Come with me into the graveyard, all human life is here

Author: Gravedigger Page 1 of 20

Gainsborough and Zoffany: an Excursion to Kew and Brentford

It took me some time to cross the South Circular, a vicious road which hurtles from its junction with the North Circular and the M4 at Chiswick, across the Thames via Kew Bridge, and south through Kew and Putney, before veering on a wild course east through Clapham, Dulwich, and Lewisham, to end at the Woolwich ferry. In what was once the hamlet of Kew it severs Kew Green in two, leaving Saint Anne’s church, which originally sat in the centre of the green, stranded in the western half. Saint Anne’s was built in 1714 as a chapel of ease and has been extended several times, but my purpose in manoeuvring across the A205 was not to see the church but the raised churchyard which surrounds it on three sides, and in particular the graves of two eighteenth century painters: Gainsborough and Zoffany.

Thomas Gainsborough (1727-1788) and Johan Zoffany (1733-1810), both founder members of the Royal Academy, were phenomenally successful in their lifetimes. They had little else in common, apart from fortuitously ending up in the same burial ground: Gainsborough had requested burial there to be close to his friend and fellow artist Joshua Kirby, and Zoffany was resident in the parish, living on the opposite side of the river at Strand on the Green. In Britain Gainsborough’s star has never faded, but Zoffany’s reputation has been more inclined to fluctuation.

Grave of Gainsborough, St. Anne’s, Kew. It has been restored twice, in 1835 and 2012
With Gainsborough are his wife and nephew, Gainsborough Dupont, who was his sole assistant
Grave of Zoffany, St. Anne’s, Kew
“His Widow caused this Tomb to be erected as a Memorial of her Affection”
With Zoffany are his wife and grand daughter, Laura, who died at nine months: “This lovely bud so young so fair called hence by early doom. Just came to show how sweet a flower in Paradise would bloom.”

Born in Sudbury, in Suffolk, Gainsborough studied art in London. On his return to Ipswich, he enjoyed a very modest success with his landscapes and small head portraits of local merchants and squires. Only when he moved to Bath in 1759 did his fame and popularity grow, resulting in lucrative commissions from a stylish clientele in the fashionable spa town. His portraits became larger with life-size, full-length paintings of prominent social figures: actors, playwrights, musicians, and aristocrats.

Thomas Gainsborough, Mr. and Mrs. William Hallett, The Morning Walk. The National Gallery.
Public Domain via Wikimedia Commons.
Thomas Gainsborough, Mrs. Mary Robinson (Perdita).
The Wallace Collection.
Public Domain via Wikimedia Commons
Thomas Gainsborough, Queen Charlotte. The Royal Collection.
Public Domain via Wikimedia Commons

But Gainsborough was inclined to be cantankerous, and he was soon complaining that he was “sick of portraits” and yearned to indulge his real passion for “landskips.” (sic)

After settling in London in 1774, he began to integrate his sitters into landscapes. And gradually the figures shifted to the margins until, in his later years, the sitters disappeared entirely, and he returned to the pure landscapes which gave him most satisfaction. Oddly, unlike his youthful works, these were rarely painted from nature but completed at night by candlelight with model landscapes set up in his studio, using stones, twigs, leaves, and mirrors.

Thomas Gainsborough, Mr. and Mrs. Andrews.
( pushed to the edge of the landscape)
The National Gallery
Public Domain via Wikimedia Commons
Thomas Gainsborough, Landscape, Suffolk.
Kunsthistorisches Museum, Vienna.
Public Domain via Wikimedia Commons.

And in the Victoria and Albert museum is his strange “showbox”: sometimes Gainsborough painted landscapes with oils on glass, and backlit them with candles in the dark box to be viewed through a magnifying lens.

Gainsborough is credited as a founder member of the British landscape school, and, with Reynolds, as the dominant British portraitist of the late eighteenth century. But I have never been able to summon much enthusiasm for his work. Faced with grey powdered wigs, elaborate fussy hats and dresses, the stiff poses of his sitters, combined with the sludgy colours of the landscapes, I generally find the dogs the most attractive components of the portraits. And when, as with the famous Blue Boy, Gainsborough’s work reveals the influence of Van Dyck in both costume and technique, I find the effect positively weird.

Thomas Gainsborough, The Blue Boy.
The Huntington, San Marino, California.
Public Domain via Wikimedia Commons

Zoffany’s work is so much more fun: a merry-go-round of swirling colours; wry, risqué, full of satirical allusion. And his life was as flamboyant as his paintings. Of Hungarian and Bohemian origins, he was born in Frankfurt and when he was seventeen, he walked to Rome to study art. Ten years later he was in England where David Garrick became his first major patron. His depictions of Garrick both in his theatrical performances and with his family secured Zoffany’s fame. Like Gainsborough he was in demand for portraits of actors, musicians, scientists, and society. In 1764 he was taken up as a court painter, joining the expatriate German community around George III and Queen Charlotte.

Johan Zoffany, David Garrick as Jaffier in Venice Preserved.
Holburne Museum.
Public Domain via Wikimedia Commons

He combined the exuberance of his painting with a meticulous attention to detail. Commenting on the latter, the art critic Christopher Hussey described him as “the Jane Austen of English painting,” which is apposite only so long as it applies only to his representation of teacups and saucers.

