
Tragic truth behind famous smiles in VE Day photo beamed around the world
The Mirror has tracked down the families of two teenagers snapped celebrating in Trafalgar Square's fountain amid VE Day scenes of joy
These two ladies reflected the immense joy and relief felt by billions around the world on VE Day. The images of them 'frolicking' in the fountain in Trafalgar Square were beamed all around the globe. Described as two Land Army girls celebrating with their boyfriends.
But The Mirror can reveal the true story behind the famous photos, after tracking down their family to uncover the true story behind the iconic pictures.
Life-long pals Joyce Digney and Cynthia Covello, both in their late teens, were not dating the servicemen they were snapped with.
Joyce was married and unaware she was pregnant when the photo was taken. They would soon be sailing to Canada to join their soul mates both from the Canadian military.
And behind their smiles lay the pain of having suffered 'terrible tragedies' - each lost a brother during the war and had just lit a candle for them at St Paul's Cathedral..
They both ended up splashing around after vowing to each other that if they survived the bombs of World War II, they would travel to London to celebrate together.
In a letter to her family Joyce, who got married in May 1944, who had chucked her job as a typist in London to escape to the countryside, described it as the 'most memorable day of my life'.
She had met Cynthia on her first day working as a Land Girl, running from the bombs which had forced her to cower under her desk.
'The first day on the job I met Cynthia and we became very close friends. She became the sister I never had,' she wrote in a letter to her family.
The pair would be picked up at 6.30am from a stop near their home in Epsom and taken to pick potatoes, alongside an Italian prisoner of war and women from Holloway prison.
'While working, Cynthia and I decided that if we were still alive when it was all over we were going to London to celebrate like we had seen in pictures from the First World War.
'Cynthia stayed at my home overnight on Monday May 7th 1945. We left May 8th to catch the 8am train to London.'
Their first spot was St Paul's Cathedral, Joyce explained 'to give thanks that we were still alive' and to say a prayer for their brothers, both pilots who were killed in the war.
Joan's brother died when his plane went down over the channel.
'When we came out of St.Paul's we said 'now we will go and celebrate,' she wrote, her family explaining to us how she was married and pregnant with her first child Paul on VE Day, who was named after the famous landmark.
She continued to describe their day: 'We walked London; Buckingham Palace, Whitehall, Westminster - most of the streets were closed off to traffic and there was singing, dancing hugs, kisses everywhere.
'We ended up in Trafalgar Square with a gigantic Congo line going on. Every statue that could be climbed on had someone on them. The London 'bobbies' all had a smile on their faces and 'for the most part, turned a blind eye as to what was going on.
'It was a rather warm humid day and sitting around the two fountains, with the fountains turned off, were people with their shoes off cooling their feet. By this time our feet were killing us so we took our shoes off, rolled up our pants and climbed in and went wading.
'The next thing, a soldier dived in from the fountain (how he didn't kill himself I'll never know) and swam around. Your auntie Joyce picked up a piece of string that was floating along with all the other debris and when he emerged at my feet, I put the string around his neck and said; 'I crown you the king of Trafalgar Square'. With that he put his arms around me, fell back into the water and took me with him.
'I was completely under the water and soaked as I went under I heard a roar from the crowd and Cynthia saying 'don't come near me'. She was scared of water.
'When I emerged he was under me and I grabbed him by the front of his uniform and dunked him up and down and said; 'look what you have done to me How am I going to get home like this. I ended up swimming around the fountain with him. I was already very wet. I don't know who he was…'
She told how footage of her 'dunking this soldier' was shown in the movies in 1948.
'We ended up near Waterloo station around a big bonfire where I managed to dry off. We took the last train home and when your nan answered the door, she took one look at me and said 'where have you been you smell!'
'VE days is one of the most memorable days of my life. To be with thousands of people, smiling and so happy after nearly six years of war.
Joyce said their bond lasted a lifetime, through the birth of her son Paul, the eldest of three, where Cynthia stayed 'holding my hand.' Cynthia died aged 59 in 1983 and Joyce last year.
