As we approach the zenith of the holiday season, schools are closed for Christmas – to the relief of the staff and the possible anticipation of parents awaiting the dreaded cry of ‘I’m bo-o-o-red!!’ – it is worth remembering that this was not always so. Continue reading
By 1918, two little girls were pupils at the School after the tragically early death of their father. Their story stretches from a small Scottish village to an Oxfordshire palace. Continue reading
Tennis players are probably already reaching for qwerty keyboards to protest at the term ‘tennis bats’ but it is used here because this is how it appeared in the 1891 census against the name of a former pupil’s grandfather. And to prove it …
One must assume here that the enumerator who wrote this was probably not a sportsman. Lawn tennis by this stage had been around for almost twenty years after Major Wingfield registered a patent in 1874 for the revised rules, drawn from real tennis which had been around for considerably longer. Called, somewhat unmemorably, Sphairistike by the Major, as lawn tennis it became immediately popular and within a year sets of equipment were being sold throughout the world.
Probably the most famous lawn tennis tournament, Wimbledon, began in 1877 – at a croquet club. In fact the full title of the place known throughout the world simply as ‘Wimbledon’ is still the All England Croquet and Lawn tennis Club. Lawn tennis was played on one court set aside from a number of croquet pitches.
Finding the entry in the 1891 census sent me on a quest to find out more about how tennis bats were made and by whom. First, let’s establish that they are normally called tennis racquets or rackets – the jury is out about the ‘correct’ spelling. In fact the jury is also out about the origin of the word. One version is that it is from Arabic rahat al-yad meaning the palm of the hand. However more recent etymological research is inclined to favour the view that it is a Flemish word raketsen. This, in turn, is derived from Middle French rachasser meaning to strike back or to strike [object] back.
Whatever its origin and preferred spelling, tennis racquets were originally made of wood and the heads of the racquets were more oval than round. The image below is from https://www.rareburg.com/article/antique-tennis-rackets and shows the more oval head being replaced with rounder ones.
Early racquets, generally made of ash, were works of art and are now highly collectible but increasing rare to find. The strings were natural gut which made them much heavier than modern counterparts. The maker of the tennis racquet was indeed a craftsman and, in case you should decide “I can do that!”, you may wish to know that there are 42 steps required to make a wooden tennis racquet. They include:
1. Rout throat wedge from basswood.
2. Cut handle wedge from basswood.
3. Cut handle pallets from basswood.
24. Rout handle flake tip to proper shape and edge radius.
25. Drill holes with automatic driller.
41. Racquet is weighed and balanced again and weight added if necessary in handle hole.
42. Butt cap and grip is installed. Trim tape added to top of grip
(Information from http://www.thewoody.net/webpages/racquets/racquetconstruction.html)
You may also wish to know that the last wooden racquet used in a Wimbledon championship was in 1988 and that Bjorn Borg won 11 Grand Slam titles using one.
However, back to the 1890s when the grandfather of Eileen & Vera Hones, Edward Thomas Hones, was listed as a tennis bat maker living in Woolwich, there were several manufacturers of racquets in London at the time and he may have worked for any one of them – or none. Certain information is unavailable. Manufacturers like Jefferies, F H Ayres and Bussey were producing racquets but possibly more for the real tennis market. The manufacturers of note for lawn tennis racquets were A G Spalding bros, Wright & Ditson and Horsman.
Wright & Ditson, Horsman and Spalding were all American companies but all had branches in London. George Bussey was English. Which of these (if any) Mr Hones worked for is impossible to say. By the following census, his occupation was given as carpenter as it was in 1911 when employers’ names were often given so we will probably never know which company he made sporting equipment for. By the time his two granddaughters were born (1911 & 1912 respectively), the family may even have forgotten that Granddad used to make tennis bats. Only the recording of the enumerator in 1891 captures that moment in time. And now this.
Game, set and match?
She was the daughter of Frederick Philip Ansle, a wine merchant, and his second wife Mary, nee Embling and one of at least five children, two of whom died as infants in 1888. The surviving siblings were Linda Mary Embling Phillipps (daughter of Mary and her first husband Jeremiah Schuppe Phillipps, a bookseller who died aged just 29 in 1871), and Mary Rose Ansle. Phoebe was the youngest.
Her father was born in 1838 in Bishopstoke, Southampton but, although he should have been recorded in the 1841 census, no trace has yet been found. In 1851, he was living with an aunt & uncle and it seems likely that his aunt Mary was his father’s sister. Her marriage record gives her surname as Ansell (rather than Ansle) so it is probable that the name was pronounced An-Sul rather than Ans-Lee. Originally trading as a butcher, he switched commercial tracks later in life becoming first a manager to a firm of Wine Merchants before then trading as a merchant himself. In 1884, a newspaper reference shows the transfer of the Railway Refreshment Rooms at 69 High St, Ventnor to his name.
