The English Mails Part Two

Fast mail coaches were introduced in 1784, with recognized mail routes springing up across the land soon after. There were two types of fast coach upon the road and with the exception of the wealthy, who travelled in their own carriage or by post-chaise, and of the very poor, who used wagons or slow night coaches, all passenger traffic was done by Mail or Stage coach. Stage and Mail coaches were alike in build, carrying four inside passengers and ten or twelve outsides. Mail bags were piled high on the roof, and luggage was carried in large receptacles called boots at either end of the vehicle. The box seat by the coachman, for which an extra fee was charged, was considered the most desirable and was frequently occupied by someone interested in horse flesh. Mail coaches, which were subsidized or owned by the Post Office, were painted uniformly, the lower part of the body being chocolate or mauve; the upper part as well as the fore and hind boots black; the wheels and under carriage a vivid scarlet. The Royal arms were emblazoned on the doors, the Royal cipher painted in gold upon the fore boot, with the number of the vehicle on the hind boot. The panels at each side of the window were embellished with various devices such as the badge of the Garter, the rose, shamrock or thistle.

The departure of the Mails was one of the most exciting sights in London. On its outward journey each coach collected passengers from whatever inn the vehicle was horsed at, and then dashed round at 8 p.m. to St. Martin’s le Grand to collect the mail. Coaches were called by name to receive their bags and the crash of the lid of the boot locking down on the special mails was the signal for each coach to speed away. Fast Stage and Mail coaches made their journeys in about the same time. It took 5 hours to travel from London to Brighton, 2 more to Southampton, 17 hours to Exeter, 19 to Manchester and 21 to Liverpool. This worked out to an average speed of 10 miles an hour. The coaches, besides galloping against each other, were always running against the clock, for lateness was punished by heavy penalties and loss of credit. The half-thoroughbred horses were kept in peak condition and during their stage of seven or eight miles were worked at fever pitch. The steadier wheelers were meant to act as a check upon their leaders, but more often than not the driver gave the wheelers their heads and the whole team sped along at a gallop.

In truly severe weather, the sufferings of the outside passengers was terrible. Once, when the Bath Mail changed horses at Chippenham one March morning, two of the outside passengers were found frozen to death, a third dying later. Postboys were frequently lifted out of their saddles near the point of death. The winter of 1836 was one of the worst on record, with Christmas storms closing all coach roads for several days. On December 26th, the Manchester, Holyhead, Chester and Halifax Mails were all stuck in snow drifts at Hockley Hill, near Dunstable, within a few yards of one another, and throughout the country stories of overturned coaches and dogged heroism on the part of coachmen and guards were recounted. In one instance a guard, leaving his snow bound coach, carried out instructions by taking the mails forward on horseback. Nine miles farther on he sent the horse back, but pushed on himself. Next morning he was found dead, a mile or two up the road, with the mail bag still tied round his neck.

Change of horses at each fresh stage was made quickly. Hostlers and stable boys were allowed a minute in which take out the old horses and harness up a fresh team, though some could manage the job in 50 seconds. Seats on a coach had to be secured in advance at the inn from which it started or where it stopped on the road. The traveller’s name was entered into a book and half the fare taken as a deposit. The fares by stage coach worked out to 2 1/2 to 3d a mile outside, 4-5d a mile for inside passengers. Mails coaches were dearer, averaging from 4 1/2d to 5d for outsides, 8-10d for insides.

The coachman wore beneath his coat a crimson travelling shawl, topped by a long waistcoat of a striped pattern and over that, a wide skirted green coat, ornamented with large brass buttons. Usually he wore on his head a wide brimmed, low crowned brown hat. He wore knee cord breeches, painted top boots and a copper watch chain. The real responsibility for the coach rested with the guard who, in the case of Mail coaches, had the added care of guarding the letter bags. In their red coats, with the gleaming brass horn at the ready, they collected fares from those who joined the coach on the road, saw that the schedule was kept to and were entrusted with the execution of commissions. In case of accident, the guard looked after the mails and the passengers, carrying the former by horse and arranging for a fresh coach for the latter if necessary. They were accustomed to journeys of up to 120 – 150 miles at a stretch and received about 10s a week in wages. Inside passengers were supposed to tip the guards 2s 6d, the outsides 2s, and the guard collected further tips for handling luggage or running errands.