Joyce's granddaughter Emma Digney, 31, said of their incredible bond: 'They did a very scary thing together and both lost brothers and both married Canadian soldiers and then moved together.
Her nanna had told them of the hardships of growing up during the war.
'Our area was one of the last lines of defence before the Germans reached London. The authorities felt it was better to shoot them down in an area that wasn't so heavily populated as London.
'My Mum panicked when the guns started and the searchlights went on and she said we all had to go to the public shelters about 10 minutes walk from our house.'
But their mum ended up dragging them all home again after a bomb exploded close to their shelter telling them: 'We are not going to die like rats in a trap. We are going home'.
VE Day: 80th Anniversary Magazine Specials
To commemorate the 80th anniversary of VE Day, we bring you two special special collector's magazines that look back at events that led to the end of World War II in Europe and marked a new era.
In the VE Day 80: Anniversary Collector's Edition we share photographs from the street parties that were held all over Britain, while esteemed author and journalist Paul Routledge paints a picture of how the day was bittersweet, mixed with jubilation and hope for the future, as well as sadness and regret for the past. Routledge also recounts the key events of the Second World War, including Dunkirk, the Battle of Britain and Pearl Harbour. The magazine costs £9.99.
Also available is World War Two - A History in 50 Photographs, a definitive pictorial account of the war. Carefully chosen from hundreds of thousands of images, this commemorative magazine shares 50 exceptional photographs - including many rarely seen shots - that capture the devastating moments, horror, hope and eventual triumph of World War Two. The magazine costs £6.99.
You can buy your copies here!
In the end they had shelters built inside their home and they would all sleep downstairs. A dining table had a mattress placed on top and under the stairs was changed into a bomb shelter.
The next day after the raids, people would ask: "Have you heard if St, Paul's is alright?" It seemed to be a symbol that if St Paul's survived the raids we would be alright.
Later recalling the bombings she would say: 'We lost a tile on our roof, the only damage we had during the whole war. Although a bomb had dropped in the park at the bottom of our garden and we hadn't even woke up from it. We had learned to sleep through anything by this time.'
But they like many others suffered heartbreak, she said: 'On May 13th 1943 my brother Bill, the Spitfire pilot, didn't make it back from a raid over Europe. went down in the English Channel. He and his plane were never recovered.
'I will always remember that Sunday when there was a knock on the door about 5.30 pm and when I went to the door, there was a policeman asking for Mr Brookes. I told him that my father wasn't home, he was lawn bowling in the park.
'Mum came to the door and she knew right away. She said,"It's Billy, what has happened?" The policeman asked to come in and told us that Billy was missing.
'I will always remember my mother's screams till the day I die. She started getting pictures of Billy out to show the policeman. He was so compassionate. I remember standing in the living room window watching for Dad. About 6 pm I saw him walking up the road. I thought; 'He doesn't know about it yet, how I wish I was him.'
Her granddaughter, Annie Brookes 47, from Warwick, whose dad is Paul, said: 'Nanna was always very proud of this picture and so are we. It's our claim to fame. It's something we still talk about in the family.
'It's wonderful so wonderful. What's funny is that nanna had it up in her flat for years and we all knew about the picture. She was pregnant at the time and neither of these men were her husbands.
'She was definitely a flirt, her husband was fine with it. He was very laid back and he would have been 'that's your nanna'.
'She thought it was all very exciting, the fact that neither of the men were their husbands.
'But when they added colour to the photo later she would say they did that wrong, 'there's no way a blonde would wear a yellow jumper! I would not have been dead in yellow!''
'She was the war bride who met my grandad when he served in the Canadian Air Force. He was called Andrew 'Dig' but we called him Grandpa Diggy.
'She was pregnant with my Uncle Paul when that picture was taken and when the war ended she moved to Canada.'
Of the picture, she adds: 'It's the joy I love so much. They are letting go and it represents what people felt with the end of the war.'
Her granddaughter Emma Digney, 31, from Wandsworth grew up in Canada and now lives in the UK. 'I used to walk through Trafalgar Square to work. It reminds me how incredible her life was, at such a young age to move to another country, she had such bravery, it's a special photo for other people as well.
