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Truth or Fantasy: clinging to the notions of the past by Manda Scott

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A strange thing happened to me on the way to writing this blog… Not quite, obviously, it’s a rhetorical device, but in its way it’s accurate.  I am, as I have mentioned ad nauseam, writing a novel about Jeanne d’Arc.  I am one hundred per cent certain that she was not a peasant girl from Bar who happened to be, in the words of one otherwise sane historian, ‘a natural horsewoman’.  
Nor do I believe, as yet another eminent and entirely sane academic appears to do, that while I don’t share her faith, hers was outstanding and thus it allowed her to perform miracles.  Sorry, it doesn’t wash. My spiritual path is shamanic. I practiced evidence-based medicine when I was a vet and I practice evidence-based spirituality now.  I do shamanic healings.  We can’t double blind them and the results are often far from spectacular – but not always: there are the occasional truly spectacular events that may, of course, be put down to chance or bad diagnostics by the medical fraternity (I use the gendered word advisedly) or ‘the placebo effect’ which is to say, the power of faith.  
 It may be any of these – and if it was readily reproducible, we’d all be doing it on the national health because we’re not so stupid as to turn down a perfectly functional form of medicine just because it doesn’t fit the prevailing world view (actually, we are: Homoeopathy and acupuncture fit this perfectly). 
But the point remains:  I know the workings of faith, belief, spirit.  They have rules.  They have ways of behaving.  The mind is a very powerful organ and if we hone our intent, keep a clear integrity and understand the ways of will, we can change the course of apparently intractable disease patterns, we can dispel – or cause – bodily symptoms, we can achieve momentary feats of strength that are otherwise impossible (that doesn’t take faith, actually, just an imminent need: the mother who lifts the crashed car off her child is the classic example).

What faith cannot do – ever – is replace decades of training in the handling of a warhorse and a lance, while wearing full armour  - if only because the horse is an integral living (fully trained) part of this and it doesn’t have any faith at all, it simply responds to the cues it has been taught. 
Perhaps none of these people has ever ridden a horse. Perhaps none of them has ever been seriously over-horsed.  In my youth, I had pretensions to become an affiliated dressage rider.   My trainer once put me on her Prix St George horse – that’s several stages below Grand Prix.  It was one of the single most terrifying events of my life, ranking above the motorbike ride with the mad boyfriend who thought 120 was too slow (yes, you did read that right; it was a very long time ago) and the moment when I was leading a climb on a rock face in the Derbyshire peaks and flip-flopping two bits of kit which were the only ones that fitted in the crack…. And having just taken the lower one out, I saw the upper one slide down the rope.  Standing on pebble with one hand hold and no protection at all is immensely scary. 
But it’s not as scary as sitting on 500Kg of powerful horse which has been trained to respond to the slightest shift in weight.  The general consensus is that sitting on a Grand Prix horse (miles ahead of the one I was on) is like sitting on a  keg of gunpowder balanced on a knife edge.  I can attest that even on a Prix St Georges horse, this is true.    
That was the moment when I discovered how unstable my seat was.  And the thing about being on a horse is that when it goes from a standing start to a full extended canter at a nudge, is that when the speed increases, the most likely thing you do is clamp your legs to hold on.  Which makes said horse panic, because dressage riders never do that. So you must need more speed now.   I am here to write this because my trainer stood in his path and waved her arms and he chose not to run her down.   
The dressage horses of today grew out of the war horses  - the destriers – of old.  Granted ours are slightly bigger – Ann Hyland reckons the old destriers were between 15hh and 16hh and ours are generally 16 – 17hh, but then the people were smaller too – Jeanne d’Arc is said to have been around 5’0” tall which would have been a reasonable height for her time. 
So they were bigger than anything I would comfortably ride and I’m 5’1 ¾ .  And our dressage horses are not, on the whole, trained to kill.  

There are arguments that Jeanne was essentially a figure head, that she was a peasant girl who was plonked on what might loosely be called in modern parlance ‘a dope on a rope’ and paraded round in armour to raise morale. Which is amusing and at least plausible, but it isn’t what history records.  We won’t side track now into the vicissitudes of historical accuracy, but every report of her, from the people who wrote home at the time, to her first condemnation trial to the eye witnesses who spoke at her rehabilitation trial thirty years later, all said that she rode well, and that she didn’t just fly her flag, she rode into battle as if she were a knight. 
Even the way she got her horse was knightly.  The norm at the time was for squires to learn to ride on easy horses, and for them at the same time to learn to wield a lance. If you’re riding a horse that is trained to respond instantly to the slightest shift in body weight, you don’t want to be swinging around fourteen feet of weighted wood; it’s not good for your balance. 
So the squires would run up and down with the lances, practicing at the tilt, or at each other, or just… practicing.  Which is what Jean d’Alençon found on the day he first met her in Chinon, after she’d introduced herself to the dauphin and told him that ‘her father in heaven’, or ‘messire’ had told her to free Orléans and then to see him to his coronation at Rheims. 
D’Alençon was to become one of her captains and staunchest supporters.  Newly ransomed from English captivity, he was a knight and a soldier.  He saw Jeanne ‘running about in the meadow with a lance’ and offered her a warhorse – which is the last point in the learning curve of the squire before he becomes a knight: can you ride? Can you run with a lance?  Then let’s see you put the two together. 
He gave her a war horse, a destrier – and trust me, people don’t risk their highly trained horses on just anyone –and she impressed him so highly, that the king ordered a full suit of armour made for her.  This girl not only knew how to ride, she knew how to ride as a knight. 
And she had her moments of action as a knight.  In the siege of Orleans, on Ascension Day in 1429, when everyone else was prevaricating (the entire French hierarchy could prevaricate as an Olympic sport: you have to think that anyone who was any good had been killed at Agincourt and what was left, with a few notable exceptions, were the people who preferred not to fight) – Jeanne and her friend, the knight called La Hire, set out to recapture a gun emplacement on the south bank of the Loire   
Their men were wheeling away the English gunpowder and weapons when the English sallied out of a converted Augustinian monastery that they were using as a base.  They threatened to cut off the escape back across the river to Orléans.  So Jeanne and La Hire couched their lances and rode them down - repeatedly - forcing them back into the safety of their battlements.  
This is not just a ‘natural horsewoman’.  This is not someone who learned how to ride like a knight in the three weeks between Chinon and Ascension Day.   This is not someone motivated purely by faith or, frankly, she’d have stayed at home on Ascension Day as her pastor wanted her to do.  This was a girl who had trained to fight as a knight and desperately wanted to do that. 
There is more, of course.  A whole book’s worth.  But what strikes me,  what is leaving me rather light headed with despair is that yet another intelligent, thoughtful, well-respected academic has recently said that yes, of course they will help me with the book and read it for anachronisms and generally look it over, but only on the condition that I NOT mention their name in the acknowledgements.  If you write, you know how unusual that is.  The reverse generally obtains: I’ll help you as long as you DO mention me. 
But this time, it’s more than anyone’s job is worth to contradict the prevailing orthodoxy and that orthodoxy says that Jeanne d’Arc was a peasant girl who was ‘good with horses’ or who had so much faith that she was able to bypass decades of training undergone by her peers.  (but not enough to persuade her king to finish the job of throwing the English out of France, sadly). 

We live in a world where prevailing orthodoxies are toppling by the day.  Our economies are falling apart. Our atmospheric carbon dioxide levels have risen over 400ppm.  The seas are dying, and the mountains and soon it will be the people. We are about to hit the technological singularity if we haven’t hit it already and perhaps we’ll be redundant in the evolution of intelligence.  
Clearly these things matter more than whether the academic historians of the world accept that a fifteenth century girl may have been more than she acknowledged:  but it seems to me that if we are to step away from the various edges at which we now stand, we need to start by not debasing our intelligence.  By not mortgaging our intellects to the fantasies of the past. Most of all, we need to begin to understand the ways of faith and spiritual practice none of which require us to be wedded to the false histories of the past.



The Big House - a very self indulgent trip. Catherine Johnson

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Lovely isn't it. Although by the time this picture was taken the house had been restored and repainted. If you go through the side gate to the left and over the cattle grid you'll see the equally lovely eighteenth century stable block which contains not only beautiful original loose boxes complete with ironwork from 1772, but a little theatre which during the 30s and 40s was briefly an important, if tiny, powerhouse of Welsh culture. This is not, just so you all know, my new home. I may have moved out of London but I have not, sadly, moved here.  The family who lived here were the Wynnes, no relation to the older Wynns of nearby Gwydir who were so stonkingly rich during the seventeenth century that they had a hand painted alabaster gravestone shipped all the way from London. I don't have a picture but it's worth a look, I imagine some kind of ox cart - did they call them pantechnicon - negotiating every rut and hill from London via Shrewsbury and across the Mynydd Hiraethog then down the Conwy Valley to Gwydir.  That's Gwydir below, 14th Century, and visited by Charles the First.  There are cedars in the park supposedly dating from the crusades.  In comparison, Garthewin is the equivalent of a Barratt new home.

 Oh I am going off at a tangent here. But both places are important to me in different ways. If you love old things and ever make it to the Conwy Valley check out Gwydir, the old church in Llanwrst with some lovely sarcophagi and finally the new chapel - new here is 1673 - that Robert Wynne built in consultation with a Jesuit priest. It looks unremarkable from ther outside, a stone built church up the hillside from Gwydir, hidden in the forest, but go inside and check the ceiling. It is a riot of heavenly golds and blues, this picture, from Cadw, does not do it justice.

In large letters it reminds us we 'know not the day nor the hour'. It really takes your breath away and like Bevis Marks or Agia Sophia, makes me wish I believed in something.

But I have gone off topic. Again. I was talking about big houses. lords and ladies of the manor. that kind of thing. I need to take you back to Garthewin, by the river Elwy, here it is again...


The drive up to the front from the main road is at least a mile and a half through broad leaved woodland, a thick ceiling of oak and ash that shut out the light until you reach a small lodge house called the Book Room. Then the lawn opened out and there was always something magic about seeing that huge wedding cake mansion, a building so completely foreign to the rest of the landscape it might as well have been a spaceship.  As I said it was semi derelict when I knew it, too big and too expensive to live in and heat I imagine. I was a kid and scared to look too hard at the empty windows in case a face appeared and looked back. To me, the house and the woods were full of ghosts. All those other people who had done that walk before me from the village across the river and up the drive, day in day out, all that linen to wash and launder, all that silver and wood to polish.The North Wales my family lived in seemed a million worlds away from this stucco'd house with its' great ballroom, and a vast estate that stretched up and away over the mountain and down the other side as far as the next village.

