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Ben Miller is best loved for his comedy sketch shows with | 0:00:02 | 0:00:04 | |
partner Alexander Armstrong, | 0:00:04 | 0:00:06 | |
and performances in detective series Death in Paradise | 0:00:06 | 0:00:09 | |
and the hit movie Johnny English have made him a household name. | 0:00:09 | 0:00:13 | |
Now, Ben is here in Wales to research his Welsh ancestry. | 0:00:16 | 0:00:20 | |
Although Ben grew up in London, his mother is Welsh | 0:00:21 | 0:00:25 | |
and it's her family he's keen to discover more about. | 0:00:25 | 0:00:28 | |
We always came on holiday to Wales | 0:00:28 | 0:00:31 | |
and, of course, my mother talks about it a lot. | 0:00:31 | 0:00:36 | |
So, I of course learnt a lot about Wales from my mother. | 0:00:36 | 0:00:41 | |
It's time for Ben to play detective once more in greener surroundings. | 0:00:41 | 0:00:45 | |
If you don't find out now, when are you going to find out? | 0:00:47 | 0:00:50 | |
Ben Miller is coming home. | 0:00:50 | 0:00:52 | |
On this journey, Ben discovers | 0:00:55 | 0:00:57 | |
he's not the only famous face in the family. | 0:00:57 | 0:00:59 | |
-LAUGHING: -That's ridiculous! | 0:00:59 | 0:01:03 | |
-We'll have to... -What do I think? -Yeah. -What do you think of it? | 0:01:05 | 0:01:08 | |
That's just extraordinary. | 0:01:08 | 0:01:11 | |
He's overcome with emotion | 0:01:11 | 0:01:13 | |
after learning of a decorated World War I hero. | 0:01:13 | 0:01:16 | |
I always find that war very, very moving, | 0:01:16 | 0:01:20 | |
but to feel a closer connection is very profound. | 0:01:20 | 0:01:27 | |
And is Ben's ancestor quite the artist he's claimed to be? | 0:01:28 | 0:01:32 | |
This is brilliant. "It's not really like a modern lion. | 0:01:33 | 0:01:36 | |
"It has a bear's head, a poodle's neck and the legs of a lion." | 0:01:36 | 0:01:39 | |
HE LAUGHS | 0:01:39 | 0:01:41 | |
Ben has travelled to Neath in South Wales, | 0:01:43 | 0:01:45 | |
a place where generations of his family lived and worked. | 0:01:45 | 0:01:50 | |
And it's here at St Thomas's Church, in the heart of Neath, | 0:01:50 | 0:01:53 | |
that Ben has arranged to meet with genealogist | 0:01:53 | 0:01:56 | |
Mike Churchill-Jones for the reading of his family tree. | 0:01:56 | 0:01:59 | |
Hi, Ben. We've been researching your Welsh ancestry and this, | 0:01:59 | 0:02:04 | |
-this is what we've come up with. -Wow. | 0:02:04 | 0:02:08 | |
It's enormous. Wow. | 0:02:08 | 0:02:11 | |
That's incredible. | 0:02:13 | 0:02:14 | |
Ben can see he has ancestry in Glamorganshire | 0:02:15 | 0:02:19 | |
dating back to the early 1700s. | 0:02:19 | 0:02:21 | |
And even further back in Montgomeryshire and Breconshire. | 0:02:24 | 0:02:28 | |
On your mother's maternal side, the Thomas line, | 0:02:29 | 0:02:32 | |
you come from deep farming stock in Breconshire, which you expected? | 0:02:32 | 0:02:37 | |
I kind of hoped, yes. I was sort of hoping. | 0:02:37 | 0:02:40 | |
I feel that farming is in my blood, so, yes, I'm pleased about that. | 0:02:40 | 0:02:43 | |
They were from the village of Llangammarch | 0:02:43 | 0:02:47 | |
and a guy called Thomas Thomas, your second great-grandfather, | 0:02:47 | 0:02:50 | |
he was a farmer and a sheep dealer there. | 0:02:50 | 0:02:53 | |
That's exciting. | 0:02:53 | 0:02:55 | |
-I can go hill walking in Breconshire now. -You can. -Great. | 0:02:55 | 0:02:59 | |
Generations of Ben's family worked in the timber industry. | 0:02:59 | 0:03:03 | |
But things changed with his great-great-grandfather, | 0:03:03 | 0:03:06 | |
Joseph Hopkins. | 0:03:06 | 0:03:08 | |
He went to work for the railways as a railway porter. | 0:03:08 | 0:03:12 | |
And, as I say, his family trade was as a sawyer. | 0:03:12 | 0:03:14 | |
What do you know about being a sawyer? | 0:03:14 | 0:03:16 | |
I'm thinking they wouldn't have had huge mechanical saws then, | 0:03:16 | 0:03:20 | |
so quite hard work, I would imagine. | 0:03:20 | 0:03:22 | |
Finally Ben's journey of discovery will be monopolised by | 0:03:23 | 0:03:27 | |
a family name handed down generation after generation. | 0:03:27 | 0:03:31 | |
Samuel Peploe Mellin. | 0:03:32 | 0:03:34 | |