'I've been going to Trafalgar Square since I was really little but going to it now is more poignant.
'I think it makes me very grateful that we don't have to live through that and reminds you how lucky we are to live in a country not affected by war.
'She used to always talk about the doodle bugs and hearing about them as a kid doesn't seem that scary. It's only when you get older you grasp things with more understanding and realise how dangerous and scary they would have been.
'But she was a positive woman who never told the stories with fear but was vivacious and quick witted, being the teenagers of the war she had to grow up very quickly and gained a lot of strength. She definitely was a force to be reckoned with.
'Six months before she died she loved talking about it and talking about Cynthia.
'They were the only ones in the fountain which very much does sum up my nana - she was always beating to her own drum.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


New Statesman
2 hours ago
- New Statesman
We are all Mrs Dalloway now
Photo byEveryone has cracks; we hear that's how the light gets in. Adeline Virginia Stephen wanted a life flooded with light. Marrying her husband, Leonard Woolf, in 1912, she said she wanted 'everything – love, children, adventure, intimacy, work'. In her masterpiece Mrs Dalloway, published a century ago, she wanted 'all inner feelings to be lit up'. But so much light meant so many cracks. Virginia Woolf is now such a large figure in global literary culture that she has at least 15 full-length biographies. But Mark Hussey's new Mrs Dalloway is a biography of a novel by Woolf, relaying its conception, execution and propagation. Hussey is Professor of English at New York's Pace University, and we believe him when he tells us Woolf is 'my favourite writer': he has published several books on her, and includes a charmingly domestic photo of his personal Dalloway stash, piled 20 editions high, which he started over 50 years ago. By scholarship's best guess, Dalloway's scene – 'life; London; this moment of June' – is 11 June 1923. For the last eight years, with Woolf's reputation higher than ever, a 'Dalloway Day' has been celebrated, with tours of Woolf's London led by the Virginia Woolf Society. The festivities will be particularly exuberant this year, the centenary of Dalloway's publication. Walkers will see Bloomsbury and Westminster in all the 'absorbing, mysterious… infinite richness' Woolf imbued them with, 'as if in the presence of some sacred ceremony to interrupt which would have been impious'. The amusements may sound little more than a short walk around central London. But so, really, might the book's plot. In the story, a politician's fashionable wife, Clarissa Dalloway, gives a fancy party, and a traumatised young veteran of the First World War, Septimus Warren Smith, kills himself after his doctors neglect him. Hussey is correct that, asked what the book is about, one might answer 'not much.' But, of course, for Woolf it was all about what was happening inside her characters. In that way she was of her modernist cohort, trying to find her artistic bearings after the moment 'on or about December 1910', as she put it, when 'human character changed'. To Woolf, to Joyce, to Proust, there had been what Hussey calls 'a fundamental shift in relations' between subject, object, and the nature of reality. What Woolf called Edwardian writing was futile just as describing a house's exterior was futile to convey the soul who slept inside. If art was to answer the 'astonishing disorder' of modernity, it had to directly penetrate conscious experience. It was an ambitious project, but Woolf felt confident. She had brought off two fairly conventional novels, and her more daring third, Jacob's Room, had attained wide praise. She felt she could write freely, and that she at last knew 'how to begin (at 40) to say something in my own voice'. Or, putting it another way, that she was 'beginning to learn the mechanism of my own brain'. Her voice was her mental mechanism, however flawed that mechanism. Woolf had had to stay in a private nursing home after a severe breakdown that came a year after the marriage from which she wanted everything. A few months later, chance alone her saved her from death, after she took a deliberate overdose of Veronal (a sleeping aid). And two years after that she had suffered another severe breakdown. But with her confidence and reputation waxing, she felt 'madness is terrific… in its lava I find most of the things I write about'. Subscribe to The New Statesman today from only £8.99 per month Subscribe Readers liked in her what she liked in those she read: what she called 'queer individuality'. So the project was to inspect her self as it shattered and reconstituted. No humans