I'd do that walk almost every day of the holidays, twice a day, in spite of the ghosts, and this
is why;


I think I am probably out of sight in the photo, right at the back on the smallest pony, aged 11.  I'd close all the gates and hold back until the rest of the riders were out of sight and gleefully canter like hell to catch up. I'd get there ridiculously early and help take the ponies in from the field, the one you can see between the buildings, brush them and feed them bran and molasses, those beasts worked hard, and sadder still I can remember their names. Talisker, Red Hackle, Kathleen, the piebald is Buck.  And yes I bought the postcard, it just hasn't arrived yet. 

It was seeing this that set me off. I had been researching Garthewin for the blog. I hoped to uncover some legend about the place, something illuminating and erudite. But I didn't. There are some tricky inheritance issues in the nineteenth century, there's the sale of the place by the last resident Wynne in 1996. But there was no ghost story to set anyone's heart a flutter, no last minute wedding, no baby born in mysterious circumstances, no visiting royalty. Just this postcard from 1973 that sent me back forty years in a blink.


Women and the Smuggling Trade

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by Marie-Louise Jensen

In Smuggler's Kiss, I have a young woman on board the smuggling vessel, taking part in cross-channel smuggling as well as land-based work. This was probably rare and would have mainly been the province of men. The tub carriers were probably exclusively male for good reasons. The tubs that they carried, one on their chest and one on their back, roped together, were heavy. The actual volume they contained seems to have varied, but each would have been approximately 5 litres. You only have to lift a 5-litre water container and imagine carrying two - in wooden barrels - up a steep cliff ascent to see why men carried the tubs. Even for them this work often had health consequences over time as it crushed the rib cage.
It was still sought-after employment however. A labourer could only earn some 7 or 8 shillings a week on the land at the time. Smuggling often paid as much as 5 shillings a night.
There was plenty of work for women in the trade, however. The brandy that was brought in from France was near proof (to save space) and clear to boot. It needed diluting and the English liked their brandy honey-coloured. The women usually did the work of heating the caramel mixture and colouring the liquor and also watering it down.
When tea was smuggled, the women in their costal cottages often cut and dried ordinary leaves to mix in with the actual tea to increase profits. I imagine that must sometimes have tasted nasty and could even have been toxic.
But as regulations around smuggling were tightened, the smugglers needed to become more devious. In this situation, women were suddenly very useful to them.
I've mentioned here before that revenue officers weren't allowed to rummage (search) women. That could have resulted in all kinds of abuse and irregularities. But it was very handy for the smugglers.
Bearing in mind that women wore very voluminous petticoats in the early Georgian era, it became standard practice to use these for concealment. Thus my character Isabelle wraps lengths of French lace around her legs and waist to smuggle it in through the ports. The revenue men suspect her bulky figure, but aren't allowed to frisk her.
Even more outrageous was a slightly later practice whereby women tied bladders filled with brandy and gin under their skirts and walked brazenly through the town with them swinging under their skirts, safe in the knowledge that the revenue men were - naturally! - forbidden from putting their hands up the good wives' petticoats.
This became a risky procedure. The danger wasn't from the revenue men, but from local youths who thought the greatest joke ever was to pierce the bladder with a knife or other sharp implement and watch the booze flood out over the carrier's shoes, stockings and onto the ground. Such a waste!

The Legend That Is... by Sue Purkiss

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Last weekend, I visited the tower in the picture. No, it's nothing to do with Rapunzel: it was built in honour of a legendary Dark Age king. I wrote a book about him a few years ago. Much to my delight, it's recently been come out as an ebook, and I'm writing this post partly to celebrate that.

I'm also writing it because I found it recently that Michael Wood has just made a documentary series about this same king, which will be on BBC in the autumn. It feels as if there's something in the air: perhaps the hour of this king is about to come again!

So who was he? Well, here are some clues.


  • His name begins with an A
  • He was a brave fighter and a skillful tactician.
  • He gathered about him a cultured Christian court, inviting to it scholars from all over Europe. 
  • Legends have gathered around his name.
  • He truly cared for the welfare of his people - all of them, not just the rich ones.
  • He had a Big Idea - the idea of England and Englishness.
  • He had his time of despair in a watery wilderness.
  • There are many places in south-west England which are associated with him - the Avalon marshes; Winchester (where a round table hangs in the Castle...);  the area near Wayland's Smithy; and the tower in the picture, which is in the grounds of Stourhead, in Wiltshire.

Have you got it yet? A few more clues...

  • He was real. He definitely, incontrovertibly existed. 
  • He did not have a helpful wizard called Merlin. (Though in my book, he does have a magic lady called Cerys.)
  • His wife was called Eahlswith, not Guinevere.
  • If he hadn't, against all odds, emerged from the marshes and conquered the Danes, there's a distinct possibility that we'd now be speaking some form of Danish. (Which would have its advantages - we'd be able to watch Borgen without subtitles!)
So - not Arthur, but Alfred. People often confuse the two - I can't tell you how many times I've been asked about that book I wrote about King Arthur. Don't get me wrong - I'm a great fan of the Arthurian legend. But Alfred was, famously, a great king. He achieved things. He made a difference. Yet now, if you go into most classrooms - or probably most pubs - you're lucky if you find anyone who's heard any more than a garbled story about some badly burnt cakes. I hope that's going to change!

Finally, here are the words which are carved on the stone tablet set into the front of Alfred's Tower.

Alfred the Great
AD 879 on this summit
Erected his standard against Danish invaders
To Him we owe
The origin of Juries
The Establishment of a Militia
the Creation of a Naval force
Alfred the light of a benighted age
was a Philosopher and a Christian
The Father of his People
The Founder of the English
Monarchy and Liberty.

What a guy!



Useful to Man: An Interlude with a Riddle. From Penny Dolan.

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I recently collected this anonymous 10th Century poem from a wall display at the Book of Kells exhibition in Trinity College, Dublin.

When I read it, I felt that both the riddle and the voice deserved a space of its own.

So, today, on History Girls, seems like a good day for that purpose. To me, the language is far more powerful than any game or guessing, although I've added the answer below.

After all, where would writers be without their basic materials - even if we are unlikely to use this exact example?

  
One of my enemies ended my life,
Sapped my world strength 
And afterwards soaked me,
Wetted in water . . .

Set me in sun, where soon I lost
The hairs which I had. 
And then the knife edge cut me . . .

Fingers folded me, and feather of bird
Traced all over my tawny surface
With drops of delight . . .

Then for trappings a man
Bound me with boards, bent hide over me.
Glossed me in gold and so I glistened,
Wondrous in smith-work, wire encircled.

Say what I am called,
Useful to man. Mighty my name is,
A help to heroes and holy am I.



 









Answer: Vellum
 
Posted by Penny Dolan.

...And All That Jazz - Celia Rees

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On Wednesday of this week, a new film version of the Great Gatsby opens in the UK, amid much hype, or ballyhoo as people might have expressed it in the 1920s, and much discussion as the whether it is a good film, or a bad film, does it do justice to the book, or doesn't it, before any of us here have had a chance to see it at all. I remember the 1974 Great Gatsby with Robert Redford and Mia Farrow. Lovely to look at - so pretty - and Mia Farrow was a good choice, too.

In the weightier Sundays there have been further discussions about what The Great Gatsby might have to say about Our Times: bankers, corruption, fame and celebrity, gossip, the press, and all that jazz, because The Great Gatsby is one of those books like Catch 22, or 1984, or Brave New World, or Animal Farm, which have become shorthand terms for something or other: state of the world, state of mind, human behaviour, where we've been, where we are heading; books that have become ubiquitous labels used in all sorts of contexts, from journalism to promoting new fiction; books that are frequently invoked without having been read, which as far as modern dystopian fiction is concerned is far too often, much to be regretted and should be banned, but that is probably the subject of another blog. Like the great dystopian fictions, The Great Gatsby is a book that people claim to have read and perhaps they think that they have. David Nixon, the artistic director of Northern Ballet, asked an audience after a performance of Gatsby the ballet, how many had actually read the book. 10%. 10%! And that's an audience who had gone on purpose to see a ballet version, so how would that translate to the general population? And yet people think they know this book. 

Anyone who has not read The Great Gatsby should do so immediately because going to see the film is simply not enough. I haven't seen the latest version, but I agree with Gore Vidal that the book doesn't translate well to the screen. For him, it has to do with the voice of Nick Carraway, the narrator. Anyone who wants to know about Voice and how it should be done - this is the one. I think it the great strength of this novel that it has proved so difficult to transfer to the brasher medium of cinema. It is quintessential fiction. Perhaps one of the greatest novels ever written. I say that, even though I have an aversion to listing books in any kind of order: Best of, Top 10/20/100. I don't even like saying which is my favourite. Favourite what? Favourite when? It changes. I'm a Gemini. There are works and authors however, whom I admire. That's a different thing. F. Scott Fitzgerald has few rivals.

 


A few years ago, I was in his home town Minneapolis St Paul. I was there for a Book Fair. This plaque was on a patch of green outside my hotel. My hosts were happy to take me on a tour of the bars he drank in, show me the streets and houses where he'd lived. I was paying homage, making a pilgrimage. I can aspire, that's all I can say, like a mole might aspire to climb Everest.  For me, he is the writer's writer. Every sentence, every word is exactly chosen. Each image is diamond bright yet as as fresh as the waters of Long Island Sound. His prose is light but profound. The book is short. Easy to read. You could read it in an afternoon but it will stay with you for a lifetime.

When I was writing Witch Child, I had the following passage pinned up on my notice board.

'As the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island that flowered once for Dutch sailors' eyes - a fresh, green breast of the new world. It's vanished trees, the trees that had made way for Gatsby's house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity to wonder.'






CROPPING AND CREATING - Teresa Flavin on writing her latest novel 'The Shadow Lantern'............. by Theresa Breslin

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This post is a response to request from a follower of the History Girls Blog who asked for insights into writing. It follows on from various conversations I’ve had with the writer and illustrator Teresa Flavin, and to satisfy my own curiosity and fascination with labyrinths and magic lanterns and other sic things.

