Ironbridge – The Birthplace of Industry

©Ironbridge Gorge Museum Trust. Iron Works at Coalbrookdale by Philip James De Loutherbourg (1740-1812) from an engraving by William Pickett. De Loutherbourg was a theatrical designer who worked for playwrights such as R.B. Sheridan (1751-1816) and David Garrick (1717-1779). His painting, Coalbrookdale by Night (1801), depicting the raging Bedlam Furnaces in Madeley Dale, Shropshire, a little further downstream from Ironbridge, recreates the iconic scene of fire and brimstone that we now  associate with the birth of the Industrial Revolution in Great Britain. De Loutherbourg’s paintings of industrial Shropshire influenced the creative team behind the Opening Ceremony of the London 2012 Olympics.

Ironbridge and The London 2012 Olympics

One of the most memorable moments from the Opening Ceremony of London 2012 Olympics was the Industrial Revolution sequence directed by Danny Boyle. Boyle drew inspiration from Pandaemonium 1660-1886: The Coming of the Machine as Seen by Contemporary Observers  by documentary film-maker and a founder of the Mass Observation Archive Humphrey Jennings (1907-1950). Boyle declared that: ‘Pandaemonium was biggest inspiration for the Olympics Opening Ceremony…the book is the equivalent of Pepys giving you a guided tour of the birth of electricity and mechanical age – it’s brilliant, exciting and essential.’

A new edition of Pandaemonium was published in 2012 to satisfy a renewed public interest in the Industrial Revolution. The following extracts are from the Foreword to this edition which is written by Frank Cottrell Boyce. Coincidentally, Boyce also wrote the Opening Ceremony for London 2012, naming the first section ”Pandemonium” in honour of Jennings’s influential publication:

As Danny Boyle put it, we are children of the machine age, locked inside this terrifying beast, increasingly innocent of how it makes things for us. (p. viii)

The leaves soak-up the energy. The trees fall and turn to coal. Coal is solid sunlight, the stored memory of millions of uninhabited summers. Then one day, in Coalbrookdale, someone opens a hole in the ground and all that stored energy comes pouring out and is consumed in furnaces, engines, motors. Somehow all these thoughts are communicated to Thomas Heatherwick who creates his beautiful Olympic Cauldron, in which 204 tongues of fire rise out of the ground and join together to make one flame. It’s an image that moved billions of people across the world. (p. ix-x)

I was moved by Boyce and Boyle’s brilliant recreation of man-v-industry. The creative duo brought the Coalbrookdale landscape back to life once more, populating it with furnaces, engines and motors, transporting audiences back to the birth of the Industrial Revolution.

Ironbridge Gorge – UNESCO World Heritage Site

Coalbrookdale is a village in the Ironbridge Gorge, Shropshire, a region designated in 1986 as one of the first World Heritage Sites in the United Kingdom in recognition of Ironbridge’s role as the Birthplace of Industry. In 2012, Ironbridge Gorge was voted the most highly recommended UNESCO World Heritage Site in the UK according to the TripAdvisor® traveller community, taking second place in the world behind the Historic Ensemble of the Potala Palace, Lhasa, China and ahead of the Egyptian Pyramids and India’s Taj Mahal. Earlier this year I spent a number of fascinating days in this beautiful part of Shropshire exploring the buildings, monuments and collections across the Ironbridge site. It is not difficult to see why Ironbridge is truly worthy of its status as a national heritage treasure.

The Ironbridge site includes thirty-six scheduled monuments and listed buildings cared for by The Ironbridge Gorge Museum Trust and spread over a six square kilometre site. The Trust also operates ten museums which collectively tell the story of the birthplace of the Industrial Revolution. These museums are: Blists Hill Victorian Town; Enginuity; Coalport China Museum; Jackfield Tile Museum; Coalbrookdale Museum of Iron; Museum of The Gorge; Darby Houses; Tar Tunnel; The Ironbridge and Tollhouse and Broseley Pipeworks.

Ironbridge became an independent charity in 1967 (Ref No. 503717 – R) and is 100% independently funded, it receives no government financial support. Ironbridge is regarded as one of the world’s foremost independent museums. There are currently two hundred paid staff and four hundred volunteers who work on-site. Ironbridge leads the way for volunteer development in the museum sector. Over half a million visitors come to Ironbridge every year including seventy thousand school children. It is not difficult to see why Ironbridge is truly worthy of its status as a national heritage treasure.

The Mission of the Ironbridge Gorge Museum Trust is: ‘To excel in researching, preserving and interpreting, for the widest audience, the Monuments, Collections and Social History of the early industry in the Ironbridge Gorge: to enrich the visitors’ experience with live demonstrations, hands-on activities and innovative educational programmes.’ (Strategic Plan 2010-14, Ironbridge Gorge Museum Trust Limited, p.3)

Their Vision is: ‘To make the Industrial Age and Ironbridge’s role in it, as well understood in terms of world significance as the Egyptian and Roman epochs. To constantly expand the number of people who are able to share in the timeless significance of Ironbridge and Coalbrookdale. To ensure that every visitor to Ironbridge takes away something of value – material, intellectual or spiritual.’ (Strategic Plan 2010-14, Ironbridge Gorge Museum Trust Limited, p.3)

Ironbridge has also had a thirty-one year partnership with the University of Birmingham and the Ironbridge Institute is one of the leading providers of postgraduate heritage qualifications in the UK.

©The Valley Hotel. The Valley Hotel, Ironbridge, Shropshire.

The countryside surrounding the Gorge at Ironbridge is stunning, Shropshire is a beautiful county. When I visited in late Winter the weather was terrible but the views were still stunning. We stayed at The Valley Hotel ,which is very close to Ironbridge, an excellent place to stay. The staff are extremely friendly, as well as well as being knowledgeable about the area. They take great pride in the region’s history as I was to discover upon my arrival. I had asked whether there was a booklet available about the history of the Hotel to aid me in my research? Imagine my surprise when I checked-in and was given a seventy-two page, fully illustrated mini-thesis about the building’s history that had been painstakingly prepared by the current owners. I will reveal no more at this stage about the Hotel’s history, suffice to say that it warrants its own feature article, which will follow shortly.

Early History of The Gorge

The Severn Gorge in Shropshire was created after the last ice age, 15,000 years ago, when a huge lake overflowed east of the Welsh mountains and carved a deep chasm through layers of coal, iron-ore, clay and limestone. This spectacular gorge, rich in raw materials, with its river leading to the Bristol Channel, had all the resources necessary to become an important industrial area.

Coal and limestone were exploited from the Middle Ages and iron was made here from the time of Henry VIII. In 1709, a Quaker ironmaster, Abraham Darby I, led the way to cheap and plentiful iron production using coke as fuel, instead of charcoal. Coalbrookdale – the name by which the whole area was then known – became one of the most important industrialised areas in the world during the eighteenth century. Indeed, it was said that the Severn was the second busiest river in Europe.

(The Iron Bridge and Town, 2010, p. 2, Ironbridge Gorge Museum Trust)

Dr Matt Thompson, Senior Curator at Ironbridge Gorge Museum Trust, told me: ‘Ironbridge’s landscape is complex and dynamic. The Gorge is a great ‘rock sandwich’ made-up of layers of limestone, coal and iron-ore and has been mined extensively since 1604. Former mining activity has created a ‘Swiss cheese’ effect in the geology.  There are many underground tunnels. In Shropshire you can find ten of the twelve or thirteen major geological periods represented. The Shropshire Clee Hills are one of only a few hills that appear on the Hereford Mappa Mundi (c.1285).’

Ironbridge and The Industrial Revolution

Until the latter part of the eighteenth century, the most important industry in the Gorge was coal-mining – the first step on the road to the birth of the Industrial Revolution in the region. Other coal-using industries utlising the area’s rich natural resources were: lead smelting; tar boiling; pottery making and brass manufacturing. The Tar Tunnel at Ironbridge is open to the public and well-worth a visit. In 1787, miners digging in the area struck a spring of natural bitumen (treacle-like black liquid) which has seeped out of the walls and formed into puddles for over two hundred years. It was money from coal that funded the first ironworks in the area. Although now a haven of tranquillity, in the eighteenth and nineteenth centuries, the area resembled Dante’s Inferno, a scene which artist Philip James De Loutherbourg (1740-1812) captured so brilliantly in his iconic painting Coalbrookdale by Night (1801).

©Come Step Back in Time. The Upper Works, site of the Old Furnace, Coalbrookdale (Ironbridge site). In 1753, the Upper Works consisted of an office, blacksmith’s shop, bridge house, three boring mills, a furnace, a loam house, air furnace, moulding house and tenement. The railway viaduct was constructed 1862-64.

©Come Step Back in Time. The Upper Works, site of the Old Furnace, Coalbrookdale. Marks from the water wheel can still be seen in the stonework. The water wheel was last used in the 1920s to drive grinding wheels. These were used to clean-up or fettle castings and ensure a precision fit for the increasingly complex machinery that was being made here. By 1778, Coalbrookdale had cast more than one hundred steam cylinders.

©Ironbridge Gorge Museum Trust. Diagram of the old Furnace, Coalbrookdale. The Furnace went out of use in 1818 but the foundry buildings around it remained in use and even expanded to enclose the remains of the furnace.

©Come Step Back in Time. The Tapping Arch, Upper Works, Coalbrookdale. The dates on the cast iron beam refer to Abraham Darby III’s enlargement of the furnace in 1777, probably to increase capacity for the construction of the world’s first Iron Bridge in the Gorge.

Between 1755 and 1780 the iron industry was booming in the region and five new groups of furnaces were set up:

The three surviving groups of iron furnaces mark these different phases in the local iron industry – the earliest, the Darby Furnace at Coalbrookdale represents the change from charcoal to coke as a smelting fuel and was also where the iron for the Iron Bridge was produced seventy years later. Bedlam Furnaces (begun 1756-7) were the first of the great new Industrial Revolution furnaces, experimenting with new forms of power, while the Blists Hill Furnaces, begun in c.1832 and closed in 1912, signal the move away from water as a source of power, and eventually the end of smelting in the Gorge.

(Ironbridge Gorge by Catherine Clark, 1993, p.36, published by B. T. Batsford Ltd)

©Come Step Back in Time. Remains of Madeley Wood Company Blast Furnaces, Blists Hill, Ironbridge. Base of the first furnace, 1832; base of second and south engine house, 1840; base of third, 1844; north engine house c. 1873. The furnaces were blown out in 1912.

©Come Step Back in Time. Madeley Wood Company Blast Furnaces, Blists Hill.

The Darby Family and The Coalbrookdale Company

The Coalbrookdale Company was formed in 1709 by Abraham Darby I (1678-1717), an iron-master who had moved to the region from Bristol in the previous year. His original intention was to lease an ironworks with a view to setting-up a brass foundry – he had been experimenting with making brass pots since 1707 which led to his patent for casting iron bellied pots in dry sand. He leased the Furnace at Coalbrookdale in 1709 from landowner Basil Brooke of Madeley and his wife Elizabeth, beginning blasting in January of the same year. Initially, Darby melted iron using coke as fuel rather than charcoal. The locally mined coal included varieties that were low in sulphur which were more suited to this new process. In his first few years at Coalbrookdale, Darby also experimented with a mixture of coke, charcoal and peat as alternative fuels for his Furnace. Finally, in 1715, he settled on one type of local coal which was the most successful in producing coke to smelt into iron-ore.

©Ironbridge Gorge Museum Trust. An extract from Abraham Darby I’s original 1707 patent for casting iron bellied pots in dry sand.

The Darby family were Quakers but did not force their religious beliefs on the workers at Coalbrookdale. The Darbys were known to be good employers as well as savvy business people and their workers rarely went on strike. Education, for both boys and girls, was also important to Quakers - a forward thinking approach for the time:

..adhering strictly to the ideals of self-discipline, frugality and simple faith, attitudes which extended into the conduct of their business. As members of the Society of Friends, Quakers formed a close-knit group, distinct in their way of dress and habits, and tending to socialize as a group. Many of the visitors who came to Coalbrookdale were Quaker associates, and the large houses at Coalbrookdale became a focus for this society.

The houses were built close to the works, but looked out over a more pleasant view of trees, pleasure gardens and a pool with a small decorative iron bridge.  For most of their history the houses were occupied for relatively short periods by family members or by works managers; often, as in the case of Abraham Darby III, while they built or altered finer houses elsewhere in rural settings.

Carpenters Row is an example of company housing: built c.1783, it is a terrace of eight cottages, each with a downstairs parlour with a range, a tiny pantry and a bedroom above….Carpenters Row would have provided a relatively good class of accommodation.

(Ironbridge Gorge by Catherine Clark, 1993, pp.40-41, published by B. T. Batsford Ltd)

©Ironbridge Gorge Museum Trust. Coalbrookdale Company employees at the Upper Works c. 1901.

©Ironbridge Gorge Museum Trust. Dale House, the Darby family country seat which overlooked the ironworks. Construction of the house was begun by Darby I in 1715. Dale House is part of the Ironbridge site and open to the public.

Darby I’s son, Abraham Darby II (1711-1763), took over the running of The Coalbrookdale Company from his father in 1728. His contribution to the Company’s history is significant. He invented a method of making pig iron using coke which could then be converted into wrought iron: ‘The molten iron from a blast furnace could be poured direct into sand moulds to produce cast iron goods or cast ingots called “pig iron”. The pig iron was then either melted and cast in a foundry or purified to produce wrought iron that could be shaped by hammering and rolling in a forge.’ (Extract from text panel at the site of the Old Furnaces, Upper Works, Coalbrookdale, Ironbridge Gorge Museum Trust).

Darby II built houses for the workers, three schools and a Friends Meeting House in the Dale. Abraham Darby III (1750-1789) began working at the Company in 1768 alongside his brother Samuel. The two brothers were now running Britain’s largest ironworks and it was Darby III who project-managed the construction of the world-famous Iron Bridge (1779). Darby III won a Gold Medal from the Society of Arts for his casting work on the Bridge.

Abraham Darby IV (1804-1878). He began work at Coalbrookdale in the late 1820s with his brother Alfred Darby I. Darby IV began to move away from Quakerism. The last Darby,  Alfred Darby II, retired as Chairman of the Company in 1925, marking the end of the Darby connection to Coalbrookdale after more than seven generations.

©Ironbridge Gorge Museum Trust. Coalbrookdale Company  statues exhibit at the Kensington Olympia Exhibition, 1889. The Victorians couldn’t get enough of cast iron products. They were everywhere.

©Come Step Back in Time. The Boy and Swan Fountain cast by the Coalbrookdale Company in 1851 for the Great Exhibition. The remains of the Old Furnaces at Upper Works can just be seen in the background.

©Ironbridge Gorge Museum Trust. The Coalbrookdale Museum of Iron. The Museum contains a vast display of domestic and decorative ironworks.

©Ironbridge Gorge Museum Trust. A close-up of the Deerhound Table on display at the Museum of Iron, one of the Ironbridge Gorge museums in Coalbrookdale.

©Ironbridge Gorge Museum Trust.

The Iron Bridge

One of the most enduring images of the Gorge is The Iron Bridge designed by Thomas Farnolls Pritchard (c.1723-1777), an industrialist who owned iron furnaces in Shropshire, Denbighshire and Staffordshire. He was, by all accounts, a bit of scamp who was often the subject of scandal, particularly in relation to his private life. Unfortunately, Pritchard died two years before the Bridge was completed.

©Ironbridge Gorge Museum Trust. Thomas Farnolls Pritchard.

©Ironbridge Gorge Museum Trust. The Iron Bridge by William Williams (1780). The painting was commissioned by Darby for ten guineas (£10.50). The painting was thought to be lost for over one hundred and fifty years until it appeared in 1992 when the Museum purchased it. It now hangs in the Coalbrookdale Museum of Iron.

©Come Step Back in Time.

Why was the Bridge built?:

No doubt the building of the Bridge was partly a public relations exercise, advertising the versatility of cast-iron and the skills of Abraham Darby III and his Coalbrookdale company. The site chosen is also the most dramatic point of the Gorge…The Bridge was promoted by the eighteenth-century equivalent of a media campaign.  The paintings Darby commissioned to advertise it show nothing of the pollution of the Gorge, famous for having more furnaces and forges within 2 miles of riverbank than anywhere else in the world!

Thomas Jefferson, later third President of the USA, is known to have brought Iron Bridge engravings through a friend in London, whilst Minister to France in 1786.

(The Iron Bridge and Town, 2010, p. 4, IGMT)

The Bridge was a serious drain on Darby’s finances and he remained in debt for the rest of his life, with many of his company’s assets mortgaged to other Quaker friends.

The Completed Bridge opened for business, charging its first tolls on New Year’s Day 1781. The rates of toll are those which were first set out in the Act of Parliament authorising the Bridge…One guinea (£1.05) brought an annual pass for pedestrians.

(The Iron Bridge and Town, 2010, p. 13, IGMT)

The Bridge is made from three hundred and eighty-four tonnes of iron which took one furnace over three months to produce. Ironwork began to go up over the Gorge in May 1779, the first iron rib being raised on 1/2nd July. The Bridge spans 30.63 metres and cost approximately £6,000. The Bridge was closed to vehicles in 1934 but still remains open to foot passengers. The Iron Bridge is one of the great symbols of the Industrial Revolution.

• For more information about planning a visit to Ironbridge, CLICK HERE;
• For more information about forthcoming events and exhibitions at Ironbridge, CLICK HERE.
  

  ©Ironbridge Gorge Museum Trust. View of the Iron Bridge over the River Severn.

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Mr Watt, Grumpy Man of Metal Exhibition by Jon Mills at Enginuity, Ironbridge, Shropshire

 

©Jon Mills. Mr Watt, Grumpy Man of Metal, Exhibition by artist Jon Mills at Enginuity, Ironbridge, Shropshire.

Mr Watt, Grumpy Man of Metal, is an exhibition by blacksmith artist Jon Mills, currently running until 31st August 2013 at Enginuity Design & Technology Centre, one of the ten Ironbridge Gorge Museums in Shropshire. The exhibition features fun and whimsical sculptures showing the many adventures of Mr Watt, Grumpy Man of Metal, the central character in a series of illustrated books that appeal to both young and old alike. Jon has written a short article on his blog about the exhibition which includes some nice images of the metalworks in situ.

©Jon Mills

 

©Jon Mills

Mr Watt lives in a curious metal world and makes many unusual metal objects, such as a crab’s bicycle, a flying machine and a new kind of trumpet. Other sculptures on display include the runaway train from the book On the Wrong Track; the parson and his church from Under Wear and Tear; the witch from A Brush with Evil and the astro-barrow from Space… the Final Front Door. The artist has created a short video (2011) showing Mr Watt being made at his Brighton-based workshop. Filming and soundtrack by Arthur Mills.

©Jon Mills

Gillian Crumpton, Curatorial Officer at the Museum commented: “Jon’s work is technically outstanding and visually fascinating. We are sure that visitors will love looking at the many sculptures and following Mr Watt’s adventures.” To view sample pages form the book of Mr Watt’s adventures, CLICK HERE. I found this exhibition to be a complete delight when I visited it last month. The quality of craftmanship in Jon’s work is exquisite and a closer inspection is highly recommended. The metal vignettes do have an air of quirkiness about them and reminded me of some of the creations by film-maker Tim Burton.

©Jon Mills

©Jon Mills

Mr Watt, Grumpy Man of Metal’s creator, Jon Mills, was born in Birmingham in 1959 into a family of metalworkers and studied 3-Dimensional Design BA (Hons) at Wolverhampton before helping to found Brighton’s Red Herring Studios in 1983. In the mid 1980s he honed his skills at brazing, forging, laser-cutting and welding and exhibited work at One Off, Ron Arad’s London workshop and gallery.

In 1988, Jon created a music machine for a Terry Jones/Monty Python film, Erik the Viking (1989). You can view the original music machine sketch on the artist’s blog, CLICK HERE as well as the finished item, CLICK HERE.

In recent years, Jon has been involved in major architectural commissions, inventing exciting structures that engage with their surroundings whether in cities or in the countryside. His output is extraordinarily diverse and charmingly subversive. He makes dangerous toys and automata, dysfunctional furniture and an amazing range of sculpture with themes that are witty, whimsical, and sometimes darkly Gothic. Jon’s vast body of work has been shown extensively in Great Britain as well as in the USA, Europe and Japan.

Mills is very much a hands-on maker, preferring to produce one-off designs. Occasionally clients have ordered repeats on a similar theme, but Mills has tended to resist mass or batch production, opting instead for a more spontaneous approach – the evolving of ideas through the making process, be it cupboard or bridge. He has undertaken numerous residencies in schools, normally in conjunction with a specific commission, often incorporating elements of the children’s work into the finished piece.

(Quote taken from Artist’s own website, CLICK HERE)

Enginuity  is the perfect setting for Jon’s work to be exhibited. It is a fabulous and fun environment that brings together history and technology. Different zones – Energy, Green and Design – encourage visitors to interact with exhibits which enhances their understanding of the science, technology, engineering and mathematics behind objects, past and present. This ‘hands-on’ approach works extremely well and creates a vibrant, educational space that has a cross-generational appeal.

Create ‘Sticky Critters’ at Enginuity – Easter Holidays, 29th March-14th April 2013

In my view, the educational facilities at Enginuity are quite some of the best I have seen offered by any Museum. They include a vast warehouse style area with plenty of space for you and your family to get creative. When I visited last month, the workshop area was full of objects, old and new, to help inspire your artistic endeavours.

During the Easter school holidays this year, Enginuity are hosting a great fun family event. Use your imagination to design and create fun ‘sticky critters’ from craft materials inspired by the suction capabilities of an octopus, then discover how long they can cling to an upright glass surface. Paper, card, plastic and other materials will be used to make the designs based on frogs, geckos and octopus or any other creature of your own invention. The drop-in Nature’s Engineers family workshops will be held from Friday 29th March until Sunday 14th April, between 10.30am and 3.45pm.  Activities will vary from day-to-day and some additional costs will apply.

Museums at Night (Thursday 16 – Saturday 18 May 2013) – Julian Wild’s sculptures

Recently, The Ironbridge Gorge Museum Trust, Shropshire beat-off stiff competition in the national Connect10 Competition, to secure international artist Julian Wild to work with the Ironbridge Gorge Museums during the Museums at Night event in May. The Connect10 Competition is supported using public funding by the National Lottery through Arts Council England.

Museums at Night (Thursday 16 – Saturday 18 May 2013) is a national initiative by Culture 24 that encourages museums to remain open after hours for one night a year, allowing as many people as possible to visit their local museums. Across the country the public have been voting to send ten different artists to ten varied museums to work on a variety of inspirational projects.

Anna Brennand, Deputy Chief Executive Ironbridge Gorge Museum Trust commented; “We are really grateful to everyone that voted for us in this competition, it is wonderful to know that in their busy lives our supporters found the time to vote for us. We are thrilled to be welcoming an artist of Julian Wild’s calibre to Enginuity in May and hope that everyone will come along to help him make an amazing sculpture from glow-in-the-dark pipes during the Museum at Night event”. The Museum will publish full details of the event in the coming weeks on www.ironbridge.org.uk.

Julian Wild’s sculptures are often based on the history of a site and resemble three-dimensional doodles. His vision for the sculpture at Enginuity is that members of the local community will help him create a giant work of art, inspired by structures in the Gorge, from pipes.

Ironbridge – 2012 Most Highly Recommended UNESCO World Heritage Site in the UK According to  TripAdvisor®

On Come Step Back in Time, over the coming weeks, I am delighted to be able to share with you a series of fascinating feature articles that I have written about The Ironbridge World Heritage Site, its museums and world-class collections. Ironbridge Gorge has been voted the 2012 most highly recommended UNESCO World Heritage Site in the UK according to the TripAdvisor® traveller community. It also takes second place in the world behind the Historic Ensemble of the Potala Palace, Lhasa, China and ahead of the Egyptian Pyramids and India’s Taj Mahal. It was not hard to see why Ironbridge had received this accolade. When I visited last month I found it to be truly worthy of its status as a national heritage treasure.

