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Rossini and a Couple of Cats - Joan Lennon

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Composer Gioachino Rossini 1865

Rossini (1792-1868) - we love him for The Barber of Seville, Otello, The Thieving Magpie, William Tell and so much else. He was a prolific composer, who is said to have joked "Give me the laundress' bill and I'll even set that to music!"  He was a complicated man who led a complicated life, but sometimes he drops moments of simple delight into our laps, like The Cats' Duet.  Maybe you know this piece well - maybe it's new to you - either way, take three minutes to receive a gift from the past.   

My favourite version is sung by Les Petits Chanteurs a la Croix de Bois. 



And a Happy New Year!

Joan Lennon's website.
Joan Lennon's blog.
Silver Skin.

Other People's Rubbish or The Charm of Ephemera

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It started with a button jar. ‘I can’t quite bear to throw it out,’ my friend Susanne said, ‘but I must be sensible…’


I was a strange child. I hung round at the end of jumble sales to buy the ragtag rubbish toys that hadn’t sold. One-eyed cats; amputee teddies, once a knitted doll of such startlingly bad execution that my own eight-year-old knitting skills were better. I never paid more than 5p and often the kind churchy ladies would give me the toys for nothing, because, ‘Sure, they’ll only go in the bin’ – at which I would cover the toys’ poor ears (if they had them). When I read Little Women I identified with Beth March’s retinue of mutilated dolls (though it was animals I favoured: I remember a particularly forlorn woollen cat.) 

As an adult I have learned to harden my heart. I am a cruel thrower out of letters, shredder of old photos and packer-off-to-the-charity-shop of faithful old frocks. For that reason perhaps Susanne asked me to help her pack up the large house, once her childhood home, she is moving away from. ‘I know you’ll be sensible and not let me hang on to sentimental rubbish,’ she said. 

It is easy to be sensible about the death notices of other people’s relations; the pages of O level notes; the baby clothes; the costume jewellery worn by other people’s aunts. The rubbish pile was satisfyingly higher than the keeping pile. We were good at this unsentimental business!


But the coins. Her father had been an enthusiastic collector of coins, and who can resist a silver sixpenny bit, especially the Irish one with the dog on it? Such classic design could not in conscience be thrown out.
 
And the old Brownie badges? I have no idea what happened to my own Brownie badges (I left in 1978) but I could not bear to think of Susanne’s being discarded. As for the collection of china horses – no, no, no! They had such trusting faces! As for those adorable little cotton handkerchiefs with the horses’ heads on them – why, they were exactly like the ones people in pony books used to get in their Christmas stockings. And they took up no space really. 

I left Susanne’s house with a bursting carrier bag full of, well, other people’s rubbish, really. But fear not, gentle reader: this is not a matter of sentiment. This ephemera will work for its keep. I have several workshops on historical fiction to give in the next few months and who knows what flights of fancy might be inspired by that bag of coins, or the ARP badge or the mid-century dolls’ house furniture?





And the button jar of course. I have never quite forgiven myself for letting my own granny’s button box go. I’ll look after this one better. 




Gaetano Meo and his great-granddaughter. By Adèle Geras

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 Before Christmas, I spoke to my friend Helen Craig about her great-grandfather, Gaetano Meo, and I'm also  grateful to Sarah Timewell for her help with much information about him. He's the handsome young man in the very jolly hat below. 





He's also the gorgeous youth in Edward Burne- Jones's famous painting, Love among the Ruins. You will find him in paintings by Dante Gabriel Rosetti, Henry  Holiday, and William Blake Richmond, who taught the young Italian to paint. Gaetano had walked all the way across Europe from Calabria, earning money by playing his harp. In London, he met members of the Pre-Raphaelite Brotherhood and today, his image is here, on display in the exhibition currently on show at Tate Britain.




Below is one of Gaetano's drawings, now in the possession of his great grand-daughter, Helen Craig.  It's a depiction of his birthplace, called A Memory of Basilicata.


Readers all over the world know Helen as the creator of the beautiful illustrations for Angelina Ballerina, but as well as being one of our best illustrators of many different children's books in addition to the  Angelina stories, she's also an accomplished sculptor. 










Helen grew up hearing stories about her famous great-grandmother, Ellen Terry, whose son by Edward Godwin was the theatre designer, Edward Gordon Craig. He has a theatre called after him in Stevenage and he changed the way sets were conceived and hugely extended the possibilities of what could be done on a stage. While a neighbour of the Downshire Hill house in Hampstead, Edward Gordon Craig, (who was married) fell in love with Elena, Gaetano's violinist daughter and they ran away to live together.  Gaetano was enraged, but later,  he and Elena were reconciled. Helen's father, art director Edward (Carrick) Craig, often sat with his grandfather, listening to tales of his adventures on the way to England, including the story of the captain who smuggled him aboard a ship bound for London...







The grave where Gaetano is buried was somehow forgotten until  recently. It was made by him as a memorial for his beloved wife and it was the last mosaic he created. When it was rediscovered,  it was not in a good state, but Helen, together with the well-known mosaicist Tessa Hunkin (who oversaw the skilled cleaning, and the replacement of fallen tesserae) brought it back to its old glory once again.



After much preliminary experimentation with different paints to see what would be suitable for working on  glass (which is the material used for the tesserae) and after many sketches of the Madonna and her child, Helen went to Hampstead Cemetery to paint new and beautiful faces on Gaetano's gravestone. Her nephew, Paul,  fixed up a wooden frame which made it possible to paint straight on to the marble and here's a picture of Helen doing that on a hot summer day.




This is the finished image .....



...and I'm sure Gaetano would have loved it and been proud that his own great granddaughter  was instrumental in restoring it to a state of great beauty.  If there's an afterlife, Helen's ancestor, (who seems to have been a delightful man, as well as a talented artist,) would be thrilled to bits with what she's done.  

Helen has a hat too, though it lacks Gaetano's decorations. Here she is at the grave. She should put a feather in her cap, I think, in honour of what she and Tessa Hunkin have rescued from oblivion.


Wilkie and "that all-potent and all-merciful drug" by Karen Maitland

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Wilkie Collins in 1874, aged 50
Photographer: Napoleon Sarony
Today, 8th January, is the birthday of the Victorian novelist and playwright, Wilkie Collins, born in 1824 and famous for the enduring classics The Woman in White and The Moonstone. He was a very successful writer, earning £10,000 in just one year in 1863. Many modern novelists would envy him, given that, 154 years later in 2017/18, the average income for a full-time professional writer in the UK was less than £10,500. (Compare this to average annual salary for a clerk in the 1860's of around £100, and the average clerical salary today of around £21,000.)

But behind the success, he was battling illness which was diagnosed as ‘rheumatic gout,’ which cause his eyes to become ‘bags of blood’ and agonising pain in his legs and feet. He also developed neuralgia and arthritis, which meant that for the last 20 years of his life, he was often confined to bed and his famous novel, The Moonstone, was dictated from his bed between bouts of pain. 

His physicians tried all manner of medication until he finally sought pain relief in what he called divine laudanum, which he took in ever increasing quantities, becoming hopelessly addicted, as is the character, Ezra Jennings, in The Moonstone. Both author and character paid the price for the relief of their pain with terrible nightmares and hallucinations.

At this time, Laudanum was a mixture of opium and alcohol and was sold under names such as Godfrey's Cordial and Mother Bailey's Quieting Syrup. Wilkie’s own father had taken Battley's Drops for his pain, which contained opium, sherry, and alcohol.
Engraving by Franz Muller-Munster (1867-1936)

Wilkie began to be unnerved by the movement of shadows in his gas-lit study, thought that ghosts followed him through the house and a green woman with tusks, waited for him on the stairs or in his bedchamber. On one occasion he was convinced she was biting chunks of flesh from his shoulder. Wilkie introduced the drug to his friend and patron, Charles Dickens, who also used it though not in such quantities as Wilkie.

Laudanum’ was originally the name for Cistus ladanifer a beautiful flowering plant found in western Mediterranean, also known gum rockrose and common gum cistus. Paracelsus, a 16th-century Swiss-German alchemist, combined this with opium and other ingredients such as crushed pearls and musk to produce a pain-relieving medicine. The name stuck, even when Cistus ladanifer was no longer included as an ingredient. In 1618, the London Pharmacopoeia describes laudanum as a ‘pill made from opium, saffron, castor, ambergris, musk and nutmeg’.
Cistus ladanifer or Laudanum
Photo: Juan Sanchez



Laudanum was not widely known until in the 1660’s, when the English physician Thomas Sydenham (1624–1689) produced a tincture of opium that he also named laudanum, although the only ingredient it had in common with laudanum of Paracelsus was the opium. By the 18th century, the name laudanum was being given to any combination of opium and alcohol. George Young was one of several leading physicians who recommended the drug for all sorts of ailments including neuralgia, coughing, or diarrhoea, and to ease the symptoms of ague, rheumatism, consumption and cholera. 

In the early 19th century, there were laudanums containing a tincture of opium mixed with all kinds of other ingredients from the fairly innocuous such as cayenne pepper, brandy, whiskey, and wine, to the downright dangerous – belladonna, mercury, hashish, ether and chloroform. Laudanum was being prescribed for everything from colds to heart disease for adults and children, and was used widely during the yellow fever epidemic. It must have seemed like a miracle drug for patients racked with pain or fever, because it relieved the pain, helped them sleep and even dried up excessive mucus.

Victorian women of all classes, plagued by ‘women’s problems’ which they were not supposed to mention much less seek help for, could buy a bottle of laudanum to ease their pain without having to consult a male physician, and, in any case, many could not afford a doctor’s fees. That was both the attraction and danger of laudanum – it was cheaper than a bottle of spirits or wine because, being medicine, it was not taxed as alcohol, but it gave the same kind of escape from the stresses and miseries of life.
Photo: Cydone


Until 1908 in Britain, Laudanum or tincture of opium was also included in a number of baby’s ‘soothing’ syrups. Grandma’s Secret, Mother’s Treasure, Morrell’s Teething Syrup, Godfrey’s Cordial and Mrs Winston’s Soothing Syrup were just some of the brands a desperate mother or nursemaid could buy and, especially in the hands of parents or wet-nurses who either couldn’t read well or might think an extra dose would ‘do baby good’, these syrups could be lethal. Koop’s Baby Friend killed 11 infants in two years, and those were only the infant deaths that were investigated. There were probably many others that weren’t.

Wilkie Collins was not the only writer to become addicted to laudanum, Lord Byron took it in the form known as Black Drop, which is four times the normal strength, as did Coleridge. Somehow Coleridge managed to keep his addition a secret, though he could imbibe up to a pint in one day.

The poet Elizabeth Barrett Browning first took laudanum at the age of 15 after suffering a spinal injury, and at the time of her engagement to Robert Browning was taking 40 drops a day, which was large dose. Florence Nightingale also took it for medical reasons.
1781, 'Nightmare' by Henry Fuseli (1741-1825)

A number of prominent people took laudanum to calm their nerves before a public speech, including John Hunter, the ‘Father of Anatomy’ (1728-93) who took 30 drops before giving lectures; William Wilberforce, the slavery abolitionist; and the Prime Minister William Gladstone who took it to steady his nerves before addressing parliament. I imagine there are days when modern Prime Ministers might sympathise with that.

Wilkie Collins tried many times to break his addiction through hypnosis and other means. On 26th February 1869, he wrote a letter to Mrs Benzon, 
‘… forgive me if I am absent tomorrow night. My doctor is trying to break me of the habit of drinking laudanum. I am stabbed every night at ten with a sharp-pointed syringe which injects morphia under my skin - and gets me a night's rest without any of the drawbacks of taking opium internally. If I only persevere with this, I am told I shall be able, before long, gradually to diminish the quantity of morphia and the number of nightly stabbings - and so emancipate myself from opium altogether.’ 
Sadly, he was never able to do that.

1863, Advert for 'Wolcott's Instant 
Pain Annihilator'
A few weeks ago, my wisdom teeth erupted. I couldn’t open my jaws more than half an inch. My cheeks swell up like a hamster with mumps and I discovered that sucking soup for Christmas dinner doesn’t make you feel festive, especially when soup is all you’ve been able to eat for a fortnight. It was massively painful and if I could have travelled back in time, I would have been snatching bottles of ‘Morrell’s Teething Syrup’ from any Victorian baby I could find.