 Teresa Flavin is a Glasgow-based children’s author and illustrator. Her illustrated fantasy novel for 9-14 year olds, The Blackhope Enigma, was published in 2010 by Templar Publishing and was long and short-listed for numerous book awards, including the 2011 Scottish Children’s Book Awards. The sequel, The Crimson Shard, was published in 2011 and was also nominated for several awards. The final book in the trilogy, The Shadow Lantern, was published on 1 May.  
http://www.templarco.co.uk/fiction/teresa_flavin.html

I knew Teresa first as an illustrator. Originally from the U.S.A. she moved to Scotland a number of years ago and we met at a writers’ conference. The first thing I wanted to know was why, as an established artist and illustrator, was she attracted to writing novels for young people? She replied:

I had been illustrating children’s books for some time so the idea of writing children’s stories was a natural progression. I wanted to illustrate a wider variety of stories and decided to try my hand at creating texts that would excite me artistically. I also knew of editors who were interested in seeing picture book manuscripts from author/illustrators and set out to write stories that I could present with a dummy book and one or two finished sample images. But as I worked on texts of just a few hundred words, I was attracted to many complex ideas that were far more suitable for longer stories. They began as what Tim Bowler calls “a whisper in the head”, then became an insistent buzzing and eventually pulled me away from picture books altogether. I began to discover my inner fourteen-year-old and became caught up in telling the fantastic adventures of two art-enthused teens that bore similarities to myself at that age.

So then of course, the question that many of us are asked…. Why historical? In Teresa’s books this is a thread within the stories. She told me that she doesn’t recall making a conscious choice about this, and went on to say…


Preliminary sketch of Blackhope Tower for The Shadow Lantern.
I had been reading an intriguing and spiritual book about labyrinths and they were very much on my mind. My first novel, The Blackhope Enigma,was an exploration of this daydream/question: what if a young person could walk around a labyrinth and be so transformed by the experience that he or she is transported someplace else? And what if that place is below the surface of a Renaissance painting? I have been fascinated with such paintings since I was very young and have always wondered what it would be like to enter one.

I reckoned that for such a thing to happen there would have to be enchantment involved, but I was unprepared for what I found when I poked around the history of Renaissance art and magic. I became completely lost in research for some time, endlessly reading about grimoires and memory palaces, Hermeticism and alchemical imagery. Suddenly the idea of hidden worlds below a painting did not seem so far-fetched; plenty of people in sixteenth-century Europe would have believed it possible in a world where one was surrounded by magic and wonders.

One historical path led to another and I was discovering so many amazing things that my stories acquired layers, characters and details I could not have imagined at the start. I was hooked. I wanted to unearth and weave more fantastic elements into new stories, to bring odd bits of history alive in the adventures of young contemporary characters.


Teresa’s books are special in that Art and Language are melded in the narrative and I wondered how she tackled doing this. Her answer tells me as much about her views on painting as it does about language.

I wanted young readers to see and feel the richness and strangeness of the worlds I created, but I had to be careful not to weigh them down with description. When I make a painting, I hope that it’s not overworked or leaden; it needs to “sing” to the viewer. Therefore my approach has to be simple, confident and from the heart. I’ve come to think that writing about art is the same. There needs to be just enough detail to entice and to set the reader’s imagination alight. It’s a delicate balance and involves just as much cropping as creating.

I love that expression “as much Cropping as Creating”. I also loved the first book (and the rest!) and really wondered how she'd approach any follow up story and indeed how they would be linked them to each other.

The second and third novels, The Crimson Shard and The Shadow Lantern, grew organically out of The Blackhope Enigma. There was no over-arching story, no grand plan from the start. Instead there were fascinating strands to take up and some new elements to explore, such as trompe l’oeil murals, alchemy and art forgery in The Crimson Shard. Early magic lanterns and spirit photography were inspirations for The Shadow Lantern. I enjoyed digging into these elements, putting them together and seeing what could happen.

I discovered how easy it is to lumber a narrative with too much background information! I ended up identifying with young readers who had not read the first or second book. What do they need to know? Will they become confused? How can I help them? The problem was that I was a bit too ‘helpful’ at times and there was a lot of back-story pruning that had to be done. Again, this is a delicate balance, achieved after much feedback from my editors.

One of the great pleasures of writing a trilogy was in spending more time with my main characters. At the beginning I had the daunting prospect of getting to know them, challenging them, making them grow and change. By the second book, I had a good idea of who they were and how they moved through the world; by the final book, it was a pleasure to be with them and to find out how they would approach the next obstacle I placed in front of them.


It would be great to have feedback on Teresa’s thoughts and books – please do get in touch.

I’ll leave her with the last word about writing the series, and hope that others have the same experience in their own writing.

It’s been a wonderful journey…

The Shadow Lantern has recently been published in the UK by Templar Publishing. To learn more about Teresa’s novels and artwork, visit her new websites at http://www.teresaflavin.com/



http://www.theresabreslin.co.uk/http://www.facebook.com/Theresabreslinauthor
Twitter: @theresabreslin1

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'Time Travel and the Unknown Hero' by A L Berridge

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Writers and readers both find it easy to visit the past. A few words, a little stir of the imagination, and we’re on a street in 17th century London as if we’d just stepped in a time machine.  But while readers observe what’s around them as discreetly as visitors to a museum, writers are a bunch of vandals who barge joyously into the midst of it and create characters of our own to interfere with the outcome. The past to us is a field of freshly fallen snow, and we can’t resist leaving our dirty footprints all over it.

Go on.... You know you want to.
 All harmless fun, of course, but I remember the film ‘Back to the Future’, where the hero’s visit to the past jeopardises his own future by inadvertently messing up the first meeting between his parents.
That’s a sci-fi fantasy, but the principle of a fragile time continuum applies to historical fiction too. Unless we’re writing ‘Alternative History’ we can’t whizz into Tudor England, kill Henry VIII at age 10, throw the subsequent six hundred years of history into chaos, then calmly stroll off whistling.

Well, we can, and we'll all have our own personal rules on these things, but I’m of the school of writers who like to leave the past as we found it. My own criteria are that nothing in my novels should ever contradict a genuine primary source, or require a single word of a reputable history text to be rewritten to accommodate them. Omissions are acceptable, and I don’t expect current history texts to mention my entirely fictitious heroes, but what was said must be said, what was done must be done, and credit must always be given to those who historically deserved it.

That’s quite straightforward where our main characters genuinely existed.
Hilary Mantel's ‘Wolf Hall’ gives us wonderful fictional insight into Thomas Cromwell’s mind, but as long as his body does what the record says it did, then history rolls on its way undisturbed.
A safer option is to keep our characters beneath the historical radar altogether – a romance between a Greek slave and a Roman soldier won’t make so much as a ripple in the tide of time. But if (like me) you want your characters to have an impact and still remain fictional, then that’s a lot harder.

It can be done. The first method is the dreaded ‘Helpful Friend’ scenario (aka the ‘By Jove, I think you’ve got it!’) virtually patented by the late great G.A. Henty, but growing in popularity ever since. This is the one where Julius Caesar is at a loss at the Rubicon until an obscure centurion clears his throat and says ‘Excuse me, Caesar, but might it be a good idea to cross it?’ Naming no names, but I’ve read one novel where the same hero advises both the Duke of Wellington and General Blücher, carries almost every message that was ever sent, and tops off his day by ensuring the battle is called not ‘La Belle Alliance’ but ‘Waterloo’.


 The second is arguably more elegant, and that’s simply to steal the actions of someone else. Most readers would raise an eyebrow if America were to be ‘discovered’ by Eric Smith rather than Christopher Columbus, but provided the subject is sufficiently obscure it’s possible to get away with it. Alexandre Dumas did it all the time, and it never bothered me when I was reading him. The same action happened, it was glorious and exciting, and the whole thing seemed more relevant and personal because it was performed by characters I knew rather than those I’d never heard of.

Yet I can’t quite bring myself to do it in my own novels. It would only mean a tiny change in history, only the substitution of one name for another, but to me it seems somehow immoral, like robbing the dead of their laurels.
Changing history in more ways than one
I recently read a Crimean War novel where the hero led a raid which was actually commanded by Colonel Egerton of the 77th Regiment of Foot, and the knowledge made me squirm. I wondered what Egerton’s descendants would think of the book if they read it, and how they’d feel. I knew how I’d feel. I know how I felt when I saw U-571 and realized Hollywood was glorifying Americans for a raid actually performed by British submariners in U-110.


But it’s the story that matters, and my smug moral superiority won’t do me the slightest good if my own characters are creeping round the margins of the action in awe of the real-life heroes shaping events in the middle of it. How can I get them at the centre of the action without compromising historical integrity?

Enter (modestly) the Unknown Hero. 

The Unknown Hero is as old as time. He (or she) has been there forever, a kind of ageless Forrest Gump who crops up at all of history’s greatest moments and sneaks away before anyone has time to ask for an autograph. He’s the sweating horseman who brings the news ‘the French are out’, the wounded soldier who rallies his comrades with the reminder that they are ‘Queen Victoria’s soldiers’, the sole voice in the crowd that cries ‘Vive le Roi!’ to give comfort to Louis XVI on his way to the guillotine. Time and again he (or she) makes a contribution worthy of the history books, but when it comes to the record no-one knows his name.

Which is why vultures like me are able to steal it. If it ‘could have been anyone’, then it’s jolly well going to be one of my characters. I scour the sources for his spoor, and for ‘In the Name of the King’ I was lucky enough to find several traces of his presence. 

 Somebody (no-one knows who) passed a copy of the conspirators’ secret treaty to Cardinal Richelieu – so in the novel it’s my fictional André de Roland. Somebody (no-one knows who) warned the Prince du Condé that the Spanish army had an ambush waiting in the woods at Rocroi – so here comes André again, panting heroically as he delivers his message. My character earns the title of ‘hero’ by making a difference, yet nothing in history is changed.

There’s nothing new in this. Historical novelists have always pillaged in this way, and the master of it has to be George MacDonald Fraser.
The real Kavanagh at Lucknow
His Flashman pops up at every historically significant event, and frequently in the skin of the Unknown Hero. One of my favourite instances is during ‘Flashman in the Great Game’, when MacDonald Fraser casts him as T. Henry Kavanagh’s ‘unknown companion’ in the daring break-out from the Siege of Lucknow in the Indian Mutiny. It’s true the original companion is described in some sources as an Indian – but Flashman makes the journey disguised as a mutinous sepoy, and once again history is undisturbed.