-That's a great name. -Isn't it? -Samuel Peploe Mellin. | 0:03:34 | 0:03:38 | |
You couldn't have a better 19th-century name. | 0:03:38 | 0:03:42 | |
What a fantastic name. But he worked as a painter. | 0:03:42 | 0:03:45 | |
-He'd have to be a painter with a name like Samuel Peploe Mellin, wouldn't you? -Yeah. -Yeah. | 0:03:45 | 0:03:51 | |
If there... Was ever anyone born to his trade? | 0:03:51 | 0:03:54 | |
Maybe we'll be finding his watercolours. I don't know. | 0:03:54 | 0:03:59 | |
BEN LAUGHS | 0:03:59 | 0:04:00 | |
Wow. | 0:04:00 | 0:04:02 | |
Ben has no idea how true this statement will become. | 0:04:04 | 0:04:07 | |
In the church cemetery where generations of Peploe Mellins | 0:04:08 | 0:04:12 | |
are buried, Mike can reveal the obituary of Samuel, who died in 1928. | 0:04:12 | 0:04:17 | |
A document which reveals a man of many talents, | 0:04:17 | 0:04:21 | |
or a man of very tall tales. | 0:04:21 | 0:04:23 | |
"Mr Mellin at one time owned one of the largest painting | 0:04:23 | 0:04:27 | |
"and decorating businesses in the town. | 0:04:27 | 0:04:30 | |
"He had painted a large number of local scenes that showed | 0:04:30 | 0:04:34 | |
"outstanding facility with the brush." This is brilliant. | 0:04:34 | 0:04:38 | |
-We've just started. -"Outstanding facility." | 0:04:38 | 0:04:42 | |
So I would say more than a painter and decorator, thank you very much. | 0:04:42 | 0:04:46 | |
"About 45 years ago, he was commissioned to paint a portrait | 0:04:46 | 0:04:49 | |
"of Albert, the Prince Consort, from a copy." A Royal commission. | 0:04:49 | 0:04:53 | |
Here we go. Wait. This is brilliant. | 0:04:53 | 0:04:59 | |
"He was a clever musician | 0:04:59 | 0:05:02 | |
"and would play almost any instrument." | 0:05:02 | 0:05:04 | |
-I was waiting for somebody to be a musician. -You've found him. | 0:05:04 | 0:05:07 | |
"He was an all-round athlete, being a good cricketer | 0:05:07 | 0:05:12 | |
"and a champion of the ice. | 0:05:12 | 0:05:14 | |
"He played cricket for the old Cadoxton Club | 0:05:14 | 0:05:18 | |
"and remembered the late WG Grace playing cricket | 0:05:18 | 0:05:21 | |
"on the ground which is now the Victoria Gardens." | 0:05:21 | 0:05:24 | |
He's just a sort of... | 0:05:24 | 0:05:26 | |
It's just like a character from a Boy's Own manual, isn't it? | 0:05:26 | 0:05:31 | |
-He's, er... -Indeed. -He's fantastic. | 0:05:31 | 0:05:34 | |
"Mr Mellin was one of the finest figure skaters in Wales | 0:05:34 | 0:05:39 | |
"and won the Neath Championship. | 0:05:39 | 0:05:41 | |
"He was also a first-class shot." | 0:05:41 | 0:05:43 | |
He'd been up in a balloon and had the exciting experience | 0:05:45 | 0:05:48 | |
of being shipwrecked while painting the cabin of a ship. | 0:05:48 | 0:05:52 | |
What do you think of all these claims about this man? | 0:05:52 | 0:05:56 | |
Well, I think they're true. | 0:05:56 | 0:05:57 | |
I don't think any of this is exaggeration. | 0:05:57 | 0:05:59 | |
I think this is probably | 0:05:59 | 0:06:01 | |
a pale imitation of this extraordinary character. | 0:06:01 | 0:06:05 | |
Would you like to try and delve into this man's life a bit more? | 0:06:05 | 0:06:08 | |
I would. Nothing would give me more pleasure than to find out more... | 0:06:08 | 0:06:13 | |
-Let's see if we can help. -..about local artist Mr SP Mellin. -Mm. -Wow. | 0:06:13 | 0:06:18 | |
I think he's a tremendous character. | 0:06:20 | 0:06:22 | |
I have to say it has a slight air, to me, of... | 0:06:22 | 0:06:28 | |
another unmentioned talent which is storytelling. But let's see. | 0:06:28 | 0:06:35 | |
I would love to know if any of that is true. | 0:06:35 | 0:06:40 | |
But first, Ben is going to learn more about something | 0:06:40 | 0:06:44 | |
he feels is in his blood. | 0:06:44 | 0:06:45 | |
Ben was thrilled to hear of his deep farming heritage. | 0:06:46 | 0:06:50 | |
But what Ben doesn't know is that his great-great-grandfather, | 0:06:50 | 0:06:53 | |
Thomas Thomas, made a life-changing decision | 0:06:53 | 0:06:56 | |
during a difficult period in Welsh farming history. | 0:06:56 | 0:07:00 | |
He's visiting St Fagan's National History Museum to learn more | 0:07:00 | 0:07:04 | |