Trying to stick to my daily writing routine whilst grizzling like an infant, I found a renewed admiration for Wilkie Collins. Since my teens, I’ve been captivated by his novels, but thinking about what he was battling when he wrote them, makes them seem even more amazing. He was able to turn the pain and nightmares that tormented him into great stories. Now that really is the stuff of fairy tales – spinning the nettles of life into pure gold. Happy Birthday, Wilkie!





Ancient Wisdom & New Year’s Resolutions

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by Caroline Lawrence

I read ancient authors almost daily and am always surprised by how relevant they are. (Usually!) Here are my ten New Year’s resolutions based on ancient authors, some with links to advice for modern application. Maybe some of them will inspire you, too!


1. Examine Your Life– Socrates (Greek 5th century BC)
Socrates famously said, ‘The unexamined life is not worth living.’ The bleak midwinter is the yearly equivalent of four in the morning, when all our fears rise to the surface of consciousness. Don’t push them back down. Take them out and examine them one by one. One way to do this is something like Morning Pages where you write a stream of consciousness first thing. Check out a 3-minute clip HERE.

2. Know Thyself. Anonymous (Greek 6th century BC)
This slogan was written in Greek on temple of Apollo at Delphi. It’s not entirely sure who first coined it but many philosophers have echoed it ever since. According to Yuval Noah Harari, algorithms already know more about us than we do ourselves. (Watch a revelatory interview with Harari HERE). Until they make the ‘Know Thyself’ app, I’m going to constantly ask myself why I’m taking certain actions from little (online purchases) to big (the nature of my next project). 

3. Let Your Food Be Medicine. Hippocrates (Greek 5th century BC)
The reason we make New Year’s Resolutions now is because of the two weeks of overindulgence we’ve just experienced, telling ourselves ‘It’s the holidays... Let the regime go for a while.’ That’s fine. That’s why winter is a time for feasting. And why Lent is a time for fasting. Two and a half thousand years ago the ‘father of medicine’ urged people to eat for health, but fasts were also part of the ancient health regime. Sometimes a lack of food is good for the body and lets it recover. I started the new year with a ‘diatritos’, a three day fast, and will try to fast for a couple of days each month. HERE is a short introduction to fasting.

4. Withdraw into Yourself as Far as You Can– Seneca (Latin 1st century AD)
The first century AD Roman Stoic philosopher seemed to be talking about something like meditation or mindfulness. I’m going to try to meditate every day and take stock, even if only for a few minutes. Try a short 3-minute version HERE

5. Always Be On Your Guard– Marcus Aurelius (Greek 2nd century AD)
Wise words from the second century AD Stoic philosopher and emperor. The full quote is this. ‘The art of living is more like wrestling than dancing, you should always be on your guard.’ Whether on the streets of London or posting on Twitter, I’m going to try to be alert to danger and let my intuition warn me. 

6. Take Power Naps– Pliny (Latin 1st AD)
He was a most ready sleeper, insomuch that he would sometimes, whilst in the midst of his studies, fall off and then wake up again… [After lunch] he generally took a cold bath, then some light refreshment and a little nap. After this, as if it had been a new day, he studied till supper-time… Pliny Letters 27. As I get older, I am learning to take power naps before they take me. Read Pliny the Younger’s account of his Uncle’s daily routine HERE

7. Keep Fit– Juvenal (Latin 1st AD)
Mens sana in corpore sano can be translated as ‘a healthy mental outlook in a fit body’. You don’t have to join a gym or invest in new trainers. We all know the ways to increase daily movement like getting off the tube a stop earlier or taking the stairs instead of a lift. I love walking but my knee is getting a bit stiff so I’ve now started to supplement walking with a short yoga session first thing in the comfort of my own home via YouTube or DVD. My favourite is Rodney Yee

8. Hurry Slowly – Augustus via Suetonius (Latin 1st AD)
I do things quickly. Sometimes too quickly. The Roman historian Suetonius, in De vita Caesarum, tells that Augustus deplored rashness in a military commander, thus σπεῦδε βραδέως or festina lente in Latin was one of his favourite sayings. I resolve to be quick but not impulsive. 

9. Treat Others As You Would Like to be Treated– Jesus (Greek 1st AD)
In Matthew 7:12, Jesus states the so-called Golden Rule. We know it in our heads (and hearts) but it goes against the survival instinct of our reptile brain. I had a revelation recently while teaching John Truby’s seven beat plot structure, which includes the Desire and the Opponent. We often consider people as opponents or barriers to things we want, but in Gods eyes it is the people who are important, not the things we want. 

10. Delight Yourself in the LORD– King David (Hebrew 10th century BC)
We can be overwhelmed by the suffering and stupidity that surrounds us, and be tempted to despair. But we live lives of greater comfort and luxury than almost any generation before us. I am going to count my blessings, say thank you to the Universe and delight myself in God and His creation. For me, this verse from Psalm 37 is the most important resolution of all. 

Gibbering light - Michelle Lovric

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Christmas in Venice is a season of low winter light gibbering on the stones under the bridges. The Venetians call this phenomenon ‘gibigiana’. The Italian word for it seems to be ‘sbarlusso’.

The winter sun brings out the basking cats, particularly the three magnificent Maine Coons at the Calle dei Muti. I think this one below is called ‘Rudolf’. In a scene that was sadly edited out of my forthcoming children’s book, these cats had a starring role. They even danced the hornpipe. Oh well.


Everyone who is anyone in Venice gets their Christmas tree at this little outpost at San Felice.

 
I don’t know why this seems to be the only place. It has been for all decades I’ve been here. I imagine the journeys of these trees … perhaps from Slovenia via Trieste to this city. I imagine them disappearing into the homes of the disappearing Venetians. The 'Venetian counter' in Campo San Bartolomeo was down to around 53,000 last time I checked.

 
Where there are Christmas trees, there are decorations. This shop in San Pantalon always has the best ones in Venice. One year, I am going to crack and buy these dinosaurs. I really am.
 

But I won’t be dipping into this basket of Moors.

I have written elsewhere of the patere, discs of stone sliced from columns and decorated with cautionary scenes, usually of beast eating one another. I always look out for previously unseen patere in Venice and this is a new one for me: two lobsters grappling.


It’s at the Ponte delle Guglie. Lobster is on the menu at all the most expensive restaurants on New Year’s Eve in Venice. So it seems appropriate to the season.

On a killing note, Christmas is the time when Venetian ladies of a certain age get out their minks. Fur brings out the brilliant orange lipstick and the glittering earrings. The earrings bring out the diamond rings and the designer sunglasses. There’s no word in Italian for ‘privacy’ but I decided not to shame any of the minky ladies with a photograph. I can only hope that many of these elegant she-bears shuffling around Venice are wearing their grandmothers’ coats. Venetian senators surely handed down their robes lined with squirrel fur. How many squirrels must have been culled to supply the Maggior Consiglio of around 2000 patricians in the long life of the Venetian Republic?

On the vaporetto the other night, I saw a Venetian lady of fashion wearing the skins of at least three different animals. However, on a designer lead she dragged a little dog with a lustrous pelt of his own. Was it just me, or did that dog have a worried expression every time he looked up at his mistress? And, I wondered, how could she herself not see the irony of prizing her pet’s fur as the living upholstery of her love-object while taking it for granted that the beasts of the forest and jungle must be slaughtered to keep her looking expensive?
Venice, fortunately, doesn’t do garish Christmas lights or ruin the Grand Canal with Disneyfied illuminations. Around San Marco and Rialto, there are usually beautiful cascades of pinpoint white lights. This lovely picture was taken by Janny Williams under the arches that formerly enclosed Venice's jewellers at Rialto.

 
I was hoping to find some kind of lurid lit Veneziana to join my Venetian Christmas grotto in London, but I failed. The town hall's tall columns are garlanded. There are little cribs everywhere. This one below is at the gondola stazione at Santa Sofia, which porters people from Cannaregio over to the Rialto Market and back.

 
There’s a hotel near Ca’ d’Oro with a vast nativity scene all lit up in its garden.

 
But on closer look, something is missing in the manger department.

 
 
A friend explained that the Christ child is not added until Christmas morning, Of course.

And when I went back to check after Christmas … there He was.



In the bigger squares, there are also lovely stalls selling every possible accoutrement for your home crib … this year there are steampunk accessories for the modern manger; masks, too. And of course there are cakes. At this time of year, panettone, pandoro and focaccia all become currency. People trundle around with trolleys full of exquisitely packaged confectionery.


At the Bifora in Santa Margherita, the decorations are simply beautiful, adding beauty to beauty. The Murano glass chandeliers bear extra glass balls of scarlet.

 
The roof is festoonery with greenery. And the company is absolutely splendid. (Photo by Ross Frassanito, with thanks, and not just for the photo …)
  



Finally, the best modern retail acknowledges Venetian history. This is the window display in a shop by the Ponte delle Tette, a place where state-sponsored courtesans would bare their breasts to encourage customers.

Merry Christmas to Venice past and present! (photo by Janny Williams, with thanks).

 Michelle Lovric's new website.

Bathsheba Ghost: Convict Hospital Matron

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There were opportunities in the penal colony of New South Wales for a smart woman to overcome her convict past, forge a new career and become one of the most highly paid women in the colony. Bathsheba Ghost managed to do all that in her twenty-two years at the Sydney Infirmary, first as a nurse and then as matron. And when she died she was able to leave a substantial bequest to her beloved hospital.
On 19 May 1838, in the Central Criminal Court of the Old Bailey, twenty-eight-year-old Bathsheba Ghost, former ladies’ nursery maid (I like to think of her looking like the nursery maid above), was found guilty of receiving stolen property and sentenced to 14 years’ transportation to the colony of New South Wales. 

At the time she was living at 338 Oxford Street in London (now the site of Debenhams flagship department store) with her husband and three-year old son. See: https://www.oldbaileyonline.org/browse.jsp?id=def2-1309-18380514&div=t18380514-1309#highlight
for an account of her trial at the Old Bailey.

She left husband and son both behind in London; her husband had publicly distanced himself from her, despite some evidence of his own involvement in the crime.

And so Bathsheba, together with 170 other female convicts, departed England in 1838 on the Planter, a ship similar to the Buffalo (above).


After four months at sea, she arrived at Port Jackson in March 1839 and was assigned work as a domestic servant. 

Her nursing career began when she was granted her ticket of leave in 1844 and began work as a paid nurse at the General Hospital. Two years later, she was granted a conditional pardon; effectively she was free, but it stipulated that she could not return to Britain. So she continued to nurse at what was now the Sydney Infirmary and Dispensary. 

By 1852 she had so impressed the Infirmary Board that they offered her the position of Hospital Matron, a post she was to occupy for the next fourteen years. 


Her salary of £80, with board and lodging provided, was considerably higher than that given to her predecessor. By 1854, her salary had been increased to £100. In recommending the increase, the board stated: ‘It is sufficient to say that the order and cleanliness which reflect so much credit upon our institution are mainly owing to her unwearied personal exertions’.

Eventually, Bathsheba was earning £120 per annum, which was one of the highest salaries for a woman in New South Wales at the time.

During Bathsheba’s 14 years as matron, there were major changes in medical practice, including the first use of anaesthetics. Apparently she took these in her stride, as the Infirmary’s annual reports regularly praised its matron for the order and cleanliness of the hospital, and for taking a leading role in training nurses under her care. In 1864, the board arranged for her ‘small and unsuitable apartments’ to be upgraded to allow her ‘accommodation due to her position and long and faithful service’. 


Not only the board was impressed by Bathsheba. Maria Rye, a friend of Florence Nightingale, visited Sydney in 1865. Although she generally condemned colonial hospitals, in a letter to Miss Nightingale she wrote that the Sydney Infirmary was ‘a wonderful exception as good as any Hospital in London’.

Bathsheba never remarried but, towards the end of her life, her son Thomas migrated to the colony of New South Wales and she came to know her granddaughter Eliza. 


Sadly, her final years were marred by a painful and lingering illness of the uterus. In a time of limited pain relief she turned to opium and alcohol, and despite Bathsheba’s much praised efforts to maintain order and cleanliness at the hospital, matters deteriorated during her last illness. (See the cartoon in the Sydney Morning Herald of 1869). 

Despite her illness she continued her duties as matron and opposed any idea of change in the running of the institution until her death in August 1866. 

In August 1866, Bathsheba Ghost died at the hospital where she had worked for 22 years. Her death was noted by the board with ‘much regret’. She left a bequest of £100 to her beloved Sydney Infirmary in her will
 – a substantial amount at the time – and her passing was noted with ‘much regret’ by the board. 

