Top British Authors’ Homes (of the past)

On her last trip to the United Kingdom, Cheryl Bolen wandered through the lovely grounds at Wordsworth’s Rydal Mount in the English District.

Those of us who love the Regency era would probably select Jane Austen’s house in Chawton as our favorite literary site in Great Britain. While it did make the cut in the recent 90 Places You Must See in Britain published by British Heritage, some of the choices are surprising.

Abbotsford is Sir Walter’s Scott’s newly refurbished home in — where else? Scotland.

The British Heritage booklet is sort of a top 10 compilation. There are the top 10 gardens, top 10 castles, top 10 stately homes, etc.  British Heritage claims these must-see sites are selected by their editors. Anglophiles may take issue with some of their picks.

Though I don’t consider myself an expert on literary sites in Great Britain, I was surprised that the top pick under literary sites was D.H. Lawrence’s Birthplace in Eastwood, a Nottingham suburb. Because I have never visited Lawrence’s Birthplace, nor ever heard much about it, I cannot claim the expertise to pass judgment. But. . .

What about Stratford-upon-Avon, for pity’s sake? The city Shakespeare put on the map comes in at paltry sixth on the list.

For many years I’ve made it a point to visit authors’ homes when I travel in England. Of course I made the pilgrimage to the Wordsworth’s Dove Cottage in the Lake District, which fills the number 4 spot on the Literary Sites list. Outside of Stratford-upon-Avon (where I visited the bard’s birthplace as well as Anne Hathaway’s Cottage), the only other author residence on the top 10 list that I had visited was the Dickens House Museum in London’s Bloomsbury, which was the ninth pick.

Thomas Hardy’s Cottage is one of the Top 10 Literary Sites in Great Britain, as selected by the editors of British Heritage.

Two more homes that made list are high on my list of wanna-sees. They are Sir Walter Scott’s Abbotsford (5) and Rudyard Kipling’s Bateman’s in Sussex (7), both purchased after these two enormously successful authors made their fortunes writing.

The other sites rounding out the British Heritage list were Thomas Hardy’s Cottage in Dorchester, Dylan Thomas’s Boathouse in Laugharne, Wales, and the Writers Museum in Lady Stair’s former Edinburgh home. That museum honors Scotland’s three most noteworthy authors: Robert Burns, Sir Walter Scott, and Robert Louis Stevenson.

Conspicuously absent from the list was the Bronte Parsonage in the West Yorkshire moors – which has always been high on my want-to-see list.

I am chomping at the bit to see one of the latest literary houses to open to the public: Agatha Christie’s Greenway near the South Devon coast. It just opened to the public in 2009. I will see it on my upcoming trip to Great Britain.

Greenway – Agatha Christie’s home near the South Devon coast is now open to the public.

Authors’ places I’ve enjoyed include Thomas Carlyle’s home in London’s Chelsea, Ruskins’ Museum in the Lake District as well as Wordsworth’s Rydal Mount, also in the Lake District, and Beatrix Potter’s Hill Top Farm, also in the Lake District.

I spent a fascinating couple of hours at Keats’ House in Hampstead. That wasn’t really Keats’ house since he was a boarder there, but the home is now used as a museum to honor the poet. He was engaged to marry the daughter of the house before he was claimed by tuberculosis at age 25.

I have also visited Dr. Johnson’s house in London’s old City and Churchill’s Chartwell in Kent, where he penned his bestselling non-fiction.

Discussing Britain’s literary associations is a whole other topic, which would fill a book. In fact, I possess that book. I highly recommend the The Oxford Literary Guide to the British Isles, touted as an A-Z of literary Britain. I got my copy at an Oxford University Press book store in the U.K. Mine is a 1980 paperback containing 413 encyclopedia-style pages, listed by locale rather than the author. In addition, it offers a map appendix.

