Thomas Hardy

Hardy’s Church

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St. Michael’s at Stinsford is often spoken of as “Hardy’s church,” a reference to Dorset’s most famous son; the novelist, poet and architect Thomas Hardy, who said, “I shall sleep quite calmly at Stinsford, whatever happens.”

The writer had discussed his funeral with Stinsford’s vicar the Rev. H.G.B. Cowley but when the time came the literati and establishment of the day had other plans for him. Hardy’s cousin, Theresa, told the press “I am grieved that they are going to take poor Tom away to London. He wanted, I know, to lie with his own folk in the churchyard yonder.” At the insistence of the great and good his ashes were buried at Poet’s Corner in Westminster Abbey, something Kate Hardy found “another staggering blow.” It was Cowley who proposed what someone at the time described as “a gruesome though historic compromise:” Thomas Hardy’s heart was removed to Stinsford and laid to rest with his first wife at exactly the same moment as his ashes were being interred at Westminster.

Hardy knew this place well. His parent’s worshipped here, he was baptised here, he was a Sunday school teacher here, and he buried his first wife here. Later after his death his second wife was buried here. As you enter the churchyard through the lych gate to your left there is a row of graves and memorials to Hardy and members of his family. Standing sentry at the end of this line is a modern slate marking the burial place of the Poet Laureate, Cecil Day Lewis, who passed away in 1972 and wished to be buried close to his mentor.

The map of the parish of Stinsford is a square plan representing some 3,300 acres. The parish is a union of the settlements of Bhompston, Bockhampton, Kingston, Stinsford and Coker’s Frome and it is likely they were in existence in 1086, but Frome Whitfield, which transferred to Stinsford parish from Dorchester Holy Trinity in 1894, is the only one to retain any trace of a mediaeval village.

St. Michael’s comprises a nave with north and south aisles, chancel with a north vestry off and a west tower. Built with roughly squared and coursed rubble, with ashlar dressings; the roofs are covered with slates, stone-slates and lead. The chancel and north and south arcades of the nave are of the early 13th century. The west tower was added in the 14th century and the west wall of the south aisle looks to have been rebuilt at this time. The south aisle is mainly 15th century and the north aisle was rebuilt in 1630 and again altered in the 19th century. The north vestry was added in 1868.

The font in which Hardy was baptised was moved to St. Luke, Stanmore, Winchester in 1948. Thomas Hardy discovered pieces of the original Norman Font in the churchyard, it was restored in 1920 and remains at St. Michael’s.

Restoration of churches was something the Victorians did, and on a vast scale. St. Michael’s received more than its deserved share of attention being restored in 1868, 1883 and later in 1910. During one of these restorations the musician’s gallery was removed against the wishes of the Hardy family, who had provided over the years many of the musicians who made up the church band; the family voiced its collective displeasure but to no avail.

In 1996 a new gallery and organ were installed, the result of the generosity of a Yale University professor Richard Purdy. The endowment was in commemoration of Florence Hardy, the novelist’s second wife.

The nave’s 16th century barrel roof was lost to the Victorian restorers but the chancel arch and the 17th century barrel vault roof, hagioscope and recess, which used to access a stairway to the rood screen survived.

The tower is home to three bells the first dated 1616; the second by Thomas Purdue is dated 1663 and a treble, originally of the 15th century but recast in 1927.

“Hardy’s Church” is the resting place for many others and there are memorials for William Obrien 1815: Susannah Sarah Louisa (Strangeways) Obrien 1827; Rev. William Floyer 1819; William Floyer R.N., 1822; and other members of that family; Marcia (Pitt) Cholmondeley 1808; George, Charles and John son of John and Marcia Pitt of Encombe; Audeley and Margaret (Trevelyan) Grey 1723; William Harding 1834, and Hannah his wife, 1841; Benjamin Bowring 1837; John 1693; and Mell Cox 1716 and William Cox 1704.

In the chancel there is a plaque to Wadham Strangeways 1685, killed at Bridport in the King’s service against Monmouth; also Elizabeth his wife 1683, and Rachel Radford her sister 1682.

Inside the church seems a lot smaller than it looks from the outside: it has a warm, comfortable, almost cosy feel. Hardy would have been pleased to see the gallery replaced though viewed from the chancel arch it looks jarringly modern and would have fitted in better had it been made from a darker or distressed timber.

Hardy had called God “that vast imbecility” so it must have been his sense of history and family rather than his faith that made St. Michael’s church so important to him.
There are photographs of the church and the Hardy memorials in the photo section.

Edgar Lane – Musician of Distinction

Jul 2nd, 2010

by Dorset Ancestors.

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“Dorset has lost a distinguished musician, one who shed lustre on the profession with which throughout his lifetime he had been associated” (Southern Times, February 11th 1938.) So ran this obituary to one of the two most distinguished musical figures to be associated with Dorset in the 19th and 20th centuries. Nor was Edgar Alfred Lane only remembered and honoured by the provincial papers, as the Daily Telegraph, Daily Express, and Yorkshire Post also paid their respects. Yet today, even in his adopted county, this composer is virtually forgotten, sharing the fate of the brilliant organist-composer he succeeded as organist of Holy Trinity Church in Dorchester – the renowned Boyton Smith.

For some twenty-seven years it was Edgar Lane who would take up where Boyton Smith had to leave off when death plucked at is sleeve but Lane was not native to Dorset. He was born into a Norfolk family in Great Yarmouth on a date usually held to be September 3rd 1865, though his birth certificate proves it was September 23rd 1864. Edgar was the eleventh of the thirteen children of Benjamin Lane and Elizabeth Kemp Lane. His grandfather was James Christmas Lane, while his great-grandfather, another Benjamin, was the captain of a schooner taken prisoner by the French during the Napoleonic wars, but later released after the British victory at Waterloo. Edgar’s eldest brother, Benjamin, had emigrated to Australia even before Edgar was born.

Edgar’s schooling was nevertheless quite elementary, though he was certainly not lacking in brains – or precocious talent. He became one of the youngest church organists ever at Holy Trinity Church, Caister-on Sea, Norfolk when just 11. At Great Yarmouth Town Hall in 1881 he conducted his first concert when only 16 (the census of that year showed he was also working as a coal merchant’s clerk.) When not yet 20 he was appointed sub-organist at Ripon Cathedral. Two years later in 1886 he took up the post of organist and choirmaster at St. Peter’s Church and Magdalen College School, Brackley, Northants, where it is noted he was a keen cricketer. It was here also that he met his future wife, Sarah Jane Clarke, a talented pianist.

Edgar and Sarah appear to have had a peculiarly long engagement, for they were still engaged in 1892 when Edgar was appointed organist and choirmaster at St. Peters in Dorchester and so subsequently began the long residence in the county where he would remain for the rest of his life. The couple eventually married in April 1893, taking up residence in a house in Cornwall Road with an excellent frontal view of the Borough Gardens, where Edgar would relax and play croquet.

Their first child, Geoffrey Edgar, was born in 1894, but about 1896 when their second son Ronald James, was born the Lanes moved to a much more spacious house at 50 High West Street where orchestras and choirs could practice. In that year too the Dorset County Chronicle reported that Lane had been appointed conductor of the Dorset Vocal Association in place of Boyton Smith. To commemorate Queen Victoria’s Diamond Jubilee in 1897, Lane composed and conducted a special piece ‘For Sixty Years our Queen’ for a concert with massed choirs held at Maumbury Rings. Respectively in 1899 and 1902 the Lane’s last two children, Margaret and Arthur Noel were born.

Those heady ‘90’s, when the older children were growing up, saw Lane emerge as a kindly child-loving family man who loved to indulge his youngsters with “rubbishy rhymes.” His philanthropy was manifest in his arranging each Sunday for Margaret and Ronald to take a fully cooked meal to a lady in reduced circumstances living in Maumbury Road. This lady, Mrs Harding, was none other than Thomas Hardy’s earliest love and the inspiration for ‘A Pair of Blue Eyes.’

In the 1901 census Lane’s occupation is given as “Professor of Music/Organist/Principal of Dorchester School of Music.” That year he formed a choral society in Weymouth and, soon after, the Madrigal & Orchestral Society, whose concerts at the corn Exchange attracted large audiences. He resigned from St. Peters as organist in 1906 to become Warden of St. Mary’s, a church that formerly stood on the site of the present Dorford Baptist. While still in this position Lane was appointed organist at Holy Trinity in 1909.

By this time Edgar Lane had become well established as a private music teacher of organ, piano, violin, cello and singing, as well as pursuing a career as a composer and conductor. Although Lane’s salary from his organ post amounted to no more than £80 per annum, magnanimously he would not charge for lessons if he considered a pupil was hard up or if his or her parents could not afford the fee.

In 1911 the Dorchester Madrigal Society, then in its eighth season, held two grand concerts on May 30th that year, which included a Coronation March in E flat Lane had written. The combined Dorchester and Weymouth Choral Societies staged a performance of “Merrie England” at the Pavilion Theatre that included Edgar’s patriotic song “For the Empire” on December 11th, 1913. When the Great War was just five months old in December 1914, afternoon and evening performances of the sacred cantata “The Daughter of Jairus” were sung in Holy Trinity Church under Lane’s direction (singing the tenor solos himself because there was a shortage of singers.) By this time the Lanes had moved to a sub-let property out at Charminster called “The Yews” and though this meant Lane having to cycle into town, it was a cheaper home to rent.

