St Sepulchres Cemetery Archives

Individuals

August 2, 2009 by Nicholas Hedges

Today I took down my installation in St. Sepulchre’s Cemetery, Jericho, which despite the weather (relentless rain) went very well. As with anything like this when work is placed in an unsecured public space, one expects that a few things might go missing, but over the course of two and a half weeks only one label was taken. Two of the label stands had been used by a homeless guy to secure his tent and people I’ve met subsequently assumed that the tent was in fact part of the work. Hardly surprising really, particularly when one considers that a tent or tent-like structure in a cemetery usually denotes an exhumation. In this sense, the tent worked quite nicely with the idea of me bringing the my ancestor – dead for over 150 years – to the surface.

Part of the idea behind the piece was that the story of my great-great-great-grandmother would lead people around the cemetery whereupon they would discover the names of other people buried in the cemetery. As I took the installation down, I noticed a grave on which were listed several names including John and Celia Mayo who died on the same day, February 13th 1884. They were both 19 years of age. What the story is behind their deaths I don’t know, but certainly it’s something I will be exploring in the near future.

Amelia Hedges (nee Noon)

January 6, 2009 by Nicholas Hedges

I have written at length on the tragic story of my great-great-great-grandmother’s murder in 1852 and am in the process of using her story in a proposed public art installation in the cemetery where she’s buried. In the newspaper report of the time, mention is made of her children:

“He [Elijah Noon] appeared to feel very acutely the awful position in which he had placed himself and the irreparable loss which he had inflicted on his household, consisting of five children the youngest being only a few months old, and not weaned. The desolate condition in which these poor children are suddenly placed by the death of their mother, and imprisonment of their father is pitiable in the extreme and increases the painfulness of this most tragical event.”

One of these children was my great-great-grandmother, Amelia Noon. Born in 1846, she would have been 6 years of age at the time of her mother’s death and would have been in the house during the attack. What she saw or heard I cannot say, but one can assume that the whole event would have scarred her in some way.

I never thought I would ever see what she looked like but recently I received a photograph of my great-great-aunt’s christening. Winifred May was born in 1899 and was the daughter of my great-grandparents Ernest Hedges and Ellen Lafford. To celebrate the event of her christening, a group family portrait was taken in the back yard of the house and amongst that number was Amelia Hedges (nee Noon) pictured below.

She is the only one in the photograph looking down and it’s tempting to suggest her face and her expression reveal something of her past. Of course, to say that would be pushing the bounds of reasonable conjecture but there is nonetheless something sad about this image. It could be that she just happened to look down at the moment the picture was taken, but there is something about her downcast eyes which reveals, in the midst of a happy, family moment, a memory of her own family. As I have also written, the death of her mother and the imprsionment of her father was not the only tragic event of her life. Her brother, also called Elijah, choked to death in The Grapes public house fourteen year before this image was taken.

Feedback

September 1, 2008 by Nicholas Hedges

Continuing in my research into the murder (or manslaughter as it transpired in the Assizes) of Charlotte Noon by her husband Elijah, I looked – in the Oxfordshire Record Office – at the original burial records for the Parish of St. Paul’s which includes Jericho where the Noons lived in Portland Place, Cardigan Street. I had my suspicions that Charlotte Noon would have been laid to rest in St. Sepulchre’s cemetery off Walton Street and in the records I found this to indeed be the case. I could even see the original plot number ‘G7’ which unfortunately today, won’t help in the identifying of her grave.

Despite this, yesterday I went a second time to St. Sepulchre’s and began to look again for the grave of Charlotte Noon. Maybe, just maybe, it would be one of those which had defied the passage of time and which could still be read – even if with fingers, but I knew this was unlikely to be the case; for one thing, I assume, as they were not a wealthy family, that the grave stone would be have been rather modest and less likely to survive the last 153 years; indeed this seems to be the case. Many of the graves have melted into the ground and only their outlines in the depressed turf indicate their presence. Nevertheless, there was something very poignant about walking around the cemetery knowing that I was in the immediate vicinity of her last resting place – there was, for those moemnts – a physical link between us.

I have walked around the cemetery on several occasions before, but was always oblivious to what it contained; now, as I walk, the whole place feels very different, as indeed does Jericho as a whole.

The cemetery along with streets Jericho are a part of my ‘geographic biography’. Writing about the piece of work I’m showing at the Botanic Gardens – 100 Mirrors (Dolls), I borrowed a quote from the artist Bill Viola, who wrote:

“Looking closely into the eye, the first thing to be seen, indeed the only thing to be seen, is one’s own self-image. This leads to the awareness of two curious properties of pupil gazing. The first is the condition of infinite reflection, the first visual feedback.”

This ‘feedback’ is precisely what I experience when I walk in these places – indeed any places where I know named ancestors of mine once walked – as if we are for that moment, both walking at the same time.