Here is just one little sampling in the voluminous section on London:

St. George’s Church, Hanover Square is an early 18^th-c. church where the following were married: Shelley and Harriet Westbrook in 1814 after a ceremony in Scotland following their elopement, Disraeli to Mrs. Wyndham Lewis in 1839, Marian Evans (George Eliot) to John Cross in 1880, and John Galsworthy to Ada Galsworthy in 1904.

If my home were in flames and I could save just one book from my extensive library, The Oxford Literary Guide would be that one book. – Cheryl Bolen, whose lighthearted romantic mystery Falling for Frederick (Book 1 in the Stately Homes Murders) is now available in print – and is available internationally for the first time

Britain’s Top 10 Castles

Can you guess which castle British Heritage selected as the number one castle in the country? Sadly for me, it’s not one I’ve been to. It’s Corfe in Dorset. The “ruin” dates to the 11^th century.

 

I can’t imagine it besting Tintagle, a magnificent Arthurian ruin on Cornwall’s rocky north coast. The Ten Best Castles in Britain were selected by the editors of British Heritage.

Tintagle (My favorite ruin)

 

Three of the Top 10 I’ve toured – and loved: Arundel in West Sussex, coming in third; Dover Castle, at fifth; and Kent’s Hever Castle, called the childhood home of Anne Boleyn, at tenth.

Arundel Castle

 

Hever Castle

I’ve done a drive-by of two others: Stirling in Scotland, fourth; and Warwick Castle, which was selected eighth.

 

Rounding out the list were Conwy Castle in North Wales, second; Caerphilly Castle, also in Wales, at sixth; Alnwick in Northumberland, which celebrated 700 years as home of the Percy family, seventh; and Scotland’s Blair Castle at ninth.

 

Fashions in the era of Jane Austen

Jody Gayle is the editor/designer of Fashions in the Era of Jane Austen, and it is solely through her efforts that this wonderful resource is now available both electronically and as an oversized paperback with hundreds of color illustrations.

Thank you, Jody, for being my guest today, and thank you for introducing a whole new generation (and more) to Ackermann’s Repository. First, will you tell us what Ackermann’s Repository was?

The Ackermann’s Repository of the Arts was a monthly British periodical published from 1809-1829 by Rudolph Ackermann.  It was a highly popular nineteenth-century publication devoted to the study of the arts, literature, commerce, manufacturing, politics and fashion.  I believe a contemporary example could be a monthly version of the New York Times with somewhere between 60-80 pages.  However, the Repository of the Arts included a significant amount of information provided by the readers including personal letters, poems, opinion pieces and general articles.

Each monthly issue contained several illustrations produced by artists using a technique called etching. Two of the illustrations were always hand-painted prints normally featuring the whole body of a woman dressed in the latest fashions.  Every fashion print included a detailed description of the type of clothing shown, its style, cut, trim, color, type of fabric and the accompanying accessories.

In compiling your book, why did you make the decision to reproduce all the illustrations with the exact same language that was used in their original publication?

There were a couple reasons why it was important to include the language of the time to accompany the fashion plates.  When I began my research I found books with tons of beautiful fashion prints.  Then I began reading Ackermann’s Repository that included the descriptions and discovered a whole new dimension and depth to the illustrations.  It seemed sad that the words of the past were being forgotten and I felt there would be others who might like to read the descriptions.  Plus, I wanted to provide a convenient means for scholars and authors to access this information.  There are over 240 issues of Ackermann’s Repository and over 16,000 pages!  It can take months to research or find all the fashion prints.

Can you describe for us the some of the steps you had to take in order to produce your incomparable work?

 

Just a few years ago I worked for a local newspaper company and they also published a bridal magazine so I had some idea of the process of printing and design.  I was able to publish my book due to the fantastic program through Amazon.  It allows authors to self-publish their own digital and paperback books but then every little detail and decision has to be made by the author without the assistance of a publishing house.