and is met by a farming historian. | 0:07:04 | 0:07:07 | |
1882, that was the year your great-great grandfather | 0:07:07 | 0:07:12 | |
took an important decision, important for him, for the family, | 0:07:12 | 0:07:16 | |
-and indeed for you ultimately. -Yes. | 0:07:16 | 0:07:19 | |
He decided actually he was going to move his family. | 0:07:19 | 0:07:23 | |
-He was 63 years old. He had a much younger wife. -Really? | 0:07:23 | 0:07:28 | |
-He had seven children all under the age of 12. -What?! | 0:07:28 | 0:07:33 | |
-All under the age of 12. So he's been a busy boy. -Yeah. | 0:07:33 | 0:07:37 | |
But he decided to take a momentous decision and move his family from, | 0:07:37 | 0:07:42 | |
what to us would be this idyllic rural landscape, and move them, | 0:07:42 | 0:07:47 | |
again to what we have characterised, I guess, as the industrial hell | 0:07:47 | 0:07:51 | |
of Dowlais near Merthyr Tydfil. | 0:07:51 | 0:07:53 | |
-And it begs the obvious question, why did he do it? -Yes, exactly. | 0:07:53 | 0:07:59 | |
Actually, the Welsh countryside in the mid-19th century was | 0:07:59 | 0:08:03 | |
falling apart, essentially. | 0:08:03 | 0:08:04 | |
Landlords weren't investing as they should have been. | 0:08:04 | 0:08:09 | |
Thomas was a tenant farmer. He had no security of tenure. | 0:08:09 | 0:08:13 | |
And equally, this was the period when food imports start | 0:08:13 | 0:08:17 | |
-coming to Britain for the first time in large quantities. -Really? | 0:08:17 | 0:08:21 | |
So, not only was wheat coming from the Canadian prairies, for example, | 0:08:21 | 0:08:25 | |
-but things like frozen lamb... -Right. -..was starting to come in as well... | 0:08:25 | 0:08:29 | |
-Yeah. -..and the consequence was inevitable. | 0:08:29 | 0:08:32 | |
He had gambled everything on moving his family and the rest is history. | 0:08:32 | 0:08:37 | |
Thomas worked as a platelayer on the railways at the heart | 0:08:39 | 0:08:42 | |
of the Industrial Revolution, until his death in 1895. | 0:08:42 | 0:08:45 | |
His family never returned to their farming roots and stayed | 0:08:46 | 0:08:50 | |
in Merthyr Tydfil, working in the coal mines for generations to come. | 0:08:50 | 0:08:54 | |
Whilst conducting his research, genealogist Mike Churchill-Jones | 0:08:56 | 0:09:00 | |
decided to have a look at Ben's father's side of the family. | 0:09:00 | 0:09:04 | |
He spotted the unusual last name of Ben's great-grandmother | 0:09:04 | 0:09:09 | |
and found something quite extraordinary. | 0:09:09 | 0:09:11 | |
-Well, her full name was Rose Elizabeth Lincoln. -Lincoln? -Mm. | 0:09:11 | 0:09:17 | |
-Do you know anybody else called Lincoln? -Andy Lincoln the actor. | 0:09:17 | 0:09:21 | |
-Abraham Lincoln, the President of the United States. -Mm-hm. | 0:09:21 | 0:09:27 | |
-You are related. -That's him there. We're not? -Mm-hm. | 0:09:36 | 0:09:40 | |
You can't be serious. | 0:09:40 | 0:09:41 | |
HE LAUGHS | 0:09:43 | 0:09:45 | |
You cannot be serious. Oh, my goodness! | 0:09:45 | 0:09:48 | |
How brilliant! | 0:09:50 | 0:09:52 | |
-There she is. -Look at that. -Rose Elizabeth Lincoln. | 0:09:52 | 0:09:55 | |
Rose Elizabeth Lincoln. | 0:09:55 | 0:09:56 | |
And we go back through the Lincolns, we go... | 0:09:58 | 0:10:01 | |
The whole line. | 0:10:01 | 0:10:03 | |
-The whole line back to... -It goes all the way back to early 1500s. | 0:10:03 | 0:10:06 | |
That's ridiculous! | 0:10:06 | 0:10:08 | |
What do you think? | 0:10:08 | 0:10:10 | |
-Will that do? -What do I think? -Yeah. | 0:10:10 | 0:10:13 | |
What do you think I think? That's just extraordinary! | 0:10:13 | 0:10:17 | |
That is... | 0:10:17 | 0:10:19 | |
HE LAUGHS | 0:10:20 | 0:10:23 | |
That's absolutely incredible. | 0:10:23 | 0:10:25 | |
A picture of your cousin. | 0:10:25 | 0:10:27 | |
It's my cousin Abraham Lincoln. | 0:10:27 | 0:10:29 | |
Well, I mean, I knew we were... Obviously, I knew we were | 0:10:29 | 0:10:34 | |
a distinguished family of, er... | 0:10:34 | 0:10:36 | |
-of many generations. -There's a bit of you there, isn't there? | 0:10:36 | 0:10:39 | |
-The nose? -There is literally a bit of me there. -Shape of the nose. | 0:10:39 | 0:10:42 | |
