Author: Kristine Hughes

THE ORIGINS OF THE CHRISTMAS CARD

From  Christmas Cards & Their Chief Designers By Gleeson White (1894)

The origin of the Christmas card is, fortunately for its future historians, not lost in the mists of antiquity, that popular hiding place for all sorts of origins; but as clearly fixed as Archbishop Usher’s date of Creation – B.C. 4004 – with more trustworthy evidence to support it. In 1846, Sir Henry Cole (then plain Mr) suggested the idea of a specially designed form of greeting to send to friends at Christmas. Mr J. C. Horley, R.A., acting on the hint, produced a design of a trellis of rustic-work, in the Germanesque style, divided into a centre and two side panels. In the panels are figures representing two of the acts of charity, “feeding the hungry” and “clothing the naked;” in the centre is a picture of a merry family party, including three generations, grandparents to grandchildren, quaffing draughts of wine.

It was evident that some such individual, whether called buyer or commercial traveller, comes between the manufacturer and the retailer in almost every instance. Not only has this personage to reckon with the taste of shop-keepers, which varies from the best to the worst, with a tendency to the latter, but he has also his own standard to defend. Hence he sells most readily not only those goods the average retail trader is most likely to choose for himself, but a great many others which, since they approve themselves to the vendor, he can recommend with sincerity. It is strange that this needle’s eye, through which so much Applied Art has to pass ere it reaches the public, is not more often recognised as the chief obstacle to its progress. The public should not be held responsible for declining to purchase goods which never came under its eyes; the manufacturer should not be held blameworthy for the poor level of the Art he offers, when, possibly, he has tried and tried in vain to induce his travellers and the trade buyers to support his efforts to produce good designs.

Although 1846 has been so far accepted as the undisputed date of the first card, just before going to press, Mr Jonathan King, the owner of the largest collection, has called my attention to a paragraph in a journal of some standing, where a Mr Thomas Shorrock, of Leith, is said to be the real inventor of the Christmas card, seeing that a year or two before the above date he issued one, with a laughing face, and the motto “A Gude New Year to Ye.” Whether this be the card which is elsewhere said to have been engraved on a copper- plate by a workman, Daniel Aikman, in 1840 or 1841 and published with a Scotch motto, I am unable to prove. Should either of these statements be accurate, although one might, without special pleading, claim that a New Year secular greeting is not quite the same as one marking a religious festival, it would be best to give later inventors equal credit, and assume, what would be probably correct, that neither knew of the doings of the others.

So, too, the statement that engravers’ apprentices of Northumberland or Yorkshire (the stories differ, and one questions if such a class of artists exists in either place in sufficient numbers to found a custom), are in the habit of sending specimens of their own work to friends at Christmas, and have done so for a long period, may or may not be true, but is hardly likely to have been the source whence the card was derived. Equally difficult is it to obtain any details of Messrs Goodall’s cards in 1862 (or 1864, authorities vary,) which were probably the first issued to the ordinary trade. Despite a former sentence crediting Messrs Goodall with the honour of being the first publishers of Christmas cards, (always excepting the Sir Henry Cole card of 1846,) and, notwithstanding the fact that several of their cards, issued in 1864 and 1865, from designs by C. H. Bennett, are reproduced here, it is possible that other candidates might put forward reasonable claims.

It seems probable that ornamented note paper and envelopes appeared just before the cards, that the designs in relief, identical with those on the stationery named, were either simultaneously or very shortly after stamped in the centre of a card, which had its edges coloured or embossed. Certain it is that T. Sulman was very early in the field with relief-decorated paper and cards, and with lithographed designs. Leighton, of Fleet Street, and Mansell, of Red Lion Square, are also amongst the first, while R. Canton, (who started Valentine and Birthday card production in 1840,) and Dean & Sons issued many of their publications with special Christmas mottoes. The innovation of stamping reliefs in two ormore colours is dated to 1858. The introduction of foreign “chromo-lithograph pictures,” to replace those hitherto coloured by hand, or by stencil, is traced to Elliott, of Bucklesbury, in 1850, and to Scheffer and Scheiper, (I have but the phonetic spelling of these names,) in 1851. This item in the preparation of “made-up” Birthday Cards and Valentines had hitherto been very rudely prepared by colouring plain embossed relief with a brush, or stencilling lithographs, afterwards embossed and cut out.