I began by contacting the Philadelphia Museum of Art Library for the permission to use their copies of Ackermann’s Repository of Arts.   Then I spent my time searching, scanning, and organizing the illustrations and then searching, typing and organizing all of the text.  Developing the organization system was crucial to keep the illustrations and the accompanying descriptions straight.  I had to be meticulous since one of my goals was to provide a resource to scholars and authors.  Everything had to be exactly right and accurate.   There wasn’t an easy way to accomplishing this task other than pure determination and hard work.  Then I had the whole book professionally proofread and compared to the original documents.

The Kindle book was designed by me but I paid an experienced company to format the book but for future projects I can format the book myself.  A critical decision in designing the paperback book was choosing the size of the book.  This decision impacted everything from the fashion plate quality and detail, the book design, and ultimately the price of the book and shipping costs.  In the end I chose the largest book size available and the size is similar to a textbook.

Just how many pages are in your book, and how many illustrations?

Well, since you asked I counted and there are 291 illustrations and 376 total pages.  When I first uploaded my book to Amazon it was too many pages and I had to redesign the book so some of the illustrations included the descriptions on the same page.  When you purchase the Kindle version there is a note to readers that due to its large file size, this book may take longer to download.  Fashions in the Era of Jane Austen are the fashion plates from 1809 to 1820.  My next project will contain the next nine years I was unable to include in the in the first book.  I am having a difficult time deciding on a title.

Once again, Jody, many thanks for your contribution to Austen era scholars and writers.

Culpeper’s Complete Herbal

As one who haunts used book sales and old book stores, I’ve amassed a wonderful library of research books, but the one volume I’ve used the most since I sold my first historical novel in 1997 is Culpeper’s Complete Herbal.

In fact, I have two editions. The first one I purchased was a paperback, and I’ve marked it up excessively. Later, I found a hardback with illustrations, but I can’t part with the first one because I’ve highlighted passages with references to what ailments could be treated with a particular herb. Lots of hours of research went into all that highlighting.

Originally published by Nicholas Culpeper in 1653, the herbal is an impressive work. My original Wordsworth edition (1995) has 603 pages and combines the herbal with The English Physitian, both written by Culpeper. (Note: Culpeper’s original spelling of physitian has been retained.) My British hardback has 430 pages.

The latter book claims to be “a comprehensive description of nearly all herbs, with their medicinal properties, and instructions for making up the herbal remedies.”

The English Physitian, originally published in 1652, has been in continuous publication since its first printing and is the most successful non-religious English book ever published.

The Herbal catalogues most every plant that grows in Great Britain, giving descriptions of the plant, what time it needs to be harvested for medicinal purposes, and which physical complaints a concoction of it will help to alleviate.

The Physitian is a primer for physicians and apothecaries. It includes information on how to make decoctions, syrups, purging electuraries (like laxatives), pills, oils, ointments, and plaisters for a wide variety of ailments.

Since the information in this text was widely in use during the Regency, I’ve used these works as a resource for almost every book I’ve published.

Here are some examples of Culpeper’s delightful work:

My son was taken with the same disease (the body flux), and the excoriation of his bowels was exceedingly great; myself being in the country, was sent for up, with only I gave him, was Mallow bruised and boiled both in milk and drink, in two days (the blessing of God being upon it) it cured it.

On ground pine, which grows low, Culpeper has this to say: It is utterly forbidden for women with child for it will cause abortion or delivery before time.

On mint, he writes: Simeon Sethi saith it helps a cold liver, strengthens the belly, causes digestion, stays vomits and hiccough; it is good against the gnawing of the heart, provokes appetite, takes away obstruction of the liver, and stirs up bodily lust, but therefore too much must not be taken.

He says dill “is a gallant expeller of wind.”

So if you need to know what your characters would take if they are suffering from gout, sore throat, headache, tooth ache, to expectorate phlegm, treat asthma, or any infirmity you can devise, check out Culpeper.

