An Arty Family?

Posted on September 26, 2025 by johnshortlandwriter

Eighteen months ago I was contacted by a gallery in Cheltenham about their researching an artist for they had acquired four watercolours of London street scenes painted during a ten-year period from 1885. They were by Edward Angell Roberts who had lived with Mary Ann Shortland, an ancestral cousin of mine. Although they described themselves as husband and wife in official documents, Edward was already married to the exotically named Josephine Bartolozzi Vestry Anderson.

*New* *Street, Spring Gardens*
Edward Angell Roberts, 1885

Edward was born in Kennington in the English county of Surrey in1836. His father was a tea merchant and aspiring gentleman which presumably he became for by the age of fifteen, Edward was being educated at Christ Church Hospital, a school for sons of clergy and gentlemen. It was a good springboard for Edward for in 1855 he was promoted to Deputy-assistant to the Commissary of the Inland Revenue before proceeding to becoming Clerk to the War Office. In his spare time, he painted.

*Old Wooden Houses, The Strand*
Edward Angell Roberts, 1887

The four watercolours show great artistic detail of places within a stone’s throw of the War Office, in London’s Pall Mall. They are New Street, Spring Gardens (1885), Old Wooden Houses, The Strand (1887), Garden House, Clements Inn (1895) and Pump Court, Temple (1895). They have since been sold at auction to a buyer in the United States.

*Garden House, Clements Inn*
Edward Angell Roberts, 1897

Edward had married Josephine in 1858 and the census, three years later shows them living apart. Whether that was a temporary separation is not known for shortly after they had two children, a girl in 1864 who died in infancy and a boy in 1866. However, by 1871 he was living with Mary Ann and Josephine and the son disappear from record. It is thought that they may have moved to Ireland for the son reappears in the English 1901 census return and claimed to have spent time there. As for Edward and Mary Ann, they never married (or had children) for in his will, Edward leaves his estate to Mary Ann Shortland, spinster.

*Pump Court, Temple*
Edward Angell Roberts, 1897

I began to wonder if we had other artists in the family for several of my cousins, my sister and my father were all artistic, I always felt that the skill had passed me by until some kind person exclaimed that through my career as a garden designer, I paint with flowers, a description I rather hold onto. It is true that there are some similarities for a new garden is a blank canvas waiting to be given a backwash of green and then daubed with the colour shapes and textures of flowers. Below is a rather poor quality photo of one of my early designs inspired by a Japanese Imari plate which was, I suppose, quite any arty approach to take!!

*Garden design inspired by Japanese Imari Plate*
John Shortland, 1999

Another ancestral cousin painted and illustrated books on the town of Rye. Marian Eleanor Granville Bradley was the granddaughter of the Dean of Westminster Abbey, George Granville Bradley. Mostly remembered for her line drawings, occasionally they or paintings of hers are available for sale at auction. An only child, born in the United States, she returned to England sometime during the 1880s. She never married and died in 1951. Her pencil sketches of Rye appear very simple at first sight and, like Edward Angell Roberts, belie the attention to detail that is executed. Interestingly, a couple of her close relatives are described as ‘oil and colour merchants’ so it seems that art provided a living for my family in more ways than one…

*Ship and Anchor, Rye*
Marion Eleanor Granville Bradley,1920

And finally, there is Uncle Les – not my uncle at all but (yet another) cousin of my father and, in the convention of the time, known to me as Uncle. I only met Les the once for he died quite suddenly when I was young. However, I did get to know his widow well, so it came as rather a surprise when I was sent this little pen and ink drawing of (I think) a house in Kingston-upon-Thames many years after her death.

*Edwardian House*
Arthur Leslie Shortland, 1935

A few lines on Josephine. With a name like hers, curiosity got the better of me and so enquiries were made and she turned out, as hoped, to be ‘interesting’. She was a close relative of Madame Vestris, a famous, if not infamous actress, contralto opera singer and theatre manager. Madame Vestris probably deserves a full article of her own!

Family history research is always uncovering something fascinating, puzzling or new – I wonder what it will turn up next?

With thanks to Andy Shield of Brave Fine Art , Cheltenham www.bravefineart.com }for sending me copies of the four paintings

The Beauchamp Chapel – a medieval masterpiece

Posted on March 28, 2025 by johnshortlandwriter

Just occasionally nothing prepares you for a visual and emotional onslaught however much you might have read or seen images of it. I had been planning my first visit to Warwick for a few years. Perhaps it is because it is so close to home – about an hour’s drive north from my part of the Cotswolds – that it had taken me so long to actually go there for, when a place is on your doorstep, you feel you can go at any time and so put it off for another day. As it happened, I finally arrived in the town on the first warm, sunny day of spring when the ancient black and white timbered buildings really stood out against the blue sky.

