I’ve always loved Victorian magic shows with their sleights of hand and appearances that trick the eye. To my delight, this year’s exhibition, Queen Victoria’s Palace, at the Summer Opening of the Buckingham Palace State Rooms, offers a genuinely Victorian touch of magic with an optical illusion known as Pepper’s Ghost. I couldn’t wait.
This week I’m in Rochester, an important naval town on the River Medway which flows into the Thames. There is a huge amount to see in Rochester from Roman times onwards, but today I’m looking at one house.
Being a Charles Dickens fan, I have long wanted to visit Restoration House, supposedly Dickens’ inspiration in Great Expectations for Miss Havisham’s home, Satis House, that ‘large and gloomy’ place, full of dust, cobwebs and shadows and lit only by candlelight. It is here that the young Pip is entrapped by Miss Havisham’s desire to seek revenge, through him, for her lover jilting her so cruelly on her wedding day.
This year, the Queen’s Gallery marks 500 years since the death of Leonardo da Vinci (1452-1519) with a thrilling new exhibition which displays over 200 drawings held in the Royal Collection. What makes them so extraordinary is that you feel at once that you are being allowed inside the head of a genius, a man who was, above all, curious to know how things worked.
1. Study of shoulder muscles from sketchbook of Leonardo da Vinci
Today, I’m re-visiting the Royal Mews, looking the various coaches and landaus, and, of course, the gold ‘Coronation’ coach. Landaus feature in Jane Austen’s novels; the obnoxious Mrs Elton, in Emma, boasts about her sister’s barouche-landau – which she takes every opportunity to mention (presumably because Emma doesn’t have one at Hartfield). But what exactly is a landau?
Queen Alexandra’s State Coach dates from 1865. It was used regularly by King Edward VII and Queen Alexandra
A carriage is the general term for any horse-drawn passenger vehicle, from the humble gig to the Gold Coronation Coach. A coach is simply a large carriage. Basically, all landaus are coaches but not all coaches are landaus.
Recently, I re-visited Westminster Abbey; I hadn’t been there for years – the last time I went, there were few visitors and you were allowed to go wherever you wanted. What I remembered was the soaring Gothic architecture and the wonderful fan vaulting of the ceiling. I loved St Edward’s shrine and the various chapels of the early English kings and queens; and I was able to wander round and enjoy the peaceful atmosphere of 800 years of prayer, largely uninterrupted.
What would a London street have looked like in the 1870s? There would have been over two million horses taking people and goods around the metropolis, for a start. The roads were all cobbled, providing a non-slippery surface for the horses, but there were neither traffic lights nor zebra crossings. Cabdrivers and their hansom cabs or hackney carriages waited for fares in designated cab stands. By law, a cabbie could not leave his horse and cab unattended; if he wanted to nip into a pub for quick bite, he had to pay someone to look after them. If the weather was appalling, he had nowhere to take shelter. London was crowded and noisy, as today, but the noises were different, even the smells were different.
A Cabman’s Shelter Hut, at Temple Place, London, WC2. It now sells coffee and snacks to passers by
Princess Mary, the Princess Royal (1897-1965) was seventeen when World War I broke out in 1914. In normal circumstances, Mary would have been kept under wraps until she was eighteen and come out in Society, but, the outbreak of war changed everything. The House of Saxe-Coburg began to be accused of being far too German, and King George V and Queen Mary found themselves with an image problem.
We’ve just past November 30th, St Andrew’s Day, the patron saint of Scotland, so it feels appropriate to celebrate the 19th century transformation of that beautiful country.
Flatback Staffordshire figure: Highlander with deer (45 cms. high)
My parents lived in Invernesshire, in the Scottish Highlands, for many years and their house contained a number of things unmistakably inspired by Scotland, one of which was this large flat back Staffordshire figure of a kilted Highlander with his arm around what looks like a small deer. I’ve always liked it – partly because it looks so absurd. There is a gun dangerously positioned beside the highlander’s left leg pointing upwards, (my brothers and I had to learn the ‘Never, never let your gun/ Pointed be at anyone’ rule before my father, an excellent shot, would allow us anywhere near a gun), and the figure has a horn at his waist. Why? To summon a gillie? Or does it contain gunpowder for the gun, though that seems unlikely.
Roger Fenton (1819-1869) was one of the earliest British war photographers, and the Queen’s Gallery is currently showing a selection of his 1855 Crimean War photographs in the Royal Collection. After a tussle with his father, who didn’t approve of his son’s artistic leanings, Fenton was eventually able to follow his heart. He discovered photography when it first appeared in the late 1840s, immediately recognized its potential and set himself to master it. In 1852, he travelled to Russia, visiting Moscow, Kiev and St Petersburg, and, on his return, he toured an exhibition of his photographs around Britain, which established his name. It also led to his involvement in the founding of the Photographic Society of London, where he promoted this new medium, and became its first honorary secretary.
The new exhibition Russia: Royalty & Romanovs at the Queen’s Gallery, has all the splendour one would expect with Fabergé eggs and other objets d’art but the initial contact between the two countries was in the late 17th century, and low key.
1914 Faberge Mosaic egg and the surprise inside it, showing the profiles of the Tsarina’s five children