 

An improvement in these devices is traced to a man whose professional occupation was to colour designs upon linen bands for the Irish trade. These cut out devices were prepared at a cost of 4d. per 1,000, the hands earning about 15s. a week, until Germany sent over more cheaply produced imitations at one-sixteenth of the cost. Thierry, of Fleet Street, known as the father of the Christmas card trade, was, doubtless, the first to introduce the elaborately embossed reliefs which afterwards came over in cart loads. Then they cost 8os. per 100 sheets, now their price has fallen to 10s. the 100 for large quantities. When one remembers that at first—and for many years after- a large majority of the cards, (which, however little they interest us here, helped to spread the fashion), were made up from foreign chromo-lithographs, even by firms of the high standing of Marcus Ward, we find that this importation of foreign embossed relief takes its place as an important commercial factor in the rise of the industry.

With Messrs Marcus Ward & Co., who started the production of Christmas cards as early as 1867, coincidentally with the opening of their London house, however, we come to a very different class of manufacturers. Here is a house, one of the earliest in production, with a record that reaches the highest level of decorative excellence ever touched by the Christmas card. This firm for awhile monopolised the whole of the better-class trade. Beginning with the use of German ” chromos,” usually mounted on card with lithographed borders in gold and colours, of home manufacture, they soon issued reproductions of original designs by artists of repute, and gained a position where they stood without rivals. It was, I believe, owing to the acute perception of one of the partners of this firm, Mr. William H. Ward, that Miss Kate Greenaway was “discovered” as a designer. At the earliest “Black and White” Exhibition at the Dudley Gallery Mr. Ward’s attention was drawn to Miss Greenaway’s work; and recognising that her special talent was in the direction of costume figures and dainty colours, he induced her to design for the firm.

Illustrator Kate Greenaway designed this card entitled “The Merry Dance When Dinner’s Done.”
Christmas card by Kate Greenaway
Christmas card by Kate Greenaway
It is this characteristic which must be reckoned to the honour of Marcus Ward’s cards; not because they employed celebrated artists more freely than other firms—capable designers indeed were commissioned, but their list of well-known painters will not compare in mere numbers for a moment with those of several of their near rivals—but because they saw that an architectural, not a pictorial, aim was the correct one. To talk of architecture in connection with so ephemeral an object as a Christmas card may sound absurd, but, nevertheless, I think all students of decoration must admit that its treatment should be more nearly allied to the surface decoration of buildings than to transcripts of nature, which are, in theory, attempts to imitate the out-look from a window of the building. This latter, usually held to be the aim of the pictorial artist, cannot be employed without degradation upon mechanically-produced reproductions in colour; but the artificial convention — the idea of decorative as distinguished from pictorial art— wherever you find it for stained glass, mosaic, enamel, inlay or colour printing, has another purpose to fulfil, which is more admirably achieved when the limitations of the material are duly observed.
Note: Alternately, the Hyperallergic site has published an article on Creepy Christmas Cards, which you’ll find here.

THE FOODS OF LONDON CHRISTMAS MARKETS 1845

by George Scharf

From The Book of Christmas: Descriptive Customs, Ceremonies, Traditions by Thomas Kibble Hervey (1845)

Everywhere, throughout the British Isles, Christmas-eve is marked by an increased activity about the good things of this life. “Now,” says Stevenson, an old writer, “capons and hens, besides turkeys, geese, ducks, with beef and mutton, must all die; for in twelve days, a multitude of people will not be fed a little . . .” The abundant displays of every kind of edible, in the London markets, on Christmas-eve, with a view to the twelve days’ festival, the blaze of lights amid which they are exhibited, and the evergreen decorations by which they are empowered —together with the crowds of idlers or of purchasers that wander through these well-stored magazines—present a picture of abundance, and a congress of faces, well worthy of a single visit from the stranger, to whom a London market, on the eve of Christmas, is, as yet, a novelty.