In the midst of the appalling carnage of the Somme offensive on July 12th 1916, the Dorchester Madrigal Society, in association with the King’s Own Royal Lancaster Regiment, gave two concerts at the Corn Exchange. On December 7th that year, also at the Corn Exchange, Handel’s Messiah was performed. It was during these dark war years that Lane was appointed Music Master and, when military service led to a shortage of teachers, a form master as well at Dorchester Grammar School.

Following the end of the First World War in 1919 Lane established the Weymouth Operatic Society, which was then merged with the Madrigal Society. The years 1922 to 1931 saw Lane mainly pre-occupied with training his choirs and giving singing tuition to children in various schools in the area, though there were the occasional concerts to conduct. One of these, on August 8th 1930, was a performance of Mendelsshon’s Elijah in Colliton Park. It is interesting to note that one of Edgar Lane’s singing pupils was Gertrude Bugler who, as a strikingly beautiful farmers wife in her twenties, was then an amateur actress playing Tess in the productions of ‘Tess of the D’Urbervilles’ in Dorchester.

But 1928 brought personal tragedy. With the death of Thomas Hardy in January, Lane lost a close friend and associate, for it had been through Hardy that the Lanes had acquired their first Dorchester home in Cornwall Road. Lane became involved, as had Boyton Smith before him, in writing incidental music for productions of Hardy’s stories. As the writer’s wealth had grown through publication of his works, he became more of a man of property, including the Cornwall Road house, which he rented out to Edgar Lane. Hardy was then Lane’s landlord as well as his commissioner of works! The second blow for Edgar was distinctly more personal. When grown up Geoffrey, the Lane’s first child and eldest son went to sea, first as a rating in the Royal Navy then later as a purser on a P&O liner. Though said to have never had a day’s illness in his life, Geoffrey Lane contracted pneumonia late in 1928 and died.

For one of Hardy’s last birthdays in the 1920’s, Lane arranged for the choir of Holy Trinity to give the writer a personal recital of anthems and hymns at Max Gate. Later in that decade, when the Prince of Wales (the future Edward VIII, later Duke of Windsor) visited Dorchester and Max Gate, Lane wrote a special piece for the occasion.

In 1931 Edgar formed the South Dorset Festival Choir, but had not been conducting it for long when, soon after his last festival in 1935, failing health forced him from the podium. In 1936, following two serious operations, Lane went to Sussex to convalesce. By 1937 the composer was sufficiently recovered to return to conduct one more concert in the Borough Gardens featuring a march to mark the coronation of George VI he had written while in hospital. But the remission was brief. Soon after this event Edgar Lane again fell ill and on February 10th 1938, following further operations, he died.

Throughout his very busy life Edgar Lane was not in a position to take advantage of the kudos that came from publishing light music and the few years after 1906 found his family in quite dire financial straits. More than did Boyton Smith, Lane suffered from the march of progress in technology as the advent of the home gramophone, its records and radio broadcasting impacted heavily on the popular sheet music market. Furthermore it is not known whether Lane was ever awarded an honorary degree, though he certainly spent many hours of evenings pouring over books in an exhaustive effort to work towards attaining such a qualification.

Edgar Lane’s involvement with Hardy was probably inevitable rather than accidental, since Boyton-Smith proved to be the ‘link-man’ in mutual association with both. But it is also thought that Lane had an even more intimate relationship with the great writer than had Smith, for Margaret Lane has noted that Hardy and her father “had many musical evenings together.” Furthermore, Lane, as we have seen, twice received invitations to take a choir to Max Gate, and two Hardy settings by Lane “Men Who March Away” and “Songs of Joyance” have been located. The latter was written for the Prince of Wales’ visit and the composer also set some of William Barnes’ verse to music. But few recordings and manuscripts of his music have survived: only four of Lane’s own scores have been traced, while four Barnes settings are listed in the 1932 Dorset Year Book. Lane’s daughter accounted for this paucity by noting that much of Lane’s own and commissioned work for Hardy was accidentally included among works of another composer who was destroying them on a bonfire. It is thought that further Lane scores also perished in a fire at Max Gate. However, Lane’s setting of “Fight the Good Fight” which won for the Dorset Choral Association the ‘Prize Tune Award’ of 1925 was included in the inventory taken of the items in Hardy’s study after the writer’s death.

Overall, it appears that Lane’s music was primarily written for public consumption at major ceremonial occasions reflecting the fact that orchestras, bands and choral societies he wrote for were invariably present to mark these important events.

In conclusion it could be said that anyone who, over a career of some 44 years, had held two church organist positions; a church-wardency; a music master/form mastership of a grammar school; founded and coached several choirs; taught voice and four instruments, organised and conducted several concerts and found time to compose his own and commissioned music, play cricket and croquet, keep chickens and turkeys and grow his own vegetables, could wear himself out before his time or ruin his health. Edgar Lane did ultimately ruin his health, possibly as a result of overwork, but he achieved all of the above and a few more.

Lane’s surviving manuscripts, letters, performance billings, etc, together with copies of Margaret Lane’s short biography are now kept in an archive THE EDGAR LANE COLLECTION available for inspection in the general section at the Dorset History Centre, Dorchester.

Frederick William Boyton Smith – Part Two

Jun 23rd, 2010

by Dorset Ancestors.

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Smith had an unusually stylised signature which, while distinctive was yet legible. His forename was scored through with a backstroke from the “B” that also served to cross the “T” in Boyton, before passing through the loop of the “H” in Smith, to extend some way beyond; the hook of the “H” was then doubled back in a broad sweeping arc to entablature the whole name of Smith. (See photo in photo section.)

How well Frederick W.B. Smith and Thomas Hardy knew each other has long been a matter of uncertainty and speculation. What is known for a fact is that the two men were born within three years – and within three miles – of each other, and were virtually fellow townsmen of Dorchester who most likely often saw each other in passing without being aware of each other’s identity. And while Boyton Smith was no writer, Hardy was an amateur musician, having learnt the violin and how to sight-read music from his father who had been a player in the family’s gallery band at Stinsford Church.

The two men however, were evidently in almost daily passing contact from as early as the late 1850’s, for the office of the architect John Hicks, where Hardy was working as an articled apprentice and to which he would have walked each day, was situated in South Street, where Smith was then living. This office was also next door to the home of the great schoolmaster poet and scholar William Barnes. But it is likely that the intermediary who brought Smith and Hardy together was Walter Fletcher, a long-time walking companion of the latter, who also happened to be a friend of both Boyton and Sydney Smith. Fletcher was present during Sydney’s last visit to his elder brother in 1877, and it is probable that, quite independently, Smith was acquainted with many of the same people in Dorchester as Hardy was. He would therefore be familiar with many of the same aspects of life in the neighbourhood, and would have been involved in many of the same organisations.

An example of this close involvement came in 1904, when Boyton Smith was commissioned by the Society of Dorset Men in London to set ‘Praise o’Dorset,’ a poem by Barnes, to music for the occasion of their inaugural meeting. For the 1922 Dorset Year Book the Society’s founder and vice president, William Watkins, wrote a piece in which he imagined himself fifty years on at the annual dinner in 1971 and commented: “..it is glad beyond measure to hear the well-known strain of Boyton Smith’s setting to Barnes’ ‘Praise o’Dorset.”

In 1907 Thomas Hardy OM, JP was appointed President of the SDML, and in a journal letter of November 23rd of that year described Smith’s musical efforts on the organisation’s behalf, giving the composer’s address as Wollaston Road, Dorchester, having moved from High West Street, showing that by that year the composer and the writer were evidently known to each other and in rudimentary contact with each other. This interaction is likely to have increased exactly a year later, when the Dorchester Debating and Dramatic Society (later The Hardy Players) staged a production of Hardy’s ‘The Trumpet Major’ under the direction of a local chemist and JP, A.H. Evans. This production is of interest since it included four settings by Boyton Smith of Hardy’s poetry: ‘Budmouth Dears;’ ‘My Love’s Gone a-Fighting;’ ‘The Night of Trafalgar’ (from The Dynasts,) and ‘Valenciennes’ (from Wessex Poems.) Smith also provided a harmonisation of Harry Pouncy’s setting of Hardy’s ‘The Sergeant’s Song,’ also from Wessex Poems.

The tune of Budmouth Dears seems to have struck a popular chord with London Society, for in a letter to Pouncy in February 1908 Hardy mentions that: “it is true that the song Budmouth Dears has hit the London taste – all reviews quote it nearly.” But it had been one particular scene from The Trumpet Major, enacted in isolation, that had inspired the Rector of Holy Trinity, Rowland Hill, to include it as a piece of whimsy at that year’s May Fair. At this point it is thought that Boyton may again have become involved, since by this time he was Holy Trinity’s organist. In a December 1912 production of The Trumpet Major at the Cripplegate Institution in London, music of the Boyton Smith songs was reproduced in the programme of this performance.

