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.”
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.
I have written before about some of the amazing finds at the site that will become the Larkhill Service Family accommodation. Archaeologists from Wessex Archaeology and White Young Green have been ensuring that the archaeology has been excavated, with archaeologists from the Wiltshire Council Archaeological Service (mostly me!) helping to ensure that anything affected by the development is properly excavated and recorded. We’ve had Neolithic, Bronze Age and Iron Age finds, including a Neolithic causewayed enclosure, a new (probable) henge and an enclosed settlement (with associated roundhouses). I’ve also mentioned before that we have the remains of a First World War training battlefield, with what has turned out to be over 8km of trenches that have been excavated by the archaeologists and unexploded ordnance specialists that have been working on the site (an example of some of these trenches are shown in this picture – the trenches are white from the excavated chalk being backfilled into them. The second photo shows part of the trench system).
In addition to the trenches, we can now reveal that the practice battlefield also included tunnels and dugouts. On battlefields, dugouts were used for lots of reasons, including troop shelters, medical posts, headquarters and stores. Their position underground meant that they were less likely to be affected by bombs, shells or bullets. We have a number of these at Larkhill, along with a number of tunnels. Both sides dug tunnels into no-man’s-land in order to lay mines that could blow up the other side’s trenches. Counter trenches were also dug to try to stop this. Tunnels were also used as listening posts (listening for the sound of the other side’s digging).
(These pictures show the entrance to one of the dugouts, with steps leading down, and another with a cob wall and doorway forming a room inside.)
The presence of these tunnels and dugouts (along with the trenches, ammunition, grenade fragments and food containers – amongst other things!) show that the troops training here were learning to undertake all aspects of trench warfare. They may well have come from all over the Commonwealth, but we know for a fact that we have people from the Wiltshire Regiment, drafted West Yorkshire coal miners, Manchester Scouts and troops from Australia. We know this thanks to the over 100 pieces of graffiti that have been found written on and carved into the chalk of the defences. Sometimes the graffiti was written in soot from candles, but more often if was written in pencil on the chalk.
Wiltshire at War: Community Stories is a five year Heritage Lottery Funded project, aiming to discover, explore and share stories about Wiltshire’s response to the First World War. Since 2014 we’ve travelled the county collecting stories of the amazing men and women who were affected in some way by the war a hundred years ago, such as ‘Fiesty Aunty Olive and the Women’s RAF’, ‘Young Freddy Butler – from the farm to the Royal Flying Corps’ and the ‘Soldiers and Sailors Free and Easy Club’.
While we’ve written about the project before, it’s worth taking another look as we’ve just launched the fascinating fourth exhibition – ‘Keeping the Home Fires Burning’. This explores how the war affected everyday life in Wiltshire, including the new roles taken on by women, rationing, daylight saving and the refugees who fled to England from Belgium.
The new exhibition was launched on Friday 3rd March at Athelstan Museum in Malmesbury. A large crowd gathered for the event and following the official opening of the exhibition, musician and singer Louise Jordan took to the stage. Louise spent a year researching and writing songs about the remarkable women involved in World War One, who are often overlooked in conventional histories.
The title of Louise’s show ‘No Petticoats Here’ is inspired by Sir Arthur Sloggett’s words to Dr Elsie Inglis. Elsie graduated from the Edinburgh School of Medicine for Women in 1892 and started working with the poor in Edinburgh. Through this work she became aware of the needs of greater rights for women and was an active suffragette. When war broke out, Elsie offered her medical knowledge and expertise, coming up with the idea of treating wounded soldiers from mobile hospital units, run entirely by women. When she presented the idea she was told by Sir Arthur:
‘My good lady, go home and sit still. We don’t want any petticoats here’.
Not to be discouraged, she set about raising the funds to set up hospitals and field units across Europe, staffed by over 1000 women, often in dangerous situations. A truly inspirational woman whose contribution deserves to be remembered.
Louise weaved beautiful melodies through the fascinating tales of these women, with plenty of audience participation along the way! We learnt about many incredible women including engineer Hertha Ayrton who amongst other achievements invented a fan to clear poison gas from the trenches, Louise de Bettignes a French spy employed by the British army and Elsie Knocker and Mairi Chisholm, keen motorcyclists who joined Dr Munro’s Flying Ambulance Corps on the front line.
Also celebrated was one brave woman who is already familiar to Wiltshire at War – Dorothy Lawrence. In 1915 Dorothy was a teenager living in the Cathedral Close in Salisbury, with ambitions of becoming a war correspondent for the newspapers. Determined to report on the fighting in Europe she set out from England by bicycle, heading for the Somme. With a uniform borrowed from soldiers she met along the way she posed as Sapper Denis Smith, spending 10 nights on the frontline before giving herself up.
