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Your horse belongs to the army now – part one

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The popularity of Michael Morpurgo’s book War Horse, the success of the stage adaptation and now the release of Steven Spielberg’s film has brought the role horses played in the First World War to the public’s attention.

Joey, the main ‘character’ of War Horse, belongs to Albert, the young son of a farmer.  He is sold by the father, to a Remount Purchasing Officer on behalf of Captain Nicholls.  Later, Captain Nicholls reassures Albert that Joey will be looked after, even though “your horse belongs to the army now”.Paintings on display as part of the war horse exhibition

In the RCVS archives there are two paintings of the heads of horses that were acquired by the Army Remount Service, the department that purchased horses for the army, during First World War.  The two horses spent time at Romsey Remount Depot during 1916, where they were painted by Lionel Dalhousie Robertson Edwards (1878-1966).  Edwards served as a Remount Purchasing Officer in World War One and was to become a well known sporting artist in later life.

The depiction of Joey’s purchase by the army in War Horse could give the impression that the acquisition of horses for the war effort was a small scale operation – in fact nothing could be further from the truth.

For our next post, we’ll be delving into the requisitioning of horses during the First World War and the history of Romsey Remount Depot, where Edwards served, and its veterinary hospital

The two paintings, along with other items connected with the role of horses in war, are currently on display in the Library.  Why not come and see them and combine it with a trip to the excellent exhibition War Horse: fact and fiction at the National Army Museum?

Image: Paintings on display in the library

A troubled artist: Sir Edwin Landseer

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The RCVS headquarters tidy-up has revealed another gem, and led us to discover the fascinating story of a troubled man. Eight large prints of paintings by Sir Edwin Henry Landseer (1802-1873), depicting animals and bucolic scenes, have been discovered.

Landseer (1802-1873), an English painter, was renowned for his paintings of horses and dogs. Included in his artistic achievements are the lion sculptures in Trafalgar Square. His dog paintings of the 1830’s are by far his most popular work, ‘Dignity and Impudence’ (1839) being the most famous of all.

Edwin Landseers 'Dignity and impudence' 1839

Dignity and Impudence (1839)

The two dogs in the life sized ‘portrait’ belonged to Jacob Bell, a chemist, who commissioned the work. The bloodhound is called Grafton and the West Highland terrier is named Scratch. Landseer cleverly parodies the Dutch portraiture style, where the subject is framed by either a window or a door, with a hand hanging over the edge. According to the Tate’s summary of Landseer’s painting, Grafton was quite the bohemian and was a visitor at several artists’ studios in London but Scratch was Bell’s favourite of the two dogs. Apparently, Bell made a bet with the owner of a poodle that his West Highland terrier was the better looking of the two. Landseer was to be the judge, he took one look at Scratch and announced, without any prompting, ‘Oh what a beauty!’

Bell and Landseer’s lifelong friendship was founded on a mutual love of animals. Eventually Landseer came to rely on Bell as a business advisor, being ill equipped to deal with every day business matters. Along with Landseer’s brother James, Bell oversaw the commission and sale of his portraits, securing the very best prices. He took on rather more duties than a normal business manager might, as he was heavily involved in the rebuilding of Landseer’s home and helped him to purchase land.

Landseer was the youngest son of an engraver and initially developed his talents with his father. He was later sent, along with his two brothers, to study under Benjamin Robert Haydon, the historical painter, in 1815. It was Haydon who encouraged Landseer to study animal anatomy. His early paintings benefit from his excellent anatomical knowledge and portray a variety of moral messages which contributed to his popularity with his Victorian audience. His later work was marred by his sentimentality and the humanization of his animal subjects.

Landseer had social as well as professional success; his friends included Dickens and Thackeray. He moved freely in aristocratic circles and enjoyed royal patronage in the 1840s.  A favourite painter of Queen Victoria’s, she described Landseer as being ‘very good looking although rather short’. Landseer visited Balmoral in 1850 to paint a portrait of the royal family. The painting was never finished, and the failure of his first royal commission greatly contributed to his deteriorating mental health.