The Grand Tour

The eighteenth century was the golden age of the requisite Grand Tour wealthy young Englishmen took to finish their education. These weren’t tours as we know them today. They often covered several years and employed a small army of private tutors to facilitate the acquisition of knowledge and proficiency in European languages. These young men would also take valets and fencing masters.

 

Thomas Coke, 1^st Earl of Leicester, 5^th creation (1697-1759) took a six-year Grand Tour, returning to England in 1718 at age 21. At a time when a servant earned £6 a year, the 15-year-old Coke left England with a dispersal income of £10,000 for each of the six years he was gone.

 

His contemporary, Richard Boyle, 3^rd Earl of Burlington (1694-1753) toured the Lowlands and Italy in 1714 at age 20, returning with 878 caskets of art, clocks, and musical instruments. After the English publication of Andrea Pallidio’s architectural works, Burlington (the Architect Earl) was keen to follow in Pallidio’s footsteps as well as Inigo Jones’ and returned to Italy in 1718 and 1719.

 

Still another of their contemporaries, Philip Dormer Stanhope (1694-1730), the bastard only child of the 3^rd Earl of Chesterfield, spent just under six years on the Continent to acquire the attributes his father deemed necessary for him to take a position in Society and in the diplomatic corp. He left England at age 14, accompanied by another young aristocrat and his own master. In each country he visited, his father demanded his valet be a native speaker so Philip could become more proficient in each language. He spent time in Germany, Austria, Switzerland, and Italy. At age 18, he took up residence in Paris, no longer obligated to study with his various tutors. At this time his father wanted him to learn the manly pursuits in Society: low-stakes gambling, attending salons, and operas. Also at 18, he received his own carriage, footman, a valet de chamber, and a valet de place.

 

A few decades later, Whig Statesman Charles James Fox (1749-1806), a grandson of the Duke of Lennox, was taken from Eton by his father so he could gain some “polish” on the Continent. In Spa at age 14, urged on by his father, he lost his virginity at the same time he embarked on his disastrous association with high-stakes gambling.

 

The Grand Tour was not just the privilege of the aristocracy. William Beckford (1760-1844), the once-wealthiest commoner in England, embarked on his Grand Tour at age 18. No expense was spared. It was said that because his entourage consisting of three carriages, outriders and relays of spare horses was so large, he was mistakenly taken for the Austrian emperor. Beckford’s Grand Tour journal was published, and a paperback edition edited by Elizabeth Mavor was published by Penguin in 1986. Those looking for an accounting of great excesses will be disappointed. As one whose greatest passions were directed at young boys and nature, Beckford’s observations are not very enlightening to today’s readers.

 

The French Revolution and the Napoleonic Wars affected Englishmen’s Grand Tours, and the advent of rail travel a few decades later made the progression through the Continent available to the middle classes.—By Cheryl Bolen

Cheryl Bolen’s latest novel, Falling for Frederick, a contemporary romantic suspense set in England, is a Kindle Serial in nine installments. “Aided by lord of the manor, lovely graduate student archivist seeks priceless medieval artifact—just steps ahead of those who’ve already killed to get it.”

George Romney: portraitist to rich and famous

Take a look at Regency books and chances are several of the covers will feature paintings of Emma Hamilton done by George Romney (1734-1802) well over 200 years ago. In the period from 1782 to 1785, he painted some 60 different portraits of the beauty, who was at that time going by the name Emma Hart.

Romney—who is related to the former Illinois governor of the same name as well as his son, presidential candidate Mitt Romney—actually changed the family’s spelling of the name, which was formerly Rumney.

At the age of 21, Romney was apprenticed for four years to a portrait painter. The apprenticeship (paid for by Romney’s cabinetmaker father) was to have lasted longer, but George Romney was able to buy himself out of the servitude and strike out on his own. In those early days when he was painting in the provinces, he charged six guineas for a whole-length portrait and two for a three-quarter figure.