Shape of the nose. There is literally a bit of me there. | 0:10:42 | 0:10:45 | |
Yeah, there literally is. | 0:10:45 | 0:10:46 | |
-Do I get to keep to keep the 5? -I think so, yeah. | 0:10:48 | 0:10:51 | |
THEY LAUGH | 0:10:51 | 0:10:53 | |
Earlier, Ben read the colourful obituary of Samuel Peploe Mellin, | 0:10:54 | 0:10:59 | |
a document which made many claims, including that | 0:10:59 | 0:11:02 | |
of a talented musician, sportsman and figure skater. | 0:11:02 | 0:11:06 | |
Ben is visiting Neath's Historical Society to meet with Hedd Ladd-Lewis, | 0:11:07 | 0:11:11 | |
who has been looking into the claim | 0:11:11 | 0:11:13 | |
that Samuel played for the local Cadoxton cricket team. | 0:11:13 | 0:11:16 | |
And he's discovered the club's original records. | 0:11:16 | 0:11:19 | |
It is possible that, even though he didn't play for the First XI, | 0:11:19 | 0:11:25 | |
-that he played for the Second XI. -Right. | 0:11:25 | 0:11:28 | |
And whilst we were going through the file, | 0:11:28 | 0:11:31 | |
we did come across a photograph... | 0:11:31 | 0:11:33 | |
-..of the Second XI. -Really? | 0:11:35 | 0:11:38 | |
I don't know if you can have a closer look and see | 0:11:38 | 0:11:41 | |
whether you can recognise him maybe. We're not sure which one he is. | 0:11:41 | 0:11:45 | |
I'll tell you straightaway which one I think he is. | 0:11:45 | 0:11:48 | |
He'd be the one that looks exactly like me. | 0:11:48 | 0:11:51 | |
HE LAUGHS | 0:11:51 | 0:11:54 | |
I mean, that's like me with a moustache, isn't it? | 0:11:54 | 0:11:57 | |
-And a stripy cricket cap on. -Yes, very similar. | 0:11:57 | 0:12:01 | |
-And, of course, he would've been 41 years of age at the time. -I don't... | 0:12:01 | 0:12:05 | |
This...I honestly think, if you... | 0:12:07 | 0:12:10 | |
If we got some costumes and mocked up, | 0:12:11 | 0:12:13 | |
and you put a moustache on me and got me in that outfit, | 0:12:13 | 0:12:16 | |
I don't think you'd be able to tell us apart. | 0:12:16 | 0:12:18 | |
Very similar. There is a similarity, isn't there? | 0:12:18 | 0:12:21 | |
The obituary also claims that Samuel witnessed the world-famous cricketer | 0:12:25 | 0:12:29 | |
WG Grace play right here in Neath. | 0:12:29 | 0:12:32 | |
Hedd's discovered some vital evidence in the form of a painting from 1868. | 0:12:32 | 0:12:37 | |
This is wonderful, because the actual club didn't know | 0:12:37 | 0:12:41 | |
about the existence of this particular painting | 0:12:41 | 0:12:45 | |
-in its original form. -Really? | 0:12:45 | 0:12:47 | |
And, of course, there's evidence here | 0:12:47 | 0:12:50 | |
that Grace was actually playing in the game. | 0:12:50 | 0:12:53 | |
Is that Grace there behind the wicket? With his long beard? | 0:12:53 | 0:12:57 | |
-With his long beard. -And his rather...portly frame. | 0:12:57 | 0:13:03 | |
Very portly, isn't it? | 0:13:03 | 0:13:04 | |
So, based on the research we've done, | 0:13:07 | 0:13:09 | |
we can now legitimise the fact that WG Grace did play here in Neath. | 0:13:09 | 0:13:16 | |
-That's satisfying, isn't it? -We've been able to prove it without doubt. | 0:13:16 | 0:13:21 | |
And, you know, this was a piece of the history of the club | 0:13:21 | 0:13:25 | |
that they weren't aware of. | 0:13:25 | 0:13:27 | |
-Isn't that great? -Yeah. | 0:13:27 | 0:13:29 | |
So, Samuel's obituary claim | 0:13:29 | 0:13:31 | |
to have seen WG Grace play cricket in Neath is in fact true. | 0:13:31 | 0:13:36 | |
Well, I'm just thrilled. | 0:13:36 | 0:13:38 | |
That's as much confirmation as we could hope for. | 0:13:38 | 0:13:41 | |
If I'm learning anything, | 0:13:41 | 0:13:43 | |
it's that these stories that get passed down through families, | 0:13:43 | 0:13:47 | |
and in that case told to a newspaper, | 0:13:47 | 0:13:49 | |
but it was obviously a sort of family story, | 0:13:49 | 0:13:52 | |
so often they turn out to have more than a grain of truth, | 0:13:52 | 0:13:55 | |
they turn out to be, you know, absolutely copper-bottomed truth. | 0:13:55 | 0:14:01 | |
You know, it's wonderful. | 0:14:01 | 0:14:03 | |
Next, Ben is going to learn about Samuel's grandson. | 0:14:04 | 0:14:07 | |