In 1840, Landseer suffered a severe mental breakdown, thought to be triggered by the Duchess of Bedford’s refusal of his marriage proposal (Incidentally, the Duchess was the originator of the very British concept of ‘afternoon tea’!). For the rest of Landseer’s life he was plagued by severe bouts of depression, exacerbated by his alcohol and drug use. His family had him declared insane in July 1872. Landseer died a year later on 1 October, 1873. The country mourned the loss greatly, shops and houses lowered their blinds, flags were hung at half mast and crowds lined the street to watch his funeral procession.

See our full collection of Edwin Landseer’s prints on our Facebook page.

The artistic Mr Mayhew

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I have recently had the opportunity to look more closely at the almost 400 watercolours by Edward Mayhew that we acquired in 1990 and which are now available to view on our Vet History site

Edward Mayhew (1808-1868) was the brother of Henry Mayhew, founding editor of Punch. It is thought he spent his early years in the theatre before enrolling at the London Veterinary College in 1843 when he was in his 30s. He qualified as a member of the RCVS on 6 February 1845 and became a member of RCVS Council just over a year later.

Reports of the meetings in the three years Mayhew spent on Council show him to be a man who was not afraid to speak his mind, especially where the Professors at both the London and Edinburgh veterinary schools were concerned. His rather short obituary in The Veterinarian (November 1868 p810) says very little about him except “He was well known as the author of several veterinary works.”

It is for two of these veterinary works, Illustrated horse doctor  and Illustrated horse management, that the watercolours were prepared and most of them have counterparts in the published books.

The drawings, which were converted into woodcuts for publication, reveal a man of no small artistic talent.

The collection includes illustrations:  of diseases including the stages of laminitis

The stages of laminitis

methods of treatment – inserting a tube into the stomach of a horse

Inserting a tube into the stomach of a horse

and show how horses, and their keepers, should be housed

Plan showing how a stable can have a grooms house attached alongside

They also reveal something of the social conditions at the time – including this ‘Peep into the Grooms Home’

A Peep into the Grooms Home

My favourites are the ones which show Mayhew’s  sense of humour – for example this drawing titled ‘Never mount a strange horse in a crowded place.’ I particularly like the ‘flying’ dog on the bottom right!

Never mount a strange horse in a crowded place

 Update (25/8/15)

Whilst researching for my lastest blog post on Mayhew I found an interesting account of the Mayhew family in George Hodder’s  Memories of my time: including personal reminiscences of eminent men  (London: Tinsley Brothers, 1870)

The section on Edward Mayhew (pp58-62)  gives information on his health when producing these illustrations  and mentions that his brother Julius, an architect, helped with the illustrations and designs for the stables.

Links to digitised images

Images used in Illustrated Horse Doctor

Images used in Illustrated Horse Management

Images that do not appear in published works

Shining a light on veterinary artists

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The Lightbox in Woking, is currently showing an exhibition describing the role of horse and mules in World War 1.  The Horse at War: 1914-18  has a wide ranging display of artwork both from the war itself as well as more recent works, most noticeably ‘Joey’ the life size puppet from the National Theatre’s stage production of War Horse. Amongst the many paintings on display are works by a number of official war artists including Sir Alfred Munnings, CRW Nevinson and Lucy Kemp Welch.

There are a number of interesting veterinary connections amongst the paintings.  We have loaned two paintings by Lionel Edwards .  Born in Bristol in 1878, Edwards was one of the most popular illustrators of hunting and sporting subjects of the twentieth century. His artistic talents were apparent early in life, drawing horses from the age of six. He studied in London at Heatherly’s School of Art, before pursuing a professional career as an artist. At the outbreak of war he enlisted and served as a Remount Purchasing Officer, responsible for purchasing horses, an experience he described as ’four solid years of nothing but horse.’

Also on display are a number of works by official war artist Edwin Noble.  Noble studied at the Slade School of Art and the Royal Academy and became an established illustrator prior to the war.  He served with the Army Veterinary Corps, rising to the rank of sergeant, spending much of the war at No 8 Veterinary Hospital in France. Here he recorded in great detail the diseases affecting horses, ranging from mange through to the effects of mustard gas. His pictures were described as providing an ‘almost veterinary eye view of the misfortunes of horses on active service.’

