cretaceous period, allowing visitors to connect the rocks beneath their feet with an ancient marine environment. Among the Museum’s most spectacular objects is a two-and-a-half-metre-long tail of Mantellisaurus<\/em>, one of the headline specimens highlighted by the Museum. The presence of such material gives the Museum an unusually strong natural-history dimension for a local Museum. The Lord Ashcombe mineral collection adds another dimension. Minerals can be interpreted both scientifically and historically: they reveal the geological character of the region while also illustrating the nineteenth- and early twentieth-century culture of collecting and natural history. Together, the fossils and minerals establish a long chronological perspective. Dorking’s story did not begin with the medieval market or even with prehistoric people; it is embedded in geological processes tens of millions of years old.<\/p>\n\n\n

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The partial skill of Polyptychodon interruptus <\/em>which is now considered a nomen dubium<\/em> but may represent Brachauchenius<\/em>, however the lack of diagnostic features means we may never know<\/figcaption><\/figure>\n<\/div>\n\n\n

The Museum’s human history begins naturally with Dorking’s geographical position. During the Middle Ages the settlement occupied routes running both north-south and east-west and consequently became a trading centre for surrounding manors and hamlets. A market was held twice a week around the well at Pump Corner. Smiths, skinners, weavers, tailors, shoemakers, leather workers, bakers, brewers and butchers congregated there, while inns provided accommodation for travelling merchants and artisans. This part of the Museum’s story is particularly effective because it moves beyond an abstract description of medieval Dorking and reconstructs the activities that made the town function. Most medieval inhabitants made their living from the land, while woodland provided timber and other resources. The local manor controlled many aspects of life, including marriage, movement and landholding. The manor courts dealt with surprisingly mundane offences such as throwing refuse into streets, brewing without permission, selling underweight bread and felling timber without authorisation. Such details help convey the texture of everyday medieval life.<\/p>\n\n\n

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Signs and artefacts explore the life of local composer Ralph Vaughan Williams and the Leith Hill Music Festival<\/figcaption><\/figure>\n<\/div>\n\n\n

The later development of roads and the turnpike system transformed Dorking’s economy. A new turnpike connected the town with London and the south coast, allowing agricultural produce and livestock to move more easily. Wood and corn travelled north from Sussex, while pigs and sheep passed through the town. Dorking’s famous poultry also became part of this trade: Dorking hens were sent to London weekly. By the 1820s, four local and sixteen through coaches travelled to London each day. This is a particularly good example of the Museum’s approach to local history. Transport is not presented simply as a technological development. Roads altered trade, encouraged inns and associated businesses, affected land values and helped make Dorking attractive to wealthy newcomers. The town’s reputation for healthy air further encouraged wealthy Londoners, military and naval figures and titled families to build houses in the area. Eventually, however, improvements to other roads allowed traffic between London and Sussex to bypass Dorking, contributing to the decline of the traditional market economy.<\/p>\n\n\n

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I never knew that Dorking had such an affinity with chickens but they were everywhere in the Museum!<\/figcaption><\/figure>\n<\/div>\n\n\n

The relationship between Dorking and its surrounding landscape is another recurring theme. The town’s proximity to London made the area attractive to wealthy residents seeking rural retreats within relatively easy travelling distance of the capital. From the seventeenth century onwards, estates such as the Deepdene, Bury Hill and Chart Park were developed as landscapes of wealth, status and aesthetic pleasure. The Museum’s interpretation of the great estates is valuable because it shows that today’s apparently natural landscape is partly cultural. Deepdene, for example, developed as an ornamental estate, while other estates incorporated gardens, lakes, woodland and architectural features. The landscape was manipulated to produce particular aesthetic effects. The area consequently became a setting in which natural beauty, wealth and social status were deliberately combined.<\/p>\n\n\n

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The Museum also celebrates the coming of the railway to Dorking and this impact this had on town life<\/figcaption><\/figure>\n<\/div>\n\n\n

The Museum also uses the landscape to explain why particular people came to Dorking. Writers, artists, musicians and other cultural figures were attracted by the combination of countryside and accessibility to London. The Museum’s local-history material identifies writers including George Meredith, Fanny Burney and E. M. Forster as having lived or worked in the Dorking area, while many other writers visited or used the surrounding landscape in their work. This is one of the Museum’s most interesting interpretative qualities: “local history” is not treated as an isolated subject. Dorking is presented as a place within larger networks of transport, commerce, literature, art and national history. The Museum’s art collection further strengthens this approach. Dorking and its surrounding countryside attracted artists, and the Museum has assembled approximately 200 oils and watercolours by professional and amateur artists who lived and worked in the area. Because there is insufficient gallery space to display the complete collection, many works are accessible through Art UK. The paintings are important historical documents as well as works of art. They record buildings, roads, countryside and changing patterns of settlement. They also reveal how residents and visitors perceived Dorking. A painting of a landscape is never merely a record of geography; it represents a particular viewpoint, aesthetic preference and historical moment. The Museum’s collection includes work by George Edward Collins, a Dorking artist born in 1880. Collins was particularly associated with watercolour and natural-history subjects and later painted birds and ancient Surrey buildings in the countryside around his home. His work provides a particularly appropriate bridge between art, natural history and local history.<\/p>\n\n\n