Another Samuel Peploe Mellin. | 0:14:07 | 0:14:09 | |
Born in Neath in 1893. | 0:14:09 | 0:14:12 | |
Samuel was a soldier in the First World War | 0:14:12 | 0:14:15 | |
and fought in the Battle of the Somme. | 0:14:15 | 0:14:18 | |
But this was just the beginning, | 0:14:18 | 0:14:20 | |
as historian Dr Jonathan Hicks can explain. | 0:14:20 | 0:14:23 | |
His biggest test came in November 1917, | 0:14:23 | 0:14:29 | |
when the Battle of Cambrai began. | 0:14:29 | 0:14:31 | |
I don't know about that battle. What was that? | 0:14:31 | 0:14:33 | |
That was the battle that followed the Battle of Passchendaele. | 0:14:33 | 0:14:36 | |
OK, yeah. | 0:14:36 | 0:14:37 | |
And the ground over which he fought was absolutely appalling, | 0:14:37 | 0:14:41 | |
as you can imagine. And this photograph gives you an example. | 0:14:41 | 0:14:44 | |
-It was just mud, wasn't it? -Mud. | 0:14:44 | 0:14:46 | |
And you can see the men here living like rats in the ground. | 0:14:46 | 0:14:49 | |
It's horrendous, isn't it? | 0:14:49 | 0:14:51 | |
They call it no-man's land, don't they? | 0:14:51 | 0:14:54 | |
-That's exactly what that looks like out there, isn't it? -Yes. | 0:14:54 | 0:14:58 | |
And Samuel's officer, Captain Smith, left an account of what it was like. | 0:14:58 | 0:15:03 | |
-Yeah. -I'd like you to read that for us, please. | 0:15:03 | 0:15:06 | |
"The sunken roads leading from the trenches are littered with | 0:15:07 | 0:15:11 | |
"dead men and dead mules, | 0:15:11 | 0:15:13 | |
"wrecked General Service Wagons and limbers. | 0:15:13 | 0:15:18 | |
"The night's worse than the day as the hellish shelling continues. | 0:15:18 | 0:15:22 | |
"By the flashes of the bursting shells, | 0:15:22 | 0:15:24 | |
"one gets strange momentary pictures. | 0:15:24 | 0:15:28 | |
"The tired, strained faces of nerve-wracked men | 0:15:28 | 0:15:31 | |
"and the wet shining of steel helmets | 0:15:31 | 0:15:35 | |
"and the waterproof ground sheets | 0:15:35 | 0:15:37 | |
"which most of the men have round their shoulders." | 0:15:37 | 0:15:39 | |
The First World War, for some reason, and I think it's the... | 0:15:40 | 0:15:44 | |
It's the...lions led by donkeys sort of idea. | 0:15:45 | 0:15:51 | |
I just always find it so moving, the whole idea of it. | 0:15:51 | 0:15:55 | |
I get... | 0:15:55 | 0:15:57 | |
HE LAUGHS | 0:15:57 | 0:15:59 | |
I find it such a... It's a...you know, | 0:15:59 | 0:16:03 | |
I think the Second World War was such a necessary war, | 0:16:03 | 0:16:05 | |
but the First World War always seems like such a... | 0:16:05 | 0:16:08 | |
absolutely futile... | 0:16:08 | 0:16:10 | |
..absolutely futile exercise. | 0:16:11 | 0:16:13 | |
I said I wasn't going to get upset on this programme. | 0:16:14 | 0:16:17 | |
I'm not getting upset on behalf of my ancestors, | 0:16:17 | 0:16:20 | |
it's the general thing. I always find that war very moving. | 0:16:20 | 0:16:24 | |
But to have someone from, you know... | 0:16:25 | 0:16:28 | |
..to feel a closer connection, it's very... | 0:16:29 | 0:16:31 | |
It's, er...it's very profound. | 0:16:37 | 0:16:41 | |
-Would you like to see a picture of him then? -I would. | 0:16:43 | 0:16:46 | |
-That's your relation, Samuel Peploe Mellin. -Wow. | 0:16:46 | 0:16:50 | |
God, he's so young, isn't he? | 0:16:51 | 0:16:53 | |
-Those can't be easy weapons to use, these rifles... -No. | 0:16:56 | 0:17:01 | |
-You can see the horrific bayonet on the end of it as well. -Yeah. | 0:17:02 | 0:17:07 | |
There were 47,000 British casualties during the Battle of Cambrai. | 0:17:07 | 0:17:11 | |
It's just horrendous, isn't it? | 0:17:12 | 0:17:14 | |
But...Samuel survived. | 0:17:14 | 0:17:17 | |
-He didn't? -He survived. | 0:17:17 | 0:17:19 | |
And more than that, Ben, he was awarded | 0:17:22 | 0:17:25 | |
a commendation for his work during the Battle of Cambrai. | 0:17:25 | 0:17:28 | |
And what he did for that long period of time | 0:17:30 | 0:17:33 | |
was to keep the communication lines open between... | 0:17:33 | 0:17:36 | |
..the divisional and brigade headquarters. | 0:17:38 | 0:17:41 | |
And that meant going out | 0:17:42 | 0:17:44 | |