A Horse Ambulance Pulling a Sick Horse out of a Field by Edwin Noble

A Horse Ambulance Pulling a Sick Horse out of a Field by Edwin Noble © IWM (Art.IWM ART 2922)

There are three works of art on display produced by a veterinary surgeon, but one who was serving with the Royal Army Medical Corps during the conflict.

Herbert Lake was born in 1883, at 33 High Street Camden, London, where his father owned a jewellers shop. Qualifying from the Royal Veterinary College in 1905, he initially worked in London passing the examinations for an Inspector of Meat and other Foods, in December 1908. Soon after he entered University College London to read medicine, gaining MRCS, LRCP in 1913 and MB in 1915. On graduation from UCL Lake joined the Royal Army Medical Corps and was posted to northern France in October 1915, to serve as medical officer to 2 Cavalry Field Ambulance (2CFA) (part of 2nd Cavalry Division). War diaries show how he used both his medical and veterinary knowledge.

Herbert Lake 1883-1869

Herbert Lake 1883-1969

Soon after his arrival, responding to the cold and wet conditions, Lake noted that horses had been standing out all the time and though there had been no sickness among them, they had generally fallen off in condition. To provide protection he moved horses into the trenches. It was recorded that ‘it has not been entirely successful owing to the heavy mud, but they have been sheltered in this way from the cold winds.’ Two months later his veterinary skills were again to the fore, when he was asked to give a course of lectures in horse mastership and stable management to each field ambulance.

However it was his medical work that was to be recognised when on 8 October 1916 he led a digging party in the Ginchy area of the Somme. The party dug out three men; one was dead, the other two wounded. Lake would later be mentioned in dispatches for his actions.

Herbert Lake was also an accomplished artist, although unlike many of his contemporaries, he appears not to have had any formal training.  Making use of a number of media, he portrayed his experiences in war, and invariably horses are at the centre of his work. He graphically depicted the role of the field ambulance in a number of sketches.

Horse pulled ambulance by Herbert Lake 1917

Horse pulled ambulance by Herbert Lake 1917

In March 1917, Lake witnessed the cavalry charge at Arras, the last cavalry charge by British troops in Europe. His painting ‘Cavalry Before Arras’ portrays the intensity of the preparations for battle amongst both horse and rider. Later Lake would treat many of those injured in the battle,

Cavalry before Arras by Herbert Lake

Cavalry before Arras by Herbert Lake

After the war Herbert Lake settled in Beaminster, Dorset where he established a general medical practice. However, he remained on the register of the Royal College of Veterinary Surgeons until 1958, and treated patients, both human and animal, for many years.

The exhibition runs until 1 March.

Acknowledgements
I would like to thank Dr Paul Watkins MRCVS for his help in compiling this post.

Images

A Horse Ambulance Pulling a Sick Horse out of a Field by Edwin Noble © IWM (Art.IWM ART 2922)   reproduced under the IWM Non-commercial Licence

Photograph of Herbert Lake and the paintings by him are reproduced with the permission of the Lake family.

William Moss: one man’s journey through the Somme and Beyond

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1 July 1916, the first day of the Battle of the Somme, is a day remembered as one of the worst in British military history. The attack commenced at 7.30am; by the end of the day, 19,240 British soldiers had been killed and three times that number injured. The battle lasted 140 days, and amongst the thousands who took part was at least one future member of the veterinary profession.

WP Moss 1914

William Moss 1914

At the outbreak of war, Lieutenant William P. ‘Willy’ Moss was an 18 year old art student, noted to have a talent for capturing ‘the essence of animals.’ In October 1914 he joined up and was commissioned into the 2nd Battalion Royal Irish Rifles. He was sent to France in October 1915, and was injured by both a gas attack and mortar fire in early 1916. His battalion was held in reserve at the opening of the Battle of the Somme, but early on 7 July they relieved the men of the Cheshire Regiment in the British trenches. Ordered to penetrate a breach in the German line at 09.50am Moss lead his men into ‘no-man’s land.’ Due to the heavy rain the previous night the men soon sank to their knees in the mud and were met by an onslaught of machine gun fire.