The approach of Christmas-eve, in the metropolis, is marked by the Smithfield show of over-fed cattle; by the enormous beasts and birds, for the fattening of which medals and cups and prizes have been awarded by committees of amateur graziers and feeders;—in honor of which monstrosities, dinners have been eaten, toasts drunk, and speeches made. These prodigious specimens of corpulency we behold, after being thus glorified, led like victims of antiquity, decked with ribands and other tokens of triumph— or perhaps, instead of led, we should, as the animals are scarcely able to waddle, have used the word goaded—to be immolated at the altar of gluttony, in celebration of Christmas! To admiring crowds, on the eve itself, are the results of oil-cake and turnip feeding displayed, in the various butchers’ shops of the metropolis and its vicinity; and the efficacy of walnut-cramming is illustrated in Leadenhall market,—where Norfolk turkeys and Dorking fowls appear, in numbers and magnitude unrivalled. The average weight given for each turkey, by the statement heretofore quoted by us, of the number and gravity of those birds sentup to London from Norfolk, during two days of a Christmas, some years ago—is nearly twelve pounds; but what is called a fine bird, in Leadenhall Market, weighs, when trussed, from eighteen to one or two-and-twenty pounds,—the average price of which may be stated at twenty shillings; and prize turkeys have been known to weigh more than a quarter of a hundred weight.

Leadenhall Market

Brawn is another dish of this season; and is sold by the poulterers, fishmongers, and pastry-cooks. The supply for the consumption of London is chiefly derived from Canterbury, Oxfordshire, and Hampshire. “It is manufactured from the flesh of large boars, which are suffered to live in a half-wild state, and, when put up to fatten, are strapped and belted tight round the principal parts of the carcass, in order to make the flesh become dense and brawny. This article comes to market, in rolls about two feet long, and ten inches in diameter, packed in wicker baskets.”

 

Another feature of this evening, in the houses of the more wealthy, was the tall Christmas candles, with their wreaths of evergreens, which were lighted up, along with the Yule log, and placed on the upper table, or dais, of ancient days. Those of our readers who desire to light the Christmas candles, this year, may place them on the sideboard, or in any conspicuous situation.

 

Our account of Christmas would not be complete,—without giving some description of the forms which attended the introduction of the  boar’s head at the feasts of our ancestors. The boar’s head soused, then, was carried into the great hall, with much state; preceded by the Master of the Revels, and followed by choristers and minstrels, singing and playing compositions in its honor. Dugdale relates that at the Inner Temple, for the first course of the Christmas dinner, was ” served in, a fair and large bore’s head, upon a silver platter, with minstrelsye.” At St. John’s, Oxford, in 1607, before the bearer of the boar’s head,—who was selected for his height and lustiness, and wore a green silk scarf, with an empty sword-scabbard dangling at his side,—went a runner, dressed in a horseman’s coat, having a boar’s spear in his hand,—a huntsman in green, carrying the naked and bloody sword belonging to the head-bearer’s scabbard,—and “two pages in tafatye sarcenet,” each with a “mess of mustard.”

GRAVESITES WE HAVE KNOWN

Originally published in 2012

Perhaps it’s the season, but it occurred to me recently that, between us, Victoria, Jo and myself have visited an inordinate number of graves in our travels. We even visit graves that are graves no longer – I can well remember that visiting the site where Henry Paget’s leg was (formerly) buried in Waterloo was the highlight of my visit to the battle re-enactment.

When I cross the pond in December, I plan to visit Mary Delaney’s grave in St. James’s Church, Piccadilly, as it will literally be just across the road from my hotel and, oddly, I’ve overlooked it in the past. I’ve also got the Duchess of York’s pet cemetary at Oatlands on my agenda and the pet cemetery in Hyde Park. It’s curious that, centuries on, we continue to visit the gravesites of people we admire. What compels us to do so? I have no answer to that question, regardless of the fact that I’m one of the guilty. Perhaps its a feeling of “one-ship” with the dead person, a chance to quietly reflect upon their lives in solitude at the spot of their last resting place. Odd beings, we humans, but in case you doubt the number of graves we at Number One London have under our belts, I’ve rounded up some evidence and present it below.