In her will she left the Infirmary a bequest of £100 – a substantial amount at the time – and her passing was noted with ‘much regret’ by the board.

In 1953, a memorial to her was unveiled in the Camperdown Cemetery, in a ceremony presided over by Elsie Pidgeon, the then matron of Sydney Hospital.


Given her high regard at the time of her death, it is surprising that a century later, in a 1970 book about the Nightingale nurses, Bathsheba Ghost should be referred to as ‘a Sarah Gamp of the Southern Hemisphere … in the habit of fortifying herself against minor discomforts with a judicious choice of alcohol’.
The Bathsheba Ghost Memorial
Her name does have a Dickensian quality about it, but it is both ironic and sad that Bathsheba’s character and place in history should have become entwined with that the speech-mangling, cucumber-guzzling, gin-tippling, patient-brutalising nurse presented by Charles Dickens in his novel Martin Chuzzlewit.

[The above is taken from my book: An Illustrated History of Nursing in Australia (National Library of Australia). To be published 2018.]

Extreme fasting - St Simeon the Stylite

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by Antonia Senior

I am hungry. Really, really hungry. Yup, it's January diet time. Like countless other podgy, Mum-tummed dipsos I've started fasting. Christmas, and the evil trinity of craft beer, crisps and mince pies, pushed me, and my straining waist-band, over the edge.

Fasting is nothing new. Researching a book some years ago, (the one in the drawer), I became fascinated by early Christian ascetics. Pre-enlightenment Christian mind-sets are staggeringly weird to modern brains, but the bonkers brigade of fasters and scourgers seem particularly alien.

My favourite early Christian nutjob is St Simeon the Stylite. His life is well documented for the time. He was famous throughout the Christian world and beyond, and we have a contemporaneous account of his life from Theodoret's History of the Monks of Syria. Written in about 440AD, Theodoret of Cyrus writes profiles of some thirty holy men, who all practised some form of asceticism. 

Theodoret of Cyrus



The path to God was a troublesome, painful, hungry one. Theodoret's account is wonderful - full of detail and replete with anecdotes of his own meetings with many of the monks. Take Eusebius, who ate 15 dried figs over seven weeks and whose belt kept falling down over his skinny buttocks, forcing him to sew it to his tunic. Eusebius, not wanting his vision of God to be disturbed, rolled a stone over the entrance to his cave. Theodoret talked to him through a small hole, listening to his "sweet voice, dear to God". Theodoret tries to leave, but the starving, solitary monk won't let him go - talking relentlessly through the hole about heaven.

The demands of worship in this tradition all involve physical discomfort. The body must suffer to free the mind, turning it to God's vision. Maricanus and Bardatus, for example, lived in mountain huts which were too small for a man to stand or lie down - and they were entirely open to the elements.

This ascetic fanaticism was much admired in early Christendom - and it spread far. The Celtic Church, thousands of miles from arid Syria, developed its own tradition. The Culdees - medieval monks - lived in complete seclusion and sought God in silence and hardship.

The ascetic tradition is dominated by the story of Simeon, however. He was born in the late fourth century, and became deeply religious in his teens. As a young man, according to Theodoret, he heard the "gospel utterance which declares blessed those who weep and mourn, calls wretched those who laugh, terms enviable those who possess a pure soul.."

Simeon decided to join a community translated by RM Davis as an "ascetic wrestling school" where he spent ten years contending as a "contestant of piety". He annoyed everybody by being brilliant at piety - consistently going one week rather than a couple of days without any food. He tied a rough, palm cord about his waist and started to bleed from the copious chafing, refusing to take it off or tend to the lacerated wound. At this point, he was kicked out of the pious wrestling school in case weaker students tried to copy his mad feats of penance.

He left in a huff, heading for the mountains. He lowered himself into a cistern, where he stayed without eating or drinking for five days, before eventually being hauled out by some shepherds. He then decided to go 40 days without food, and had himself sealed into a cottage with a jug of water. When, at last, the sealed door was cracked open he was found barely alive. He was revived with a bit of lettuce.

The Godly flocked to the miracle man. People came from as far as Britain to see him, hear him, touch him. Eventually, fed up of being jostled by his admirers, he climbed up a pillar. And stayed there. And stayed. He ordered the pillar to be made higher, and higher - closer to heaven.

A sixth century icon of Simeon on his pillar


He stayed at the top of the pillar for thirty-seven years. Every so often, local boys would shimmy up to deliver food. Once a year, he would fast for forty days, lashing himself to a beam attached to the pillar when the weakness was too much to bear.

Some modern scholars believe that Simeon was following a local pagan tradition; On the Syrian Goddess, a treatise written in the second century AD by Lucian, refers to pillar-dwellers as part of the cult of the local Goddess. Regardless, Simeon's insane piety was a propaganda bombshell for the early church. Theodoret writes of hordes of converting Ishamaelites converging on Simeon's pillar, rejecting their ancestral Gods in the face of such superhuman feats. Indeed, our reporter from the Fifth century nearly gets crushed to death by a crowd of over-eager worshippers.

Simeon spent most of his time standing; to the point where he had a pus-oozing ulcer on his left foot. Theodoret adds the detail that he could bend over to touch his forehead to his toes, so empty was his stomach (I'd settle to being able to touch my toes with my hands).

Simeon had many copycats, but he was the first and the most famous stylite. A church was built around his pillar, almost as big as Hagia Sophia, and his pillar stood for more than fifteen hundred years - smaller each year as successive pilgrims chipped off slivers of stone as souvenirs. Sadly, in 2016, a stray missile caused extensive damage to the church and the pillar, according to a report in The Telegraph.


The remains of the pillar before the Syrian civil war


An extraordinary, barmy life. Simeon couldn't bear to give up his piety contest, even at the last. According to the awe-struck Theodoret, when his soul departed to heaven, his body remained standing upright, 'like an unbeaten athlete who strives with no part of his limbs to touch the ground'.



The Plight of the Moriscos in 17th Century Spain

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by Deborah Swift

Seventeenth Century Persecution in Spain

The Spanish Inquisition is associated with the persecution of the Jews but it is not common knowledge that Muslims were also tried and tortured by this institution. When researching A Divided Inheritance I took a trip to Seville and visited the remains of the San Jorge Castle, the place of imprisonment for victims of the regime. There I saw chilling evidence of this persecution, which the Inquisition applied not only to rival faiths to Catholicism but also to mystics of their own faith.

What made this climate interesting for my novel was that in seventeenth century England Catholicism was repressed, whereas in Spain Catholics were the ruling majority. To understand the climate of oppression for religious minorities in Spain in 1609, one must look back a few centuries to 1248, when Seville, formerly a Moorish city, fell to Christian armies.

Moorish tiles from the Alhambra
.
Symbols of Lost Culture
During the following centuries after moorish Spain was conquered, Christians were determined to expand their dominion over Spain, and in 1492 Muslim Granada fell - a momentous day for Christian Europe, a day of rejoicing, but for Muslims it became a day of eternal sorrow. Precious buildings were sacked and destroyed, atrefacts such as ceramics with islamnic designs smashed. 

Just as the day is marked by celebrations in Spain, in Morocco black flags are hung out to indicate loss and mourning. Some descendants of those expelled still retain the original 15th century keys of their Andalusian homes as a symbol of their lost culture.

After the conquest of Granada by Christians, the Jewish population was driven out, whilst tolerance was promised to its Moorish citizens. So by the seventeenth century the Moors had become indelibly Spanish. Some were genuine Christian converts, and many, like Sancho Panza’s neighbour Ricote (in Cervantes’ novel Don Quixote), and Luisa in my novel'A Divided Inheritance', thought of themselves as ‘más cristiano que moro’ (More Christian than Moor).

The Burning of Books
A short period of relatively peaceful co-existence between the Muslims and Christians was shattered when the Archbishop of Granada, Hernando de Talavera, was replaced by the fanatic Cardinal Cisneros, and Muslim religious leaders were persuaded to hand over more than 5,000 priceless books with ornamental bindings, which were then consigned to bonfires. Only a few books on medicine were spared the flames. Unsurprisingly, this event led to an armed response from Muslims in the First Rebellion of the Alpujarras in 1499. By 1502 the monarchy had rescinded the treaty of tolerance and Muslims in Andalusia were forced to convert or leave. Those who converted were called Moriscos, which means “little Moors”. 

The Expulsion of the Moors from Denia - Painting by Viincente Mostre

A Secret Religion
Many Moriscos professed their allegiance to Christianity while practicing Islam in secret. Every aspect of the Islamic way of life, including the Arabic language, dress and social customs – was condemned as uncivilised and pagan. A person who refused to drink wine or eat pork, or who cooked meat on a Friday might be denounced as a Muslim to the Inquisition. Even practices such as buying couscous, using henna, throwing sweets at a wedding or dancing to the sound of Berber music were un-Christian activities for which a person might be reported to the Inquisition by his neighbour, and obliged to do penance.

Rebellion

Further repression of the Moriscos resulted in a second Rebellion. Fearing the rebels were conspiring with the Turks of the Ottoman Empire, the uprising was brutally suppressed by Don John of Austria. In a spate of atrocities the town of Galera, to the east of Granada, was razed to the ground and sprinkled with salt, after the slaughter of 2,500 people including 400 women and children. Some 80,000 Moriscos in Granada were forcibly dispersed to other parts of Spain, including Seville. Christians from northern Spain were settled on their empty lands. Ayamena and Nicoloao in my story were displaced from Granada before settling in Seville.

As early as the 16th century The Council of State proposed expulsion as a solution to the on-going Morisco 'problem', for which the previous expulsion of the Jews provided a legal precedent. However, the action was delayed because of Spain’s pressing political concerns abroad and because of the drawbacks of losing so many skilled Muslim labourers from the Spanish working population. Muslim labourers and artisans were responsible for much of the beautiful spanish architecture we admire so much today.

Final Expulsion of 400,000 people

Juan de Ribera, the ageing Archbishop of Valencia, who had initially been a firm believer in missionary work, and the conversion of the Moorish population to Christianity, became in his declining years the chief partisan of expulsion. In a sermon preached on September 27th, 1609, he said that Spanish land would never become fertile again until these heretics (the Moriscos) were expelled. The Duke of Lerma, the corrupt chief minister agreed with him. The new king, Felipe III, known as Phillip the Pious for his supposed religious zeal, finally acquiesced to political pressure and in the expulsions began. 

The embarkation order was read out in Seville on January 10th 1610. The entire Muslim population, along with anyone who had converted from Islam to Christianity, was ordered to leave Spain on threat of death. By 1613 it is estimated 400,000 people had been forcibly removed in this mass expulsion from Spanish territory.

This little-known part of seventeenth century forms one of the threads of the narrative in my novel,' A Divided Inheritance'. Read more in this excellent article by Roger Boase in History Today


The Dawn Comes Up Like Thunder - by Lesley Downer

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Dawn over the Ayeyarwaddy (Irrawaddy) at Mandalay
'What will our descendants think of us when they read that the British banished the King of Burma, annexed his country, and proceeded to govern it by officials of their own race? Historians will add that we saw no harm in this, though we always resisted such a fate to the death when it threatened our own land.' - Maurice Collis, The Journey Outward, 1952

King Thibaw, Queen Supayalat
and her sister Princess Supayalay
In 1885 King Thibaw of the Konbaung dynasty was governing Upper Burma from his palace in Mandalay. He was 26 years old and had succeeded to the throne after his father, King Mindon, died suddenly in 1878. Following Mindon’s death, seventy nine of the king’s relatives who were potentially Thibaw’s rivals were murdered in a plot hatched by Thibaw’s implacable mother-in-law to make sure that he took over the throne.

Thibaw was convinced that his father’s apartments in the palace were haunted by Mindon’s ghost. He had them moved out of the palace grounds and rebuilt as a monastery. It’s a gorgeous building made of teak and covered in intricate and delicate carvings depicting the Jatakas, the Buddhist scriptures. You can still see King Thibaw’s meditation couch there. As it transpired the vast palace complex which forms the heart of Mandalay was destroyed in World War II. King Mindon’s apartments were the only part of the palace to survive. 