• Enginuity is open 10am to 5pm and is one of the ten Ironbridge Gorge Museums;
• A great value Annual Passport Ticket  allowing entry into all ten museums, valid for twelve months and unlimited return visits, costs £23.25 per adult, £18.75 for the 60 plus, £15.25 for students and children and £64 for a family of two adults and all their children aged up to 18 years in full-time education (terms and conditions apply); under 5s free;
• Individual museum entry tickets are also available;
• Activities and workshops vary day-to-day and some carry an extra charge in addition to the museum admission fee.
  

  ©Jon Mills

 

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Heath Robinson Exhibition – St. Barbe Museum & Art Gallery

‘The Fairy’s Birthday’. Pen, ink and watercolour by Heath Robinson published in Holly Leaves, December, 1925, p.21. Heath Robinson’s goblins appeared in the Christmas Numbers of a variety of magazines between 1919-1929. They are distinguished by their homely and somewhat bumbling appearance. They may be short-sighted, overweight and suffer from pains in their joints or shortness of breath. They may have a rustic quality and may well have been based on the characters that Heath met in and around Cranleigh. © William Heath Robinson Trust. St. Barbe Museum & Art Gallery.

I was delighted to be asked to review an exhibition showcasing a collection of precise ink drawings and delicate watercolours by William Heath Robinson (1872 – 1944) which is currently on at St Barbe Museum & Art Gallery, Lymington, Hampshire until Saturday 20^th April, 2013. The Heath Robinson exhibition is supported by Rathbones investment management services. This exhibition, from the William Heath Robinson Trust, showcases illustrations he produced for works by William Shakespeare, Hans Christian Anderson and Rudyard Kipling (1865-1936) as well as for his own books. There will also, of course, be a number of his much-loved designs for eccentric contraptions and humorous drawings.

Heath Robinson has become a byword for the eccentric and rickety inventions which he created. In the 1930s, he was known as the ‘Gadget King’, a remarkable title given that in real life Heath was not very practically minded. He had only ever been abroad once, towards the end of the First World War, when he illustrated scenes from the western front. At the beginning of his career he was ranked with Arthur Rackham (1867-1939) and Edmund Dulac (1882-1953) as one of Britain’s foremost illustrators.

Heath counted among his friends, authors H.G. Wells (1866-1946) and Rudyard Kipling (1865-1936), Heath illustrated Kipling’s A Song of The English (1909, published by Hodder & Stoughton), which celebrated Edwardian pride in the Empire. Heath visited Kipling in Sussex to discuss the book. Illustrations from the publication feature in the exhibition.

Heath was born on 31st May 1872 at 25 Ennis Road, Stroud Green, London. His father Thomas Robinson (1838-1902) chief illustrator of Penny Illustrated Paper and his mother, Eliza Heath (1849-1921), an innkeeper’s daughter. The Robinsons had seven children, Heath was their third child. Heath’s elder brothers Thomas (1869-1953) and Charles (1870-1937) also became well-known book illustrators.

Heath attended Miss Mole’s dame-school, Holloway College from 1880 to 1884 and Islington proprietary school from 1884 to 1887. He did not thrive in education, a fact which his father recognised removing him, aged fifteen, from the proprietary school and sending him instead to Islington Art School, where he remained for five years. He won a studentship to the Royal Academy Schools, graduating in January 1897, aged twenty-five. Whilst at the RA, Heath had become an accomplished landscape painter but subsequently struggled to make a living selling his artworks. Heath’s passion for painting remained with him for the rest of his life, in his spare time he continued to produce landscapes, experimenting with effects of light and colour, as well as figure studies in watercolour.

In order to further his artistic career he decided to join his brothers who were already working as illustrators. Although being an illustrator was a respectable profession, it could be notoriously difficult to make a living from. However, Heath had real talent for humorous art which made him much in demand, especially in the world of advertising. He also took the occasional commission for book and magazine illustrations (The Sketch, The Bystander and The Tatler).

Some of Heath’s earliest book illustrations were published in 1897 and by 1900 he had illustrated editions of The Arabian Nights’ Entertainments, Fairy Tales From Hans Christian Anderson (1899, published by J. M. Dent) and The Poems of Edgar Allan Poe (1900, these illustrations were influenced by the drawings of Aubrey Beardsley (1872-1898)). Copies of the Poe publication are extremely rare, a limited edition of only seventy-five copies were produced, printed on Japanese vellum. He illustrated Anderson’s Fairy Tales with his brothers, Thomas and Charles.

‘The Aeronaut’ by Heath Robinson © William Heath Robinson Trust. St. Barbe Museum & Art Gallery.

Heath’s fortunes improved when he illustrated his own fantasy for children The Adventures of Uncle Lubin (1902, published by Grant Richards). He wrote about this publication in his biography, My Line of Life (1938, published by Blackie & Son): ‘The story is episodic in form, telling the tale of Uncle Lubin, a little old man in a tall hat and long coat, as he attempts to retrieve his nephew, Baby Peter, from the clutches of the wicked bag-bird.’

This book was particularly important, although not a best seller, it did earn Heath enough money to enable him to marry Josephine Constance Latey (1878-1974), the daughter of newspaper editor John Latey, on 30th April, 1903, they set-up home in Holloway Road. As luck would have it, a Canadian by name of Chase Ed. Potter had read Lubin and commissioned Heath to illustrate some advertisements he was writing for Lamson Paragon Supply Company. Heath was paid, in cash, for each drawing.

In 1903, Heath embarked upon his most ambitious project to-date, The Works of Mr Francis Rabelais, commissioned by Grant Richards. The book contained two hundred and fifty-four illustrations, a hundred of which were full-page illustrations, the rest smaller ones. The book was published in 1904 in two large quarto volumes to critical acclaim. Unfortunately, Grant Richards went bankrupt in November 1904 leaving Heath short of the monies that he had hoped to earn.

Heath moved to Pinner, Middlesex, in 1908 and lived there with his family until 1918, residing at Moy Lodge from 1910. Following his move to Pinner and until 1914, Heath continued to produce book illustrations as well as cartoons for The Sketch and The Strand Magazine, amongst other periodicals. He moved to Cranleigh in Surrey in 1918 remaining there until 1929, when he relocated to Highgate, London. In Highgate, he first lived in Shepherd’s Hill and later 25 Southwood Avenue, close to where he had spent a majority of his childhood.

‘Rough sketch for doubling Gloucester cheese’ by Heath Robinson.
© William Heath Robinson Trust. St. Barbe Museum & Art Gallery.

One of Heath’s finest achievements as an illustrator were forty-one pen and ink drawings for A Midsummer Night’s Dream (1914, published by Constable & Co). A contemporary review, in The Times Literary Supplement, described the publication as: ‘The most complete and beautiful specimen before us of an illustrated book as a single work of art…’. A copy of the publication is on display in the exhibition. There is an inscription in the front of this book, which is on display in the exhibition, from Heath to his mother: ‘To my good mother with very best wishes from her affectionate son, will.’

In 1915, Heath produced illustrations for The Water Babies by Charles Kingsley (1819-1875) (published by Constable & Co). The edition was originally planned as a lavish gift book but due to the economic climate at the end of World War One, it was published as a modest octavo volume. The illustrations are some of Heath’s finest and show a clear influence of Japanese prints. The Japanese style influenced an entire generation of illustrators.

At the end of World War One, despite the market for lavishly illustrated gift books having all but disappeared, Heath’s talents were still in demand. He obtained a number of commissions for illustrations to appear in advertisements and magazines. Between 1903 and 1942, he produced about a hundred advertising drawings for a wide range of products including Mackintosh Toffees, biscuits, asbestos cement roofs, whiskey and paper. He had a particular talent for parodying the processes by which the various products were made as well as contrasting some of the more desirable qualities of these products. The drawings often took the form of ‘before and after’, i.e. unhappy scenes where the product was absent and happy scenes where the product’s inclusion made everything appear better. A campaign of particular note was for Hovis bread.

‘German breaches of the Hague Convention – Huns using siphons of laughing gas to overcome our troops before an attack in close formation.’ Pen, ink, watercolour and bodycolour. Published in The Sketch, August 1915. © William Heath Robinson Trust. St. Barbe Museum & Art Gallery.

Between 1920 and 1936, Heath produced over two hundred drawings for Connolly Bros. (Curriers) Ltd, a majority of which are still in the company’s possession. These collection of drawings were published by the firm as Heath Robinson on Leather, to commemorate the company’s 50th anniversary, in 1928, and were reissued to mark the company’s centenary in 1978. The exhibition includes examples of Heath’s illustrations for both Hovis and the Connolly Bros. (Curriers) Ltd. A particularly delightful illustration for the latter is ‘William the Conqueror appreciates the comfort of leather when crossing the Channel’, pen and ink, 1933.

In January 1921, Heath was commissioned by Jonathan Cape to produce colour illustrations for a complete works of Shakespeare. He completed the drawings in June 1922.  Unfortunately, only a handful of these colour illustrations still exist, several rare examples of which are in the exhibition. Jonathan Cape could not find an American partner to share the cost of publication and because of the continuing decline in the market for illustrated books, the edition was never published.

In 1927, Heath produced sixteen designs in full colour, based on popular nursery rhymes, which featured on a range of nursery china for Soane & Smith, Knightsbridge. The china was produced by W. R. Midwinter of Burslem, Staffordshire. Examples from this range can been seen in the exhibition. The attention to detail in the frieze of children’s faces is exquisite. This frieze appeared on the inside rim of cups, bowls and around the outside edge of plates and porringers.

Other characters featured included: goblins; Jack Spratt and his wife; Tom, Tom the Piper’s son and the old woman who lived in a shoe. The range was extensive and ran to cereal bowls, saucers, jam pots, sugar bowls, mugs, egg cups and even a tureen.  The service was so popular that it was later sold through a variety of outlets, although the later designs were simplified with the frieze of children’s faces replaced by a simple band of dark blue or pale green.

One of my favourite drawings in the exhibition is a pen, ink and watercolour sketch produced by Heath in 1930 for the luxury trans-Atlantic liner, RMS Empress of Britain (1931) operated by Canadian Pacific Steamship Company which was built in Scotland. The sketch is divided into two parts, the top features a suggested design for ‘The ‘Knickerbocker’ Cocktail Bar’ and the bottom half of the sketch is a design for ‘The Children’s Room’. A closer look at the drawing for the Cocktail Bar reveals some of Heath’s humorous touches. This illustration draws its inspiration from experiences of drinking a cocktail, which according to Heath make you affectionate, give you courage, nerve and produce human kindness. There is also a Cocktail Bird, A Pleasant Surprise and Cocktail shaking in the East.

The Empress of Britain operated from 1931 until 1939 as a steam passenger liner designed to carry 1,195 passengers (465 first class, 260 second class and 470 third class). During the summer months it sailed along the England-Canada route. In 1939, it was requisitioned for war work and became a troop carrier. It was torpedoed on 28th October, 1940 by a German U-boat (U-32) on the northwest of Bloody Foreland, County Donegal, Ireland. Mystery still surrounds the cargo it was supposed to be carrying at the time. It was thought to have been a shipment of gold, bound for North America, a fact that has never been proved.

Another intriguing pen and ink drawing, which I last saw whilst an art history undergraduate, is from How To Live In A Flat (1936), by W. H. Robinson and K.R.G. Browne, published by Hutchison & Co. ’The One-Piece Chromium Steel Dining Suite’ makes a striking social statement about the popularity of flat-dwelling in the interwar years and contains humorous touches by Heath. In the following extract from the publication, explanation is given for another of Heath’s illustrations: ‘A vote of thanks, therefore, is due to Mr Heath Robinson for demonstrating that a certain amount of quiet fun can be extracted even from the last word in geometrical carpetry. Carpet draughts, they tell me, is just the thing for the long winter evenings, and as it can be played sitting-down – will keep the old folks happy and amused while the young people are out at the movies.’ (Robinson & Browne, 1936, p.42).

In 1944, Heath underwent exploratory surgery, following which he returned home to Southwood Avenue, Highgate, where he died of a stroke on 13th September, later on in the same year. He is buried at St. Marylebone cemetery, East Finchley. This quality exhibition is a delight for both children and adults, it is guaranteed to make you smile and raise a chuckle.

Tickets to the Heath Robinson exhibition and St. Barbe Museum, which is open between 10am and 4pm, Monday to Saturday, cost £4 for adults, £3 for senior citizens and students, £2 for children aged five to 15, and £10 for a family of two adults and up to four children; under fives are admitted free of charge. For more details visit www.stbarbe-museum.org.uk or telephone 01590 676969.

• Thursday 11th April, 2013, 10.30am-3.30pm there is a Heath Robinson themed Family Explorer Day at St. Barbe Museum. The Museum’s Explorer Days are engaging and fun hands-on creative activities for children and their family, including the opportunity to handle museum objects. Price is included in admission. Day ticket: Adult £4, Concession £3, Child £2, Family £10. For further information, CLICK HERE.
  

  Arts & Crafts selling Exhibition featuring work by regional artists, currently on at The Old School Gallery, St. Barbe Museum, Lymington until 13th April, 2013.

Arts & Crafts Exhibition – 9th March until 13th April, 2013

The Old School Gallery – St. Barbe Museum

An added bonus when you visit the Heath Robinson exhibition, is the Arts and Crafts Exhibition currently on at The Old School Gallery, located in the same building as the Museum. This is the Museum’s first selling exhibition, showcasing arts and crafts by regional artists:  Carol-Anne Savage (contemporary jewellery); Victoria Garland Prints (Prints); Mrs Ollie Chappell (Raku Ceramics); Sue Baker (papier mâché fish); Paul Reeves (beautifully turned wooden objects made from wood found in and around the New Forest or from dead or fallen trees) and Michael Turner (stainless steel sculpture). The range of items for sale is excellent and of an exceptionally high standard.

Sue Baker’s papier mâché fish looked striking hung on the white-washed walls of The Old School Gallery. Her inspiration for the fish comes from when she lived in Cornwall: ‘I’ve always enjoyed messing about with paints and drawing, and enjoy the point where craft and art overlap. I fell into the papier mâché interest over twenty years ago. Having tried a few experiments following ideas in a book. I decided I preferred to do my own thing. The fish theme developed from there. Living in Cornwall, where I was born (I moved to Dorset ten years ago), the fish were an obvious choice I suppose. I started making imaginative fish; but the demand for realistic fish grew, so I seem to make them exclusively now.’

Sculptor Michael Turner’s steel lion looking majestic in the entrance of St. Barbe Museum, Lymington. The lion is for sale. Price on application.

A stainless steel lion by Lymington based sculptor Michael Turner, which is positioned in the Museum’s entrance, proved to be a big hit with both adults and children on the Saturday I visited. If you have travelled through Heathrow Airport’s Terminal 5 in recent years, you may well have seen Michael’s lion on display there. The lion is for sale, price on application.

Michael describes his work thus: ‘I have been a sculptor for over fifteen years now. I enjoy using recycled stainless steel. In our throw away society, it’s great for me to be able to take discarded material and turn it into something beautiful, and every project takes on a new challenge. My inspiration mainly comes from nature in all its forms. I am especially fascinated by insects which I never tire of reproducing, experimenting constantly with different types of finishes on the basic stainless steel. I use polishing, paint and heat effects to produce a unique piece every time. My work is exhibited in selected galleries and recently featured in Harvey Nichols’ London and Edinburgh stores, as well as the Royal West of England Academy.’

• The Arts & Crafts Exhibition continues at St. Barbe Museum, until 13th April, 2013.

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Gilbert White – The Parson Naturalist of Selborne, Hampshire

View of the gardens and back of The Wakes, Gilbert White’s House, Selborne, Hampshire. By kind permission of Gilbert White’s House and Garden.

See Selborne spreads her boldest beauties round

The varied valley, and the mountain ground,

Wildly majestic! what is all the pride

Of flats, with loads of ornament supply’d?

Unpleasing, tasteless, impotent expense,

Compar’d with nature’s rude magnificence.

Arise, my stranger, to these wild scenes haste …

(Opening lines from Gilbert White’s poem, The Invitation to Selborne)

Prof. Bell’s library, on the ground floor of The Wakes. Prof. Thomas Bell (1792-1880) was a zoologist who much admired White’s work. He retired, aged seventy, to Selborne and died at The Wakes in 1880. He published an edition of The Natural History of Selborne in 1877, as well as making a number of additions to the property including a billiard room, which is currently the Museum gift shop. The former library is now home to a number of interactive exhibits exploring Gilbert White’s life and work.

INTRODUCTION

A few miles south of Jane Austen’s (1775-1817) cottage in the pretty village of Chawton is the equally picturesque village of Selborne. It is here that the parson naturalist, ecologist and author of The Natural History and Antiquities of Selborne in the County of Southampton (1789) the Revd Gilbert White (1720-1793) lived. Selborne is a haven of peace and tranquillity in the heart of East Hampshire where time appears to have stood still; the village doesn’t have any street lighting, even in 2013. It is extraordinary to think that in this rural idyll there once lived a quiet, unassuming gentleman who wrote what was to become the fourth most published book in English, after The Bible, The Complete Works of Shakespeare and John Bunyan’s (1628-1688) The Pilgrim’s Progress (1678). Since its first publication in 1789, The Natural History and Antiquities of Selborne would have been found on the book shelves of every respectable gentleman’s library from the late Georgian period onwards, and it has remained continually in print.

Gilbert White’s original manuscript of The Natural History  and Antiquities of Selborne (1789). By kind permission of Gilbert White’s House and Garden. To hear a reading of the above letter, please click on the Podcast below.

Letter LXI to Daines Barrington from Gilbert White 

(Read by Emma, Editor, Come Step Back in Time)

Jane Austen moved from Southampton to the cottage at Chawton in 1809. In the film Becoming Jane (2007), writers Kevin Hood and Sarah Williams weave White’s observations on the mating rituals of the swift into the screenplay’s narrative. If you watch the library scene from the film in which the object of Jane’s (Anne Hathaway) affections, Tom Lefroy (James McAvoy) reads an extract from White’s publication, you will notice that Tom uses the subtext of the quote as a means of engaging in an intellectual flirtation with Jane. To view this short scene (2 minutes 45 seconds), CLICK HERE. Comparison with the original text reveals that the screenwriters have exercised a certain degree of poetic licence in their use of White’s observations. Below is White’s original text for you to compare:

As the swift or black-martin is the largest of the British hirundines, so is it undoubtedly the latest comer. For I remember but one instance of its appearing before the last week in April: and in some of our late frosty, harsh springs, it has not been seen till the beginning of May. This species usually arrives in pairs…. If any person would watch these birds of a fine morning in May, as they are sailing round at a great height from the ground, he would see, every now and then, one drop on the back of another, and both of them sink down together for many fathoms with a loud piercing shriek. This I take to be the juncture when the business of generation is carrying on.

(Letter XXI to Barrington, September 28th, 1774, The Natural History of Selborne (1974), published by Oxford University Press)

Jane loved to walk through the countryside and it is likely that she would have made the round-trip to Selborne on a number of occasions during her time living at Chawton. In Becoming Jane there are several scenes representing the woodlands close by to The Wakes. She certainly would have read White’s seminal work and there is evidence amongst her letters to suggest that the Austens were on visiting terms with the family of one of his nephews, Dr John White, who for a short time was Jane Austen’s physician. Known as ‘Gibraltar Jack’, he was the son of Gilbert White’s brother the Revd John White, who had been chaplain to the garrison at Gibraltar, and when he was young stayed for several years with his uncle at The Wakes.

Built in 1610, The Wakes was originally a much smaller property than can be seen today. The name of the house is a nod to the family called Wake who had previously lived there. Gilbert White had lived at The Wakes for the majority of his life but only inherited the property in 1763 upon the death of his uncle, the Revd Charles White of Bradley. The house is now a museum dedicated to the life and work of Gilbert White, and it also houses The Oates Collection. This Collection consists of two permanent exhibitions celebrating the life of soldier and Antarctic explorer Captain Lawrence Oates (1880-1912) and his uncle, African explorer Francis [Frank] Oates (1840-1875). In 1954 the property was bought by public subscription, augmented by a large donation from Robert Washington Oates (a cousin of Lawrence), and opened as The Oates Memorial Library and Museum and The Gilbert White Museum in 1955. Separate articles on The Oates Collection will follow shortly.

The life and work of Gilbert White is a thoroughly absorbing area to research. It is possible to gain a good insight into what life must have been like for a rural parson and scholar in eighteenth-century England due to the wealth of written material, both published and unpublished, that has survived to the present day. His body of writing is extensive and includes correspondences with family members as well as the leading scholars from the Age of Enlightenment.

Some of the scholars that White corresponded with include: George Montagu (1753-1815), author of The Ornithological Dictionary (1802); Robert Marsham (1708-1797); Thomas Pennant(1726-1798) and Daines Barrington (1727-1800), both leading naturalists and Fellows of the Royal Society, to whom Gilbert White wrote the letters that form the basis of The Natural History and Antiquities of Selborne; John Mulso (1721-1791), a contemporary at Oriel College, Oxford, who corresponded with White between 1744 and 1790 and remained a lifelong friend and literary companion; and Thomas Barker (1722-1809) of Lyndon Hall, Rutland, a meteorologist, vegetarian and also White’s brother-in-law. White also met botanist Joseph Banks (1743-1820) and naturalist Dr Daniel Solander (1733-1782) in 1767, one year before they both joined Captain James Cook (1728-1779) for his first voyage to the Pacific Ocean aboard Endeavour.

Thomas Barker is a particularly important to White’s development as a meteorologist. The day after his sister Anne’s wedding to Thomas, which took place on 6th January 1751 at St Mary’s parish church in Selborne, White began his new record book, The Garden Kalendar. In this book he kept a daily record of all his activities in the garden at The Wakes, including climate variations, rainfall and seasonal fluctuations. He continued to record these data, each year, for more than forty years.

Charles Darwin (1809-1882) is also known to have read White’s observations on the usefulness of earthworms as well as birds, about which he remarked: ‘From reading White’s Selborne, I remember wondering why every gentleman did not become an ornithologist.’ Darwin’s The Formation of Vegetable Mould, through the Action of Worms was the last book he published on 10th October 1881. White, himself, said of the earthworm:

Earth-worms, though in appearance a small and despicable link in the chain of Nature, yet, if lost, would make a lamentable chasm. For, to say nothing of half the birds, and some quadrupeds which are almost entirely supported by them, worms seem to be the great promoters of vegetation, which would proceed but lamely without them, by boring, perforating, and loosening the soil, and rendering it pervious to rains and the fibres of plants, by drawing straws and stalks of leaves and twigs into it; and, most of all, by throwing up such infinite numbers of lumps of earth called worm-casts, which, being their excrement, is a fine manure for grain and grass.

(Letter XXXV to Barrington, May 20th, 1777, The Natural History of Selborne (1974), published by Oxford University Press)

View from Gilbert’s bedroom window of the garden.

White’s journals contain detailed notes and records of life at The Wakes coupled with observations of
the nature and wildlife that were to be found in the countryside surrounding Selborne. An openness to the pursuit of scientific enquiry coupled with a vigorous intellect saw White become one of the leading naturalists of his time as well as being one of the first known ecologists. He was also one of the first naturalists to recognise a connection between the weather and its impact upon the behaviour of plants and wildlife. He was even an early exponent of the relatively modern model of self-sufficiency and sustainability. In the garden at The Wakes, he grew a wide variety of fruit, vegetables and flowers. He even brewed his own wine and beer in the purpose-built brewhouse, which still exists today.

In his biography of Gilbert White, Richard Mabey writes:

He grew more than forty different varieties [of vegetable], including artichokes, endives, mustard and cress, white broccoli, skirret and scorzonera, marrowfat peas, ‘a remarkable long leek’, squashes, cucumbers, all manner of lettuces, and ‘a small crop of onions … for picklers’ … more experimental vegetables, too, including maize, wild rice and potatoes…. In the borders close to the house were planted crown imperials, crocuses and pinks. Vines and roses … tulips, wallflowers and columbines.

(Gilbert White: A Biography of the Naturalist and Author of The Natural History of Selborne, by Richard Mabey, published by J. M. Dent, 1993, p. 56)

Because White kept detailed planting records for The Wakes in his journals, correspondence, household account books and predominantly his Garden Kalendar, it has been possible today to restore the gardens back to their eighteenth-century origins. The gardens still contain a wine-pipe seat, two hahas, a herb garden, a kitchen garden, brewhouse, cut-out statue of Hercules and a hermitage complete with a thatched roof.