In 1762 Romney came to London to make his fortune, leaving behind his wife and son. His wife, who was of a lower social class than he, never came to live with her husband in London during the nearly 40 years he was away. He provided generously for her—as well as helping out many of his ten siblings.

In London, he raised his prices to 8 guineas for a three-quarter portrait and began to receive many commissions from members of the legal profession, then from those in the theatre.

Ten years later he was making an exceedingly comfortable income of over £1,000 a year and was therefore finally able to travel to Italy to really study his art. He stayed abroad for two years.

Upon his return, he boldly took the large house and studio located at No. 32 Cavendish Square, an aristocratic neighborhood. One of his first patrons there was the Duke of Richmond, who commissioned him to paint his portrait—along with several copies of it, as was the custom in that day—and Romney also did portraits of various members of the duke’s family.

A long procession of aristocrats began to patronize him. This included Georgiana, Duchess of Devonshire (whose portrait was never finished due to her unreliability); her best friend Bess, who succeeded her as Duchess of Devonshire by marrying the 5^th Duke; the Duchess of Gordon; the actress Mary Robinson as Perdita; and Mrs. Fitzherbert, illegal wife of George IV when he was Prince of Wales. Soon Romney’s income grew to a lavish £3,000 a year.

It was in the summer of 1782 that Romney came under the spell of Emma Hart, when her “protector” Charles Greville (nephew to her eventual husband, Sir William Hamilton) requested that Romney paint the exquisite creature.

The 48-year-old painter was smitten. Most believe his relationship with Emma was purely platonic, more like that of a father toward a daughter. The age gap between them was 22 years.

In Emma, he had found the perfect model for his mythological works. The Prince of Wales, too, was enchanted. He purchased two of Romney’s paintings of her, one as Calypso and the other as Magdalen, paying the staggering sum of £100 for each of them.

Romney and Emma were genuinely fond of one another. When Emma returned to England in 1800 and inquired about Romney, who had chosen to spend the last two year of his life in the country with his wife, Romney said, “The pleasure I should receive from the sight of the amiable Lady Hamilton would be as salutary as great, yet I fear, except I should enjoy more health and better spirits, I shall never be able to see London again.”

Discoveries in Letters and Diaries

I wrote this post a couple of weeks ago for the Historical Hussies blog.

Through reading diaries of those who lived in Georgian England one can glean any number of interesting things, things Georgians easily understood but which have passed almost into obscurity after two centuries of disuse.

For example, did you know that black wax was used to seal letters bearing news of one’s death? I learned this in a letter in which the writer apologized thusly, “I have sealed my letter with black wax for too good a reason, so don’t be alarmed. I have no red.”

There’s another factoid: letters were normally sealed with red wax. (This was verified by images on the internet.)

In the same book of letters, an aristocratic child wrote, “My mama writes in the carriage. She has a little table in it.” Of course, I had to steal that to use in one of my books!

That same child, in another letter, references the real wood fires they only had at their country home. That casual comment alerted me to the fact they did not have wood fires at the town house in London. Of course, they used coal in the city! Had I erred in an earlier book? I certainly know better now than to have wood fires in London.

Some of the more interesting of those little-known occurrences of two centuries ago revolve around travel. Englishmen traveling in Italy during the summer slept in the daytime and traveled in their coaches only at night because the heat in the carriages could be too oppressive.

Perhaps the most interesting travel tidbit is how the wealthy Englishmen crossed the mountains. Their entire carriages had to be disassembled and carried over the passes by crews hired for this purpose. Crews also carried the aristocratic passengers along these treacherous areas by sedan chair. Once the passes were cleared, the carriages were assembled.

I’m currently reading the Grand Tour journal written by England’s once-wealthiest commoner, William Beckford, and will share its enlightening facts in the next blog.

Cheryl Bolen is the romance launch author for Montlake’s Amazon serial, Falling for Frederick, which is now available, with a new installment (no additional cost) every two weeks.