Update from Yale…

Victoria here in new Haven CT, on a sunny but chilly day. Diane Gaston and I had a delightful visit to Sir Thomas Lawrence yesterday at Yale’s Center for British Art. I wish every one of our readers could have joined us for this feast of magnificent art: the exhibition Sir Thomas Lawrence: Regency Power and Brilliance. The show runs through June 5, 2011, so you have time to walk, run or crawl to see it.

Kristine and Jo Manning have reported about the exhibit as shown in London’s National Portrait Gallery on this blog. So Diane and I were prepared but nothing really could have readied us for the overwhelming views of so many beautiful, colorful and stunning canvases gathered together. WOW! And the drawings were also wonderful. I will have much more to say and show after we go back today to experience all of it again. And hit the gift shop, too. Yum.

And the Winner is….Pride and Prejudice!

Colin Firth is a favorite for the best actor Oscar to match his Golden Globe and BAFTA awards — for his role in The King’s Speech.  But apparently he has already won our hearts, in 1995, in the BBC’s miniseries of Jane Austen’s Pride and Prejudice.  Who can forget his memorable Fitzwilliam Darcy?

Victoria here; the January issue of the BBC History Magazine caught up with me and I was amused to see their list of favorite “Best Television Costume Dramas.”  None of us will be surprised, I am sure, to find this 1995 production in first place.  The magazine reports that 14.1% of their 3,229 respondents  voted for P and P. 

The conclusion of Pride and Prejudice, the miniseries
Watch the “Colin in lake with wet shirt” video here (1,605,694 views so far).


In second place, and this was a bit of a surprise to me, was I, Claudius from 1976.  How young Derek Jacobi looks in this DVD cover picture of him in the title role. 

I remember this wonderful series about the supposedly mad Claudius and the wild history of the Rome of which he eventually became the Emperor.  I particularly remember the role of Livia, wife Augustus, played by Sian Phillips. She was the  personification of malevolence.  The series was based on the novel by Robert Graves and ran for several seasons.  It might have been high in the memory of viewers because the BBC has recently done a radio drama of the novel.

Upstairs, Downstairs, which began in 1971, took third place.  Again, it is familiar to viewers because it has recently returned in a new version, yet to be seen on this side of the pond.  The adventures of the Bellamy family and their servants was required watching for me for many years, and I have enjoyed the  dvds too.  Kristine saw a couple of the new episodes when she was in London at New Year’s and says we will all love them when they arrive here.

In fourth place was Downton Abbey, which was a distinct disappointment to me. It sounded like it had everything I would adore — script by Julian Fellowes, actors such as Hugh Bonneville and Maggie Smith, a huge pile of a country house that made Wretched Excess look tasteful…what could possibly be  unsatisfactory?  Cliche-ridden story, unconvincing characters, silly disagreements masquerading as substantial — I can only think that people voted for it because they remembered it so well, not because it was GOOD.  I just felt I’d seen it all before, and Fellowes packed so many “tried-and-true” situations into it that I wanted to scream.  Of course, I have to say it is much better than almost anything else on tv. Damned with faint praise???  I do look forward to improvements next season. Never say die.

Cranford, from 2007, won fifth place.  And this one I really enjoyed. Taken from several novels by Elisabeth Gaskell, the story revolves around life in an 1840’s English Village. The coming of the railroad challenges a number of traditions but life — birth, courtship, marriage, and death — continues to absorb the villagers.  Of course, anything with Judi  Dench will by on my ‘must” list — but I used to feel that way about Maggie Smith too.

The  BBC History Magazine (in an article by David Musgrove) expressed some surprise that The Tudors only ended up in 14th place. Given the current fascination with all things Tudor and Elizabethan, perhaps that was unexpected by many. But, though I enjoyed every episode and never had the irritation I felt at Downton Abby’s trite story, I really didn’t think The Tudors was all that great. Costumes were wonderful; and the cast was good. But how many  of us could really see Jonathan Rhys-Meyers as Henry VIII.  Even when they padded him up at the end, he looked like a hunky stud with pillows tied around his waist.  Give me Charles Laughton as Henry any time!