But the Unknown Hero has an equally valuable counterpart we neglect at our peril - the Unknown Villain. He’s just as pervasive throughout history, and in the Crimea I found he’d left footprints as big as a Russian Yeti’s. 
What else could a writer possibly make of an ‘unknown officer’ who repeatedly told British soldiers not to fire on the advancing Russians, who ordered disastrous retreats, who mysteriously appeared and disappeared but always with ludicrous orders that favoured the enemy? I know what I made of it, and this wonderfully useful man gave me the entire plot spine of ‘Into the Valley of Death’. It’s pure fiction, but I don’t think there’s a word in it that doesn’t chime with known historical fact – thanks to the Unknown Villain.

And really, of course, these two valuable entities are the same person. Villainy or heroism depends entirely on which side the reader’s on in the first place, and Forrest Gump can become Форест Гамп at the click of a mouse. All that matters to scavengers like me is that they should be unknown, unoccupied, empty vessels into which we can pour the fiction without disturbing the outside world. Historians may knit their brows at unexplained events, but we leap past with our sleeves rolled up, shouting ‘Out the way, fact-meisters, it’s our turn now.’

That doesn’t mean we don’t care about facts. They matter more than ever, as we construct our stories from every tiny scrap of information we can find and try to ensure the final result fits with every one of them. The hardest task I ever had came in ‘In the Name of the King’ when the conveniently mysterious death of the conspiratorial Comte de Soissons was attributed by different witnesses to suicide, an accident, death in battle, and assassination by an agent of Richelieu.
The very dodgy Comte de Soissons
With my hero straining at the leash it was pretty obvious which 'unknown agent' I was going to go for, but I still had to make it not only possible but likely that the known primary sources would still have written exactly what they did. Easy enough just to say ‘Yeah, well, those other accounts were just lying’, but to me that would be cheating. I used existing eyewitness accounts to create a possible version of the ‘battle death’, and choreographed the real death to fit with both the forensic evidence and the three other versions. When we know the Comte de Soissons genuinely had a habit of lifting the visor of his helmet with the barrel of his own pistol, then that’s not as hard as it seems…


But it’s round about now that the word ‘sad’ comes into play. What does it matter, for heaven’s sake? Tell a good story, see it doesn’t mess too much with the facts, and Bob can be your great-great grandfather if you like.

Only it does matter. I’ve only got a ‘visitor’s pass’ into the past as long as I don’t abuse it. I need to be like a responsible visitor to the countryside, who takes nothing with me, leaves nothing behind, and if I open a gate I need to close it behind me. 

 Dumas knew that. Nobody created more havoc than he did, and when it comes to crashing through facts we’re not talking so much about a coach and four as a bloody London BendyBus- but he always knew how to come home when it was over. In ‘The Man in the Iron Mask’ he even gives Louis XIII a secret twin brother, but the story ends in such a way that we can still read the history books without needing to change a word. 

That’s what I want. If someone who’s read my novels goes on to read a history book, I don’t want them to think I’ve told them a pack of lies. History and fiction can co-exist, and each can make the other more real. All we need to do is wipe away our footprints and remember to close the door when we leave.


Suzanne Valadon by Imogen Robertson

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The Hangover  (Portrait of Suzanne Valadon)
Henri de Toulouse Lautrec

I normally steer clear of using real characters in my fiction. I find myself so caught up in trying to make a portrayal accurate that it silts up my imagination, but there is always an exception to any rule and the artist Suzanne Valadon (1865-1938) plays a significant role in The Paris Winter. I just couldn’t resist her. Mind you, she was one of those people round whom stories and legends seemed to grow like weeds even within her lifetime, so I feel sure she wouldn’t mind me involving her in the fictional adventures of my characters. After I posted about women artists of the Bell Époque last week, someone foolishly suggested I write more about some of them, so I'm delighted to have the chance to write about her again.

Maurice playing with slingshot
- Valadon 1895
Valadon was born in Bessines, but her mother left there for Paris soon after Suzanne was born and, apparently seduced by the sight of the windmills on the hill, her mother picked Montmartre as the place to live. Suzanne, grimy, mischievous, unteachable ran wild there. Sometimes she’d follow funeral processions in the hope of tips from mourners, at others she’d get other children to model for her and draw their portraits on the pavements, once she stopped a runaway horse. She also said that as a young child she saw Renoir painting and told him to keep working at it and not be discouraged. She became a circus performer (possibly) and a model  certainly. She appears in works by Renoir, Toulouse Lautrec and Degas, and was mistress and muse of Puvis de Chavannes. 

La Poupée Abandonnée -Valadon 1921
(The National Museum of Women in the Arts,
Washington)
She also began to draw and paint herself and Toulouse Lautrec was her first customer and advisor, though he treated her as an equal. Her work has a boldness - strong lines and fierce, deep colours. There is also an clear-eyed honesty to her work. Her paintings are frank studies of family relations, sexuality and ageing. She had a great deal of success with her work, allowing her to keep her ramshackle family of mother, alcoholic son, lover, goats, dogs and friends afloat for years. Apparently she claimed to feed her bad drawings to the goats. The alcoholic son’s fame as a painter in the end eclipsed her own. Maurice Utrillo used his empty cityscapes to pay his bar bills, even when his works were selling for thousands in the commercial galleries of the city.

His parentage is uncertain. One story says that his official father, Miguel Utrillo, agreed to acknowledge paternity, because who, after all, wouldn’t happily sign their name to a work of Renoir or Degas? Suzanne was also at one point the lover of Erik Satie, in fact he was so devastated when she left him he never had another relationship.

Andre Utter and his Dogs - Valadon 1932
At the time of The Paris Winter, late 1909, Suzanne had just given up an experiment with bourgeois living. She had moved to the suburbs with a banker for a while, but the comfort of such a life was no replacement for artistic cut and thrust of Montmatre and she returned to live there with her new lover, another artist who was three years younger than her son called Andre Utter. They stayed together until 1934.  

She had a great line in telling people what she thought. One year when her work was shown in the Paris Salon alongside a more academic painter with a similar name, he wrote to her suggesting a way they could sign their work to avoid confusion. She wrote back a note saying, fine or you could just sign yours ‘merde.

I’ve linked to a few more of her works below, and I recommend June Rose’s biography of her, Mistress of Montmartre. She is not as celebrated as she should be, but they still know who she is in Paris; if you’ve ever taken the funicular up the hill to Sacre Coeur, you caught it in the tiny but perfectly formed Suzanne Valadon Square. 



NIGHTJAR AKA THE GOATSUCKER, by Jane Borodale

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‘Lone on the fir-branch, his rattle-notes unvaried,
Brooding o’er the gloom, spins the brown eve-jar.’ George Meredith

Caprimulgus europaeus

It’s an obvious thing to say, but some aspects of the past are utterly gone. But every now and then we’re lucky enough to get a fleeting, unexpected taste of what the past might have been like, a tiny hint or reminder – what the painter Winifred Nicholson might have called ‘glimpses through’. I had one of those moments yesterday, when I heard a nightjar.

I’d just gone out to shut the henhouse for the night and was watching a bat flicker across the open space between the hedge and wood. Dusk in May is so deliciously fresh – every evening a little longer, a little more promisingly nearly-summer, and here was a nightjar as well – what a bonus. Tantalisingly, I had to wait for quiet stretches between the noise of passing traffic to listen properly to this strange voice from the past, calling from a time when such thimgs were plentiful in the countryside…

The European nightjar (Caprimulgus europaeus) is a nocturnal summer visitor from warmer places. Although on the increase again, they number just over 4600 breeding pairs in the UK.

It isn’t hard to understand why this modest, reclusive, mysterious bird became associated with the uncanny. Its associated myths pre-date Aristotle, who recorded them, and throughout Europe folklore insisted that the nightjar stole milk from goats’ udders – earning it the name Goatsucker, by which it’s known in many places, from Spain to Russia. Other country names in Britain include ‘Flying–toad’, ‘Fern-owl’, ‘Night-hawk’ and ‘Moth-owl’, which seems exactly right, given that it must surely be the nearest thing to a moth one could ever see in bird-form.

Infrequently seen as they sleep during the day (unless you stumble upon a female sitting on her eggs on the ground), but its appearance lends itself easily to legend. The nightjar has wide, black eyes that shine like a cat’s if caught in torchlight. It has camouflaging, mottled brown feathers like lichen, or a reptile. Its pink gape opens very wide for swallowing large moths, craneflies, chafers and dor-beetles, and the beak is surrounded by bristles, presumably to more efficiently hoover up supper on the wing.

It looks, in short, like a cross between a cuckoo, a moth and a catfish. It is very agile in flight, and has a peculiar serrated middle claw which it uses for preening.

It is also called ‘Corpse Fowl’ and ‘Puckeridge’ – nightjars were also wrongly accused of pecking the hides of cattle and causing the disease called puckeridge (a condition caused by the warble fly which lays its eggs under the skin’s surface).

Naturalist and curate Gilbert White (1720-93) in his Hampshire parish of Selborne often recorded the presence of nightjars or fern-owls, and noted:

‘The country people have a notion that the fern owl … is very injurious to to weanling calves … [but] the least observation and attention would convince men that these birds neither injure the goatherd nor the grazier, but are perfectly harmless and subsist alone on night insects. … Nor does it anywise appear how they can … inflict any harm among kine, unless they possess the powers of animal magnetism, and can affect them by fluttering over them.’

He says ruefully that:

‘It is the hardest thing in the world to shake off superstitious prejudices: they are sucked in as it were with our mother’s milk … and make the most lasting impressions, become so interwoven into our very constitutions, that the strongest good sense is required to disengage ourselves from them.’

In Yorkshire nightjars were said to be the souls of unbaptised children, condemned to wander the world forever.

Poets love the nightjar, occupying as it does that crepuscular, liminal half-place between day and night where changes happen. Dylan Thomas mentions it in his poem ‘Fern Hill, and Wordsworth describes it like this: ‘The Night-hawk is singing his frog-like tune/ Twirling his watchman’s rattle about.’ (Though he later changed the lines to the rather vaguer: ‘The buzzing Dor-hawk round and round is wheeling.’) Poet and naturalist Charlotte Smith (1749-1806) wrote, ‘While, by the lingering light, I scarcely discern/The shrieking night-jar sail on heavy wing.’ John Clare (1793-1864) mentions it frequently.