Phoebe’s mother, born in Brighton in 1850, was the daughter of William & Amelia Ann Embling; he from Petworth and she from Yapton, in Sussex. In 1911, an older sister of Mary Embling (Fanny Amelia) was living with the Ansle family in Sandown, Isle of Wight. By this stage, Mary Ansle was a widow. Frederick Ansle died on 9th August 1897 at the York Hotel, Sandown, his death being announced in the local paper.
In 1891, Phoebe appears in the census at 69 High St, Ventnor, Isle of Wight and the image below would no doubt have been familiar in her childhood. The image is by Detroit Publishing Co., under license from Photoglob Zürich and shows the Esplanade at Ventnor in about 1899.
“Ventnor’s fortunes were transformed in the 1830’s when a report by eminent physician Sir James Clark extolled the beneficial healing qualities of the climate and waters. Almost overnight, Ventnor became a very fashionable destination and health resort – Hygeia, goddess of health, still decorates the Welcome signs as you enter the town. Building work soon flourished, and the population ballooned from under a hundred in 1810 to nearly one thousand by 1840. This figure had tripled by 1851 and reached almost six thousand by 1900.” http://www.ventnor-iw.co.uk/history.html
69 High Street is today a car park but the houses opposite may give some indication of what it might have been like.
In the following census, Phoebe is a pupil at the School, leaving in 1906 and going onto to some further education in Caversham. By 1911, she had returned to her mother who was by then running a boarding house in Sandown, isle of Wight. Curiously, a postcard image of the house (Blenheim, Leed St, Sandown) was found on a Russian eBay site!
By 1912, however, Phoebe gave her address as either Netherleigh House or Netherleigh Close, Hornsey Lane, Highgate and it is probably from this address that she attended Ex-Pupils’ Day in 1912, the first since the Old Masonic Girls’ Association (OMGA) had been formed.
At some point, she married Francis Ignatius Keogh and the marriage may have taken place in his native Ireland (Dublin). By 1927, the Keoghs were living in Brixton Hill, London. In 1911 he was recorded in the Dublin census as a church assistant and living with a number of his siblings in Dublin.
Phoebe began to be published in about 1928, clocking up at least 104 titles as Hebe Elsna, mostly romantic fiction (hence the allusion in the title of this posting).
She continued to write under this pseudonym until 1982. In the meantime, starting in 1936 she began writing as Vicky Lancaster (44 titles), as Lyndon Snow between 1940 and 1979 (68 titles) and as Laura Conway from 1936 to 1992 (64 titles). She was writing over a period of 60+ years and produced at least 280 titles! Mostly they were romances, some historical, but there was at least one (presumably) non-fiction: Unwanted Wife: A defence of Mrs. Charles Dickens, published in 1963.
Later in life, she and her husband moved first to Surrey and then to Hove. It was here in 1965 that Francis died on 7th April at Sevendean Hospital. Their residence was given as 181 New Church Rd, Hove. Probate of £2,280.was granted to Phoebe, who continued to live in the area until her own demise in 1983, on 7th January at 2 Raphael Rd, Hove.
2 Raphael Rd is the one on the left of the image, sadly in a poor state today. The house on the right gives an indication of how it might have looked in its glory days – and perhaps will again in the future. Now that would be a happy ever after!
In Massonica 1913 (the earlier editions of the magazine spelled the name with a 2nd s in it), in a section entitled ‘School notes’, there is an account of a visit of the Grand masters of the three Grand Lodges of Berlin, and “other distinguished German Brethren” to the School at Clapham. This may have been on Prize Day or the song may have been performed again on Prize Day. Either way, as part of a concert in the Alexandra Hall, The Viking Song was sung by the school for the visitors and the girls wore blue cornflowers “in honour of the visitors” – although the significance of this was not outlined in the article. The song was composed by Samuel Coleridge-Taylor and had a chorus that began with “Clang, clang, clang on the anvil”. No doubt for this reason, the girls referred to it as ‘Clang’ and the comment was made that the workmen carrying out stone work on the Centenary hall that year seemed to be joining in the chorus with the noise of their hammering.
In researching this song, an interesting double connection with the School was discovered.
Clang, clang, clang on the anvil,
In the smithy by the dark North Sea;
Is it Thor that is smiting with the hammer,
Is it Odin with the leather on his knee?
Written in 1911, the composer was Samuel Coleridge-Taylor, of Creole descent, who earned many plaudits for his work and ‘was once called the “African Mahler”‘ (Wikipedia).
“Samuel Coleridge-Taylor” by Unknown – Library of Congress Prints and Photographs Division. Licensed under Public Domain via Commons – https://commons.wikimedia.org/wiki/File:Samuel_Coleridge-Taylor.jpg#/media/File:Samuel_Coleridge-Taylor.jpg
He was born in 1875 to Alice Hare Martin, an English woman, and Dr Daniel Hughes Taylor of Sierra Leone (who may possibly never have known of his son). The couple were not married but in that Alice appeared to be continuing a family tradition as she herself was also illegitimate. Alice called her son Samuel Coleridge Taylor, taking the inspiration from the name of Samuel Taylor Coleridge the poet. At some point later in his life, possibly as a result of a printer’s typographical error, the surname became hyphenated: Coleridge-Taylor.