A more intensive collaboration between Hardy and Smith certainly occurred about September 1910 when Smith harmonised some books of traditional carols once owned by Hardy’s father and grandfather. The carols were used in a production of Under the Greenwood Tree under the title of ‘The Mellstock Squire’ in November 1910, on which occasion Hardy received the freedom of Dorchester. Significantly, there exists in the Hardy Memorial Collection in Dorchester a photograph showing Hardy at a rehearsal of this play. The harmonisations of the carols appears to have been completed in early October and were much appreciated by the Dorset County Chronicle as well as Hardy himself, for Smith’s manuscripts were found among the author’s papers in his study after his death.

It appears that Boyton Smith and his father had leanings towards arranging Dorset’s traditional folk music, though many of these pieces never made it to publication. A list produced by the SDML, includes ‘Merry Bleake o’Blackmwore,’ a setting of Barnes by Smith, and ‘That Do Vollow the Plough,’ a traditional air that Smith harmonised. It is likely that this interest in folk music was responsible for involving Smith with the Society, since among the Society’s objectives to promote or encourage were a fuller knowledge of folk-lore, literature, natural history, art and music. Hardy himself, in a letter of 26th December 1907 to A.M. Broadley confirmed he was “…looking for some old Dorset psalm tunes, either composed by Dorset men, much sung in Dorset, or bearing names of Dorset places for the Society of Dorset Men in London.”

Fellow Durnovarians of Boyton Smith became enthusiastic officionados of his music and obviously relished the local associations it invoked. For instance, in the November 2nd, 1905 edition of the Dorset County Chronicle it is noted that at the previous evening’s Old Grammarians Annual Dinner, those present sang their favourite anthem Praise o’Dorset to Smith’s music. Hardy was a member of the Old Grammarians, for he held the position of Governor of Dorchester Grammar School. The Smith setting of Praise o’Dorset was also played during a forthcoming Hardy Players production of The Woodlanders.

Naturally, William Barnes had been a life-long mentor, fellow townsman and friend of Hardy, and it seems likely that Boyton Smith also set further works of Barnes to music as well. After all, Sydney and Boyton Smith attended Barnes’ school, and their parents also had close association with him. Following an enquiry about Dorset songwriters from Major William Arnold, Hardy replied in a letter of November 23rd 1907: “Mr Boyton Smith of Wollaston Road, Dorchester, has lately at the request of the Society of Dorset Men in London, melodised some of Barnes poems which are sung with great success at the Society’s meetings and he might be willing to do the same with any you might choose…Barnes’ poems in Dorset dialect, some of them set to music by Mr Boyton Smith.” That Hardy clearly approved of Smith’s settings of his poetry and incidental music for his productions is shown in the writer’s recommendation of the composer to Major Arnold and Granville Barker as one who could portray Dorset as equally well in music as Hardy had in the written word.

But in return, what was Boyton Smith’s opinion of Hardy’s work? Clearly Smith’s settings were undertaken as commissions from local societies, and not merely because he was inspired to write them as unsolicited labours of love. It is possible that the settings would not otherwise have been a commercial proposition, for he was a typical Victorian composer of light pieces for the sheet-music market. Since even Kipling – who of course was an author and poet – once confessed to Hardy that he did not understand the people and places in his Wessex novels, would it have been likely that an upper-middle class composer like Smith could have appreciated the plots and characterisations of rustic novels? Smith, as far as is known, had no interest in, or little time for reading, but he was not alone in pursuing a career of composing for the Victorian parlour.

On February 23rd, 1911 the county Gazette bore the following sorrowful statement in an obituary column: “It is with sincere and deep regret that we have to record the death of Mr Boyton Smith which, after a short illness, happened at his residence in Wollaston Road on Friday night within a week of his 74th birthday.”

Smith had passed over on the 17th, and throughout the three columns that followed this paragraph, many facets of his character and work were cited. It is recorded that his “masterly knowledge” of organ playing gave the congregation at Holy Trinity the opportunity to hear a proper interpretation of liturgical music. So much was music a life-long love of Smith that he devoted every hour to it. No labour was begrudged, and his genial disposition and inspired enthusiasm met with a ready response from choir men and choir boys of Holy Trinity across the twenty-two years of his association with the church. Indeed, such was his devotion to music that he persisted in it to the limit of his endurance in his declining years, and it was a sad day when, through advance of age and frailty, Boyton Smith was compelled to resign his position as organist. Not least among those who mourned his passing would have been Cannon Hill, who brought to Smith a friendship as close as the friendship towards the minister’s predecessor, Henry Everett, had been.

Smith dearly loved his home town, where he was furthermore a generous and charitable citizen ever ready to help any good cause, his great talent contributing to the object in hand. His acts of kindness were many and this aspect of his personality won him the hearts of many. For Boyton, loftier ambitions would always subordinate to unselfish consideration for his fellow citizens. Yet out of a patriotic duty, he managed to find time for service in the Dorchester Corps of the Volunteers that in those early days saw the enrolment of many Dorchester townsmen. The obituary further noted that Smith had served as the first ever Weymouth representative of Trinity College, London, for a number of years. As a tribute, the music for the first Sunday service at Holy Trinity following Smith’s passing was of a special character. The Dead March (from Saul) and his arrangement in G of the Te Deum was impressively played by his organist successor, Edgar A Lane. On this occasion the special preacher was Arthur Hippersley Smith of Langton, East Yorks, son of the Curate in Charge, Revd. P.A. Hippersley Smith. At evensong canticles were sung to the composer’s favourite tunes, as well as a rendition of his beautiful anthem “I Will Lay Me Down in Peace.” Following the Blessing the choir sang the sublime quartet and chorus “Blest are the Departed” (from Spohr’s “Last Judgement.”) Special services of remembrance were also held at St. Peters and All Saints.

Frederick W Boyton Smith left his wife Penelope and five children behind, the most prominent of whom was his surviving son Sydney, who was by the time of his father’s death the Revd S. Boyton Smith, vicar of St. Clements Church, Bristol. The others were Florence (Mrs Edward Salisbury of Streatham;) Margaret Ada (Mrs G.H. Lock of Shrewsbury;) Helen (Mrs Philip Harding) then living in Canada, and Frances (Miss Boyton Smith.) From these, Boyton Smith had eight grandchildren.

Click on this link to hear Phillip Smith play Boyton Smith’s ‘ Isle of Beauty.’ http://www.youtube.com/results?search_query=Phillip+Sear+Boyton+Smith&aq=f

Frederick William Boyton Smith

Jun 10th, 2010

by Dorset Ancestors.

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Today he is virtually forgotten, yet he fathered no fewer than one hundred and ninety three short salon pieces and organ works. Information about his remarkable life is distinctly hard to obtain, yet he was a contemporary and associate of Thomas Hardy, and set many of the writer’s poems to music. Now, after more than a century, the obscure and remarkable persona of Frederick Boyton Smith has been partly rediscovered through exhaustive researches at the Dorset History Centre and lengthy behind-the-scenes correspondence with Ms Susan Bell, to whom the author of this biographical portrait would like to acknowledge thanks for all her helpful information about Frederick Boyton Smith and his brother Edward Sydney Smith.

Frederick W Boyton Smith was born in Dorchester in September or October 1837, and is recorded as having been baptised on October 13th in Dorchester’s St Peters Church. Frederick was clearly born into a musical family, for his father, also named Frederick William Smith, was a musician; his mother, Helen Boyton and her sister Clara (who was a teacher of music) were the daughters of Richard Boyton, a professor and teacher of piano. Helen was originally from Clifton, Bristol, where she married Boyton’s father in September 1835. To avoid confusion with his father, Frederick jr. is usually known as Boyton Smith. The 1861 census shows that Boyton Smith’s father was originally a Kentish man from Deal, had moved with Helen to Dorchester. He is recorded as being ‘a professor of music and dance.’

At the age of four, Boyton is recorded as living with his parents and brothers Sydney and Walter at Cornhill, Dorchester, but by 1851 the family had evidently moved to 16 South Street. However, the census that year does not include Boyton, as by this time he was studying the organ under George Townshend Smith at Hereford Cathedral, and instead is noted in that town’s census as visiting the home of one Mary Ann Watt on census day. It is thought that Boyton was probably a boarder at the Cathedral school rather than living in with Townshend Smith, but it is uncertain whether he received further training in the subsequent years. By the time of Dorchester’s 1861 census the Smiths had moved to 53 High West Street and Sydney Smith had left for Leipzig in 1855 to study piano, violin, cello, harmony, counterpoint and composition.

Boyton Smith, too, by 1861 had left Dorchester to live in with a spirit merchant’s widow called Ann Gare and her two daughters in Chard, Somerset. The connection seems to have been through Boyton, who by now was recognised as a professor of music, possibly working for the British National School where Mrs Gare was Mistress. One of her daughters, Janette, is recorded as being an assistant at the school, which was situated close to the Gare home in the High Street.