The warm undulating churring of its song sounds almost mechanical, like an old Singer sewing machine, or a spinning wheel; or crickets. John Clare described it in a letter as ‘a trembling sort of crooing noise’. The male call is the churring one, at 1,900 notes per minute, which it can sustain for several minutes at a time.

To hear it for yourself, click here to go to a sample recording (Xeno-canto: Sharing Bird Sounds From Around The World).

Listening to the nightjar’s song in the field produces a peculiar sensation – as if the ground itself were vibrating inside your head, almost felt rather than heard, and very hard to pinpoint in terms of location – the nightjar seems to throw its voice like a ventriloquist. If you didn’t know what it was, or if you were fairly steeped in superstition as a way of life, your blood might well momentarily run cold with the eerieness of it. It’s a fabulous, spooky bird. If only there were more. Bring back the nightjar!

Can anyone think of any other wild creature so unfairly maligned?


www.janeborodale.com

The Aliens have Always been Landing, by Leslie Wilson

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WHITE BRITONS A MINORITY BY '66
shouted a headline in the Sun last week. This, Professor David Coleman announced, would be due to 'soaring immigrant birthrates', fuelled by 'record-breaking levels of immigration, coupled with the departure of thousands of Brits for a better life abroad,' (white Brits, presumably, though I can think of quite a few black Britons who have had to go abroad in order to get the level of jobs they are qualified for, due to discrimination) and it would 'represent an enormous change to national identity - cultural, political, economic and religious.'

While Roger Scruton mourned, on the pages of the Guardian - which now and again gives its readers a taste of how the other half thinks - over 'Englishness,' which is being trashed by the modern Tory party, including the common law of England, which, he argues, is now being supplanted by 'the abstract idea of human rights, slapped upon us by European courts.'  
Cricket on the village green, via Wikimedia Commons
by geograph.org.uk


I'm not qualified to pronounce on the accuracy or otherwise of Coleman's statistical analysis - though I know it has been challenged, and in any case, projections of future birthrates are notoriously unreliable. But what I want to talk about is the narrative that both of these men are drawing on, a narrative about a historic Britishness - or Englishness - which should be unchanging and stable, but is threatened with dilution by incoming foreigners or foreign ideas. Scruton, too raises the threat of 'wave upon wave of immigrants' who want the benefit of our 'hard-won assets and freedoms.' (He doesn't mention that Britain's past prosperity was greatly contributed to by looted assets from the countries we colonised.)

The immigrants are at the gates: seething verminous multitudes who will destroy our treasured culture.

Flick back through history to 1938, and you can see a headline from the Daily Mail. GERMAN JEWS POURING INTO THIS COUNTRY. 'The way stateless Jews from Germany are pouring in from every port of this country is becoming an outrage,' inveighed Mr Herbert Metcalfe, a magistrate at Old Street, referring to the 'aliens entering this country through the 'back door' - a problem to which The Daily Mail has repeatedly pointed.' The Observer asserted that by the summer of 1938, there were more Jews in Britain than Germany ever had - this statistic definitely proved to be questionable. And once again the spectre of an eroded national identity was invoked.

Go back to February 3rd, 1900 and we find the Daily Mail again in full cry: 'There landed yesterday at Southampton from the transport Cheshire over 600 so-called refugees, their passages having been paid out of the Lord Mayor's Fund. . .There was scarce a hundred of them that had, by right, deserved such help, and these were the Englishmen of the party. The rest were Jews. . .They fought and jostled for the foremost places at the gangways. . .When the Relief Committee passed by they hid their gold and fawned and whined, and, in broken English, asked for money for their train fare.' These were refugees escaping from the South African war.
Store founded by Jewish refugees, (Wikimedia images,
photo by Michael Maggs)


'Englishness' seems to have remained intact, though, in spite of these past influxes - it must have done, for it to be so threatened again now. It must be intact or there would be no need for anxiety about the fraying, snipping and gnawing away of its boundaries, threatened as this narrative always has it by foreigners and foreign ideas (like human rights, though I believe quite a few British philosophers have been quite keen on that idea from the eighteenth century onwards). 

And yet - what we regard as Englishness (or Britishness) has changed rather a lot from what we thought of as Englishness in the past - which makes me wonder, if Roger Scruton went back two hundred years, how at home would he feel? I don't regard a changing national identity as problematic.

But then, I have to come out and admit that I am one of those dreadful people - deplored by the BNP and the Mail alike - born to a mother who was herself born abroad. I am one of the fifth columnists, apparently.
My mother's baggage tag
for her arrival in Britain, 1947

What is quintessentially English, though? Tyneside dialect, for example? I had a Norwegian student who spent some time in Newcastle and understood Geordie speech better than many English people would, because, she said, they were talking Norwegian. When I went to Oslo, I didn't register the word 'gate' for street, because it seemed perfectly normal to me, having lived for eight years in Kendal, that a street should be called 'gate. (Gillinggate, Stramongate..) The Viking heritage. In 1066, a rather large influx of Normans radically changed English language, culture and custom, not to mention the landscape. How many of us understand Anglo-Saxon?
Incidentally, the fact that the self-appointed defenders of national identity can't decide whether to call that identity 'Englishness' or 'Britishness' shows the United Kingdom's lack of cultural homogeneity even within its borders and among those people you might call its natives.

We have had the Huguenots, who altered our English ways of working with cloth by introducing their far more efficient looms, thus giving this land a commercial edge over the French who had chased the Huguenots out. They were also accused (by pamphlets that must have been the ancestors of the Daily Mail) of threatening jobs, standards of housing, morality, hygiene - and eating weird foods. I believe it's now estimated that 75% of Britons are descended from Huguenots. And undoubtedly a considerable amount of us are descended from Jewish converts, not to mention the smaller doses of different-nationality descent from individual marriages (like myself). This is the national identity which, we're told, cannot survive immigration.
Door, French Protestant Church, London
By Ruskin via Wikimedia Commons


 I can remember, as a child, describing yoghurt to my friends - I could only get it in Germany in those days. 'Yuk!' they said. So, has Britishness/Englishness been damaged by all that yoghurt on the supermarket shelves? How far has chicken tikka masala, that very British dish, eroded our national standards? Or pizza? Or lager? We also have vegemite and US products on our shelves - and on our TV sets - which doesn't seem to trouble the contemporary authors of this narrative. Americans and Australians are white, I guess.

OK - I know it's not all jam (or yoghurt). For example, I don't think it's right for little girls to be mutilated by their communities; I don't like 'honour killings.' I want to see British Muslim girls get an education and not be forced to get married against their will. There will always be tensions between the values we want new incoming Britons to absorb, and their need to remain connected to what they come from. But the things we value can come under threat from very British people - like the attacks on the National Health Service. We can never lean back and take anything for granted.

 Most importantly, considering where I'm posting today - the stories about our national identity are an area where I believe that knowledge of history is quite vital, to counteract that misleading, sadly popular narrative of a heritage which is supposed to be - always at the present moment and with unique dreadfulness -  threatened with annihilation.

THE ALIENOR VASE: A wedding present with a history by Elizabeth Chadwick

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On the occasion of their wedding in July 1137, the future Louis VII of France, approximately seventeen years old, bestowed upon Alienor of Aquitaine his bride of thirteen, an array of wedding gifts so magnificent that the chroniclers of the time, rather than list individual items, just described them as treasures that it would have taken the tongue of Cicero to describe.

Alienor may have reciprocated in largesse, but we don't know because the chroniclers do not tell us. However, we do know she gave him one gift because it's still with us today, and carries its history  by way of an inscription round the ornately decorated base. It is one of the few surviving artefacts remaining with a direct connection to Alienor the woman, the others being a stained glass window in the Cathedral of St. Pierre in Poiters, and her tomb effigy, in which she had a say when it came to the design (and will probably be the subject of a blog post another time).

When Alienor presented the vase to Louis, (called here a vase for convenience's sake, we do not know what its original function was)  the jewel-encrusted mountings at the top and base did not exist. It was a pear-shaped piece of rock crystal worked in a honeycomb design containing 22 rows of small, hollowed-out hexagons.  That was it.  No gold, no embellishment. Alienor had inherited the object  from her grandfather, the notorious Duke William IX of Aquitaine, a crusader, soldier, and composer of sometimes beautiful but frequently bawdy verse.

Carved rock crystal containers have existed from antiquity, the Eastern Mediterranean appearing to be their source of origin at the outset.  The craft of rock crystal carving flourished throughout the Middle East and was a known technique in the Roman Empire. However, the Alienor vase is the only item known to have been worked in this particular honeycomb design in rock crystal.  Others exist but their medium is glass and the Alienor piece is utterly unique.

The Medieval world believed that rock crystal was fossilized ice and valued the material greatly. There are references to rock crystal drinking cups in love poetry composed in Moorish Spain, so perhaps the vase was originally one of these, or due to its great value, may have been a display piece.  Indeed, it is likely that the object came from Moorish Spain as a gift to Alienor's grandfather,  the aforementioned William IX of Aquitaine from the Emir Imad-al-dawla of Sarragossa, and would have entered his possession around 1120 during the time he was on battle campaign in Spain.

Experts are unsure of the dating of the vase - dates between the 6th and 9th centuries have been mooted, but  it was already an antique when it came into the possession of the dukes of Aquitaine.  It was obviously a very precious object for Alienor to present it as a fitting gift  to her husband on their wedding day.

On June 11th 1144, Louis gave the vase to Abbot Suger at the dedication of the magnificent  church of St. Denis.  Suger was an avid collector of precious stones and objects of artistic merit, and the vase was as fine addition to the collection. He used it as a communion vessel.
ambulatory of St. Denis

Why did Louis give the rock crystal vase to him? Historian Ralph Turner in his biography of Alienor of Aquitaine suggested that it was an offering to St. Denis in the hope that Louis and Eleanor's barren marriage might be blessed with a child. (a daughter, Marie, was born the following year). It might have been that Louis valued Suger as an adviser and spiritual mentor and wanted to please him.  Suger later wrote that Louis had given him the vase as 'a tribute of his great love.' What Alienor thought is not recorded, but we shouldn't put a modern interpretation on this if we speculate on her feelings. Wedding gifts in the Middle Ages were frequently expected to be bestowed in patronage to the Church. There is no need to think as one biographer has suggested, that Alienor was deeply upset that Louis gave the vase to Suger. It is just as likely that it was a mutual offering.