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It is a shame that the Dorking Museum doesn’t have any of the Rob Walker Racing Team cars but this display and a number of scale replicas are the next best thing<\/figcaption><\/figure>\n<\/div>\n\n\n

Dorking Museum does not lack famous names. William Mullins, one of the Pilgrim Fathers who sailed on the Mayflower in 1620, is among the people highlighted in the permanent exhibition. Ralph Vaughan Williams, one of Britain’s most important twentieth-century composers, is another. The Wedgwood family, the Deepdene estate and the Rob Walker motor-racing team provide further examples of nationally significant subjects with strong local connections. Yet perhaps more important is the Museum’s willingness to give equal attention to people who never achieved national recognition. Its own definition of local history is revealing: it encompasses the people who lived in the area, the places where they lived, visitors who painted or wrote about it, and their individual experiences. The Museum emphasises that some residents were internationally famous while others never left the street in which they were born, but that their stories are equally valid components of local history. This philosophy is especially visible in the Museum’s oral-history work. Volunteers collect personal stories from people from different backgrounds, preserving their experiences in their own words. Oral history allows the Museum to move beyond official records and institutional narratives towards memories of everyday life. It can also challenge established interpretations of the past by introducing perspectives that are absent from conventional written sources.<\/p>\n\n\n

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Box Hill and Leith Hill have been attracting people to Dorking since the Victorian era and continue to do so, with these displays celebrating that<\/figcaption><\/figure>\n<\/div>\n\n\n

For researchers, the Museum’s archive may ultimately be even more important than its public galleries. Dorking Museum holds an extensive collection of documents, photographs and other records covering most aspects and periods of Dorking’s history from the eighteenth century onwards. The archive includes transcripts of parish registers, some manorial records and indexes to monumental inscriptions. The Museum is also undertaking digitisation of some of its most popular records. The Knight Collection demonstrates the extraordinary range of material that can survive within a local Museum archive. Collected by local historian David Knight of Westcott, the collection includes land and property records, lawsuits, local-government records, business records, organisations and societies, turnpike records, event documentation, records concerning people and families, wartime material, scrapbooks, photographs, postcards, paintings, drawings, newspaper-cutting transcripts and ephemera. Such collections illustrate why local Museums are indispensable to historical research. National institutions can provide broad political, military or economic narratives, but it is often local archives that reveal how those developments affected individual communities. A business ledger, school photograph, family letter, local newspaper cutting or estate document can transform an abstract historical event into something tangible.<\/p>\n\n\n

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Local clay, chalk and flint has been utilised for centuries which is how so many of the local fossils have been uncovered<\/figcaption><\/figure>\n<\/div>\n\n\n

The archive also demonstrates the importance of provenance and collecting practices. Knight’s material came from a variety of sources, including records associated with Dorking businesses and families. Some original records remain in other repositories, including Surrey History Centre, while the Museum holds photocopies or related material. Reconstructing the history of such collections is itself a form of archival research. The Museum’s twentieth-century collections reveal how national and international events were experienced locally. Both world wars feature in the permanent exhibition, but the Museum’s archival work has also uncovered less familiar aspects of Dorking’s wartime history. One particularly significant project concerns the town’s role as a refuge for people fleeing Nazi persecution. Papers documenting the work of a local refugee committee are being made accessible through a project involving Dorking Museum and the University of Surrey. The records include the involvement of E. M. Forster and Ralph Vaughan Williams in helping refugees find accommodation and support in Dorking.<\/p>\n\n\n

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Dorking may not have been a target during the Second World War but it still saw a number of bombs be dropped in the local area or saw planes be downed<\/figcaption><\/figure>\n<\/div>\n\n\n

Among the stories is that of Sir Erich Reich, who arrived in Britain on the Kindertransport in 1939 at the age of four. Vaughan Williams personally brought him to Burchett House in Dorking, where refugees were supported. Other records concern German nationals facing internment after the outbreak of war and the efforts made by Forster and Vaughan Williams on behalf of individuals and families. These stories demonstrate the value of local museums in recovering dimensions of major historical events that can easily disappear from national narratives. The Second World War was a global conflict, but its consequences were experienced through individual houses, families, schools, committees and communities. Dorking’s archive provides evidence of that human scale. The use of the former Dorking Foundry as the Museum’s home is itself appropriate. The building connects the institution physically with the industrial history it interprets. Dorking’s economic history involved the exploitation of local materials, manufacturing, transport and commerce. The Museum’s collections provide opportunities to explore how these activities changed the town.<\/p>\n\n\n