Warwick is even older than those medieval buildings for it has been inhabited since the 5^th century. However, it came to prominence when William the Conqueror built Warwick Castle in AD1068. Today, it is possible to visit the castle and even stay there but this was not the purpose of my visit. I had come to see a later building – the Collegiate Chapel of St Mary, most of which is only a mere three hundred years old. A great fire had swept through the town in 1694 destroying much of it as well as the greater part of the original church. Miraculously, the fire was extinguished saving the chancel and the Beauchamp Chapel built during the 14^th and 15^th centuries. The crypt is all that is left of an even earlier church built over 900 years ago.

*The Collegiate Church of St Mary, Warwick*

*The 900 year-old crypt – all that is left from the earlier church*

I had only been standing in the church a few moments when the organ began to play; the timing could not have been better for it set the mood for the whole visit. Lovely as it was, I moved on quite quickly to the chancel dominated by the tomb and effigies of Thomas Beauchamp and Katherine Mortimer. Both died within a few months of one another in 1369 and their effigies are unusual for they lie there holding hands, signifying not just their undying love but also their equal status for Katherine had brought land and wealth to the marriage. The chancel is also unique for its light and graceful ‘skeleton rib’ vaulted roof simply adorned with the Beauchamp coat of arms clasped by angels.

*The tomb of Thomas Beauchamp & Katherine Mortimer who died in 1369 – my ancestral grandparents*

*The ‘skeleton rib’ vaulting & Beauchamp crest held by an angel*

From the chancel it is possible to glimpse into the Beauchamp Chapel where Thomas’ grandson Richard’s tomb stands. I purposely avoided doing so for I wanted to enter the chapel and to see it for the first time in its full glory. As I mentioned in this blog post’s opening sentence, I was completely unprepared for the visual feast that stood before me. The colour, the light, the opulence, the sun-kissed, bronzed effigy of Richard lying there centre stage was pure theatre – just the effect Richard had planned when he left detailed instructions for the building of the chapel all those centuries earlier. With the organ still playing behind me, I stood in the entrance transfixed, feeling slightly silly for being so moved before descending the steps to explore further. I had finally come to see the burial place of my ancestral grandfather.

*Richard’s dramatic tomb lying in the Beauchamp Chapel*

A short (but necessary!) history of Richard’s life: Richard Beauchamp was born in England in early 1382, the son of the 12^th Earl of Warwick. His godfather was King Richard II although within a very few years Richard’s father, also a Thomas, had fallen out of favour and imprisoned in the Tower of London for treason. Fortunately for him at least, the King was deposed and replaced on the throne by Henry IV; Thomas was released and his titles and land restored. During the King’s coronation in 1399, Richard was knighted and later succeeded to the title of 13^th Earl of Warwick at his father’s death in 1401. When Henry V succeeded to the throne in 1413 Richard became one of the new King’s most trusted advisers and given responsibility for the education of his young son, later to become Henry VI. Richard then spent much of his time in France, part of which had been annexed during the Hundred Years War and he died there in Rouen on 30^th April 1439.

*Richard’s armour is captured in fine detail*

*The bear and the griffin are Beauchamp heraldic emblems*

Richard’s body was brought back to England and buried in a temporary grave in the church, for in his Will of 1437 he leaves detailed instructions for the construction of the new chapel to house his tomb. No expense was to be spared for he wanted it to become one of the finest in England, in which he more than succeeded. The creation of the chapel as one complete and new entity, using only the finest materials and highest quality craftsmanship makes it unique – all the more so, for its surviving almost unscathed by the later Reformation, attempted destruction during the Civil War, as well as the great fire. He was finally laid to rest there in 1475.

*The Great Fire of 1694 stopped behind the chapel wall destroying the lower part of the wall paintings*

The tomb is, of course, the central feature of the chapel as well as its purpose. Richard lies on an intricately carved and highly coloured marble chest set with fourteen gilded ‘weepers’, namely his children and their spouses. There had been a dispute after Richard’s death within the family over inheritance for Richard had been married twice with children from each. It was Ann that finally inherited the title and estates, a daughter from the second marriage (my ancestor was Eleanor, the second daughter from the first marriage) and so it was she that oversaw the completion of the chapel. Richard’s effigy is of a younger man, his eyes open, his hands outreaching, and dressed in full armour, showing the world that he is ready to enter the Kingdom of Heaven. He gazes upon the stained glass that confirms this story.

*Richard’s daughters, some of the fourteen ‘weepers’ that surround the tomb*

*Ann, who became the 16th Countess of Warwick in thoughtful pose*

The stained glass is another miracle of survival for it is mostly complete. During the English Civil War (mid-1600s) many of the country’s churches and religious icons were damaged or destroyed with the Protestant dogma that followed. The Beauchamp Chapel’s glass was spared much of this with only its lower parts damaged. Although it cannot be seen in my photograph, it was hastily repaired – perhaps a little too hastily for Richard’s head and hands were replaced with those of a woman. The imagery depicts saints and angels in glowing colours, produced at huge expense. Musicians are shown with their instruments and a banner of sheet music runs across the entire window. The notations can be clearly seen and, as instructed by Richard, this is sung in the chapel each September with prayers said for his soul, a practice of huge significance in medieval times. There is a short YouTube video of the choir singing this original music in the chapel, as well as a brief history of the windows which can be found here.