Thibaw set about reforming the administrative structure of his kingdom, Upper Burma. His government was one of the best educated the country had ever seen, including many scholars who had returned from Europe and were fluent in the Burmese classics as well as English and French. 
King Mindon's palatial apartments,
now the Shwenandaw Kyaung, Mandalay

The British had annexed western Burma in the First Burmese War of 1824 and had ruled Lower Burma for thirty years, since the Second Burmese War of 1853. Jane Austen’s brother, in fact, Rear Admiral Charles Austen, commanded the British Expedition of 1853 and died in Burma of cholera. 

The king was determined to win back his kingdom and started making moves to align more closely with the French, signing a Franco-Burmese commercial treaty which both he and the French swore had no military or political clauses. But the British were not convinced. There was also the Great Shoe Question. Visiting British dignitaries refused to remove their shoes on entering Thibaw’s palace, causing deep offence. 

Old capital at Sagaing, outside Mandalay
In 1885 Thibaw issued a proclamation calling on his countrymen to liberate Lower Burma, thus providing the pretext the British were looking for. Declaring that the king was conspiring with France, they denounced him as a tyrant who reneged on his treaties and sent an invasion force of 11,000 men in a fleet of flat bottomed boats and elephant batteries. Great paddle steamers crowded with troops thrashed up the broad Ayeyarwady - the Irrawaddy, as the British called it.

Mandalay fell almost immediately. The next day the British escorted the king and his wife away on a bullock cart. It was said that Thibaw begged for his life but his proud queen refused to bow her head. They were exiled to Ratnagiri in Maharashtra, in India, where they lived out their days. Thibaw’s kingdom was officially annexed by Britain on January 1st 1886.

Stupa at Bagan
To crush any residual support for the monarchy, the British painted Thibaw as an ogre, despot and drunkard, uniquely weak, not up to the task of government, all of which was taken until recently as gospel.

British rule was hated. Resistance by fighters whom the British derided as dacoits or bandits continued for many years and for the colonialists Burma was a hardship posting.

Four years after Thibaw’s fall, in March 1889, a little-known 23-year-old journalist called Rudyard Kipling passed through Burma. He was there for just 3 days, in Rangoon and Moulmein. In his famous poem, Mandalay, he conjures up the magic of Burma and the siren call of the east:

‘ ... “If you’ve ’eard the East a callin’, you won’t never ’eed naught else.” ...’

When Boris Johnson quoted Mandalay when he visited the Schwedagon Pagoda in Yangon in 2017, he was lambasted on the basis that Kipling was a racist and a colonialist. But when the poem was first published in 1890 what annoyed everyone was the line, ‘An’ the dawn comes up like thunder outer China crost the Bay’, China of course being not across the Bay of Bengal at all but a long way north and east.

Sunset over the stupas of Bagan
Thirty years later, starting in 1922, another young Englishman called Eric Blair spent five years serving in the Indian Imperial Police in Moulmein. I spent much of our own trip along the road to Mandalay reading George Orwell’s first novel, Burmese Days, published in 1934. It’s a savage indictment of colonialism. But it’s also a paean to the extraordinary spell the east can cast, evoking Burma’s maddening heat, drenching monsoon rains, dark tangled forests and mesmerising culture in glorious prose.







Lesley Downer’s latest novel, The Shogun’s Queen, is an epic tale based on a true story, set in nineteenth century Japan at the time of the Meiji Restoration. It’s out now in paperback. 

For more see www.lesleydowner.com

The picture of King Thibaw, Queen Supayalat and her sister Princess Supayalay in late November 1885 is made from a negative found in the Royal Palace, Mandalay, and is by an unknown photographer; in the collection of Willoughby Wallace Hooper, courtesy of Wikimedia Commons. 

The other pictures are mine.

The gardens of Castle Howard by Fay Bound Alberti

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Castle Howard, North Yorkshire  

Over the festive period, my friends and I visited Castle Howard, a stately home in North Yorkshire. I am not a fan of country estates as a rule; I prefer finding out about the lives of the ordinary men and women who made aristocratic life possible. But it was a beautiful day and we were keen for some fresh air and green spaces.

Castle Howard fit the bill. A short drive from York, it is set in a thousand acres of parkland, with statues, lakes, temples and fountains. There are numerous artworks and world-renowned collections held at Castle Howard, though the house was unfortunately closed for the winter.

A view of John Vanbrugh's project for Castle Howard (1725)
Work began on the stately home in 1699, though it took over a century to complete. The architect was Sir John Vanbrugh (c. 1664 -1726), who was also responsible for Blenheim Palace, as well as a number of Restoration comedies (such as The Provoked Wife, 1697). Castle Howard was Vanbrugh's first foray into architecture, and he was assisted by Nicholas Hawksmoor (c. 1661-1736), a pioneer of the English Baroque style. A Baroque building, Castle Howard has two symmetrical wings that project either side of a North-South axis. The characteristic dome was added to the design at a late stage.


Castle Howard as imagined in Brideshead Revisited (Granada TV)
Castle Howard has been the home of the Carlisle branch of the Howard family for over 300 years. It is perhaps best known for its role in Brideshead Revisited (1981). Castle Howard also featured as the Kremlin in The Spy with a Cold Nose (Galton and Simpson, 1966) and - for inside scenes - in the television series Death Comes to Pemberley (2013)


Castle Howard was opened to the public  in 1952, reflecting a world where stately home upkeep had become impossible for traditional aristocratic families. Many stately homes were demolished or sold off bit by bit, or redesigned as tourist attractions in the post-war era. Castle Howard is now owned by Castle Howard Estate Ltd and run by Nicholas and Victoria Howard. The grounds were excavated by Channel 4's Time Team in 2003, searching for evidence of a local village that had been demolished so that the estate could be landscaped. You can find the episode on YouTube.

The mausoleum 
In addition to the landscaped gardens to the front of the house, the park grounds contain a forested area and two major buildings: the Temple of the Four Winds and the Mausoleum. Built in 1729, the Mausoleum sits on a hill, and is raised on a terrace encircled with a stone wall. It looks rather like an observatory, and is encircled by Doric column and crowned with a dome. The burial vault lies below, and contains sixty three catacombs. The mausoleum was said to have cost over £10,000 when built, and it influenced their fashionable spread. Such a building, announced the English whig Horace Walpole, 'would tempt one to be buried alive'. More recently, the mausoleum and gardens featured in the Artic Monkeys' video Four out of Five



Still from the Artic Monkeys'Four out of Five, showing the mausoleum


The Temple of the Four Winds lies at the eastern end of Temple Terrace. It has four doors and four sets of stairs, each of which faces a cardinal point on the compass. The Temple was designed by Vanbrugh in 1724, and influenced by Andrea Palladio's Villa Rotunda in Vicenza, Italy. Originally named The Temple of Diana, it remained unfinished for ten years after Vanbrugh died in 1726. After it had deteriorated in the 1940s, George Howard restored the Temple in 1955. It was used as a place for refreshment and reading, with a cellar beneath that was used by servants.

The Temple of the Four Winds

We sat on the western side of the Temple to enjoy a packed lunch. From there we had views over the Howardian Hills, an Area of Outstanding Natural Beauty located between the Yorkshire Wolds, the North York Moors National Park and the Vale of York. The Howardian Hills, as you might expect, take their name from the Howard family.

The walk from the Temple to the house is lined by statues; 18 lead figures can be found throughout the gardens as a whole. Aside from Hercules - who has a rear end that would put Kim Kardashian to shame - our  favourite was Meleager, one of the great heroes of Greek mythology. When his father Oeneus forgot to sacrifice to Artemis, the angry goddess sent a huge wild boar to ravage the country. Meleager gathered a band of heroes to hunt the board, and he finally killed it after a long battle. This lead statue is on the Temple Terrace, with an adoring hound at the hero's feet and a slain boar to the side. We didn't find the statue of the large boar that Meleager defeated, though that is also on the estate.


Meleaguer the hunter with hound, and the head of a newly slain boar.

The spectacular Atlas Fountain and pond crowns the gardens. Dating from 1850, it was exhibited at The Great Exhibition prior to installation at Castle Howard. The Fountain was designed by the English architect and artist, William Andrews Nesfield, and the figures carved in Portland stone by the sculptor John Thomas. who also worked on Buckingham Palace. The figures were transported from London by rail for installation at Castle Howard. 

A large bronze globe dominates the fountain, and is supported on the shoulders of Atlas. In Greek mythology, Atlas was a Titan condemned to hold up the celestial heavens for eternity. The fountain has four recumbent Tritons blowing water through shells over Atlas, as he kneels in the centre. 

The fountain was empty when we visited, but is beautiful when filled, as you can see by this YouTube clip. The pond alone is vast - 27 metres in diameter. The shell and basin carvings were made by local craftsmen, and the water transported from a stream nearby, and brought up to the estate reservoir by steam engine. The fountain was turned on for the first time in October 1853. 

The Atlas Fountain
You can find out more about Castle Howard from its website, where you can also find videos of the house and gardens. It's definitely worth a visit if you're in the area. We will be going back in the summer when the house is open. 

A belated happy new year to you all!

A memory trail, by Sue Purkiss

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I've vaguely noticed on social media lately that there's been a lot of stuff about de-cluttering. This very morning, someone posted a picture of a smiling lady called Marie Kondo saying: "Ideally, keep less than 30 books." (Seriously? It must be a spoof, right?)


Well, the other day I discovered, lurking in the back of the bathroom cabinet, this bottle of eau de toilette. I looked at it thoughtfully. I know for a fact it's over fifty years old, and I know that I don't use it. Why keep it? Just clutter, surely. It must be off by now. Just to be sure, before it goes in the bin, I take the top off and spray it.

And there it is. The sweet, flowery scent of Nina Ricci's L'Air du Temps, just as fresh as it ever was. Perhaps it's kept so well because it's in a plastic container - embossed with flowers, doves and butterflies and finished with a golden bow - rather than in a glass bottle. My sister brought it back from France as a gift for my mother, when she went to France as a teenager on a school exchange. This was the sixties. We lived in an industrial town between Nottingham and Derby. We went on holiday every year to seaside towns - Skegness, Bridlington, Llandudno. 'Abroad' was out of reach for us as a family - it was the school which made it possible. My sister came back with talk of wine at every meal, with necklaces made of melon seeds and small tawny beads, and with this bottle of French perfume, which was so much cheaper than it would have been in the shops because it was from that exotic place, 'Duty Free'.

My mother, I'm sure, was thrilled. She never used it, just as she never used face cream or eye make-up. Occasionally she would dab on a little powder from her Max Factor compact, and a slick of red Coty lipstick: never anything more.


Here is a photograph of Mum which I found recently in a drawer (full, yes, of more clutter). I remember taking it. It was in our house at Kirk Hallam, so I would have been in my early teens. I'd bought a camera when I was about twelve. It was a Koroll 11, and it came from Boots in Nottingham. I think when I took this picture I'd just acquired a flashgun, and I wanted to try it out. (It had bulbs and everything!) So I posed Mum in front of the window, drawing the curtain to keep out the light. Looking at the picture, I'm reminded that the curtains were a pale green brocade, with silvery flocked flowers. Mum would have sewn them. She loved gardening, and so I put the bowl of roses beside her, and put a rose catalogue in front of her. The blouse was some silky stuff - green too, I think, with a cream pattern. She'd have made that, too. As you can see, there was nothing casual about this picture - films were costly, as was developing, and I had to pay for them out of my pocket money, so every frame counted.

The perfume was kept on her dressing table. There was always an embroidered or lace-edged cloth on the surface, and a cut-glass tray, and one or two framed pictures of us when we were small. And there were these, which I don't think she ever used - the brush is too soft to be practical - but nevertheless had pride of place. I have them now - more clutter, I suppose. I don't know where they came from, but I suspect from Auntie Ada (no actual relation) or Mrs Thorpe, two elderly ladies who were both clearly fond of Mum, as her own mother did not seem to be.


So. Bits of clutter perhaps, but clutter which brings with it a trail of memories. And, to be honest, some rather sad thoughts of a mother who seemed able to show her affection only obliquely - through what she made and what she cherished. I wish I could give her a hug. I wish she could have been a happier person. But I'm so very glad I never threw away any of these things which help me to remember her.

And the embroidered tablecloth? Yes, she made that too.

ONCE UPON A RIVER by Diane Setterfield. Review by Penny Dolan.

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The opening chapter of ONCE UPON A RIVER led me quietly and confidently into a long and satisfying story. I was not disappointed.  