Now in possession of the object, Suger set about putting his stamp on it.  To beautify it perhaps, and make it worthy of his treasury, or perhaps to make sure that it was never going to be given back, he had a base and a neck fashioned for the vase from gilded silver.  On the base he set an inscription in niello, then a layer of filigree set with gemstones and decorated with more filigree work and fleurons.  He had the neck of the vase similarly adorned.  The inscription around the vase reads in translation from the Latin:

As a bride, Eleanor gave this vase to King Louis, Mitadolus to her grandfather, the King to me, and Suger to the saints.'



Suger died in January 1151 before Louis and Eleanor divorced.  The vase, now a communion vessel remained in the treasury of St. Denis down the centuries, but following the unsettled period of the French Revolution came to its new home in the Louvre where together with other items from the treasury of St.Denis it can be viewed by visitors to the museum.  I wonder what its original carver would have thought if he could  see it now?

Photographs of the Alienor Vase courtesy of John Phillips.

Bibliography.
The Eleanor of Aquitaine Vase by George T. Beech in Eleanor of Aquitaine Lord and Lady edited by Bonnie Wheeler and John C. Parsons.

Eleanor of Aquitaine by Ralph V. Turner

The Louvre - website Treasures of St.Denis

A BLAST FROM THE PAST by Eleanor Updale

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No matter how easy it gets to access digital images online, there's nothing quite like getting your hands on the real thing.  Of course it's wonderful to touch a rare and valuable object, but sometimes it's the ephemera of the past that make your heart sing.
I've been having fun reading an 80-year-old edition of Melody Maker, which I bought as a present for a dear friend born in 1933.

One of the first things that strikes you is the similarity between the preoccupations of creative people then and now.  The front-page story is about the threat of new technology, the horrors of piracy, and the difficulty of getting paid for your work.  Sounds familiar?


Inside, it's the little things that bring home the atmosphere of the time: the very name of 'Spike Hughes and his Negro Orchestra'  raises questions - and suggests some answers - about attitudes to race in Britain in the year Hitler came to power in Germany.  Preconceptions about the glamour of transatlantic liners are dispelled by Spike's diary about his US tour:
"I have spent six days on the ocean, in that vacuum called a transatlantic crossing, when nothing except meal times has any interest for one whatever."
His reflections on the shortcomings of design and acoustics of Radio City Music Hall and the Concert Hall in Broadcasting house (both now much admired) are fun, too:
"I wonder why architects persistently forget that music stands and instruments take up a little room, and that a platform which will accommodate fifteen upright waiters without trays will not, somehow, be large enough for one grand piano and a five-piece band."


If you watched 'Dancing on the Edge' on the BBC earlier this year, you will recognise the atmosphere of the jazz scene and in particular, I think, one new venue mentioned here: a hotel near Windsor, which still exists.  The copy has more than a whiff of 'advertorial' about it.





But, best of all, it's the real adverts that tell us most about 1933:





If you've read my book Johnny Swanson, which is set in 1929, you will know that I'm a little unhinged on the subject of ancient advertisements. 

I do find all aspects of them  - from their design, through the information about prices and values, to the unintentional messages they give about aspirations and status - priceless tools for the historian or historical novelist.  They are a crucial means of getting the 'feel' of an era.
 Obviously, you can't take them entirely at face value.  After all, we wouldn't want future generations to think that we went round supermarkets beaming with excitement and tapping our bums with joy at the thought of saving a few pence.  Will they believe that we gave headspace to the latest innovations in disposable nappies, or that we lived in immaculate clutter-free kitchens, cleaned to a sparkling shine?  Let's hope not.   But all the same, there are messages about us in advertisements - even if some are not very flattering.
The classified ads convey the mixture of hope, despair, and trickery that are still with us today.  There's inspiration for a story in every one. Why is that saxophone being sold? Which deluded wannabe will buy help with their lyric writing?  Which failed lyric writer is offering it?.


I hope my friend likes his present.  I've certainly had a lot of pleasure from it before wrapping it up.


CATHERINE THE GREAT and DREAMS of a THOUSAND AND ONE NIGHTS - Dianne Hofmeyr

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‘In the year 1787, golden horse-drawn sleighs set off from the icy North across the steppes, transporting Catherine the Great, Empress of Russia, and her foreign guests southwards from St Petersburg. The aim was political: to achieve an alliance with the crowned heads of Europe by showing off the territories newly gained from the common enemy, the Ottomans, including the recently annexed Crimea.’ –  An extract from the June 2013 issue of The World of Interiors magazine.

Apparently the party included guests such as the Holy Roman Emperor, Franz Joseph, and many of Europe’s leading ambassadors. They cruised down the Dnieper in gilded galleys and eventually arrived to an astounding welcome by thousands of Cossack and Tatar horsemen at the fairy-tale pavilions of the palace of Bahçesaray and entered the courtyards and gardens which according to Catherine ‘so strongly resembled the dreams of a Thousand and One Nights.’

225 years after Catherine, I entered the same pavilions with considerably less ceremony but an equal measure of captivation for the beautiful seraglio and magical gardens. The utter tranquility of the Palace, once home to the Khan of the Crimea, with its light-filled rooms and gardens of towering cypresses was more striking because I’d just travelled from Istanbul where the eye can’t help being in a constant dazzle of distraction. Here deep in a valley between high mountains, a long coach ride from Sevastopol and the fields of the Charge of the Light Brigade, the remoteness made the visit more dreamlike.


The name Bahçesaray comes from the Turkish word bahçe, which means garden, and saray, which means palace. A river flowing around the Palace feeds the garden of trellised vines, parterres and roses. Light airy interiors and courtyards are filled with the sound of water and a marble fountain made famous by Pushkin’s poem, The Fountain of Bahçesaray, tells of it being the tears of the Khan weeping for a lost love. Tatar women who look after the Palace place fresh roses here every day. Much of the marble work was done by Genoese stone artists who were ‘hijacked’ by the Khan to work in the Palace on their way to fulfil work in Russia.


















Painted surfaces, lozenges of jewel-coloured glass, ceilings studded with tiny gold stars, cool marble underfoot, the perfume of roses and the sound of water... what could be more redolent of dreams of A Thousand and One Nights– Catherine was right,

And for a quiz at the end... how many words do you know in English that come directly from Turkish? I could think of caracal, coffee, kaftan, kiosk, kilim, ottoman, pilaf, shaman, yoghurt and yurt... but there must be masses more. 

The photographs are the copyright of Dianne Hofmeyr – please don't use without permission. 
My newly revamped website is up at: www.diannehofmeyr.com 
And in complete contrast to the above, my new picture book is: THE MAGIC BOJABI TREE

The Ladies of the Roses, part four: Lady Hillingdon. By Louisa Young

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 Alice, Lady Hillingdon, 1857 -1940

The Rose





Tea rose
Origin:Lowe and Shawyer, GB, 1910
Parentage:Papa Gontier x Madame Hoste
Size of flower:10cm
Scent:Strong, redolent of tea
Flowerings:Continuous
Height:1m
Spread:        1m


Climbing Lady Hillingdon
Origin:Hicks, GB
Flower size:11cm
Flowering:Remontant
Height:4m
Spread:2m - or rather more in my experience


Lady Hillingdon is one of the last tea roses to be bred, and a very popular one, particularly the climbing sport, which can be seen draped in creamy yellow piles up the fronts of houses the length and breadth of Britain. The flower are cupped and slightly drooping, initially a dark melting sugar colour, which fades to cream and almost white at the edges but keeping an apricot heart. They come in clusters of three to seven, with long elegant buds, and new growth is dark crimson with a purple bloom, later turning dark green. The bush tends to be thin and ungainly, but very generous with its blossoms. The climber is very vigorous (I know this to be true, because I have a vast one flowering all over my back garden wall, and drooping in bottles on my kitchen table, as I write), and its flowers are larger and droopier, and more yellow. 

The Lady



Alice, Lady Hillingdon was born the Hon Alice Harbord-Hamond and married the second Lord Hillingdon. As a wedding present her father gave them property in Norfolk, where they built Overstrand Hall, according to Pevsner 'one of Lutyens's most remarkable buildings, at the time when he had reached maturity but still believed to the full in his own inventiveness', but Lady Hillingdon reportedly preferred London, for the society. 

It is said that in her journal for 1912, or in a letter to her mother (which sounds rather unlikely), Lady Hillingon wrote: 'I am happy now that Charles calls on my bedchamber less frequently than of old. As it is, I now endure but two calls a week and when I hear his steps outside my door I lie down on my bed, close my eyes, open my legs and think of England.'

Sadly, her journal has been lost. Perhaps on purpose. But whether or not it was hers, what a gift that phrase has been. 
  
The picture above is her portrait by Bassano, who photographed all the ladies of the day, from the National Portrait Gallery.


Coming out, by K. M. Grant

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In 1976, I came out.  This was a surprise to my children.  They were most disappointed when I told them that 'coming out' didn't always refer to sexuality.  In my case, it meant I did the London Season.  This was not a surprise: it was a shock.  The Season?  Wasn't that ancient history? And really!  What was I thinking!

What indeed.  I came out in 1976, but the Season, those months between Christmas and late-ish June when 'everybody' rushed from dinners to balls to parties of various kinds, evolved through the 17th and 18th centuries.  As Amanda Foreman tells us in her book on Georgiana, Duchess of Devonshire, the Season was designed to 'entertain the upper classes while they carried out their political duties'.   For men, the primary duty was plotting.  For women, it was dancing, dazzling and above all, dressing both body and hair:  the Duchess of Devonshire once appeared with fruit, stuffed birds and even a ship in full sail on her head.  Oh, the fun and sweat, headaches and lice.  Later, for parents with daughters, the Season's focus was bagging a husband:  a kind of over-dressed, over-privileged dating agency.