Sixth place went to another of my favorites, Brideshead Revisited (1981) and seventh went to The Forsyte Saga from 1967, which I watch every 3 or 4 years,whether I need to or not!.

To see the complete list of also-rans, click here.

Soames, Irene and Young Jolyon
The Forsyte Saga

Knebworth House Visit

Knebworth House in Hertfordshire, just north of London, was the home of Edward Bulwer-Lytton (1803-1873), politician, statesman, and author of dozens of novels. Our tastes in literature have left poor B-L far, far behind.  But his house is often a star in its own right, currently as the home of Logan Mountstuart’s wife, Lottie (Lady Laeticia) and her father, the earl of Edgefield, in the series Any Human Heart on PBS’s Masterpiece.

Any Human Heart is based onWilliam Boyd’s 2002 novel, subtitled The Intimate Journals of Logan Mountstuart. The story goes from Logan’s coming of age through his lifetime. Though the novel is said to be a literary attempt to put political and social events into a personal context, the television version seems more to be an amazingly frequent set of encounters with famous persons, such as Miro, Hemingway, Wallis Simpson, James Joyce, et. al., while Logan has a series of life crises in which he usually turns out to be a cad.
But the point of this post is the house, Knebworth, playing the role of fictional Thorpe Hall. Knebworth has been in many films and tv shows, including The King’s Speech, and Batman, where it purports to be David Wayne’s elegant manor. Kristine and Victoria, with a group of their friends, visited Knebworth on cloudy day a few years ago. The grey skies seemed a perfect background for the ornately gothic pile of yellowish sandstone. Take a look at the Knebworth website here.

A mere thirty miles north of London, Knebworth House raises its ornate turrets, decorative crenellated chimneys and fanciful columns topped with heraldic beasts to the Hertfortshire sky. The Lytton family has occupied the property for more than 500 years.


Although every stately home in England has a fascinating history peopled with interesting inhabitants, Knebworth is particularly well endowed with eccentric, even tragic, characters. The medieval era house, with assorted changes, stood until the early 19th century. Freed from an unhappy marriage by the death of her husband, the redoubtable heiress, Elizabeth Lytton (1773-1843), made the first of extensive architectural changes in the early 19th century.









She and General William Bulwer (1757-1807), had several children, the youngest of whom became Sir Edward Bulwer-Lytton, (1803-1873), probably the most famous family member, immortalized by Snoopy’s efforts to begin his novel, “It was a dark and stormy night.”

Elizabeth had three sides of the sprawling old structure demolished. The remaining side, preserving the ancient Banqueting Hall with its carved screen, was remodeled in the fashionable gothic style, with a medieval style towers and battlements.

Bulwer-Lytton, a budding poet, had a love affair with Lady Caroline Lamb (known particularly for her pursuit of Lord Byron, the poet) in the 1820’s. A copy of her notorious novel Glenarvon (1816) is on display at Knebworth inscribed by Bulwer-Lytton: “Poor Lady Caroline . . . she could not but inspire deep pity that was heightened by admirations for talents and qualities that well trained, might have made her one of the first women of her time.”

Soon after the affair concluded and against the wishes of his mother, Bulwer-Lytton married Rosina Doyle Wheeler in 1827, one of the most disastrous mismatches of the era. Always short of funds, nevertheless they lived extravagantly. Their two children, a daughter, Emily, and a son, Teddy (later first Earl of Lytton), both suffered from the constant battles between their parents.

At times Rosina was banished from her husband’s presence. Once, after she interrupted a political campaign meeting to denounce him, she was placed in a mental institution until public outrage brought her release. Rosina published thirteen novels and many other works on women’s issues. Quoting the guidebook to the house (p. 11), “Ostracised (sic) by the family for a century, Rosina has now been readopted. Her contribution to the struggle for women’s rights has been recognized . . . and the present Lord Cobbold (David Lytton Cobbald) named his daughter after her.”