Diane Setterfield’s third novel takes place in the late nineteenth century. She weaves a complex, gothic story that is set along the rural banks and meadows of the Thames between Cricklade and Oxford. At times, though the haunted landscape almost drips with mist and marshiness, the writer's well-researched descriptions of Victorian life make ONCE UPON A RIVER feel firmly plotted underfoot.

Setterfield lives in Oxfordshire and knows the area well. In real life, the ancient inn at the centre of the novel – The Swan - doesstand close by Radcott Bridge; Brandy Island was the site of an old distillery, and the central character of Henry Daunt - with his glass plates and his travelling darkroom – is based on Henry Taunt, an Victorian photographer whose popular Thames tourist scenes can be found in Oxford archives. I found this is a wonderful novel, rich with intertwining events, places and characters: a tale to be read and enjoyed slowly.

Yet ONCE UPON A RIVER is more than that. Setterfield is a performative author:  her light, interested voice runs alongside the plot, reminding us that fiction springs from the deep human need for stories. In particular, she shows how we carry the stories of the missing and the lost inside ourselves, telling and retelling them in our effort to understand. Furthermore, this thread is skilfully highlighted by the way that Setterfield lets the occasional traditional storytelling trope glint out at us from behind her “everyday” Victorian world.

But how does the story begin?
It is night at the start of ONCE UPON A RIVER and The Swan is crowded with folk ready to listen to the inn’s famed storytellers. Some of the audience are wary because, as the author repeats and repeats, they have been sensing that
Something is about to happen.
All at once the door crashes open and a monster with a bloody face walks into the room, dripping water.
“In its arms the awful creature carried a large puppet,
with waxen face and limbs and sickly painted hair.”
As the intruder collapses among helping arms, the inn-keeper's son catches the falling puppet:  he is holding the body of a drowned four-year-old girl. Nobody knows the identity of the man or child for sure, but suppositions and stories start and are carried away home by the departing drinkers.

When all is peaceful, the midwife tends to the man’s broken nose and gash of a mouth. However, returning to the tiny corpse, she senses something strange: a faint pulse flickering where no pulse was before. As if by a miracle, the dead girl revives. The innkeeper’s son cries out in witness of the moment.
I kissed her and she woke up . . . . It is like Jesus.
The pale child starts to recover but she does not speak. The question grows more urgent. Where does she come from and who should she belong to?  

The novel offers three possible claimants - one more than for the judgement of Solomon - whose stories and thoughts are amplified  and cleverly intertwined within the telling.
- First, in the elegant house, with ample grounds and river frontage, live a married couple, each existing in separate agony, grieving for their infant daughter kidnapped two years before and never returned.
 - Next, there is a well-to-do farmer - the son of a gentleman and a black servant - and his pretty, reclusive wife who long to find the grandchild they have only just learned exists.
- Last of all, living in cottage among the rushes, is a simple-minded housekeeper, mourning her lost sister and fearing the return of a brutish, secret visitor.

To whom does the child belong? Or are there others who would choose to look after and love the small, silent girl? By twists and turns, the stream of the novel deepens. The plot grows, meanders, turns back on itself, flowing closer and closer towards the final great whirl of disaster, misunderstanding, tragedy and reconciliation.

Along the way, ONCE UPON A RIVER picks up many well-rounded characters of the period:  the travelling photographer, the convent-bred midwife, the innkeeper and his extensive family, the enigmatic medium, the kindly parson, the runaway son, the jilted girl, the accused maid and more. Within the novel's four-hundred-and-more pages, the reader is offered a whole throng of the riverside community, along with a couple of nasty villains, a beloved goat and a fortune-telling pig.

Furthermore, floating through the tale, comes  the spectral ferryman Quietly. If you fall into the water and your time has not yet come, says the local legend, Quietly will rescue you and bring back to safety. Of course, if your time has come, Quietly will carry you in his ferry-boat to the far. misty side of the river. For some in this novel, as in life, that time will arrive. 



ONCE UPON A RIVER is a memorable and haunting slow-burning novel, and is published in the UK by Doubleday this month. Diane Setterfield's two earlier novels are THE THIRTEENTH TALE and BELLMAN & BLACK.



Review by Penny Dolan

My Writing Resolutions - Celia Rees

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New Year is the time for Resolutions, or Intentions, or Affirmations, or whatever you want to call them. This is my first post of the New Year, so I'm going to share some of mine. They are not in any particular order and they are all to do with writing.

I'm not going to make up rules that I know I will break. so...


Resolution #1:  I'm not going to make up Rules. 

I'm not going to feel guilty about 'wasting time'. One of the joys of writing is the stuff around it, the research, ideas gathering. I don't mean sitting in libraries but visiting places, taking photographs, collecting stuff, going to museums, exhibitions. If I want to spend all afternoon making a scrapbook of the Work In Progress, I will do that. The book never leaves you. It's in your mind all the time. Sometimes going for a walk, going shopping, going to your pilates class, yoga class, having a coffee, going for a swim frees you to think in ways that staring at a screen can never do. So...

Resolution #2: I'm going to remind myself that writing doesn't only take place when you'r sitting at your desk. 

I'm banishing what a writer friend calls the Imp of Self Doubt. A pesky little creature and most of us know him. He's our Familiar. He whispers, or hisses (mine hisses) in your ear all the time you are writing: that's no good that's rubbish that is you can't write call yourself a writer you're no good if you were any good you'd have won the costa the carnegie sold shed loads of books but you haven't have you And on and on, like tinnitus. So:

Resolution #3: I'm telling the Imp of Self Doubt to:  SHUT UP!

His chatter drowns out the calmer, cooler, creative voice that is always there to quietly offer solutions, come up with ideas, find ways through.

 Resolution #4: I’m re- tuning  to a different frequency.

When I'm writing, I'm just going to write. Focus my full attention on the task in hand, words on the page, the character who’s not quite working, how the plot is developing. 

Resolution #5: I'm banishing extraneous thoughts. At the best, they are Irrelevant and distracting; at worst, incredibly destructive and emotionally exhausting. 


After years of pontificating about and not doing it... 

Resolution #6: I am going to keep a journal. 

Well, two actually. A small notebook where I record the day to day. Not word counts but my responses to writing - good and bad. Not just what I feel but why I feel like that. I have also bought a lovely, lovely leather bound notebook for more serious journaling which I intend to do every day now. So...

Resolution #7: I'm not going to feel guilty about stationery. 

But I will use my stockpile of notebooks instead of buying new ones all the time. 

Resolution #8: I'm going to set boundaries to protect my writing time - and stick to them.

Which means I have to learn not to say 'yes' to everything, to say 'no' to time eaters, doing favours, social media, gigs I don't want to do or won't pay me (enough). I will also be careful not to allow my domestic life to erode my writing time. 

Will it work? I'll tell next January...

Celia Rees
www.celiarees.com

The Art of Flattery by L.J. Trafford

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Statue of Domitian in Ephesus Museum.
Photo by Carole Raddato

Working on my current book I have been researching and reading an awful lot of Roman panegyric poetry, in particular Martial and Statius, who wrote under the emperor Domitian. Panegyric means to praise and both poets do not stint on the praising of the emperor. In fact it’s fair to say they dive right into a pool of swirling, queasily obsequious emperor adulation. However, I have a confession to make.. don’t tell anyone... please.... but I’m really starting to enjoy it as an art form. 

I’m now going to hide under a cushion with embarrassment. But before I do that, let me tell you the reasons I have begun to appreciate the court poet.


Opening Lines 

Every poem needs a hook and the court poets does not fall shy of this:

“What’s that imposing mass dominating the Latian Forum, the
colossus on its back rendering it twice the size?” Statius

I don’t know, Statius. What is it? I need to know? Tell me NOW!

“Go, locks if hair go swiftly over favourable seas”

You what? Flying hair. I must know more. Tell me NOW!

“What vast cacophony, of tough flings and solid steel, filled stony App is on
 the side that borders on the sea” 

It’s yet another riddle from Statius. I give up please tell me in extensive verse, NOW!

Martial on the overhand goes straight in with the compliment for a poem dedicated to the emperor's birthday.
If Domitian had a birthday cake he might choose
one with Vitellius on.


“O auspicious birth-day of Caesar, more sacred than that on which the conscious Ida witnessed the birth of Diotaean Jupiter, come, I pray, and prolong your duration beyond the age of Pylian Nestor, and shine ever with your present aspect or with increased brilliancy. “ 



I think he just got the attention of Emperor Domitian. Let’s face it it’s better than having happy birthday sung at you distinctly out of tune.
Here’s the opening line for a poem dedicated to hopes for an heir to Domitian: 

“Spring into light O child promised to the Trojan Iulus true scion of the gods spring into light illustrious child!” 

Martial likes to drop in the emperor's held titles into his first line. Like this one mentioning the post of censor that Domitian held. 

“Most mighty censor Prince of princes” 

Or a reminder of the name Germanicus that Domitian had adopted after triumphs in Germany

“Crete gave a great name Africa a greater to their conquerors, Metellus and Scipio, a still nobler name did Germany confer on you.” 


One can imagine (if you’re me) Domitian nodded sagely and appreciatively at these first lines. He’s totally going to listen to the rest of this poem now.
Which brings me to my second thing I secretly love about panegyric poetry. The use of florid and vastly over the top compliments.


Complimenting the Emperor 
Domitian - Face of a million flattering words

An Emperor as an absolute ruler is used to fair amount of fawning and simpering. I think we can all agree that should we become a vastly powerful and rich ruler it is the very first thing we’d insist upon. Frankly I’m not even going to respond to anyone who doesn’t first address me as The Tremendous Trafford.
I’ve spent so much time not being Emperor to waste not enjoying every aspect of it. The same was true of Domitian who had watched both his father and brother be emperor before he got the chance.
Therefore the court poets really have to work to find new and original ways of flattering a man who is flattered on an hourly basis.
See if you can hold onto your breakfast/lunch/dinner whilst reading these queasily toadying lines


“With visage calm, its radiance tempered 
By tranquil majesty; he, modestly lowering the banner 
Of his good fortune, yet a concealed beauty still shining 
In his face. So might barbarian emissaries, or unknown 
Peoples, recognise him by the sight. “ 
Statius 


Rome is already indebted to you for so many triumphs, so many temples, new or rebuilt, so many spectacles, so many gods, so many cities, she owes you a still greater debt in owing to you her chastity. 
Martial



No ruler, Caesar, has Rome ever so loved before, and she could not love you more, even were she to desire it. 
Martial 



Then all the gods opened wide their shrines, issuing joyful 
Portents from heaven, and Jupiter promised you, our great 
Leader, long days of youth, and as many years as his own. 
Statius 



If two messengers were to invite me to dine in different heavens, the one in that of Caesar, the other in that of Jupiter, I should, even if the stars were nearer, and the palace at the greater distance, return this answer: "Seek some other who would prefer to be the guest of the Thunderer; my own Jupiter detains me upon earth." 
Martial 


Put your 21st century scorning of politicians aside for a moment. Imagine you are the recipient of these verses. Imagine you are the Emperor Domitian. That’s nice isn’t it? Being told how special you are. Poets taking time and effort in composing such sentiment of your wonderfulness. Being Emperor after all can be pretty awful. Yes you get wonderful palaces, hold all the best parties and employ thousands of people dedicated to providing for your comfort/desires. But there is a downside: all those people trying to kill you or plotting to kill you or thinking about plotting to kill you. Not to forget those people who aren’t trying to kill you, plotting to kill you or thinking about plotting to kill you but might do so in future. And thus need removing. That’s got to bring the mood down. What better to lift it again than a lovely poem saying how great you are. It’s like the best appraisal you’ve ever had plus a 50% bonus. It’s bound to encourage you in your emperoring, if only to secure more impressive poems next year.


Domitian ruled for 15 years. That’s an awful lot of poetry to produce to cheer him up. That pulls on all the ingenuity of the court poet to produce new subjects worthy of praising.
This is my third reason for appreciating panegyric poems.



Inventive tackling of subject matter 

If you’re a love poet there’s an ample amount of objects/goddesses/seasons you can compare your love too. Similarly, epic poets have all of mythology to choose from with its grand themes, tortured heroes and awesome battles.
However, your court poet is faced with challenges of gargantuan scale. We’ve already seen how both Martial and Statius out do each other in new ways to praise, to flatter, to compliment the emperor.
But now we get into very tricky territory. You are to write a poem praising a new imitative of the emperor. He’s built a new palace on the Palatine Hill? No problem.
Domitian's lovely new palace
Image by Matthias Kabal

“The gods rejoice to see you installed in a palace equalling 
Their own (hasten not to ascend to the heights of the sky); 
So wide are its foundations, such is the extent of its halls, 
Wider than a spreading plain, embracing much of heaven 
Within its roof; you fill the house and weight it with your
Great genius. “ 
Statius 



“Smile, Caesar, at the miraculous pyramids of Egyptian kings; let barbarian Memphis now be silent concerning her eastern monuments. How insignificant are the labours of Egypt compared to the Parrhasian palace! “ 
Martial

There’s a new statue depicting the emperor on a horse? Easy peasey.