View from Gilbert’s bedroom window of the gardens at The Wakes. The haha at the boundary ensures a seamless view of lawn and surrounding land.

Hahas are large ditches at the boundary of a lawn and were popular devices used by eighteenth-century garden designers which served two purposes. Firstly, they are practical, stopping livestock from grazing or entering onto your manicured lawns, thus also avoiding the unpleasant business of animal waste being stepped in by the lady and gentleman of the house. Secondly, they provide an uninterrupted and seamless view of the lawn and surrounding countryside, allowing landowners to survey the extent of their grounds.

Garden at The Wakes.

David Standing has been the Head Gardener at The Wakes since 1979 and has worked tirelessly, together with a band of volunteers (there are approximately one hundred volunteers who work at the Museum every year) to restore the original layout of the garden using White’s writings. The project is now largely complete. There are twenty acres of ancient parkland surrounding the property, some of which is now owned and managed by The National Trust (Selborne Common, the Zig-Zag path leading to The Hanger, The Hanger, Church Meadow, Long and Short Lythes).

Book cabinet that houses Ronald’s historic editions of Gilbert White’s The Natural History of Selborne.

RONALD DAVIDSON-HOUSTON

A LIFELONG PASSION FOR GILBERT WHITE’S WRITINGS AND WORK

I had the privilege of being shown around Gilbert White’s House and Garden by Ronald Davidson-Houston. Mr Davidson-Houston has spent many years studying White’s writings and his biographical knowledge of the family is extensive. I asked him when he first became interested in White’s work: ‘I first read The Natural History of Selborne as a child but it was my career as a publisher that brought me back to the study of his writings. In 1981, I published [Exeter: Webb & Bower] the first edition of The Natural History of Selborne illustrated with contemporary eighteenth-century colour plates. It was a collaboration between The Gilbert White Museum and myself, with an introduction by the then curator, Dr June E. Chatfield. [The Illustrated Natural History of Selborne is still in print, now published as a paperback by Thames & Hudson.] During the course of my research, I asked the question, why has this book been published in so many different ways, languages and editions? It was then that I began to collect various editions of the book.’

The Illustrated Natural History of Selborne (2004), published by Thames & Hudson with an introduction by Dr June E. Chatfield.

The Natural History of Selborne, compiled and translated by Izawa-Koichi and illustrated by Kuroda-Machiko (2008).

Ronald has collected more than a thousand copies of the book, many of which are extremely rare editions and a number are in foreign languages, including Chinese and Japanese. Two years ago he donated his treasured collection to the Museum and it is now housed in a purpose-built display cabinet located in Gilbert White’s Great Parlour. Ronald explained further about the publishing history of the book: ‘The first edition, dated 1789, was actually printed in late 1788 and some early copies were sent to a number of friends and relations in November and December of that year. However, 1789 is the official publication date. The price was one guinea ‘in boards’ (i.e., not leather-bound). It was printed on laid paper, which is hand-made and has watermarks. There are six engravings chosen from twelve watercolours by the Swiss artist Samuel Hieronymus Grimm (1733-1794), who, according to White, “stayed with me 27 days; 24 of which he worked very hard”. White’s brother, Benjamin White (1725-1794), was a bookseller and his firm, B. White and Son, published the first edition. The brothers’ niece, Mary (Molly) White (born 1759), undertook the copy editing. The first cheap edition did not appear until 1829. The original manuscript of the book was bought by the Museum in 1980 from a private collection in America.’

Mary (Molly) White. By kind permission of Gilbert White’s House and Garden.

A FEW OBSERVATIONS ON EARLY REVIEWS OF

THE NATURAL HISTORY AND ANTIQUITIES OF SELBORNE

‘Sagacity of observation runs through the work’

The Gentleman’s Magazine, January 1789

‘A more delightful, or more original work than Mr. White’s History of Selborne has seldom been published’

The Topographer, April 1789

‘This elegant and pleasing … work abounds with information’

The Monthly Review, July 1789

(Reprinted in The Selborne Association Newsletter, No. 47, December 2005, pp. 22-31, by R. Davidson-Houston)

Ronald has studied the first reviews of White’s publication and writes:

Along with a number of other close friends and relations of the author, Thomas White (who had given his brother Gilbert unfailing encouragement throughout the book’s long gestation and had also helped with correcting the proofs) received an advance copy in late November or early December 1788, enabling the first instalment of his review to appear in the January 1789 issue of The Gentleman’s Magazine.

(Ibid. pp. 22-23)

Interestingly, in these early years of Britain’s Industrial Revolution, Thomas White’s review begins by putting forward the argument that the landed gentry, who were abandoning country living for a better life in the towns and cities, left behind them an economic void, and advocates that his brother’s work should not be devalued because it is a study of rural life in a time when it was not fashionable to write about such things. In Thomas White’s opinion:

It is with pleasure, therefore, we observe that so rational an employment of leisure time as the study of nature and antiquities promises to become popular…. But we agree with Mr. White in his idea of parochial history, which, he thinks, ought to consist of natural productions and occurrences, as well as antiquities…. A person with this writer’s patient observation would have made many remarks highly valuable. Men of intelligence like him are wanted, to promote an intimacy between the library and the plough.

(Ibid. p. 23 and p. 25)

Gilbert’s father, John White. By kind permission of Gilbert White’s House and Garden.

GILBERT WHITE’S EARLY LIFE

White was born on 18th July, 1720, the eldest son of John White (1688-1758), a barrister, and Anne White (née Holt, 1693-1739), a rector’s daughter. Gilbert was one of eleven children and, although he never married, did enjoy the company of his many nephews and nieces who often came to stay at The Wakes. By January 1793, including spouses, his family circle had increased to sixty-two young relations. Ronald tells me Gilbert enjoyed socialising and it was not unusual for family parties to go on until 3 am, he also told me Gilbert ‘was five foot three inches tall and a thin, prim, upright man.’

Gilbert’s grandfather, also called Gilbert White. By kind permission of Gilbert White’s House and Garden.

Gilbert’s grandfather, also called Gilbert White (1650-1728) had been the vicar at Selborne from 1681. In 1728, John White, his family and widowed mother moved to Selborne. In 1741, Gilbert’s father began landscaping the gardens at The Wakes including laying out seven acres of the estate and creating walks and hedges. White inherited his father’s love of nature at a very early age and to celebrate his tenth birthday planted an oak and ash tree in the garden there. It wasn’t until 1750-1 that he planted further trees, including an elm, fir and beech.

Gilbert’s education consisted of a thorough grounding in the classics, as well as literature, at Basingstoke Grammar School. He made his first observations of nature in 1736, which he wrote in a notebook following a visit to stay with his aunt at Whitwell, Rutland. It is no surprise to learn that this clever young man was admitted to Oriel College, Oxford, in April 1740. Gilbert worked hard and played hard, enjoying all manner of extra-curricular activities on offer to a young Oxbridge undergraduate. He visited coffee houses, drank wine, played cards, attended concerts and visited many of England’s great houses. He also had an interest in shooting, but this quickly turned from the thrill of the kill to hunting for the purposes of obtaining specimens for identification and dissection. He graduated BA in June 1743 and MA in October 1746.

CAREER AS A CURATE

White was ordained as a Deacon in the Anglican Church on 27th April 1747 at Christ Church Cathedral, Oxford. His first post was at Swarraton, Hampshire, as curate to his uncle, the Revd Charles White of Bradley. Unfortunately, he contracted smallpox in 1748. It is thought that one of the reasons why no portrait of White exists, other than two small pen-and-ink sketches, may be due to the fact his face had been badly scarred as a result of this disfiguring disease. His old nursemaid, ‘Goody Marshall’ helped care for him during his convalescence. White’s lifelong fascination with melons is also thought to have begun whilst he was recovering from smallpox, realising the health properties of this exotic fruit. He grew melons in the garden of The Wakes and he used to have ‘cantaloupe feasts’ with his youngest brother Henry (1733-1788) who was rector and schoolmaster at Fyfield, near Andover. In the poem ‘Metamorphosis’ by his friend Dr John Scrope, White’s melon obsession (‘The swelling melon was his favourite fruit’) and his scarring due to smallpox (‘his roughen’d face’) are both alluded to.

Corycius long admired (a curious swain!)

The wealth and beauties of Pomona’s reign;

The vegetable world engrossed his heart,

His garden lingering nature help’d by art;

Where in the smoking beds high heap’d appear

Salads and mushrooms thro’ the various year.

But of each species sprung from seed or root,

The swelling melon was his favourite fruit;

Other productions kindled some delight

In his fond soul, but here he doted quite.

When others wisely to the grot retreat,

And seek a friendly shelter from the heat,

Anxious and stooping o’er his treasure, low

Poring he kneels, and thinks he sees it grow.

One day when Phoebus scorch’d the gaping plain,

Striving to rise at length he strove in vain,

Fix’d to the spot, exchang’d his shape and name,

A melon turned and what he view’d became.

Ovid would tell you how his roughen’d face

Retains the network and the fretty grace;

His skin and bones compose the tougher rind;

His flesh compressed retains its name and kind;

Shrunk are his veins, and empty’d of their blood,

Which in the centre forms a plenteous flood.

(Reprinted in Gilbert White: A Biography of the Naturalist and Author of The Natural History of Selborne,

by Richard Mabey, published by J. M. Dent, 1993, p. 58)

White was fully ordained priest in 1749. In 1751, he was made curate-in-charge at Selborne, a post that he returned to again in 1756, 1758 and finally in 1784 when he continued in the role until his death in 1793. Whilst curate at Selborne, he was also able to continue with his academic duties as a fellow at Oriel College. He also took on an additional parish, Moreton Pinkney, Northamptonshire, which he could do the administration for from his home in Selborne. In 1761, he accepted the curacy of another parish, Faringdon (now spelt Farringdon), nearby to Selborne and continued as their curate for twenty years.

Ronald as Gilbert White with Timothy the tortoise. By kind permission of Gilbert White’s House and Garden.

HIS LOVE OF ANIMALS

White loved animals, there is no doubt about that. He had a pony (Mouse), dogs (Rover, Fyfield and a spaniel Fairey Queen) and, best-known of all, his beloved tortoise, Timothy. White often rode Mouse to church when he had to take the services and also enjoyed riding in the Hampshire countryside. He suffered from coach sickness so preferred travelling by horse whenever possible.

White inherited Timothy from his aunt, Rebecca Snooke, in March 1780. It is believed that his uncle, Henry Snooke, bought the tortoise from a sailor in Chichester for 2/6d in the 1740s. Observations and a number of scientific experiments were carried out on Timothy. White’s fascination and fondness for these hardy Testudine is evident in his writings. The following letter, from White to Daines Barrington, was written whilst he was staying at Delves House, Ringmer, near Lewes where Timothy lived prior to joining him at The Wakes:

A land tortoise, which has been kept for thirty years in a little walled court belonging to the house where I now am visiting, retires under ground about the middle of November, and comes forth again about the middle of April. When it first appears in the spring it discovers very little inclination towards food; but in the height of summer grows voracious: and then as the summer declines its appetite declines; so that for the last six weeks in autumn it hardly eats at all. Milky plants, such as lettuces, dandelions, sowthistles, are its favourite dish. In a neighbouring village one was kept till by tradition it was supposed to be an hundred years old. An instance of vast longevity in such a poor reptile!

(Letter VII to Barrington, October 8th, 1770, The Natural History of Selborne (1974), published by Oxford University Press)

No part of it’s behaviour ever struck me more than the extreme timidity it always expresses with regard to rain; for though it has a shell that would secure it against the wheel of a loaded cart, yet does it discover as much solicitude about rain as a lady dressed in all her best attire, shuffling away on the first sprinklings, and running it’s head up in a corner. If attended to, it becomes an excellent weather-glass; for as sure as it walks elate, and as it were on tiptoe, feeding with great earnestness in a morning, so sure will it rain before night. It is totally a diurnal animal, and never pretends to stir after it becomes dark. The tortoise, like other reptiles, has an arbitrary stomach as well as lungs; and can refrain from eating as well as breathing for a great part of the year…. P.S. In about three days after I left Sussex the tortoise retired into the ground under the hepatica.

(Letter XIII to Barrington,  April 12th, 1772, The Natural History of Selborne (1974), published by Oxford University Press)

Timothy the tortoise has been missing for more than a week. He got out of the garden at the wicket, we suppose; & may be in the fields among the grass. Timothy found in the little bean-field short of the pound-field. The nightingale, fern-owl, cuckow, & grass-hopper lark may be heard at the same time in my outlet. Gryllo-talpa churs in moist meadows.

(Gilbert White’s Naturalist’s Journal, May 28th, 1784)

Display in the Great Parlour at Gilbert White’s House, showing a copy of The Natural History of Selborne and a model of Timothy the tortoise.

For more examples of White’s musings on Timothy and tortoises in general, visit the website, The Natural History of Selborne – Journals of Gilbert White. CLICK HERE. Dr Verlyn Klinkenborg’s delightful Timothy, or Notes of an Abject Reptile (2007) published by Random House, is another recommended read if you would like to learn more about White’s beloved Timothy. This was first published in hardback in 2006 by Alfred A. Knopf. The British edition, with the title Timothy’s Book: Notes of an English Country Tortoise, was published by Portobello Books in hardback (2006) and paperback (2007).

Following Timothy’s death, it was discovered that the tortoise was in a fact female and her shell is now preserved in the Natural History Museum, London.

LIFE AT THE WAKES

Gilbert White’s study at The Wakes. The desk shown may have been the original one owned by Gilbert.

The Wakes officially passed to Gilbert White in 1763 upon the death of his uncle Charles. It would be a mistake for anyone to think that White’s parochial life stifled his scientific and scholastic output. Far from it. His location and lifestyle offered him the opportunity to completely immerse himself in his observational writing and experiments. He did not have the distractions that living in a city, such as London, would have presented him with. He also never married and bachelorhood seemed to suit him, devoting his life to his studies and the church.

 Extract from Letter XXIV Gilbert White to Thomas Pennant – Ring-ousels

(Read by Emma, Editor, Come Step Back in Time)

In her essay, ‘The Baffling Swallow: Gilbert White, Charlotte Smith and the Limits of Natural History’, Anne Mellor writes of White’s possible conflicting motivations that he would have had to face as a result of his resolve to serve God, as well as commit himself to lifelong study of the taxonomy of nature:

Throughout, White wrestled with conflicting motivations. On the one hand, he was a product of Enlightenment thought, convinced that God had created one great system which man might eventually come to understand. Everywhere he sought to organize and classify his observations of plants and animals into coherent taxonomies, closely following the lead of Buffon and Linnaeus. On the other hand, he was convinced that one could approach truth only through the precise empirical description of natural events and creatures, minute particulars that he scrupulously recorded day by day in his “Naturalist’s Journal.”

(Mellor, A. K., Vol. 31, No. 4, Dec. 2009, pp. 299-309, Nineteenth-Century Contexts, p. 301, published by Routledge)

Letter XXVII from Gilbert White to Thomas Pennant – Hedgehogs

(Read by Emma, Editor, Come Step Back in Time)

 Extract from Letter XI Gilbert White to Thomas Pennant – Bats

(Read by Emma, Editor, Come Step Back in Time)

It really is extraordinary when you consider some of the historic world events that were happening during White’s lifetime:

• 1741 – Handel’s ‘Messiah’
• 1746 – Battle of Culloden
• 1760 – Kew Gardens founded
• 1768 – Cook’s first voyage
• 1773 – Boston Tea Party
• 1776 – American Independence
• 1780 – Gordon Riots
• 1789 – French Revolution
• 1793 – Louis XVI Executed

Even tucked away in rural Hampshire, White witnessed a number of historic events of his own, for example a balloon flight by Jean-Pierre Blanchard (1753-1809) in 1784. Earlier in the same year (2nd March) Blanchard had made the first successful balloon flight in Paris. According to White, in October of 1784, the whole village turned out to watch the spectacle of a further balloon flight by Blanchard. The event is documented in detail in a letter he wrote from Selborne, on 19th October, to his sister, Mrs [Anne] Barker:

Dear Sister, from the fineness of the weather, and the steadiness of the wind to the N.E. I began to be possessed with a notion last Friday that we should see Mr. Blanchard in his balloon the day following: and therefore I called on many of my neighbours in the street, and told them my suspicions. The next day proving also bright, and the wind continuing as before, I became more sanguine than ever; and issuing forth in the morning exhorted all those that had any curiosity to look sharp from about one o’ the clock to three towards London, as they would stand a good chance of being entertained with a very extraordinary sight.

(The Life and Letters of Gilbert White of Selborne, Vol. II, Written and Edited by Rashleigh Holt-White, published by John Murray, 1901, pp. 134-5)

Life at The Wakes was never dull; the house was often full with members of his own family visiting and at other times he had a small retinue of staff who also provided him with rich material for his journals. There were two members of staff who feature both in White’s everyday life and consequently within the text of his writings, Goody Hampton and Thomas Hoar. Goody Hampton was not exactly a permanent fixture at The Wakes; she lived in the village and worked for White on a casual basis. Richard Mabey, in his biography of White, writes of White’s impression of Goody:

Goody Hampton was employed as a ‘weeding woman’ in the summer months. She appears to have been a doughty worker, ‘and indeed, excepting that she wears petticoats and now and then has a child, you would think her a man.’

(Gilbert White: A Biography of the Naturalist and Author of The Natural History of Selborne, by Richard Mabey, published by J. M. Dent, 1993, p. 57)

On the subject of Thomas Hoar, Mabey writes:

… presiding over them all was Gilbert’s loyal retainer Thomas Hoar, who acted as his groom, gardener, scientific assistant and general handyman for forty years. He was a bachelor and slept at The Wakes, and would keep the journals up and write letters about events in Selborne when Gilbert was away. In the garden and in his treatment of plants and animals Thomas showed a delicacy and concern that is more than just a reflection of his employer’s own sensitivity.

(Ibid, p. 57)

Ronald also told me that girls from the village would regularly come and help at The Wakes. There is a kitchen on display at the house, but this is not the original that would have been in use during White’s residence. White was also interested in matters related to the management of a household and kept a close eye on things at The Wakes. One of his famous treatises is on the economics of the use of rush lighting as opposed to candles for those in straightened circumstances: ‘The careful wife of an industrious Hampshire labourer obtains all her fat for nothing; for she saves the scummings of her bacon-pot for this use; and, if the grease abounds with salt, she causes the salt to precipitate to the bottom, by setting the scummings in a warm oven.’ (Letter XXVI to Barrington, November 1st, 1775).

Letter XXVI from Gilbert White to Daines Barrington – Economy of Rush Lights and Besom Brooms

(Read by Emma, Editor, Come Step Back in Time)

According to Ronald, the ever-prudent White, not wishing to waste a single resource whether animal, vegetable or mineral even saved the hair that moulted or was combed from his dogs so that it could be used to reinforce the plaster on the walls of his Great Parlour.

Gilbert White’s bedroom at The Wakes.

Embroidered detail of the curtains around Gilbert’s bed. His aunt embroidered the bed hangings.

Mrs [Barbara] White, the widow of Gilbert’s brother John, came to live at The Wakes in 1781 and pretty much took over the running of her brother-in-law’s household. This arrival stimulated White’s interest in cooking and pushed forward apace his plans to expand the vegetable and herb gardens.

White died on Wednesday 26th June 1793 and is buried in the churchyard of St Mary’s, Selborne. His headstone is not, as one might expect for such an important gentleman of the Enlightenment, pretentious. It simply reads: ‘G.W. 26th June 1793′ and is located among other family graves near the north wall of the chancel.

• Gilbert White’s House & Garden and The Oates Collection is located at The Wakes, High Street, Selborne, Hampshire. For details of opening times and admission charges for 2013, CLICK HERE.
• Literary Walks in East Hampshire. Self-guided walking tours of the attractive countryside in East Hampshire. This well-written tour of Selborne, gives you the opportunity to walk in the footsteps of the Revd Gilbert White. Don’t forget your wellies or walking boots though. CLICK HERE.

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An Invitation To A Regency Ball – 200th Anniversary of Pride and Prejudice

Jane Austen’s writing-table at her cottage in Chawton, Hampshire. By kind permission of Jane Austen’s House Museum.

If there had not been a Netherfield ball to prepare for and talk of, the
younger Miss Bennets would have been in a very pitiable state at this time, for
from the day of the invitation, to the day of the ball, there was such a
succession of rain as prevented their walking to Meryton once. No aunt, no
officers, no news could be sought after—the very shoe-roses for Netherfield
were got by proxy. Even Elizabeth might have found some trial of her patience
in weather which totally suspended the improvement of her acquaintance with Mr.
Wickham; and nothing less than a dance on Tuesday, could have made such a
Friday, Saturday, Sunday, and Monday endurable to Kitty and Lydia.

(Austen, J., Pride and Prejudice, 1813, Chapter 17)

When the dancing recommenced, however, and Darcy approached to claim her hand, Charlotte could not help cautioning her in a whisper, not to be a simpleton, and allow her fancy for Wickham to make her appear unpleasant in the eyes of a man ten times his consequence. Elizabeth made no answer, and took her place in the set, amazed at the dignity to which she was arrived in being allowed to stand opposite to Mr. Darcy, and reading in her neighbours’ looks, their equal amazement in beholding it. They stood for some time without speaking a word; and she began to imagine that their silence was to last through the two dances, and at first was resolved not to break it; till suddenly fancying that it would be the greater punishment to her partner to oblige him to talk, she made some slight observation on the dance. He replied, and was again silent. After a pause of some minutes, she addressed him a second time with:—”It is your turn to say something now, Mr. Darcy. I talked about the dance, and you ought to make some sort of remark on the size of the room, or the number of couples.”

He smiled, and assured her that whatever she wished him to say should be said.

“Very well. That reply will do for the present. Perhaps by and by I may observe that private balls are much pleasanter than public ones. But now we may be silent.”

“Do you talk by rule, then, while you are dancing?”

“Sometimes. One must speak a little, you know. It would look odd to be entirely silent for half an hour together; and yet for the advantage of some, conversation ought to be so arranged, as that they may have the trouble of saying as little as possible.”

(Austen, J., Pride and Prejudice, 1813, Chapter 18)

On 28th January, 1813, Pride and Prejudice, by Hampshire writer Jane Austen (1775-1817), was published in three hardback volumes by Thomas Egerton, Military Library, Whitehall, priced 18s. The novel had originally been titled, First Impressions and was written by Jane between October 1796 and August 1797.  On 1st November in the year of its completion, Jane’s father, Rev. George Austen (1731-1805), took the unusual step (for a Regency patriarch anyway) of writing to London publisher Thomas Cadell asking whether he would be interested in reading his daughter’s manuscript. Mr Cadell declined Rev. Austen’s offer, by return of post.

It was some years later before Jane returned to the manuscript. Between 1811 and 1812, she embarked upon many revisions of First Impressions, including a title change to Pride and Prejudice. She described the completed work as her “own darling child”. Copyright for Pride and Prejudice was sold to publisher  Thomas Egerton for the sum of £110 (Jane had wanted £150). T. Egerton published one thousand five hundred copies of the first edition, all of which sold-out straightaway. A 2nd edition was published in November 1813 and a 3rd edition in 1817.  It is estimated that this much-loved novel about marriage, love and class in Regency society, now sells approximately fifty thousand copies each year in the UK alone.

In this bicentenary year there will be many events happening worldwide to celebrate the first publication of Pride and Prejudice (for a round-up of some of the UK events, see the end of this article).  For an interesting article on how Jane Austen’s army of literary fans are celebrating the bicentenary, see ‘Pride and Prejudice: Jane Austen Fans Celebrating Novel’s 200th Anniversary’ by Tim Masters, Entertainment and Arts Correspondent, BBC News (25th January 2013). CLICK HERE.

Chawton House, the country seat of Edward Austen-Knight, Chawton, Hampshire.