Moss was hit in the leg, fell and lay helpless and unable to move. After several hours, his batman managed to carry him over 100 yards to the British trenches. The ferocity of the action that morning was described as like ‘hell let loose.’ During the encounter 30 men of the battalion were killed and 120 wounded. Moss was evacuated to hospital with a gunshot wound to his left tibia. He was sent home for treatment, which took many months, and left him with a permanent deformity of his leg. For his actions he was awarded the Military Cross in 1917, he did not return to France.

Lieutenant WP Moss 1917

Lieutenant WP Moss 1917

Following demobilisation from the Army Moss was unsure of his future and applied for a place at the Royal Veterinary College in Ireland. Commencing his studies in Ireland in 1919, he did his final year at the Royal Veterinary College, London and qualified MRCVS in 1923. Initially he worked as a Veterinary Inspector for the Ministry of Agriculture, in the control of foot and mouth disease. Four years later he established a veterinary practice in Woking, Surrey and at the same time joined the RAVC as a territorial officer. At Woking, he was able to rekindle his love of art, joining the Woking Art Club.

With the outbreak of war in 1939, Moss again served his country, one of several veterinary officers dispatched to Palestine with the 1st Cavalry Division. He arrived in Palestine in December 1939 and three months later was posted as Veterinary Officer to the Cheshire Yeomanry. Over the next year he combined his veterinary work with his skill as an artist, drawing many scenes of the cavalry in Palestine.

In June 1941 plans were laid to capture Lebanon and Syria, with the Cheshire Yeomanry set to play a crucial role securing the River Litani, in southern Lebanon. As the men and horses moved into position one observer recorded that they were like ‘trespassers about to partake in a picnic on forbidden ground, rather than an invading force going to war. Everyone was excited.’ Advancing across the river the yeomen came under heavy machine gun fire, six horses were killed and several injured. Moss found that evacuation of injured animals was extremely difficult due to the nature of the terrain. Eventually they started to make their way north arriving in Damascus after five weeks, where the armistice parade included the men and horses of the Cheshire Yeomanry. The battle of the River Litani was to be the last occasion when British troops went into battle on horses.

The Machine-gun Section: Cheshire Yeomanry, going into action in Syria © IWM (Art.IWM ART LD 5742)

The Machine-gun Section: Cheshire Yeomanry, going into action in Syria © IWM (Art.IWM ART LD 5742)

Mechanisation of the Cheshire Yeomanry in December 1941 meant Moss’ veterinary services were no longer required. He took command of a Druze Cavalry Regiment where he encountered an official War Artist, Anthony Gross who described meeting a ‘wonderful Irishman, the vet, called Moss; a real scream.’ On seeing Moss’ art work Gross advised him to write to the War Artist’s Advisory Committee (WAAC) in London. They were impressed by the portfolio, especially the black and white sketches, and Moss was awarded a ‘Category C’ contract. Other artists in this category included Stanley Spencer, Jacob Epstein and L. S. Lowry. Moss was the only veterinary or medical officer to receive a contract from the WAAC.

Farrier Sergeant Faris el Beini © IWM (Art.IWM ART LD 3085)

Farrier Sergeant Faris el Beini © IWM (Art.IWM ART LD 3085)

Moss continued to serve in the Middle East until early 1945, when he returned home. He did not return to veterinary practice, but instead pursued farming as well as his interest in art. A number of his original works are held by the Imperial War Museum. We are fortunate to have, in our Collections, a number of the sketches he made of the veterinary profession to illustrate articles on the ‘Modern Veterinary Surgeon’ published in Sport & Country in 1946.  William Moss, MC, MRCVS died in 1980.

At the London Clinic: resetting a broken leg of a dog

At the London Clinic: resetting a broken leg of a dog

Acknowledgements I would like to thank Dr Paul Watkins MRCVS for his help in compiling this post.

Image credits

The Machine-gun Section : Cheshire Yeomanry, going into action in Syria by W P Moss © IWM (Art.IWM ART LD 5742) reproduced under the IWM Non-commercial Licence

Farrier Sergeant Faris el Beini by W P Moss © IWM (Art.IWM ART LD 3085) reproduced under the IWM Non-commercial Licence

The two photographs of Moss are from a private collection and are reproduced with permission.

Digital Collections website is live!

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After months of development and tweaking, I am now very happy to show the world our fantastic new Digital Collections website!