Taylor studied violin at the Royal College of Music and later taught music at the Crystal Palace School of Music. [It is not unfeasible that he taught some of the girls from RMIG as there are records of those with musical talent attending the Crystal Palace for additional lessons beyond those given at the school.]
He married Jessie Sarah Fleetwood Walmisley in 1899, the marriage very much disapproved of by her parents, and they had two children: Hiawatha Bryan C-T and Gwendoline C-T, later using the name Avril and she became a conductor composer in her own right. Both children were musically talented but, as Samuel met his wife when they were both students at RCM, it hardly seems surprising. Their son’s name was from the Longfellow poem but probably more pertinently from the music composed by Samuel for which he was most noted.
“Coleridge-Taylor family card” by Source (WP:NFCC#4). Licensed under Fair use via Wikipedia – https://en.wikipedia.org/wiki/File:Coleridge-Taylor_family_card.jpg#/media/File:Coleridge-Taylor_family_card.jpg
The income derived from being a musical composer was not excessive and Samuel was forced to work relentlessly to provide for his family. It seems likely that this was a significant factor in his early death at 37 years of age. He died from pneumonia at his home a few days after collapsing at a railway station. The circumstances of his death played a significant part in establishing a system of royalties for composers. His widow was granted a pension of £100 pa by George V which indicates how much his work was valued.
“Coleridge-Taylor left a large and varied body of music, both vocal and instrumental. His daughter Avril and son Hiawatha later earned degrees from the Guildhall School of Music. Both had careers in the U.K. as classical composers. Avril was also a conductor and pianist.” From http://chevalierdesaintgeorges.homestead.com/song.html#31
He is buried at Bandon Hill cemetery in Croydon and the words on his headstone were written by his good friend, the poet Alfred Noyes.
Too young to die
his great simplicity
his happy courage
in an alien world
made all that knew him
The headstone also has four bars of music from Hiawatha’s Wedding Feast, the work most associated with him.
“Blue Plaque for Samuel Coleridge-Taylor, Dagnell Park, Selhurst – geograph.org.uk – 1466227” by Peter Trimming. Licensed under CC BY-SA 2.0 via Commons – https://commons.wikimedia.org/wiki/File:Blue_Plaque_for_Samuel_Coleridge-Taylor,_Dagnell_Park,_Selhurst_-_geograph.org.uk_-_1466227.jpg#/media/
The Viking Song which began all this was the start of the connections of Samuel Coleridge-Taylor with RMIG. In 1927, the second connection was made. Asia Mary Bickerton had been a pupil at the school. She may even have been one of the pupils who sang the song in 1912 (as we know she was at the School then). She was due to leave in 1916, having been awarded the Silver medal in that year but she was retained as a pupil teacher. Subsequently, she transferred to the Matron’s department becoming 2nd Assistant on a salary of £35pa in 1918. She left in 1925 and in 1927 she married Guy Herbert Walmisley, a solicitor, who was the nephew of Jessie Coleridge-Taylor, nee Walmisley. Asia Walmisley (nee Bickerton) died on 11 February 1984, the notice of her death appearing in The Times of 15 Feb 1984.
So the simple enquiry ‘I wonder what the Viking Song was’ reveals an interesting story.
*A hymn often sung at school based on Psalm 100, hence its name.
This series of postings celebrates the long lives of eight of our former pupils who reached their 100th birthdays.
Centenary anniversaries for 1915 are, of course, dominated by WWI. However, something with which we are all familiar as road users are traffic lights and the first electronically-operated set was installed and began operating in August 1915. Although the idea of them pre-dates this, before this date they were based on railway line signals and were operated by hand. It’s contrived as a connection with our centenarians but …
This modern sculpture is by Pierre Vivant and was originally installed as Westferry roundabout, Canary Wharf. It has since been moved and is currently on the Trafalgar Way roundabout near Billingsgate Market (from 2014). The artist drew his inspiration for the design from London Plane trees whilst the constant changing of the lights reflects our modern life style.
London Plane trees were certainly a familiar sight to our pupils although they had not realised they were so covered by city pollution that their colour was dulled. Only when the School moved to its latest site, and the splendour of the trees there were revealed in their fine colours, did the pupils realise how sooty the atmosphere in London had been!
Our last two centenarians include our – to date – oldest Old Girl ever. Lizzie Simcock was 104 when she died.
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* The name often given to a hymn All people that on earth do dwell drawn from Psalm 100.
This series is about former pupils who celebrated their one hundredth birthdays.
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