Travelling post chaise was decidedly the favoured means. The chaise was a light and comfortable vehicle with two, or more commonly four wheels, drawn by two or four horses ridden by postboys. For great haste, four horses with two postilions were used. As with a Mail coach, the horses were changed at stages. There was room for only two passengers in a post-chaise, but most carriages had a dickey, or platform, at back for a groom. Principal turnpike gates out of London were found in Knightsbridge at the corner of Gloucester Road, in Kensington at the corner of Earls Court Road, at Marble Arch, Notting Hill, King’s Cross, City Road near Old Street, Shoreditch, Commercial Road, Kennington Gate and three more in the Old Kent Road.

An important London coaching inn was the Golden Cross in Charing Cross, near Nelson’s Column before 1830, when it was moved to face Craven Street. Coaches left here bound for Gloucester, Cheltenham, South Wales, Chester, Liverpool, Hastings, Dover, Stroud, Brighton, Halifax and other points. The Saracen’s Head stood at the top of Snow Hill, next to St. Sepulchre’s Church, with coaches leaving for many parts of England and Scotland. During the eighty years before its demolition in 1868, the inn had been kept by members of the Mountain family, the most prominent being Sarah Ann Mountain who carried on after her husband’s death in 1816. She despatched thirty coaches from her inn each day and set a record
with her “Tally Ho!” to Birmingham. She also built coaches for sale at 110 – 120 guineas each. The Tally Ho! served Canterbury, Liverpool and Birmingham, and was one of nine coaches on the London to Birmingham route. It’s team of four horses was changed at each of the ten stops made between London and Birmingham. The Tally Ho! normally made the 109 mile trip in eleven and a half hours, travelling at an average speed of 9.5 mph. During the famous London to Birmingham race which took place on May Day, 1830, the Tally Ho! made coaching history, setting a record by covering the route in seven and a half hours, travelling at an average speed of 14.5 mph. It should be noted that the coach carried no passengers during the race.

The Swan With Two Necks was the hub of much activity during the 17th and 18th centuries, serving London as a coaching, parcel and wagon office. The name is derived from Swan with Two Nicks, the nicks being the mark by which the birds of the Vintner’s Company were identified. The Inn was a terminus for northbound coaches and stood at the corner of Aldermanbury, where the Guildhall was and is located, with the Wax Chandler’s Hall being on the south side of the street. The Inn was demolished in 1845 when Lad Lane, St. Anne’s Lane, Maiden Lane and Cateaton Street were all widened during the building of Gresham Street.
William Chaplin, the “Napoleon of coach proprietors,” was born at Rochester, Kent, in 1787, son of a coachman-proprietor, and he himself started off driving the Dover Union. Marriage to the sister-in-law of James Edwards, `one of the largest proprietors on the Kentish routes,’ proved useful. He and Edwards allied in many ventures in Kent. He came to horse more and more coaches, until by 1827 he owned between three to four hundred animals and the Spread Eagle, Gracechurch Street. By 1835, he owned 1,200 horses and the Swan with two Necks. In 1838 he horsed 68 coaches with 1,800 horses, employing 2,000 men. He also acquired the Cross Keys and the White Horse, Fetter Lane, and opened the Spread Eagle coach office in Regent Circus. Chaplin was said to have had “immense energy, an equable temperament and great sagacity,” also, “a very good knowledge of the animals he governed as well as the bipeds with whom he was associated.” Never the less, Chaplin one day had a run in with George Denman, toll collector at Kensington Gate, who issued Chaplin a toll ticket bearing the improper amount. A fight broke out during which Denman took hold of Chaplin’s horses, prompting him to use his whip upon the toll keeper. Chaplin was later fined 12s and court costs. As with most well to do businessmen, Chaplin was known to grumble about the actual profits he made, stating in 1827 that, “I have not a shadow of a doubt that, were the coaching account of the nation kept regularly, the whole is decidedly a loss and the public have the turn.”