Zoffany espoused the genre of conversation pieces, adapting it specifically to produce theatrical conversation pieces, filling his huge canvasses with large casts of instantly recognisable actors.

Similarly, in The Academicians of the Royal Academy, artists jostled with models and works of art. At the request of the Royal household, he worked for five years on the Tribuna of the Uffizi, but here he came to grief for the bigoted and prudish Charlotte was shocked to recognise two notorious “finger twirlers”, a derogatory term for homosexual men, in the crowded gallery. There were no more Commissions from Charlotte.

Johan Zoffany, The Academicians of The Royal Academy. Royal Collection. Public domain via Wikimedia Commons.
The two women members of the Royal Academy, Mary Moser and Angelica Kauffman, appear only as portraits on the wall; women were barred from life classes on the grounds of “propriety.”
Johan Zoffany, The Tribuna of the Uffizi.
Royal Collection, Windsor Castle
Public domain via Wikimedia Commons

Unperturbed Zoffany set out for India, the paintings he produced there providing a wonderful insight into what William Dalrymple has described as the intermixing and mingling of people, culture and ideas in eighteenth century India before racial prejudices, arrogant imperial policies, and an ugly desire for British control swept all this away in the nineteenth century. Dalrymple uses a detail from Zoffany’s General William Palmer and Family for the cover of his book White Mughals; in the painting Palmer and his wife, the Mughal Princess, Bibi Faiz Bakhsh appear with their children and her sisters. In Colonel Mordaunt’s Cock Match, Zoffany portrays a fight between the prize cockerel of the royal family of Awadh and that owned by East India Company men, a painting in which he and his friends also featured.

Johan Zoffany, Colonel Mordaunt’s Cock Match.
Tate Britain
Public Domain via Wikimedia Commons

He painted an altar piece of the Last Supper for Saint John’s church in Kolkata, using local merchants as models for the apostles, a Greek Orthodox priest as a model for Jesus and, more controversially, the Police Magistrate Blaquiere for Saint John. Blaquiere who had feminine good looks and enjoyed cross dressing, had frequently used female disguise in successfully apprehending bandits, but he was unpopular with some Europeans because of his indifference to Christianity and his sympathy for local religions and customs. It was however Zoffany’s modelling of Judas on William Tulloh, an auctioneer with whom he had fallen out, which landed him with a lawsuit.

As he sailed back to England, Zoffany was shipwrecked off the Andaman Islands. Dalrymple comments drily,

Lots having been drawn among the starving survivors, a young sailor was duly eaten. Zoffany may thus be said with some confidence to have been the first and last Royal Academician to become a cannibal. *

Back in England Zoffany produced a second notorious altarpiece featuring the Last Supper, this a commission from Saint Anne’s at Kew. He used fishermen from Strand on the Green as models for the disciples, modelled Peter on himself and John on his wife. Again, it was Judas who landed him in trouble; he had modelled the latter on his lawyer, who was also a churchwarden at Saint Anne’s. The church authorities refused to pay for the finished work, and he donated it instead to Saint George’s church in Brentford.

In search of the altarpiece, I crossed Kew Bridge and made for Brentford High Street, but Saint George’s had closed, being converted first into a music museum in 1963, and then, after a period of dereliction, and a delay owing to the discovery of graves under the nave, into “an exciting new gated development” with “upscale serviced apartments” in 2017. The altarpiece had been moved to Saint Paul’s, also in Brentford, where it has been relegated to a position high on the wall of a side chapel. And although I am amused by the story of its provenance, I have to admit that it is a very disappointing work. Sadly, I too would have consigned it to a dark corner.

Zoffany’s Last Supper altarpiece, St. Paul’s, Brentford
Detail: the red headed Judas on the right of the picture was modelled on Zoffany’s lawyer

But I found consolation in an excellent coffee and cake in the very welcoming Spire Café in Saint Paul’s church. Highly recommended should you find yourself in Brentford.

*William Dalrymple, White Mughals, (2002) p. 268

The Celtic Cross, The Bleeding Yew, and The Griffith Children

According to local tradition, the first cuckoo to return from Africa will sing from the Celtic Cross in Saint Brynach’s churchyard at Nevern in Pembrokeshire every 7 April. Its song, on the feast day of Saint Brynach, heralds the arrival of Spring.

Brynach was an evangelist from Ireland who, in the sixth century, made the Peregrinatio Pro Amore Christi, travelling the coasts of England and Wales establishing small Celtic monasteries. By the time the Celtic Cross was erected in the tenth century thousands of pilgrims were visiting Nevern on the Pilgrim Way to St. David’s, and numbers increased when in the twelfth century Pope Calixtus II declared three pilgrimages to St. David’s the equivalent of one to Jerusalem.  But a fallow period was to follow at the Reformation when the monastery and its church fell into disrepair. The church was restored during the Methodist Revival of the 1730s.