Your chest is wide enough to bear the world’s cares, 
Temese gave all from her exhausted mines to forge it. 
A cloak hangs at your back, a broad sword protects 
Your flank, large as that blade with which Orion 
Threatens on wintry nights, and terrifies the stars. 
While your charger, matching its master’s thoughts 
And gaze, lifts its head and threatens a fierce ride, 
Mane bristling at its neck, life pulsing through its 
Shoulders, its broad flanks readied for the spur. 
Statius


Domitian ordering a new shield in the fashion of the goddess Minerva’s. Hold my stuffed dormouse while I whip this one out:


Breastplate of our lord and master, impenetrable to the arrows of the Sarmatians, and a greater defence than the hide worn by Mars among the Getae; breastplate formed of the polished hoofs of innumerable wild boars, which defies the blows even of an Aetolian spear; happy is your lot, to be permitted to touch that sacred breast, and to be warmed with the genius of our god. Go, accompany him, and may you, uninjured, earn noble triumphs, and soon restore our leader to the palm-decked toga. 
Martial 



But what about more mundane actions of the emperors, such as Domitian’s morality laws which tackled amongst other abuses: adultery and the castration of free born boys. Surely there’s not much of a poem in that?!?
Well stand back because Martial has it covered:


It used to be a common sport to violate the sacred rites of marriage; a common sport to mutilate innocent males. You now forbid both, Caesar, and promote future generations, whom you desire to be born without illegitimacy. Henceforth, under your rule, there will be no such thing as a eunuch or an adulterer; while before, oh sad state of morals! the two were combined in one. 


And again:

To you, chaste prince, mighty conqueror of the Rhine, and father of the world, cities present their thanks: they will henceforth have population; it is now no longer a crime to bring infants into the world. The boy is no longer mutilated by the art of the greedy dealer, to mourn the loss of his manly rights. 


And err yes again:

The father of Italy, who but recently brought help to tender adolescence, to prevent savage lust from condemning it to a manhood of sterility, could not endure such horrors. Before this, Caesar, you were loved by boys, and youths, and old men; now infants also love you. 


What about the construction of a new road? There’s nothing august and majestic about roads. Nothing! Well maybe you couldn’t write a poem about a road, but Statius can. He gets over 1,000 words out of the subject.


Here the slow traveller gripped the swaying 
Pole of his two-wheeled cart as malignant 
Ground sucked at his wheels, here Latian 
Folk feared their journey through the plain. 
No swift passage; glutinous ruts slowed 
Tardy travel, while weary beasts crawled 
Along, under the weight of their high yoke, 
And baulked at their over-heavy burdens. 
Yet now a task, that wore away a whole 
Day, scarcely takes a couple of hours. 


He even spends time on the actual construction of the road:

The first labour was to mark out trenches, 
Carve out the sides, and by deep excavation 
Remove the earth inside. Then they filled 
The empty trenches with other matter, 
And prepared a base for the raised spine, 
So the soil was firm, lest an unstable floor 
Make a shifting bed for the paving stones; 
Then laid the road with close-set blocks 
All round, wedges densely interspersed. 
O what a host of hands work together! 


Before moving onto marvelling at improved journey times

Come then, all you peoples of the East, 
Who owe allegiance to Rome’s Emperor, 
Flow along in your unimpeded journey, 
Arrive more swiftly, you Oriental laurels! 
Nothing obstructs your wish, no delays. 
Let whoever leaves Tivoli at daybreak 
Sail the Lucrine Lake in early evening. 


A Roman Road -phwoarr look at the flagstones on that!
Image MM



Other impressive subjects covered by Statius and Martial  include:
  • That time Domitian went somewhere else for a bit and then came back. 
  • The Emperor’s lovely winter roses 
  • A measure that widened the paths in Rome which Martial very much appreciates. 
  • Domitian banning the Equestrian class from appearing on the stage. 
  • Domitian reintroducing boxing as a sport “Valour contends with the natural weapon, the hand. “ Martial.
  • That time at the Games when it snowed and the snow fell on Domitian’s face 
  • The time Statius sat near Domitian at a banquet and was just a bit excited about it: "I seem to sit with Jove among the stars, and I seem to sip Immortal nectar offered me by TrojanGanymede’s hand. The years behind were barren; this is the first day of my Mortal span; behold, here is the true threshold of my life. Is it you I gaze at, as I sit here, sovereign of all the lands, Great father of a world conquered, dear to the gods, hope Of all mankind? Is it given to me, indeed, to look on your Face nearby at wine and board, allowed to remain seated? 
  • And a whole series on how wonderful every single one of Domitian’s staff are: "So sweet are the tempers of your courtiers, so considerate are they towards us, so much of quiet good-feeling do thev display, and so much modesty is there in their bearing. Indeed, no servant of Caesar (such is the influence of a powerful court) wears his own character----but that of his master." Martial.

Come on! It’s impressive, isn’t it? 

Embrace the panegyric. You know you want to.

You're wonderful.
You look wonderful.
Everything you do is wonderful.
Every photo of you displays your wonderfulness.
Everyone around you is wonderful because of you and your wonderfulness.
Did I mention you're wonderful?
Trafford

You feel better already, don't you?


L.J. Trafford is the author of the Four Emperors Series of books.
Available here























Warnford: a village of two halves? by Carolyn Hughes

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After last month’s excursion into the topic of language in historical fiction, today I am continuing my series of blogs about the history of the Meon Valley in Hampshire.
I have mentioned the little village of Warnford in previous posts, in particular my post, Lost worlds, changed lives: life beyond the Black DeathDiscussing how the shape of the countryside changed in the centuries following the Black Death, I referred to the creation of parks on great estates – “emparking” – and showed how some estate owners, seeing a great country house and a fashionable park to set it in as a visible expression of their wealth, were more than willing to evict their tenants to realise their ambitions. Although some owners simply evicted their tenants and expected them to fend for themselves, others built their tenants a new village outside the estate. And Warnford is an example of a village where it is thought that the existing settlement was moved to a new site, to enable the creation of the landscaped park, though exactly when it happened isn’t clear. The still standing church and the ruins of the medieval manor house are evidence of the location of the original village.
I was interested to explore Warnford a little further, and in particular some of its buildings...

The parish of Warnford lies between West Meon and Exton, mainly along the main south-north road (the A32), which follows the line of the River Meon, though outlying areas of the parish climb up to the downs. Warnford Park lies to the east of the road and has the river running through it, whilst the village pub, the 17th century George and Falcon, and the majority of the village’s houses lie on the north and west side of the road.

The parish is now very small, with a population of around 220, but is well-known for its extensive watercress beds, which are fed from the waters of the River Meon. At the time of the Domesday survey in 1086, Warnford was relatively large. It consisted of two manors, both held from St Peter’s Abbey (Winchester) by Hugh de Port, an Anglo-French Norman aristocrat who amassed a great number of properties throughout the south of England, and in particular in Hampshire, possibly as many as fifty-three all told at the time of Domesday.

One manor had eight hides (1 hide=120 acres) and a mill, and its population consisted of eight villagers and six smallholders and their families, and six slaves. The other manor had seven hides, two mills and the church, and was inhabited by the families of 31 villagers and nine smallholders, and six slaves. This is presumably the manor that eventually became the Warnford Park estate, as it had the church and two of the mills.

Those population numbers for Warnford might equate to roughly 250 people, which made it actually quite a large place for those times – bigger in the 11th century in terms of its population than any other Meon Valley village except East Meon, in contrast to the present day, when it is one of the smallest.

The four buildings I am going to discuss all lie in the Park: the Church of Our Lady, the 13th century ruin of King John’s House which stands close to the church, the long-demolished Warnford Park House, and the Paper Mill building.

Paper Mill

Domesday claimed three mills for Warnford. Today there seems to be evidence of the locations of two of them. One is the remains of a water wheel at a small weir a short distance from the church in the middle of the Park. The other is a restored paper mill building, also in the Park, presumably built on the site of one of the mills referred to in Domesday. This mill was one of the earliest, if not the earliest, paper mill in Hampshire. It was built around 1618 by the then owner of Warnford, Sir Thomas Neale, and paper was made at Warnford for at least 170 years, though by 1816 it had stopped working, perhaps due to the technical changes in the industry that led to the establishment in the country as a whole of far fewer but much larger mills. Currently the building has been restored and is available as a bed and breakfast.

Paper mill at Warnford © Ashok Vaidya
https://catalogue.millsarchive.org/watermill-warnford-park-2

Church of Our Lady

Warnford’s parish church, the Church of Out Lady, stands in the middle of Warnford Park, isolated for centuries from the village it once served. It is presumed that this isolation occurred, as already mentioned, when the owners moved the village to its present location outside the park, though exactly when this happened isn’t clear.

The Church of Our Lady in Warnford Park. Hampshire.
© Simon Burchell
It has been suggested that the original church in Warnford was founded by Saint Wilfrid in the 7th century, during the years when he was bringing Christianity to the heathenish people of the Meon Valley. When the original church was built in Saxon times, the people who came to worship here would have belonged to the Jutish Meonwara tribe who, according to Bede, were “ignorant of the name and faith of God”.
In 1190, when Adam de Port, son of Hugh, decided to rebuild the church, he must have believed that it had a particular association with the saint, for he had a stone tablet inscribed in Latin to record the fact. Today, the tablet sits below what is thought to be a Saxon sun dial. The words on it are:

Brethren, bless in your prayers the founders of this temple: Wulfric who founded it and good Adam who restored it
The circular sun-dial is set on a square stone, with leaves carved at the corners, similar to the dial at Corhampton (described here). It is probably also of Saxon date. One presumes it was once on an outside wall which was at some point covered by the 13th century? porch.

Within the church itself is a monument to the family of Sir Thomas Neale, the man who built the paper mill referred to above. The monument has alabaster effigies of Thomas and his two wives lying beneath a panelled canopy. Around the base are the kneeling figures of two sons and seven daughters, four of whom are, somewhat gruesomely, holding skulls, showing that they died before their parents.

© Copyright Mike Searle under Creative Commons Licence.
There’s also a rather grisly gravestone in the churchyard. In the 19th century, George Lewis was the estate carpenter, and used to cut down trees on a Sunday even though he was apparently warned against the ungodly practice. But in 1830, George, persisting in felling trees on the Sabbath, was hit by a tumbling branch and died. His gravestone illustrates his foolhardiness!
© Copyright Basher Eyre under Creative Commons Licence.

King John’s House 

Close by the church are the ruins of what is variously called St John’s or King John’s House. This is a very rare example of a 13th century hall, built in 1210 by a member of the St John family who had married into the de Ports.


Image from British History Online, Parishes: Warnford.

https://www.british-history.ac.uk/vch/hants/vol3/pp268-273

The ruin consists of a hall 52 ft. long by 48 ft. wide, divided by 25 ft high columns into a central span and north and south aisles, and a two-storey building attached at the hall’s west end. The two-storey section seems to have been divided into two rooms on the ground floor, and on the first-floor level are traces of a doorway opening to a staircase or perhaps a gallery at the west of the hall. One imagines this structure might have been part of a larger house though there is no evidence of any other remains adjoining it.
The building appears to have been already in ruins by the 17th century, and was later incorporated into the landscaping as an interesting feature of the pleasure park. In 17th and 18th century documents, the building is referred to as The Old House.

(c) Anthony Brunning / St John's House, Warnford Park, Hampshire / CC BY-SA 2.0

Warnford Park House

Little is known of the early history of the Warnford estate. The earliest park enclosure was possibly a deer park that stretched between Beacon Hill and Old Winchester Hill. In the late 1500s, the estate was owned by William Neale, an auditor to Queen Elizabeth, who built a house near the site of the later mansion. One presumes that King John’s House was either already a ruin by then or perhaps considered by William as unfit as a residence for his family.