My most recent blog posts have described the cataloguing process – with the end result of the online archive catalogue. The Digital Collections site serves the other main aim of the RCVS Vet History Project – digitising our historic material and making it available for everyone to see, from anywhere in the world.

We will be adding more and more content to the site as the project continues, but over 150 works, dating from 1613 to 1912, are currently published. These include original watercolours, photographs, letters and periodicals.

The homepage of the new Digital Collections website

You can visit the live site now at http://www.rcvsvethistory.org/

If you want to know a little bit more about how we got here – this is the story so far…

When I started at RCVS Knowledge in October 2015, there already was a Digital Archive website, which displayed some of the oldest veterinary periodicals in our collections. Whilst this site was suited to the format of periodicals, I could see that it would not work for archive material, such as letters or manuscript notes.

Archive material can be challenging to share online, as you usually need more information about the items before you can understand them. For example, when reading a letter between two individuals, they may refer to each other only by first name, talk about places such as ‘the office’, or ‘the hospital’, or just write ‘Saturday’ for the date. The archivist of a collection will know which people and places are being referred to, and at least an approximate date the letter was written. If this information (or metadata) can be displayed alongside the images, then that provides some context for the researcher. Additionally, if the metadata is searchable, this will help researchers find the material more easily in the first place.

Letter to Fred Bullock from Frederick Smith, 1912 – with final paragraph written up the side

Quite a lot of archive material is also handwritten, which presents another difficulty. Not only can the writing be hard to decipher, it can be written at right angles, in different colours, and sentences can carry on over two pages. To make this as easy to read as possible, you need high resolution, colour images that you can easily rotate and zoom, and quickly navigate between.

Last year, Adele and I began a search for existing platforms that met our requirements for image display. We looked at other digital archive websites, but discovered that the choice seemed to be between complicated multi-functional software for huge organisations, or simple online galleries, better suited to photography and online stores. A third option was to build something ourselves, using open-source software, and I loved the look and functionality of the Universal Viewer tool, used by the Wellcome Library, Bodleian Library and British Library. We are on a slightly smaller scale than these institutions, but our needs were the same! So we contacted Digirati, the developers of the UV, and they worked with us to create a modification of the Viewer, and invited us to take part in the pilot of Wellcome’s Digital Library Cloud Services platform.

Screenshot of the Universal Viewer displaying a close up zoom of a manuscript letter.

The Universal Viewer also allows us to link from the images of the material to the library or archive catalogue record. I knew that I wanted users of the Digital Collections website to easily see and understand how one archive item relates to others in the collection. This is helped by linking to the archive catalogue, but we have also included a content ‘tree’ on the website, which users can expand and collapse to see what is on the whole site quickly and easily.

Underneath each Universal Viewer gallery, you can see the location of the currently displayed item within a tree of all content on the website. By expanding and collapsing the branches, you can quickly navigate to other items

As well as providing access, we wanted to encourage engagement between us and users of the site. You can share content by embedding individual Universal Viewer galleries on social media, and contribute additional knowledge and insight by suggesting your own tags.

We hope RCVS Vet History Digital Collections can become an active hub for interaction between veterinarians, historians and the general public eager to learn more about the fascinating past of the profession.

So take a look and let me know what you think! If you would like to be notified of major updates to content, please sign up to the mailing list here.

Introducing Helena!

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Hi, my name is Helena and I am the new Archive and Digitisation assistant. My role, like Adele’s before me, is to assist in the digitisation and online accessibility of documents within the archive and historical book collection.  I hope to one day become a fully qualified archivist so this role is a wonderful opportunity for me and a step towards that dream. I have recently been lucky enough to be accepted onto the Archives Management MA programme at UCL; so it’s been an exciting couple of months for me. Previously I have been a volunteer in the Stanley Kubrick archives at UAL and I have also volunteered my time with conservation staff at the Royal Museums of Greenwich.

Helena, in the RCVS Knowledge office

You are probably now aware that the website on which you can browse through these collections (hundreds and hundreds of years of veterinary history!) is now live. There are so many interesting and weird and wonderful artworks, letters, and articles to delve into. I’ve read about subjects ranging from singing to hogs to the medical properties of Marshmallow.