The Celtic Cross, Saint Brynach’s Church, Nevern

But while my friends were examining the knotwork and ringwork carvings on the cross, I was more interested in the seven-hundred-year-old yew trees which line the path to the church, and especially in the bleeding yew. For one of the trees produces a blood-red sticky resin. Thin legends have grown up around this phenomenon: the tree will bleed until Nevern Castle, abandoned in 1179, is again occupied by a Welshman; a monk, hanged from the tree for a crime he did not commit, vowed that it would bleed for eternity. More prosaically the release of sap is normal if a yew has been damaged and usually it will heal itself. But this sap is a very red and blood like sap, and the tree shows no sign of healing.

Many explanations have been offered for the common occurrence of ancient yews in the churchyards of England and Wales. My favourite comes from the seventeenth century astrologer, botanist and translator of mystic texts, Robert Turner, who claimed they were planted to protect and purify the dead, absorbing the gases from decomposing corpses. Their branches

draw and imbibe… the gross and oleaginous vapours exhaled out of the grave by the setting sun.

and their roots

suck nourishment from the dead. *

From this it is only a step to imagine vampire-yews sucking blood as well.

The Bleeding Yew… definitely a vampire

As I wandered the graveyard embroidering this ghoulish fantasy, I was distracted by an old gravestone now fixed high on the wall of the churchyard and overhung with ivy. The stone records the deaths in infancy of Anna Letitia and George, the children of David Griffith, vicar of Nevern between 1782 and 1834. Infant mortality was high in those years, and while the deaths did not surprise me, I was taken aback by the strangely jaunty verse which commemorated them:

They tasted of life’s bitter cup.

Refused to drink the potion up

But turned their little heads aside

Disgusted with the taste – and died.

Old gravestone, now affixed high on the wall of the churchyard
ANNA LETITIA and GEORGE, children of Rev. DAVID GRIFFITH,VICAR of this parish, who died in their infancy,A.D.1794
Strangely jaunty verse

It sounded horribly callous and cold-hearted. Could anyone record the death of their children in such insensitive terms? Was it meant to be humorous?

But the jocularity was not entirely unfamiliar: a commemorative brass in Southwark Cathedral begins conventionally enough:

Susanna Barford departed this life the 20th of

August 1652 aged 10 yeares 13 weekes, the non-

-Such of the world for piety and virtue

In soe tender years.

And death and envye both must say twas fitt

Her memory should thus in brasse bee writ.

Here lyes interr’d within this bed of dust

A virgin pure not stained by carnal lust;

Such grace the king of kings bestowed upon her

That now she lives with him a maid of honour.

Her stage was short, her thread was quickly spun

Drawne out and cut, gott heaven, her worke was done.

But the final couplet has a chirpy insouciance like that on the Griffith grave:

This world to her was but a traged play

Shee came and sawt dislikt and passed away.

Brass commemorating a child death in Southwark cathedral

 The origin of this and similar couplets may lie in a poem written by Henry Wotton in 1626;recalling the death of his nephew’s widow shortly after that of her husband, it ends:

Hee first deceased; Shee for a little Tryd

To live without him, likd it not, and dyd.

The lines were certainly adapted on the stone of Margaret and John Whiting, found in Saint Bartholomew the Great, when John died a year after his wife in 1681,

Shee first deceased; Hee for a little Tryd

To live without her, likd it not and dyd.

On an adult grave, and where the epitaph also records that the couple had,

 “lived lovingly together … 40 yeares and upward…having had issue 12 children”.

 

the humour sounds gentle and not out of place. But on the child graves the seeming emotional detachment is disturbingly unfeeling and unsympathetic.

Lawrence Stone** has advanced the chilling suggestion that the high infant mortality rate in earlier centuries led parents to make only a limited emotional investment in their children, but I think it is more credible that an age of greater faith may have rendered even child death less traumatic than it is today.

Pat Jalland*** reasons that the evangelical movement of the late eighteenth and early nineteenth century engendered a view of death as an escape from an unhappy world of pain and suffering. As angels in heaven the children would watch over those left below, who should anticipate a joyful reunion, certain of a future life in a happier world. She warns against judging the emotions of an earlier age from our own standpoint where there is reduced prevalence of religious belief.

Certainly, Reverend David Griffith was both a product and a part of the Methodist Revival which espoused these evangelical views. Nonetheless I find the epitaph he chose for the grave of his young children, with its apparent bland and untroubled acceptance, deeply disquieting.

*Quoted in Richard Mabey, Flora Britannica, (1996) p.29.

**Lawrence Stone, The Family, Sex and Marriage in England 1500-1800, (1977) pp651-2.

***Pat Jalland, Death in the Victorian Family, (1996) chapters 1 and 6.

Three Ladies of the Crimea

In 1853 the Ottoman Empire was in decline and Russian expansion threatened the balance of power. British and French armies united with the Turks fighting the Russians in Crimea. WH Russell’s journalism, Roger Fenton’s photography, Tennyson’s poetry, and the paintings of Elizabeth Butler, Robert Gibb and Harry Payne fostered a jingoistic enthusiasm for the war in Britain such that Alma, Balaklava, and Inkerman still feature as street names today.