*Richard, reborn, raises his arms towards Heaven*

*Section of the East Window surrounded by statues of saints*

Within the chapel are many other delights although none overshadow Richard. Tombs of his descendants, the Dudleys (through his eldest daughter Margaret), were placed there. They are resplendent in their own right but do not form a part of this blog. Even the prayer stalls, quite modest compared to other features of the chapel deserve close attention with their heraldic emblems carved into their timbers; they are fine in quality as well as detail. They can more briefly be shown by photos but deserve inclusion.

*The tomb of Robert Dudley and Lettice Knollys*

*Beautifully carved prayer stalls, now almost 600 years old*

My family connection to the Beauchamps. When you travel back through so many centuries from the present day you are bound to uncover many ancestral grandparents. The problem is the discovering of them for in most families, as in the rest of mine, they lived very ordinary lives that were not well recorded if at all. Just occasionally, it is possible to find one that has risen to fame and this is the case with my paternal grandmother’s family. Granny Shortland’s relatives had been well-known up to the early-1900s for they held high positions within the Church of England and Government. A friend of Tennyson, the Reverend George Bradley had risen to become the Dean of Westminster Abbey. His brothers and sisters had also risen to fame in their spheres of work. These connections, known as ‘gateway ancestors’ enabled the research to progress relatively easily through time to Thomas Bradley – my 8th great-grandfather – who had been Chaplain to King Charles I and later, after the restoration of the monarchy, Charles II. From there the connections to the Beauchamps and even further back are well-researched by historians. It had always been whispered that Granny Shortland had married ‘beneath herself’ – now I know the reasons why!

Visiting: The Collegiate Church of St Mary and The Beauchamp Chapel is open to visitors free of charge. Guided tours (which are well worth doing) are available at a modest cost, as is a climb to the top of the tower to view the town and beyond. Details can be found on their website here.

Warwick Castle is impressive and a popular attraction. It was the home of the Beauchamps but was built in the 11th century by command of William the Conqueror. It is possible to stay in the castle for short breaks. More details can be found here

There is a useful website (click here) if you are planning a visit to Warwick, which is situated a few miles south of the city of Birmingham and north-west of London.

Tennyson and Me

Posted on September 12, 2020 by johnshortlandwriter

Sometimes I get asked the question why do I write. The answer is usually just because I always have. Recently I’ve given more thought to it and I think that perhaps it is because (apart from having something to say) I like the way words look as much as the way they sound when arranged on a page. You can almost play games with them, juggling the written and the spoken so that both the emphasis and flow change. Nowhere is that more pronounced than with poetry.

*Alfred, Lord Tennyson, Poet Laureate* *[photo credit: Wikipedia]*

To be honest, I struggle a bit with poetry. I feel I ought to like it more. There are some that I love because they remind me of childhood although having to learn and recite, The Lady of Shallott didn’t excite me at the time. Having to read a poem at the front of the class must have destroyed any potential to love poetry for many a generation of children. I adore some of Christina Rosetti’s poems but mostly poetry is for me rather like jazz or wine – I know what I like and, sometimes, I discover a new one that is to my taste.

*this beautiful angel statue is in the Glasnevin Cemetery, Dublin, Ireland*

The quote in the photo is from Tennyson’s Maud. Of course, I knew the old song, Come Into The Garden, Maud that quickly rose to popularity as a parlour song. Because of this I assumed, like so many others, that Maud must be a love poem. Certainly, my quote above which comes earlier in the poem would make you think so.

a classic rendition of Come Into the Garden, Maud dating from 1940

Maud is one of Tennyson’s epic poems; a tale of hatred, infatuation, of death and destruction and the decline into insanity and, later, of war. The poem certainly wasn’t loved by the public when it was first published in 1855. So why do I find it so fascinating?

*transcription of letter from Tennyson to George Granville Bradley* *1855*

Many readers of my blog share an interest in genealogy and family history. I have been researching mine for many years and have shared some of my ‘finds’ and stories here. One such discovery was the long friendship between Tennyson and my ancestral cousin, George Granville Bradley. Bradley was first the Headmaster of both Rugby and Marlborough Schools before becoming the Dean of Westminster Abbey. Both he and Tennyson shared a love of geology, then in its early days of understanding. They would roam the hills of the Isle of Wight together where they both lived geologising and reciting poetry. The discovery of correspondence between them on the merits of Maud and how it may be altered before publication both excited and intrigued me. Here was one of Britain’s greatest poets, a Poet Laureate, seeking advice from a cousin of mine! I purchased an old copy of Tennyson to read it with a renewed interest and the rest – as they say – is (family) history.