The Low Down on the English Post

Here are a few elusive details regarding the British postal system that may prove helpful –

Before the introduction of the prepaid penny post (Post Office Act of 1765) and adhesive stamps (6 May 1840), postage was usually collected from the recipient. Rather than paying in advance, one paid on delivery. In order to save their correspondents paying postage, some people had their letters “franked.” A frank was the signature of a Member of either House of Parliament, who had to write both the address on the envelope as well as his signature in his own hand. Thus postage was free.

Envelopes had been developed in the 1830’s, but did not catch on until the Great Exhibition of 1851, when Jeremiah Smith displayed his gummed envelopes. Still, the use of envelopes in correspondence was not general until well into the 1860’s, most people preferring the old fashion of folding over the sheet of paper and fastening the flaps with a wafer -a little disc of gum and flour which was moistened and pressed down with a seal. Quill pens were used long after steel nibs had been introduced. Quills soon lost their point and needed cutting with a sharp “pen knife,” so the art of cutting a nib was one of the first things taught at school.

The penny post routes operated six days a week in most cases. Rates of postage at a uniform penny were lower than those charged by most private carriers, some of whom charged fees as high as 4d to take letters from the nearest post town. Many private posts charged for both letters delivered and those collected for onward transmission by the general post. The official penny post charged only for letters delivered, a system which allowed for posting boxes to be provided at certain points. Letters were delivered to any house on the penny post route and in most villages receiving houses were set up where people in outlying areas could collect their mail. In 1830 the letter rates for the penny post were 4d for 15 miles, 5d for 20 miles and thence according to a sliding scale to 1s for a limit of 300 miles. A letter from London to Liverpool cost 11d; to Bristol 10d; to Aberdeen 1s 3d; to Glasgow 1s 2d. Packages weighing an ounce paid four times the ordinary rate, and for every quarter of an ounce in excess an additional sum was charged. Letters sent to addresses within the same post town were delivered free of charge. In the late 1880’s, commercially produced picture post cards became all the rage and the Post Office instituted a half penny fee for the handling of these.

A late posting fee was sometimes charged and was meant to deter letters from being posted at times inconvenient to official duties, this usually being a penny. Private postal boxes were available, but not in widespread use, at the beginning of the 19th century. In 1837, the Bromley postmaster had six subscribers from whom he received a guinea each. The use of such boxes was explained in The Second Report on Postage (1838): Persons having Private Boxes enjoy generally the advantage of receiving their letters as soon as the window is open and the letter-carriers despatched, but which means, those Subscribers who reside at any distance from the post office obtain their letters so much earlier than they would do by the ordinary Delivery; they have also the opportunity of ascertaining at once whether there are any letters for them, and are usually allowed credit by the Postmaster, accounts being kept of their postage.

The Postmaster could also realize extra revenue by the sale of money orders. From 1798 on, the Money Order Office was run by three partners, including Daniel Stow, Superintendent President of the Inland Office. Originally, money orders were offered in order to enable soldiers and sailors to send funds home to their families. In 1861, the Post Office Savings Bank was opened, with millions opening small savings accounts over the next forty years.

The Twopenny Post served London and its suburbs. There were six collections and deliveries daily in London and three in the suburbs, letters being posted at various receiving offices during the daytime while the last collection was made by a postman who went through the streets ringing a bell. There were two kinds of postmen in London, the General who delivered the post from all parts of the country, and the Twopenny Postman, who had only to do with local mail. Both wore much the same style of uniform – a scarlet coat and shining top-hat adorned with a gold band.

During the 17th and 18th centuries, postmasters had also been innkeepers due to the fact that they were responsible for finding post boys and horses, providing stabling etc. Once recognized mails came into being, this was no longer necessary and it was felt that inns provided little security for the mail bags. In October 1792 the Post Office declared itself against the appointment of innkeepers, as separate rooms for postal business were rarely provided and business might be conducted in the bar. By March 1836, only one post town in the entire country had an innkeeper as postmaster. More common were post offices run by druggists, stationers, grocers, news agents and booksellers. Women could be appointed postmistresses or allowed to take over the concern upon the death of their husbands. Of the 29 Kentish post towns in March 1836, four had postmistresses. One of these was the bustling Ramsgate office, the salary of which was roughly 178 pounds per annum. When a postmistress married, it was the ruling of the Post Office that she must give up the appointment, but it could be transferred to her husband. At Faversham, the widow of Mr. Plowman, the late postmaster, took over upon his death, but in 1800 she married Andrew Hill, who became postmaster in her place. After Mr. Hill died in July of the same year, Sara was reappointed.