Since joining the team at Wiltshire and Swindon History Centre as a ‘Transforming Archives Trainee’ with The National Archives, life has certainly been full! Over the last 5 months I’ve been involved in several HLF funded projects, completed a university module on Education and Outreach, have undertaken various in-house training sessions on traditional archive skills, as well as attending training conferences in London, Bristol, Manchester, Warwickshire, Gloucester and Dorset. In a few weeks I’ll be off to Edinburgh for another ‘basecamp’ week, training with The National Archives and Scottish Council on Archives. How time has flown!
Something that has struck me deeply over the course of my traineeship so far, which I’d like to share here, is a realisation about the vast importance of learning from our history - particularly the individual lives and stories of people who have gone before us.
Working on the ‘Wiltshire at War: Community Stories’ project, which focuses on the lives and culture of Wiltshire and its residents during WW1, has brought this home to me most of all. Traditionally, when remembering the World Wars, historians tend to concentrate on military or political strategy, and we subsequently have a multitude of movies, books and magazines concerned with the armed forces and the battles they fought. Whilst this is all fascinating information, the Wiltshire at War project seeks to collect and share the stories and memories of the individual people across Wiltshire, who lived through the troubled times of 1914 -1918. We feel it’s equally important to understand how the Wiltshire community adapted during this time, how life continued, and what individual sacrifices were made. What support did Wiltshire provide to the war effort? How did people across the county ‘pick up’ their lives again, once peace was declared? How did they cope with so much change? The project seeks to bring all this community history back into the community, and to share those stories through our fantastic website and ongoing exhibitions.
Recently I was publishing a story which came to us via our Wiltshire at War Twitter feed. It’s the story of a young farmer’s son called Freddie Butler, who grew up on Rookhaye farm in Bowerchalke, and tragically died in a flying accident whilst serving with the Royal Flying Corps. I was looking at a photo of Freddie as a child feeding hay to one of the horses, happy as can be. I wondered about that child – his hopes, dreams, memories... In that one moment captured through a camera lens, he, like all the people around him, had absolutely no idea what was to come. I wondered too about Freddie’s mother, shown in a separate photo – how did life continue for her, after the loss of her beloved son?
Looking at some of the family photos that have come in with other recent stories - some dating back as far as 1905 - I find myself peering at each individual face, pondering the complex network of unique memories, life experiences, struggles, choices and relationships that each, single person represented. Was it even possible for those individuals to comprehend that, in the not so distant future, these photos and associated stories may be all that’s left to prove that they even existed? Questions then arise in me that are fundamentally about the human condition: What lessons can we learn from these people and their experience - fellow human beings who lived 100 years before us, in circumstances even more challenging than our own? If I consider that in another 100 years, researchers might be sitting at a desk and pondering photos of me and my family, reflecting on the lives we perhaps lived – might I now choose to live mine differently? What legacy would you choose to leave?
In the past I carried out some research on behalf of Salisbury City Council into Thomas Edwin Adlam, a native of Salisbury, who won the Victoria Cross in 1916. In the course of my research I uncovered a fascinating story, which I thought I would share with you, although I am sure there is a lot more still to be learned, in family papers not yet deposited at the History Centre.
Tom (as he preferred to be known) was born at 14, Waterloo Gardens in Salisbury, on 21 October 1893 to a coach-builder, John Adlam, and his wife, Evangeline. Tom began his education at St Martin’s school, Salisbury, then gained a scholarship to Bishop’s Wordsworth’s School, for which we hold the school admission register showing his admittance on 12 September 1906:
Tom was training to be a teacher when he joined the Territorial Force (precursor to the T.A.) in September 1912, and had only spent one month as assistant master at a Basingstoke School when war broke out, and he was mobilised. Originally stationed in India, he applied for a commission and became Second Lieutenant in the Bedfordshire Regiment in November 1915. At school he had excelled at sport, including cricket, which benefitted him in the war owing to his ability to throw bombs further than many of his peers! On 21st June he got married to Ivy Mace, a month before he arrived at the Western Front on 18 July 1916, having, fortuitously, missed the 1st Battle of the Somme on 1st July in which his battalion received heavy casualties. He received his VC for his part in the assault on the Schwaben Redoubt at Thiepval, at the end of September 1916. This well-guarded defensive position had been held by German forces for several months, and they did not give it up without a fierce and bloody fight.