While Boyton and Sydney would have learnt music from their parents at an early age the former’s earliest known published piece was a transcription for piano of a two-part song by Mendelssohn called “Greetings” in 1861. The rest of the decade continued to be a productive and fruitful time for Boyton, during which time forty compositions were published. These were variable pieces suitable for the drawing room, many being for the piano, but also including arrangements based on operatic songs and melodies. There are also songs based on the poetry of Longfellow, Kingsley and Goethe and one piece of sacred music. Most of these works were published by Chappell & Co, Edwin Ashdown, Weeks & Co, or Novello. Of especially high value to Gilbert and Sullivan officionado’s is an arrangement of a lost song from a comic opera by Sullivan called “The Chieftain,” first performed at the Savoy Theatre in 1894.

Boyton appears to have had a penchant for giving his pieces titles in French such as “Sur le Lac Morceau de Salon pour Piano.” This reflects a trend for all things French at the time among upper class Victorian ladies and a good deal of published sheet music in the 1860’s either came from Paris or else purported to come from there.

Yet despite his prolific output in catering for the 19th century demand for drawing room pieces, Boyton Smith and his music are largely forgotten, and even in his home town his name is largely unrecognised and his achievements undocumented.

In 1864 Boyton Smith married a Clifton woman. Penelope Mary Ann Rawle, Penelope had been born in Clifton in 1842, but the 1861 census clearly shows that by then Boyton’s future wife was working as a governess at Burton, Winfrith Newburgh. The birth of a son, Sydney, was registered in Dorchester in 1865 showing that the family was living there by then. The Dorchester Holy Trinity Baptism Register notes that Sydney was followed by Florence (1867), Helen (1868) and Margaret Ada (1869.) The 1869 record gives Boyton’s occupation as organist (he was appointed Organist at Holy Trinity) and his address as Alexandra Terrace, Dorchester.

In February 1866 Boyton’s younger brother Walter, a bookseller by trade, died from nephritis aged only 25. By 1871 the family was living at 39 South Street, close to the home of Helen, Boyton’s mother, who had been widowed the previous year. The census shows that another son, Frederick, was added to the family only one month before and the presence of three servants show that by then Boyton Smith was well-to-do in his capacity as a professor of music. Indeed, the 70’s again saw the publication of another forty or so small compositions and works for the organ. These included sacred music such as “Lo! I will Give you Rest;” “Andante con Moto” (an organ piece) and arranged piano duets such as “The Flying Dutchman.”

However, most of the forty compositions of the 70’s hang on lightweight pieces for the parlour in the manner of “L’Echo du Tyrol” fantasy for piano, or “Jeanne de Arc,” a gallop de salon. “The Love Who’s All to ME” was a popular ballad, while “The Ash Grove” was a well known aire. Yet Boyton was also moved to write music designed to help beginners and students, seen in, for example, “The Pianists Daily Practice” and “The Russian National Hymn.”

But the 1870’s also spelt tragedy for Boyton Smith. The family had evidently moved to Melcombe Regis soon after the 1871 census day, for the Cemetery Chapel there records the burial, on January 2nd, 1872, of the infant Frederick at only 9 months and in January 1876 the burial of a later infant son, baptised Frederick Walter aged only ten weeks. The family’s address was then 2 Frederick Place, Melcombe, but by 1881 it was Lawn House in Lennox Street, where Boyton’s other daughters Helen and Ada also resided. Here another baby, Frances, was born in 1881.

During the years in Melcombe Boyton’s occupation is given as Music Teacher, where his pupils would have attended at Frederick Place. During the 1880’s Boyton was still composing and arranging, his tally for the decade being about another 45 pieces. The Boyton Smith’s with their daughter Helen were still living at Lawn House on census day 1891, their youngest daughter Frances by that time being a boarder at the same school in Wyke Regis that Helen had attended ten years earlier. It is possible that by this time too, Sydney, was studying for a BA in Durham, for the same ‘S Boyton Smith’ appears as President of the St. Cuthbert’s Society, on that city’s St. Cuthbert College’s register in 1895.

Though only 50 when he died in 1889 Edward Sydney had by the end of his life established himself as a prolific composer in his own right, searches having brought up details of four hundred and sixty-seven published compositions. We will publish a brief biographical piece about Sydney Smith shortly.

The end of the 19th century saw the publication of a great volume of sheet music for the middle class amateur to play at home. During this period Boyton Smith published his “Fantasia” based on four more Sullivan operas as well as other opera-based arrangements and waltzes. Yet a discernible shift in genre from parlour to sacred music is evident in Smith’s repertoire during the 1890’s. In all, seven pieces of church music for Novello’s Parish Choir Books and organ pieces such as his Grand March in D were published. The latter is still played occasionally as the recessional at church weddings, though its composer’s name has long since become disassociated with it.

Sometime before 1901 Boyton Smith had evidently moved back to Dorchester; for he is listed in that year’s census as living at 56 High West Street. Very near his parent’s former home at No. 53. He was then 64 years old, still a professor of music, though one ‘employed on his own account.’ Living with him was his wife Helen, her 84 year-old spinster aunt Mary Jane Rawle and one servant. The couple’s elder daughter Florence had become Mrs Edward Salisbury living in London with her husband, their four-year-old daughter, and sister Frances, then twenty years old. Florence and Edward had married in 1887 in a ceremony witnessed by both Sydney and Frederick Boyton Smith. Ada had married George Herbert Lock and was living with her husband, two daughters and sister Helen, then 32, in Shrewsbury. In 1893 Ada had published a composition of her own called “Romance for Violin and Piano” under the name of Ada Boyton Smith. Boyton Smith’s son Sydney went into the Church, becoming an Anglican clergyman who married an Irish woman from Enniskillen called Mary Cooney. By peculiar coincidence the 1901 census shows that Mary’s father William was living in Clifton with her and Sydney, so maintaining a Bristol connection within the family.

At the time when Boyton Smith embarked on his career as a composer, other European composers, whether of piano music or more ambitious works for orchestra, were much in vogue, while England was regarded as something of a musical backwater or desert, which not even the great Godsends and legacies of Elgar, Parry or Vaughn Williams could entirely dispel. The only way a young English composer could hope to gain recognition or financial reward was through the composition of pieces for gifted amateurs. Over the decades Boyton Smith recognised the opportunities that the growing popularity of British musical comedy presented. By the beginning of the 20th century this medium had established itself as the most successful school of operetta in Europe. But as the century progressed the nature and character of Smith’s repertoire changed. Music with commercial potential diminished in importance, a luxury of omission Smith perhaps felt he could afford now that his children were financially independent.

Between 1900 and 1919 Boyton published another twenty-eight pieces of music, half of these being sacred music for the Church. But during this period too, another highly important and ultimately world-renown figure was about to enter his life. He was not a composer or primarily anyone with a career in music; nor was he some distant nonentity from afar off, but a world-renown contemporary who had lived and worked in Boyton Smith’s own town and neighbourhood throughout both their lives. Two men who had made names for themselves in their own ways and had perhaps rubbed shoulders without getting to know the measure of each other.

So did Frederick William Boyton Smith join the throng of the many notables who were friends or associates of the great Thomas Hardy…

To be continued…

[Cut and paste or click on this link to hear Phillip Sear play Boyton Smith’s ‘Isle of Beauty.’ http://www.youtube.com/results?search_query=Phillip+Sear+Boyton+Smith&aq=f

Harry Pouncy – A great publicist for the Dorset scene

May 1st, 2010

by Dorset Ancestors.

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Just two months before he died Harry Pouncy visited Pokesdown Technical School in Bournemouth to do what he had become accomplished at doing as an erudite hobby throughout his life: to present a lecture with slides on the beloved county of his birth. Of that lecture on February 3rd 1925 the Bournemouth Echo reported: “There is no one who can talk and bring visions of the leafy lanes of Dorset, charging the air with the scent of its fields and with the atmosphere of its stately ruins and its humble cottage homes like Mr Harry Pouncy of Dorchester.”

Pouncy’s love affair with all things Dorset and Dorset’s people showed itself early. And it cannot wholly be a coincidence that he shared his name and preoccupation with pictorialising Dorset with his contemporaries John and Walter Pouncy, who ran a notable photographic business in Dorchester. Yet their existed no direct blood-tie between himself and the father and son.

However, Pouncy is an unusual name, so it is likely that Harry was descended from a different branch of the family to that of John and Walter, though quite possibly from common ancestors. He was born near St. Peter’s Church in Dorchester and baptised there on December 8th 1870, the son of Thomas Crook Pouncy and his wife Ellen. He had two brothers; Thomas and George Ernest; and two sisters, Mabel Ellen and Michelle Ellen. His paternal grandfather was Thomas Smith Pouncy who married Sarah Crook. Their children, apart from Harry’s father, were Ann, George, Elizabeth and Marianne. Harry was the third (middle) child of Thomas and Ellen.

Growing up within easy reach of the sparsely populated Dorset countryside, Harry grew to love its very soil and acquired an enormous knowledge of the country people’s customs and folklore. He earned a reputation for being a likeable man in every respect. Not surprisingly, his later course as a public speaker and publicist for the delights of his county came to the attention of Thomas Hardy, who became one of Pouncy’s closest friends. The two would meet frequently at Maxgate, Hardy’s home, to exchange information and opinions on the countryside and its customs.