Part Two: Mail Coaches coming soon.

THE 2021 COUNTRY HOUSE TOUR

 

Putting an `Upstairs, Downstairs’ spin on our Country House tour this year, Number One London Tours is offering an up-close look at six of Britain’s finest stately homes, each showcasing fabulous state and family rooms and well preserved servants’ quarters, allowing you to truly experience both worlds and to do hands-on period research. In addition, each of the houses features extensive and varied gardens, as well as domestic outbuildings such as stables, gardener’s cottages and follies.

Grade I listed Tatton Park, above, is one of the most complete estates to come under the care of the National Trust. It comprises the neo-classical mansion, extensive, award winning gardens, a working farm and a 1,000 acre deer park. The rich furnishings of the Tatton Park mansion and its important library and furniture collections reflect the growing wealth and status of the Egerton family at the end of the 18th and during the 19th centuries.

Our 2017 Country House Tour group enjoyed their visit to Tatton Park, where we spent the day exploring Upstairs –

 

And Downstairs –

While in the library are three Jane Austen first editions –

Other houses on the 2021 Country House itinerary include

Harewood House, family seat of the Earl and Countess of Harewood and now film set, having stood in for Buckingham Palace during the filming of ITV’s Victoria.  The magnificent House displays fourteen state rooms featuring the work of Robert Adam and extensive domestic rooms below stairs, all of which will be seen during our guided tour of the house.  Following our tour, take some time to stroll the `Capability’ Brown landscapes, the award winning gardens and ornamental lakes.

Shugborough Hall, home to the Anson family, the Earls of Lichfield, since 1624 and a rare example of a complete estate with all major buildings surviving, including the Hall, servant’s quarters complete with kitchens and dairy , a working farm, watermill, brewery and a walled garden.

Castle Howard, one of the Treasure Houses of England, is in store for us today. Ancestral seat of the Carlisle branch of the Howard family, many will recognize it as “Brideshead” in two different film adaptations of Evelyn Waugh’s Brideshead Revisited and various interiors were used in filming Death Comes to Pemberley and as Kensington Palace in Victoria.

Lyme Park will include a guided tour of the house and, as a nod to the 200th anniversary of Jane Austen’s death, an in-depth look at Lyme during the Regency period and Lyme’s very own Regency hero, Thomas Legh of Lyme. Thomas (1792-1857) was the eldest, illegitimate son of Colonel Thomas Legh of Lyme and a maid from the Vicarage near his Lancashire estate, Haydock. As a five year old, Thomas inherited Lyme and its estates – the equivalent today of around £2 million – which allowed him to travel the world.

Grade I listed Chatsworth House. The House is another location said to have served as a model for Jane Austen’s Pemberley and, since our tour will be a private one, held when the house is closed to the public, you’ll have plenty of opportunity to draw your own conclusions. Our guide will take us through the house and State Rooms, including the magnificent Painted Hall, the Sculpture Gallery and the Victorian Theatre. Home to the Dukes of Devonshire, our guide will also share with us the history of the memorable people who have left their stamp upon Chatsworth House, including the Bachelor Duke, William Cavendish, who served as Ambassador to Russia under Czar Nicholas I, Georgiana Spencer and Elizabeth Foster, two of the parties in one of history’s strangest ménage a trios, and Deborah Mitford, perhaps the most beloved of all the Devonshire Duchesses.

Complete Tour details will be found here

The Wellington Connection: Lord Nelson

Horatio, Lord Nelson and the Duke of Wellington met but once in their lives and, thanks to diarist John Wilson Croker (The Croker Papers), we have an account of that meeting, in Wellington’s own words. The following account was told to Croker whilst he was visiting the Duke at Walmer Castle on October 1, 1834. The Duke’s telling of the story was prompted by a question put to him by Croker concerning Nelson’s reputation for egotism and vanity –

“Why,” said the Duke, “I am not surprised at such instances, for Lord Nelson was, in different circumstances, two quite different men, as I myself can vouch, though I only saw him once in my life, and for, perhaps, an hour.

