LISBON’S NATIONAL COACH MUSEUM

Wow. On a recent trip to Lisbon, I made a point of visiting the National Coach Museum, as I’d run out of time to do so on a prior trip. Again, wow. I knew it was one of the largest and most comprehensive coaching museums in the world, yet I was still bowled over by the massive collection. So impressed was I that I suggested to my fellow guide, Gareth Glover, that we add it to the itinerary of Number One London’s Peninsular War Tour in May 2024. And so we have.

The National Coach Museum (Museu Nacional dos Coches) houses an important horse-drawn carriage collection of vehicles from the seventeenth, eighteenth and nineteenth centuries, including coaches, berlins, sedan chairs and carriages of all kinds. Over one hundred of them, in fact. The photo below will give you a rough idea of the space that houses this amazing collection and the following carriages just a taste of the vast collection that is on show.

Here is a rare example of the “Carrosse Moderne,” that appeared first in Paris. It belonged to Queen Maria Francisca of Savoy-Nemours, cousin to King Louis XIV of France. It was brought to Portugal as part of her wedding dowry in 1666.

Below, a fold out camp bed used on long journeys.

Below, a Dutch carriage commissioned by Emperor Joseph I of Austria in 1798 for the marriage of his sister, Maria Ana, to the King of Portugal D. Joao V. The carriage body is covered with fine gold leaf and decorated with crowned lions, monograms and the Portuguese Coat of Arms. The wheel spokes are shaped like sceptres.

Above and below, an Italian built coach paying homage to the maritime history of Portugal. On the rear, Apollo is flanked by two female figures representing Spring and Summer. In front, two elderly men, representing the Atlantic and Indian Oceans, shake hands.

Above and below, a Portuguese procession coach built in 1729. The table inside could be used for meals during long journeys or when in procession.

 

Above, an Eyeglass Chaise, allowing the occupants to stay dry in wet weather.

Italian made promenade vehicles, used by the Royal Family on their estates and in the palace gardens. There is a seat at the back for the groom.

Litters, or sedan chairs.

Above, an Empire style state carriage commissioned in 1824 in London by King Joao VI. The coachman’s seat is very high and the roof displays a royal crown. Used for the coronation of King Carlos I.

An English state coach commissioned by Queen Maria II. The Portuguese Coat of Arms decorate the doors, access to the interior is made via folding steps. A rounded box sits at the rear to carry weapons.  Manufactured at J.R. Pearce’s workshop, London.

Above and below, a long distance coach built in 1854 by the Jones Freres workshop, Brussels. The body has two separate compartments for passengers and one for offical mail. Travel between Lisbon and Oporto took 34 hours, with 23 stops along the way.

Above and below, a Portuguese prisoner carriage. The metallic box body has eight fake windows surmounted by respirators. Inside are six individual cells, three on each side. Two prison guards locked the cells and remained seated at each end of the corridor, front and back. The rear fold down seat can be seen in the photo below.

If you’d like to visit Lisbon’s National Coach Museum, we hope you’ll consider joining us on Number One London’s Peninsular War Tour, May 2024. You’ll find complete itinerary and further details here.

Wonderful Waddesdon Manor

I recently visited Waddesdon Manor with a mind to adding it to the itinerary of Number One London’s upcoming Town & Country House Tour. The French Renaissance château was built in the 19th century by Baron Ferdinand Rothschild and I’m pleased to report that it did not disappoint. The house, the collections, the gardens and outbuildings combined to serve as a most unique whole. In fact, Waddesdon is now right up there beside Chatsworth House as my personal favourite country houses in England.

Baron Rothschild, a dedicated Francophile, employed a French architect who created rooms using wall panels taken from Parisian houses of the 1700s. He then filled the house with treasures that once belonged to French royalty. Rothschild lavished Waddesdon’s rooms with paintings, carpets and porcelain to rival any museum on either side of the Channel. All of which was only seen on summer weekends by a few of the Baron’s close circle. Waddesdon was never a family home, it was only ever meant to be an occasional country retreat.

On the approach to the Manor, it would be difficult not to be awed by the fabulous grounds, gardens and architectural details.  Or by the attention to the smallest detail that is regularly given to the Manor, evident at every turn.

Waddesdon Manor is unique in that The Rothschild Foundation continues to manage the property on behalf of the National Trust, as well as providing the majority of the funding for its upkeep.

The interiors are likewise impressive, beginning with the dining room, which resembles Versailles in miniature.