Mary Robinson’s grave in Old Windsor (Kristine and Victoria)

Princess Charlotte’s memorial at St. George’s Chapel, Windsor Castle (Kristine and Victoria)
Graveyard at Minster Lovell (Kristine)

The Duke of Wellington’s memorial, St. Paul’s Cathedral, London (Kristine and Victoria)

 The mausoleum at Bowood House (Victoria)

Update: Since this post was originally published, I have, indeed, made it to Mrs. Delaney’s grave and to the pet cemetery at Oatlands, as well as to a few other grave sites along the way:

Highgate Cemetery – Kristine and Victoria
The graves of the Mitford sisters at Swinbrook

Happy Halloween!

A Haunting We Will Go – The Grenadier Pub

Tucked away down London’s exclusive Wilton Mews, on the corner of Old Barrack Yard, the patriotic Grenadier pub is painted red, white and blue and boasts a red sentry box that serves as a nod to the property’s military history. Reputedly, the Duke of Wellington’s Grenadier Guards used it as their mess. Inside it is small, dark, and cozy, the  paneled walls covered with military and Wellington memorabilia. Reputedly, the pub’s upper floors were once used as the officers’ mess of a nearby barracks, whilst its cellar was pressed into service as a drinking and gambling lair for the common soldiers.

A display at the entrance to the pub informs us that “18 Wilton Row was built circa 1720 as the home to the 1st Regiment of Foot Guards regiment and famously known as the Duke of Wellington’s Officers Mess. Originally named The Guardsman as a Licensed Premises in 1818, and frequented by King George IV, the Grenadier enjoys a fine reputation for good food and beer.” From the same display we also find out that the 1st Regiment of Foot Guards was created in 1656, and that 1st Guards were renamed by Royal Proclamation as the ‘Grenadier Regiment of Foot Guards’ because of their heroic actions against French Grenadiers at Waterloo in 1815. Continuing the Wellington connection, directly outside in the old Barrack Yard at the side of the pub is what is reputed to be the remaining stone of the Duke’s mounting block, whilst an archway down the nearby alley forms part what was once the barrack stables.

Here, a young subaltern is said to have once been caught cheating at cards, and his comrades punished him with such a savage beating that he died from his injuries.

The Grenadier is said to be one of the most haunted places in London. People who have worked there have quit after supernatural run-ins with a solemn, silent spectre reportedly seen moving slowly across the low-ceilinged rooms. Objects either disappear or else are mysteriously moved overnight. Unseen hands rattle tables and chairs, and a strange, icy chill has been known to hang in the air, sometimes for days on end. A ghostly face floats in an upstairs window and – the most common tale – the sentry box out front is haunted by the ghost of the dead subaltern.

So . . . a few years ago, on Saturday, August 3, 1996, I was at the Grenadier with Sue Ellen Welfonder (Bozzy) and two other women whom I won’t name because I haven’t seen them in years and have no idea whether or not they want to be associated with the following story. I don’t often talk about it myself, as it makes one seem as odd as those who claim to have been abducted by aliens or to have seen the Loch Ness Monster and Big Foot. We, Reader, saw ghosts. Not a ghost, but a circle of ghosts. Regency soldier ghosts, no less.

We could see that the alley beside the Pub led back to a yard with stable doors and a row of quaint single story houses along one wall. Very atmospheric, very historic . . . very tempting. What was back there? we asked. Let’s go look! we answered. What. A. Mistake. As you can see by the photo, a sort of alley runs beside the Pub and opens up at the end to the barrack mews.

