Mourning becomes her

This is another painting from the Birmingham Museum Collection which riveted me during my teen years. It’s called Boer War and it’s by John Byam Shaw. Naturally as a melencholic adolescent I loved it for the rather stagy, sensual, wallow in death atmosphere. I could very much identify with the feelings of the young widow, forced to wear black. I had also just read “Gone with the Wind” where Scarlett revolts at the business of High Victorian Mourning.

But thinking about this now, this forced wearing of black seems quite a good idea, not some dreadful cultural imposition. We live these days in a culture where being depressed is common yet is not at all permitted. We are all supposed to be happy all the time.  The Victorians were not so silly. They fully acknowledged the fact that death would make you miserable and they formulated elaborate dress codes which permitted the wearer to signal publicly the state of their feelings.  Instead of having to pretend nothing was wrong, you could point out to others, from your hat to your shoes, and even with the black ribbons threaded through your underthings, that you were sad and would be for some time to come.  This seems to me to be honest in a way that we are not these days.

Mourning dress ensemble

Mourning ensemble in the V & A. http://collections.vam.ac.uk/item/O89496/mourning-dress-ensemble/

Dress fabric and paper

Dress fabric and wrapper from Peter Robinson’s mourning warehouse, also in the V & A. http://collections.vam.ac.uk/item/O59234/dress-fabric-and/

Worth noting too that a  dress length in 1892 was 7 yards long!

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Why I love Victorian paintings

I grew up with this picture:

The Travelling Companions

On Saturday mornings, while my sister was at youth orchestra, my father and I would often have a quick scour round the Birmingham Museum and Art Gallery. It was the galleries devoted to Victorian painting that I always loved the best and I was lucky because Birmingham had one of the best collections in the world. For me it was magical.

I loved those big necked Rosetti women with their flaming hair and pouty lips, (and possibly thyroid problems.) I loved  ”Christ in the Carpenter’s shop in Nazareth” by Holman Hunt and I loved Ford Maddox Ford’s “Work”, where the figure of a man dressed in women’s clothes slinks down the side of the composition to hide from the police. I loved the “Death of Chatterton”, with the chalk -faced poet stretched out on the couch beneath his attic window, looking so beautiful and romantic in death and I loved “The Last of England”, with the baby’s hand reaching out from under the mother’s wraps as the parents look mournfully out, surrounded by cabbages for the long voyage to goodness knows where. A terrible, sad tale indeed, but I never tired of looking at it and wondering.

The Last of England

I realise now these pictures turned me into a storyteller. They are seared in my brain. I can recite their contents like poems learnt off by heart. And those two sisters in grey silk by Egg, one asleep, one with her book – how I wondered who they were and where they were going. Were they sisters? Did they mind being dressed the same? What is she reading? Of what is the other one dreaming? The same questions still throw themselves at me and I long to answer them. Maude and Florence? Lucy and Susan? Mary and Kate? Who are you and what is your story? Do you love the same man? Does your mother favour one of you over the other? Have you enough money to last you through the winter in Rome?

Now I look for the people in the stories I write in Victorian paintings. Sometimes I even find them.

May I introduce to you Felix Carswell, the young hero of The Butchered Man?  I found him staring out at me in the Fitzwilliam Museum in Cambridge. I hope he approves of my biography of him.

The Butchered Man – buy here on Kindle, Smashwords and now in paperback

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In praise of translators

I have read Madame Bovary, honest gov, I have. Except that it was in French, so I haven’t really read it.

At one time my French was worth a B grade at A’level in the days of yore when hardly anyone  got A grades and results day never made the national news, with pictures of pretty girls jumping for joy. So I was reasonably accomplished and I ploughed my way through Madame B as an extra on the reading list. It took me forever and the feeling was of walking through thick Victorian fog. I got the gist of it but the reality of it? Non. So now I have a £1.00 Collins classic from the co-op (how utopian is that) waiting for me in what looks like a very clear and readable translation. Except it doesn’t tell me who the translator is.

Collins Classics - Madame Bovary

This strikes me as monstrously unfair as it can’t be an easy book to translate.

But maybe that is the way of translators. They are unsung heroes and we should laud them more. I do know that they have a Society and probably an annual dinner and a few awards knocking about but that isn’t quite enough when you consider the time and trouble they save us? How could we have enjoyed the recent Scandi crime boom if it had not been for the ranks of so often un-named translators bringing us our Jo Nesbo and Stieg Larsson? I have a particular vote of thanks for the wonderful work of Elizabeth Porch who brought the delights of the Moomins to me as a child. And the only reason I have read Proust is because Messrs Scott Moncrieffe and Kilmartin did such a spiffing job of making Proust feel as if it had been written in English in the first place? Then there is Asterix and Tintin, just as funny and fresh in translations. The stuff of miracles, in short. It looks effortless but I am sure it is not.

So if you come across a lonely, humble translator, remember to tell them how wonderful I think they are.

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Why you should never throw away receipts.

No, I’m not talking about taking stuff back or “just in case” scenarios connected with everyday life. I’m thinking of future immortality in the historical record. As a novelist and social historian the receipts and printed debris of the past are like magic carpets. And for someone else today’s petrol station receipt or fast food flier will act the same way. Think before you throw it away.