The dinner service below is comprised of over 400 pieces of porcelain as service for twenty-four people. Although it was a gift from King Louis XV to an Austrian prince in 1766, it was used by the family until the 1980s.

With more than 15,000 works of art and objects, the collection ranges widely in date, materials and techniques, and places of production. Each of the rooms at Waddesdon serve as backdrops for the priceless pieces on display.

Something that becomes immediately apparent to visitors is that Waddesdon’s staff truly care about the guest experience. There’s at least one docent in every room . . . and they know their stuff. They are genuinely friendly and engaged. Waddesdon Manor even encourages visitors to touch, with “touch boards” dotted along the route, each focused on a different architectural component of the Manor.

As one would expect, conservation is constantly being undertaken at Waddesdon.

One of the final areas on the tour are the ornate Bachelors Quarters, where single men visitors were housed at weekends. Any gentleman who arrived alone, whether actually married or not, was assigned a room in this wing of the Manor. Very Victorian, indeed.

The present Baron Rothschild continues to collect art and porcelain, mostly contemporary. This chandelier was specially commissioned in 2003 by Lord Rothschild for the Blue Dining Room and looks surprisingly at home against the walls of 18th-century carved panelling.

I’m pleased to add Waddesdon Manor to our roster of historic stately homes and I look forward to introducing our group to Waddesdon during Number One London’s upcoming Town & Country House tour, May 2024. Complete tour itinerary and further details can be found here.

Please watch the videos below to learn more about Waddesdon Manor’s art collection and aviary.

HARTWELL HOUSE – HISTORY & HOSPITALITY

 

Recently, I stayed at Hartwell House, an historic stately home hotel nestled in the Vale of Aylesbury, Buckinghamshire. Being made to feel like the Lady of the Manor for a week was a unique experience. Given the choice of several beautifully decorated drawing rooms in which to relax and acres of grounds to explore, I truly felt as though I had the entire house to myself, although there were certainly other guests in the hotel.

Hartwell House is rich in both Jacobean and Georgian archtectural elements, though the property was first mentioned in the Domesday Book of 1086. The present Grade I listed House was built between 1570 and 1617 by Sir Alexander Hampden, but Hartwell and its grounds have been shaped over the years by the hands of reknowned architects and designers, including James Gibbs, James Wyatt and  Richard Woods, a well-known follower of Capability Brown.

Hartwell House has a remarkable history, with it’s most famous resident being Louis XVIII, exiled King of France (above), who held court here from 1809 to 1814.

Portraits of Louis XVIII and his wife, Marie Josephine of Savoy, hang over Hartwell’s grand staircase.

Following Napoleon’s defeat in Russia in 1812, Louis XVIII issued a proclamation to the people of France, dated Hartwell, Feb 1, 1813. The Declaration of Hartwell stated that those who had served Napoleon or the Republic would not suffer repercussions for their acts, and that those who’d had lands confiscated during the Revolution would be compensated for their losses.

While the Foreign Secretary Lord Castlereagh denied any British participation in the proclamation, the British government provided Louis with the financial means to print the declaration, and copies were sent on board British ships for distribution on the coast of France, and dispatches to European capitals were carried by British couriers.

Allied troops entered Paris on 31 March 1814. On April 6, 1814, the French Senate invited Louis to resume the throne of France and Louis signed the accession papers at Hartwell. Five days later Napoleon abdicated.

A bust of the Duke of Wellington stands in a niche outside the dining room

The Royal Meteorological Society was founded at (1850) and regularly met at Hartwell House. In 1938 the house and estate were purchased by millionaire recluse Ernest Cook, an early hero of the conservation movement and grandson and co-heir of the Victorian travel tycoon Thomas Cook. During the Second World War, Hartwell served as an Army billet for British and American troops. From 1956 until 1983, Hartwell was let to finishing school and secretarial college and was afterwards purchased by Historic House Hotels Ltd, when the fine Georgian interiors were painstakingly restored alongside extensive restoration of the historic gardens and parkland. Hartwell House opened as an hotel in July 1989 – with a whole lot of history behind it and much panache.

 

Each of the spacious bedrooms are unique and feature outstanding decorative ceilings and panelling, fine paintings and antique furniture. The beautifully appointed drawing rooms are no less impressive.

Guests are free to lounge, read or have a drink in any of the drawing rooms; staff are always discreetly on hand to attend to your wishes, though you’d do well to rouse yourself occasionally and explore the extensive grounds.