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When thinking about the Second World War, we can’t forget the Home Guard and the role they played in maintaining morale during wartime<\/figcaption><\/figure>\n<\/div>\n\n\n

Transport is particularly well represented. The Museum’s educational loan materials include photographs of horse-drawn transport, coaches, cycling, railway stations, steam locomotives, a steam lorry associated with Dorking Brickworks and later bus services. Such a sequence demonstrates the extraordinary transformation in mobility experienced by Dorking between the nineteenth and twentieth centuries. The story of transport also returns the visitor to the Museum’s central geographical argument. Dorking’s location helped create its importance, but its fortunes were repeatedly affected by changes in transport technology and infrastructure. The railway, roads and later motor traffic altered relationships between Dorking, London and surrounding towns. The Rob Walker racing collection provides a more unusual chapter in this technological history. The local connection to motor racing introduces engineering, sport, commerce and popular culture into the Museum’s narrative and demonstrates the breadth of subjects that can legitimately fall under the heading of local history.<\/p>\n\n\n

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Further local artefacts related to the local war effort in Dorking<\/figcaption><\/figure>\n<\/div>\n\n\n

Another notable collection concerns Wedgwood pottery associated with Leith Hill Place. The Museum describes this as one of the highlights of its collection. Objects associated with the Wedgwood family provide an opportunity to examine both domestic material culture and the social history of wealthy families living in the Dorking area. Pottery is particularly effective in a local museum because it bridges the everyday and the elite. Ceramics can tell stories about consumption, manufacturing, taste and status. A finely made piece of Wedgwood also connects Dorking to one of Britain’s best-known industrial and design traditions. The Museum therefore uses objects that might initially appear decorative to tell broader stories about people, houses and social change. The South Street Caves (these were closed during my visit), which lie beneath the town, provide another physical dimension to Dorking’s heritage. The seventeenth-century caves contain wine vaults, chambers, galleries and a so-called ‘Mystery Chamber’, and guided visits run seasonally. The Museum also runs guided walks around Dorking, Betchworth Castle and the Deepdene Trail. This is particularly appropriate for an institution whose collections are so closely tied to landscape. Rather than confining heritage to objects behind glass, the Museum encourages visitors to move through the environments in which the history actually occurred. Education is similarly central to its work. The Museum provides loan boxes containing photographs, maps, replica and original objects, costumes and activities. These resources support National Curriculum subjects and allow pupils to encounter history through material evidence rather than textbooks alone. Ten loan boxes are available, including subjects such as toys, the Victorians and Dorking during the First World War. This educational approach is particularly important for local museums. Children may find it difficult to understand why their own town is historically significant. A Museum can turn familiar streets, buildings and landscapes into evidence. The local environment becomes an outdoor classroom.<\/p>\n\n\n

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A pair of Dorking chickens (cockerel on the left, hen on the right) on display which are famous for having five toes instead of four<\/figcaption><\/figure>\n<\/div>\n\n\n

The permanent exhibition is relatively compact, but this is both a limitation and an advantage. Unlike a large national museum, Dorking Museum cannot display enormous numbers of objects. Instead, it has to select objects that can carry significant amounts of information. The exhibition’s chronological structure provides a clear framework, while thematic sections allow individual subjects to be explored in greater depth. The Museum also incorporates interactive elements and family activities. Surrey Museums and Galleries notes that exhibits provide activities for children and families, including quizzes, dressing-up, handling fossils and sensory activities. The free audio guide available through Bloomberg Connects adds another layer to the visitor experience, allowing visitors to explore stories associated with objects in the collection. Temporary exhibitions are another strength. A large blank space is periodically transformed for new displays, enabling the Museum to explore subjects that would otherwise have no place within the permanent narrative. This creates a sense that the Museum is continually researching and reassessing Dorking’s history rather than presenting a fixed interpretation.<\/p>\n\n\n

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The Museum celebrates the rise of the car and local town life with short films showing how both of these have changed over the years<\/figcaption><\/figure>\n<\/div>\n\n\n