If you do throw it away perhaps consider not throwing it away very well. Don’t carefully recycle it but perhaps sweep it away into a drawer in order to get the surface cleared. Chances are it may get lost under the drawer liner (hopefully made from old newspaper) and only be rediscovered when someone buys your old chest of drawers and clears it out for restoration. They might be amused or even touched by what they found.

We bought a Scotch Chest for £35 in Jedburgh about 20 years ago. A Scotch chest is a particular style of everyday furniture of the 19th century, characterised by the big deep drawer in the centre, used for keeping hats. (I keep A4 files in mine).

Now our chest is very similar to this one and you will note that there is a broad strip above where the drawers start. This turns out to be a long, shallow drawer, not immediately obvious to the eye. Certainly we didn’t realise it was there until we got it home and found it.  In our case it was still full of stuff. There were photographs, a fake pearl necklace, a ration book and postcards. All completely overlooked and forgotten about.The impression they made on us was rather emotional – surely these things would be missed by someone? We asked the shop if they knew where the chest had come from but they had no idea so we could not send them back to the family. So we kept them, most of them still in the drawer where a slick of our own stuff has been added to them for the future to discover.  One day someone will be quite confused.

I was entranced to read a piece about the restoration of an old house where children had apparently pushed all sorts of interesting things through the gaps in the floorboards, playing cards and ribbons and so forth. I was delighted then when  the floorboards came up for renovation in our flat and the electrician found a very old cigarette packet and a copy of a 1888 evangelical tract, addressed to the working man. I can imagine our long vanished workman had having that pressed into his hands by some earnest urban missionary in Victorian Edinburgh, only for him to abandon it under the boards of the house he was working on. It was obviously not worth taking home…

So don’t throw away your receipts. They are the ghosts of the future.

Anyone else found anything accidentally like this? I’d love to know.

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The best Edwardian country houses in Scotland

Wondering where to go to get a glimpse – with a distinctive Scots accent – of that seductive Downton Abbey lifestyle?  These houses were not necessarily built in the Edwardian era but they all have glorious interiors characteristic of the period, and, in some cases allow a glimpse of the servant’s quarters.

1. Hill of Tarvit

My favourite: a beautiful eighteenth century house tarted up by Sir Robert Lorimer for the Shairp family. Complete with the original kitchen, butler’s pantry and a fabulous Edwardian bathroom with sanitary fittings by Crapper, no less. The bathroom also features an interesting display of taxidermy frogs above the lavatory which is a quirky note in a house otherwise distinguished by great good taste.

2. Lauriston Castle

This is a sleeping beauty of a house, tucked away in a suburb of Edinburgh. It’s an old Scots Tower house, extended in the nineteenth century and then restored and refurnished by a wealthy Edinburgh couple, the Reids. He had made a fortune from supplying gas fittings to the Pullman Company and railway carpets, no doubt got at a good price, are featured in the house along with their eclectic collections. The Reids were particularly kind to their household staff and it is worth trying to make a visit when the domestic offices are open.

3. Manderston

Manderston is  a bit of TV star, having featured in a living history experiment, The Edwardian Country House.  It owes its present grandeur to former owner, Sir James Millar who was anxious to show he could rival  his aristocratic father-in-law’s house, Kedleston, a Robert Adam masterpiece in Derbyshire.  With a silver-plated staircase and a dedicated ball room, the results were opulent if a trifle on the vulgar side.

4.Hill House

Built for the publisher Blackie and his family, by Charles Rennie Mackintosh, Hill House in Helensburgh represents the other end of the style spectrum. This the country house at its most advanced and artistic. As well as being uber modern it still has its roots in all those old Scottish Tower Houses.

5. Fyvie Castle

Fyvie Castle is another restoration job – bought by millionaire Andrew Forbes-Leith  in 1889. He had made a fortune in the US in steel and added a tower (as you do) as well as sprucing up the interiors.  The house is a tour-de-force in Scots baronial luxury and a great showcase for Forbes-Leith’s astonishing good collection of paintings.

6. Skibo Castle

Another American fortune, but this time Skibo was built from scratch by Andrew Carnegie.  Skibo. Operating now as a very exculsive country house

hotel, Skibo is probably the closest one can get to experiencing the Edwardian luxury lifestyle. It’s on my to do list.

7. Ardkinglas

This is an entrancing Robert Lorimer house on Loch Fyne. I’ve never been but from the website it looks completely magical. Lorimer is often called the Scot’s Lutyens – and with good reason.

8. Pollock House

Next to the peerless Burrell collection, Pollock House is an eighteenth century mansion house with a fascinating servants basement to explore. You can also have your tea in the magnificent turn of the century kitchen. Sir John Maxwell inherited the house in 1888 and brought it up to scratch, including creating a magnificent billiard room – an essential spot in the Edwardian Country House.

Keywords: billiard rooms, billiards, mansions, National Trust for Scotland, neo-classical, Pollok House, Pollok Park

There are also Highland Cattle in the country park which surrounds Pollock. These are not particularly Edwardian, of course, but count as an added bonus.

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