Queen Victoria and Pepper’s Ghost

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.

But first, a bit of background…

Queen Victoria by Thomas Scully, 1837-9. She’s Queen, she’s unmarried, and Life beckons. Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2019.

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Restoration House: from Charles II to Miss Havisham

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.

Restoration House

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The Royal Mews: Coaches and Landaus

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.

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Sleeping in a Four-Poster Bed

I am lucky enough to sleep in a four-poster bed. It dates from around 1850 and is 5 ft 6 ins wide, 6 ft 8 ins long, and nearly 8 ft high. Fortunately, my terraced 1820 house has high ceilings. The bed has a roof canopy, a curtain behind my head, side curtains which remind me of sails on a tea clipper, arched pelmets around three sides at the top, and three lower valances which cover from  the bottom of the mattress to the floor. Sleeping in it is like being on board a galleon.

My 1850s four-poster bed

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J. Singer Sargent: Ellen Terry as Lady Macbeth

On Friday, I went to Tate Britain, one of my favourite places. I had two paintings in mind which I thought might make an interesting blog but, to my dismay, they weren’t hanging where they should have been. A gallery attendant told me that they were on loan to Canberra, and wouldn’t be back until October. Disaster. It was Friday and I needed a blog for Sunday.

Ellen Terry as Lady Macbeth 1889 by John Singer Sargent, Tate Britain

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John Ruskin: the Power of Seeing

John Ruskin (1819-1900), an art critic and a man who held strong views on what values a society should hold, was one of the most influential men of his generation. For example, when Lucy Honeychurch, heroine of E. M. Forster’s A Room with a View (1908) visits the church of Santa Croce in Florence, she’s desperate to know which tombstone was praised by Ruskin. This is her first trip abroad and she’s unsure of her own taste; she needs the reassurance that she’s admiring the right one.

However, I think it’s fair to say that Ruskin is not always an easy person to appreciate in the 21st century. Nowadays, we like to view ourselves as liberal-minded and tolerant, particularly in sexual matters. An intellectually very gifted only child, Ruskin was brought up on strict Puritanical principles and cossetted by both parents. His mother had high moral standards and was a very controlling parent. It is not surprising that Ruskin turned out to be obsessive, sexually inhibited and highly-strung.

Watercolour sketch of a coastal scene with fortress by John Ruskin, 1841

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A Passion for Scotland

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.

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Kew Garden’s Newly-Restored Temperate House

It’s a sunny, late November day and my friend and I are inside architect Decimus Burton’s newly-reopened, Grade 1 listed, Temperate House in Kew Gardens, the largest glasshouse in the world. I have long wanted to see it but for the last five years it has been covered in scaffolding.

Exterior of the first section of the Temperate House glasshouse

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Shadows of War: Roger Fenton, War Photographer

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.

Roger Fenton, Queen Victoria and Prince Albert, 1854

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The Goldsmiths’ Hall: gold, gilt and marble

Gold has always been a key to power: it doesn’t corrode, so it holds its value, and, as every ruler knows, access to gold is essential for paying armies and controlling the state. Furthermore, in skilled hands, this precious metal can be transformed into beautiful and desirable objects which, in turn, help to cement alliances, reward allies and demonstrate the power of the ruler.

The Goldsmiths’ Company’s leopard’s head symbol entwined with vine leaves on the mantelpiece in the Court Room (Photo by Elizabeth Hawksley)

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