CHESS IN THE GEORGIAN / REGENCY ERA

The Things You Learn When Researching an Erotic Regency Romance Series

Not that! Get your mind out of the gutter!

Louisa Cornell

The game of chess was created in India during the Gupta dynasty in the 6th century. By the 10th century it had spread from Asia to the Middle East and Europe. Two incidents in 13th-century London, in which men of Essex resorted to violence resulting in death as an outcome of playing chess, caused alarm among government and Church officials. The Church came out against the game, but that did not stop chess from being played. The practice of playing chess for money became so widespread during the 13th century that Louis IX of France issued an ordinance against gambling in 1254. This ordinance turned out to be unenforceable and was ignored by commoners and courtly society alike, which continued to enjoy prohibited chess tournaments uninterrupted.

Early 19th century Chess Set

 

Napoleon played chess as a young man and throughout his life was believed to have used chess strategies in fighting the Peninsular Wars.

The second half of the 18th century saw the game of chess become increasingly popular in England. Coffee houses offered rooms as locations for chess lessons with famous players.

François-André Danican Philidor (1726 – 1795), a musician and composer by profession, was considered perhaps the top chess player in France. Fortunately for the growing chess popularity in Britain, he visited London several times from 1747–1754, in the 1770s, and finally even lived there after he fled from the French Revolution. In London, he tested his skills against the strongest British chess player, Sir Abraham Janssen, in 1747. They played at the Old Slaughter’s Coffee House, and Philidor won. This was the beginning of Philidor’s career as the most beloved chess master of Georgian England. In 1749 his Analysis of Chess was published in London, the first chess book to explain the openings, the middle game, and the general strategy of chess. In the 1770s, Philidor played chess and offered lessons at the Salopian Coffee House at Charing Cross and at Parsloe’s Coffee House in St. James Street.

In 1774, Philidor encouraged chess players to form the Chess Club at Parsloe’s. The club was exclusive and highly fashionable. Membership was limited to 100 players of rank, influence, and chess skills. Charles James Fox, the Marquis of Rockingham, Count Bruehl, Lord Harrowby, and General John Burgoyne were some of the first members. The club members convinced Philidor to be their teacher, and he obtained remuneration as a chess master every year for a regular season from February to June. Chess lessons at the club with Philidor cost 5 shillings (60 cents) each. Needless to say, ladies were not allowed.

The Chess Club at Parsloe’s became the heart of British chess and it attracted customers with spectacular events. Every year, Philidor amazed audiences by playing three blindfold chess games simultaneously. A report of one such event was published in The Morning Post:

“The celebrated Mr. Philidor, whose unrivalled excellence at the game of Chess has long been distinguished, invited the members of the Chess-club, and the amateurs in general of that arduous amusement, to be present on Saturday last at a spectacle of the most curious kind, as it was to display a very wonderful faculty of the human mind, which faculty, however, is perhaps exclusively at present his own. “

(The Morning Post, 28 May 1782)

Philidor’s death in 1792 was a heavy blow for the club which gradually declined in importance afterwards.

At the turn of the 19th century, the upper-middle class embraced chess. Verdoni, Philidor’s successor as London’s chess master, passed on his knowledge to several men of the newly emerging middle class that became crucial for the further development of chess in Britain.

One of these men was Jacob Henry Sarratt (born in France in 1772), originally a schoolmaster. In 1804 Sarratt was considered London’s strongest player, and he became the house professional at the Salopian at Charing Cross. Sarratt called himself Professor of Chess and taught chess at the price of a guinea per game.

On April 6, 1807, the London Chess club was formed at Tom’s Coffee House in Cornhill; Sarratt was one of its most active members. The club was mainly frequented by merchants and members of the Stock Exchange. Membership dues were 3 guineas per year, and one guinea per entrance.

On July 9, 1813, the Liverpool Mercury published the first newspaper chess column.
Additionally, the number of publications on chess rose. The emphasis was on practical learning:

1816 – An Easy Introduction to the Game of Chess: containing 100 examples of games and a Great Variety of Critical Situations and Conclusions

https://archive.org/details/aneasyintroduct01frangoog/page/n8/mode/2up

1817Oriental Chess by William Lewis (1787-1870) The first chess problems book printed in England

https://books.google.de/books/about/Oriental_Chess_Or_Specimens_of_Hindoosta.html?id=c9FeAAAAcAAJ&redir_esc=y

1817 – John Cazenove, the president of the London Chess Club, published “A selection of curious and entertaining games at chess: that have been actually played”

What about the ladies?

Ladies would play at home or at gatherings with neighbors or friends. A number of paintings from the era depict ladies doing just that. However, chess clubs did not admit women until the late 19th century.