Bulwer-Lytton, a member of parliament, a journalist and playwright, as well as th
e author of seventy novels, did not live at Knebworth until after his mother’s death in 1843. When he took over the estate, he began further changes to enhance Gothic elements of the house. Separated permanently from Rosina, he entertained frequently, often staging amateur and professional theatricals with his friend and fellow writer, Charles Dickens. In the sober library of the house, some of Bulwer-Lytton’s novels are on display, the most famous of which is probably Last Days of Pompeii (1834).
Additional changes to the house were made by his grandson, Victor, second earl of Lytton, with the help of his brother-in- law, the renowned architect Sir Edwin Lutyens. In addition to the fine ancient banqueting hall, today’s visitors will enjoy the army’s many suits of armor, the High Gothic State Drawing Room, and Elizabeth’s regency-era bedroom, preserved as it was in her day at the request of her son. All the afore-mentioned persons are pictured in the extensive family portrait collection. The house gave me a rather melancholy impression, only partially offset by the handsome Knebworth gardens. Below are views of Knebworth, inside and out.

Entrance Hall

The Amoury

Two pictures above, the adventure playground woods

Like so many stately homes in Britain, Knebworth House must pay its own way, and thus is not only a fascinating historical site and a rich source of settings for films.  There are a variety of attractions for children, frequent corporate events and weddings, charity fetes and shows is all kinds (antiques, cars etc etec.) and many, many concerts, mostly rock music, with audiences upwards of 50,000.  Dark and stormy it was not!

Regency Reflections: Fashions of the Era


Fashions for females in the Georgian Era changed dramatically, from wide skirts and narrow waists, high-piled coiffures, and fussy decoration to simple, high waisted gowns — and back again in the space of a few decades. Marie Antoinette (1755-1793), Queen of France, right, might have been the most extreme. She was painted in 1778 by Elisabeth Vigee le Brun (1755-1842) in a huge hooped skirt and hair powdered,  drawn high and topped off with a fountain of feathers.  In an upcoming post, we will look at some of the fashion plates from various lady’s magazines of the Georgian era. In this post, however, we will indulge in the representations of fashion shown in portraits by celebrated artists.

Left is Grace Dalrymple Elliott, subject of Jo Manning’s excellent biography.  My Lady Scandalous: The Amazing Life and Outrageous Times of Grace Dalrymple Elliott, Royal Courtesan.  She was painted by Gainsborough in the late 1770’s.   One of the outstanding features of Gainsborough’s portraits is the depiction of the sumptuous silks and satins worn by his subjects. Again, the hair-do is exaggeratedly high and powdered to a pewter shade rather than the white powdering of a few years earlier.  Imagine how many hours had to be spent by these ladies while their minions teased each strand up and over whatever bird-cage-like platform was used.

In the 1780’s and 1790’s, the styles became simpler, perhaps bucolic. Even the French Queen favored a version of the  simple muslin chemise.  The mode, color and fabric were copied by aristocrats on both sides of the Channel.  Hair is more naturally arranged, though still powdered a little, and one could hardly say the hat would be worn by a peasant.  Again, the painter is Vigee le Brun.

The Frankland Sisters by John Hoppner, 1795
National Gallery of Art, Washington, D. C.

Jane Elizabeth, Countess of Oxford, 1797 by John Hoppner
Tate Britain

Gradually the gowns evolved into looser skirts with high waists just below the bosom. The two portraits below by Sir Henry Raeburn(1756-1823) show the exact changes.




Mrs. Eleanor Urquhart, 1795
National Gallery of Art, Washington, DC.

Elizabeth Campbell  1812

During the nine years of the Regency, fashions became more elaborate with fancy work and embellishments for the sleeves and around the hems. After about 1800, the hair powder is gone for good and the styles are simpler. By the official end of the regency in 1820, waistlines had begun to sneak back to their natural spot. In the 1820’s, the corseted waist and wide skirts returned, and in the 1830’s, the hair rose again. Below are two portraits by Thomas Sully (1783-1872), born in England but who lived most of his life in the United States.