Filming recently took place at Chawton House, Hampshire, the former country seat of Jane Austen’s brother, Edward Austen Knight (1768-1852), for a ninety minute documentary Pride and Prejudice: Having a Ball (w/t). Chawton House is an Elizabethan manor house built by John Knight’s grandson, also called John. Building began c.1583 and continuing until the mid 1660s.Chawton House passed, by inheritance, to Jane Austen’s brother, Edward, on the death of their childless cousin, Thomas Knight (1735-1794). It was Edward who offered Jane, her mother and her sister the cottage in Chawton village which became their home and from where all her novels were published. Today the cottage is Jane Austen’s House Museum.

The documentary, will be shown on BBC Two in the Spring, was commissioned by Janice Hadlow, controller at BBC Two and Mark Bell, Commissioning Editor, Arts. The Commissioning Executive is Greg Sanderson, and the Executive for Optomen is Jon Swain.  Mark Bell, said: “With the enduring popularity of the novel and its many television and film adaptations, this special programme for BBC Two offers a fresh perspective, exploring with depth and detail of one Regency Britain’s most crucial functions.”

Across ninety minutes, a team of experts will weave together the planning and rehearsal of a typical early nineteenth century ball, look back at first-hand testimony of ball-goers of the time, and end with a stunning, authentic recreation based on Austen’s Netherfield Ball, a turning point in the romance between Elizabeth Bennett and Mr Darcy in Pride and Prejudice. The ball takes place in the Great Hall at Chawton House, a room where members of the Austen family danced and enjoyed evening entertainments.

The team of experts who will play a key role in the recreation include: food historian Ivan Day; Professor Jeanice Brooks and Dr Wiebke Thormahlen from the University of Southampton, who will advise on the music and orchestral elements, and Hilary Davidson, curator of fashion and decorative art at the Museum of London, who will ensure an authentic recreation of Regency dress. Stuart Marsden and Dr Anne Daye will choreograph the dancing and literary expert John Mullan, Professor of English at University College London, will be on hand to ensure the ball’s accuracy and authenticity to Austen’s work. The programme’s main presenters will be Professor Amanda Vickery (The Many Lovers of Jane Austen) and Alastair Sooke (Modern Masters).

Pride and Prejudice: Having a Ball will take an intelligent look at the social history of Austen’s world and explore how, as well as drinking, dancing and jollity, balls had an important purpose – to help women find a husband. Playing an important role in Austen’s novels, the pomp and excitement of a lively ball would drive forward the plot, explore and reveal character and shine a light on the society of the day.

BBC Learning has contributed to the funding of the project and commissioned a range of additional supporting material, including Regency recipes devised by Ivan Day for the BBC Food website. There will also be a curated Regency art feature for the Your Paintings website, period fashion and dance resources for the BBC History site and additional materials by the presenters for adult reading groups.

Chief Executive of Chawton House Library, Stephen Lawrence, said: “Working and living at Chawton House often feels like being part of a film set. This weekend it truly will be! We are delighted to be part of this authentic recreation of an important element of Jane Austen’s Pride and Prejudice. She knew Chawton House very well and it seems fitting then this tribute to her work should be undertaken here.”

Now a research library, Chawton House Library, has a unique collection of over twenty-one thousand volumes focusing on women’s writing in English from 1600 to 1830. Novels, poetry and drama are all included, as well as autobiographical writing, published letters and a range of factual material from this period. In addition the Knight family library, one known to Jane, is held here on deposit. The Library is open to readers, free of charge by appointment from Monday to Friday, 9.30am-5pm. The house and grounds are available for venue hire, group tour bookings and special events. Details of tours as well as the many different events can be found on the website, CLICK HERE.

The Regency Ball in Context

‘Our ball was rather more amusing than I expected…you will not expect to hear that I was asked to dance – but I was!’

(Jane Austen, letter to Cassandra, 9th December, 1808)

‘We were very well entertained.. the Misses Lance have partners, Capt. Dauvernes’ friend appeared in regimentals, Caroline Maitland had an officer to flirt with and Mr John Harrison was deputed by Capt. Smith.. to ask me to dance.’

(Jane Austen, letter to Cassandra, January, 1809)

View of the ballroom (2012 – now called the Jane Austen Suite) at The Dolphin Hotel, Southampton, where Jane is said to have danced to celebrate her eighteenth birthday. It has of course been modernised but many of the original Georgian and Regency architectural features still survive.

One of the two bay windows in the ballroom at The Dolphin Hotel, Southampton. If Jane had indeed spent her eighteenth birthday dancing the night away here, she may well have glanced out of the window between dances.

One of two original fireplaces in the former ballroom (now The Jane Austen Suite) of The Dolphin Hotel, Southampton.

I will let you into a little secret, my mother named me after Jane Austen’s heroine Emma. Throughout my life I have been told that I possess a number of qualities similar to Jane’s leading lady but to what degree is for my friends and family to comment upon and not myself. However, although I have always enjoyed reading and re-reading Pride and Prejudice, it is the novel Emma (1815) that I prefer the most. My favourite adaptation by far is the BBC‘s four-part version written by Sandy Welch which aired in 2009 and starred Romola Garai as Emma and Jonny Lee Miller as Mr Knightly. Their on-screen chemistry perfectly captured the spirit of Jane’s original novel. Here is a short clip of the ball and supper at The Crown Inn which Emma and Mr Knightly both attend and share a dance together. CLICK HERE.

The Regency began in the spring of 1811 when the Prince of Wales was first appointed Prince Regent and terminated in 1820 on his accession to the throne as George IV (1762-1830). There is no doubt that Jane loved to attend a Ball, she wrote about them in many of her letters to family and friends. In 1793, her first dance is thought to have been on her eighteenth birthday at the Dolphin Hotel, Southampton. Jane was visiting the Butler-Harrison’s who lived at St. Mary’s near to the town and whose first child she had been appointed godmother to.

Interior architecture of The Dolphin Hotel.

Detail of main staircase. The Dolphin Hotel.

View looking-up at the main staircase. The Dolphin Hotel.

Architectural detail at The Dolphin Hotel.

In 1806, Jane, Cassandra and their mother joined brother Frank and his new wife Mary in Southampton, first living in lodgings and eventually moving to a rented house at No. 2 Castle Square in January 1807.

Martha Lloyd (1765-1843), Jane’s lifelong friend who was the Austen ladies housekeeper, cook and confidante. In 1828, Martha married Jane’s brother Sir Francis Austen (1774-1865) following the death of his first wife. Martha was no blushing bride, she was 62 and became Lady Austen. Jane Austen’s House and Museum.

Also joining them in Southampton was Martha Lloyd, lifelong friend of Jane, Jenny the cook, Molly the maid and another servant, Phoebe, who was a “maid of all work”. The Austens remained in Southampton until they moved to Chawton Cottage in 1809.

Jane Austen’s House Museum, Chawton, Hampshire. By kind permission thereof.

Glasses and case belonging to Jane Austen’s mother. On display at Lyme Regis Museum.

The donkey cart that the Austen ladies used whilst living at Chawton. Jane Austen’s House and Museum.

Don’t be fooled into thinking Jane’s recording of her ball-going experiences were all about head-turning fashions and heart-stopping moments. She loved to observe fellow guests and was not always kindly in her remarks, this can be seen in many examples of Jane’s private correspondences. She often demonstrates a considerable degree of acerbic wit about her subjects.

In 1884, Jane’s great-nephew, Edward Hugessen Knatchbull-Hugessen (1st Baron Brabourne, 1829-1893), edited a collection of her letters which were subsequently published by Richard Benley & Son: London, New Burlington Street (Letters of Jane Austen edited with an Introduction and Critical Remarks by Edward, Lord Brabourne). Lord Brabourne’s mother, Lady Knatchbull (née Fanny Catherine Knight – 1793-1882), was Jane’s niece and the two hundred letters were found in a box of her papers. The letters contain a hundred detailed descriptions, by Jane, of visits to country balls. Here are few of my favourites and watch-out for Miss Austen’s sharp tongue:

It was a pleasant ball, and still more good than pleasant, for there were nearly sixty people, and sometimes we had seventeen couple [s]. The Portsmouths, Dorchesters, Boltons, Portals, and Clerks were there, and all the meaner and more usual &c., &c.’s. There was a scarcity of men in general, and a still greater scarcity of any that were good for much. I danced nine dances out of ten — five with Stephen Terry, T. Chute, and James Digweed, and four with Catherine. There was commonly a couple of ladies standing up together, but not often any so amiable as ourselves.

(Jane Austen to sister Cassandra, November 1800)

It was a pleasant evening; Charles found it remarkably so, but I cannot tell why, unless the absence of Miss Terry, towards whom his conscience reproaches him with being now perfectly indifferent, was a relief to him. There were only twelve dances, of which I danced nine, and was merely prevented from dancing the rest by the want of a partner. We began at ten, supped at one, and were at Deane before five.  There were but fifty people in the room; very few families, indeed, from our side of the county, and not many more from the other. My partners were the two St. Johns, Hooper, Holder, and very prodigious Mr Mathew, with whom I called the last, and who I liked the best of my little stock.

There were very few beauties, and such as there were not very handsome. Miss Iremonger did not look well, and Mrs. Blount was the only one much admired. She appeared exactly as she did in September, with the same broad face, diamond bandeau, white shoes, pink husband, and fat neck. The two Miss Coxes were there: I traced in one the remains of the vulgar, broad-featured girl who danced at Enham eight years ago; the other is refined into a nice, composed-looking girl, like Catherine Bigg. I looked at Sir Thomas Champneys and thought of poor Rosalie; I looked at his daughter, and thought her a queer animal with a white neck. Mrs. Warren, I was constrained to think, a very fine young woman, which I much regret.

She has got rid of some part of her child, and danced away with great activity looking by no means very large. Her husband is ugly enough, uglier even than his cousin John; but he does not look so very old. The Miss Maitlands are both prettyish, very like Anne, with brown skins, large dark eyes, and a good deal of nose. The General has got the gout, and Mrs. Maitland the jaundice. Miss Debary, Susan, and Sally, all in black, but without any stature, made their appearance, and I was as civil to them as circumstances ["their bad breath"] would allow me.

(Jane Austen to sister Cassandra, Thursday 20th November 1800)

Balls, private or public, city or country, were an important part of Regency society, occasions where potential husbands could be snared and the etiquette of dancing acted as a form of pre-marital courtship.  In Pride and Prejudice The Netherfield Ball acts as a device to drive the plot forward. In Austen’s Mansfield Park (1814), Maria Bertram and Mr Rushworth attend a number of balls, dancing together on each occasion and finally enter into an engagement. The ball is a socially acceptable forum where young, old, single and married can mix with relative freedom without fear of being reproached for breaching social protocols.

Unlike modern times where arrival at a ball is usually 7pm and carriages are called at midnight, Regency balls were an all night affair, requiring a degree of stamina. Unfortunately, there were many instances when guests succumbed to physical injuries as a result of over exertion. During the course of my research I read that Lord St. Asaph (1760-1830), the Earl of Ashburnham’s son, suffered a burst blood-vessel as a result of attending The Duchess of Dorset’s Grand Ball and Supper at Knole Park in 1813. The injury was brought on by dancing too vigorously.

We are sorry to add, that an accident happened to Lord St. Asaph, which his Lordship had an opportunity of concealing from the company. Lord St. Asaph, finding himself indisposed, apologized and retired. From over exertion in dancing, on retiring to bed, a blood-vessel gave way; and he was very much reduced in consequence. Medical assistance was sent for; and an express sent-off to his father, the Earl of Ashburnham at Ashburnham Castle, who arrived the next day when this amiable young Nobleman was declared to be out of danger.

(Grand Ball and Supper given by The Duchess of Dorset at Knole Park, Sevenoaks, Kent Friday 8th January, 1813, reported in The Morning Post)

In many of the extracts from contemporary newspapers that I have quoted here, you will see a pattern of timings emerging for a typical Regency ball. Arrival was usually between 10pm and midnight, several hours of dancing followed as well as general socialising and mingling. Between 3am and 5am there would be a break for supper, which usually included: seasonal fayre; soups; water and cream ices; fruit; confectionary; coffee; tea and hot chocolate. Dancing then continued until dawn. The ball normally consisted of between nine and twelve dances, including reels and strathspeys.

The grander balls, given by the upper echelons of Regency society, often went one step further and spared no expense in creating a suitably decorated, lavish, interior. Mrs Dawson’s annual ball at Manchester Square, in 1812, saw the windows being removed and replaced with painted silk. The ballroom was also festooned with great quantities of laurel-leaves, which were a popular type of Regency decoration.

Society Balls in the Regency Era

There were 300 ‘Fashionables’. The principal drawing-room, and the secondary apartments, were rendered agreeably cool, by the removal of the window, and substituting transparencies painted on silk.  The principal designs, among these novelties, were – 1st – A rural landscape of enamelled meads, cottages, and sheep grazing – the village church in the background; 2nd – wood and water, with rocky cliffs and mountains the ruins of an ancient castle. The balcony was fancifully decorated with variegated lamps, intermixed among flowering shrubs. Chandeliers of chrystalline brilliancy illumined the ballroom, the splendour of which was considerably heightened by the aid of mirrors of a vast size being placed in such, direction, as to multiply every object ad infinitum. Great quantities of laurel-leaves were introduced to add to the tout-ensemble. The dancing commenced at eleven o’clock, and was kept-up with unusual spirit. An excellent collation was provided, consisting of soups, and all the delicacies of the season, of which the company partook at two o’clock. About five o’clock an elegant dejeune was served-up; then reels and strathspeys commenced, and continued until between the hours of six and seven.

(Mrs Dawson’s Ball and Supper at Manchester Square, London, as reported in The Morning Post, Monday 22nd June, 1812)

Dancing began at midnight with the Lady Matilda Bruce – a new reel. At half-past three o’clock the company sat down to a sumptuous banquet, the viands and wines being of the first description, with a desert of ices, strawberries, cherries, and grapes by Mr Gunter. Music was provided by Mr Gow’s Band.

(The Duchess of Bedford’s Ball and Supper at Bedford House in Hamilton Place, Piccadilly, Friday 31st May 1811)

There were 350 guests who arrived at 9.30pm. The Queen came in a new state chair, which has been made since the last ball and supper, in consequence of the weight of the chair the Queen then went in being so heavy then, that the Chairmen were obliged to rest in the Park. The new chair is made of paper of a similar manufacture the tea-trays are made of. The ornaments are extremely neat and elegant. It is lined with crimson velvet, the draperies crimson silk.

(The Prince Regent’s Ball and Supper at Carlton House mansion, London, reported in The Morning Post, May 13th, 1813)

Drinking tea was fashionable and popular across all classes in Regency society. The tea service shown here is Chamberlain’s Worcester porcelain, c.1810. The table is mahogany c. 1775. The tea-chest is burr wood, c.1825, it was made by Robert James of Bristol. The casket contains teas and a glass bowl in which the two could be blended. Until 1830, all tea came from China. Display from Bristol Museum and Art Gallery.

Regency Ball – Food

Soon after one in the morning the party supped; and about four o’clock they separated. The supper was a most sumptuous banquet, served on the most costly porcelain; the tables were abundantly supplied with the choicest viands, displayed with unique elegance, in a style which did great credit to ingenuity of the cooks and confectioners employed.

(Grand Ball and Supper given by The Duchess of Dorset at Knole Park, Sevenoaks, Kent -Friday 8th January, 1813, reported in The Morning Post)

The Prince’s table was laid for 65, allowing 18 inches for each person, in the most superb and elegant manner. The Queen and Prince Regent sat the head. The princess Charlotte sat at the right of the Duke of York…When seated the tout ensemble presented a most magnificent scene. The desert, under the direction of Mr Bonuar, comprised every delicacy the season afforded, and was most excellent. The pages in their state uniforms, the yeomen of the guards, the servants in their state liveries, added much to the splendor of the effect.

(The Prince Regent’s Ball and Supper, Carlton House, London, Friday 5th February 1813)

11.30pm dancing commenced. A supper, the most abundant and excellent, with ices, fruits, and confectionary, provided by Mr Gunter, formed the repast, and of which the company partook about half-past two o’clock. Dancing was afterwards resumed, and kept-up with great spirit, under the able superintendence of the Noble Marquis (Lansdowne), who did not quit the “Merry Round” until long after the dawn of the day. To complete this unrivalled entertainment, a dejeune of tea, coffee, chocolate, was provided; it was served up about six o’clock, in a very superior way.

(Mrs Calvert’s Ball at Mansfield Street, Portland Place, London on Friday 10th May 1811, reported in The Morning Post, Monday 13th May, 1811)

At 2am the company then adjourned to the supper-tables. Here a most sumptuous display indeed was made, there were no less than six supper-rooms, all fitted-up in the most beautiful and appropriate manner. Each table was brilliantly ornamented with trophies of war and peace; emblems emblematic of the arts and sciences: the costume of all civilized nations of the earth, exemplified in waxen images, modelled for this fete expressly…the plate, and the china, displayed and the brilliancy of the lighting-up of the tables, the effect was grand in the extreme.  To render the coup l’oeil complete, about two hundred beautiful women (for the major part of the females were really beautiful) sat in such prominent situations as to be seen in every part without the least difficulty. The supper, we need not add, was most excellent; the wines abundant, and all of the rarest kinds. The dessert fruits, and confectionary, were equally deserving of panegyric: the Duke of Clarence spoke in raptures of them.

(Mrs Beaumont’s Grand Ball and Supper, reported in The Morning Post, Wednesday 14th April, 1813)

In 1799, confectioner extraordinaire James Gunter (1731-1819) took over sole proprietorship of the Pot and Pineapple confectionary shop from Italian cook Domenico Negri. The Pot and Pineapple was located at 7-8 Berkeley Square, London. Gunter changed the name to Gunter’s Tea Shop. Gunter’s son, Robert (1783-1852) studied confectionary in Paris and subsequently took control of the business in 1819, hiring his cousin John as a partner in 1837. The Tea Shop moved to Curzon Street in 1936-7 and closed in 1956. Gunter’s Tea Shop was a fashionable place for both ladies and gentlemen in the Regency era to visit.  The range of delicious toothsome treats was extensive, biscuits, cakes, sugar plums, creams, ices and sweet meats, to name but a few.  Gunter confectionary was a popular addition to the supper table at a Regency ball. Both Mrs Calvert and The Duchess of Bedford’s ball suppers, of 1811, showcased his confectionary.

Joseph Bell,  Marie Antonin Carême (1784-1833), Frederick Nutt, Mrs Rundell (1745-1828) and Mrs Mary Holland all played an important part in the development of Regency cookery.  Joseph Bell worked for the Prince Regent and Antonin Carême for Prince George. Even Jane and her family had their own trusty house-keeper and cook, Martha Lloyd (who was also Jane’s lifelong friend).

Historian, Kate Colquhoun, states: ‘Regency fancy was tempted as much by capillaire syrup (flavoured with dried maidenhair fern), Chartreuse and brandies as by the taste nougat, pistachio, maraschino, mint, aniseed and even – for the first time – caramel made from gently browned sugar and cream.’ (Taste: The Story of Britain Through Its Cooking, 2008, p.248).  According to Colquhoun, the Austen ladies loved their ices and in September 1804 Cassandra wrote from Weymouth to Jane, complaining about the lack of ice in the town to satisfy her cravings. (2008, p.249).

Create Your Own Regency Ball Supper

Below are selection of recipes from publications by some of the above cooks.  If you want to hold your own Regency ball supper, then ices, syllabubs, fruit, confectionary, biscuits, coffee, tea and hot chocolate should all be on the menu. In The Housekeeper’s Instructor or, Universal Family Cook (1809 edition) by William A. Henderson, includes a rather modest ‘Ball Supper for Twenty People’ which includes: millfeuille; fricandeaux; marangles; ham; jelly; lobster; cheesecakes; roast fowls; custards; prawns; blancmange; galanteens; raised pie; roast lamb; Savoy cake; raspberry ice; lemon ice; orange ice; grapes; peaches; nutt of veal; potatoes; French beans; boiled fowls; rabbits; Italian cream; harrico of mutton; turtle; Chartreuse; patties; mutton; stewed pigeon; custard; tongue; sweetbreads; peas and for breakfast at the end of the ball: boiled chickens; trifle; raspberry cream; ham; tartlets, sweetbread raised pie; custards; jellies; veal patties and cheesecakes.  Quite a list, it is a wonder that the young ladies retained their figures.

Orange Heart Biscuits (Frederick Nutt, The Complete Confectioner, 1819 – 8th edition)

Take three-quarters of a pound of powdered sugar, and put it in a pewter basin with thirty yolks of eggs, and take seven preserved orange peels, pound them in a mortar very fine, quite to a paste, then take a handful of sweet and half a handful of bitter almonds, pound them very fine, and mix them with a little orange flower water; then take four eggs, yolks and whites together, and put them in the basin with the sugar, eggs, and peel, mix them all well together with a wooden spoon in each hand, and beat them till you see the batter rise very much (though you can hardly beat them too light), till it turns quite white and puffs up in bladders; then put in half a pound of sifted flour, and mix it with the batter very lightly; then butter the hearts, fill them, and sift a little powdered sugar over the top of them, before you put them in the oven, which must be rather quick, but not too hot, otherwise they will not be light, and take them out of the tins while they are hot.

King’s Biscuits (Frederick Nutt, 1819)

Take half a pound of butter and work it about in a basin with a wooden spoon, then take six eggs and whisk them well; put half a pound of powdered sugar in them, and whisk them about ten minutes; mix the eggs and sugar with the butter, then take six ounces of currants well washed, and put them with the eggs, and six ounces of flour, and mix it altogether; put three sheets of paper on the plate, take a tea-spoon and drop the paste on the paper about the size of a shilling; put them in a sharp oven, and cut them off while they are hot.

Lemon Wafers (Frederick Nutt, 1819)

Take six lemons, and squeeze into an earthen pan; pound and sift some double-refined sugar and mix it with the lemon juice, put one white of an egg in with it, and mix it well up together with your wooden spoon, to make it of a fine thickness; take some sheets of wafer paper, and put one sheet of it on a pewter sheet, or tin plate, put a spoonful on, and cover the sheet of wafer paper all over with your knife; cut in twelve pieces, and put them across a stick in your hot stove, with that side the paste is on uppermost, and you will find they will curl; when they are half curled, take them off carefully and put them endways in a sieve, that they may stand up; let them be in the hot stove, and you will find they will be all curled, and then they are done.

Raspberry Jelly For Ices (Frederick Nutt, 1819)

Put your raspberries in the preserving pan; wash them well with your spaddle, put them over the fire, stirring them all the time they are on; when they are ready to boil take them off, and pass them through a hair sieve into a pan, let no seed go through; put your jelly into another pan and set it on the fire, and let it boil twenty minutes before you put the sugar in it; stir it all the time or else it will burn at bottom; put fourteen ounces of sugar to every pound of jelly, let it boil twenty minutes, stir it all the time, when cold put it in a brown pan or pots, sift a little powdered sugar over it, let it stand one day and then cover it up: this jelly is good to make ice-cream with.

Everlasting Whip Syllabub To Put Into Glasses (Frederick Nutt, 1819)

Take five half pints of thick cream, half a pint of Rhenish wine, half a pint of sack, and the juice of two large Seville oranges; rasp in the yellow rind of three lemons and pound of double refined sugar well pounded and sifted; mix all together with a spoonful of orange-flower water, beat it well together with a whisk half an hour, then with a spoon fill your glasses. This will keep above a week, it is much better being made the day before it is used.

Floating Island (Frederick Nutt, 1819)

A pretty dish for the middle of a table, at a second course, or for a supper.

Take a soup dish according to the size and quantity you would wish to make, but a deep glass dish is the best, put it on a china dish; first take a quart of the thickest cream you can get, make it sweet with fine powdered sugar; pour in a gill of fine mountain, and rasp the yellow rind of a lemon in; whisk your cream very strong as carefully as you can; pour the thin from the froth into a dish; take some Naples biscuits and cut them as thin as possible; lay a layer of them as light as possible on the cream, then a layer of currant jelly, again a layer of Naples biscuits, over that put your cream that you saved; put as much as you can make the dish, without running over, garnish outside with sweetmeats and what else you like.