Harry Pouncy began his working life earning his living as a journalist, first as a reporter and then as proprietor of the Dorset County Chronicle and Southern Times, apart from a period serving in the First Volunteer Battalion, the Dorset Regiment during the First World War. In his senior position over more junior reporters he knew the value of a compliment towards them whilst being careful not to flatter insincerely. If a piece of writing from a junior reporter pleased him he would lavish praise unstintingly, and his words of encouragement would have a stimulating effect on his colleagues. On the other hand, slovenliness, bad spelling, wrong initialling and slipshod paragraph writing was anathema to him.

On the 7th of July 1898, when he was 28, Pouncy married Daisy Francis Anwell, a 19-year-old Dorchester spinster, at St. Peter’s Church, near to where he was living. The ceremony was witnessed by the bride’s father, John Alfred Anwell, and Harry’s brother and sister Ernest and Mabel. The Pouncy’s had a son, Harry Anwell Pouncy, born in 1899 and baptised in Dorchester that December. In the 1901 census Harry senior is recorded as a newspaper reporter, aged 31, living with Daisy, young Harry and Lionel Anwell, a relation of Daisy’s, at 41 Culliford Road, Dorchester. As a husband and father Pouncy was a good, kind, patient and conscientious man, and said to be the wisest of counsellors.

Later Pouncy resigned his career in journalism upon being appointed Secretary of the Dorset Farmers Union, his labours for which earned him the respect and friendship of every farmer in the county. Said one leading farmer to a reporter from the Echo: “They thought the world of him. He did excellent work for the organisation and more than that he helped the farmers individually with advice upon questions that perplexed them. He won all our hearts by his zeal and his loyalty and his charming modesty.”

While continuing in the service of the Farmers Union Pouncy acquired a lantern projector and began collecting slides with the intention of sharing his prodigious knowledge of Dorset with the local societies and general public through the medium of public lecturing. Given a lantern picture of a yokel Pouncy had a gift for seeming to make the bumpkin portrayed come alive. He knew the dweller of the open country as no others did.

His lectures included a series called “Old Dorset Rustic Wit & Humour” and it was said that no man was more competent or entertaining in the matter of presenting talks on and about Dorset. Nor was his subject matter limited to customs and folklore, for he could discourse equally knowledgeably on such topics as dialects, archaeology and literature, even singing traditional folk songs. A man of varied interests, Harry was for many years an active member of the Dorset Field Club and Dorchester Debating and Dramatic Society as well as a frequent and much welcomed guest speaker at meetings of the Society of Dorset Men in London.

Sadly, in his last year Pouncy’s health broke down, though even then he would not relinquish his duties with the Farmers Union until that organisation compelled him to. He had been a glutton for work all his life, frequently burning oil far into the night, a regimen that may well have prematurely ruined his health and foreshortened his life. The Farmers Union even raised the money to enable Pouncy to a take a convalescent holiday abroad. But the medical restrictions he was under prevented him from enjoying his holiday to the full as he would have liked.

The summer before he died Pouncy talked with a journalist friend in the Bournemouth pleasure gardens, remarking with some irony that it was “the first time in his life that he had the full freedom to enjoy a sort of unlimited holiday.” Like many cerebral men he wrestled with doubts and difficulties over religious faith, though he was ever open to conviction. Once he saw something to be true he cordially embraced it and acted up to his convictions.

Harry Pouncy died in Weymouth on April 28th 1925 after several weeks of illness and was buried in Dorchester cemetery close to that other great writer and surgeon Sir Frederick Treves, who had himself been baptised at the same font in St. Peters and had been born almost next door to the Cornhill house in which Pouncy was born. His funeral was attended by a huge section of the agricultural community, as well as many literary figures. As that same interviewee farmer in the Echo said: “His death was the biggest blow that could have been dealt us.”

Footnote:

From the Kingston Parish Magazine for January 1914

Entertainment

On Friday, January 23rd, in the Schoolroom, Mr. Harry Pouncy, the Dorset lecturer and entertainer, will give a popular entertainment in the Dorset dialect, comprising a recital from the poems of William Barnes, sketches from the works of Mr. Thomas Hardy (by the author’s special permission), and old Dorset songs and stories. The time will be as usual, namely, doors open at 7, commence at 7.30. Admission: First three rows 1s. ; rest of room, 6d. ; and children of school age in the Class room, 3d.The general Choir Practice in that week would be held on Thursday evening.

Dorset – Smugglers Coast

Apr 24th, 2010

by Dorset Ancestors.

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The south coast of England in particular has had a long tradition of smuggling, especially where there are many coves or inlets ideal for concealing contraband. Devon and Cornwall are particularly well endowed in this regard, but Dorset has hardly been less important as a focus for the trade. The life of Isaac Gulliver, the ‘smuggler’s king’ of Dorset, has been covered in a biographic feature on the site, here I am considering the more general look at smuggling and what motivated people to become involved in its illegal operations.

Usually thought of as a male preserve, what may at first surprise many people is the extent to which women were also involved. Some of these would have been smugglers wives, though this is not invariably the case. Dorset, in the heyday of smuggling, was of course a very rural and sparsely populated county, with much agrarian poverty. The business of importing goods, usually liquor, from cross-channel boats under the cover of darkness in order to flout excise regulations was a lucrative sideline that impoverished families living within a few miles of the coast would find too great a temptation to overlook.

The register for Dorchester Gaol 1782-1853 lists the names and occupations of no fewer than 64 women convicted of various smuggling related offences. Twenty one of these (32%) were from Portland alone, while just six resided in Weymouth, five in Bridport, three in Bere Regis and two in Lyme Regis. The parishes of another nine are not recorded. Wool and Woolbridge, Preston, Pulham, Sutton Poyntz, Langton Matravers, Marnhull, Morecombelake, Beaminster, Bradpole, Broadwindsor, Buckland Ripers, Charmouth, Chetnole, Chickerell, Corfe, Dorchester and Kington Magna account for the remaining sixteen.

Three notable examples are Charlotte Drake of Bridport and Ann Maidment, a Bridport buttoner, who both assaulted and obstructed excise officers, and Mary Applin of Langton, who committed an excise offence. Martha Lumb of Weymouth was sentenced to three months hard labour in 1822 for smuggling, while Catherine Winter, a Weymouth seamstress, served an 18-day sentence in 1844 for smuggling at the age of 70!

But regardless of the sex of the offender, for the populace as a whole, smuggling was generally considered an honourable trade. The customs officers or the “King’s Men” were responsible for ensuring that contraband was impounded and fines levied. At Poole the problem of smuggling was so rampant and the customs men so understaffed and overworked that Dragoons had to be deployed to assist them as early as 1723. Typically the customs officers were brave and resourceful with a strict code of conduct; so that names were never banded about and nothing ever put in writing.

Poole was especially ideal for smuggling operations because of the exceptional size and highly indented nature of its harbour, the second largest natural harbour in the world. Goods were disembarked into inlet hideaways at Hamworthy and then transported by waggoners to Bristol via Blandford. Furthermore, goods could be offloaded on the south Purbeck coast and hauled overland to be temporarily laid up in the deep inlets such as those at Arne or the Goathorn Peninsula for later distribution to Poole markets without the smugglers having to risk detection by passing through the harbour mouth. Longfleet and Parkstone farmers constructed secret tunnels down to the water’s edge for bringing goods ashore.

After 1759 the volume of smuggled goods passing through Poole significantly increased, though raised vigilance on the part of the Preventatives gradually brought this down. The Commissioners of Customs based in London frequently requested reports on the amount of smuggling going on in the Poole area.

Although landings and disembarkation operations took place from Lyme Regis to Christchurch, the coast from Portland westwards to Lyme attracted special attention. This was because most of the coast is occupied by the Chesil Bank, a shingle spit enclosing a lagoon (the Fleet) which was a convenient storage-sink to hold casks (“tubs”) for collection at a more appropriate time. One memorable incident took place in 1762 when a Cornish vessel was broken up on the Chesil in a winter storm and its cargo washed into the sea. There then followed a desperate attempt by Weymouth citizens to salvage what tubs of liquor they could before the customs house officers could reach them! In the end the citizens claimed 26 tubs to the revenue’s 10; another ten were cast out to sea but recovered the next day.

Probably the greatest hideout and smugglers haunt along this coast was Lulworth Castle, the seat of the Weld family, but which had a connection with smuggling throughout the 18th century from 1719 onwards. In 1719 revenue officers from Weymouth raided the castle and the entire Lulworth area. It has been said that maids working at the castle would routinely warn smugglers when the customs men were in the vicinity by showing a light at a window to indicate when it was safe to come in, but also act as a bearing. The gangs at Lulworth could comprise as many as 100 disguised and heavily armed men, who used Mupe Rocks as the disembarkation point, but the deep ravines and inlets along the coast west of Kimmeridge were also ideal for concealing kegs. A gap in the cliffs at Worbarrow Bay was a special favourite and tubs were raised to the top of Gad Cliff, and brought ashore at Arish Mell and for storage at Tyneham Church.