The Winter’s Day Delineated by Maria Cosway (1759-1838)

There is an informative post on the advent of women in chess at the link below.

https://www.chess.com/blog/batgirl/ladies-enry-into-the-chess-world

Were there women chess masters during the Regency era? Very likely so. The possibility is the premise for BOOK FOUR in the Regency erotic romance series – Sex, Lies, and Forbidden Desires. Read on to learn more!

CLAIMING THE CHESS MISTRESS

The loss of Col’s damning journal pages is about to turn deadly;
The forfeit of Charlotte’s closely guarded secrets might destroy her;
Will their mutual quest for justice bring them together, or tear them apart?

By night, she’s a masked chess mistress who challenges and trounces all takers; by day, she’s the ethereal white-blonde beauty who volunteers at the children’s refuge in Seven Dials — Charlotte Smythe lives a luxurious double life of ease as the mysterious chess genius at Goodrum’s House of Pleasure..

After spending years as a gifted investigator extricating others from their peccadillos, dedicated Bow Street runner Archer Colwyn has landed in a suds of his own making. The light-hearted journal of sensual exploits he and his school chums kept while students at Cambridge has gone missing, and the secrets within his particular pages, if revealed, could set off deadly consequences.

The dangerous Captain El Goodrum, proprietress of the most infamous house of pleasure in London, holds the key to their retrieval. In exchange for her cooperation, she demands he run a gauntlet of secrets to deliver a master criminal to justice. His only path to the damning pages is the inscrutable chess mistress who not only resents his attempts to romance away his journal pages, but seems to relish his dread and panic at the prospect of the pages becoming public knowledge.

Charlotte craves the kind of refuge she provides to the orphans she rescues from London’s stews. The respite she seeks away from the world in her St. John’s Wood villa with her two house companions is all that keeps her sane, but sometimes, late at night, she needs something more, something even she cannot name.

https://www.amazon.com/gp/product/B0CBZSCCXL

 

 

A VISIT TO NUMBER ONE LONDON (Apsley House)

 

Back in 2014, Number One London Tours organized a Duke of Wellington Tour which, I’m pleased to recall, was a resounding success. Our first stop was, fittingly, Number One London, the town house of the 1st Duke of Wellington, also known as Apsley House.  We arrived before public hours in order to take a private tour given by Christopher Small, who kindly agreed to let us photograph the interior of the house, which is otherwise prohibited.

For the Apsley House wsebite at English Heritage, click here. The website has an excellent timeline on the history of the house from its original construction by architect Robert Adam (1728-92) in 1771 for Henry Bathurst, Lord Apsley, to its present day status as The Wellington Museum.

Painting of Apsley House, 1770’s
Our post on the 2014 renovations at Apsley house can be found here.

First Christopher took us to see the many gifts and awards the Duke received from grateful governments and monarchs. Here are just a few from the several rooms full of treasure.

Field Marshal’s Batons: decorative  accolades from allied nations
The Prussian Service, with Arms of the Duke of Wellington, 1819
Silver-gilt candelabra
The Wellington Shield, designed by Thomas Stothard,
made by Benjamin Smith 1822

 

Vase from the Prussian Service, 1819

 

The Saxon Dinner Service

 

Arriving at the gigantic statue of Napoleon by Canova, one is amazed first by its size, then by its placement in Apsley House (home of Napoleon’s conqueror), then by the complete lack of resemblance to what we know of Napoleon’s physique: short and stout — and with no waistcoat into which he could insert his hand.

Canova sculpted this image of Napoleon as Mars the Peacemaker between 1802 and 1806. It is said that Napoleon disliked this statue and had it placed in the basement of the Louvre. He found it disrespectful. The British government purchased the statue for 66,000 Francs in 1816; the Prince Regent gave it to Wellington, who then had to find a place for it.  The floor beneath the statue had to be reinforced in order to hold the heavy marble work, over eleven feet in height.

The graceful curving staircase is part of the original Adam design. Personally, this is one of my favourite features of the house and each time I visit, I contemplate all of the great and good of bygone eras whose hands touched the banisters. On the principal floor (up one flight) there are four drawing rooms, the State dining room, and the Waterloo Gallery.

Chandelier in the Piccadilly Drawing Room
Piccadilly Drawing Room

Designed in 1774 by Robert Adam, his fireplace, frieze and ceiling ornament remain.