Against this background Florence Nightingale emerged as a national heroine, venerated by Victorians as The Lady with the Lamp.

Nightingale (1820-1910) was born into a wealthy British family. She believed, as significant numbers of Victorians did, that she was called by god to serve others. Her decision to realise this through nursing was strongly, and unsurprisingly, opposed by her family. “Nurses” at this time were not far removed from the caricature of Sarah Gamp presented by Dickens in Martin Chuzzlewit: untrained, incompetent, negligent and often drunk. Hospitals were filthy places with straw spread on the floors, as it might be in an old butcher’s shop, to soak up blood.

Nightingale however managed to acquire some medical training at a Lutheran religious community in Germany where the deaconesses worked with the sick. In 1853, through social connections, she was appointed Superintendent of the Institute for the Care of Sick Gentlewomen in Upper Harley Street.

In 1854 Sidney Herbert, the Secretary of State for War, who knew Nightingale well, appointed her to lead a staff of thirty-eight women volunteer nurses at the military hospital in Scutari. Here she found the wounded being treated in horrific conditions with shortage of medicines, hygiene neglected, overworked staff, overcrowding, lack of ventilation, poor nutrition, and rampant infections. Ten times as many soldiers were dying from typhus, typhoid, cholera, and dysentery as from battle wounds.

Five days after her arrival the injured from the battles of Balaklava and Inkerman appeared at the hospital. Nightingale instituted practical measures: cleaning, hand washing, bathing patients, improved nutrition.

The improved hygiene may have reduced the death rate, but the latter remained high until the British Government set out a sanitary commission. Realising that the hospital was built over defective sewers and patients were drinking contaminated water, they flushed out the sewers and improved ventilation. The mortality rate then fell substantially, but not as dramatically as reported at the time since the government concealed accurate figures to avoid criticism.

Meanwhile the media of the day romanticised and arguably exaggerated Nightingale’s achievements. William Russell in The Times:

She is a “ministering angel” without any exaggeration in these hospitals, and as her slender form glides quietly along each corridor, every poor fellow’s face softens with gratitude at the sight of her. When all the medical officers have retired for the night and silence and darkness have settled down upon those miles of prostrate sick, she may be observed alone, with a little lamp in her hand, making her solitary rounds.

A portrait of her with her lamp appeared in The Illustrated London News and Henry Wordsworth Longfellow immortalised her in Santa Filomena, a sentimental and moralising poem which enjoyed great popularity:

Lo! In that house of misery

A lady with a lamp I see

              Pass through the glimmering of the gloom

              And flit from room to room.

Lytton Strachey, a man not given to hyperbole, nor to bad poetry, nonetheless praised Nightingale in his book Eminent Victorians which debunked other nineteenth century heroes. His more judicious reasoning suggesting that her achievements were as admirable as her personality was intolerable. The Lady with the Lamp was stubborn and opinionated, he claimed, but these qualities were needed to realise improvements at Scutari.

Although she is most remembered for her time in the Crimea, Nightingale’s achievements when she returned home after the war were greater. In 1860 she set up the first secular training school for nurses at St. Thomas’ Hospital in London. She insisted on autonomous nursing leadership with matrons having full control of their staff, to the chagrin of doctors who saw their authority threatened. The hierarchical structure which she instituted, influenced by her contact with the army, undoubtedly alienated some potential nurses. Yet the teaching hospitals transformed nursing into a respectable, and respected, profession.

Nightingale turned her attention not only to the sanitary design of hospitals but also to working class homes. Working with the sanitary reformer Edwin Chadwick she produced statistical models highlighting the causes of mortality. Their mutual commitment to adequate drainage reduced the death rate. A pioneer statistician, Nightingale produced the so called rose diagrams, a type of pie chart, summarising their research in a form which could be quickly understood and used to put pressure on government to introduce reforms.

Nightingale was lauded by the press, received awards and decorations including the Order of Merit, and offered a burial in Westminster Abbey which in accordance with her prior request her family declined. She is buried in St. Margaret’s churchyard, East Wellow, Hampshire near her family home.

The rather stark grave of Florence Nightingale bears only her initials and dates of birth and death
Statues of Nightingale and Sidney Herbert flank the Crimean War Memorial at Waterloo Place in London

But Nightingale was not the only woman whose fame rested largely on her activities in the Crimea. Mary Seacole (1805-1881) was born in Jamaica where her mother ran a boarding house and convalescent home for military and naval staff. She was also a “doctress”: a woman who treated the sick with traditional Caribbean and African herbal medicines. Seacole worked alongside her mother, sometimes providing nursing assistance at the British Army Hospital.

In 1851 while visiting her brother in Panama she helped to treat victims of an outbreak of cholera. Spotting a business opportunity in Panama, where gold prospectors were passing to and from California, she opened the British Hotel and Restaurant to cater for them.