“It was soon after I returned from India. I went to the Colonial Office in Downing Street, and there I was shown into a little waiting-room on the right hand, where I found, also waiting to see the Secretary of State, a gentleman whom, from his likeness to his pictures and the loss of an arm, I immediately recognized as Lord Nelson.

“He could not know who I was, but he entered at once into conversation with me, if I can call it conversation, for it was almost all on his side, and all about himself, and in really a style so vain and so silly as to surprise and almost disgust me. I suppose something that I happened to say may have made him guess that I was somebody, and he went out of the room for a moment, I have no doubt to ask the office-keeper who I was, for when he came back he was altogether a different man, both in manner and matter. All that I had thought a charlatan style had vanished, and he talked of the state of this country and of the aspect and probabilities of affiars on the Continent with a good sense, and a knowledge of subjects both at home and abroad that surprised me equally and more agreeably than the first part of our interview had done; in fact, he talked like an officer and a stateman.

“The Secretary of State kept us long waiting, and certainly for the last half or three quarters of an hour I don’t know that I ever had a conversation that interested me more. Now, if the Secretary of State had been punctual, and admitted Lord Nelson in the first quarter of an hour, I should have had the same impression of a light and trivial character that other people have had, but luckily I saw enough to be satisfied that he was really a very superior man; but certainly a more sudden and complete metamorphosis I never saw.”

The Sculptor Chantrey

by Victoria Hinshaw

For those of us who love to poke around in British palaces, castles, stately homes, museums and all sorts of historical sites (that’s probably all of us), with a special interest in the Georgian and Victorian periods (most of us??), sooner or later we will begin to notice the recurring name of Francis Chantrey, a sculptor whose works are simply all over the place.

 

Sir Francis Legatt Chantrey, by Thomas Phillips, 1818 (NPG)

Sir Francis Legatt Chantrey (1781-1841) was not only a renowned and prolific artist, but also a philanthropist who left a bequest for the purchase of artwork for the nation.  The income from investing the £105,000 from his legacy has been used to purchase hundreds of artworks by British artists for the nation’s museums and continues to this day.

 

Chantrey self portrait, 1810, Tate Britain

 

The UK’s National Portrait Gallery has hundreds of works by Chantrey himself, from sketches executed as preparation for his sculptures, to marble busts of leading men of his generation.

Drawings Chantrey made of Sir John Soane, preparatory work for the bust Chantrey sculpted which today can be seen in Sir John Soane’s Museum, Lincoln’s Inn Fields, London, below.

Close-up of the bust of Sir John Soane
Last year, at the Yale Center for British Art, Diane Gaston, a well-known Regency author, and Victoria posed with a Chantrey bust of George IV.
As so often in Georgian-era portraits, the subject is wearing a Roman-style toga.  And without being unrealistic, somehow the expression on the King’s face seems to me quite representative of his character.  Unlike the overly flattering pictures by others, particularly Sir Thomas Lawrence, this Chantrey bust gives us a hint of the dichotomy in George IV: one the one hand selfish, narcissistic and extravagant — but on the other hand, a great builder and  connoisseur of the arts.
This Chantrey bust is one of several similar versions he and his studio produced, dated 1827.
Chantrey’s equestrian statue of George IV
George IV and the royal family were frequent patrons of Chantrey.  His bronze state of Geogbe IV on horseback can be found in Trafalgar Square, as above. Below is George IV in the center of the Grand Vestibule of Windsor Castle’s State Rooms, flanked by mounted knights.
The magnificent statue of the mounted Duke of Wellington by Chantrey stands outside the Royal Exchange in the City of London.

Below, a sketch of the pedestal made by Chantrey for the Wellington statue.

 

 

Chantrey’s sketch of the Duke of Wellington for a bust.