 Lady with a Harp, Eliza Ridgel
y, 1818,
National Gallery of Art, Washington, DC

Abby Ann King Turner Van Pelt, 1832

Sir Thomas Lawrence (1769-1830) painted many portraits throughout the regency and afterwards.  Here are a few of his portraits, showing the change from the late 18th century to several decades into the 19th.

Queen Charlotte, 1789, National Gallery, London

Caroline of Brunswick, Princess of Wales, 1798, Victoria and Albert Museum, London

Mrs. Jens Wolff, 1815
Chicago Art Institute

 Julia Hankey, later Lady Bathurst, c. 1825
Dallas Museum of Art

Hair has remained unpowdered throughout the late Georgian period, but by the 1830’s, there were some fantastic top-knot arrangements, as seen below.  Not to mention the fantastic hats that came back into style.

To the left is a portrait of Fanny Kemble (1809-1893) with her aunt Sarah Siddons (1755-1831) painted by Henry Perronet Briggs (1791-1844) in 1831, shortly before Sarah went to her considerable reward.

The  print to the right is Princess Victoria, later Queen, based on an 1833 painting by Sir George Hayter (1792-1871).  Fanny and the princess share a top-knot hair style.

Below is a feathered hat even Marie Antoinette would have loved. The painting hangs in the Hermitage, St. Petersburg; Sir George Hayter portrays Countess Vorontsova in 1832.  Another hat the ill-fated queen might have enjoyed wearing is shown in a portrait of Julia, Lady Peel, nee Floyd (1795-1859) by Sir Thomas Lawrence; the real thing can be viewed at New York City’s Frick Collection.

 So the fashion cycle comes full circle in about seventy years from the 1760’s to the 1830’s.

Regency Reflections: The Regency Era Begins

Two hundred years ago today, the English Regency began. George, Prince of Wales, swore his allegiance to King George III followed by oaths of office as Regent according to Parliamentary Acts, and as protector of the  Protestant religion. The solemn ceremonies at the Prince’s residence, Carlton House, were attended by the Royal Dukes, the Archbishop of Canterbury, and Parliamentary ministers led by the Prime Minister, Spencer Perceval.
At right, a highly flattering picture of George, Prince of Wales, by John Singleton Copley, displayed at the Royal Academy in 1810. George always yearned to be a military leader but, sadly for Copley, he did not purchase this picture. It now hangs in the Museum of Fine Arts, Boston. Its official nme is Portrait of HRH The  Prince of Wales at a Review, attended by Lord Heathfield, General Turner, Col. Bloomfield, and Baron Eben; Col. Quinton in the Distance. The Prince never took the battlefield, however much he tried to convince the Duke of Wellington that he’d been at the Duke’s side at Waterloo.
Up to the time of his Regency, the Prince’s closest friends were associated with the Whigs, a political group of prominent aristocrats and their associates, who favored some “liberal” ideas, though one would never say they were radical reformers.  The differences between the Tories and the Whigs in the early 19th century today seem rather minor. The Whigs wanted reform but just a little bit! Gradually, the Whigs came to stand for extension of the voting franchise, Catholic emancipation, abolition of slavery, and other forward-thinking policies. But, unexpectedly, the new Prince Regent did not dismiss the Tory government and appoint his old friends. Needless to say, the old buddies were not pleased.
Jane Austen, NPG
Is it just my bias, caused by my admiration of Jane Austen and Georgette Heyer, or were there really an unusually brilliant collection of characters in the Regency? Here are a few of the personages who capture my fancy.
Jane Austen (1775-1817), brilliant author.  Nuff said.

The Duke of Wellington, Waterloo victor

Lord Byron, mad, bad and dangerous to know
George “Beau” Brummell, fashion arbiter

Princess Lieven, by Lawrence, c. 1813
sees all, tells all?

Earl Grey, led the Whig opposition

Sir John Soane, brilliant architect

Sir Thomas Lawrence, self-portrait; he painted them all

Above is just a sliver of the fascinating characters of the Regency Era. Who is your favorite?  Let us know…