The medical properties of marshmallow and liquorice, from ‘The Veterinarian’ Volume 4, Issue 1, January 1831

It’s fascinating to be a part of helping to make this history more accessible and to work with varied material.  For example, Frederick Smith’s Boer War letters, even though tricky to read, have been insightful personal accounts into wartime conditions. The website seems to give them a new lease of life, and with the Universal Viewer, you can view the handwriting in amazing detail. A selection of the letters are currently being transcribed. I think the hardest thing for me is to not stop to read too much and get distracted! So far I am finding it a captivating and enjoyable task.

Letter from Smith to his wife Mary Ann, from North of the Tugela River, South Africa, 22 January 1900 [FS/2/2/4/2/8]

Personally my favourite material is the Edward Mayhew watercolour collection – though the artworks detail many unfortunate circumstances, and sometimes his artwork depicting disease and veterinary practice is not for the squeamish!

‘Shyers’ by Edward Mayhew [EM/1/2/1]

There is a great deal more to come and more decisions to be made on what to scan. You can also follow the highlights of the collection on Twitter and Facebook where we regularly post updates, explain the functionality and features, and sometimes ask questions for readers to try and help us answer. Most recently we have been stumped with what the disease ‘Chewgore’ could be, as mentioned in the journal ‘The Veterinarian’, the writers are perplexed themselves.

The Chewgore in Sheep, from ‘The Veterinarian’ Volume 3, Issue 6, June 1830

Please let us know what you think! We value your feedback on your experience with the site. Feel free to join in with tasks like suggesting tags to enhance the searching the collection for other readers. We may one day be able to search within the actual text of printed works with OCR (optical character recognition) technology; though we will keep you posted on this.

I am hoping to get more involved with promoting the works that I interact with; I will post about my unusual and interesting finds as I scan my way through the collections. The site is filling up fast so I know we won’t be short of things to talk about.

If you are interested, then don’t hesitate to visit the site here. To make sure you don’t miss any of the highlights of the collection, follow our Facebook Page, Twitter account @RCVSKnowledge and also follow the hashtag #vetarchives.

A Few Of My Favourite Things

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I thought before I leave my role here, and go off to study for my MA in Archives and Records Management, it would be a nice idea to share snippets of my favourite finds and favourite materials that I’ve had the pleasure of working with during my time with RCVS Knowledge’s historical collections.

For those of you who also follow us on social media you might be aware of some of the fun we’ve had using hashtags whilst photographing our daily finds and tasks.

I have enjoyed never having to beat the Monday blues whilst I’ve been working here. In fact Mondays have been every colour imaginable and I’ve been celebrating that with #marbledmondays on our Instagram account

Highlights of our #marbledmondays photographs on Instagram

It didn’t stop with Mondays – #tinytuesdays, #waybackwednesdays, #throwbackthursdays and #finebindingfridays, have all allowed me to engage with our library and archive collections in new ways, and of course, to show them off!

More photographs showing off our collections!

I have also adventured to far-flung lands alongside fascinating people, such as Captain Richard Crawshay, who authored the book The Birds of Tierra del Fuego (published in 1907). His letters are now transcribed and can be viewed via our Digital Collections website here.

Page from letter to Frederick Smith from Richard Crawshay, Useless Bay [Inutil Bay], Tierra del Fuego, [Chile], 29 Jan 1905 [FS/3/3/3/1]

This is one of my favourite quotes from Crawshay’s letters (pictured above):

“The most sensational birds I have – to me at least are a tiny Reed Warbler no larger than a Bumble Bee, a tiny black wren from the depths of the forest at the entrance of Admiralty Sound, a tiny tiny owl from the forest weighing exactly 3 oz, probably the largest bird of prey in the island – an Eagle measuring 5ft 91/2 inches from wing tip to wing tip…”

One of my favourite people to get to know was Henry Gray, an early 20th century veterinary surgeon. I am cataloguing his papers and have learnt so much through the words of his correspondents. Henry Gray’s papers have given me a great insight into the plight of the veterinary professional in the 1900’s. Through Gray and his peers I have learnt about the veterinary surgeon’s tremendous work ethic and their incredible anatomical, clinical, pathological and physiological knowledge. One of the most interesting letters I found in Gray’s papers was one where he had a response from a librarian from the Royal Society of Medicine after requesting Ivan Pavlov’s research into canine hysteria and neurasthenia. It put Gray’s life into a greater context for me – imagine being able to reach out to Pavlov himself for your own research?