every time there was a break in the telephone wire, | 0:17:44 | 0:17:47 | |
it was his job to go out there, under German shelling. | 0:17:47 | 0:17:52 | |
Major-General commanding 20th Light Division has received | 0:17:52 | 0:17:55 | |
a report of the gallant conduct of Acting Corporal SR Mellin. | 0:17:55 | 0:17:59 | |
And he wishes to congratulate him on his fine behaviour. | 0:18:01 | 0:18:05 | |
-Isn't that great? "Fine behaviour." -Fine behaviour. | 0:18:05 | 0:18:08 | |
-That is fine behaviour, isn't it? -Absolutely. | 0:18:08 | 0:18:11 | |
Because there was no way that he could fight back, | 0:18:11 | 0:18:13 | |
because, obviously, shells were coming in from some distance away. | 0:18:13 | 0:18:17 | |
All he could do was hope that the next one didn't have his name on it. | 0:18:17 | 0:18:21 | |
-You know... -And what we have here is some artefacts... | 0:18:22 | 0:18:27 | |
..from Samuel's family, which show the medals he was awarded. | 0:18:29 | 0:18:33 | |
-The dog tags he was wearing during the First World War. -Wow! | 0:18:35 | 0:18:38 | |
-Signals badge. -Wow! -And his cap badge. | 0:18:38 | 0:18:41 | |
It's more trauma than any other generation has probably faced. | 0:18:44 | 0:18:48 | |
And to know that someone in my family was at the centre of it, | 0:18:50 | 0:18:54 | |
yes, it's very... | 0:18:54 | 0:18:55 | |
I feel like I'm in one of my sketches. | 0:19:00 | 0:19:03 | |
I just... | 0:19:03 | 0:19:05 | |
It's exactly what I didn't want to happen, but I'm glad it's happened. | 0:19:06 | 0:19:10 | |
-But he survived. -Yeah, he survived. | 0:19:10 | 0:19:13 | |
And he did... Obviously he did, you know, really played his part. | 0:19:13 | 0:19:17 | |
And that's... | 0:19:17 | 0:19:19 | |
That's a tremendously... | 0:19:20 | 0:19:22 | |
it's a tremendously honourable thing. | 0:19:22 | 0:19:25 | |
Yes, I know. | 0:19:25 | 0:19:26 | |
Earlier, Ben read the obituary of his ancestor Samuel Peploe Mellin. | 0:19:28 | 0:19:32 | |
It claimed he was an artist of some note, | 0:19:33 | 0:19:36 | |
with many commissions for landscapes and even portraits of royalty. | 0:19:36 | 0:19:40 | |
This is brilliant! | 0:19:40 | 0:19:41 | |
Ben is meeting Mike Churchill Jones at Neath's old town hall | 0:19:41 | 0:19:46 | |
to read an account from a court case from 1901. | 0:19:46 | 0:19:49 | |
Samuel had a commission from local pub owner Charles Cheek, | 0:19:50 | 0:19:54 | |
and Samuel had taken Charles to court for failing to pay him for the work. | 0:19:54 | 0:19:59 | |
"The plaintiff painted a sign for the defendant. | 0:19:59 | 0:20:02 | |
"The representation being a white lion. | 0:20:04 | 0:20:07 | |
"Mr Cheek said it wasn't a lion, and he wouldn't pay up. | 0:20:07 | 0:20:11 | |
"The solicitor for the defence said the case would be shortened | 0:20:11 | 0:20:15 | |
"if he could produce the lion." | 0:20:15 | 0:20:17 | |
You couldn't make this up, could you? | 0:20:19 | 0:20:21 | |
"His honour. 'Well, bring in the lion.' Laughter. | 0:20:21 | 0:20:25 | |
"The lion was then brought in and Mr Jeffries said, | 0:20:25 | 0:20:31 | |
" 'Look at it, your honour, what animal is it?' Laughter. | 0:20:31 | 0:20:35 | |
"His honour. 'The lower part is like a lion and the head is like a bear. | 0:20:36 | 0:20:41 | |
" 'But it is very like a heraldic lion.' To Mellin. | 0:20:41 | 0:20:45 | |
" 'I think you ought to have made it look more like a lion. | 0:20:45 | 0:20:48 | |
" 'There's no such thing in nature as a white lion, | 0:20:48 | 0:20:51 | |
" 'but you can hardly say that this is a satisfactory lion. | 0:20:51 | 0:20:55 | |
" 'It's not really like a modern lion, it has a bear's head, | 0:20:55 | 0:20:58 | |
" 'a poodle's neck the legs of a lion.' | 0:20:58 | 0:21:02 | |
"Laughter is recorded in the courtroom. | 0:21:02 | 0:21:05 | |
" 'I think it should be altered and I advise you to alter it.' " | 0:21:05 | 0:21:09 | |
HE LAUGHS | 0:21:09 | 0:21:12 | |
" 'Mr Cheek, you won't object to its body being made a little bigger, | 0:21:12 | 0:21:17 | |
" 'its neck a little smaller and its head a little more like a lion's?' | 0:21:17 | 0:21:22 | |
"Cheek. 'No, sir.' Laughter." | 0:21:22 | 0:21:24 | |