Lemonade (Frederick Nutt, 1819)

Rasp two lemons and squeeze six, put to them three gills of syrup and the rest water; taste it, and if it is not to your palate, alter it till it is right; then strain it through a lawn sieve, and put it in your glasses for use.

Fresh Raspberry Water (Frederick Nutt, 1819)

Take one pint of fresh raspberries, and pass them through a sieve with a wooden spoon; put two large spoonfuls of powdered sugar in, squeeze one lemon in, and let the rest be water; make it palatable, and put a little cochineal in to colour it: pass it through a sieve, and it is fit for use.

How To Make Ice-Cream Using a Freezing Pot (Frederick Nutt, 1819)

Put mixture into the freezing pot and cover it; put the freezing pot into a pail, and some ice all round the pot; throw a good deal of salt on the ice in the pail, turning the pot round for ten minutes, then open your pot, and scrape it from the sides, cover it up again, and keep turning it for some time, till your cream is like butter, and as thick; put it in your moulds, put them into a pail, and cover it with ice and salt for three-quarters of an hour, till you find the water is come to the top of the pail; do not be sparing of salt, for if you do not use enough it will not freeze: dip you mould into water, and turn it out on your plate to send to table.

Raspberry Ice Cream (Frederick Nutt, 1819)

Take a large spoonful of raspberry jam, put it into a basin and squeeze one lemon in; add a pint of cream and a little cochineal to colour it; pass it through a sieve into a basin; put it into your freezing pot.

Apricot Ice Cream (Frederick Nutt, 1819)

Take one spoonful of apricot jam, put it in a basin, and squeeze one lemon in; take a handful of bitter almonds pounded with a little powdered sugar, put them all to a pint of cream, and put it into your freezing pot.

Coffee Ice Cream (Frederick Nutt, 1819)

Take one ounce of coffee whole, and put it in a stewpan with one pint of cream; put it over the fire, and let it simmer and boil ten minutes or a quarter of an hour; drain all the coffee from it; break four eggs into a pan, and add one gill and a half of syrup: beat them well up together, put the cream that comes from the coffee into it; give it a boil, stir it all the time, pass it through a sieve and freeze it.

Chocolate Ice Cream (Frederick Nutt, 1819)

Take one ounce and a half of chocolate, and warm it over the fire; take six eggs, one gill of syrup, and one pint of cream; mix it over the fire till it begins to thicken; mix the chocolate in, pass it through a sieve, and freeze it.

Damson Water Ice (Frederick Nutt, 1819)

Take a quarter of a pound of preserved damsons, and break the stones, put them into a basin and squeeze in one lemon, add almost a pint of water and half a gill of syrup; pass it through a sieve, and freeze it rich.

Virtues of Coffee (Mrs Rundell, 1819)

Coffee accelerates digestion, corrects crudities, removes colic and flatulencies. It mitigates headaches, cherishes the animal spirits, takes away listlessness and languor, and is serviceable in all obstructions arising from languid circulation. It is a wonderful restorative to emaciated constitutions, and highly refreshing to the studious and sedentary. The habitual use of coffee would greatly promote sobriety, being in itself a cordial stimulant; it is a most powerful antidote to the temptation of spirituous liquors. It will be found a welcome beverage to the robust labourer, who would despise a lighter drink.

A coffee pot, Spode, C. 1805. Basaltware (a type of stoneware), hand-thrown then turned on a lathe to create the precise shape, smooth surface and tooled decoration. On display at Bristol Museum and Art Gallery.

Regency Ball – Music and Dance

The preparations occupied the attention of upholders, cooks, and confectioners, for many days previous. The Duchess of York arrived at ten o’clock…the dancing was led-off by a Military Officer and the Hon. Smith….To aid to the general effect, the musicians attached to the regiment of dragoons, quartered in neighbourhood (we believe the 17th), appeared about 11 o’clock, richly habited in the most glittering attire we ever witnessed….A supper, the most sumptuous and abundant, was served-up on massy plate, with central ornaments, on a highly enriched plateaux. Three hundred guests, military in full uniforms. Her Highness of York wore a splendid Roman tunic and edged with beautiful white lace; her head-dress à-la-Grec with a profusion of diamonds. Ball ended at 3.30am.

(Duchess of York and her circle of friends host a Grand Ball at the Star and Garter in Richmond, reported in The Morning Post, Wednesday 11th December, 1811)

One name that crops-up time and again in contemporary accounts of Regency Balls is Mr Gow’s band. Neil Gow (1727-1807) was born at Inver, near Dunkeld, on March 22nd, 1727. He was a famous fiddler, composer and dance instructor who enjoyed a rapid rise to fame. Following his death, his four surviving sons, William, John, Andrew and Nathaniel – all composers of music – carried on the family tradition. Nathaniel (1763-1831) composed over one hundred and ninety-seven tunes, including Strathspeys, reels, jigs, quick steps, laments, waltzes, and slow airs. Andrew and John moved to London in 1780 and in addition to their profession as musicians the pair also sold music from 1788, when they occupied premises at 60 King Street, Golden Square. Andrew died in 1790 and John continued as a band leader. Mrs Dawson of Manchester Square favoured Mr Gow’s band at her annual grand Balls.

Evening dress for a summer ball, 1811.

Regency Ball – Fashion and Beauty

A robe and petticoat of white satin, with short sleeves, trimmed with green or yellow chenille; over which is worn a light green drapery of crape, fastened on the left shoulder with an amber or cornelian brooch: folded over the left side of the figure in front, nearly concealing the waist on that side, the hind part of the drapery is simply bound in at bottom of the waist and confined underneath the drapery in front, entirely ornamented round with yellow chenille.  With this dress is worn a Turkish turban of green crape, with trimming to correspond, small round curls, divided on the right side. The hair in small round curls, divided on the right side. Amber or cornelian necklace. Gloves of white kid. Shoes of green kind, or silk.

(The Morning Post, from La Belle Assemblé, Wednesday, May 1st, 1811)

A Ball or full dress. A Roman robe of pink crape, worn over white gossamer satin. A long Spanish slashed sleeve, with an antique cuff of fine net lace; horizontal stripe front, with a quilling of fine net round the bosom. The slashes of the sleeve filled with folds of white satin, and their terminations finished with silver filigree, or mother of pearl buttons. A cestus of white satin, with correspondent clasp and brooch. Hair in waved curls confined round the head with a wreath of Persian rose, separated in the centre of the forehead. Neck-chain and cross Peruvian gold; eardrops of the same. An occasional scarf of Paris net, starred with silver. White satin slippers ornamented with pink rosettes. White gloves of French kind, and fan of spangled grape.

General Observations. The hair is worn dressed in full flat curls over the face, twisted behind the ends brought forward and blended with the front of hair. The gloves are worn every short the fans are increasing in size; trains are more laid aside through convenience than fashion. The prevailing colours for the season are yellow, primrose, pink, lilac, straw, and blue celeste feathers in full-dress were never so universal.

(From Ackerman’s Repository of Arts and Fashion, 1811)

Fashion periodicals such as La Belle Assemblé, The Ladies Magazine and Ackerman’s Repository of Arts and Fashion, were influential in promoting the latest fashion trends and styles. By the end of the Regency, Paris correspondents were employed by these periodicals to respond to the growing consumer interest in French fashions.  The waistline in early Regency was situated under the bust and evening dresses were worn with short sleeves and long gloves. Popular fabrics for the Classical effect gown included muslin, cambric and fine cottons in a range of pastel shades. After 1814, skirts became fuller with plenty of trimmings of lace and ribbon. The width of the hem increased and by 1825 assumed a conical shape. Puffed sleeves were also a popular addition. The cloak, pelisse and spencer were worn as outer garments during the Regency.

Regency ‘stocking’ purse used for coins. On display at Lyme Regis Museum.

To Clean Silk Stockings (Family Receipt Book by Mrs Maria Eliza Ketelby Rundell, 1819, 2nd American Edition)

Wash your stockings first in white soap liquor, lukewarm, take out the rough dirt; then rise them in fair water, and work them well in a fresh soap liquor.  Then make a thirdstone blue, wrapped in a flannel bag, till your liquor is blue enough, then wash your stockings well therein, and take them out and wring them. Then let them dried so that they remain a little moist; then stove them with brimstone, after which, put upon the wood leg two stockings, one upon the other, observing that the two fronts, or outsides, are face-to-face then polish them with a glass. NB. The two first soap liquors must be only lukewarm, the third soap liquor as hot as you can bear your hand in it. Blonds and gauzes are whitened in the same manner, only a little gum is put in the soap liquor before they are stoved.

The Useful Properties of Charcoal for Sweetening the Breath, Cleaning the Teeth (Mrs Rundell, 1819)

All sorts of glass vessels and other utensils may be purified from long retained smells of every kind, in the easiest and most perfect manner, by rinsing them out well with charcoal powder, after the grosser impurities have been scoured off with sand and potash. Rubbing the teeth, and washing out the mouth, with fine charcoal powder, will render the teeth beautifully white, and the breath perfectly sweet, where an offensive breath has been owing to a scorbutic disposition of the gums. Putrid water is immediately deprived of its offensive smell by charcoal.

The French dentist, Nicholas Dubois de Chemant (1753-1824) - print by Thomas Rowlandson (1756-1827). The woman has just had fitted Dubois de Chemant’s famous double row of mineral paste teeth and gums. Dubois de Chemant was a famous Parisian society dentist. They certainly had a sweet tooth in the Regency.

To Make Lip-Salve (Mrs Rundell, 1819)

Take an ounce of white wax and ox marrow, three ounces of white pomatum, and melt all in bath heat, add a dram of alkanet, and stir it till it acquire a reddish colour.

To Make Rose-Water (Mrs Rundell, 1819)

Gather roses on a dry day, when they are full-blown; pick of the leaves, and to a peck put a quart of water, then put them into a cold still, make a slow fire under it; the slower you distil it the better it will be; then bottle it, and in two or three days you may cork it.

To Make Jessamine Butter or Pomatum (Mrs Rundell, 1819)

Hog’s lard method, and well washed in fair water, laid an inch thick in a dish, and stewed over with jessamine flowers, will imbibe the scent, and make a very fragrant pomatum.

For Preserving The Nails (Mrs Rundell, 1819)

One ounce of oil of bitter almonds; one dram of oil of tartar per deliquium; one ounce of prepared crab’s-eyes. Mix-up with essence of lemon to send it. La Forest recommends rubbing the nails with lemon as a detergent.

Regency gentleman’s waistcoat. On display at Lyme Regis Museum.

Regency waistcoat detail. Lyme Regis Museum.

Selection of UK Events Celebrating The 200th Anniversary of Pride and Prejudice

• Music! It is of all subjects to my delight – Music at Jane Austen’s House, Chawton, Hampshire. Musician Anthony Noble will play an informal recital of Hadyn, Mozart and Beethoven on the Museum’s piano. Sundays, 2pm: 7th April; 5th May; 2nd June; 7th July and 4th August 2013. Entrance fee to Museum applies. CLICK HERE.
• Jane Austen’s House, Chawton, Hampshire. There are many events happening at Jane’s home in the pretty village of Chawton to mark the 200th anniversary of Pride and Prejudice‘s publication. An exhibition, ‘The Story of Pride and Prejudice’ opens on Saturday 2nd February 2013. It will tell the story and history of the book, also on display will be a letter that Jane wrote to her sister Cassandra on first receiving her copy of the book. Another highlight will be a display of Hugh Thomson’s (1860-1920)illustrations that first appeared in an 1894 edition of Pride and Prejudice.  For more information about events at Jane Austen’s House, CLICK HERE. For details of the Museum’s opening times, CLICK HERE.
• Tea with Miss Austen – Winchester Cathedral. Sunday 16th March (Mothering Sunday), 3pm. Traditional afternoon tea followed by a spoken-word performance, ‘Jane Austen: A Women of Her Time – and ours?’ by Chapter & Verse. Costs £14.95 per person. CLICK HERE.
• The Jane Austen Story – Winchester Cathedral. A permanent exhibition that celebrates Jane’s life in Hampshire. Open 9-5pm when the Cathedral is open to the public. Entrance charges apply to the Cathedral. CLICK HERE.
• Jane Austen Tour and Cream Tea – Winchester Cathedral. Jane died in Winchester on 18th July 1817 and is buried in the north aisle of Winchester Cathedral. Accompanied by one of the Cathedral guides, the walking tour will explore Jane’s close links with Winchester and the Cathedral. The tour will include a visit to Inner Close and the house on College Street where Jane and Cassandra lodged during the last few weeks of Jane’s life. The tours take place on the first Saturday of every month between February and September 2013. The next tour takes place on Saturday 2nd February. Cost = £10. CLICK HERE. To read more about Jane’s brief time in Winchester, CLICK HERE.
• Evening Talk Simon Langton – Filming ‘Pride and Prejudice’ and Other Costume Dramas – Chawton House Library, Chawton, Hampshire. Thursday 18th April 2013. 6.30pm for 7pm talk, finishes 8.30pm. Director Simon Langton will discuss directing the iconic BBC adaptation of Pride and Prejudice starring Colin Firth and Jennifer Ehle in 1995. Tickets: Adults £10; Students/Friends £7.50. For further information on this event, CLICK HERE.
• Regency Dancing – Hillier Gardens, Romsey, Hampshire. Sunday 5th May, 1-3pm. The Hampshire Regency Dancers will perform a selection of Regency dances in the stunning Hillier Gardens. After the performance why not take Regency High Tea in the restaurant. The Regency dance display is free and the afternoon tea is £12.50 per person. Normal admission charges to the garden also apply. For more information, CLICK HERE.
• Celebrating Pride and Prejudice – 4 Day residential/non-residential course exploring key characters in the 1995 BBC adaptation of the novel. Begins Monday 27th May (6pm) and ends Friday 31st May (2pm). Course tutor is Hazel Jones. Included will be visits to the various film locations used in the production.  The course takes place in the Cotswolds (Farncombe Estate, Worcestershire) and is run by Farncombe Courses. Cost ranges from £359-£520, depending on your choice of accommodation. Tel: 01386 854100. For further information, CLICK HERE. 
• Pride and Prejudice  – Open Air Production – Regent’s Park Open Air Theatre – Regent’s Park, London. The production runs from 20th June 2013 until 20th July 2013, reduced price previews between the 20th and 24th June. For further information, CLICK HERE.
• 4th Jane Austen Festival Regency Costumed Summer Ball – the Banqueting Room at the Guildhall, Bath. Full details will be available soon, so keep an eye on the Jane Austen Centre in Bath’s website, CLICK HERE.
• Jane Austen Festival – Bath. This annual event is a must for all fans of Jane Austen and indeed visitors travel from all over the world to attend. Why not dust-off your Regency gowns that you wore to the Costumed Summer Ball at the Guildhall and immerse yourself in the life and times of Regency Bath. This year the Jane Austen Festival takes place between 13th September and 21st September. I visited the event a couple of years ago, Bath never looked so alive. For further information, CLICK HERE.
  

  Jane Austen Festival, Bath, 2011.

Jane Austen Festival, Bath, 2011.

Jane Austen Festival, Bath, 2011.

Jane Austen Inspired Books

• The Jane Austen Cookbook by Maggie Black and Deirdre Le Faye (2002). Published by McClelland & Stewart. The book contains many recipes from the Georgian and Regency era, updated for the modern cook, including a selection of Martha Lloyd’s recipes detailed in her “Household Book”. Martha recorded over one hundred recipes during her time as housekeeper and cook to the Austen ladies. Some of the recipes featured include Martha’s almond cheesecakes, pyramid creams, the famous white soup and salmagundy. CLICK HERE;
• The Real Jane Austen: A Life in Small Things by Paula Byrne (Jan. 2013). Published by Harper Press Books. To watch a short film in which Paula talks more about her new book CLICK HERE. The filming, for this film, took place at Jane Austen’s House, Chawton, Hampshire;
• A Dance with Jane Austen: How a Novelist and her Characters Went to the Ball by Susannah Fullerton (2012). Published by Frances Lincoln. Susannah takes the reader through all the stages of a Regency Ball. CLICK HERE. 
• Happily Ever After: Celebrating Jane Austen’s Pride and Prejudice by Susannah Fullerton (Jan. 2013). Published by Frances Lincoln. CLICK HERE.

Walking In The Footsteps of Jane Austen

• Jane Austen Trail. Self-guided walking tours of Alton and Chawton. The tours are produced by Alton Chamber of Commerce and Industry. There is also an annual Jane Austen Regency Week, usually held in June. The dates for 2013 have yet to be announced but keep an eye on the Jane Austen Regency Week website. CLICK HERE. To download the comprehensive maps for the walking tours, CLICK HERE.  
• Literary Walks in East Hampshire. Self-guided walking tours of the attractive countryside in East Hampshire. The well-written tour also includes a walk around the village of Selborne, only five miles from Chawton, where the parson naturalist Rev. Gilbert White (1720-1793) lived at The Wakes which is now a Museum. He penned The Natural History and Antiquities of Selborne in 1789 whilst living in Selborne. I am currently writing several feature articles on this Museum and its collection so do check back shortly. For further information on Gilbert White’s House and Garden and The Oates Collection which is also housed there, CLICK HERE. For a self-guided walking tour of Selborne, walking in the footsteps of Rev. Gilbert White, CLICK HERE.
  

  Exterior of Rev. Gilbert White’s House, The Wakes, Selborne, Hampshire.

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Vintage Pinboard – Period Drama & Documentaries – Be Inspired in 2013

1930s society glamour.

Here are my recommendations for the best documentaries and period dramas currently on or soon to air on British television.

One other treat, that I am thrilled to tell you about, (credit and thanks for this must go to my husband for its discovery), is the recently digitised Radio Times Archive.  The first edition of The Radio Times was printed on 28th September, 1923, a joint venture between the BBC and publisher George Newnes Ltd. The BBC edited the publication from 1925 until 1937 and it was published in-house until 2011. The digitisation of four thousand five hundred copies of the magazine was completed in 2012. However, access to the full archive is currently restricted to BBC staff but it is hoped that by the end of 2013 the entire archive will be available on-line to the general public. Public access is currently limited to a small collection of, downloadable, pre-war television supplements. For the main website, CLICK HERE.

My favourite supplement is one published at the time of King George VI’s (1895-1952) coronation, which took place on Wednesday 12th May, 1937. To download this issue, CLICK HERE. If you want to listen to an original recording of the King’s coronation speech, then it is available on British Pathé’s website. It might be a good idea to turn-up the sound on your computer before you begin, as it is very faint. The whole speech lasts just over eight minutes.  For the speech, CLICK HERE.

Ripper Street – BBC One

• Victorian Era
• Drama Series 8 x 60 minute episodes. Sundays 9pm

Set in April 1889, six months after the last Jack the Ripper killing, East London. For H Division, the police department charged with keeping order in the seedy back streets of Whitechapel, life goes on. This fictionalised account of the aftermath of the Ripper murders and impact upon the police responsible for solving the crimes, is particularly violent and gory. But nonetheless, a well-acted ensemble piece that contains plenty to hold the interest of Ripper enthusiasts and social historians alike.  Cast includes: Matthew Macfadyen (Detective Inspector Edmund Reid); Jerome Flynn (Detective Sergeant Bennett Drake) and Adam Rothenberg (US Army surgeon and one-time Pinkerton detective, Captain Homer Jackson).

Hat from 1909.

Mr Selfridge – ITV 1

• Edwardian Era
• Drama Series 10 x 60 minute episodes. Sundays 9pm

I have been waiting ages to see Mr Selfridge, ever since ITV teased us with trailers during season three of Downton Abbey last year. It was worth the wait, I know reviews have been mixed but the production values are high and Edwardian London never looked so good. This sumptuous slice of nostalgia helps fill the gap left on Sunday evenings by Downton.

Mr Selfridge is based upon Lindy Woodhead’s book Shopping, Seduction & Mr Selfridge and created by multi-award winning writer Andrew Davies. It tells the story of Harry Gordon Selfridge (1858–1947), the American gentleman who established the iconic British department store, Selfridges, in 1909.  Cast includes Jeremy Piven (Mr Selfridge) and Katherine Kelly (Lady Mae).

Harry Selfridge was born on the 11th January 1858 at Ripon, Wisconsin, USA. Aged twenty-one, he went to work at department store and mail-order firm Field, Leiter & Co (later Marshall, Field & Co). In 1886, he became manager of their retail department. Selfridge left the firm in 1904, after having spent the previous fourteen years as a junior partner there. He used his fortune to buy Chicago firm Schlesinger & Mayer which he proceeded to sell quickly, turning him a profit of £50,000 to go with the return of his £300,000 initial investment.  Selfridge arrived in London in 1906 and lived in fashionable Arlington Street. He set about realising his grand plan to open a large department store in the heart of London and spared no expense in gathering around him the best team possible, employing one thousand two hundred staff at his Oxford Street store and even hiring Goldsman, the chief window-dresser at Marshall, Field & Co.

According to writer and historian, Claire Masset: ‘Perhaps the greatest advertising campaign of the early twentieth century was that of Selfridges, announcing its much-awaited opening in March 1909.  During the entire week of its opening, Harry Gordon Selfridge commissioned thirty-eight advertisements designed by well-known graphic artists, appearing on over a hundred pages of eighteen national newspapers. The campaign, which cost £36,000 (equivalent to £2.35 million today), caused a sensation, with 90,000 people visiting the store on its opening day and over a million in the first week.’ (Masset. C., Department Stores, 2011, p. 26, published by Shire Publications.)

I have had a look through a selection of contemporary newspapers from 1909 and found some simply fascinating examples of Selfridges’ advertising campaign. I hope you enjoy reading them as much I did.

The dedication of a Great House.  A day well spent is passed at Selfridge’s. This house is dedicated to woman’s service first of all.  And for this there are many excellent and satisfying reasons.  To begin with, everything at Selfridge’s is obviously and charmingly NEW – the great building itself and its equipment – the vast stocks of varied merchandise in their entirety – the methods of displaying them to best advantage – and the unaccustomed and luxurious appointments instituted to provide every possible comfort for daily visitors.

  This House is dedicated to woman’s service first of all, and our purpose is to make her shopping more attractive than it has ever been before; so to satisfy her with value, stocks, and prices that she will discover a wider and more pleasurable opening in the word ‘shopping’ than she has hitherto read in it;  and learn regard for Selfridge’s as the best equipped place of merchandise in London for every shopping purpose in which she takes an interest.  There is a home-like lounge for smoking and gentleman are invited to use it as they would their club.

(Daily Express, London, Tuesday March 16th 1909)

Enamelled hat pins, tie-pin and buttons. 1912. On display at the Museum of the Jewellery Quarter, Birmingham.

The new hat pins  – we believe that we have gathered the largest show of hat pin novelties ever seen together on a counter. Some are metal filigree, some in enamel, others set with big coloured stones, and others again representing dragon flies, bees, etc. with semi-transparent born wings. This price for a ‘scarab’ pin is 6d. Filigree pins from 9d, and Louis Seize designs set with imitation amethysts, topazes, etc. are 1/- each.

(Daily Express, London, Wednesday 19th May 1909)

Woven underwear – for the chilly season.  Ladies’ white Scotch all wool combinations, guaranteed unshrinkable, with spliced seats, high neck and short or long sleeve or low neck and short sleeves – all sizes, price 8/3.

Autumn knickers – Ladies’ satin, cloth and serge sports knickers suitable for Autumn and Winter wear. These are particularly well made as regards shape and finish, and have buttons for fastening in detachable linings. Jap silk accordion pleated knickers in black and white (with linings) for dancing and evening wear. Price 35/

(Daily Express, London, 20th September 1909)

From 1916 to 1922, Harry Selfridge leased Highcliffe Castle, Highcliffe, Dorset from the Stuart Wortleys and this became his country residence, away from the hustle and bustle of London life. His wife, Rosalie and mother, Lois, lived at Highcliffe. Highcliffe Castle is a Grade 1 Listed Georgian Mansion, built in the Gothic Revival style between 1831 and 1835, originally for Lord Stuart de Rothesay. During his tenancy, Selfridge added a number of modern flourishes to the Mansion, including fitted bathrooms, steam central heating and a fully equipped modern kitchen.