William’s son and heir, Thomas, was later knighted and became auditor to King James I. He was the man who built the paper mill. On his death in 1621 – it is his grand monument that lies in the church – Warnford passed to his son, another Thomas, and this Thomas built the later mansion that was apparently referred to as The Place House. His son, yet another Thomas, sold Warnford in 1678 and it moved out of the Neale family, passing through the ownership of several different families until, in 1754, John Smith de Burgh, the 11th Earl of Clanricarde, bought the estate. In 1752, John had changed the family name from Burke to the earlier form of de Burgh, to reflect their Norman-Irish origins. He called his new house Belmont, and the park Senfoy (Saint Foin). 

In the 1770s, the earl hired Lancelot “Capability” Brown to improve the landscape of his Warnford estate. An estate map of 1811 shows that the River Meon was diverted as it entered the park and a long tear-shaped lake was created in a loop, and the river’s exit from the park was arranged via a series of sluices. A walk was created encompassing a sequence of garden buildings including a grotto, a hermitage and a bath-house, the design of which closely resembles an unexecuted Brown design for a lakeside pavilion at Rothley, Northumberland. The old hall, King John’s House, was also apparently deliberately incorporated into the landscape design as a “scenic ruin”.

An illustration from the 19th century shows the house in a landscaped park typical of Brown’s style, with the River Meon forming a lake to the south.

Image from http://www.capabilitybrown.org/garden/warnford
In 1865 the estate was purchased by Henry Woods, a colliery owner and the MP for Wigan, who carried out further alterations to the house, created a formal garden and undertook considerable ornamental planting in the pleasure grounds.
Image from http://www.lostheritage.org.uk/houses/lh_hampshire_warnfordpark_info_gallery.html
During the Second World War, the house was requisitioned by the military, but the troops apparently “severely damaged” it and, after a long decline, the house was demolished in 1956, though the park and pleasure grounds remained in private ownership and a new house was built.
There is, I suppose, nothing very extraordinary about what happened in Warnford over the centuries since it was recorded in the Domesday survey. Estate owners have always done whatever took their fancy to create the environment that met their private and public ambitions. If that meant moving a few tenants out of the way, well so be it. At least, in Warnford, though we don’t know exactly when it happened, the tenants were not entirely displaced. Despite further development in the past century or so on the south side of the road, it is interesting to see to what extent Warnford is, geographically, still a village of two halves and to understand what brought it about.

Neo-Classical Revivalism by Elisabeth Storrs

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Castellani Medusa Cameo and Micromosaic Egyptian Necklace

I’m not the only one who admires the exquisite jewellery of the Etruscans (see my earlier post on Ancient World Glitter and Glamour). In the mid-19th and early 20th centuries jewellers and artisans were inspired by archaeological fashions. The most influential of these was a Roman goldsmith, Fortunato Pio Castellani, and his sons, Alessandro and Augusto, who rose to eminence through their introduction of the neo-Classical revivalist styles. For three generations the Castellani family, with the crossed ‘C’s as their hallmark, were at the centre of the archaeological revival movement, which saw jewellery created in the styles of the ancient Etruscans, Romans, Egyptians, Byzantine and Greeks of the 9th to 4th centuries BCE. Castellani based many of his designs directly on archaeological evidence and often incorporated intaglios, cameos and micromosaics into his jewellery.

Castellani C19th/original C5th BCE millegrain pendants
Castellani Jewellery
In 1860, Castellani was enlisted to be an advisor on the excavation of the Regolini-Galassi tomb at modern day Cerveteri. This site is renowned as one of the great treasure troves of Etruscan art. Castellani became fascinated by the brooches, earrings and necklaces found in the tomb which were studded with minuscule gold spheres, often smaller than a pin head. This ‘granulation’ technique was achieved without soldering and created an effect called ‘millegrain’ or ‘thousand grains.’ Knowledge of the craft of granulation was believed lost but Castellani discovered there were goldsmiths in the mountain villages near Rome who had preserved not only the secret of granulation but also another procedure called ‘fillegrain or ‘thread and grain/filigree’ where motifs were applied using thin gold wire.

Castellani gold necklaces, amber & gold parure set, gold millegrain brooch
The Castellanis owned a shop near the Trevi Fountain in Rome where they assembled a magnificent collection of antiquities in their showroom. Visitors could then buy replicas as a souvenir of their visit. Not so very different from the ‘museum’ shops that await you when you try to exit from any art gallery or museum exhibition today!

Emperor Napoleon III of France was a great lover of Etruscan artefacts, too. He bought the famous art collection of an Italian marquis, Giovanni Campana, which he exhibited in the Louvre. The Castallani family were commissioned to catalogue and restore the jewellery of the Campana Collection which enabled them to study ancient techniques and gain access to an enormous number of designs. By 1860 neo-Etruscan style pieces had become contemporary fashion accessories and remained in demand until the end of the century. At this point complete ‘parure’ sets of jewels appeared usually consisting of a brooch, necklace and matching earrings. In fact, a few years ago I attended a Titanic exhibition and was amazed to see neo-Etruscan jewellery on display which indicates the ‘fad’ was still in existence in the early C20th. Indeed, it was only when diamond jewellery became increasingly fashionable that the allure of the finely wrought gold pieces faded in contrast to the attraction of sparkling gemstones.

Wedgwood Ceramics
Englishman Josiah Wedgwood was another artisan who was inspired by Classical artwork. His interest was sparked by discovering the various volumes in the Collection of Etruscan, Greek, and Roman antiquities from the cabinet of the Honble. Wm. Hamilton, His Britannick Maiesty's envoy extraordinary at the Court of Naples.

Wedgwood black basalte urn/Etruscan bucchero jug
Sir William Hamilton was the British Ambassador to the Kingdom of Naples in 1764-1800 (His second wife was the notorious Emma Hamilton, mistress of Admiral Horatio Nelson!) Hamilton’s collection of vases and other antiquities were described as ‘Etruscan’ but in fact many of the items described as such were actually Greek. However, this does not detract from Josiah Wedgwood’s love affair with Etruscan ceramics. He established a factory named ‘Etruria’ in 1769 in Stoke-on-Trent, Staffordshire, which operated for 180 years.

The motto of the factory was ‘Artes Etruriae Renascuntur’ ie ‘The Arts of Etruria are reborn’. His most authentically Etruscan design was his ‘black basaltes’ which were black, burnished and unglazed ceramics similar to original Bucchero ware (see Black on Red, Red on Black: Figure it Out) Made from reddish-brown clay which burned black in firing, black basalte owed its richer colour to the addition of manganese.


Hamilton also inspired Wedgwood’s more famous ‘Jasperware’. When the ambassador returned to England in 1783–84, he brought a Roman glass vase (known as the Portland Vase as he sold it to the Duchess of Portland ) which was given to the British Museum. The relief decorations on the vase served as inspiration for Wedgwood’s unglazed matte ‘biscuit’ Jasper stoneware produced in a number of different hues such as green, yellow, lilac, and black. The best known colour is the pale blue known as ‘Wedgwood Blue’. Decorations in contrasting colours (typically in white) give a cameo effect to the ceramic. The cameos were initially in the Neo-Classical style but, over the centuries, were adapted to more modern subjects including silhouette portraits of notable people.

Wedgwood copy/Roman Portland Vase
Josiah Wedgwood’s copy of the Portland Vase proved to be more valuable than its price. In 1845, a vandal called William Lloyd shattered the original vase into 200 pieces. The British Museum’s restorer was able to reassemble the classical vase by referring to Wedgwood’s own masterpiece.

Antique Wedgwood ceramics are sought after in auctions houses around the world, but it is Castellani’s craftsmanship which provides the best example of the value placed on neo-classical revivalism. A set of gold tasselled earrings (depicting the god Apollo riding his horses upon a crescent held aloft by two angels) was the subject of a bidding war in 2013. Estimated at $6000, it eventually sold for $169,000! However, no matter whether it is an original or replicated piece, I always wonder about the women who wore cherished pieces of jewellery be they ancient Etruscan princesses laid to rest in tombs or an ill-fated passenger who ended her life beneath icy waters.
 
Castellani earrings/Wedgwood Blue Jasperware

Elisabeth Storrs is the author of the Tales of Ancient Rome saga. Learn more at www.elisabethstorrs.com  More Neo-Classical Revivalist jewellery can be found on her Pinterest board. Images are courtesy of the MET project and Wikimedia Commons.


Europe's Grandmother: the Death of Queen Victoria by Catherine Hokin

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 Victoria, Albert & their 9 children
It's hard to write anything at the moment without the current political turmoils shouting to be heard. I'm deep in WWII and the parallels are strong enough to be frightening. I thought it would be worthwhile therefore, on the anniversary of Queen Victoria's death (22nd January 1901) to remind ourselves how closely entwined the UK once was with her continental neighbours, through the network of marriages entered into by the Queen and Prince Albert's nine children.

In the last decades of her life, Victoria earned the nickname 'The Grandmother of Europe' and on her death The Economist referred to her crown as "a golden link." That's hardly surprising when you run through the list of the matches she made and the offspring they produced. Take a breath and here they are.

 Victoria walks Princess Beatrice down the aisle
Victoria, the Princess Royal, became Empress of Germany and Queen of Prussia, and went on to be mother to Kaiser Wilhelm II who led Germany in WWI, and Queen Sophie of Greece. Edward VII married Princess Alexandra of Denmark and their daughter Maud became Queen of Norway. Princess Alice became Grand Duchess of Hesse and her daughter became the ill-fated Empress Alexandra of Russia. Prince Alfred married Grand Duchess Maria Alexandra of Russia and one of their daughters, Marie, became Queen of Romania. Princess Helena married into a German house (Shleswig-Holstein) as did Prince Leopold (Waldeck and Pyrmont). Prince Arthur married Princess Louise of Prussia, one of their daughters becoming Crown Princess of Sweden and Princess Beatrice married Henry of Battenberg, their daughter Victoria Eugenie then becoming Queen of Spain. Only the commonly-branded "unconventional" Princess Louise bucked the trend, marrying the Duke of Argyll and remaining childless. It's an exhausting list and tracing the multiple strands that run on from it through Europe has to be the work of many spreadsheets.

 Victoria with some of her children & grandchildren
Many of the family ties were shattered by World War One and its redrawing of Europe's political structures. Nevertheless, it is likely that all the current royal families of Europe, either in place or aspiring, can claim Victoria as their common ancestor. That includes: Sophia, wife of Juan Carlos of Spain who abdicated in 2014; Haakon Magnus, the Crown Prince of Norway and Carl XVI of Sweden. Her reach continues to be a long one, as was the hemophilia which Victoria and many of her female descendants carried.

The obituaries and funeral reports of the time frequently allude to apprehension over the future, which is hardly surprising at the end of such a long reign.

 Funeral cortege, 4 Feb 1901, Manchester Guardian
The Economist notes that "it is not a reign but an era which closes with her death."The Manchester Guardian talks quite lyrically about the silence that marked the cortege's passing in a way that seems to echo that apprehension: "It was a silent crowd; indeed its supreme characteristics were its blackness and silence. People were silent because they wished to be silent, because the magnetism of the hour was upon them, and its solemnity. Shutting one's eyes, it was the seashore that seemed to sound – not the busy city with its clamorous voices and roarings. Over London there hung the light mist of our winter mornings, and the sun shone like a dim, far-off lighthouse, with its intervals of eclipse. When the dead Queen's body was borne past, the silence simply deepened – that was all."

Silence seems to be something we are sorely lacking at the moment, every political moment is dominated by noise. Don't get me wrong, I'm no monarchist and have no desire to return to out-moded and, in the case of Empire, repugnant political systems. My thoughts here are simply about connections: trace back any of our tangled ancestral DNA and we're all a mix of more countries and customs than most of us know beyond a generation or two. The Economist obituary concludes its section on the strengths and weaknesses of the Queen with: "The hearts of the people are full of grief ... but there is no solid reason for political fear." On the anniversary of the death of that particular link across Europe, I wonder how many of us can feel the same.

England's First Refugees - The Huguenots - by Rosemary Hayes

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Huguenot scholar on the intolerance of Louis IV

I have a lot of information about my two grandfathers and their antecedents, going back hundreds of years, and a certain amount about my paternal grandmother, but I knew little of the background of my maternal grandmother, other than that she came from Huguenot stock and that the family’s French name was Lafargue. 

The Huguenot Cross

The origins of the word Huguenot are obscure but we do know that it was used as an insult. Huguenots referred to themselves as Reformers.