The greatest strength of Dorking Museum is its breadth. Few small local museums can move so convincingly from Cretaceous palaeontology to medieval trade, Georgian estates, Victorian transport, twentieth-century refugees and modern motor racing. The Museum demonstrates that these subjects are not disconnected. Geology influenced landscape; landscape influenced settlement; settlement produced trade; trade shaped transport; transport encouraged wealthy residents; residents included writers, artists and musicians; and the community experienced national and international events. The second great strength is the archive. The Museum is not merely a display of objects but a research institution containing documentary evidence that can support serious historical investigation. Its oral-history programme further ensures that contemporary memories become part of the historical record. The Museum’s principal limitation is one faced by virtually every small local museum: space. Its collection is much larger than can be displayed. This is particularly apparent with the painting collection, of which only a fraction can be exhibited physically. The Museum has responded sensibly through online resources and partnerships such as Art UK. Its dependence upon volunteers and public donations is simultaneously a strength and a vulnerability. Volunteer involvement gives the Museum a strong sense of community ownership, but it also means that its capacity depends upon the commitment of a relatively small group of people. The fact that the Museum has achieved full Accreditation demonstrates the professionalism underlying this volunteer model, but financial sustainability remains an ongoing challenge.<\/p>\n\n\n

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The history of Dorking hasn’t all been sunshine and rainbows, there has also been poverty, exploitation and crime. These information panels explore these themes<\/figcaption><\/figure>\n<\/div>\n\n\n

Dorking Museum and Heritage Centre is an excellent example of what a local museum can achieve when a community takes responsibility for its own history. Its importance does not depend upon possessing a collection of internationally famous masterpieces. Instead, its value lies in the density of connections between its objects, archives, landscapes and people. The Museum’s fossils establish Dorking within deep geological time; its minerals reveal the character of the local landscape; medieval objects and documents explain the emergence of the market town; transport collections demonstrate changing patterns of trade and mobility; paintings record the appearance and perception of the countryside; Wedgwood objects reveal the lives and tastes of wealthy residents; wartime records expose the impact of international conflict on a Surrey community; and oral histories ensure that the experiences of ordinary people remain part of the record. Perhaps the Museum’s most important achievement is therefore conceptual. It demonstrates that local history is not a minor version of national history. It is history viewed at human scale. The story of Dorking encompasses geology, ecology, commerce, architecture, art, literature, science, technology, migration, war and social change. By bringing these strands together, Dorking Museum provides a remarkably rich account of how a particular place has been shaped over time.<\/p>\n\n\n

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The reason for my visit. A small exhibition titled Hidden in Stone: Dorking’s Dinosaur Discovery <\/em>which explored the 1982 discovery of Baryonyx<\/em> in a local clay pit and its impact on spinosaur science<\/figcaption><\/figure>\n<\/div>\n\n\n

For visitors, the Museum is an accessible introduction to the history of Dorking and the surrounding Surrey landscape. For families, its fossils, interactive elements and activities make the past approachable. For researchers, the archive provides a substantial body of documentary evidence. For residents, perhaps most importantly, it offers a place where the history of their streets, houses, workplaces, families and landscapes is recognised as worthy of preservation. The Museum’s continuing development, from the first post-war proposal, through the establishment of its Foundry premises, repeated expansion and refurbishment, to its modern archive, educational programme and 2024 Accreditation, shows that local museums are not static repositories of the past. They are living institutions. Dorking Museum continues to collect, interpret and question the evidence of the town’s history, while inviting its community to participate in that process. In this respect, Dorking Museum and Heritage Centre deserves to be considered not simply as a pleasant local attraction but as an important centre for the study and interpretation of Surrey’s history. Its collections reveal the extraordinary depth that can be found within one town, and its combination of objects, documents, oral histories, buildings, landscape and community activity provides a persuasive demonstration of why local museums continue to matter. Although the gift shop in this museum is small, I am sure you will find something that you will enjoy – I bought some postcards and a magnet. If you do visit, please let me know what your favourite aspect was.<\/p>\n\n\n\n

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A couple of months ago now, I visited the Dorking Museum and Heritage Centre with a few friends of mine, one of which whom is a volunteer at the Museum. The Dorking Museum and Heritage Centre is a small but…<\/p>\n","protected":false},"author":1,"featured_media":6702,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[259],"tags":[260,98,5,43,192,207,25],"class_list":["post-6697","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-museummonday","tag-museummonday","tag-birds","tag-dinosaurs","tag-fossils","tag-history","tag-museums","tag-natural-history"],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pafnrI-1K1","jetpack_featured_media_url":"https:\/\/i0.wp.com\/stevenallain.co.uk\/Blog\/wp-content\/uploads\/2026\/08\/Dorking-Museum-4-scaled.jpeg?fit=2560%2C1526&ssl=1","_links":{"self":[{"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/posts\/6697","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/comments?post=6697"}],"version-history":[{"count":6,"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/posts\/6697\/revisions"}],"predecessor-version":[{"id":6729,"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/posts\/6697\/revisions\/6729"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/media\/6702"}],"wp:attachment":[{"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/media?parent=6697"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/categories?post=6697"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/stevenallain.co.uk\/Blog\/wp-json\/wp\/v2\/tags?post=6697"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}