After the death of his wife, in 1918, and his mother, in 1924, he lost his direction somewhat and embarked upon a number of romances with younger women. Then came the Great Depression and World War Two when retail therapy was the last thing on everyone’s mind. In his twilight years, Selfridge frittered away his money in French casino resorts and eventually died, virtually penniless, at 2 Ross Court, Putney Heath, London on 8th May 1947. He is buried in St. Marks Churchyard at Highcliffe, next to his wife and mother.

Meridian (ITV) have produced a short film (3 mins. 47) ‘Meeting Mr Selfridge’, about the new series and Harry Selfridge’s life here in England. There is also a segment about his time at Highcliffe Castle. CLICK HERE.

1930s Burberry shooting coat. Perfect for those country house parties.

Dancing on the Edge – BBC 2 

• 1930s
• Drama Series 5 x 60 minute episodes – Mondays 9pm (Starts Monday 4th February 2013)

This new drama series by acclaimed writer/director Stephen Poliakoff is set in England in between 1931 and 1933.  Dancing on the Edge follows black jazz musicians, the Louis Lester Band, as they find fame at the parties and performances of London’s upper class society. Cast includes Chiwetel Ejiofor, Matthew Goode, Jacqueline Bisset, Janet Montgomery, Joanna Vanderham, Tom Hughes, Angel Coulby, Wunmi Mosaku, Mel Smith, Anthony Head, Caroline Quentin and Jane Asher.

For further background on this production, see David Gritten’s excellent article, ‘Poliakoff’s Dancing on the Edge: Behind the Scenes’, published on The Telegraph’s website, Monday 21st January 2013. For the article, CLICK HERE. For behind the scenes photographs of the production, CLICK HERE.

One of the locations for this lavish BBC production was  Upton House and Gardens, Nr Banbury, Warwickshire (The National Trust). Before the Second World War, this fifteenth century manor house was owned by Lord and Lady Bearsted. Lord Bearsted (Colonel Walter Horace Samuel, 2nd Viscount Bearsted, MC – 1882-1948) brought Upton in 1927 and until 1929 made many changes to the property and gardens. Notable additions to the interior include a stunning red and silver aluminium leaf art deco bathroom for Lady Bearsted (Dorothy Montefiore Micholls – d.1949) and in the grounds a swimming pool. Lord Bearsted was an astute businessman, he was Director of Lloyds Bank Ltd, Alliance & Assurance Co and also founded the Shell Transport and Trading Company. During the 1930s, the multi-millionaire and his wife hosted lavish house parties at Upton.   The house is full of priceless art treasures and Lord Bearsted was once a Trustee of the National Gallery.

On the weekend of 9th and 10th March, 2013 (Mothering Sunday Weekend),  Upton have a 1930s Beauty Parlour event. There will be demonstrations of 1930s fashion, make-up, hair and beauty techniques. There will also be an opportunity for you to make a gift for your mum. There is no need to pre-book as this event is free, although you will have to pay normal admission charges to Upton.  The house and gardens open again to the public from Saturday 16th February (11-5).  For 2013 opening times. CLICK HERE.

Riding sweater by Hawico, London, 1930s advertisement. ‘Makes an irresistible appeal to all smart riding women. Made in sky, yellow, beige, white and guaranteed to withstand countless washings.’

London store Marshall & Snelgrove’s 1935 advertisement for silk stockings.

Spies of Warsaw- BBC 4

• 1933 to 1943
• Drama Series 2 x 90 minute episodes. Wednesdays 9pm

Directed by Coky Giedroyc, Spies Of Warsaw is a thrilling spy story set in Poland, Paris, London and Berlin between 1933 and 1943. French and German intelligence operatives are locked in a life-and-death struggle on the espionage battlefield. Based on a 2008 novel by American bestseller Alan Furst with the screenplay written by Dick Clement and Ian La Frenais. The main protagonist is jaded French agent and former hero of the Great War, Colonel Jean-François Mercier.  Cast includes: David Tennant (Colonel Jean-Francois Mercier); Janet Montgomery (Anna Skarbek); Marcin Dorocinski (Antoni Pakulski) and Ludger Pistor (Edvard Uhl). This is a superb, classy and intelligent thriller. Tennant is brilliant as Colonel Mercier.

Commissioned by Richard Klein, Controller, BBC Four and Ben Stephenson, Controller, BBC Drama Commissioning. Executive produced by Richard Fell for Fresh Pictures and Chris Aird for the BBC, co-produced by Apple Film for TV Poland in association with ARTE FRANCE and BBC Worldwide.

If you would like to read more about the background to this production, Olly Grant has written an excellent, detailed article in Broadcast Now. CLICK HERE.

Call The Midwife (Series 2) – BBC 1

• 1950s – London’s East End
• Drama Series 8 x 60 minute episodes. Sundays 8pm (Starts on 20th January)

Set in London’s East End in the 1950s and based on the memoirs of former midwife Jennifer Worth. For a short history of midwifery in the Britain then please see my popular article, Call The Midwife: An Historical Perspective  (well it did get picked-up and recommended by
http://www.studentmidwife.net
, which I was thrilled about). I will be writing about the tie-in book for series one and two in a future posting, so keep an eye out for that.

Julian Fellowes’s Historical Houses – ITV 1

• Goodwood House and Burghley House
• Documentary – 2 x 60 minute episodes. Tuesdays 9pm (Starts 22nd January)

Who better to present a documentary about two of England’s greatest stately homes, than Downton Abbey‘s creator Julian Fellowes. The two houses in question are Goodwood House, in West Sussex and Burghley House, Stamford, Lincolnshire. Fans of vintage may already be familiar with the annual Goodwood Revival event, which this year takes place on the 13th, 14th and 15th of  September. Fellowes goes in search of fascinating stories behind these two houses and the characters who helped shape their history. Both houses were selected on the basis that they are still in ownership of the families who built them.

Goodwood House is the seat of the Duke of Richmond and Lennox. Charles Lennox, 1st Duke of Richmond (1672-1723) was the illegitimate son of Charles II (1630-1685) and Louise de Keroualle, Duchess of Portsmouth (1649-1734). The 1st Duke’s love of hunting led him to Goodwood where he purchased a small Jacobean house on the estate in 1697 for use as a hunting lodge. This house is now referred to as the ‘old house’ and is located at the back of the main house. Goodwood House was developed throughout the eighteenth century. The classical Main Hall was built in 1730, a Palladian style South Wing between 1747-1750 and a North Wing added in 1771. The Regency State apartments were added to the South Wing in 1800. The House now resembles three sides of an octagon. Charles Lennox, 2nd Duke of Richmond (1701-1750) was a keen cricketer and arranged matches at Goodwood in the mid 1720s. The 2nd Duke is credited with setting-up the first formal rules of the game, the original document is now kept in Goodwood’s archives.

Burghley House was created by William Cecil, 1st Lord Burghley (1521-1598), Lord High Treasurer to Elizabeth I (1533-1603). The house is thought to be one of the largest Elizabethan mansions ever built. Building began in the 1550s. One of the most notable owners of Burghley was William Cecil’s great-great-great-grandson, John Cecil, 5th Earl of Exeter (1648-1700) who, together with his wife Lady Anne Cavendish (1645-1703), crammed Burghley full of priceless treasures, paintings, furniture and tapestries.  The 5th Earl embarked upon the fashionable Grand Tour and with his wife travelled extensively overseas during a twenty year period. One particular treasure is the Florentine cabinet, enriched with pietra dura panels, which was given to the 5th Earl by the Grand Duke of Tuscany. The 5th Earl died in 1700 at Issy near Paris, apparently after consuming a surfeit of fruit!

The world’s first solid bar of chocolate was produced by Bristol company, J S Fry & Sons in 1847. It was called Chocolat Délicieux à Manger (delicious to eat). The bar was bitter, heavy and a challenge for even the strongest of teeth and jaws. After a slow start, popularity gradually followed. The Victorians often took this portable confectionary with them on long railway journeys whereby it served as a handy snack. The three brothers who were running the company when the bar was invented were: Francis Fry (1803-1886); Richard Fry (1807-1878) and Joseph Fry (1795-1879). By 1910, Fry’s employed 6,000 staff.  Invention No. 5 in the BBC’s booklet 50 Great British Inventions. The exhibit shown are examples of Fry’s chocolate labels, on display at MShed Museum, Bristol.

The Genius of Invention – BBC 2

• History of Inventions and Technology
• Documentary 4 x 60 minute episodes. Thursdays – 9pm. (Starts 24th January)

This four-part series will explore the background behind some of the inventions found in everyday life. Michael Mosley, Prof. Mark Miodownik and Dr Cassie Newland explore the very nature of invention and how and why things are invented. Some of the inventions discussed in the series will include the steam engine, jet propulsion, electrical generator, telephony and television. There is a fascinating and well put together booklet to accompany the series, 50 Great British Inventions. It is free to download and packed full of useful background information and images. CLICK HERE.

1935 advertisement for Schweppe’s drinks. The advert reads: ‘For lively people, let there be lively drinks to match - drinks with sparkling, bubbling freshness to revive tired palates.  Schweppes Soda mixes with anything: it improves everything…that’s why it’s so famous.’ Soda water was invented, in 1772, by Joseph Priestley FRS (1733-1804) a clergyman and scientist. He published instructions on how to make carbonated water, using sulphuric acid and chalk. In 1774, the Swiss fizzy drinks pioneer, Johann Jacob Schweppe (1740-1821) set-up his Schweppes drinks company in London so that he could manufacture carbonated mineral water using Priestley’s method. The brand is still going strong today. No. 14 in the BBC’s booklet 50 Great British Inventions.

This series is part of the BBC’s year-long schedule of programmes focussing on all aspects of British inventiveness.  To browse the full catalogue of programmes due for transmission this year, CLICK HERE. Some of my personal favourites are documentaries on the Romantic landscape painter J.M.W. Turner RA (1775-1851);  Sir Isaac Newton (1643-1727); Josiah Wedgwood (1730-1795) – see my article on The Wedgwood Museum for further information on the Wedgwood dynasty; Why the Industrial Revolution Happened here; Locomotion: Dan Snow’s History of Railways and Stephen Fry’s Planet Invention exploring the background to the ‘stuff’ that fills our homes from putting knives, jeans, bras, flip-flops and fridges to handbags, fast cars and Swiss watches.

Do also check-out the many Genius of Invention related activities that are taking place at museums and heritage sites throughout the UK. CLICK HERE.

The modern hypodermic syringe was invented, in 1853, by Scottish physician Alexander Wood (1817-1884). He was not the only gentleman important to the development of this type of syringe. Francis Rynd (1811-1861) invented hollow needles and Charles Gabriel Pravaz (1791-1853) invented a metal-bodied syringe with a fine hollow point needle for treating aneurysms. No. 15 in the BBC’s booklet, 50 Great British Inventions. Objects shown are from a display at The Old Operating Theatre Museum and Herb Garret, London.

Petworth House, West Sussex (the National Trust) currently have an important exhibition of Turner’s paintings on view, many for the first time. Turner’s Sussex  includes forty exhibits, plus a rare opportunity to view the Old Library, used by Turner as his studio when he visited Petworth, which he frequently did in the 1820s and 30s.  One of Turner’s patrons was the 3rd Earl of Egremont (George O’Brien Wyndham, 1751-1837) for which Petworth was his country seat. The exhibition continues at Petworth until 13th March 2013.  Booking is essential for Turner’s Sussex. Gates open: 10am; Last admission time: 2.15pm; Timed tickets every 45 minutes; Adult £10, child £5; Two-course lunch and high tea available to pre-book on 01798 342207.  To book tickets, call 0844 249 1895 or book online.

 Carved With Love: The Genius of British Woodwork – BBC4

• History of British Woodwork
• Documentary 3 x 60 minute episodes. Thursdays 9pm

As part of the year-long partnership between the BBC and V&A, this three-part documentary explores some of the most important individuals responsible for shaping the history of British woodwork. Episode one explores the extraordinary life and work of fashionable furniture-maker, Thomas Chippendale (1718-1779). Episode two looks at the output of wood-carver Grinling Gibbons (1648-1721) and Episode three provides a close study of carpentry during the Middle Ages, including a detailed look at the roof of Westminster Hall and the seven hundred year old Coronation Chairs.

1930s cocktail party.

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Vintage Pinboard – Make & Bake – Be Inspired In 2013

Happy New Year to you all, I hope that 2013 brings you good health and happiness in equal measure.

I say a fond farewell to 2012 -  what an incredible year it was. During the past twelve months I have experienced the usual highs and lows of everyday life as well as a number of unexpected media opportunities which may not have come my way had I not written this blog.

I am hoping that 2013 will be full of adventure and new experiences. I cannot wait to share my news with you about one of these exciting media opportunities, a primetime television series that I have recently been involved in. However, I have to keep my ‘secret squirrel’ promise for a little while longer before all can be revealed and the series finally airs on British television.

The start of a new year is, for many, a time of new beginnings, setting resolutions and making plans for the future. This year, one of my creative aims is to improve my knitting and crocheting skills which at present can best be described as of a basic level. I began my first knitting project in December, a plain scarf for my parents’ dog. A hit I think, but not quite as much as the packet of tasty treats and squeaky ball which were also in the dog’s Christmas stocking!

Margie models her Christmas scarf. I think she was pleased with it!

Last year, I purchased a selection of vintage knitting patterns from the 1940s, 50s and 60s. The pattern books contain many inspiring projects. Although, fifty or so years ago most knitters were pretty accomplished at their craft and some of the patterns do look fiendishly difficult but I like to have something to work towards.

My grandmother’s 1948 Singer sewing machine.

Whilst home for the holidays, I took the opportunity to have a rummage in my parents’ attic and was not disappointed by my search. Amongst the assortment of heirlooms and vintage treasures, I found a real gem – my late grandmother’s 1948 Singer sewing machine (Serial No. EE617052).  Mum told me that grandmother had ordered the machine in 1945 and due to the shortage of materials following World War Two, waited three years before taking delivery of it. Mum said that it was grandmother’s pride and joy.

Detail of my grandmother’s 1948 sewing machine.

In 2013, I would like to bring the Singer back to life, perhaps using it to make a vintage outfit. I thought I might use it to make a copy of Christian Dior’s, 1948, New Look - similar to the outfit I wore to the first Goodwood Revival meeting in 1998. (Featured in 1950′s Britain – Part Three)  However, it will have to wait for a short bit as I am currently making a 1950s evening gown for one of my ongoing media projects and anyway, I will need to get the Singer properly serviced first.

I wanted to find-out more about Singer sewing machines. During the course of my research I found a really interesting website, Love to Know Antiques: Advice Women Can Trust  CLICK HERE. The article on Singer machines was very helpful, particularly when it came to identifying the exact production date of grandmother’s machine.

There are now a growing number of collectors and vintage enthusiasts who are using antique sewing machines for their crafting and dressmaking. Artist Sarah Harper, owner of Rowan Tree Studios, collects and uses them for teaching sewing courses at her workshop in Clovelly, Devon. CLICK HERE. The February issue of Homes & Antiques magazine (on sale in the UK, 3rd January) also includes an article on ‘Vintage Sewing Machines’, exploring why they are becoming increasingly popular and desirable to collect. CLICK HERE. So what are you waiting for, treat yourself to a secondhand sewing machine, you will be so glad you did. Many of the models can be brought for less than £100. Sarah Harper also sells and reconditions old machines so do check-out her website before you begin your search. CLICK HERE.

I discovered there is a Museum dedicated to sewing machines.  The London Sewing Machine Museum can be found on the first floor of Wimbledon Sewing Machine Company’s premises (292-312 Balham High Road, London, SW17 7AA - Tooting Bec tube stop using the London Underground) which is owned by Ray Rushton.  The Museum has over seven hundred industrial and domestic machines, many of which are incredibly rare, including one owned by Queen Victoria’s eldest daughter, HRH Princess Frederick of Prussia (1840-1901).  The machine was made in 1865 by a German company to a Wheeler & Wilson pattern, it had been given as a wedding present to the Princess. (Homes & Antiques, February, 2013, Sorrell, K., p.62).

The Museum is open on the first Saturday of every month, between 2pm and 5pm. The next two openings will be on Saturday 2nd February and Saturday 2nd March.  Admission to the Museum is free but donations, upon entry, towards The Royal National Lifeboat Institution and Leukaemia Research, would be much appreciated. One point I must alert you to, is that due to the fact the Museum is located on the first floor of a building, access is via approximately forty steps. Unfortunately, they do not have a lift, so access for the disabled and those with limited physical ability, is restricted.  For views of the Museum’s interior, CLICK HERE.

Judkin sewing machine. The display label reads: ‘Charles Tiot Judkins was the only British exhibitor of a sewing machine in the 1851 exhibition. His machines, made in Manchester, were closely based on American prototypes. This particular type of single thread chainstitch machine was presented in Ameria in 1859 by Charles Raymond. Judkins registered Raymond’s patent in England in 1865 (No. 144) and this little machine is Judkin’s only essay into small domestic machines and few have survived, his other wares relate to industry. Weir and several others cloned or imported Raymond machines.’ Milestones Living History Museum, Basingstoke.

Vintage sewing machine for a child. Milestones Living History Museum, Basingstoke.

Milestones Living History Museum, Basingstoke  has a wonderful collection of domestic bygones to help inspire you. This museum is the perfect day-out for social historians and vintage enthusiasts. In my opinion, Milestones has the best collection of vintage kitchenalia on display of any museum outside London. They also have a nice selection of vintage sewing machines, including models produced for children. For more information on the museum, please see my previous article, CLICK HERE.

The Comet toy sewing machine (EMG - SH.1986.122). The display label reads: ‘The first ‘toy’ machines were small machines pour fillette made in France in the 1860s. Late in the nineteenth century the German tinplate toy industry began to produce large numbers of pressed steel cheap toys. After 1945, production of these simple pressed steel toys was restarted and gradually many of the steel parts were replaced by plastic. The Comet is a British toy of the 1950s with its pressed steel mechanism clothed in a plastic body.’ Milestones Living History Museum, Basingstoke.

Further Reading

• The Knitter’s Handbook (Craft Library): A Guide to Patterns, Yarns, Needles, Stitches, Techniques published by Hamlyn (2012). I love this book. Suitable for both beginners and advanced knitters;
• Me and My Sewing Machine: A Beginner’s Guide by Kate Haxell, published by Apple Press (2010);
• Sewing: A Beginner’s Step-by-Step Guide to Stitching by Hand and Machine by Charlotte Gerlings, published by Fox Chapel Publishing (2012);
• Sew Retro: Simple Vintage-Inspired Projects For The Modern Girl & A Stylish History of The Sewing Revolution by Judi Ketteler published by Voyageur Press: Spi edition (2010). Some of the twenty-five projects include: 1800s – pincushion, shawl, sewing basket, needlecase; 1910 and 1920s – opera bag, flapper apron, felt hat; 1930s and 1940s – potholder, purse, curtains, tablecloth, napkins; 1950s – apron, pillow, purse, table runner, handkerchief bag; 1960s and 1970s – mini-skirt, coasters, headband, patchwork throw; 1980s to present – skirt, farmer’s market bag, catch-all caddy, scarf;
• Old Sewing Machines by Carol Head, published by Shire Library (84) (2004).

To help inspire your inner ‘creative god(dess)’ I have compiled a selection of craft projects for you to have a go at. All chosen from my own collection of vintage magazines and books. Some vintage patterns and sewing instructions tend to be quite tricky, presuming prior ability and knowledge of the craft in question. However, I have selected ones that are fairly straightforward to follow. If crafting isn’t your thing, then why not have a go at one of the vintage recipes instead.

THERE IS A PRIZE TOO….

If you do make/bake any of the items featured below I would love to see the end result, so too will other readers of Come Step Back in Time.  Please e-mail me a photograph (JPEG format), your name and a short paragraph about your experiences making/baking it - which may be good, bad or humourous. I will select the best examples to showcase in an article, here on Come Step Back in Time, in Spring 2013.  My e-mail address can be found on the ‘About Me and Media Contact’ page.  Deadline for receipt of e-mail and image, is midnight (GMT) on Friday 1st March 2013 – so you do have plenty of time to complete your chosen project. I cannot wait to see how you all get on.

From the examples showcased in the article I will select one winner to be the ‘best in show’.  The ’best in show’ winner will receive one of my vintage, secondhand books.  I will send it to you wherever you are in the world - postage paid by myself! I have a large collection of incredible books so it will be something special, I promise. So, what are you waiting for, get creative…….

Peg-top kite diagram.

The Peg-top Kite

(The Motherhood Book, c.1932, Amalgamated Press, pp.700-701)

The best-known simple kite is the peg-top pattern.  It is of fairly small size and covered with tissue paper gummed to the frame; such a kite, a foot long, can be flown on stout thread as a line.  The frame consists of a relatively stiff wooden backbone, and a thin, flexible piece of split cane bent to a semicircle by a string arranged like a bowstring.  The centre of the bow is lashed to the top of the backbone, and strings are run from the horns of the bow to the bottom of the back-bone; these strings, however, are not too tight, as the strain is to be taken on the bowstring.

After the frame is covered, a piece of string double the length of the kite has its two ends tied to the backbone, one near each end.  This is the bridle, and the kite line is tied to it so that the upper arm of the bridle is shorter than the lower.  The rig of the kite is completed by a tail, to which convention consigns the form of a string two or three times the length of the kite, tied to the bottom of the backbone and having screws of paper tied to it at intervals; a strip of fabric, however, answers the purpose equally well, being more durable and less trouble to fix.

Home-made peg-top kites sometimes have a rigid wooden member instead of the bowstring.  This is a mistake, as it tends to prevent the horns of the bow from bending backwards under the air pressure, as they must do to give the dihedral angle effect needful for stability.

The adjustments that have to be made consist in varying the amount of tail to be carried and the point of the bridle at which the line is tied on; the kite will not fly unless these adjustments are made suitable to the speed at which the wind is travelling.

The peg-top pattern is inconvenient in large sizes, as it cannot well be taken to pieces for travelling.  A modified form of it is therefore used in which the bowstring is replaced by a straight and particularly flexible stick and the bow omitted, the frame thus consisting of two wooden members arranged in the form of a cross, with a surrounding edge of string tied in succession to the four ends of the sticks.  If this frame is covered with a light cotton fabric it can easily be arranged so that the sticks may be removed and the whole rolled up for transport.  The same adjustments as in the case of the peg-top kit are needed in order to secure for it a satisfactory stability.

Rabbit Soft Toy

(The Motherhood Book, c.1932, Amalgamated Press, pp.670-671)

The main part of the body and the head are cut in one, but the under part and the ears are added separately.  A quarter of a yard of cloth, 48 inches wide, is needed, together with a little pink silk material for lining the ears.

Pattern for toy rabbit.

When cutting out, use the cloth folded with the selvedges together, and arrange the pattern, cut to the shape shown, in the positions seen.

It is necessary first to join the long straight seam of the base or under part; then take it, still folded, so that the seam runs along the top, but with the wrong side inside, and slip it between the two layers of the main body.  The latter should be so put together that the right sides face.

Stitch the edges of each layer of the base to the edges of each layer of the main part, matching edges neatly, and also drawing the curved back part of the base down to the lower edge of the main part.  Next stitch the two main parts of the body together above the inserted base portions, commencing at the front just below the head, and working around this along the top of the body to the back of the inserted base.

Leave a small opening in the part of this seam, however, so that the stuffing may be put in.  Turn the shape inside out, stuff it tightly with kapok;  and sew up opening.  Line each ear with silk; then make a pleat in the straight edge and sew it to the head.  Insert two eyes. [Plastic animal eyes are easily brought from a craft shop or on-line store. These modern eyes will need to be inserted before you commence stuffing the toy. If you intend making the toy to give to a child/baby then not all man-made or natural stuffing is safe. I found an interesting article on the website 'FunkyFriendsFactory', about toy-making which you may find helpful when choosing materials for your rabbit. CLICK HERE.].

Knitted Bed Socks

(Woman’s Weekly, November 4th, 1911, p. 4)

Cast on eighty stitches for lady’s and ninety for gentleman’s socks.  Knit four plain rows, increasing one at each end of the rows.  Then knit ten or twelve rows (knit two, purl two) to form the width of the foot.  Begin the intakes by knitting two together twice in the centre of every row.  Do this for about eighteen or twenty rows, afterwards knit without decreasing, ten more rows, cast off, and sew up.