Apse of the Piccadilly Drawing Room
Adam Ceiling of the Portico Drawing Room
Yellow Drawing room, above and below
The Striped Drawing Room was adapted by Benjamin Dean Wyatt in the 1820’s from a bedchamber and dressing room in the original Adam plan.
Striped Drawing Room; side table with bust of Prime Minister Spencer Percival
Bust of Prime Minister William Pitt the Younger (and reflection of Marilyn)
State Dining Room
The dining room was added to the Adam building for the Duke in 1819 by architect Benjamin Dean Wyatt.  Also included in the addition were bedrooms and dressing rooms, not on display.
The Portuguese silver gilt service stands as a centerpiece on the dining room table. It was made in Lisbon about 1816 and presented to the Duke in recognition of his preservation of Portugal.
Our excellent guide, Christopher Small, on the left.
The Waterloo Gallery was a second addition to the original Adam structure, built again by Benjamin Dean Wyatt (1775-1852) in 1828, after the Duke had become Prime Minister. At about 92 feet in length, it provides an elegant space for dinners, receptions, and the display of the extensive art collection.
The intrepid Duke of Wellington tour group
Below, several glass cases held possessions of the Duke and his family.
On the right above, the Duchess of Wellington’s silk Key Bag
1850 New Year Card from Queen Victoria to Elizabeth Hay, who would become the 2nd Duchess of Wellington in 1852.
1st Duchess of Wellington’ s Diary
1815 miniature, thought to be of Kitty, 1st Duchess of Wellington at age forty
Hair from the mane and tail of Copenhagen, the Duke’s charger.
If you’d like to see Apsley House first-hand, do consider joining us on Number One London’s Town & Country House tour, May 2024. Complete itinerary and details can be found here.

 

QUELUZ PALACE

On a recent visit to Portugal, I visited 18th century Queluz Palace, located just outside Lisbon, as it’s on the itinerary of Number One London’s upcoming Peninsular War Tour – it’s the site of Junot’s signing the Convention of Sintra. The Palace was built as the summer retreat of Pedro of Braganza, brother of the king, who would go on to become king himself after marrying his niece, Queen Maria I. Queluz served as the official royal residence from 1794 to 1826.

To escape the forces of Napoleon I in 1807, the Portuguese royal family abandoned Queluz and fled to Brazil. The French occupational forces took control of the palace and their commander, General Junot, made several alterations to the building. On the royal family’s return from exile in 1821, King João VI preferred to live at the Palace of Mafra.

Restoration of the Palace after years of neglect and a fire in 1934 has brought the building back to life, it’s Rococo rooms now decorated with murals, ornate ceilings and period furniture that demonstrate how tastes developed in this period marked by the baroque, rococo and neoclassic influences.

The Queluz Palace and its gardens are one of the most remarkable examples of the harmonious link between landscape and palatial architecture in Portugal. From the Visit Sintra website: The different green spaces meld with the building, and its façades face the upper “French style” gardens (Pênsil and Malta), extending through the delicate broderie of parterres woven by box hedges. The statues, inspired by classical mythology, adorn and dot the main axes, adding a touch of splendour to these gardens. The remarkable collection of stone and lead sculptures originate from Italy and England, the latter by London artist John Cheere. These gardens are separated from the adjacent gardens, as well as the surrounding forested areas, and agricultural areas, by stone balustrades with vases and statues. The portico radiates out onto a set of connecting avenues which, in turn, are connected to others, forming a complex geometric lattice, with lakes and water features at each vertex. We highlight the lake designed by Frenchman Jean-Baptiste Robillion in 1764, shaped as a starred octagon (Lake of the Medals), among others.

If you’d like to visit Queluz Palace, please consider joining guides Gareth Glover and Kristine Hughes on Number One London’s Peninsular War Tour, May 2024. You’ll find the complete itinerary and further details here.

A FASHION FOR PORTRAITS

Victoria and I visited Fashioning Masculinities: The Art of Menswear exhibition at the V&A last year. Below, I’ve selected three of the most memorable portraits to share with you. In each, the sitters’ clothing and pose were chosen to impart a very definite statement and served to define how they would be perceived by the viewer.

             Once owned by Horace Walpole, the wooden cravat above was carved to imitate gros point de Venise, a heavily textured lace fashionable for both men and women during the middle of the 17th century.

   

Charles Coote, 1st Earl of Bellamont, in Robes of the Order of the Bath by Sir Joshua Reynolds. While this portrait is today derided as an example of camp excess, at the time it was painted, the plumed headdress, tassels and beribboned shoes were meant to imply patriarchal power. Originally, the Earl’s robes were a rich scarlet red, the pigment now having faded to a feminine pink. Reynolds considered fashion to be fleeting, so rarely painted dress in such detail as above.

                           

                

This elaborate robe de chambre of brocaded silk was made from a woman’s skirt.