The task of girls was clear:  to be presented at Court without falling over, to cause the right sort of sensation at the right sort of parties and to be married off to Someone Suitable before the Season ended.  Pity the parents obliged to fork out for daughters needing more than one Season to secure their man.  But lucky Georgette Heyer and Barbara Cartland!  They made fortunes from novels about the Season, since exquisite but poor Lady Jemima meets dashing but scarred Lord Moneybags never goes out of fashion.  Indeed, Barbara Cartland hit the jackpot, and not just with her books.  Her daughter, Raine McCorquodale (the late Princess of Wales's step-mother), was Debutante of the Year in 1947.

I was not Deb of the Year.  But there, in the brochure for Queen Charlotte's Ball of 4th May 1976, after, bizarrely, advertisements for Dettol, North Thames Gas, Woolworths and Playboy, is my name.   I come between Grania Thwaites and Melanie Turner (whatever happened to them), amid all the debutantes who that year donned white dresses and gloves, set sail for the Grosvenor House Hotel in Park Lane and, having been drilled most fiercely by some matron or other, paraded down the ballroom stairs to the March from Handel's Judas Macabaeus and curtsied to a cake.  Yes, a cake, not to the Queen of Puddings or even the Queen herself - she, sensible woman, stayed at home.  The cake came courtesy of Queen Charlotte, wife of George III.  She was a nice woman, most charitable.  Why we remembered her with a cake I can't recall.  Whether we ate the cake, I don't recall either.  Probably not.  As a deb, you were too conscious of your clothes.





I do remember the ball.  It was torture.  Fresh from my convent school and brought up in north east Lancashire, I knew almost nobody.  My dress was not bright white, but cream: a Mortal Sin. The boy hauled in to accompany me had no interest in either the ball or in me.  I had no idea what to talk about.  He made no effort.  I was a nervous dancer.  He was too superior to try.  Over thirty years later, I saw this 'boy' again and reminded him, laughing now, of that excruciating evening.  He looked at me.  I stopped laughing, feeling 17 again, and not in a good way.  Reader, my Season was a failure:  I didn't marry him, nor any of the other debs' delights.  Thank God my parents didn't try again.






The Return of Mary Hooper

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We are delighted to welcome back former History Girl Mary Hooper as our May guest. Mary's new book The Disgrace of Kitty Grey has just been published by Bloomsbury and is already getting rave reviews. It celebrates 200 years since the publication of Jane Austen's Pride and Prejudice. Kitty Grey is a dairymaid living in the country who is sent up to London to buy a copy of the latest must-read novel. Here we print an extract from the opening chapter:

 
Suddenly nervous about why the two young ladies had asked to meet me in secret, I hurried through the kitchens, went up the servants’ stairs and stood

waiting in the hallway between the drawing room and the front parlour, just as Miss Sophia and Miss Alice had requested.

I checked my nails, smoothed down my pinafore and sniffed. I was not used to being right inside the house and the air seemed to close about me stiflingly; an inside sort of air, stuffy and tickling my nose, a mixture of the previous night’s coal fires, the fibres of the thick wool carpets and the scent from the bowl of dried rose petals on the hall table.

I looked at my reflection in the glass of the nearest portrait and tucked a few wayward strands of hair under my cap. Lady Cecilia was known to be a stickler for cleanliness, especially in the dairy, and I couldn’t help but be worried that there had been a complaint against me. But then surely Milady would have asked Mrs Bonny, the housekeeper, to tick me off, rather than dele- gate the reprimand to Miss Sophia and Miss Alice, who (not just from my own observances but according to kitchen gossip) had little else in their heads but hand- some young gentlemen, ballgowns and supper dances.

I sniffed again and wished for them to hurry them- selves so that I might learn my fate, whatever that was. I gazed down the hall; from where I was standing I could see right up to the double front doors one way and back the other to the little room (I had heard Lady Cecilia call it a petit salon) where she took tea at precisely four o’clock every afternoon. All along the walls of the passageway, placed at the same distance from each other, were portraits of the family. These were mostly gloomy- brown old things, starting with Lord Baysmith the Army Major, stuffed into tight red dress uniform outside the salon door, down to Miss Sophia and Miss Alice (lighter, brighter) in blue dresses with white sashes. Directly opposite the Misses was an oil portrait of their older brother, the present Lord Baysmith’s son and heir, Peregrine, who was away at school.

I counted the portraits: fourteen in all, going back years and years and depicting all the notable Bridgeford Hall residents. There was, I knew, a much more recent portrait of the present Lord Baysmith with Lady Cecilia, dressed as if for a ball but, strangely, sitting under a tree on the estate with two enormous hunting dogs borrowed for the occasion. It had been painted, apparently, by
someone very famous, and now hung over the fireplace in what they called the grand salon. I had only seen this painting a few times but I liked it very much, for in the background the sun could be seen glinting on the river, far away, and upon this river my sweetheart, Will, worked as a ferryman. The painting showed, faintly, a rowing boat with (I had convinced myself) a smudged representation of Will inside, his strong brown arms pulling at the oars.

I slipped into a little reverie, smiling to myself as I thought of Will. We had been walking out together secretly for some months now, and the time was coming when he must call on Mrs Bonny and Mr Griffin the butler with a request that we be allowed to see each other formally. This would mean that we could meet openly after church on a Sunday or, if the ferry business was quiet, stroll to the village on a summer’s evening. After we had been granted permission and walked out together for several years, we might be able to wed, providing my family were in agreement and we had somewhere to live. I was hoping that he might speak to Mrs Bonny soon – and I’d dropped plenty of hints that he should – but he was very much a waterman by trade and by type (that is, he did not give a stick for conven- tion). Moreover, I was slightly worried that, not being aware of social pitfalls, he might say the wrong thing at the wrong time and spoil our chances.

Miss Sophia and Miss Alice suddenly came through the drawing-room door, giggling together. Miss Sophia looked at me, put her finger to her mouth to indicate I should not speak, then said in a low voice, ‘Is there anyone around, Kitty?’ (I should say here that although I was born Katherine, everyone in the house called me Kitty, as Katherine had been thought too much of a name for a milkmaid.)

I bobbed a curtsey. ‘No, miss. Everyone’s about their duties.’

‘I don’t mean servants! I mean family.’

I shook my head. ‘I haven’t seen anyone.’ How would I see anyone, I thought, unless they came into the dairy? ‘Your mother is still abed, I believe,’ I added. I knew this because I’d passed through the kitchens and heard one of the upstairs maids complaining that she couldn’t get into Milady’s room to lay the fire and it was going to set her back for the entire day.

‘Because we’ve got something secret to do,’ said Miss Sophia. ‘Something we want you to assist us with.


Mary Hooper is a very popular writer for children and young adults. Her brilliant historical novels have a huge fan base, as do her contemporary novels for teenagers. At The Sign of the Sugared Plum was selected as part of the 2010 Booked Up scheme and Fallen Grace has been nominated for the Carnegie Medal 2011. Mary lives in Henley-on-Thames. www.maryhooper.co.uk

We will have copies of The Disgrace of Kitty Grey to give away in our May competition on 31st May.





Who Really Discovered Australia? By Rosemary Hayes

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A few years ago I was in the Maritime Museum in Fremantle, Western Australia where I made a discovery which intrigued me so much that I knew I'd have to write about it.   There, in the Shipwreck Galleries, I learnt about the many ships which had come to grief up and down the coast of Western Australia and, indeed, about the sailors, soldiers and passengers on these ships who had survived. Europeans who had trodden on Australian soil 150 years or so before Captain Cook sailed into Botany Bay on the other side of the continent.

Captain Cook didn't 'discover' Australia and, to be fair, he never said he did. He always acknowledged that that distinction went to the early Portuguese and Dutch seafarers who sailed to the East Indies in search of valuable spices. At first, the ships sailed round the Cape of Good Hope and then due North, past Madagascar and across the Indian Ocean but then, in 1611, the Dutch discovered a faster route. By sailing further south from the Cape the ships could catch the winds known as the 'roaring forties' which would speed them eastwards across the sea until they had to turn North again and sail parallel with the coast of the 'Southland' (Western Australia) and thence on to Java.  This route shortened the voyage by several weeks but, with no certain way of calculating longitude, it was easy to misjudge the turning point, and if a skipper got it wrong, then treacherous reefs and rocks lay in wait.


There are so many shipwreck stories but the ill fated voyage of the Batavia was the one that gripped my imagination, not least because it is so well documented in the meticulous diaries of the ship's Commander.

On October 28th 1628, the Dutch East India Company's retourship, Batavia, sailed from Texel on her maiden voyage to Batavia (present day Jakarta) in Java. The ship was laden with a priceless cargo including jewels, silver coins and objets d'art to be traded for highly prized spices.

WHO WAS ON BOARD?
A mixture of passengers. The rich passengers were reasonably comfortable but the poorer passengers had a miserable time. These were desperate folk, many of them destitute, who were in search of a better life in the colonies; they would be subject to deprivation on board and almost certainly to disease when they reached Jakata (Batavia) if they had not succumbed before then. Then there were the sailors, other crew members and soldiers; the soldiers, many of them French mercenaries, were there to protect the ship and the man the garrison at Batavia when they arrived. They would all have been a pretty tough lot. 17th century sea voyages were not for the faint hearted.


                                                                          Soldier


                                                                        Cabin boy

There were also some employees of the VOC (The Dutch East India Company). Commander Pelseart was in command of the ship and Jeronimus Corneliez, another company employee, was second in command. Pelseart was a conscientious company employee but he was not in good health. Neither of these company men knew how to sail a ship and the responsibility for this lay with the Captain, Ariaen  Jacobsz.

Jacobsz had sailed with Pelsaert on a previous voyage and despised him, so the relationship between Captain and Commander was tense. It was not improved when Jacobsz went on a violent drinking spree when the ship docked at Cape Town and Pelsaert rebuked him publicly.

The second-in-command, Under Merchant Jeronimus Corneliez, was a new recruit to the Company. He had joined as a last resort, to avoid being arrested at home in Holland. His career as an apothecary was ruined and his creditors had uncovered his association with an heretical sect which believed that sin did not exist.  This goes some way to explain his chilling detachment and lack of self blame during subsequent events. He was manipulative, persuasive and charismatic.