were 'as they used to hold, immaculate, monolithic, consistent wholes'. Instead they were 'splinters & mosaics', and art should show them as such. A plane broken to pieces and put together again became a mosaic, and thereby turned particular, beautiful, and more interestingly refractive. At one point in the novel, Clarissa Dalloway is seen mending her dress. To do full justice to her 'queer individuality', she devised for Mrs Dalloway a 'queer & masterful' design. For it, she had 'almost too many ideas. I want to give life & death, sanity & insanity.' So she devised Clarissa Dalloway and Septimus Warren Smith, who would show 'the world seen by the sane & the insane side by side' and who, as in a long-held idea for a play, would only ever 'almost meet – only a door between – you see how they just miss – and go off at a tangent, and never come anywhere near again'. But they did come near again. The problem we all know, visible in the book and its author's life, is that the separation did not hold. Sanity went into insanity, life went into death. In 1941, Woolf drowned herself in the River Ouse. Clarissa does not commit suicide, but was originally intended to, and it may be telling that one early reader mistakenly believed she had after finishing the book. Septimus, a shell-shocked veteran of the First World War, who fought to defend Shakespeare's England, does kill himself, and gives lie to the vision of art as individualisation. If the war launched Woolf's project, it also undermined it. Compare Woolf's artistic vision of splinters and mosaics, of lively Clarissa mending her dress, with her thoughts when visiting a relative, wounded during the First World War, in his hospital ward. She felt 'the uselessness of it all, breaking these people & mending them again'. It is hard to say what differentiates life-giving art from death-giving war. In one letter, Woolf described the War in artistic terms, as 'the preposterous masculine fiction'. Septimus is a traumatised veteran, but if any character has 'queer individuality' it is he. And he grows 'stranger and stranger', more and more alone, by allowing himself to think too much. The modernists thought leaving 'description' for 'insight' would help them ascertain truth; in fact it destroyed it. They were not writing, as they thought, after Einstein and Freud, but after their closer contemporary, Werner Heisenberg, the quantum physicist who found that electrons refused to be fixed under observation. So did the modern self, inspection only creating uncertainty. Woolf was closer than she knew on writing in her essay 'Modern Novels' that consciousness is an 'incessant shower of innumerable atoms'. The self-attention they hoped would achieve stability in fact wrecks it. The more you look, the less you know. Woolf's own metaphor was a 'tunnelling process', which allowed her to 'tunnel behind the façade of objective appearance' and reveal consciousness. But efforts to light up anything can only ever illuminate a new, deeper darkness. There is nothing at the back to reach. Clarissa feels 'the impossibility of reaching the centre which, mystically, evaded them; closeness drew apart; rapture faded, one was alone'. The best option might be to turn back while you still can. The generic life Woolf feared, inert and inartistic, 'mute & mitigated, in the suburbs,' may be preferable. Septimus loathes his boorish physician Dr Holmes, and Woolf loathed the psychiatrists she based him on. But it is hard to dismiss his insistence that introspection offers no delivery from itself, and his prescription that what Septimus really needs is to stop thinking about himself and become occupied by external things. To do so would certainly be to neglect his individuality, but the depths of his individuality killed him. Perhaps he should have joined the dull masses. The bores were right. In a preliminary, more frivolous appearance, the character of Clarissa Dalloway exclaimed, 'How much rather one would be a murderer than a bore!' How much? Mrs Dalloway contains the birth and the doom of the modern self. We are all Virginia Woolf's children. She wanted light and was determined that it could be found somewhere at the back of the 'dark region of psychology'. She never found it, but we have continued her search. Her 'queer individuality' is a public deity. That the unexamined life is not worth living is a truth inviolable; indeed we examine relentlessly. It is almost axiomatic that inward tunnelling breaks through to rewarding clarity. But Mrs Dalloway is a warning as much as guide. Perhaps, for once, we need not go deeper. [See also: Who's offended by Virginia Woolf?] Related


Daily Mirror
4 hours ago
- Daily Mirror
Unusual jewellery line is winning wearers 'so many compliments'
