The soldiers were recast as saintly figures, martyrs of a holy cause, in the eyes of many Evangelicals. Among them was Catherine Marsh, whose lively and sentimental hagiography, Memorials of Captain Hedley Vicars, Ninety-Seventh Regiment (1856), sold more than 100,000 copies in its first few years of publication and reappeared in numerous abridged and juvenile editions up until the First World War. Compiled from Vicars’s diary and his letters to his mother from the Crimea, Memorials was dedicated to the ‘noble ideal of the Christian soldier’ and offered to the public as a ‘fresh and ample refutation to those who, in the face of examples to the contrary, still maintain that entire devotion of the heart to God must withdraw a man from many of the active duties of life and … that in making a good Christian you may spoil a good soldier’. Vicars is portrayed as a soldier-saint, a selfless hero who bears the burdens of his fellow-men on the Sevastopol heights by sharing his food and tent, caring for them and reading them the Bible when they are sick. Vicars leads his men to ‘Holy War’ against the Russians, who are described as ‘heathens’, ‘infidels’ and ‘savages’. He is mortally wounded during the sortie of 22–3 March 1855, and his death is compared to the martyrdom of Christ in Marsh’s final chapter (‘Victory’), which is prefaced by Longfellow’s verse (a translation from the Spanish poet Jorge Manrique):
His soul to Him who gave it rose,
God led it to its long repose,
Its glorious rest!
And though the warrior’s sun has set,
Its light shall longer round us yet,
Bright, radiant, blest.
Vicars was buried in Sevastopol but in St George’s Church on Bromley Road in Beckenham, Kent, there is a white marble tablet carved in the shape of a scroll with a sheathed sword behind on which these words are inscribed:
TO THE GLORY OF GOD AND TO THE BELOVED MEMORY OF HEDLEY VICARS CAPTAIN 97TH REGIMENT WHO THROUGH FAITH IN THE WORD OF GOD THAT ‘THE BLOOD OF JESUS CHRIST HIS SON CLEANSETH US ALL IN SIN’ PASSED FROM THE DEATH OF SIN TO THE LIFE OF RIGHTEOUSNESS. HE FELL IN BATTLE, AND SLEPT IN JESUS, ON THE NIGHT OF 22ND OF MARCH, 1855. AND WAS BURIED BEFORE SEBASTOPOL AGED 28 YEARS.15
Beyond the sanctification of soldiers and the new manly ideal, the common effort of the war seemed to offer the possibility of national unity and reconciliation needed to end the class divisions and industrial strife of the 1830s and 1840s. In Dickens’s Household Words, alongside the serialization of Elizabeth Gaskell’s North and South (1855), a novel on the theme of ending the class conflict, there appeared a series of poems by Adelaide Anne Procter, Queen Victoria’s favourite poet, including ‘The Lesson of the War’.
The rulers of the nation,
The poor ones at their gate,
With the same eager wonder
The same great news await!
The poor man’s stay and comfort,
The rich man’s joy and pride,
Upon the bleak Crimean shore
Are fighting side by side.16
A similar idea can be found in Tennyson’s poetic monodrama Maud (1855), where a state of ‘civil war’ created by the ‘lust of gain’ at home gives way to an ending in which the narrator looks to war abroad as a higher and more godly cause:
Let it go or stay, so I wake to the higher aims
Of a land that has lost for a little her lust of gold,
And love of a peace that was full of wrongs and shames,
Horrible, hateful, monstrous, not to be told;
And hail once more to the banner of battle unroll’d!
Tho’ many a light shall darken, and many shall weep
For those that are crush’d in the clash of jarring claims,
Yet God’s just wrath shall be wreak’d on a giant liar;
And many a darkness into the light shall leap,
And shine in the sudden making of splendid names,
And noble thought be freer under the sun,
And the heart of a people beat with one desire;
For the peace, that I deem’d no peace, is over and done,
And now by the side of the Black and the Baltic deep,
And deathful-grinning mouths of the fortress, flames
The blood-red blossom of war with a heart of fire.
Let it flame or fade, and the war roll down like a wind,
We have proved we have hearts in a cause, we are noble still,
And myself have awaked, as it seems, to the better mind;
It is better to fight for the good, than to rail at the ill;
I have felt with my native land, I am one with my kind,
I embrace the purpose of God, and the doom assign’d.
Painters picked up the same theme. In John Gilbert’s Her Majesty the Queen Inspecting the Wounded Coldstream Guards in the Hall of Buckingham Palace (1856), a painting (sadly lost) that was popular enough to be reproduced as a coloured lithograph as late as 1903, there is a touching poignancy in the meeting between the Queen and the wounded heroes of the Crimea which suggests the prospect of post-war unity between the highest and the lowest of the land. Jerry Barrett’s large painting Queen Victoria’s First Visit to Her Wounded Soldiers (1856) played on this emotion too. This sentimental picture of the royal family visiting Crimean invalids at the Chatham army hospital was such a success when it was first shown at Thomas Agnew’s gallery in Piccadilly that several thousand prints were subsequently sold to the public in various editions costing between three and ten guineas.17
The Queen herself was a collector of photographic souvenirs of Crimean veterans. She commissioned commercial photographers like Joseph Cundall and Robert Howlett to make a series of commemorative portraits of maimed and wounded soldiers in various military hospitals, including Chatham, for the royal collection at Windsor. Cundall and Howlett’s striking photographs reached beyond their patroness’s hands. Through photographic exhibitions and their reproduction in the illustrated press, they brought home to the public in explicit terms the suffering of the soldiers and the human costs of war. These pioneering photographs were very different from Fenton’s genteel images. In Cundall and Howlett’s Three Crimean Invalids (1855), for example, the wounded infantrymen are seated on a hospital bed displaying their loss of limbs. There is no emotion in their expressions, no romanticism or sentimentality in their representation, only the documentary evidence in black and white of the impact made by iron shot and frostbite on the body. In their notes in the royal archives, Cundall and Howlett identified the men as William Young of the 23rd Regiment, wounded at the Redan on 18 June 1855; Henry Burland of the 34th, both legs lost to frostbite in the trenches before Sevastopol; and John Connery of the 49th, his left leg lost to frostbite in the trenches.18