Hartwell House sits in over 90 acres of glorious landscaped gardens and parkland. The garden was designed at the start of the 18th century, probably by James Gibbs, in the formal style with allées and garden buildings. By the middle of the 18th century, most of the formality had been swept away and the garden landscaped by a follower of Lancelot (Capability) Brown, one Richard Woods.

Today, guests are encouraged to stroll the many paths, explore the follies and woods and commune with the resident cows. If you’re lucky, you’ll catch a glimpse of the deer who typically make an appearance in the grounds around dusk.

 

The picturesque bridge over the lake was originally the central span of the old Kew Bridge, built over the Thames in the 18th century but dismantled in 1898 and its sections sold at auction.

Hartwell House also boasts a full service spa, offering a wide range of treatments. Hotel guests are free to use the swimming pool whenever they like.

Back at the House, be sure to indulge in a very special afternoon tea, served when and wherever you like.

Breakfasts at Hartwell House are also a treat. Enjoy a leisurely meal as you read the newspapers or simply gaze out at the beautiful grounds and enjoy a second cup of tea or coffee.

Is it any wonder that I’ve added a stay at Hartwell House to Number One London’s upcoming Town & Country House tour? An added bonus is that there is a private drive from Hartwell House to nearby Waddesdon Manor, also on the tour. You can find the complete tour itinerary and further details here. 

The Battle of Vimeiro, Revisited

I first wrote about Vimeiro when Zebra Regency Romances published my novel Least Likely Lovers in August 2005.  In the story, Major Jack Whitaker, formerly of the 22nd Foot, was severely injured in the Battle of Vimeiro, (21 August, 1808) and has come home to England to complete his recuperation, hoping to return to the front beside his comrades. However, in the meantime, Sir Arthur Wellesley (eventually to become the Duke of Wellington) has asked Jack to build support for the army among politicians and social leaders in London, an assignment that Jack finds impossibly frustrating. You won’t be surprised to find that Jack finds a lady with whom he falls in love.


The Battle of Vimeiro (also called Vimiero or Vimera) was the first major conflict of the Peninsular War, part of the greater continent-wide Napoleonic Wars. Up to Napoleon’s 1807 invasion of Portugal, Britain’s oldest ally, British participation in the European war had involved the navy, diplomacy, perhaps major scheming, but not many actual soldiers. When the Portuguese needed help, however, the government in London sent troops to oppose the French. They arrived in August 1808 under the leadership of Major General Sir Arthur Wellesley.

 

On a trip to Lisbon, my husband and I hired a car to take us to see the site of Battle of Vimeiro. We drove via multi-lane freeways north out of Lisbon, thinking about what a difference 200 years made in transportation. When we turned off the road, not far from Torres Vedras, we saw a primarily agricultural countryside filled with deep ravines, craggy rocks, rough pastures, and adorned with olive groves.

The village of Vimeiro is whitewashed, with its buildings right up against the road. We looked for the promised sign to the battle’s memorial but missed it. The driver had a solution to our dilemma: his friend who managed the Hotel Golf Mar on the coast, not far from the village. In fact, the hotel manager escorted us to the cliffs overlooking the Rio Maciera where the British troops landed on the sandy spits at either side of the river’s mouth. I could look out at the empty sea and imagine those tall ships anchoring and the troops in their red coats climbing down the rope ladders into small boats to be rowed to the beach.

Armed with better directions, we drove back into the village past the large barn-like structure which was used as a hospital during the battle and the church, near which some skirmishing took place.

 

With one or two deft turns, we found the park on the heights with its memorial and blue tile pictures of the battle, shown here. I walked around the park, looking out at the battle site, trying to visualize the British and French troops in their colorful uniforms, to hear the explosion of artillery and rattle of musket fire. A map of the battle overlooks the countryside from the heights. But aside from the memorial park, one would never guess this peaceful place had ever seen the deaths of hundreds of men or heard cries of the wounded.

Our driver said in his more than twenty years of experience taking tourists around Portugal, no one had ever asked to come here before. Why, he asked, was I eager to find the site of the Battle of Vimeiro? When I told him about my novels, I imagined he thought of war stories filled with blood and gore. It probably never occurred to him that I write gentle stories of love and lifelong commitment. I wished that I had a copy of one of my novels to give him.

Returning to events of 1808, Major General Wellesley had landed his troops in central Portugal, with the goal of moving south to take Lisbon from the French. They fought a battle at Rolija, August 17, 1808. After several hours of brutal combat, the French were forced back. Wellesley moved on to the Maceira River, just west of Vimeiro, where more British troops came ashore with their horses and equipment.