Letter to Henry Gray from H E Powell, Librarian, Royal Society of Medicine, 9 Oct 1929

The most recent exciting discovery was a batch of finely detailed 19th century artworks which the archivist found tucked away in a cupboard. The pieces have now been carefully restored and we have an online shop where you can pick up a select few as prints! (You can visit the shop here: shop.rcvsvethistory.org) I enjoyed getting to digitise these amazing paintings and drawings, even though the art is as equally beautiful as it is grisly! Ovet the next few months, we are going to be asking our Instagram and Twitter audience to help us identify the parts of the anatomy we can’t, so stay tuned for that! There are many other amazing artists in our collection and it was interesting for me to find out that some of them had actually practiced as veterinary surgeons too, such as Edward Mayhew and John Roalfe Cox.

Anatomical artwork by Joseph Perry, January 1835. From the Field Collection.

A page from John Roalfe Cox’s sketchbook

Thank you to everyone who has been following along with us. I have had so many great experiences in my time working for RCVS Knowledge. I’ve been here over a year and there is still so much more to discover. I’m so glad to have had a hand in sharing the important historical value of such an amazing profession.

-Helena-

A delve into veterinary case notes…

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From February to April this year, RCVS Knowledge were very pleased to welcome Claudia Watts, an MA History student from King’s College London. As part of her studies, Claudia was tasked with selecting highlights from Fred Smith’s veterinary case notes, and digitising and transcribing them for us. The results are now published in our Digital Collections, and here Claudia shares some of her thoughts on the project.

Over the past few months, I have had the wonderful task of exploring and transcribing the incredible sources left behind by Veterinary Surgeon Frederick Smith during his time in India in the 1880s.

The further I delved into the mountain of work he left behind, I developed a clearer picture of this man; relentless, dedicated and a complete workaholic.

I have uncovered some truly unique treasures – often turning a page only to have my breath honestly taken away as I stumbled upon beautiful artwork (FS/2/2/2/1/7), unique photographs (FS/2/2/2/1/10) and of course mounds of fascinating case notes and reports. His work provides wonderful insight not only into the man himself, but also the workings of the Army Veterinary corps. In addition to this, it has been fascinating to see how he has used his findings and research to educate. Many case notes appearing in his articles and manuals. Within these folders are pieces of crucial veterinary history as Smith helped guide the profession, contributing to the institution today.

Sub pleural Emphysema [FS/2/2/2/1/7]

Transcribing his work has been a challenge I have never faced before, and I have a newfound appreciation for the patience and hardwork of an archivist. Smith’s handwriting, to say the least, is rather tricky! But after a few days, and then a few weeks I have cracked it. That satisfaction of becoming a specialist in one individual’s handwriting is strangely thrilling! Staring at one mystery word for an hour and triumphantly declaring “manually!! He means manually!!!” has probably caused my colleagues sitting near me a few headaches….

“was got up two or three times during the day in order to ease the lungs…” Extract from the case notes for Horse E-16 [FS/2/2/2/2/3]

At times his work left a bitter-sweet taste, as he describes horses who despite all odds cling to life. When reading his work it becomes clear he had a deep appreciation and respect for the animals in his care. A piece which has become a personal favorite of mine, comes from the folder on Fractures and Wounds. Horse E-16 while being treated:

“…suddenly wheeled round,

ran back then rushed forward, turned sharp and jumped a

Bamboo hen Coop and then started off at a mad gallop

towards the troop lines and bolted into the angle formed by

two walls dashed his head against the wall and lay doubled

Up.”

Smith includes a sketch of the horse, and states that the horse “with its characteristic facial expression enabled me to recall this case when I raised this in June 1927 namely 47 years after the event.” Despite all that time, and probably after hundreds of other horses had come under his care he remembered E-16.

Sketch of Horse E-16 [FS/2/2/2/2/3]

It truly has been an eye opening few months, and to have had the opportunity to work so closely with such wonderful materials has been a pleasure. I am so grateful to everyone at RCVS Knowledge. I hope the sources I have transcribed and digitized will be of use and potentially encourage individuals to take their own journey into these amazing resources.

by Claudia Watts, MA History, Kings College London

To explore these veterinary case notes yourselves, visit our Digital Collections website, or contact us to view the full collection in person.