Seacole travelled to England initially to deal with investments which she had acquired in gold mining businesses. She then applied to the War Office to join the second contingent of nurses going to the Crimea, but the full complement had already been secured. She appealed to the trustees of the Crimea Fund, established to support the wounded in Crimea, for sponsorship to travel there but was refused. Seacole suspected a lack of appreciation of her skills as a doctress and an element of racism in this refusal:

In my country, where people know our use, it would have been different; but here it was natural enough…that they should laugh, good-naturedly enough, at my offer….Was it possible that American prejudices against colour had some root here? Did these ladies shrink from accepting my aid because my blood flowed beneath a somewhat duskier skin than theirs? (1)

Seacole used her own resources to travel to Crimea where she opened the New British Hotel at Balaclava in 1855 aiming to provide food and accommodation for sick and convalescent officers. The French chef, Alexis Soyer, who had come to Crimea to help improve the diet of British soldiers, advised her to concentrate on a food and beverage service as the officers slept on their ships or in camp.

For the duration of the war, Seacole combined a successful catering business with medical aid to the wounded. She served officers in the British Hotel and sold provisions near the British camp. After supplying food and drink to spectators who came to view the battles from Cathcart’s Hill, she would head for the battlefield to nurse the casualties.

WH Russell wrote:

She was a warm and successful physician, who doctors and cures all manner of men with extraordinary success. She is always in attendance near the battlefield to aid the wounded and has earned many a poor fellow’s blessing. (2)

“Mother Seacole” as she became known to the soldiers.

out of the goodness of her heart and at her own expense, supplied hot tea to the poor sufferers (wounded men being transported from the peninsula to the hospital at Scutari) while they are waiting to be lifted into the boats…She did not spare herself if she could do any good to the suffering soldiers. In rain and snow, in storm and tempest, day after day she was at her self-chosen post with her stove and kettle, in any shelter she could find, brewing tea for all who wanted it, and there were many. (3)

But Seacole did much more than provide tea; equipped with lint, bandages, needles, and thread she tended to the wounds of soldiers, prepared medicines, and performed minor surgery. (4)

When the war ended and the soldiers left Crimea, Seacole faced financial difficulties with provisions she could no longer sell and creditors demanding payment. But such was her celebrity and popularity that when she returned to England a fund supported by many military men was set up on her behalf.

Mary Seacole continued to travel and in 1857 published her autobiography, The Wonderful Adventures of Mrs. Seacole in Many Lands.

In 1860 she had converted to Catholicism, and when she died, she was buried in St. Margaret’s Roman Catholic Cemetery in Kensal Green.

But while Nightingale’s fame endured after her death, Seacole was all but forgotten for a century, until in 1973 her grave was rediscovered and restored by the Jamaican Nurses Association. A memorial service was held on the centenary of her death in 1981.

Grave of Mary Seacole…
..newly restored and easily located amongst the grey stones which surround it

 In the 21st century Seacole has achieved more prominence, and since 2007 she has featured on the national curriculum alongside Florence Nightingale.

And then there is Mary Anne Bulkley (1789-1865), more commonly known as James Barry, army surgeon and Inspector General of Military Hospitals, whose passion for improved sanitation rivalled that of Nightingale, and whose emphasis on the importance of good diet surpassed that of Seacole.

Barry was born in Cork and assumed male identity in 1809 when she entered the medical faculty of Edinburgh university, where she would not at that time have been admitted as a woman. She came close to being banned from taking her final exams, not on the suspicion that she was a woman but that her delicate appearance indicated that she was underage. Only the intervention of an influential family friend secured her graduation.

She went on to qualify in surgery at St Thomas’ and Guy’s Hospital and became an army surgeon. Her career was marked by remarkable success and frequent promotions with postings all over the empire, interspersed with violent clashes with fellow surgeons, military officers and officials leading on one occasion to a duel, followed by arrest and demotion.

In Cape Town she became the Colonial Medical Inspector, and it was there that she performed one of the first successful Caesarean sections.

Throughout her career she was concerned with the welfare of the poor and underprivileged, and of rank-and-file soldiers. And from this sprang her obsession with clean water, spotless wards, sterile instruments, improved sanitation, and healthy diet.

Though her professional skill was never in doubt, she earned a reputation for being tactless, impatient, argumentative, imperious, and opinionated.

During the Crimean war she ran a hospital for convalescent soldiers in Corfu, as always putting emphasis on the paramount importance of hygiene, clean hands, and instruments. The hospital had some of the highest recovery rates of the conflict.

Soon after, in 1859, Barry was forcefully retired on the grounds of old age and ill health.

She had left instructions that there should be no examination of her body after death, that she should not be washed, but buried in the clothes she died in wrapped in her bedsheets. Nonetheless her landlady summoned a woman to lay out the body. On discovering that Barry was a woman the latter approached DR McKinnon, Barry’s own physician, hoping to be paid for her silence. When McKinnon refused saying that Barry’s sex was none of his business, she took her story to the press.

There resulted the prurient speculation which McKinnon, and others who had known of Barry’s sex, had sought to avoid. Fortunately, as McKinnon pointed out, there was no family to be distressed by this.

Barry was buried in Kensal Green but when I visited recently the grave looked a little forlorn and forgotten. It features in the cemetery guide produced by the Friends of Kensal Green but is not easy to find and was more overgrown than I remembered from earlier visits.

James Barry, not so easy to find

Barry does not feature on the national curriculum.