On a knoll near the coast between West Bexington and Puncknowle there still stands an unusual monument. This is The Lookout, a square building constructed as a signal-station for the Fensibles, but which may also have been used by Isaac Gulliver, who used the Bexingtons, Swyre and Burton Bradstock as landing sites after 1776.

Lyme Regis has had an especially long smuggling history extending back at least as far as the 16th century, when certain merchants were suspected of smuggling bullion out of the country by sea. In 1576 a revenue man called Ralph Lane was sent to Lyme with a deputy bearing a warrant to search ships alleged to be involved in the operations. His arrival however, provoked a riot during which the warrant was seized and Lane’s deputy was thrown into the sea. From Lyme contraband was traditionally floated up the Buddle River, often under the noses of the Preventives, who were frequently understaffed and restrained by bureaucratic regulations. Booty offloaded onto the Cobb could not be inspected until it had been carried half a mile to the Cobb Gate. Lyme is believed to be the birthplace of Warren Lisle, a customs officer who at 17 was appointed Patent Searcher at Poole and who made his first seizure of a cargo from a small vessel in Portland Harbour in 1724.

Weymouth was central to excise operations for the sea, but the town’s revenue officials had a long and shameful history of ineptitude and corruption. Enter George Whelplay, who in the 16th century failed to make any headway in countering popular local support for smuggling. Originally a London haberdasher, Whelplay came to Dorset to try his fortune as a public informer, and as such could claim a fifty per cent commission on each fine he imposed upon those he caught, but in 1538 he incurred the wrath of smugglers and fellow customs officers alike when he exceeded his remit. Whelplay twice stumbled on a cargo of horses being illegally shipped to France, but instead of coming to his assistance in rounding up the French boats the officials joined a gang of merchants and attacked him.

Around 1830 smuggling reached a climax in the Weymouth area, where, it is said; tunnels were constructed from the harbour to merchant’s houses and even to the residence of King George III. The leading figure in smuggling to be connected with Weymouth was Pierre Latour, otherwise known as French Peter, who functioned as a prominent gang-leader in the town. In Wyke Regis churchyard there is a grave of one William Lewis, a smuggler shot dead by a revenue officer on board the schooner Pigmy.

In conclusion, anyone who has anything to do with Dorset will know of Thomas Hardy, the well-known novelist-poet. Less well known is that Hardy was an authority on smuggling – and not without good reason. His birthplace cottage at Highter Bockhampton was actually a capacious safehouse for smuggled contraband that could accommodate up to 80 casks of brandy. “But this isn’tall.” When a child, Hardy was regaled with smuggling stories from his grandfather and his own father had a manservant who was actually involved in the trade. The Bockhampton cottage lay on the smugglers route between Osmington Mills and their markets in Sherborne and Yeovil.

William Holloway – the forgotten poet

Apr 12th, 2010

by Dorset Ancestors.

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Ask any Dorset native to name their two most pre-eminent literary figures and most likely they would reply: “Thomas Hardy and William Barnes.” Less well known however is another William who seems to have slipped into the position of becoming the County’s forgotten third poet: William Holloway.

Holloway was born at Whatcombe, a manor in the parish of Winterborne Whitchurch about four miles from Blandford, presumably early in 1761 as there is a record of his baptism at Whitchurch on June 23rd of that year. William was the last child of Lawrence and Frances Kains Holloway, whose other children were another son, Thomas and a daughter, Elizabeth. His great-uncle, also called William, was serving as Whitchurch’s Churchwarden at the time of the poet’s birth.

Few details of William Holloway’s earliest years were recorded, other than that he was orphaned in early childhood, his father dying before William was two years old. Following the death of his mother not many years after, William was adopted by his grandmother. His years at school however, were happy ones, during which time he acquired some grounding in Greek and French, and came to admire and inwardly digest the works of Milton, Gray, Shakespeare and James Thompson.

While still a young man, William Holloway left his grandmother’s home and care to settle in Weymouth. He took up an apprenticeship with a local printer, eventually being put in charge of the printing shop attached to Weymouth’s Circulating and Musical Library owned by the obese larger-than-life public figure of John Love. It is thought that from an early age William had already begun to write verse, though his first published work, a eulogy on the local Halsewell shipwreck disaster, did not appear until 1788, when he would have been about 37. A small book of verse under the title of The Cottager appeared the following year, these early works being published by his employer John Love.

On November 1st in the year before his poem about the Halsewell was published, Holloway married a spinster of Melcombe Regis, Christian Jackson, at St. Mary’s Church in that parish. They had four children, all girls: Elizabeth, Lucy, Mary and Hannah, of which only Elizabeth appears never to have married. By this time Holloway had matured into a tall, dark quite handsome man. A contemporary print shows him as having a long swarthy face, dark eyes and a pronounced aquiline nose.

In 1798 George III and his entourage paid their first visit to Weymouth, an occasion which spurred Holloway and several local amateur poets to contribute odes on the event to the Salisbury-based Western Country Magazine. During 1790 and 1791 Holloway contributed five of the descriptive verses for twelve Weymouth views, originally published by Love in collaboration with the engraver James Fittler but subsequently collected together and re-issued as a single volume.

By 1792 The Halsewell and The Cottager had been sufficiently well received by the public to cover Holloway’s expenses, such that Love could proceed with publishing The Fate of Glencoe, a historical ballad. In his preface to this work Holloway exemplified much of the half-veiled modesty that characterised this unprepossessing bard throughout his life. He made it plain that the work was penned amid “the hurry of business” and “interruptions of active life.” Though essentially a studious and serious thinker, Holloway also relished the dramatic arts and theatrical life, once composing a short epilogue for a play staged at Weymouth’s Theatre Royal as well as the lyrics for a song to open a new theatre at Dartmouth.

But in October 1793 Love suddenly died, pitching his respectable partner Holloway into one of those dramatic life-course shifts that so many people experience. Under probate Love’s business stock went up for sale and in his will Holloway inherited his printing equipment and materials for a fee of ten guineas a year, in effect inheriting his employer’s works and library. But for various reasons Holloway was not able to avail himself of this opportunity for proprietorship. Instead he then entered upon a phase of his life which he was later to recall as a time “when fortune frowned.”

In an attempt to break free of what he felt had become a professional blind alley Holloway threw up his Weymouth associations and moved with his wife and daughters to Leadenhall Street in London. In June 1798 he landed a job as a clerk at the office of the East India Company in the same street. His position was well-paid and to all accounts not burdensome, since the clerks had privileges such as free breakfasts and postage as well as enough spare time to read papers. But it is likely that Holloway owed his position to Weymouth’s Steward family, who had close associations with the EIC, and Holloway did dedicate two poems to Francis Steward, a former mayor of the town.

Over the 33 years Holloway was in the service of the EIC the greater part and culmination of his poetry was written. Thematically he was soon reverting to nostalgic elegies on his native county such as The Rustic Farewell: a Fragment in the Dorset Dialect; The Peasants Fate (reprinted four times) and Scenes of Youth. Years later he entered into partnership with another poet, John Branch, to produce a small four-volume work on natural history.

Holloway honourably retired from the EIC at the age of 60 in 1821, though it was another ten years before the company would grant him a pension. The poet did not, as might have been expected, retire to Dorset, but to Hackney, then just a village about three miles from Leadenhall Street. Personally and domestically he was cared for by his eldest daughter Elizabeth, his wife Christian having died some years before. Holloway’s other three daughters all married London men and settled in the capital. Rock Place, his home on Tottenham Road in the Hackney hamlet of Kingsland was even then becoming enclosed by the town-house developments that would eventually absorb the village into the greater metropolis. But when he moved in, Holloway could still look back towards the fringes of London across fields of waving corn.

In 1852 Holloway had to undergo the intense emotional pain of watching his beloved Elizabeth descending into an early grave, even as he himself had begun inevitable decline. After his own end came on July 21st 1854, Holloway was buried in Stoke Newington Cemetery beneath a memorial stone mistakenly inscribed with his age as 96 instead of 93, though today almost illegible from erosion. In his will Holloway left £100 to be shared out between his surviving daughters and grandchildren. Although his obituary in The Times acknowledged his work at East India House, it did not commend, or even name a single one of his volumes of verse.

And perhaps it is this, added to the fact of his early departure from his home county that explains why William Holloway was fated to become a forgotten poet. It has been Holloway the print-shop manager and mercantile clerk the press and public had remembered – not Holloway the author of a considerable literary output. But through his poems he has kept alive such poignant vignettes of rural life in Regency and Victorian Dorset: its hay-making, dairying, crafts, maypole dancing, village weddings; the schoolboys fishing a stream or truanting to watch the village blacksmith.

Besides the aforementioned, Holloway’s other anthologies are Poems on Various Occasions (1798); The Baron of Lauderbrook (1800); The Chimney Sweepers Complaint (1806); The Minor Minstrel (1808) and the Country Pastor (1812).

John Pouncy

Mar 23rd, 2010

by Dorset Ancestors.