 

Born near Sheffield, Francis Chantrey was the son of a carpenter and became an apprentice to a woodcarver.  His skill and talentset him apart, and he was given lessons in painting.  He was a able to earn enough as a portrait painter to move to London, where by 1804, he was included in exhibitions at the Royal Academy
Chantrey Self-Portrait, NPG
 In a few years, he devoted himself mainly to sculpture.  He married in 1807, and soon was doing commissions for naval officers and the Greenwich Hospital.  He visited Italy in 1819 and associated with the leading artists of his day.  He was knighted in 1835 by William IV.  When he died, he was buried in a tomb he had constructed for himself in St. James Church, near Sheffield.

Above, the Marble Hall at Holkham Hall in Norfolk, the estate of the earls of Leicester.   On either side of the staircase (on the right behind the piano) are two busts by Sir Francis Legatt Chantrey.

Reproduction of a marble bust of Coke of Norfolk (1754-1842), by Chantrey, from 1829, which can be purchased from the estate at their website: http://www.holkhamsculpturereproductions.co.uk/
Coke of Norfolk, a great agricultural innovator, was the great nephew of Thomas Coke, and Coke of Norfolk was named 1st Earl of Leicester of the Seventh Creation in 1837.

Below, the reproduction of Chantrey’s marble copy of a bust of Thomas Coke, first Earl of Leicester (1697-1759) of the Sixth Creation. created by Louis Francoise Roubilliac (1705-1762).  Both busts were sculpted to stand among the large collection of classical busts acquired by Thomas Coke and displayed at Holkham.

 

Above, Sir Joseph Banks in the British Museum, Botanist, Trustee and Benefactor, by Sir Francis Chantey, dated 1826.

Also displayed in the British Museum, Chantrey’s bust of his collaborator and mentor, the famous 18th c. sculptor Joseph Nollekens (1737-1823).

Besides the dozens of busts Chantrey sculpted, which were highly prized and sought after, he did some touching works which displayed his skill in composition as well as compassion.

The Sleeping Children, 1817, above, in the Litchfield Cathedral, was commissioned by the widowed mother of the two dead girls, Mrs. Ellen-Jane Woodhouse Robinson.  Most observers find it the finest of Chantrey’s works.

The Royal Collection

The lovely portrayal of Dorothea Jordan was commissioned  from Chantrey by King William IV and completed in 1834. It has been displayed in Buckingham Palace since 1980.  Mrs. Jordan, a leading actress of her day, was the long-time mistress of William IV when he was Duke of Clarence and bore him ten children, known by the surname FitzClarence.

Bridgeman

This drawing of the anteroom of Chantrey’s sculpture gallery (30 Belgrave Place) shows its design by Sir John Soane for his friend, the sculptor.

 

Pen, Brush and Chisel: The Studio of Sir Francis Chantrey by artist Sir Edwin Landseer (1803-73), Royal Collection

This charming portrait of Mustard, Chantrey’s terrier, and his sculpting tools was presented to Queen Victoria by Lady Chantrey in 1842. According to the description in the Royal Collection, “The painting was commissioned in April 1835 by Chantrey, who sent Landseer a humorous letter, supposedly from Mustard. It was exhibited at the Royal Academy in 1836 when it was admired by Queen Victoria.”  After Chantrey’s death, his widow presented the painting to the Queen.

 

Queen Victoria, marble, 1841, by Sir Francis Chantrey, Royal Collection
Chantrey created portraits of four British sovereigns.  Above, his last work, a bust of Queen Victoria,  was Prince Albert’s  favorite portrayal of his wife

Also in the Royal Collection is this watercolour on ivory by Andrew Robertson (1777-1845), dated 1800. Purchased  by Queen Victoria in 1880, it portrays Chantrey “Half-length, standing, facing slightly to the right, wearing a grey studio coat and dark blue waistcoat and holding a hammer, chisel and yellow dustcloth, beside his bust of George IV; grey-blue eyes, grey-brown hair; red curtains background.”

The painting above is The Burial of Sir Frances Chantrey  by artist Henry Perlee Parker, 1841. It was  badly damaged in a flood in 2007 at the Weston Park Museum, Sheffield, and had to be dried for more than a year before it was conserved.  Chantrey is buried in St. James Church, Sheffield, near the village of his birth.