The final piece of the Arctic Convoy project has just been completed – and what a resounding success.
The History Centre joined forces with writer and arts facilitator Dawn Gorman to work with a group of young people on a creative writing project using the Second World War Arctic Convoy oral histories as source material. We approached St Laurence School in Bradford on Avon and the Chippenham Air Scouts to recruit youngsters to the project.
We were knocking on an open door at St Laurence as we had worked with the school in 2016 on the Iron Duke project and we knew there would be students eager to hone their creative writing skills. Four students signed up to the poetry workshops being run by Dawn.
To be fair the Scouts were a slightly trickier audience, even with the promise of earning another badge if they took part. Dawn and I attended one of their meetings and spoke with around 20 youngsters, mostly aged 11-13 and mostly boys, about the stories of the Arctic Convoy veterans and the idea that anyone and everyone can enjoy creative writing!
I had brought with me Second World War magazines, a selection of photographs of veterans interviewed by the History Centre in the first part of the project, and a medal presented by Russia to British sailors who had served on the convoy ships.
This brief session prompted two of the Scouts to share with the group that their great grandfathers had been sailors on Royal Navy ships escorting the merchant ships carrying supplies to Russia. In the end we had four Scouts signed up to the workshops and they were joined by a member of Corsham Sea Scouts.
The starting point for the creative writing was to listen to the stories told by some of the Wiltshire veterans of the convoys. These oral histories and their transcripts can be accessed at the History Centre. On our website we have uploaded a series of short films with abridged versions of the oral histories and it was these recordings that were used in this project.
Dawn worked in school with the Year 10 and 11 students on poems inspired by these men’s stories while the Scouts took part in a more structured series of workshops held at the History Centre.
The boys created both poetry and storyboards based on the Arctic Convoys. Dawn worked with them on “found poetry” – creating poems from pre-existing text – the five senses and creating a hero profile and story.
I was recently cataloguing an early 20th century postcard for our Historic Photograph & Print Collection which was quite unusual; it was commemorating the death of two gunners called Harrild and Murray. Included on the front of the postcard were photographs of each of them. I really wanted to find out more. What happened to these men and what were their full names? Even a location for the event wasn’t clear, so I needed help!
After a timely tweet, Trowbridge Museum came up trumps and confirmed that the men had been stationed at Trowbridge Barracks and had been involved in an accident with the funeral being held on 30th July 1909.
My next port of call was to a local newspaper, the Wiltshire Times, where on Saturday 24th July 1909 the inquest was reported. The two gunners were Sidney Harrild (age 19) and Richard Murray (age 26), and another, Gunner Wells, who was seriously injured. It appears that the gunners were removing primers from shells although there was a debate around whether the powder was also being removed. The powder in seven of the cartridges exploded, with “terrible results”. The funeral was also reported, occurring slightly earlier than we thought, on 27th July.
“With full military honours, the remains of Gunners Murray and Harrild were laid to rest on Tuesday afternoon, the awfulness of the tragedy and the solemn progress through the streets of the soldiers with their dead comrades combining to make this occasion one that will not soon be forgotten.”
I’ve been producing documents for the public from the archives for 21 years, during which time I’ve come to know the collections quite well. There are several extremely interesting collections that are very under used. One particular collection is the Parish War Books (WSRO F2/851/3/1 – F2/851/4/52) which are a very interesting piece of local history.
The Wiltshire Parish War Books have their origins with the Napoleonic Wars when there was a real threat of invasion from the French. In 1798 a plan was drawn up to make provisions in the event of this happening. Titled “Rendering The Body Of The People Instrumental In The General Defence” it laid out three plans. The first was to cut off the food supply to the French by moving all the live stock away from the enemy advancing. Another measure was “Breaking the upper millstone and the crown of the oven are deemed the most effectual and least expensive modes of derangement”. Second, was to supply the number of wagons, carts and horses with drivers and conductors that could be made available to help supply the British Army with provisions. Lastly, a plan for insuring the regular supply of bread to the army with instructions for bakers to bake loaves of three pounds or four and a half. A hard crust all the way around was needed otherwise they would not keep in hot weather.