Four days later, about 16,000 British troops and 2,000 Portuguese defeated about 19,000 French under General Jean-Andoche Junot (1771-1813) at Vimeiro. Wellesley stationed his troops on ridges between the village and the beach on the night of August 20th. By dawn, they could see the French approaching. In the face of British fire, General Junot’s men repeatedly failed to take the heights, though in various skirmishes, there was hard combat, including hand-to-hand fighting in the village. To the north of town, the French fell prey to one of Wellesley’s favorite strategies: stationing his troops out of enemy sight behind the crest of a hill, then wiping out the enemy as they came over the top.

By midday, Junot was beaten and the newly arrived British generals called an end to the firing. Wellesley advocated continuing the rout, driving the enemy out of Portugal all the way to French soil. However, as the battle had progressed, Wellesley’s overly cautious superior officers came ashore; first, General Harry Burrard (1755-1813), then General Hew Dalrymple (1750-1830). They overruled Wellesley’s plans to chase after the French. Thus, by allowing the French time to regroup and bring in reinforcements, the British lost their advantage. Instead, over Wellesley’s objections, Burrard and Dalrymple organized a conference to negotiate with the French at Cintra (aka Sintra) several days later.

The Convention of Cintra was signed August 30, 1808, nine days after the Battle of Vimeiro. It obligated the Royal Navy to carry 26,000 French soldiers to France, with their weapons and whatever spoils they had acquired. There was no restriction against their return to fight again in Portugal. Sir Arthur Wellesley voiced his objections, but, in the end, signed the Convention. The reaction in Britain was dramatic, led by the opposition to the government and their allies in the press. Scathing articles, mocking cartoons and contemptuous speeches condemned the terms of the convention. Wellesley, along with Generals Burrard and Dalrymple, was ordered back to London. The three generals faced a hearing before a Board of Inquiry at Horseguards, beginning November 15, 1808.

 

After extensive deliberations, the board voted on December 22, 1808, to accept the convention. The generals were officially exonerated, but neither Burrard nor Dalrymple ever saw military action again. Unofficially, all of London knew of Wellesley’s reluctance, and most probably knew the story of how his plan to continue the battle and push the French back to Lisbon and out of Portugal forever was thwarted.

The command in Portugal was taken over by General Sir John Moore  (l). Moore died after the Battle of Corunna when French commanders chased the British troops through the mountains. Six thousand British troops, including Moore, were killed in January 1809. For more details, see this blog of May 10, 2011.

The British government in London sent Sir Arthur Wellesley back to Portugal in April 1809 with 20,000 troops to join the remaining 9,000 still there. The war continued in Portugal and Spain for another five years, ending in 1814 with Napoleon’s first abdication. British troops, by then, had fought their way through Spain and into southern France. Wellesley was honored with the title of Duke of Wellington, a tribute he enhanced with his victory at Waterloo in June, 1815.
If you’d like to visit the Vimeiro Battlefield first-hand, consider joining tour guides Gareth Glover and Kristine Hughes on Number One London’s Peninsular War Tour, May 2024. Complete itinerary and details can be found here.

Style & Society: Dressing the Georgians

On a recent visit to London, Victoria Hinshaw and I went to see the Style & Society Exhibition at the Queen’s Gallery, Buckingham Palace. Over the years, Victoria and I have been fortunate enough to see many such shows at the Queen’s Gallery and they never disappoint.

From the Royal Collection Trust website:

“Discover what fashion can tell us about life in 18th-century Britain, a revolutionary period of trade, travel and technology which fuelled fashion trends across all levels of society. Delve into the Georgians’ style story and get up close to magnificent paintings, prints and drawings by artists including Gainsborough, Zoffany and Hogarth, as well as luxurious textiles, sparkling jewellery, and a range of accessories from snuff boxes to swords.

“The exhibition reveals how the Georgians ushered in many of the cultural trends we know today, including the first stylists and influencers, the birth of a specialised fashion press and the development of shopping as a leisure activity.”

Stitched Stays, c 1780s (Fashion Museum, Bath) – Made of cotton, linen and baleen, these stays were worn over a shift. The form is achieved by inserting narrow strips of baleen into hand stitched channels between layers of fabric. The workmanship on this particular example is of the highest quality.