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Although beginning his working life as a house decorator, John Pouncy became a pioneer in the development of photography, a creative but somewhat immodest genius who had to contend with rivalry over the inventor-ship of the process he was convinced he could rightly lay claim to. He also had a sympathetic and philanthropic side to his character that was once put to good use when he lent nursing assistance at the local hospital during an epidemic of cholera. John Pouncy’s was a fascinating and innovative nature, at first somewhat restrained in the full potential of its expression by his first mundane occupation, but the course of his life was first to take a drastic turn.

Pouncy was born in Dorchester on July 16th 1818, the son of William Pouncy, a Piddletrenthide labourer and his wife Mary. In 1843 he married Mary Ann Sprackley, the mother of his first child Walter, though she died in 1846. Just four years later Pouncy met and married Mary Catherine Wills, who presented him with another son and four daughters who all apparently died young or before reaching adulthood.

Until 1854 Pouncy was painting and decorating houses, glazing windows, gilding and carving, but then the new science of photography so gripped his imagination that he resolved to dedicate the rest of his life to it. From then on, and for the next four years, he had to support his new occupation with the earnings from his first one. As late as 1859 the Dorset County Chronicle carried a report “…Mr Pouncy’s proper profession is that of a house painter.” Three years earlier Pouncy announced through the Chronicle that he intended to publish a photo-illustrated gazetteer of Dorset featuring pictures captioned with historic commentaries.

But John Pouncy had another aim: to resolve through experimentation a major drawback of early photography: that of fading. At the time photographic prints were produced by the salts of silver process, an emulsion notoriously susceptible to fading, and which would hinder Pouncy’s intention to produce permanent visual records of Dorset. To circumvent the shortcoming, Pouncy resorted to photo-lithography, itself a still very imperfect process. Yet Pouncy’s attempt to unite lithography with photography met with some success with the publication in 1857 of his book “Dorsetshire Photographically Illustrated” – the first English publication ever to feature photo litho-graphic illustrations.

Dorset Photographically Illustrated is a remarkable achievement for the time. It is original in technique and so not at all what would be expected from one who semi-abandoned the painting and decorating trade for a discipline in which he had no prior training. The book features 80 illustrations, each with two or more pages of historical narrative and 200 double-panel 8” x 11” pages. The text is peppered with erudite classical quotations from nature poets such as Cowper, Thomson and Wordsworth, and the writing is that of one trying to impress the reader with his learning. What comes across is the mind of an intelligent, practical autodidact who clearly shows an overriding preoccupation with landscapes. Indeed, Pouncy was only concerned with photography for professional reasons; he nurtured no desire to undertake commissioned work for illustrating the publications of others.

Despite the success of the book Pouncy was sufficiently dissatisfied with the quality of the prints to attempt further improvement through experimentation. Spurned on by the offer of an award from the Photographic Society of London to anyone who could solve the problem of fading. Pouncy worked on a process, the basic principle of which had been discovered by Mungo Ponton in 1839. Ponton had noticed that paper coated with potassium bichromate became photo-reactive. Pouncy then coated paper with bichromate, but added gum Arabic and vegetable carbon to it. Having reported his results to the Photographic society in 1858, Pouncy then patented his process. He then continued to perfect the process over the next four or five years, and in 1863 he took out another patent, though acrimony was following not far behind as the question of who had truly been the inventor of carbon printing arose.

Pouncy did however receive some recognition for his pains from Thomas Sutton, editor of the journal “Photographic Notes,” and in 1859 he was finally awarded the French silver Duc de Luynes Medal. It is probable that John Pouncy did have a legitimate claim as the inventor of carbon printing, and he himself certainly thought so, even believing that he could rightly lay claim to the gold Duc de Luynes medal, awarded to a French rival, Alphonse Poitevin eight years later.

Besides the Duc de Luynes prize Pouncy was awarded medals from Scotland (1863), Prussia (1865) and Edinburgh (1867); furthermore his studio received patronage from the Prince Consort, Albert, and the Prince of Wales. It is widely suspected that a photograph of Thomas Hardy as a boy of 16 in the author’s archive was taken by Pouncy – not by any means the sole connection between the two men, as will presently be noted.

But the dispute over rival claims of inventor-ship and bickering within the profession that Pouncy experienced, diminished his ardour for the new art soon after the 1863 patent was granted. Throughout the 1860’s he was still ‘moonlighting’ as a decorator, but the premature deaths of his sons by his second wife left Pouncy with only Walter to inherit his photography business. And in September 1872 the transition from father to son was done and dusted.

What Hardy did in writing to exteriorise Dorset, Pouncy did likewise in his photographs. And it is through this common life-mission that the two men’s paths inevitably converged. Consequently there exist several firm pieces of evidence that Hardy knew of Pouncy’s work and book, even if the latter had never taken that teenage portrait of the famous writer. These points can be summarised as follows:

(1) In Hardy’s novel “A Laodicean,” the central character William Dare is a photographic inventor seemingly modelled directly upon John Pouncy. In his carrying about of camera, tripod and equipment, Dare appears to be doing precisely what Pouncy would have done in preparing for his book on Dorset.

(2) When compiling Dorsetshire, Pouncy was in consultation with the architect John Hicks over matters of style and restoration. At exactly this time (July 1856) Hardy became apprenticed to Hicks for his architectural training.

(3) In 1881 Hardy was contemplating producing a book of his own on Dorset, very much along the lines of Pouncy’s, though in collaboration with Henry Moule.

(4) Even more compelling evidence that Dorsetshire was known to Hardy comes from the book itself. In its description of Kingston House, Pouncy explains how the brick building came to be faced in Portland stone: “…on one occasion before the notion had even entered the worthy owner’s head that Portland stone might be used advantageously to veil the brick walls of his mansion he was conversing with his illustrious visitor about the house.. The King [George III] however, did nothing but utter the words “Brick Mr Pitt, Brick…..” Hardy appears to be reproducing the same incident in almost identical wording in “The Hand of Ethelbert:” “…to a stone mask worn by a brick face a story naturally appertained…one which has since done service in other quarters. When the vast addition [i.e. the modern manor house]…had just been completed, King George visited Enchworth. The owner pointed out the features of his grand architectural attempt and waited for commendation. “Brick, brick, brick, said the King…Thin freestone slabs were affixed to the whole series of fronts by copper cramps and dowels.”

John Pouncy died in March 1894, aged 75, after contracting a cold that developed into bronchitis. In its obituary the Dorset Chronicle & Somerset Gazette stated that he was a successful worker whose long study of his subject and its intricacies imparted much valuable information to the younger generation. Even in his last weeks of illness he was not content to stay indoors but would set out in the winter cold that probably hastened his untimely end.

Walter Pouncy, John Pouncy’s only surviving son and business heir, was born in Fordington in 1845. The 1891 census for Dorchester records that he married Eliza Rudduck, a Reading woman, at Leeds in December 1881, and lists his occupation as that of “Photographic Artist.” By the time of the census Walter would have had full control of his father’s business (thereafter renamed W. Pouncy’s Photographic Institution) for 19 years.

Walter seems not to have possessed either his father’s inventiveness or his flair for controversy; he therefore did not cut a noticeable dash in Dorchester society. Nevertheless he maintained and built upon John’s archive of Dorset landscapes over another four decades and, perhaps like his father, personally knew and took studio portraits of Hardy.

Pouncy also made slides for illustrated lectures given by Harry Pouncy, a distant relative and namesake, on the subject of Wessex. When in 1914 the Dorset County Chronicle published a large landscape panorama of Maiden Castle taken by Walter (his chef d’oeuvre) it credited him with being simply “the doyen of Dorchester photographers.” A large collection of his pictures is in the possession of the County Museum. Walter Pouncy died in 1918, exactly a century after the birth of his father.

Helen Taylor of Tyneham

Feb 3rd, 2010

by Dorset Ancestors.

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She was not born there and she did not die there but she spent the happiest days of her life there and her ashes rest there. A simple genuinely heartfelt gesture during the dark days of World War II has made the name of Helen Taylor synonymous with the Dorset village of Tyneham.

The villagers, evacuated from Tyneham on the orders of the War Department have not been allowed to return to their homes. For the full story of the events that took place there in December 1943 see our feature “Tyneham – the Village that Peacetime Betrayed.” And there are photographs in the photo section.

Helen Beatrice Taylor was born at Tincleton on the 14th of September 1901 and her sister Harriet Elizabeth on the 16th of March 1892 to William and Emily Taylor. The sisters, known as Beattie and Bess, ran the laundry for Tyneham House, home to the Bond family. Helen always considered Tyneham her home but after the forced evacuation from the village she lived at Corfe Castle until 1994 when she went to live in a nursing home at Swanage.

Neither Helen nor her sister Harriet Elizabeth (Bessie) or their half brother Charlie ever married. Helen had suitors but it is thought she did not marry because she wished to look after her older sister and half brother. Charlie Meech is credited with saying one day on his return home after a hard days hedging “saw old Thomas Hardy sitting in his garden…wasting his time…writing.”

At Corfe Castle they lived a happy self-sufficient lifestyle – with large garden sheds immaculately kept including one that stored extensive well water worn wooden laundry equipment and others with garden produce.