Copyright Imperial War Museum
Fast forward 143 years and the risk of invasion was once again upon us. By mid 1940 German forces had invaded France, Belgium, Luxembourg and the Netherlands. “Operation Sea Lion” was the code name for Nazi Germany’s invasion plan of the U.K. during the Battle of Britain. In preparation, invasion committees were set up around the country.
Wilfrid Gabriel de Glehn has often been described as “one of England’s leading Impressionists” due to his ability to capture variations in sunlight and shadow as well as a painterly style and a feel for colour that perfectly captured his subject. He has been highlighted while researching for Creative Wiltshire, a Heritage Lottery Funded project and we discovered that we hold one of his pieces within the county; a portrait of Dr. Edwin Sloper Beaven dated 1939 and held at Dewey Museum in Warminster. (Ref. WAMDM:D4414)
However, while he was known for his portraits and received regular commissions, it is perhaps his landscapes that inform us of the man; often capturing a sense of place with huge accomplishment and care. He worked in oils or watercolours and travelled widely, so his subject matter is hugely varied and genuinely reflects his love of people and places.
In 1891 he was invited to assist in the murals for Boston library by Edwin Austin Abbey and so began his long association with America, leading to his marriage in 1904 to Jane Erin Emmet, cousin of the novelist Henry James. He also began a lifelong friendship with John Singer Sargent and the three often travelled together, painting side by side as they visited wonderful locations such as Venice, Rome, Corfu, Granada, St. Tropez and areas in the south of France along with locations closer to home, such as Hampshire, Wiltshire and Cornwall. Wilfrid and Jane settled in London, in Cheyne Walk, close to Sargent’s studio, and Wilfrid began to establish himself as a portrait painter, exhibiting at the Royal Academy and other private galleries in the early part of the 20th century.
His painting was interrupted by the First World War when he and his wife worked as orderlies in a French field hospital and this contrast with his earlier pre-war life had an impact on them both. He took time to return to painting after the war but had produced watercolour sketches during his experiences depicting patients resting in the landscape, playing cards and recuperating, and these demonstrate his eye for figures and a wonderful ability to capture a sense of place and nature.
Visits to France became part of the couple’s lifestyle; both had studied in Paris and they regularly returned to the city as well as favouring the area around Chartes, the Seine valley and Provence. Wilfrid’s portraiture work funded these summer trips to Europe and in turn fuelled his interest and love of landscape painting. Both he and Jane travelled with their artist’s tools and regularly set up their easels together to enjoy their painting. A love of the English countryside grew and Cornwall became a firm favourite, as well as Hampshire and the River Avon. A theme of castles brought de Glehn to Wardour Castle in the south of the county, and a visit to Downton led to them renting the rectory at Wilton during the 1920s and 1930s, introducing them both to the Wiltshire countryside. The rectory backed onto Wilton Park which provided de Glehn with more subject matter, and he became fascinated with the Palladian bridge spanning the River Nadder. He also painted Heale, a seventeenth century house owned by a friend and many of these paintings were shown at Wilfrid de Glehn’s exhibition at Knoedlers in 1935.
By 1941 the couple were searching for a new home, having lost Cheyne Walk, London in the Blitz and it was at this point that they bought the Manor House in Stratford Tony where they settled for the remainder of his life while still returning regularly to Provence.
The care and provision for people with mental health issues is a current high-profile concern, but how have people been cared for historically in Wiltshire? The availability on Ancestry of the Lunacy Patients Admission registers from 1846-1912 (held at the National Archives MH 94) – an index giving the name of each patient, date of admission, discharge or death and name of institution - the census returns from 1841-1911 and death certificates –have led to numerous enquiries about ancestors in Wiltshire institutions. The County Asylum at Devizes ( Roundway ) opened in 1851 and we have extensive detailed patient case records; similarly for Fisherton House , later known as the Old Manor Hospital, Salisbury. Visitors can use these records to find out more about their ancestors’ treatment (although they are subject to a 100 year closure period), but what of mental health care before this time?