Fleetwood Hesketh by Joseph Wright of Derby 1769. Here, Hesketh is dressed as a country squire in hunting pink. The powder horn visible in his pocket and his relaxed pose signal that he is a man of leisure, with time to devote to his chosen pursuits. The skirted coat, perfect when riding, evolved into the frock coat.

                                

 

Captain Gilbert Heathcote by William Owen, circa 1801-1805. Heathcote, a Navy captain, adhered to official guidelines in the tailoring of his uniform, embellishing it with gold braid, buttons and epaulettes to signal to the observer that he was both wealthy and fashionable.

Do you have a favourite amongst the masculine portraits of the period? Please leave a comment and share your thoughts with us.

 

 

WORKING DOGS OF THE REGENCY – Herding Dogs

Louisa Cornell

 

The relationship between herding dogs and their masters is one of longest standing and in many ways the closest when it comes to dogs and humans during the Regency. Herding dogs were some of the hardest working dogs of the era, but they spent a great deal of time with their masters. It was not unusual for herding dogs to sleep with their masters, especially when they were out with their herds or flocks. The level of communication between herding dog and master was on a completely different level than that of a pet and master. This sort of relationship would certainly engender a level of mutual respect and affection between dog and master. There were, of course, exceptions. The life of a shepherd, a keeper of sheep and cattle, was a hard one. There were those who trained and used their dogs with tactics of fear and abuse. However, this did not always make for a willing and obedient dog. A master who appealed to a herding dog’s innate desire to please and instinct to herd was far more successful, and part of this sort of relationship had to involve love, loyalty, and affection between man and dog.

The artist Edwin Landseer (1802-1873) understood this relationship very well when he painted his famous work The Old Shepherd’s Chief Mourner.

The Old Shepherd’s Chief Mourner by Edwin Landseer.

 

Old English Sheepdogs

It is generally agreed that this breed, fairly closely to the way we know it, had its origins in the southwestern counties of England in the early 19th century. They were referred to as “drovers’ dogs” as they were used primarily to drive cattle and large breeds of sheep to market. Their tails were docked to show that they were working dogs. Companion dogs were taxed, working dogs were not.

 

Border Collies

Remember that the appearance of these dogs during the Regency would not match our vision of this breed today. Not to mention, a number of different sorts of dog fell under the label of sheep dog. The dog most like the sheep dogs of the Regency is the border collie.

Perhaps the earliest training manual for sheepdogs was written by William Ellis (ca. 1690-1759). Ellis was a farmer from Little Gaddesden in Hertfordshire, about 30 miles northwest of London. In 1732 he wrote The Practical Farmer or The Hertfordshire Husbandman. His book enjoyed popularity immediately upon publication. In this book, Ellis writes a description of the ideal sheepdog.

A Shepherd generally keeps a rough-coated Dog, partly, I suppose, for their being, as I said, better enabled by their fluffy warm Coat, to withstand the Violence of Frosts and cold Winds, or to become the more frightful to their Sheep, and for his closer Attendance on his Master, as he is somewhat slower than a smooth-coated one, therefore not so subject to hare and run the Sheep too fast; and is commonly the most sensible one of all others…One Thomas…has a has a brindle-colour’d, very shaggy-hair’d Dog, of the biggest Sort, so much at Command, as to lie down by a Fold all Night to guard the Sheep till next Morning; and for making haste on an emergent Occasion, when Sheep are pent in a narrow Place, will run over their Backs; and in several other Respects, makes himself an excellent Shepherd’s Dog…

Sheepdogs generally began their training at the age of 6 months. They were taught a number of basic and important commands, the first of which was “lie down.” This was an important command when dealing with sheep as a dog on its feet tended to intimidate and sometimes frighten sheep. Every shepherd had his own system of commands and signals that could be a series of whistles, short word commands or even hand signals.

Shepherd’s dogs were divided into three categories or types during this era: the Shepherd’s Dog or Colley; the English Sheep-Dog or Southern Sheep-Dog; and the Cur or Drover’s Dog, As you can see the “breed” names were a little ambiguous. These dogs tended to be bred by shepherds and sheep farmers. Their bloodlines were managed and tracked in hand-written records by each farmer. Dogs from one farmer might be loaned out to another for stud purposes. These dogs were bred for very distinct qualities.

Keen sight.

A keen sense of smell.

Courage.

Intelligence.

Loyalty.

Vigilance.

Athletically active.

Constant watchfulness.

Agility.

Hardiness in all kinds of weather.

Devotion to duty.

 

The Shepherd’s Dog or Collie
The Cur
English Sheep Dog