HATCHING A PLOT
The Captain, Jacobsz, and the Under Merchant, Corneliez, formed a dangerous alliance and they began to plan a mutiny. When the ship left the Cape, the Captain steered a course that ensured that they lost sight of the other members of the fleet, isolating the Batavia. They intended to seize the ship and her valuable cargo, kill the Commander and those loyal to him and then live as pirates. They gathered about them some hot-headed cadets and discontented sailors and directed them to attack the Commander's friend, a high born young woman, Lucretia van der Meylen, who was on her way to join her husband in Batavia. Jacobsz and Corneliez were sure that the Commander would react violently to this act - and his retaliation would be the signal for the mutiny to begin.

In the event, Pelsaert did not lash out as expected, remaining passive and reasonable. Lucretia could only identify one of her attackers and he was imprisoned on board to await trial on the mainland.

So, the lid was on the mutiny, but only just - when Batavia ran aground on Morning Reef off the Houtman Abrolhos Islands near present day Geraldton, on 4th June 1629.



                    The hull of Batavia in The Shipwreck Museum, Fremantle, Western Australia


                                                                A Replica of Batavia
SHIPWRECK
There are various theories about who was to blame for the shipwreck but ultimately the Captain was responsible. Navigation at that time was hazardous, the coast of 'The Southland' had been sketchily charted and it would be another 140 years before a satisfactory method of measuring longitude was perfected.

ON THE ISLANDS
The islands lying to the East of Morning Reef were flat, coral islands with little vegetation and no water. Initially, the passengers and some soldiers and sailors were ferried to a nearby island by the ship's boats. But there were still soldiers and sailors on board the stricken Batavia when the Commander, with the Captain and some 40 officers and sailors, took the ship's boats to search for a more hospitable landing place, but finding none then set off on the hazardous journey (some 2,000 miles) back to Batavia to get help, leaving the survivors to their fate. The Under Merchant, Corneliez, was the last to leave the sinking ship and make it to the island and he immediately took charge. He established some sort of order but he had not abandoned his mutinous plans; he and his followers would seize any ship sent to rescue them.

Corneliez and his henchmen set about getting rid of the weak, those loyal to the Commander and those who would be no use to them. He ordered the carpenters to make another boat from driftwood and had a group of people ferried to another waterless island where they were abandoned. He kept the water barrels salvaged from Batavia with him. He also had a group of soldiers taken to a distant island (they called it High Island), assuming that this, too, had no water.

Then followed a reign of terror. Corneliez never killed anyone himself but he let his followers run amok, killing and raping indiscriminately, and ordered them to kill many more (even young children). Anyone who was not with him was against him. After a time he sent his men to check on those on the other nearby island. Most had died and those who had not were too weak to defend themselves and were easily despatched.

However, when he sent a force to High Island, they were repelled. The soldiers on High Island had found water and there were wallabies and birds to eat. They were well organised by the soldier in charge, Wiebbe Hayes and had made crude weapons from barrel hoops and other materials that had been washed ashore. Next time, Corneliez went himself to High Island, pretending to make peace, but the soldiers were not deceived and captured him.


Recently I was lucky enough to fly out to the Abrolhos Islands. This tiny island (now called Beacon Island) was where Corneliez had his headquarters and was the site of many brutal massacres.


And this is me on the island where Wiebbe Hayes and his men were taken on Corneliez's orders



This may not look much but it is the remains of Wiebbe Hayes' fort, taken from the air, and it is the first European building in Australia

RESCUE
Meanwhile, against all the odds, Commander Pelsaert had made it to Batavia. The Captain was left there in jail and another, much smaller, Company ship, the Sardam, well armed and with a new crew, set off the rescue the survivors of the shipwreck.

The Sardam's arrival coincided with another raid on Wiebbe Hayes and his men, led by a young soldier loyal to Corneliez called Wouter Looes. This time they were making more progress and Hayes might have been defeated had not the Sardam been sighted. Hayes's men set off in the boat they had built, in a frantic race to reach the ship before Corneliez's supporters. They succeeded, warning the Commander of what had happened.

Commander Pelsaert wasted no time in trying the mutineers and passing sentence. Many were hanged there and then (including Corneliez) and others were taken back to Batavia to await their fate. He was also meticulous in salvaging all he could from Batavia, including 11 of the 12 chests of silver coins on board.

AND THEN
Pelsaert decided that two of the mutineers should have an unusual punishment. The young soldier, Wouter Looes and the cabin boy, Jan Pelgrom, although they were involved in the mutiny and massacre, were given supplies and a boat and marooned on the mainland when the Sardam left to go back to Batavia.

It is very likely that they survived. They were almost certainly marooned not far from the Murchison River so they would have had fresh water and there would have been animals, fish and birds to eat if they could trap them.

And if they survived, they would have been the first Europeans to settle in Australia.

There is strong evidence for early Dutch settlement. Later explorers to the region reported seeing aborigines with pale skin and fair hair and the huts in the coastal region were reported as being 'different from those in the southern districts, in being built, and very nicely plastered over the outside with clay, and clods of turf.'   So the Nanda people of the Western coastal regions may have absorbed some Dutch building techniques.

But most compelling of all is the recent DNA evidence that some Aboriginals from Western Australian coastal tribes do, indeed, carry Western European blood and that this genetic link predates British settlement in 1892.

I like to think that Jan Pelgrom and Wouter Looes did survive in this vast Southland, so different from the windmills and green fields of their native Holland - and that they were taken in by a local Aboriginal tribe.

The first half of my book, 'The Blue Eyed Aborigine' sticks as far as possible to the historical facts, as set out in Commander Pelsaert's diaries.  However, the second half of the book is pure fiction. No one knows what happened to Jan and Wouter, but I have imagined how their life may have been as they came to live among the Aborigines. And what did the Aborigines make of them? They would never have seen fair skinned men before. Who did they think were and where did they think they had come from?

WHAT NEXT?
Now, of course, I want to unearth more stories about these early shipwrecks and so I'm currently researching the voyage of the Zuytdorp (known, for good reason, as 'the ship of death') which was wrecked on the cliffs north of Kalbarri some time in June 1712.  According to stories passed down through generations of Aboriginal people of the region, a good many people survived the wreck but, again, no one knows what happened to these survivors. There is, however, a tantalising trail - buttons at the site of a large and well established Aboriginal camp, a tobacco box, some clay pipes.... Intriguing stuff!




Rosemary Hayes lives in rural Cambridgeshire with her husband and a variety of animals. Her first novel, ‘Race Against Time’, was runner-up for the Kathleen Fidler Award in 1988 and since then she has written more than forty books for children.



Her most recent historical novel, ‘The Blue Eyed Aborigine’ retells one of the most extraordinary – and violent - events in Australia’s history.



As well as writing stories, Rosemary is a reader for a well known Author’s Advisory Service and runs creative writing workshops for both adults and children.



May Competition

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We have five copies of Mary Hooper's new book The Disgrace of Kitty Grey to give away as prizes in our May Competition.

Just answer this question in the Comments section below:

Which is your favourite Jane Austen novel and why?

(Ant reference to Colin Firth will disqualify you!)

Abdication by Mary Hoffman

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Richard ll

Abdication has been in the news recently, with Queen Beatrix of the Netherlands stepping down in favour of her son, Prince Willem Alexander. It's quite a tradition in that country but in the UK carries a much less favourable connotation, because of Edward Vlll's behaviour in 1936. Hence all the jokes about Prince Charles looking rueful at the Dutch abdication ceremony, because no British Monarch would dream of doing such a thing.

And yet it did happen with Richard ll in 1499. He was deposed  by the man who became Henry lV, but had to agree to give up his crown. Shakespeare says it best:

"For I have given here my soul's consent
To undeck the pompous body of a king;
Made glory base and sovereignty a slave,
Proud majesty a subject, state a peasant."
Act lV, Scene  l

"Unking'd Richard" is imagined eloquent in a way he probably wasn't. But he probably was just as reluctant. The following year he was dead in Pontefract Castle, though whether from starvation or stabbing is not universally agreed.

No such fate awaited Edward Vlll; far from being a peasant, he was re-designated Duke of Windsor and lived out his remaining 35 years in comfort in France. Whether it was worth renouncing the throne for the woman he loved only he could say.



But the stain and horror of his actions was surely behind one of the people most affected by it, when the young Elizabeth ll pledged to serve as Queen till her life's end.

No abdication for her. But it has no such taint in the Netherlands, where the last three monarchs have voluntarily given up their titles.

Why should it be seen as so terribly different from retirement, in the case of extreme old age or illness, or resignation in Edward's case? Pope John Paul ll chose to carry on through his increasing weakness from Parkinson's, enacting a kind of personal Calvary that was clearly part of his vocation and dedication. Pope Benedict XVl cased worlwide shock by making the opposite choice earlier this year.

Picture credit: Rvin88
The Press scrambled for precedents in renouncing the Pontoficate and could find nothing more recent than Gregory in the 14th century. It counts as abdication rather than resignation because the Pope is the Head of State of Vatican City, apart from anything else.

But other European monarchs have abdication, often under pressure, since Richard ll. Charles V, the Holy Roman Emperor, gave up most of his titles in 1555, to retire to a monastery, where he died three years later. His son Philip ll became King of Spain and his brother Ferdinand became Holy Roman Emperor, both Charles and Philip's destinies intertwined with that of the English throne.

As was Mary, Queen of Scots, forced to abdicate in favour of her one-year-old son, James Vl of Scotland (and later the First of England) in 1567. Here too, the cause was a marriage disapproved of by the Peers and people, from the Catholic point of view because Bothwell was divorced 12 days earlier and by all sides because it was Bothwell who had murdered the Queen's former husband, Lord Darnley.Queen Christina of Sweden abdicated in 1654 in favour of her cusin Charles Gustavus, because she had decided not to marry and her nobles were tired of her extracagant ways.

Philip V of Spain's was a strange abdication, lasting only seven months in 1724. He gave up the throne to his son, perhaps because of his own mental instability, but had to take it back when Louis died without children in August of that year. Philip carried on reigning till his death in 1746.

Monarchs of Poland, China, Sardinia, France, Portugal, Serbia, Bulgaria, Luxembourg, Belgium, Cambodia and Kuwait have all voluntarily abdicated since then, not to mention the ones forced to give up their thrones and go into exile.

It is only in Britain that the issue is regarded with such distaste.

Ex-Queen Beatrix, Photo ©Emiel Ketelaar, FrozenImage

What do you think about abdication? Do you think the Queen should step down in favour of Prince Charles? And in what circumstances?



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