The term ‘lunatic’ is a pre-20th century word used to describe someone who was mentally ill or emotionally disturbed; it was a very broad term. Many so described were perhaps eccentric, very intelligent, physically or mentally handicapped in some way, senile ,or suffering from conditions that today would be treated with drugs and in the home such as epilepsy or post natal depression – few were ‘mad ‘ but their behaviour was such that they could not be cared for at home.
The earliest asylum, Bethlem or ‘Bedlam’ Hospital in London was established in the 13th cent but generally provision was not widespread until the 18th cent. Private asylums or madhouses were set up to cater for those who could afford to pay. Pauper lunatics were dealt with locally by their families or ended up in workhouses or prisons; however, if the parish agreed to pay the fees they could be treated in the private asylums. The first Act to regulate madhouses was in 1774 by which the institutions were licensed by the local magistrates; a further Act of 1828 appointed committees of visitors to inspect and report on the premises and the medical care provided. In Wiltshire 7 private asylums were licensed:- Laverstock House, Laverstock ; Fiddington House, Market Lavington ; Fisherton House, Fisherton Anger ; Kingsdown House , Box ; Belle Vue , Devizes ; Fonthill Gifford and Calne.
The records that survive consist of admission registers, minutes of the visitors, annual reports and plans. The admission registers record the name, date of admission, parish, marital status, occupation, by whom sent, whether pauper or private and date of discharge or death. No treatment records survive. They do show how Wiltshire’s institutions attracted patients from a wide area of the south-west and London- whether this was because of the ‘facilties’ offered and reputation or simply because families did not want their ‘lunatic’ relatives close to home.
An advertising prospectus survives for Laverstock House from the 1830’s which extols its virtues. ‘The situation of Laverstock House is peculiarly eligible. Surrounded by large Gardens and Pleasure Grounds in the midst of a fine and extended Country, it is at once retired and cheerful, and affords the most ample means for indulgence in those exercises which are so essential to the happiness and health of the Patients’… Male and female patients had separate apartments, subdivided by disease, habits and ‘station in life’ with superior accommodation for ‘Persons in the higher walks of Society’…’ Every possible kind of amusement was provided for them; billiards, backgammon, cards, books etc indoors; bowls, cricket, greyhounds, riding on horseback and in a carriage, out of doors; a Chapel on Sundays’
When you think of a garden the first thing that comes to mind probably isn’t paper. But in our archive we hold various documents relating to gardens from ranging from plans, accounts, drawings etc of major estate gardens such as Wilton House, to diaries and papers of garden designer such as Harold Peto to interesting individual items like this 1911 inventory of garden tools and late 18th century instructions for growing truffles.
Gardening by its nature is ephemeral and always changing. Sometimes the only trace of a garden is through archival material such as planting lists, sketches, accounts or correspondence. These documents can tell a story not only of a lost garden, but of the friendships and ideas which inspired it.
The first documented garden at Wilton (although there probably would have been earlier gardens associated with the Abbey which was dissolved in the mid-16th century) was created by Adrian Gilbert (half-brother to Sir Walter Raleigh) for Mary Herbert, Countess of Pembroke 1561-1621. No drawings or plans of the garden survives but poet John Taylor recorded detailed descriptions of the garden following a visit in his ‘A New Discovery by Sea, with a Wherry from London to Salisbury’ in 1623. He praised the garden and described the:
‘intricate setting. Grafting, planting, inoculating, railing, hedging, plashing, turning, winding and returning circular, triangular, quadrangular, orbicular, oval, and every way curiously and chargeably conceited: there hath he made walks, hedges, and arbours, of all manner of the most delicate fruit trees, planting and placing them in such admirable artlike fashions… the hedges betwixt each walk are so thickly set, that one cannot see through from one walk who walks in the other: that in conclusion, “the work sees endless, and I think that in England it is not to be followed, or will in haste be followed”’.