And Did The Three Ladies of the Crimea Ever Meet?

Nightingale and Seacole did meet in Scutari, when Seacole was en route to Crimea, and sought a bed for the night. Seacole recorded that one of Nightingale’s colleagues had rebuffed her thinking she sought to join their group, and she inferred that racism was at the root of the rebuttal. But later when Seacole was packing up to leave Crimea she told Soyer,

You must know, M Soyer, that Miss Nightingale is very fond of me. When I passed through Scutari, she very kindly gave me board and lodging.

When Soyer related this to Nightingale, she replied,

I should like to see her before she leaves, as I hear she has done a deal of good work for the poor soldiers. (5)

And yet, Nightingale did not want her nurses associating with Seacole, as she wrote to her brother-in-law, that although

She was very kind to the men and, what is more, to the Officers -and did some good, (she) made many drunk.

She added that Seacole kept “a bad house” in Crimea and that,

I had the greatest difficulty in repelling Mrs. Seacole’s advances, and in preventing association between her and my nurses (absolutely out of the question!). Anyone who employs Mrs. Seacole will introduce much kindness – also much drunkenness and improper conduct. (6)

Relations between Nightingale and Barry were even more fraught during their one recorded meeting. When Barry visited the hospital at Scutari in her role as Inspector General of Army Hospitals she was not impressed by the standards of hygiene and lectured Nightingale on the subject in the presence of her subordinates. For Nightingale who prided herself so much on the improvements which she had made in hygiene at Scutari this must have been particularly galling. After Barry’s death Nightingale wrote, in a letter fairly dripping with rage, and with a wild assortment of personal pronouns in parentheses,

I never had such a blackguard rating in all my life – I who have done more than any woman – from this Barry sitting on (her) horse, while I was crossing the Hospital Square, with only my cap on, in the sun. (He) kept me standing in the mist of quite a crowd of soldiers, commissariat servants, camp followers, etc etc, every one of whom behaved like a gentleman, during the scolding I received, while (she) behaved like a brute. After (she) was dead, I was told (he) was a woman. I should say (she) was the most hardened creature I ever met. (6)

There is no record of Seacole and Barry ever meeting.

And Today?

There are arguments that Seacole’s knowledge of medicine, her skills and her contribution to nursing surpassed those of Nightingale (7) whose work has been more critically reviewed in recent times. Yet others defend Nightingale’s achievements passionately, regarding Seacole as little more than a kind-hearted businesswoman. (8). The erection of a bronze statue of Seacole outside St. Thomas’ Hospital in 2016 proved controversial since the hospital is associated particularly with Nightingale.

Bronze of Mary Seacole placed outside St. Thomas’ Hospital in 2016

What is certain is that soldiers in the Crimea had reason to be grateful to both The Lady with the Lamp and to Mother Seacole – and to James Barry too.

  1. Mary Seacole, The Wonderful Adventures of Mrs. Seacole in Many Lands
  2. The Times, 20 September 1855
  3. National Library of Jamaica, Mary Seacole
  4. Mark Bostridge, Ministering on Distant Shores in The Guardian, 14 February 2004
  5. Alexis Soyer, Soyer’s Culinary Campaign, Routledge 1857
  6. Letters in Wellcome Institute
  7. Jane Robinson, Mary Seacole: The Black Woman who Invented Modern Nursing. Mark Bostridge, Ministering on Distant Shores
  8. Lynn McDonald, cofounder Nightingale Society

WH Smith, Newsagent, Bookseller, Stationer.

In my childhood, in the 1950s and 1960s, WH Smith was an essential presence on every high street. It supplied some of my favourite items: books, comics, stationery. And in Chester the shop itself had a romantic allure. Housed in a black and white, half timbered, mock Tudor building, it advertised its presence only with a swinging sign suspended from ornate iron brackets and discreet lettering above the entrance.

Foregate Street, Chester, in the 1950s, WH Smith is housed in the black and white building on the right hand side
Old poster advertising the shop

The lettering, designed by Eric Gill in 1903, was common to all branches of WH Smith at the time, and the hanging sign featured at many branches. Designed by Septimus E Scott in 1905 these signs were usually made of enamelled steel and featured a newsboy brandishing a newspaper with a tray of books and papers in a basket. Some branches had “boy lanterns” where the image was on glass illuminated from within.

Swinging sign designed by Septimus E Scott
“Boy lanterns” were illuminated from within

In Chester newspapers, magazines and comics occupied the front of the shop, an enticing display spread across a huge counter, the smell of warm printers’ ink hanging in the air above, competing with a chilly blast coming in from the street, for during working hours the shop front stood completely open, and it is winter in my memory.

Deeper inside the shop behind swing doors was the cosy stationery department: a wellspring of fountain pens, Quink ink, pencils graded from 9B through HB to 9H, crayons, pencil sharpeners and rubbers, rulers and protractors, pencil cases, and notebooks. Basildon Bond writing paper and envelopes jostled for space with the more exotic airmail stationery, tissue thin with blue and red borders, and the severe brown envelopes favoured by businesses.