Fusing architecture style with smooth lines, the Vitaly range is a great choice for festival goers and snappy dressers In a world where fashion often follows the crowd, sometimes it's nice to break the mould by wearing some unique and unconventional jewellery. With the festival season just around the corner, summer is the perfect time to try something new. Much more than just accessories, the right piece of jewellery is a statement of individuality and creativity. Vitaly is a Canadian based jewellery and accessory company wowing Brits with chunky, funky, heavy metal pieces. Known for its minimalist, architectural-inspired designs, the brand specialises in genderless designs. Using using 100% recycled stainless steel in all their products, Vitaly is committed to ethical sourcing, offering stylish and eco-conscious options for trend setters. One of the highlights of the Vitaly collection is the The Paralyze chain. Blending soft and hard elements, the statement piece has gently curving spikes that take on an almost feather-like appearance. Available in a choice of stainless steel, gold and polished black metals, one buyer praised the unique style of the £185 heavy metal chain, saying: "This work of art is magnificent." Another unique piece that's hard enough to handle every sweaty set and midnight mosh pit is the £61 stainless steel Monolith ring. Available in a choice of nine different sizes, the solid polished band with two substantial planes is said to "embody both oneness and separation." For a more subtle twist, bring the bling to the ears with Series Hoops. A set of six stackable hoops designed for maximum versatility, Series features two earrings each in three different sizes. Made from stainless steel, the set is on sale for £72, buyers have called them "a great set of hoops" that are "simple and high-quality." Jewellery lovers who would like to try Vitaly for less could snap up a bargain on their sale page. Some of the best deals include the RPM bracelet - an homage to the humble AUX cord, the adjustable bangle comes in stainless steel or gold. Reduced from £102 to £72, it's an unusual gift for music lovers. Other great buys include the The Fang necklace - a show-stopping neckpiece with an otherworldly appearance reduced from £208 to £125 and the Decibel ear cuff, designed to be worn without the need for a piercing, is now £55 down from £91. If the Vitaly range isn't quite right, Astrid and Miyu has effortlessly edgy festival fits. Add a pop of colour with brightly coloured Birthstone Bracelets for £130 or add the £45 Wave Ear Cuff to illuminate the face. Elsewhere, Abbott Lyon has has a carefully curated collection of subtle pieces including gold and silver chokers from £99, fully customisable name bracelets from £89 and a collection of Evil Eye jewellery to add a pop of magic to you accessories. Customers have shared their thoughts on the Vitaly brand on the website. One buyer, who purchased the Ransom chain said: "Obsessed with my new necklace heavy duty beautiful quality and such a cool accent piece." Another who snapped up Collateral cuff in the sale, called it: "Beautiful and sculptural cuff. So well made and fits like a glove. I know it's going to be a huge compliment getter!" "These rings make any outfit shine," said another shopper who purchased the Grip rings, adding: "they are so simple and shine really nicely. I'm very satisfied with these!" While there were no negative reviews to speak of, one buyer who left a three-star review on Trustpilot said: "I bought stuff on 25% off but still felt like their prices are on the steep end. Their designs are cool and different, but that seems to be their only unique selling point." A five-star review that summed up the Paralyze chain said: "My favourite necklace. It's even better than I expected. I get so many compliments."


Daily Mirror
9 hours ago
- Daily Mirror
Wynne Evans engaged just weeks after brutal BBC axing
Wynne Evans has announced he's engaged just weeks after he was axed from the BBC after his Strictly Come Dancing scandal. The Go Compare advert star now has something to celebrate following his career blows. He popped the question to his partner Liz Brookes, who stood by him amid the scandal, during their romantic holiday to Morocco. Last month, the host confirmed he's leaving his role at BBC Radio Wales after the broadcaster "decided not to renew" his contract. It was recently announced he had been removed from his daytime show after apologising for making what he claimed to be an "inappropriate and unacceptable" comment during the Strictly Come Dancing live tour launch. This is a breaking showbiz news story. Join The Mirror 's WhatsApp Community or follow us on Google News , Flipboard , Apple News, TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads - or visit The Mirror homepage.