-There's hysterics in court. -Indeed. | 0:21:24 | 0:21:27 | |
So maybe not such a great artist, SP Mellin. | 0:21:27 | 0:21:31 | |
Or perhaps just interpreted it as a heraldic lion. | 0:21:31 | 0:21:36 | |
-Mm-hm. -Not a, you know... not an African, not a modern lion. | 0:21:36 | 0:21:41 | |
It's almost like each click brings you into a clearer focus. | 0:21:41 | 0:21:45 | |
You know, so you start with someone who has this wonderfully | 0:21:45 | 0:21:49 | |
sort of florid obituary. | 0:21:49 | 0:21:52 | |
As we dig a little deeper, we discover, | 0:21:52 | 0:21:55 | |
maybe by the time it was 1901, | 0:21:55 | 0:21:59 | |
his painting skills were on the wane. | 0:21:59 | 0:22:03 | |
This is not the end of Samuel's story. | 0:22:05 | 0:22:08 | |
But for now, Ben is heading to the sawmill | 0:22:08 | 0:22:10 | |
at St Fagan's Natural History Museum | 0:22:10 | 0:22:13 | |
to learn more about the generation of ancestors who worked as sawyers. | 0:22:13 | 0:22:16 | |
But more importantly, what would have led one of them | 0:22:16 | 0:22:20 | |
to leave his job as a sawyer to work on the railway? | 0:22:20 | 0:22:24 | |
Historian Nathan Goss can explain. | 0:22:24 | 0:22:26 | |
It could be a couple of reasons, really. | 0:22:27 | 0:22:30 | |
-The railway had just come to Neath. -Yes. | 0:22:30 | 0:22:32 | |
So it could have been a better-paid job. | 0:22:32 | 0:22:35 | |
The other reason, really, it could have been the invention | 0:22:35 | 0:22:38 | |
and progress of the steam-driven saw. | 0:22:38 | 0:22:42 | |
-Really? -In sort of the 1830s in London, around 1837, | 0:22:42 | 0:22:49 | |
if my memory serves me right, the first steam-driven pit saw | 0:22:49 | 0:22:54 | |
turned up on the banks of the Thames right by Tower Bridge. | 0:22:54 | 0:22:59 | |
And instantly, when they started that saw up, | 0:22:59 | 0:23:01 | |
-it put 70 pairs of sawyers out of work. -Wow. Straight away. | 0:23:01 | 0:23:06 | |
Ben's great-great-grandfather may have given up the saw, | 0:23:06 | 0:23:10 | |
but that doesn't mean Ben can't have a go himself. | 0:23:10 | 0:23:13 | |
-I'll start off... -Right. -..with a sawyer's handshake, | 0:23:14 | 0:23:17 | |
because you wouldn't have had a thumb in those days. | 0:23:17 | 0:23:21 | |
You think lots of my ancestors probably gave that handshake? | 0:23:21 | 0:23:24 | |
-No, ideally, this saw should be at 90 degrees. -Oh, OK. | 0:23:24 | 0:23:29 | |
So, if you imagine you are standing on top of a platform now, | 0:23:29 | 0:23:32 | |
-because you're the ancestor, you're the top dog. -Oh. | 0:23:32 | 0:23:36 | |
So you are standing on top of the pit train | 0:23:36 | 0:23:39 | |
and I was at the bottom, because I was the apprentice. | 0:23:39 | 0:23:43 | |
And I'm the underdog and you're the top dog. | 0:23:43 | 0:23:45 | |
-So am I going to stand on here? -No, we won't do it like that. | 0:23:45 | 0:23:48 | |
-But it'll give you some sort of idea. -It'll give us an idea. | 0:23:48 | 0:23:51 | |
If you imagine now, I've got one cut with this now. | 0:23:51 | 0:23:54 | |
-It's down to me and back to you, it's only one cut. -That's one cut. | 0:23:54 | 0:23:58 | |
-OK. So, you pull. -I pull like that, now you pull it back. -OK. | 0:23:58 | 0:24:02 | |
You see, I'm a natural. It's in the blood, Nathan. | 0:24:02 | 0:24:05 | |
Look, I'm missing the log entirely. | 0:24:05 | 0:24:08 | |
Try it again, now I've got you started. | 0:24:08 | 0:24:10 | |
You didn't make a good enough groove, that's what happens there. | 0:24:10 | 0:24:13 | |
That's probably what it is. | 0:24:13 | 0:24:14 | |
Why is this not working? | 0:24:17 | 0:24:19 | |
It's hard, that's why! | 0:24:20 | 0:24:22 | |
-You've got to really pull. -Yeah, yeah. | 0:24:22 | 0:24:24 | |
-Now you've got it. -There we go, there we go. So let's get sawing. | 0:24:26 | 0:24:30 | |
I think this would make a really good coffee table, possibly. | 0:24:32 | 0:24:37 | |
-I think it might be a matchstick. -Get a matchstick. | 0:24:37 | 0:24:40 | |
There we go. | 0:24:44 | 0:24:45 | |
Ben's time in Wales is nearly at an end. | 0:24:48 | 0:24:51 | |
But before he leaves, | 0:24:53 | 0:24:55 | |