Knitted Bath Mat

(Stitchcraft, September 1947, p.9)

The original mat measures 20 by 26 inches.  It is knitted from end to end in an easy loop stitch, and can be made very quickly by even the most amateur worker.

12 ozs of thick knitting cotton are used here, but you may find the quantity you use may be slightly different, as these knitting cottons vary very much.  So we give you here the stitch you use first of all; just try a bit to make sure. Tighten loops as you knit.

Cast on 8 stitches on the largest needles you have, about size 5 will do; use the yarn double.  1st row: Work loops thus: – k. 2 border sts., * put needle into next st. without knitting it, put forefinger of left hand under point of right needle and wrap yarn over right needle point and round finger in opposite way to knitting, then round needle again, draw through stitch on left needle, put these on left needle, then knit all sts. again as 1 st.; repeat from * to last 2 sts., k. 2.

2nd row: k. 2, purl to last 2 sts., k. 2. These two rows form the pattern. Repeat them in a few times to make a piece about 2 inches.

Now measure the tension of your work over the back, and work out how many sts. you will need to cast on to get a width of 20 inches.  For example, if you have 3 sts. to an inch you will need 60 sts.  The mat you see here had just under 2 sts. to an inch, so 45 sts. were cast on.

When you have done 9 inches in pattern, work 5 sts. in centre of the work in plain stocking-stitch, keeping remainder in pattern as before, for 8 inches, then finish off with another 9 inches of pattern. Cast off.

With a length of contrasting wool, embroider ‘bath’ across the plain centre piece, then work all round the edge in buttonhole-stitch.

Knitted Scarves

(What’s New in Knitting by Patons & Baldwins Ltd, 1958, p.24)

Tubular knitting on only 2 needles. The secret is how you can knit on one pair of needles a double fabric often used for scarves which has the appearance of a tube of stocking stitch seamed together at both ends. This fabric is easy to knit, and simply consists of one row.

Cast on double the number of stitches required for the finished width, e.g. if you are working at a tension of 8 sts. to the inch in stocking stitch (3-ply on a size 11 needle), you would need 80 sts. for a 10-inch width in ordinary stocking stitch, therefore would cast on 160 sts. for tubular knitting.

Cast on an even number of sts.

1st and every row – * K. 1, bring wool to front, slip 1 purlwise, take wool to back; repeat from * all across row.

Suggestions for scarves:

For a light-weight scarf in 2-ply, use No. 9 needles. Cast on 160 sts.

Work in tubular knitting for 46 inches. Cast off, knitting, 2 together, all across row. Fringe ends.

The ideal needle for 3-play is a size 8; 4-play a size 7, and double knitting a size 5.

Make Do And Mend – Two Old Dresses into a Coat-Frock

(Make Do and Mend by The Board of Trade by The Ministry of Information, 1943, p. 25)

Here is an idea for a dark woollen dress that is worn in front and is too tight for you.  Open it from neck to hem and finish the edges neatly, turning hem in and rounding them up to the neck, unless you like to turn down the points at the neck as revers.  Then use the best part of the silk from an old printed dress or any other material you may have in a contrasting colour, and gather it in a panel down the front, fastening it under the edges of the dark material to give the effect of a Redingote worn over a dress.  This is very suitable for maternity wear.

You could use the bodice of the figured silk frock to make a blouse.  It will probably be worn under the arms, or you wouldn’t be cutting it up, but there should be ample material left over in the skirt after making the panel for the coat-frock to put in new short sleeves and a yoke to the blouse.

Edwardian home sweetmaking.

Marshmallows

Tipped to be THE sweet of 2013, be on trend!

(Highclass Sweetmaking: Chocolates, Candies and Dessert Bonbons by May Whyte, 1909, p. 77)

Ingredients: 10 ozs granulated sugar; 1/4 pint water; 3/4 oz powdered gelatine; 1 dessertspoonful glucose and 1/4 pint water and orange flower water mixed (4 dessertspoonfuls orange flower water is sufficient).

Method: Put the gelatine in the water and orange flower water, then dissolve it in a fairly large pan over gentle heat, and set it aside.  In another pan put the sugar, water, and glucose, dissolve in usual way, and boil to 260 degrees.  Rewarm the pan containing gelatine and pour the boiled sugar into it, beating briskly with an egg whisk; after a minute or two add the stiffly beaten white of an egg, then whip the batch till it gets white and stiff (takes about 15 minutes), leave it in pan for half an hour, then run a thin knife round the sides of pan, and turn it out on to dry sifted icing sugar.  Leave it for an hour or  for some hours, then rub it over with icing sugar, then with large scissors cut it into squares, and rub each square with icing sugar.  Leave these exposed to the air in a warm room for two or three days, then keep in a tin lined with kitchen paper.  Any kind of nuts, if ground, can be added to the batch while beating it.  Various flavours can be used, such as vanilla, rose, chocolate, strawberry, or coffee.

To Mould Chocolate Eggs

Get ready for Easter, which this year is on Sunday 31st March, 2013

(Highclass Sweetmaking: Chocolates, Candies and Dessert Bonbons by May Whyte, 1909, pp. 55-6)

Have [melted chocolate] covering at same temperature as for dipping.  Pour some into the mould, and run it all round the mould to line it well, then empty out the surplus chocolate.  When almost setting, with a knife push some of the chocolate up round the edge – to form a wider rim. Then when the chocolate is quite firm and set take a very sharp knife and pare the edge of the mould quite clear, then give lightly a little jerk or squeeze to the mould each way, then turn it upside down and tap the edge on the marble, and the chocolate egg will drop out.  Fill inside of egg with toy, sweets, motto, etc. Damp round edges of shell with warm chocolate, insert a loop of ribbon or cord to hang egg by, and press the moulds together and let set.

Rich Cream Chocolates

(Highclass Sweetmaking: Chocolates, Candies and Dessert Bonbons by May Whyte, 1909, pp. 64-5)

Ingredients: 1 dessertspoonful of glucose; 1 and 1/4lb granulated sugar; 1/2 oz fresh butter; Saffron [yellow] colouring; 1/2 pint good cream; small 1/2 pint cold water; vanilla flavour.

Method: Dissolve the sugar in the water in usual way, add the glucose and butter, and the cream poured in slowly, and carefully stirred all the time, until the thermometer registers 236 degrees.  Pour into a basin which has been rinsed out with cold water, and when half cold, add colour and flavour and stir with a wooden spoon until it creams.  Cover it with wax paper and a towel and leave for twenty minutes, then work it soft and mellow, and make into centres, and when these are cold and firm cover them either with chocolate, or make them into suffed fondants.

I was recently asked to create a blancmange banquet. Here are some of the results.

Orange Blancmange 

Another hot trend for 2013 – Jelly has had its revival, now it is all about blancmange.

(Practical Cookery for All  by Anding B. et al, c.1950, p.406 – original recipe was for lemon blancmange.)

Ingredients: 1 pint milk; zest of two oranges; pinch of salt; 1  oz sugar;  1  oz cornflour;  1/2  oz custard powder.

Method: Pour about three-quarters of the milk into a saucepan, add the orange zest, salt and sugar and bring to the boil slowly.  Mix the cornflour and custard powder to a smooth paste with the remaining cold milk. Pour the boiling milk on to the mixed cornflour, stirring well.  Return to the saucepan over a low flame, and boil, stirring continuously for a few minutes – until it thickens.  Pour into a lightly oiled mould.  When set, turn out on to a table dish and serve when ready.

My strawberry blancmange with a vintage twist.

My crème de menthe blancmange.

Orange Sauce for Blancmange

(Brown and Polson’s Recipe Book, c.1920, p.12)

Ingredients: 1/4 oz cornflour; 1 orange – juiced and zested; 2 ozs loaf sugar; juice of half a lemon; 1/2 pint water.

Method: Rub the sugar on the orange to absorb the zest.  Put sugar and zest into a saucepan with the water. Bring to the boil slowly and boil for three minutes. Strain through muslin, return to the saucepan, and add the lemon and orange juice. Blend the cornflour with a little cold water, and add it to the liquid when boiling.  Boil for three minutes. When cold, pour round the blancmange.

My crème de menthe blancmange gilded with antique gold (edible) cake decoration.

How to turn-out a blancmange from its mould.

Marrow Chutney

(Practical Cookery for All  by Anding B. et al, c.1950, p.480)

Ingredients: 3lb Marrow; salt; 12 peppercorns; 1/4 oz bruised ginger; cinnamon and allspice; 1/2 lb shallots; 1/2 lb green apples; 1/2 lb sultanas; 1 1/2 pints vinegar; 8 0zs sugar.

Method: Cut up the marrow and put it into a basin.  Sprinkle two teaspoonfuls of salt over it and leave for twelve hours.  Drain well and rinse. Tie the peppercorns, ginger, cinnamon and allspice in a muslin bag. Peel the shallots and apples and chop them finely.  Place all the ingredients except sugar in a saucepan and bring them slowly to the boil.  Allow to simmer gently until almost cooked, add the sugar and boil until a syrupy consistency. Remove the bag of spices. Pour the mixture into a [sterilised] jar and cover.

Redcurrant and Cherry Jam

(French Country Cooking by Elizabeth David, 1963 [1951], p. 189)

Put 4lb of redcurrants into a pan without any water and stir them over a gentle flame until the juice comes out.  Strain through a muslin without pressing the fruit so that the juice is clear.  There should be about 2lb of juice.  For this amount stone 4lb of cherries, and make a syrup with 6 lb of sugar and 3 glasses of water; put the cherries into the syrup and let it boil gently until the syrup sets, when put on to a cold plate.  Now add the redcurrant juice, let the whole mixture boil again, and the jam is ready to put into [sterilised] pots. These jams made of mixed fruits are very much liked in France, and are often served, with fresh cream, as a dessert.

Mary Berry preparing her pineapple ice-cream in 1972.

Pineapple Ice Cream – 1970s style

(Popular Freezer Cookery by Mary Berry, 1972, p. 94)

Ingredients: 1 medium-size fresh pineapple; juice of 1 and 1/2 lemons; 1/4 pint water; 6 0zs castor sugar; 1/2 pint double cream, lightly whipped.

Method: Cut the pineapple in half lengthways, and cut out the hard-core down the centre of each side.  Keep the pineapple shells. With a grapefruit knife or a sharply pointed spoon, scoop out all flesh and chop finely, saving the juice.  Mix the chopped pineapple, juice, and lemon juice together.  Dissolve the sugar with the water in a pan over low heat, then cool.  Add the sugar syrup to the pineapple and pour into a rigid container. To Freeze: cover and freeze until almost set then turn mixture into a bowl and whisk until broken up and light. Fold in the cream and return to container.  Cover, label and freeze until required. To Thaw: thaw at room temperature for 15 minutes. To Serve: scoop out ice-cream with a metal spoon that has been dipped in boiling water. Serve in pineapple shells. Note: a blender speeds up this recipe. Put the pineapple flesh, any juice and lemon juice in a blender, switch on for 2 minutes, then add cooled sugar syrup. (Serves 6).

Russian Gingerbread

(More Everyday Dishes by Elizabeth Craig (Ed.), for Tate & Lyle, c. 1935 p. 47)

Ingredients:  1/2 lb flour; 2 ozs castor sugar; 1 oz blanched almonds; 1 egg (well beaten); 1/2 teaspoon baking soda; 1/2 teaspoon ground cloves; 3 ozs melted butter; 2 tablespoons golden syrup; 2 ozs crystallized ginger; pinch of salt; 1/2 teaspoon mixed spice; 1/4 teaspoon ground ginger; milk.

Method: Grease a shallow baking tin. Sift flour into a basin with spice, salt and soda.  Stir in other dry ingredients and ginger finely minced.  Add syrup, egg, butter and enough milk to make a running batter. Beat till smooth. Pour into tin, dredged with flour.  Decorate with split blanched almonds.  Bake in a slow oven for 40 to 45 minutes.

Raisinet – A Preserve For Winter

(A Plain Cookery Book for the Working Classes by Charles E. Francatelli, 1861, pp.54 – 55)

Ingredients: 12 lbs of fruit, consisting of peeled apples, pears, plums, and blackberries, in equal proportion; 6 lbs of raw sugar; one quart of water.

Method: Bake three hours in a slack or slow oven; First, prepare the fruit, and put it in mixed layers of plums, pears, berries, apples, alternating each other, in stone jars.  Next, put the 6 lbs of sugar in a clean saucepan, with the quart of water, and stir it with a spoon on the fire till it comes to a gentle boil; remove the dirty scum from the surface of the sugar; and, after allowing it to boil for ten minutes, pour it in equal proportions into the jar or jars containing the fruits, and place them in a moderate heat to bake slowly for three hours at least.  When boiling the sugar for this purpose, remember that it is most prudent to use a saucepan capable of containing double the quantity, as sugar is very liable to boil over and waste.  When the fruit is nearly dissolved, the raisinet will be done; it must then be removed to a cool place until it has become thoroughly cold and partially set firm; the jars should then be tied down with thick paper and kept in the cellar for winter use, either for making puddings or tarts, or for spreading on bread for the children.

Good Woman’s Soup

(Mrs Beeton’s Everyday Cookery, 1936, p.129)

Ingredients: 1 quart of white stock, 1 white-heart lettuce, 1 thick slice of cucumber (the length of which must equal the breadth, so that a square block may be cut), a little tarragon and chervil (these may be omitted when not procurable), 1 oz of butter or good dripping, the yolks of 2 eggs, 1/4 of a pint of cream or milk, salt and pepper.

Method: Wash and shred the lettuce finely, cut the block of cucumber lengthwise into thin slices, and the slices into match-like strips.  Melt the butter or dripping, and fry the vegetables for about 5 or 6 minutes, then add the stock, salt and pepper, and boil slowly until the lettuce is tender (10 to 15 minutes).  Beat the yolks of the eggs, add to them the cream or milk.  Let the soup cool slightly, then pour in the yolks and cream, and stir until the soup thickens, but it must not boil or the eggs will curdle. Take 40 minutes to prepare and is sufficient for 4 persons.

Simnel Cake

(Mrs Beeton’s Everyday Cookery, 1936, p.575)

Ingredients: 1/2 lb of castor sugar, 6 ozs of butter, 1/2 lb of eggs (weighed in the shells), 1/2 lb of flour, 6 ozs of currants (cleaned), 2 ozs of peel - shredded; for the almond paste: 6 ozs of castor sugar, 3 ozs of ground almonds, 1 egg.

Method: Beat the butter and sugar to a cream, add each egg separately, stir in as lightly as possible the candied peel, currants and flour.  Work the sugar, ground almonds, and egg to a stiff paste, and roll out to the size of the cake-tin.  Put half the cake mixture into a lined cake-tin, add the almond paste, and lastly a second layer of cake.  Bake in a moderate oven from 1 to 1  1/4 hours.  If preferred the cake mixture can be divided into three layers and the almond paste into two. Takes 2 hours to make and bake.

Aunt Betsey’s Cake

(Mrs Beeton’s Everyday Cookery, 1936, p. 565)

Ingredients: 5 teacupfuls of flour, 2 teacupfuls of sugar, 1/2 a cup of butter, 1 cup of golden syrup, 1 cup of water, 2 eggs, 1/2 lb of chopped raisins, 1 teaspoonful (each) of bicarbonate of soda, cloves, cinnamon, and mace.

Method: Beat the butter and sugar together; add the eggs, dissolve the soda in the water, then add the golden syrup, flour, spices and fruit, and work the mixture in the bowl.  Turn it into a greased flat square tin baking-dish and bake in a moderate oven, or if preferred in small crinkled patty-pans. Takes 1 to 1 and 1/2 hours to make and bake.

Baroness Pudding

(Mrs Beeton’s Everyday Cookery, 1936, pp. 436-437)

Ingredients: 6 ozs of finely chopped suet, 6 ozs of flour, 6 ozs of raisins (stoned), 1/4 pint of milk, 1/2 saltspoonful of salt.

Method: Mix all the dry ingredients together, add the milk and stir well.  Put into a well-greased basin, and boil or steam for about 3 hours.  Serve with any suitable sweet sauce, or with a little sugar. Takes about 3 and 3/4 hours to make and is sufficient for 4 persons.

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Milestones – Hampshire’s Living History Museum

Milestones – Hampshire’s Living History Museum, Basingstoke, Hampshire.

Situated on the outskirts of Basingstoke, Milestones is Hampshire’s Living History Museum. I was recently invited to spend a day there, meeting Museum staff. Afterwards, I enjoyed a leisurely stroll around the atmospheric cobbled streets, visiting buildings and shops that have been recreated from a bygone era.

A well-stocked Co-op shop at Milestones. The Co-op were one of the first high-street retailers to pre-package many of the goods they sold.

Milestones is a relatively new Museum and was the vision of curator Gary Wragg. In 1996, a Heritage Lottery Fund grant, of over £6 million, was awarded to build a Museum that celebrated Hampshire’s rich industrial and social heritage.  The new building also enabled some of the vast collection of objects housed in the county’s museum store to be put on display, for the very first time, in one location. Milestones was opened on 1st December 2000 by HRH The Duke of Edinburgh. The Museum has since gone from strength to strength and in 2003 was awarded the National Heritage Museum of the Year Social and Industrial History Award.

A Victorian chemist’s shop window. Milestones.

There are over twenty-one thousand objects on display at Milestones from the Victorian era to the 1940s.  It is a pure delight for anyone with a passion for history, no matter what your age, to be able to enjoy domestic and industrial artefacts in their appropriate context.  In the nineteenth and twentieth centuries, the county of Hampshire was an extremely important centre for industrial manufacture and Milestones showcases this superbly.

1956 record player in ‘You Must Remember This’. This record player was called ‘Snow White’s Coffin’ due to the fact that the functions are clearly visible through the Perspex cover. Designed by Dieter Rams and made by Braun.

A 1960s kitchen. ‘You Must Remember This’, Milestones.

One of my favourite areas of Milestones was ‘You Must Remember This’. Room settings from the 1930s-1970s designed to encourage the visitor to talk about their own memories. Above image is the 1940s kitchen.

I asked the Commercial Activities Manager at Milestones, Louise Mackay, what exhibits are most popular with visitors?: ‘The steam locomotives are a favourite with all ages but the 1940s exhibits are probably our most popular at the moment. I think that one of the reasons is our older visitors can still identify with this period. Over the last few years, interest in all things vintage has also helped raise awareness of this era. In fact earlier this month we hosted our first Blackout Party. An after hours event for adults, with a 1940s theme. Guests listened to music from the era and many came dressed in Forties clothes. We had about four hundred guests. Next summer we are hoping to host another Vintage Festival here and expect this to be as popular with our visitors as the one we held in June.’

The historic Fire Station at Milestones. Children can dress-up in a Fireman’s outfit and climb on board a Fire Engine.

Milestones is divided into court yards, main streets and back streets which gives the visitor the experience of walking around an established town. In Anna Valley Place, enter Waterloo Ironworks and discover the history of W. Tasker & Sons Ltd, an engineering firm that was based near to Andover, Hampshire. Taskers was established in 1813 and for one hundred and seventy years became the leading manufacturer of a wide range of agricultural implements. In the Thornycroft works shed there is a large collection of vehicles manufactured by this Basingstoke firm. Another important industrial firm was Wallis & Steevens, based in Basingstoke at Station Hill. Founded in 1856 and during its one hundred and twenty-five years of trading they designed steam engines, tractors, wagons and road rollers. They were particularly known for their steam and petrol rollers.

This object caught my eye in the jeweller’s and watchmaker’s shop. It is a bracket clock in a gilt brass case by J. R. Arnold. English, London. c.1843. The clock would once have been covered by a glass dome.

On the main High Street you can take visit a wide range of shops stocked with artefacts from times past. Every type of trade is represented, greengrocer, ironmonger, jeweller and watchmaker, Co-operative Society, Post-Office, milliner, saddlery, sweet shop, cycle shop, gas showroom, garage, a pub, chemist, photographer, toy shop and many more besides.

The streets are filled with vintage vehicles and there is even a railway station which is a replica of the former Chesil Street Station in Winchester complete with a Governess Cart setting-down its passengers for an afternoon departure.

A station porter greets a Governess, her charge and mistress at Chesil Street Station Winchester. Milestones.

A free hand-held audio guide is also available for visitors. This provides additional background information on the exhibits and helps to bring the settings to life.  I must praise the curatorial team who have avoided the common mistake, so often made with this type of museum, of creating a historical ‘theme park’. The costumed interpreters are not intrusive or pushy but extremely knowledgeable about their particular era and most importantly have a genuine passion for bringing the past alive and to as wider audience as possible. It is with this talented group of individuals that I found the heart and soul of Milestones.

The 1940s sweet shop at Milestones.

Armed with my penny and mini ration book sheet, which visitors can obtain from the gift shop, I was escorted to the 1940s sweet shop by Kate, one of the superb costumed interpreters. The delightful young lady explained to me the idea behind this particular exhibit: ‘We would like visitors to experience a traditional sweet shop during World War Two when rationing was in place. They can select one type of sweet from the selection on offer here and for your penny you will get two ounces of sweets. We then mark-off your ration sheet to show you have had your weekly allowance. Two ounces were the weekly sweet ration in the 1940s. There is no chocolate available in this sweetshop either.’

Sweets were rationed in Britain from 26th July 1942 to 5th February 1953. Chocolate was rationed from 1941. The government banned manufacturers from using fresh milk. Consequently, Ration Chocolate was all that was available and this was made using dried skimmed milk powder.

Inside the 1940s sweet shop. Milestones.

Kate told me about the origin of various sweets that we all know and love today.  I didn’t realise that ‘Jelly Babies’ were originally known as ‘Peace Babies’.  Bassett’s created ‘Peace Babies’ in 1918, to mark the end of World War One. During World War Two, production ceased and in 1953 the popular sweet was re-launched as ‘Jelly Babies’.  I chose two ounces of Jelly Babies.

The sweet shop is staffed by a team of dedicated volunteers and open on weekdays 1-3pm and weekends, bank holidays and school holidays 12-4pm.  One of the volunteers told me why she enjoyed working in the shop so much: ‘It is the stories that we are told by some of our older customers who remember similar sweet shops during the War. One particular customer told me that when she was a child, her town was badly bombed one night. The next day she discovered that in addition to the homes that were destroyed in her neighbourhood, the sweet shop had also suffered the same fate. It was the loss of the local sweet shop that she had found particularly upsetting.  Another customer told me that when she got her weekly sweet rations she would choose sweets that she could cut in half so that they lasted longer. I also enjoy seeing grandparents talking to their grandchildren about their memories of Wartime and rationing. It is lovely to see such interactions between the different generations.’

In 1967, famous chocolate manufacturers, Bendicks, moved to premises in Winchester, Hampshire. Bendicks were established in 1930 by Mr Oscar Benson and Colonel ‘Bertie’ Dickson and began production in 1931 from a tiny basement beneath 184 Church Street, Kensington, London. In 1962, Bendicks received the much coveted Royal Warrant.  Bendicks dark English mint batons use Black Mitcham peppermint that is grown at a farm in the foothills of the Hampshire Downs.

Below are a few sweet brands that you might know, together with the year they first went on sale:

1881 – Rowntree’s Crystallised gums (later became Fruit Pastilles)

1887 – Cadbury’s Milk Chocolate

1899-1900 – Seaside rock first produced

1909 – Maynard’s Wine Gums

1911 – Wrigley’s Chewing Gum

1914 – Fry’s Turkish Delight

c.1918 – Fox’s Glacier Mins

1935 – Rowntree’s Chocolate Crisps (became Kit Kat in 1937)

1938 – Cadbury’s Roses

1951 – Bounty (Mars)

1959 – Mars’ Opal Fruits

1967 – Mars’ Twix

(Milestones, Living History Museum)

Inside the 1930s gramophone shop. Milestones.

Kate then accompanied me across the pretty cobble streets to the 1930s gramophone record shop.  This shop really is something special, a stunning interior packed to the rafters with home entertainment objects from a bygone era. Visitors select a record, from a large choice presented in a catalogue, to be played on a 1928 gramophone.  I just couldn’t decide, so asked Kate to choose her favourite, which was ‘Teddy Bears’ Picnic’ (1932).