Photo credit: David Allen

George III when Prince of Wales, 1759 by Sir Joshua Reynolds – The future king is dressed in a richly embroidered velvet suit. The ceremonial red velvet robe is lined with ermine, with the black tails of the stoat sewn into a pattern of black spots known as powderings. In private life, George III preferred much plainer dress, due to both his nature and his frugality.

Sleeve ruffles of Alencon needle lace, French 1755-65. This type of needle lace was made using a needle and thread, rather than a bobbin.

On the left, Princess Caroline (third daughter of George II) wears a black silk hooded mantle. Miniature by Christian Friedrich Zincke. On the right, Princess Amelia (youngest daughter of George III) wears a blue velvet Spencer. Miniature by Andrew Robertson 1811. These miniatures are singular in that they depict the Princesses in practical dress, rather than the court dress more typical in royal portraits.

Above, a Bill from Andreas Meyer 15 April – 4 July 1801 for footwear purchased by the Prince of Wales, including five pairs of Hussar boots with high heels, each costing the equivilant of £250 in today’s money.

Below, a Bill from John Weston 9 October – 3 November 1810 for clothing including 24 White Marseille Waistcoats and a superfine black frock coat lined in silk.

Robert Stewart, Viscount Castlereagh, later Second Marquess of Londonderry by Sir Thomas Lawrence. Castlereagh’s clothing demonstrates that by the early 19th century, gentlemen’s dress incorporated elements of smart country clothing for everyday dress. Simple lines that relied upon a tailor’s skill and quality material in more sombre tones replaced Georgian ostentation.

Baby shoes worn by Princess Charlotte 1796-8, made of soft twill-woven cotton with cream silk satin ribbon rosettes, fastened with string ties.

By Nicolas Noël Boutet 1814, a pair of double-barrelled flintlock pistols, ramrods, priming flask, screwdriver, bullet mould and lead shot. An example of the pieces produced in the Versailles factory. Gifted to George IV by Louis XVIII, they include intricate ornamentation. Pistols almost never appear in portraits from this period, while the tradition of painting gentlemen with swords was prevelant in the Georgian era.

Above, Denis Diderot’s Encylopédie 1771. Diderot was a perruquier and barbier and his Encylopédie includes the most complete description of the wigmaking process of its time. Below, an example of an English wig and wig bag.

This beautiful dress, on loan from the Fashion Museum Bath, is recorded as having been worn at court in the 1760s. The Bath mantua is made of cream silk and the surface of both the gown and petticoat are covered with embroidery of the very highest quality.

George IV when Prince of Wales 1791 by John Russell. The prince wears the civilian uniform of the Royal Society of Kentish Bowmen. On the stone plinth is the black round hat with feather, “without which no member was allowed to shoot.”

Laetitia, Lady Lade 1793 by George Stubbs. Lady Lade’s riding habit would have been made by a male tailor, unlike gowns which were made by female dressmakers. During the 1790’s muted dark shades were most fashionable, following the trend in men’s fashion.

Mary Delaney, née Granville 1782 by John Opie. Mrs. Delaney is portrayed in her widow’s weeds. The plain black dress is worn with a white cap with “falls” on either side of her face. Mrs. Delaney was a good friend of Queen Charlotte’s and, like members of royalty, chose to wear mourning attire far beyond the time limits imposed by conventions of the day.

Victoria, Duchess of Kent by George Dawe 1818. Unusually, the Duchess (mother to Queen Victoria) wears mourning in this portrait. Her set of diamond jewellery suggests that she is in the second stage of mourning for her niece, Princess Charlotte, who died in childbirth the year before.

A man and two women in second stage grand deuil (mourning), from Magasin des Modes Nouvelles, Françaises et Anglaises, 11 March 1789. The illustration depicts the trend for stripes, muffs and double watch chains during second mourning. The gentleman carries a blue, half hilted mourning sword.

This sword display demonstrates the progress from first mourning, where all accessories were required to be matt black and made from black steel, to half mourning when swords often incorporated blued steel blades and hilts inset with stones, glass or beads.

Photo credit: Royal Collection Trust

The magnificent dress was worn by Princess Charlotte on her marriage to Prince Leopold of Saxe-Coburg-Saalfeld on 2 May 1816. Charlotte’s wedding dress was a masterpiece of Georgian-era fashion and remains one of the most iconic bridal gowns in history. It is the only royal wedding dress that survives from the Georgian period.

The Exhibition runs through 8 October 2023 at the Queen’s Gallery, London.