the team looking into the obituary claims of Samuel Peploe Mellin | 0:24:55 | 0:24:58 | |
have given him an address to visit in Bridgend. | 0:24:58 | 0:25:02 | |
An address of someone who may have | 0:25:03 | 0:25:05 | |
more information for him about the Peploe Mellins. | 0:25:05 | 0:25:08 | |
Hello. Nice to meet you. | 0:25:08 | 0:25:09 | |
-Lovely to meet you. -Come in. -Thank you. | 0:25:09 | 0:25:12 | |
And this lady has more than a few surprises for Ben. | 0:25:12 | 0:25:16 | |
-I'm Janet and I'm your fourth cousin. -Right. | 0:25:18 | 0:25:22 | |
And my maiden name was Mellin. | 0:25:22 | 0:25:25 | |
Oh, are you a Peploe Mellin? | 0:25:25 | 0:25:29 | |
Mm-hm. Samuel Peploe from the First World War was my grandfather. | 0:25:29 | 0:25:34 | |
-Really? -Yes. -Oh, my word! | 0:25:34 | 0:25:37 | |
I saw his medals and I found it incredibly moving, actually, Janet. | 0:25:37 | 0:25:42 | |
I just couldn't... It was very hard to understand that kind of bravery. | 0:25:42 | 0:25:47 | |
You must be very proud. | 0:25:47 | 0:25:48 | |
I've got a little photo here. | 0:25:48 | 0:25:50 | |
There, of him. | 0:25:50 | 0:25:52 | |
-But he was never called Samuel. He was always called Pep. -Pep? | 0:25:53 | 0:25:58 | |
Yes, from Peploe. He was always known as Pep Mellin. | 0:25:58 | 0:26:02 | |
You can ask anybody in the town and he was always called Pep Mellin. | 0:26:02 | 0:26:06 | |
And Samuel's grandfather was the man with the controversial obituary | 0:26:07 | 0:26:11 | |
claiming to be an artist of some note. | 0:26:11 | 0:26:14 | |
-Samuel Peploe. -Yeah? | 0:26:14 | 0:26:16 | |
Great-great-grandfather. | 0:26:16 | 0:26:18 | |
I have something here that you might like to see. | 0:26:20 | 0:26:23 | |
-Really? -Yes. -Am I allowed to open this? -Yes. | 0:26:23 | 0:26:26 | |
OK. | 0:26:26 | 0:26:28 | |
Wow! | 0:26:29 | 0:26:31 | |
-Is this one of his... -Yes, it is. -..paintings? | 0:26:31 | 0:26:34 | |
-Look at that. -It's got 1891. | 0:26:34 | 0:26:37 | |
1891, that's an oil, is it? | 0:26:37 | 0:26:40 | |
-It's got a bit of damage on it. -Yeah. | 0:26:40 | 0:26:42 | |
And it's basically got coal dust, I would have thought. | 0:26:42 | 0:26:46 | |
This is really very good. | 0:26:48 | 0:26:49 | |
-I'm sad to say it's been up in the attic for about... -Really? | 0:26:49 | 0:26:54 | |
..as long as I've known, cos my father's never had it on the wall. | 0:26:54 | 0:26:59 | |
-No? -No. | 0:26:59 | 0:27:00 | |
And I don't know if my grandfather ever had it on the wall, | 0:27:00 | 0:27:04 | |
cos his father gave it to him and it's just been passed down. | 0:27:04 | 0:27:07 | |
They do say that to be able to paint horses is one of the... | 0:27:09 | 0:27:15 | |
-It's very difficult, apparently. -..really difficult skills, yeah. | 0:27:15 | 0:27:18 | |
Look at that. | 0:27:20 | 0:27:22 | |
Do you know what, I'm really pleased to discover that he was actually... | 0:27:22 | 0:27:26 | |
because quite often he gets... he doesn't get full credit. | 0:27:26 | 0:27:30 | |
He gets described as a decorator or a painter and decorator. | 0:27:30 | 0:27:34 | |
And no, he was an artist. | 0:27:34 | 0:27:37 | |
Ben's journey into his Welsh ancestry is now at an end | 0:27:38 | 0:27:42 | |
and he can leave knowing his ancestor Samuel Peploe Mellin | 0:27:42 | 0:27:46 | |
was a true artist | 0:27:46 | 0:27:48 | |
and lived an extraordinary life. | 0:27:48 | 0:27:50 | |
The painting totally legitimises the obituary. | 0:27:50 | 0:27:55 | |
It proves everything that's in there. | 0:27:55 | 0:27:57 | |
This is not a painter and decorator, this is an artist. | 0:27:57 | 0:27:59 | |
This is a man with something to express. | 0:27:59 | 0:28:01 | |
And how does he feel about his whole journey coming home? | 0:28:01 | 0:28:05 | |
It's almost like a kaleidoscope coming into focus | 0:28:05 | 0:28:09 | |
and suddenly you see everything in a very new way | 0:28:09 | 0:28:12 | |
and it has a huge emotional impact. | 0:28:12 | 0:28:15 | |
You know, and I'm getting emotional about it now. | 0:28:15 | 0:28:18 | |
But, you know, I'm proud to come from a culture | 0:28:18 | 0:28:20 | |
that's not afraid to show their emotions. | 0:28:20 | 0:28:22 |