But the greatest delight lay at the top of the broad, creaking L-shaped stair whose dark timbers clung to the panelled walls and whose banister gleamed with polish. For this led to a room where leaded lights in mullioned frames punctuated the panelling, and shelves and tables overflowed with books. Here hardcovers held sway, and it required several months pocket money or a birthday windfall to effect a purchase from the generously stocked children’s section. But I could browse for hours undisturbed, benefitting from the dappled light which discouraged older eyes.

The truth is that though nicely bound and with attractive dust jackets the quality of the literature was not always high; librarians and teachers would have disapproved of the complete set of Enid Blyton’s Mallory Towers stories which I coveted. But from its beginnings WHSmith had catered without pretension for popular taste alongside respectable literature.

Henry Walden Smith and his wife Anna had established a newsvendors shop in London just before their son was born in 1792. Anna’s husband died when their son was only a few weeks old, but she continued the business and the son, William Henry (1792-1865) duly took over, renaming the shop WH Smith.

William Henry expanded the business and began sending London newspapers to rural towns by mail coach. He invented Smith’s Peculiar Slipknot which enabled packers to draw the string around the newspaper parcels as tightly as if it had been done by machinery. Every morning at 5am he would be outside his shop in the Strand, in his shirt sleeves, sorting and tying, priding himself on being the quickest packer.

Sometimes there was a delay in the publication of newspapers, and the mail coach would leave without them. William Henry built a light cart with fast horses and employed drivers to pursue the Mail when this happened. When news broke after publication, he sent messengers on horseback carrying printed slips with updates for customers in provincial towns.

Newspapers carried a stamp duty and were expensive. In 1821 William Henry opened a Reading Room at his premises in the Strand where for a daily fee “gentlemen” were invited to read the news more cheaply.

The second William Henry (1825-1891) joined his father in the business just as the railways began to supplant the mail coaches. Unregulated stalls had mushroomed at railway stations selling buns, books, and beverages, often of dubious quality. To raise the standard, and their own income, railway directors invited tenders for holding official stalls. William Henry’s bid was successful; he obtained the exclusive right to sell books and newspapers on the London and Northwestern Company’s stations and established his first stall at Euston in 1848. In 1850 he opened stalls on platforms in Birmingham, Manchester, and Liverpool. As the railways expanded so did his business. By 1862 he had a monopoly with stalls on the stations of every railway company in England.

He moved into publishing, producing the “railway novels,” also known as “yellow backs,” * or “mustard plaster novels.” These cheap books bound in yellow board covers, with adverts at the back helping to cut production costs, were the precursors of paperbacks. They covered popular genres of crime, suspense, and romance, undemanding literature suitable for wiling away a train journey, although there were also cheap reprints of Dickens and Shakespeare.

William Henry began lending books from his railway stalls; for a small fee books could be borrowed at one station and returned at another. A circulating library in the Strand followed.

Meanwhile he had benefitted from the abolition of stamp duty on newspapers and from his position as the sole distributor of the Times as circulation increased during the Crimean war.

William Henry had never employed workers on Sundays or distributed Sunday newspapers, but he made an exception when the list of killed and wounded at the Battle of Alma came through late on a Saturday night. On the Sunday morning, he opened his railway bookstalls to allow soldiers’ relatives to check the lists.

His son, William Frederick Danvers Smith (1868-1928), inherited the business and was responsible for the proliferation of high street stores in the early twentieth century. From 1905 the railway companies had demanded higher rents for the station stalls. So, William Frederick moved the focus of the business to shops, often located on approaches to the station to capture the passenger trade. Circulating libraries operated within the shops.

These were the shops that were still flourishing in the 1950s and 1960s although by then most of the circulating libraries had gone, rendered obsolete by the growth of public libraries. It was during this time that the statistician Gordon Foster, hired by the firm, originated the nine-digit code for referencing books which became accepted as the International Standard Book Numbering, ISBN, in 1970.

But in the 1970s, though still successful businesses, the shops began to lose their unique character as they were modernised. In many towns this meant plate glass, crude signage, and cheap fittings. As a listed building the exterior of the Chester branch was protected, but inside the beautiful staircase was ripped out to make more floor space, the panelling disappeared, the newspapers were removed from their glorious display area and shunted into a corner of the airless new shop floor, and the book room was lost to storage.

Yet in one branch, at Newtown in Powys, something special happened. For here instead of being updated the shop was restored to its appearance when it had first opened in 1927, with a small museum upstairs where the former circulating library had been. Tiles, light fittings, and oak shelving emerged from storage, and although not housed in such an attractive building, the shop in Newtown had the same old-world charm that I remembered in the Chester store.

Exterior: WH Smith, Newtown, Powys
Newspapers and magazines
Tiles adorned the outside of the shop
External lights

But from the late twentieth century onwards WHSmith, faced with competition from budget shops, supermarkets and online traders, became run down and shabby. The quality of merchandise declined. In February 2025, all the high street stores were sold to the private equity firm Modella capital. Some remain open, fictitiously renamed TG Jones, to give the false impression that it is still a family business. Other branches have been closed, including, in an act of supreme vandalism, the Newtown shop, where the delightful old fixtures and fittings have been removed and the building is on the market as a “development opportunity.”