We walked down the alley to the end, where the car is visible in the photo below. There was a car parked in the very same spot on the night in question. We got to the end of the alley and saw . . . . . a ring of ten to twelve men – soldiers, whose red coats had been thrown in a pile atop the cobbles. They wore breeches and boots and white shirts. They stood in a circle in the space between the front of the car and the stable doors – surrounding a man who was on his knees at the center of the circle, his face already bloody and bruised from the beating that had already been going on for some time (centuries?). These men were pissed off. Even taking into account the fact that cheating at cards was a much more serious offence then than it is today, their anger was beyond anything justified by such an offence.


We watched them as though we were watching a black and white film that was being played at half strength. That’s the only way I can describe it. The scene was playing out before our eyes, in the bricked space between the car and the black stable doors, the men utterly oblivious to our presence. The film ran for a minute, probably less in hindsight, and then flickered out. Except this film had something extra – this one had been filmed in “emotion-vision.” As we watched the ghostly events, each one of us could actually feel the anger and the venom that was being directed towards the poor schmuck on his knees in the middle of the circle. In fact, I think the strength of that collective emotion was more overwhelming to us than the fact that we’d actually just seen ghosts. The experience was so shocking, so unbelievable that I will be forever grateful that I was in the company of others when it happened or else I’d truly doubt whether it had taken place.

I suppose seeing ghosts is much like childbirth – the true horror of the experience abates with time and twenty-six years have since passed. I’ve been back to the Grenadier many times since, both alone, with friends and with tour groups. More recently, I’ve even ventured back into the mews and I’ve been taken into the private areas upstairs. I’ve never seen the ghost soldiers on the premises again, though several members of staff emphatically refuse to go down to the cellars. And just as emphatically refuse to discuss why.

This post originally ran in 2010 and has since been updated by the author. 

GHOSTS and GOBLINS and WITCHES! OH NO!

By Guest Blogger Marilyn Clay

Most of the things we associate with Halloween today, i.e. ghosts, goblins, witches and evil spirits, can all be traced to superstitious Celtic beliefs over 2000 years ago. The Celts had only two seasons: Winter and Summer. Winter began on November 1st and lasted until April 30th. Therefore the last day of the Celtic calendar fell on October 31st, which is the day the Celts celebrated New Year’s Eve.

On the Eve of the Celtic New Year, October 31st, herders gathered around their campfires with their priests, called Druids, to eat, drink and be merry. This celebratory practice grew to include lighting huge bonfires in honor of the Lord of the Dead, Samhain. (Pronounced Sa-wen). Herders formed circles as they danced and howled around the fires to commemorate the approaching New Year that began on the following day, November 1st.

Because the Celts believed that at the time of year when plants withered and died was also when the Spirit World awakened and became active, to summon spirits to foretell the future became a part of their New Year’s Eve celebrations. Since evil spirits, as well as the benevolent sort, were also awakened and became especially active at this time, the practice of disguising oneself so that the evil spirits would not recognize them, came into being. This then, is the beginning of our present-day custom of donning costumes as we celebrate Halloween today, also on October 31st.

Back then, it was believed that if one left a tasty offering outside one’s doorstep, any sort of spirit-being who was lurking about might be more apt to treat that person kindly throughout the following year. The hope was that an especially tasty treat would call down good luck upon their household during the coming cold, winter months. Another reason for leaving treats outdoors was the belief that if the spirit, or soul, of one’s own dearly departed loved ones might still be hovering about, to leave them a tasty offering was a nice way of sharing the family’s harvest feast.

In many European countries, including England, groups of children and adults often went door-to-door on October 31st begging for what was called “soul cakes”, a type of bun made with flour presumably gleaned from the new harvest. A soul cake was said to commemorate all good spirits. Sometimes, fruit was also handed out with the cakes, preferably apples, which were especially favored by the Celts, who believed an apple represented immortality, love, and fertility. These All Hallow’s Eve beggars would often chant: “An apple or a pear, a plum or a cherry; or any good thing to make us merry.”

In ancient Ireland, masked children, and adults, who went begging from house-to-house often instead chanted another sort of rhyme that foretold what the Druid God, Muck Olla, would do to them if they were not rewarded with a tasty offering. Which is the forerunner of our present-day Halloween chant, “Trick or Treat!” These masked (or wily) soul cake beggars often disappeared into the night carrying cheese, butter, bread, eggs or potatoes as well as a few pennies since some homeowners hoped an offering of money would show their generosity and ensure that good luck rained down upon their household during the coming year.