Costumed interpreter Kate puts a record on the gramophone. Milestones.

The playing of this record instantly transported us both back to our respective childhoods, only difference is that our household didn’t have a gramophone in it.  Kate told me: ‘I remember as a child that there was a gramophone in our home. My parents were very interested in history and vintage objects. I think that is one of the reasons why I have such a passion for the bringing the past alive. Nowadays, in these difficult economic times, people are looking back to a time when everything seemed to be more wholesome, better.’

Costumed interpreter Dickon, as a 1920s road repair workman in his ‘living van’. This van is often on display at outside events and Dickon assures me that the cooking range works really well. I would love to have had a go at cooking on it! Milestones.

I also spoke with another costumed interpreter, Dickon.  Dickon has worked at Milestones for seven years and his specialist areas of interest are transport history and industrial heritage.  I asked Dickon whether he had always been interested in living history?: ‘Yes, very much.  I come from an art and design background originally but inherited my love of transport history from my father who has been collecting vintage cars for over thirty years.  I also own a 1929 Austin 7.  I often attend vintage events in my spare time and have a Wing Commanders uniform that I wear when I am driving my Austin 7.’

Steam roller by Wallis & Steevens, 1927, used for road repairs. Milestones.

Dickon has a number of different characters that he interprets at Milestones, including a 1930s car salesman. However, on the day of my visit his persona was a road repair man from the late 1920s.  Dickon explained that during this period, workmen would travel up and down the country with their steam roller and towed ‘living van’.  I asked Dickon what his favourite exhibit at Milestones was?: ‘The 1903 motorcar by Thornycroft of Basingstoke. It is the oldest Thornycroft motorcar in existence.  It is a 10hp, two-cylinder and has had its bodywork completely restored. Luckily, we had the original drawings for the vehicle which helped considerably in the restoration process. The paintwork is not sprayed but all painted by hand. I particularly like the beautiful wooden spokes on the wheels, such attention to detail. The first owner of this car was Reverend H. A. Acheson-Gray. I haven’t driven the car myself but it is one of my dreams to be able to do so.’

Thornycroft of Basingstoke are probably best known for their shipbuilding, marine engineering and commercial vehicle endeavours.  However, between 1903 and 1912 they manufactured high quality motor cars. If you want to find-out more about Thornycroft’s car industry and read a full history of the 1903 car displayed at Milestones, which includes background on the restoration process, then CLICK HERE. 

Reverend H.A. Acheson-Gray takes his 1903, 10hp, Thornycroft motorcar to be repaired at the local blacksmith. For more information on Britain’s first village garages then you might be interested to read my previous article on the subject. CLICK HERE.

The penny arcade was so much fun! I changed a pound coin for some old-fashioned pennies. This private collection of vintage, penny arcade machines and automata is on loan to Milestones until September 2013.

Vintage penny slot machine. Milestones.

I put my penny in the slot and asked Madam Zasha for a reading. Automata, such as this, were very popular in the eighteenth and nineteenth century.

Madam Zasha gives her verdict.

Milestones is such a wonderful day-out for visitors of all ages who are interested in history and vintage or just want a slice of good old-fashioned nostalgia. There is a well-stocked gift shop with a wide range of history books too and a 1950s style café for you to rest your weary legs.  For adults there is even a working Edwardian pub, Baverstock Arms (but do check its opening times upon arrival).  Alton-born James Baverstock (1741-1815) was a Brewer and thought to be the first person to make use of a hydrometer in the brewing process. In 1769 he married Jane Hinton, daughter of the Reverend John Hinton of Chawton, Hampshire with whom he had a large family and plenty of heirs to carry on his brewery business for him.

If you are looking for somewhere to visit over the Christmas period then the good news is Milestones will be open. The Museum is easily accessible by both car and public transport. I can vouch for the latter as this was how I chose to travel there.  Basingstoke is only forty-five minutes by train from London Waterloo. A shuttle bus (by Courtney Buses www.courtneybuses.com) runs at regular intervals from outside Basingstoke Railway Station to Milestones (fare currently costs £2 return). Because Milestones is all undercover, there is no need to worry about the weather spoiling your visit either.  All in all the perfect day out for the whole family. For further visitor, collection and event information, please CLICK HERE. Admission charges do apply.

Christmas Opening Times

• Sat 22 Dec and Sun 23 Dec: Open 11am–4.45pm
• Mon 24 Dec to Weds 26 Dec: CLOSED
• Thurs 27 to Mon 31 Dec: Weekdays open 10am–4.45pm, weekends 11am–4.45pm
• Tues 1 Jan: CLOSED
• Weds 2 to Sun 6 Jan: Weekdays open 10am–4.45pm, weekends 11am–4.45pm

Normal Opening Times

• Tue–Fri, Bank Holidays, 10am–4.45pm
• Sat and Sun, 11am–4.45pm
• Last admission 3.45pm
• Closed Monday.
  

  I spent ages in Collections Corner and fans of vintage will adore this section. It is chock-full of domestic technology objects. Here are some early twentieth century, electric, cookers.

A surviving rare example of a Tempera Permanent Wave Machine – heat clamp method by Wella. c.1946. Collections Corner. Milestones.

Vintage electric mixers. Collections Corner. Milestones.

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The Magic of Christmas Past – UK Events 2012

Carol singers at Blists Hill Victorian Town, Telford, Shropshire.

If you have been looking for a festive activity with a heritage twist, then search no more, I have done all the hard work for you.  Here are my recommendations for the best nostalgia events taking place, throughout the UK, over the next few weeks. All you have to do is choose an era then allow yourself to be transported back in time to celebrate the magic of Christmas past. There are events here to suit all ages and interests.

For information on each event, simply click on the relevant property address.

MEDIEVAL

• Medieval Christmas Market. Lincoln Medieval Bishops’ Palace, Minster Yard, Lincoln, Lincolnshire. Saturday 8th December (10am-9.30pm) and Sunday 9th December (10am-7pm). £1 entry charge for the market.

• Caerphilly Medieval Christmas Fayre. Caerphilly town centre, South Wales. Saturday 8th December (10am-5pm) and Sunday 9th December (10am-4pm). Apart from fifty market stalls there will be a hog roast, mulled wine, Medieval magician, dragon puppeteers, Jack the jester, dragon stilt walker. Father Christmas will be arriving on a horse and cart and travelling through the town centre to Caerphilly Castle.  Free (town centre only).

• The Medieval Christmas. Belsay Hall, Castle and Gardens, Belsay, Nr Morpeth, Northumberland. Saturday 8th December and Sunday 9th December. Christmas gifts will be on sale and children can dress-up in Medieval costumes.  Re-enactors, Heuristics, will be giving lively presentations containing facts about Christmas during Medieval times. Presentations each day will take place at 11.15am, 12.30pm, 1.45 and 3pm. Charges apply but English Heritage members are free.

ELIZABETHAN

• Elizabethan Christmas. Plas Mawr, Conwy, Wales. Saturday 8th December (11am- 4pm) and Sunday 9th December (11am-4pm). Plas Mawr is a stunning Elizabethan house built between 1576 and 1585 for wealthy merchant Robert Wynn.  There will be mince pies, mulled wine, music and a range of other activities, plus a visit from a green Father Christmas! Charges apply.

REGENCY

• Jane Austen’s festive birthday. Jane Austen’s House Museum, Chawton, Alton, Hampshire. Come and celebrate Jane Austen’s birthday on Sunday 16th December (10.30am-4.30pm) in the pretty village of Chawton, rural Hampshire. Jane lived in Chawton, with her family, from 1809 until a shortly before her death in 1817. This atmospheric, 17th century house, is the perfect choice if you prefer a quieter slice of Christmas nostalgia.  On the day, visitors can enjoy a complimentary coffee and mince pie.  Free (for Sunday 16th December only).

VICTORIAN

• Victorian Christmas Weekends. Blists Hill Victorian Town,  Legges Way, Madeley, Telford, Shropshire. Saturday 8th December (10am-4pm), Sunday 9th December (10am-4pm), Saturday 15th December (10am-4pm) and Sunday 16th December (10am-4pm). If, like myself, you were riveted by the BBC series Victorian Pharmacy (2010) or simply have a passion for the Victorian era, then you will thoroughly enjoy celebrating Christmas in the atmospheric surroundings of Blists Hill Victorian Town.
  

  Blists Hill Victorian Town.  Christmas Grocers.

  Step back in time and be treated to an array of traditional celebrations from the 1800s, listen to stories of life more than one hundred years ago and do some Christmas present shopping. Gifts on offer around the town will include traditionally made cast-iron paperweights and doorstops, handmade plaster decorations and even rocking horses, all produced in the Gorge by skilled craftsmen and women. There will also be a huge range of unusual items in the museum gift shop.

  

  Victorian Christmas celebrations at Blists Hill Victorian Town. Duke of Sutherland Cottage.

  Mr Morton’s Christmas Celebrations will once again see the magnificent Iron Rolling Mill transformed into a place for a ‘workers Christmas party’. Here visitors will be able to enjoy festive food and a wide variety of seasonal entertainment, such as Christmas songs, Punch and Judy and even a magic show. You can also sing-a-long with carol singers and listen to brass bands around the town, which will be festooned with traditional Christmas decorations as the townsfolk prepare seasonal goodies and make traditional Victorian presents.Families will have the option of visiting Father Christmas (extra charge in addition to entrance fee). Across on The Green, they will also be able to see and pet Father Christmas’ reindeer before their mammoth journey around the world on Christmas Eve. Charges apply.

  

  Blists Hill Victorian Town. Pet a reindeer at one of this year’s Victorian Christmas Weekends.

• A Victorian Christmas. Apsley House, Hyde Park Corner, London. Saturday 8th December (11am-4pm) and Sunday 9th December (11am-4pm). Home to the Duke of Wellington after his victory over Napoleon at Waterloo, located near to Hyde Park and Wellington Arch. See how the dinner table would have been laid for a Victorian Christmas feast and get into the festive spirit with traditional music and dance from the period. Charges apply but English Heritage members are free.

• A Very Victorian Christmas. Tudor House and Garden, Southampton, Hampshire. Saturday 15th December (10am-5pm) and Sunday 16th December (10am-5pm). On both days, in two separate sessions (10.30am-12.30pm and 1.30pm-3.30pm), there will be Christmas crafts family workshops where you can make a Victorian-inspired peg doll angel or a reindeer spoon puppet. You can also meet Father Christmas and his helpers in the grotto. Charges apply but if you download a special voucher one child (6-16) goes free when accompanied by a full paying adult.
  

  Osborne House, Isle of Wight.

• Festive Guided Tours – Queen Victoria’s royal retreat. Osborne House, York Avenue, East Cowes, Isle of Wight. Osborne House will be beautifully decorated throughout the Christmas period and festive guided tours are available Wednesdays to Sundays (except 26th December) until Sunday 6th January 2013. The expert guide will tell you how Christmas was celebrated at Osborne when Queen Victoria, Prince Albert and their nine children were in residence. It is essential to pre-book your place on the tour by calling 01983 200022 or their bookings mobile 0777 526 5278 (standard mobile rates apply). The House is open at 10am and closes at 4pm, the last tour is at 2.30pm.  Charges apply but English Heritage members are free. Even if you are an English Heritage member you must still book pre-book your place on a tour.

WORLD WAR TWO

• Evacuee Christmas Party. St. Barbe Museum, Lymington, Hampshire. Saturday 22nd December (10.30am-3.30pm). Experience Christmas through the eyes of an Evacuee. There will be free children’s activities and traditional music and games in a community air-raid shelter. After all that excitement there will be an afternoon tea of traditional party food. If you come dressed as an Evacuee you will get free entry to the museum otherwise, normal charges apply.

CHRISTMAS – MULTI-PERIOD

• The Museum at Christmas. Weald & Downland Museum, Chichester, West Sussex. Wednesday 26th December until Tuesday 1st January 2013 (10.30am-4pm).  If you cannot decide on one particular era and have not got time to fit a heritage event in before Christmas Day, then this annual event at Weald & Downland Open Air Museum is the perfect choice.  Experience the traditions of Christmas past and discover how our forebears enjoyed the festive season. The Museum has fifty rescued buildings covering the time period, c.1300 to c.1910 all set in the beautiful Lavant Valley. Many of the houses will be traditionally decorated and have crackling log fires. Charges apply.

Father Christmas reading letters and Christmas lists at Milestones.

THE TRADITIONAL FATHER CHRISTMAS EXPERIENCE

• This year, Milestones, a Living History Museum near Basingstoke, Hampshire is bringing back the traditional Father Christmas experience. Not a hint of commercialisation, just lovely, old-fashioned charm where children can meet Farther Christmas in a magical setting.
  

  Father Christmas in his grotto at Milestones.

  

  Following her visit to his grotto, a delighted little girl receives her gift from Father Christmas. Milestones.

  His grotto will be located in the heart of this superb Museum, surrounded by buildings and shops from the Victorian era through to the 1940s. After meeting Father Christmas, you can take a family stroll through the full size, cobbled streets and make a visit to the 1940s sweetshop where you can exchange your penny for 2 0zs of sweets, this was the weekly ration allowed during World War Two. The sweetshop is open from 1pm-3pm weekdays and 12noon-4pm at Weekends, Bank Holidays and during the school holidays. There are also friendly costumed interpreters who will delight and enchant you with tales of days gone by.

  

  Milestones. The 1940s living-room decorated for Christmas.

  

  Milestones Living History Museum, Basingstoke.

  Pre-booking to meet Father Christmas is essential – Telephone: 01256 477766. Each child will receive a gift from Father Christmas.  It costs £3 per child, aged 0-15, to visit Father Christmas plus the normal entry charges. He visits Milestones on the following dates:

Saturday 8 December
Sunday 9 December
Saturday 15 December
Sunday 16 December
Saturday 22 December
Sunday 23 December

Details of opening times at Milestones over the Christmas period can be found here.

Chesil Street Station decorated for Christmas. Milestones Living History Museum.

I wonder who the Christmas parcels are for? Milestones Living History Museum.

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The Wedgwood Museum – Barlaston, Stoke-On-Trent

Charm’d by your touch, the flint liquescent pours

Through finer sieves, and falls in whiter showers;

Charm’d by your touch the kneaded clay refines,

The biscuit hardens, the enamel shines;

Each nicer mould a softer feature drinks,

The bold cameo speaks, the soft Itaglio thinks.

(Erasmus Darwin, The Botanic Garden, published in 2 parts, 1790-1, p. 87)

Josiah Wedgwood I.

Dr Erasmus Darwin (1731-1802) was a poet, physician, naturalist and close friend of the famous Staffordshire pottery manufacturer Josiah Wedgwood I (1730-1795).  Darwin’s, The Botanic Garden, is a set of two poems, ‘The Economy of Vegetation’ and ‘The Loves of Plants’, published by J. Johnson in 1790-1.  It is no surprise that a rare edition of Darwin’s book should be on display at The Wedgwood Museum, Stoke-On-Trent, opened at p. 87 and showing the tribute paid to his dear friend.  Darwin and Josiah were members of the Lunar Society, both sharing a common interest in science.  Darwin also became the Wedgwood’s family doctor.

The Wedgwood-Darwin alliance was a powerful one. Darwin’s son, Dr Robert Waring Darwin (1766-1848), married Josiah’s eldest daughter, Susannah (1765-1817) and they had a son who became the famous naturalist Dr Charles Darwin (1809-1882).  Charles Darwin went on to marry Emma Wedgwood (1808-1896) who was Josiah Wedgwood II’s (1769-1843) daughter. 

Emma and Charles married on 29th January 1839 at the Parish Church of St. Peter, Maer, Newcastle-Under-Lyme. In 1802, Josiah Wedgwood II had brought the seventeenth century stone-built country house and estate, Maer Hall using funds he had borrowed from his relative Robert. The pretty church of St. Peter is built on a small hill overlooking Maer Hall and its estates.

Maer Hall. View from churchyard at St. Peters.

The Darwin-Wedgwood family tree certainly has many branches and most are intertwined, you would be forgiven for being confused.  The Museum had a section explaining this complex family genealogy.  If you want to find out more, CLICK HERE.

Josiah Wedgwood I’s father (Thomas Wedgwood) died in 1739 when Josiah was just nine years old. His father’s will included a provision for Josiah, along with his five younger siblings, to receive the sum of £20 when they reached the age of twenty. As a teenager, Josiah contracted smallpox which left him with reduced mobility in his right knee and needing the use of a walking stick for the rest of his life. His father had owned Churchyard pottery and aged fourteen the young Josiah took-up an apprenticeship at there under the tutelage of his older brother Thomas Jnr who had inherited the pottery following his father’s death:

Josiah reputedly began his apprenticeship by learning how to throw, the art of making and shaping hollow vessels on the potter’s wheel.  The flat wheel, or circular board, was placed horizontally at a convenient working level, and an axle through its centre connected to another wheel at the base, this latter being made to revolve by the action of the worker’s foot.  There can be little doubt that the damage to his knee would have made it difficult for Wedgwood to operate the device, and it assumed that he was forced to transfer his attention to other sides of his craft.

(Geoffrey Wills, 1988, Wedgwood, p. 16, published by Spring Books)

Josiah’s right knee and leg gave him many problems throughout his life.  Finally, in 1768 he had no choice but to have his right leg amputated just below the knee. Josiah completed his apprenticeship at Churchyard in 1752 and subsequently went into partnership with two gentlemen, John Harrison and Thomas Alders, at Cliff Bank, Stoke-on-Trent.  The firm’s main output was ‘scratched blue’ stoneware. The partnership ended prematurely in 1754. Josiah then entered into an agreement with another pottery firm, Thomas Whieldon, of Fenton, this agreement also ended a few years later. Eventually, after a few more business ventures, in 1760, Josiah went back to live in Burslem. He became a sole trader with his own pottery business producing large numbers of White Stone pottery. He continued to grow his business and in the summer of 1766, Queen Charlotte (1744-1818) appointed him ‘Potter to Her Majesty’. Josiah, thereafter referred to his pottery as ‘Queensware’ and his London address became ‘The Queen’s Arms’. (Wills, 1988, p.35).

Josiah Wedgwood I. Replica statue cast in the 1950s and located outside The Wedgwood Museum. The original sculpture was sculpted in bronze in 1860. In 1862 it was displayed at the International Exhibition, which attracted six million visitors. Afterwards, on 24th February 1862, it was erected outside Stoke-on-Trent railway station and is still there today.

In 1767, Josiah purchased a new site nearby to his existing one in Burslem. He paid £3,000 for a substantial estate located in the path of Trent and Mersey Canal.  He named his factory and estate, ‘Etruria‘ and his new grand house on the same site, Etruria Hall.  Etruria remained Wedgwood’s main factory from 1769 until 1950.  It is possible to take a 3D digital tour around Etruria, (CLICK HERE.), seeing how it would have looked, c.1900. The Etruria factory has long since been demolished (1966), save for one Listed building.

In 1940, Wedgwood’s production moved from Etruria to a three hundred and eighty acre estate at Barlaston, near Stoke-On-Trent. Geoffrey Wills comments on the reasons behind the move:

In addition to the difficult trading conditions then prevailing, another problem urgently demanded attention:  Etruria was proving inadequate for modern manufacturing methods and could not be enlarged as other premises had been erected in its proximity.  Also, the building was slowly and steadily subsiding, so that it became sited no less than eight feet below the level of the canal running alongside it.  It was decided that a move should be made to Barlaston, five miles distant to the south-east, where a new factory and village would be built.  This duly took place, the first part of the new building being opened in 1940, with the remainder gradually taking shape and being fully occupied ten years later.

(Wills, 1988, p.117-8)

A railway station (Wedgwood railway station) opened on site at Barlaston in 1940, closing in 2004.  Barlaston, where the Wedgwood Museum is located, is still a thriving manufacturing hub for the world-famous, high-end, pottery range.

Barlaston Hall. The imposing country house that greets the visitor at the start of the long driveway leading-up to The Wedgwood Museum. This is now a private residence and is only occasionally open to the public for pre-booked visits. The house was built in 1756-8 for lawyer Thomas Mills from Leek. It overlooks the Trent Valley and the octagonal diamond sash windows are a rare surviving trademark of Taylor’s work.

Side view of Barlaston Hall.

One of the main reasons for my visit to The Wedgwood Museum was to make a study of Wedgwood blancmange moulds.  Those of you who are regular readers will know that I own a Wedgwood blancmange mould from 1875 that used to belong to my great, great, grandma.  I still use this mould today and have a large repertoire of blancmange recipes from which I produce this much misunderstood dessert. My beautiful mould, with strawberry motif, has been used to make thousands of blancmanges over the last one hundred and thirty-seven years. It is still in very good condition, evidence of Wedgwood’s quality manufacturing techniques.  Blancmange was an extremely popular, ‘showy’ dessert, throughout the nineteenth century. Unsurprisingly, the Museum have a number of blancmange moulds in their collection.  One of the more unusual can be found in cabinet 34, the Egyptomania section.  Egyptomania was an early nineteenth century craze for anything related to Ancient Egypt.  It was inspired by Napoleon’s (1769-1821) Egyptian Campaign, which began in 1798 and ended in 1801. The nation’s artisans responded.  Wedgwood manufactured many items in the Egyptian style. One such being an earthenware blancmange mould with a Canopus vase relief (c.1811).

In cabinet 36, there is a large collection of cream-coloured, earthenware blancmange moulds with embossed motifs from the late Georgian period (1810-1830). The attention to detail on these moulds is exquisite. The range of motifs include: a turkey; lion; clover; thistle; grapes; cabbage rose; wild poultry and mythological figures.  I just wish I could have a go at making blancmanges in them!  Unfortunately, no photography was permitted inside the main exhibition, which is a shame, as I would love to have shown you these quirky, but nonetheless, charming objects.

Also on display are some of Charles Gill’s research notebooks which contain many examples of early nineteenth century blancmange moulds.

The Apotheosis of Homer Vase. Cylindrical pedestal with white reliefs of fruiting vines, medallions, lions’ heads, ribbons and trophies. Solid blue Jasper Relief decoration modelled by John Flaxman. C.1790.

Although my particular interest in Wedgwood are their jelly and blancmange moulds, this is only a small fraction of the collection on display at Barlaston.  It is possible to browse the on-line catalogue and view some of the extensive range of objects (although sadly no blancmange moulds are included in the database, only one jelly mould). CLICK HERE.

I spent three hours looking around the Museum, much to the shock of my husband, who after an hour came to find me, only to discover that I was still in the first section reading about the history of the company. He remarked, ‘you are not even half-way through yet, there are so many beautiful objects still to see, my eyes are exhausted, I am going for a cup of tea.’  Three cups of tea and two hours later (I know, I have a patient husband), I re-emerged into the Museum restaurant.

The Wedgwood Museum is a fine example of superb curatorial techniques being applied to best effect. There is enough to satisfy the needs of both casual visitor and demanding scholar. In the first part of the Museum, where you can read about the development of Wedgwood’s manufacturing techniques, it is possible to touch small fragments of various styles of pottery.  Since the collection is so precious, it is understandable that the original pottery has to be display in locked cabinets.  Therefore, the decision to include samples of pottery for visitors to touch shows educational flair.

In addition to the Museum there are seasonal, behind-the-scenes, tours of the manufacturing facility where you can view the traditional ceramic production processes. If you have an urge to shop, there is a Museum gift shop, a Retail Store selling gifts and tableware designs from the extensive Wedgwood portfolio, including Waterford Crystal, Royal Doulton and Royal Albert. If the Retail Store is out of your price range then pop into the Wedgwood Factory Outlet, grab a trolley and fill-it with lots of pottery bargains. Discounts of up to 75% off of Wedgwood, Waterford, Royal Doulton, Royal Albert, Mason’s and Minton.  We brought loads of quality pottery in the Retail Store. Best of all was a stack of side plates priced at 64p each. I also brought a mug which my husband describes as ‘absolutely horrible’ but I like it very much and is a lovely souvenir from of a most enjoyable day-out.

For more information about visiting this award-winning Museum complex, CLICK HERE.

The Wedgwood Museum, Barlaston, Staffordshire.

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