The sisters had an elder brother, Arthur Henry Taylor, born on the 8th of March 1890. Arthur started his schooling at Tincleton, where he was one of twenty pupils. The Headmistress lived on the premises. Arthur showed early promise and was taken under the wing of a clergyman who furthered his education. Accepted by Cambridge University, from there he entered the army and rose to the rank of Captain, receiving the MC and MBE. His death in Jerusalem on the 30th of November 1929 was the result of a tragic accident. It seems he had worked with Lawrence of Arabia and introduced Helen to him at Tyneham.

The girls had already lost another brother Bertie and a half brother Bill Meech in the First World War. The CWGC Debt of Honour Register records that “Bertie Taylor, Private; Dorset Yeomanry (Queen’s Own) died on Saturday 21August 1915 Age 21. He was the son of William Taylor, of Tyneham, Corfe Castle, Dorset; Buried at Helles, Turkey. The Helles Memorial stands at the tip of the Gallipoli Peninsular. It takes the form of an oblelisk over 30 metres high that can be seen by ships passing through the Dardanelles.” William Meech was in the same regiment as Bertie and died on Saturday 26th February 1916 aged 28. He was buried at Alexandria, in Egypt.

Helen died at the age of 97 in May 1999 and was given a half page obituary in the Daily Telegraph of 13th of May 1999, with the headline “Village That Died for D-Day welcomes last exile” and “Woman returns to Tyneham after 56 years for burial in church she loved.”

Helen was the last person to leave the village in 1943 and she pinned a note to the door of St. Mary’s church that read: “Please treat the church and houses with care. We have given up our homes where many of us have lived for generations to help win the war to keep men free. We shall return one day and thank you for treating the village kindly.”

Newman Flower – Publisher of Distinction

Jan 26th, 2010

by Dorset Ancestors.

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Within the great cradle-roll of Dorset’s famous sons the name of Newman Flower is one not likely to be immediately recognisable as are, say Thomas Hardy and William Barnes. Yet in his chosen career he achieved outstanding success, and without him and the other practitioners of his profession the works of the great literary giants like Hardy may never have reached the printed page.

Newman Flower was born in the village of Fontmell Magna in July 1879, the eldest son of the village brewer. Being the elder son it was his father’s wish that he should succeed him in the business, but young Newman was a cerebral lad with far loftier leanings towards the literary world. These aims were further fostered at public school, especially when the boy was required by his father to help him out with the gruelling brewery work during his holidays. Then came the fateful day when he would at last confront his father and tell him that he did not wish to make his living as a brewer, but as a writer and publisher. So when his schooldays were over Flower took the “long white road” out of Fontmell shook the Dorset chalk from his feet and went to London.

As a consequence of following up a job lead he had spotted advertised on a board in an alley one hot summer day, Flower landed his first position as an editorial junior on a military paper called ‘The Regiment.’ Over the time he worked on this paper he acquired a yearning to break into Fleet Street to edit a magazine. To supplement his income in the meantime, he wrote articles for various publications as a freelance, though at first most of these were rejected by the editors he sent them to. However a feature he wrote about train drivers, as well as a few other articles were eventually accepted.

Then came his first big break when W.T. Madge, the proprietor of ‘The People,’ had Flower recommended to him as being the ideal man to write a weekly military column for his daily paper. Ideal, because during his years on ‘The Regiment’ Flower had acquired a considerable wealth of military knowledge. Having passed the test of a specimen article, the ambitious young sub-editor then left ‘The Regiment’ to join the staff of ‘The People’ for the next sixteen years under the alias of “Tommy Atkins.” Flower had realised his ambition: he had arrived in Fleet Street.

But then a more draconian initiation into journalism awaited him; Flower received an invitation from a Harmsworth press editor called Charles Sisley to join the company, which would eventually become Northcliffe Press. Sisley needed a new sub-editor for one of his magazines. Newman then agreed to join Harmsworth’s on the condition that his salary should be supplemented at reduced rates for what he wrote. But Flower had entered a hard school, and Sisley was a hard and humourless taskmaster. He invariably had some criticism about Flower’s weekly paste-ups for the magazine he was working on. Then in 1905, three years after Flower joined Harmsworth’s Sisley had a major disagreement with Alfred Harmsworth (later Lord Northcliffe) and resigned. The “apprentice” was then left to run the magazine as best he could.

Largely out of desperation about the uncertainty of his position, the acting editor wrote to his friend Max Pemberton, asking if he could arrange for him to meet Sir Arthur Spurgeon, then General Manager of the Cassell publishing company. Its founder John Cassell, a Manchester temperance preacher, had built up the business from printing the labels for the tea he was buying up and re-selling in shilling packets as a weapon to fight alcoholism, among the northern industrial masses. But at the time of Newman Flower’s application Cassells was in the red and making heavy losses through incompetent management at board level. After telling Spurgeon that he had decided to accept an offer he had made to join Cassells, Flower learnt that the publishing house had made a £16,000 loss the previous year and the following year’s figures would be worse still.

Yet gradually the paper on which young Newman was employed began to see a revival in its sales. Encouraged by this turn-around Spurgeon invited Flower to design a new fiction magazine. During a holiday in Normandy the latter sketched out the format for the periodical the two men would name ‘The Storyteller.’ This magazine had to be brought out on a shoestring budget of just £1,600, yet it took newsagents by storm. When Flower resigned its editorship 21 years later he found that his creation had netted for Cassells £262,000. Flower had succeeded where the “greybeards” of the board had failed; he had put Cassells back in the black.

Flower then gave up the editorship of all his magazines and bought Cassells from Lords Camrose and Kemsley so that he could devote himself to his growing interest in developing Cassells as a book-house. It was then 1928 and he was 49. He had been publishing magazines for a quarter of a century, and would be publishing books for a quarter of a century more. Through ‘The Storyteller’ he had already published part works of Rudyard Kipling (whom he had met on a train;) G.K. Chesterton, Somerset Maughan and Phillip Oppenheim. But the 25 years or so he would be publishing authors inevitably brought him into intimate contact with many great literary figures.

Under Flower’s management Cassells published Churchill’s ‘Second World War.’ He saw into print Earl Jellicoe’s ‘The Grand Fleet,’ Frederick Treves’ ‘The Elephant Man,’ and H.H. Asquith’s ‘Fifty Years of Parliament.’ He further published or befriended among others R.C. Hutchinson, Lords Curzon and Birkenhead, H.G. Wells, Stefan Zweig, Sir Evelyn Wood, and edited the journals of Arnold Bennett.

But Flower was no mean writer himself, and through Cassells he published several books including some about the two great loves of his life: classical music and gardening. These were ‘G.F. Handel’ (1923;) and ‘Through My Garden Gate’ (1945.) From 1914 to 1920 he was honorary editor of ‘The Dorset Yearbook;’ in 1938 he was knighted.

During the Second World War, La Belle Sauvage, the ancient building off Ludgate Hill which Cassells, occupied was struck and burnt down by a German bomb. In 1947, the horror over, Flower decided to retire from active directorship of the company to make a new home with his wife and son Desmond at Tarrant Keyneston near Wimborne. Here he wrote what is probably his best-known book ‘Just as it Happened’ (1950) which virtually serves as his autobiography-cum-memoirs.

In his business dealings the reputation of Newman Flower is of one considered to be a stern critic but enthusiastic promoter. He was shrewd yet kindly, always willing to give new writers constructive advice. Flower also was actively involved in animal welfare and indeed made several bequests to animal organisations in his will. His propensity for readily seeking out, and befriending authors, even those who did not publish with him, is legendary. One memorable instance of this came during the First World War when he called on Thomas Hardy at Maxgate, the house the author had designed and built for himself, to commission from him a poem for ‘The Dorset Yearbook’ which, as has already been mentioned he was then editing. Hardy gave him the poem “…and something that was far richer: his friendship to the end of his days” as Flower later wrote. Some years later – towards the end of Hardy’s life – Flower, his wife and son, took Hardy and his wife Florence on a memorable picnic by car one blazing summer day, during which they covered many miles of rural Dorset.

The Cassell chief’s general good fortune was well demonstrated on another occasion, this time in 1912 when beneficent fate intervened with an illness and operation. By the time he had recovered, the Titantic – on which he was to have booked a passage – lay broken in two on the bed of the Atlantic. Flower’s operation paradoxically had, of course, saved his life.

After fifty years in publishing (40 with Cassells) and 17 years of fruitful retirement Newman Flower died at his home in Tarrant Keyneston on the 12th of March 1964, aged 85. Such was his fame by that time that on April 1st a memorial service was held for him at St. Pauls, in the presence of noted authors, editors and publishers, as well as of course the then Chairman, Directors and staff of Cassells. The author Ernest Raymond, who’s first book ‘Tell England’ had been published by the company after 11 rejections from other publishers, and whose later works were accepted by Flower personally, gave the address at the service. The music of Handel, which Flower had loved so much, was played on the organ.

Thomas Hardy

Hardy’s Church

Edgar Lane – Musician of Distinction

Frederick William Boyton Smith – Part Two

Frederick William Boyton Smith

Harry Pouncy – A great publicist for the Dorset scene

Dorset – Smugglers Coast

William Holloway – the forgotten poet

John Pouncy

Helen Taylor of Tyneham

Newman Flower – Publisher of Distinction

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