Guest Post – Jane Davidson: Venues of Veterinary History

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As I work through the archive material for my PhD, the people and the places leap off the page and create such a vivid picture of the events I’m reading about. The places, in particular, are striking a chord with me as so many of them are in London, my home for over 20 years. I am fascinated by the history of London buildings and how they chart the rise and fall of different areas over time. The records of meeting venues has had me looking up what these buildings are used for today. Once this lockdown is over, I hope to be able to take a walking tour of the places that are becoming familiar to me as key venues in veterinary history.

At a time when the team at the RCVS are scattered to their homes to work and Belgravia House stands empty, it might seem odd to focus on places and locations. However, from the archives, it is clear that the veterinary profession is a body of people used to being an identifiable presence despite a lack of a permanent home. The RCVS has moved premises and had temporary bases in their history, and this is just a part of the process of professionalisation that will continue with the move from Belgravia House that is planned.

Freemasons’ Tavern

The first recorded venue for meetings of the RCVS is The Freemasons Tavern, in use regularly since 1844. On Great Queen Street in Lincolns Inn Fields, the street is probably known to many now as a quick route from Holborn tube to Covent Garden. I have used this route many times to avoid the inevitable tourist crush at Covent Garden. It’s an unusually wide and open street in an area where the buildings are usually packed in tightly together. The stone used for the buildings on the western side of the street is a very light colour and this adds to the feeling of space. Compared to the narrow streets and damp looking dark red London brick of the surrounding streets, my memories of the street are that it is always sunny. The street houses many buildings related to the Freemasons and this has allowed a coordinated approach to building layout and design, which shows in the street’s different style from the earlier buildings around it. Now the site of the Connaught Rooms, the building of 1844 has been rebuilt several times. A popular meeting place that has been used by many associations, it is perhaps most famous for being the venue for the first meetings of the Football Association. A Freemasons Tavern still exists but is now on Long Acre, just around the corner.

Official notice of the first RCVS Annual General Meeting in The Gazette

The Freemasons Tavern was advertised as the meeting place for the newly formed RCVS. This was put into several papers in London, Edinburgh and Dublin, and the meetings were a mix of private matters for the College but also a way to engage with the public.

Red Lion Square

The minutes of an RCVS meeting in 1846 noted a lack of finance as the reason for the RCVS not having a permanent location for their sole use as a corporation. It was in 1853 that the RCVS made 10 Red Lion Square their first home. A previously notorious area, it had been transformed into a gated square and by the early eighteenth century was used for both residential and professional purposes. The business users were medics and lawyers, and so the veterinary profession was to join established professions in the neighbourhood. From the RCVS building in Red Lion Square, we have the stained glass Coat of Arms of the RCVS and the veterinary schools, which are currently in the reception of Belgravia House. These windows have followed the College through three different buildings over the years, and you can read more about their history elsewhere on this blog.

The Coat of Arms of the Royal College of Veterinary Surgeons, on display in the reception at Belgravia House

The RCVS remained at Red Lion Square for over a century, apart from interruptions during the Second World War when the library remained in Red Lion Square but other RCVS activities were temporarily moved to Wembley. The bombing raids of May 1941 saw the assistant librarian Miss Molly Raymer go to the building to check on it after the night of bombing. More worried about water damage, she reported being met with a torrent of water coming through the library ceiling! Red Lion Square is still there, and the buildings are beautiful, but sadly numbers 9 and 10 are no longer standing. However, it is still worth a visit as, despite more modern buildings taking its place, it still has the air of a grand London garden square.

Painted engraving of Red Lion Square in 1800

Walk the History

A walk between these three places provides a wonderful way to see much of London. Red Lion Square to Horseferry Road is around a 45-minute walk and you can incorporate many London landmarks. The Freemasons Tavern to Red Lion Square is a shorter 10-minute walk. It is possible to spend a pleasant afternoon walking the history of the places of the RCVS from Red Lion Square to Belgravia House – missing out on the need to go to the wartime home of Wembley!

-Jane-