Huguenot Tympanum

I came across a whole chapter about the Lafargue family in the proceedings of the Huguenot Society and was captivated by the story of ‘the brave widow’ Lidie Grenouilleau de Lafargue who fled to England with her three young children in 1692.



I'll come back to Lidie later.  Hers is only one among many stories of families who fled persecution, part of the great wave of French Protestant migration (over 50,000) that transformed London - and England.

The impact of the Protestant Reformation was felt throughout Europe. In France, Calvinism penetrated all ranks of society, especially those of the literate craftsmen in the towns and of the nobility. Between 1562 and 1598   there were eight civil wars in France - the Wars of Religion – between Catholics and Protestants.


Hanging and Execution of Huguenots at Amboise, witnessed by Francis II and Mary Stuart in 1560
Of the many attacks against Huguenots, probably the St Bartholomew's Day Massacre is the most notorious.  Traditionally believed to have been instigated by Catherine de Medici, regent at the time, the massacre began on the night of 23/24 August 1572, a few days after the wedding  of the king's sister Margaret to the Protestant Henry III of Navarre (the future Henry IV of France). Many of the most wealthy and prominent Huguenots had gathered in largely Catholic Paris to attend the wedding and the attacks quickly spread from Paris to other areas. Modern estimates for the number of dead across France vary widely, from 5,000 to 30,000.

St Bartholomew's Day Massacre 1572
Catherine de Medici

In 1589 the Protestant Henri de Bourbon inherited the French throne, and in a bid to put a stop to these civil wars, in 1593 he converted to Catholicism.  Five years later he issued the Edict of Nantes which gave the Huguenots considerable privileges, including widespread religious liberty. 


For some years after this the Huguenots thrived but their position became increasingly insecure when Henri’s grandson, King Louis XIV, came to power. His advisers warned him that the existence of this sizeable religious minority was a threat to the absolute authority of the monarch so gradually the Huguenots' privileges were eroded. 


In the 1680s Protestants in certain parts of France were deliberately terrorised by the billeting of unruly troops in their homes ['the Dragonnades']. Finally, in 1685 Louis revoked the Edict of Nantes, exiling all Protestant pastors and at the same time forbidding the Protestant laity to leave France. 





Dragonnades

However, to the considerable surprise of the government many did leave, often at great risk to themselves. Men who were caught were either executed or were sent as galley slaves to the French fleet in the Mediterranean, women were imprisoned and their children sent to convents. About 200,000 Huguenots left France, settling in non-Catholic European countries and further afield.








The great majority of these ‘refugees’ (a new word, coined to describe the incomers) who came to live in towns in Protestant Europe were artisans. Those who came to England included many skilled craftsmen -  weavers, silversmiths, watchmakers, bookbinders – as well as professionals such as clergy, doctors, merchants, soldiers and teachers, There was also a small sprinkling of the lesser nobility. By and large these refugees were received with sympathy and kindness because of the skills they offered and because of anti Catholic sentiment at the time. 




Silk weavers in Spitalfields

But to go back to the brave widow. Lidie Grenouilleau married Samuel Lafargue in 1684. At the time of her marriage she was 20 and her husband, an avocat, 24.  The family of Lafargue had for some generations made their home in the town of Castillon-sur-Dordogne not far from Bordeaux. Castillon had long since lost its strategic importance and had become the home of many well to do Protestant families who asked for nothing more than to be left in peace. Samual’s father, Samual de Lafargue, the elder, Docteur en Medecine, was a wealthy man from an ancient and noble house which for generations had been faithful to the Protestant cause.  Indeed, many Lafargues had sacrificed their lives for their faith in the turbulent religious wars.
Then, with the revocation of the Edit of Nantes on 22ndOctober 1685, abjurations (renunciations) began to be enforced.  In the jurisdiction of Castillon, there are numerous records of ‘new converts’. However, it seems that the Lafargues held out for longer than most, for with one exception, their names as ‘new converts’ don’t occur until 1688, 1689 and 1692.



Samuel Lafargue, Lidie’s husband, died on 8thAugust 1692, the very day on which his ‘conversion’ was recorded. Who knows how he died, but this is, at best, a sinister coincidence. In those dark days it was not uncommon for Huguenots to die shortly after their ‘conversion’ and in that year a new wave of persecution had overwhelmed the region. Houses were razed to the ground, children torn from their parents, women imprisoned and men slaughtered.

Surrounded by these horrors, the only way Lidie could retain her religious liberty and save her children, was to flee. 
Only a few years previously, she and her friends and relations had been part of a tightly knit, supportive community, free to worship God in their own way. Now, death, flight or renunciation had shattered that community.


I can find no record of how Lidie escaped, but it can’t have been easy travelling with three very small children and her widowed mother.  She had succeeded in rescuing a small amount of her husband’s fortune and we know that she took with her some diamonds, plate and trinkets, among them an old silver seal engraved with the de Lafargue arms, together with four family portraits, apparently ‘by a master’s hand’.  





With little else to remind her of home, Lidie settled down at first in Westminster but eventually in a house at Hammersmith.  What chiefly attracted her to this quiet suburban area was that it was the home of a small Huguenot colony and had in it one of the few French churches outside the city, of which she became a loyal member. She would have certainly needed her faith to sustain her when two of her three children predeceased her.

Lidie lived in Hammersmith until her death, forty years after she had first set foot in her adopted country.




Huguenots Leaving Church in what is now Soho, in 1763 (Hogarth)
That she was a kind, charitable and devout woman is evident from her will which opens with an earnest expression of Evangelical faith.  She left the bulk of her property to her surviving son, Elias, and the rest to charities for the French poor in London.  The omissions from the will are saddening. There is no mention of any of her kinsfolk in France and we are left with the impression that hers was a rather lonely life.  Her son and his wife lived miles away and she seldom saw them and she only seemed to have a few acquaintances. It must have been so different from the warm and cheerful days of her early marriage spent among all her Gascon friends and relations in Castillon.
Lidie’s son Elias became a clergyman and married the daughter of a fellow refugee (originally from Normandy) and after 14 years ministering to a quiet parish in Lincolnshire, when nearly 50, he finally became a father.  His son, Peter, did not marry young but he married wealth – twice – so that, although he was a clergyman, like his father, he had no need of a living. Peter’s two children from his first marriage rescued Lidie’s family in England from extinction and now there are hundreds who have her as their common ancestor.

One of these was my grandmother.  Known in the family as ‘naughty grannie’ I have to say that she inherited neither Lidie’s piety nor her generosity – though she certainly had some adventures.


But that’s another story!




Naughty Grannie

Thank you to Rosemary Hayes for her reserve post as one of our number copes with a bereavement.



One Hundred and Eighty! Elizabeth Chadwick and one of her leisure pursuitsThe au

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The author having a practise.
In my day job I'm a best selling author of historical fiction,  passionately steeped in the Medieval period.
In some of my leisure time, I spend Tuesday evenings as an enthusiastic but decidedly average player in The March Hare's mixed darts team (men and ladies) in the City of Nottingham's Central darts league.  I love my night out. Playing darts is a very different experience from my day job spent in detailed researching and writing.  It's a refreshing getaway that keeps me grounded and recharges my batteries.

The league in which I play involves different pub teams of fourteen players - seven women and seven men and matches are played alternately at home or away.  (We were at home to The Fox last night and lost 4-3).  Seven games of 501 are played, with breaks for the 'snap' i.e. a bit of something to eat.  The food runs the gamut, depending on the landlord, from sandwiches and crisps, to curry and rice, chip butties, sausage and mash...you never know what you're going to get.  There's usually a raffle and a number card to help pay for the food and enhance the home team's funds.

A game in progress with the markers (white tee shirt and blue sweater) standing either side of the board.
The games of 501 are played on a modern  standard dart board. (dart boards have a long and varied history).   In the mixed league, the players take turns,  a lady and man from one team against a lady and man from other.  A Team One player throws three darts and their score is added up and the total subtracted from 501 on a chalk board beside the dart board. Then Team Two player throws, followed by Team One second player and then Team Two second player. Usually the strongest players in the man/lady combo throw first in order to maintain the advantage.  Markers, one from each team, stand either side of the dart board to keep the score. The aim of the game is to score as many points as possible and finish on a double (the coloured band in the outer ring of the board which scores double points). You have to finish on a double, unless your final countdown is fifty, in which case, it's 'bull' i.e. the red spot at the cetnre of the board.  It your end score is forty - i.e. double twenty (known as 'tops' because it's at the top of the board) and you miss and hit a single twenty, you then aim for  double ten. If you miss double ten and accidentally put your first dart in the six next door, then that leaves you with fourteen i.e. double seven.  And so it goes on until someone finally gets that double shot.  And then it's 'game over.'
The players in the Nottingham league stand 6ft away from the board at a line on the floor known as the 'oche'  pronounced like 'hockey' without the 'h'.  Different counties and areas have different distance rules, usually further away that 6ft, which is quite a rarity.  Apparently in Nottingham, the pubs were so poky and cramped that there wasn't room for a longer throw.

Team member Gary Britten at the oche.
The team that wins the most 'legs' of the seven is the winner and awarded points in the league.  At the end of the season the team with the most points is the league winner, but there are also prizes for the highest finishes in games, both for men and ladies. 

With my historian's hat on though, I began to wonder how old the game of darts was - in the form more or less that it's come down to us now.  I thought it might have been medieval, but I was in for a surprise.

There are many unsubstantiated stories about the game going back to Henry VIII who gets credited with the responsibility - as he does for many legendary historical matters that usually turn out to be apocryphal.  The story goes that he wanted people to practice archery all year round and since no one wanted to be out in the nasty cold, wet, winters,  the practice came indoors with the bottom of barrels and sawn off tree trunks used as a board. However, there is no provenance for this ever having taken place.  The same goes for Ann Boleyn supposedly giving Henry a magnificent set of darts in a case. It never happened except in romantic imagination.

There is an idea that the first darts were made from broken arrows that were sharpened and then thrown at the ends of wine casks for amusement.  Or perhaps crossbow bolts shot into wine tuns. Another game called 'Puff and Dart' goes back to the 16th century.  It was played in taverns and involved blowing small darts through a tub at a numbered target and it's thought it might well be an ancestor of the modern game. It was, however, considered old hat by the time Queen Victoria came to the throne. It could be fatal if one inhaled rather than blowing out and ingested the dart!   By the mid to late Victorian period, there was a fairground game known in Britain as 'French Darts' whereby the punters would throw wooden darts at a numbered target. The end of the dart had a metal point and the 'flight' was made from turkey feathers. By 1906 a metal barrel had been patented in the United States and in 1908 darts was judged a game of 'skill' rather than 'chance' in a Leeds magistrates court and began its rise in into popular and especially pub culture.

My darts, complete with the Scarlet
Lion Marshal blazon! 
In 1896, a Lancashire carpenter named Brian Gamlin devised the current board numbering system (he died in 1903 before he could patent it) which is designed to reward accuracy and penalise inaccuracy. For example the high scoring twenty at the top of the board is bordered by a five and a one.  So instead of scoring sixty with three straight darts, if you err to one side, you can end up scoring three! Similarly the nineteen near the foot of the board is bordered by three and seven. 

Although Gamlin set the number pattern, doubles and trebles were not part of the early game (the outer and inner coloured bands on the board) and the highest score was the bull's eye in the centre. Darts boards were not regularised until the 1930's, and even then, regional variations remained strong.  Gamlin, it is thought, was a fairground man himself, and his number invention certainly helped to make sure that the drunk punters visited the darts booth, didn't have a high success rate!

Darts boards themselves, originally made of wood, were, by the 1930's composed of sisal fibre, today's 'bristle' board, which, unlike wooden boards, did not have to be soaked overnight and lasted much longer.

Darts today is an international affair and big business - not without its socio-political controversies such as the banning of the darts 'walk-on' girls in TV darts contests, where some saw the ladies as providing a bit of glamour, and others regarded it as exploitation having no place in current society.

Be that as it may.  In my own patch of inner city Nottingham, such matters are far from our minds. To the strains of Roy Orbison Driving all Night on the landlady's CD player, we step up to the oche, set  our shoulders, aim our 'arrows' and 'Game on!'
Team member Janet Cummings demonstrates one hundred and eighty! 
Note:  For anyone interested in reading more or who has a general curiosity about darts and pub games, I can highly recommend this website. My blog is just a coffee time snapshot, but Patrick Chaplin  will keep you busy for a week!


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