Other All Hallow’s Eve traditions handed down through the ages included unusual methods for predicting the future. The following customs were conducted on All Hallow’s Eve throughout the British Isles.

The Irish served up a bowl of “caulcannon” a concoction made from mashed potatoes, or perhaps turnips, (by the way, initially it was turnips that were carved with scary faces, instead of pumpkins) onions, cabbage and spinach. Small tokens were stirred into the pudding mixture with a generous portion of melted butter poured over the top. Everyone ate from the same bowl. The one who scooped up a miniature horseshoe in his or her spoon was assured of good luck throughout the following year. A coin predicted that wealth was in store for that lucky person. A tiny figure or doll (not surprisingly) meant that the person might soon be blessed with a child. To find the dreaded thimble, or button, meant that that unlucky soul would never marry.

Also, in Ireland, a young girl might select three nuts and designate one to represent herself. The other two were named for two of her most ardent suitors. She then placed the nuts in some type of long-handled utensil and holding it before the fire, watched the nuts burn. Whichever one burned the most steadily beside hers told her which of her suitors would be the most faithful to her.

In Scotland, young couples would select a pair of nuts meant to represent themselves. Again, holding the nuts before the fire, the pair watched to see if the nuts burned to ashes together or not. If so, it meant the couple would live a long and happy married life with each other. If, however, the heated nuts began to split or crack, or even jump apart, it meant the couple were in for a long, unhappy, and quarrelsome marriage.

Unmarried Scottish ladies and gentlemen would be blindfolded and directed to pull up a cabbage or kale from the garden. A closed, white stalk indicated an elderly spouse waited in their future whereas an open, green one meant a young mate was in store for them. If one wished to know if one’s future mate would be sweet and kind, or bitter and unkind, one tasted the stalk to determine their future spouse’s temperament.

In Regency England, it was more common for those in the country to gather together in order to commemorate what they called Harvest Home, a celebration in honor of the rich fruits of their harvest. Special costumes were not worn although the ancient practice of predicting the future by holding apple seeds in one’s palm might very well have been conducted. First, one placed twelve apple seeds in the palm of one hand. While clapping that hand with the other, one repeated this rhyme: “One I love; Two I love, Three I love, I say; Four I love with all my heart; Five I cast away. Six he loves, Seven she loves, Eight they both love; Nine he comes, Ten he tarries, Eleven he courts; Twelve he marries.” When the rhyme is completed, one was to count the number of seeds left in one’s palm to determine the state of his or her future love life.

Although my new Juliette Abbott Regency Mystery Novel, Murder in Middlewych, does not include any of the above Halloween customs, ghosts, spectral sightings, dire predictions, and terrors in a haunted tunnel are in abundance.

My clever, young Regency sleuth, Miss Juliette Abbott and her maid Tilda are being escorted up to London by the handsome and heroic Mr. Sheridan following Miss Abbott’s horrific fortnight at Medley Park. A sudden carriage accident on the way up to Town dictates the threesome must spend the night at what turns out to be a haunted inn in the Cotswold village of Middlewych!

The Middlewych Psychical Fair is slated to commence on the following day. But, when a village lass turns up dead, the local constable rushes to judgment and promptly arrests the stranger in the village, Mr. Sheridan! The tables have now turned and Miss Abbott must run the real killer to ground before her gentleman friend is hanged on the village square. Despite a Tarot card reader’s grisly prediction and deadly terrors encountered in the tunnel, will Miss Abbott be able to save Mr. Sheridan from the gallows, or must she bid good-bye to him forever and find her own way back up to London . . . without him? Oh, no!

Murder in Middlewych is now available in both Paperback and Ebook from Amazon, and in Ebook from most all other major retail sites, including Scribd and Overdrive. Retail site links include Amazon, Apple iTunes, Barnes & Noble and KOBO.

For all the Ebook links, click on the Murder in Middlewych book cover image on my website.