RIP WHSmith

WH Smith, Family Tomb, Kensal Rise
WH Smith and his descendants lie appropriately beneath a tomb with an open book on top

*Not to be confused with the French yellow novels of the 1890s. WH Smith had a puritanical streak, and nothing salacious reached his bookstalls.

To appreciate what has been lost with the closure of the Newtown shop see, The WH Smith Museum: Hidden Gem in Newtown, Powys. H18-PDW

Battlefield Crosses: Returned From The Front

Amid the stone grave markers and memorials which flank the cloister of Salisbury Cathedral are seven wooden crosses.

Towards the end of the First World War, The War Graves Commission began to replace the wooden markers, which soldiers had fashioned for the graves of their comrades, with permanent memorials of Portland stone. The original battlefield crosses were offered to the fallen soldiers’ next of kin. But since few people could afford the cost of collecting or shipping the crosses home the majority were burned and the ashes scattered over the burial grounds. The crosses in Salisbury Cathedral were amongst the 10,000 which were returned from the front.

This cross marked the place where
Lt. JPM Carpenter,
Son of the Archdeacon of Sarum, was killed
Near Flers at the Battle of the Somme and
Was afterwards moved to his grave in
Bullecourt cemetery.
This cross marked the grave in Cairo cemetery of
Captn. Charles Basil Mortimer Hodgson
3rd Queens Royal West Surrey Regt.
Died in hospital in Cairo April 1st. 1918
Of wounds received in Palestine.
Husband of Mary Alice Carpenter,
Daughter of the Archdeacon of Sarum
This cross
Marked the grave in Port Said cemetery of
Cap. Christopher Ken Merewether
Who died in hospital at Port Said Dec. 20th 1917
Of wounds received in action in Palestine
Aged 27
Only child of Canon Wyndham AS Merewether
This cross was placed over the grave of
Colonel Frank A Symons C.M.G
D.S.O: M-B: Army Medical Service
Who was killed in action at Athies April 30th 1917
Buried in Saint Nicholas cemetery, Arras, May 1st
This cross marked the resting place
In Belgium, of
No. 318 Gnr. GAK Buskin
1st. Field Artillery Brigade
Australian Imperial Force
Killed in action 3rd November 1917
This cross marked the grave in the
Military cemetery, Caudry, France of
Capt. Guy Dodgson, Herts. Regt., who died
Of wounds in casualty station, Nov. 14th. 1918
Youngest son of the late Henley F Hodgson
And Mrs. Hamilton Fulton
Capt. Francis (Toby) Dodgson (brother of Guy Dodgson)
This cross is a replica of the battlefield cross which marked the spot where Toby fell at
CONTALMAISON – BATTLE OF THE SOMME
10 July 1916
The original cross was stolen from these cloisters in 2015

Typically, the crosses were entrusted to Cathedrals and parish churches. There are collections at Melton Old Church in Suffolk* and at Saint Peter and Paul, Deddington in Oxfordshire**. In Cheltenham two hundred and thirty crosses were placed in Soldiers Corner in the Bouncers Lane cemetery, where, one hundred years on, 90% of them had disintegrated. The remaining twenty-three were rescued and a small museum opened   to house them in a former gravediggers’ hut in 2024. ***

At Saint Andrews, Mells in Somerset, a very grand memorial to Edward Horner incorporates his cross into a plinth designed by Lutyens bearing a bronze sculpture conceived by Munnings.

Memorial to Edward Horner, St. Andrews, Mells. Bronze by Munnings, plinth by Lutyens, text by Gill.
The cross is fixed into the back of the plinth

With characteristic sensitivity, Fabian Ware, founder of the War Graves Commission, brought home a cross which had marked the grave of “an unknown British soldier” and gifted it to his parish church at Amberley in Gloucestershire.

Cross which marked the grave of an unknown British soldier, now in Amberley church, Gloucestershire

At first, I mistook the wooden marker housed in St. Bartholomew’s church at Orford Ness in Suffolk for another of the battlefield crosses, but then I read the inscription,

Hier ruht
in
Gott
P.O.W.
Josef Obert

Josef Obert was one of thirteen German Prisoners of War in Orford who died in the influenza epidemic of 1918 less than three weeks after the Armistice. He was buried in the churchyard with the other POWs and in the 1960s they were re-interred when the Cannock Chase German Military Cemetery was established in Staffordshire.

In 2014 Obert’s original grave marker was found in the sexton’s shed and placed on the church wall. A biographical note records that he was born in 1891, the illegitimate child of Anna Obert, and was present at Verdun and the Somme before being listed as missing in combat. He was unmarried and had no children. The bleak little notice and Obert’s wooden cross record the same tragedy as the British crosses: the heartache of a life barely begun, curtailed by a too early death.

 *     https://meltonoldchurch.co.uk >world-war-1-crosses 

**    https://www.deddingtonhistory.uk >world wars

***  https://cheltenham-battlefield-crosses.org

See also https://thereturned.co.uk Returned from the Front is a project seeking to provide a definitive list of all extant World War I crosses and grave markers, their location and information about those whose graves they marked. 

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