Kristine Hughes's Blog, page 78

AN ARTIST OF WATERLOO

Many great artists painted scenes of Waterloo, as based on visits to the battlefield in the wake of the conflict and/or imagined later.
Victoria here, writing of one of my favorites, Robert Alexander Hillingford (1825-1904), born in London  He studied in Germany and worked in Italy for several years. After he returned to London in 1864, he began to do historical paintings and became a regular exhibitor at the Royal Academy and other prominent galleries.

His painting of the Duchess of Richmond’s Ball hangs at Goodwood House, the Richmond ducal seat in West Sussex.
The Duchess  Richmond's Ball by Robert A. Hillingford
 Details from the painting are featured on the cover of the Beaux, Ballrooms, and Battles: A Celebration of Waterloo.  This anthology brings you nine stories by nine best-selling and award-winning authors, including me (she whispered shamelessly).

An exhibition, Dancing into Battle, on view at Goodwood House August 3 to October 22,  2015, is organized around the famous painting. For the website, click here.From the description of the display:“On 15th June 1815, the Duchess of Richmond hosted a ball at her home in Brussels. ... Goodwood’s summer exhibition will celebrate the 200th anniversary of the ball… “Like many English aristocrats, the 4th Duke and Duchess of Richmond were living in Brussels owing to straightened financial circumstances. Their house became a hub of social activity filled with family and friends, including their own fourteen children. The Duchess invited the cream of Belgian and Dutch society, British civilians, diplomats and army officers to her ball. The Duke of Wellington, a great friend of the family, and the Prince of Orange were among the guests, all of whom appear in her guest list which is one of the treasures of the Goodwood collection – and which will also be on display during the summer exhibition. “... The message that was delivered to Wellington in the middle of the ball reported that Napoleon had crossed the border into Belgium. Examining a map with the Duke of Richmond, Wellington declared, ‘Napoleon has humbugged me, by God, he has gained twenty-four hours march on me’. When Richmond asked what he intended to do, he said that he had told the army to concentrate at Quatre-Bras, but that he would not stop Napoleon there, and pointing to the map placed his thumbnail on Waterloo declaring ‘I must fight him here’.  “That night many of the guests left straight for the holding battle of Quatre-Bas, followed two days later by the battle of Waterloo. Heart-wrenching scenes took place in the early hours of the morning as soldiers said goodbye to their loved ones, some never to see them again." 
Summoned to Waterloo by Robert A. Hillingford
Hillingford's painting, Summoned to Waterloo, depicts the courtyard of the house where the ball was held. At dawn on June 16th, the soldiers are leaving their sweethearts to head for combat.
On the site of the Richmond Ball in Brussels an office building now stands;  there is no trace left of the dramatic scenes of June 15-16, 1815.
The Turning Point by Robert A. Hillingford
The Turning Point shows Napoleon and his Imperial Guard at the moment he realizes their attack on Wellington’s troops is failing.
Lord Hill Inviting Surrender of the  Imperial Guard by Robert A. Hillingford
Another Waterloo painting by Hillingford shows General Rowland Hill, 1st Viscount Hill, commander of the British II Corps, inviting the French Imperial Guard to surrender at the end of the battle late in the day.
Wellington At Waterloo by Robert A. Hillingford
Most famous of all, perhaps, is Hillingford’s portrayal of the Duke of Wellington mounted on Copenhagen, summoning his troops to the final attack.  “Up Guards and at them again,”  he called, according to a Captain of the Foot Guards.

Hillingford completed many detailed battle scenes, from several wars. Though completed long after the battles themselves, they convey both vivid action and spectacle.  


English Civil War Scene (between 1642-1649)by Robert A Hillingford


Marlborough Signing the Blenheim Dispatch in 1794  by Robert Alexander Hillingford.
Saint Joan d'Arc by Robert A. Hillingford
This portrait is much more intimate and conveys the spirit of Joan (c.1412-1431), if not her precise appearance. 
Peasants of the Campagna by Robert A. Hilllingford
He painted a wide variety of popular scenes, including some on which he drew from his experiences in Italy.
And he did many scenes from the theatre, such as the one below.
Much Ado About Nothing by Robert A. Hillingford

LOOSE IN LONDON: THE TALE OF THE SHOES

So, the tale of Kristine's shoes continues. If you thought, because my feet hadn't been mentioned in the last few posts, that the problem had resolved itself, not so. I was still in pain, still bandaging my feet every morning and every eve. When last we left you, we had all been reunited with Victoria in the tea tent behind Buckingham Palace. Whilst I was glad to be reunited with Victoria, I was having a hard time keeping the grimace off my face. I had that morning decided to wear a shorter pair of black boots for our Royal Day Out, and they worked out fine - until the late afternoon, when they began to attack all the spots on my feet that hadn't been torn to shreds previously. By the end of our day, I was in real pain.



I must say that the Royals have really got the tourist dollar thing down to a science. When you end the tour of Buckingham Palace, they see that you exit at the tea tent, which leads down a lane to a huge gift shop, which then exits you onto a path through the royal gardens behind the Palace. All of which would have been a delight if every single step wasn't outright torture.




You've no idea how happy I was when we made a pit stop at the Bag O' Nails in Buckingham Palace Road for a much needed drink.



Now, I'm skipping ahead a bit here in order to tie up the tale of the shoes and for all of us to be done with the state of my feet. If you recall, our Royal Day Out took place on the Sunday, so all shops were shut. No hope of buying an alternate, comfortable pair of shoes. Next day, Victoria, Marilyn and I visited the Soane Museum, Covent Garden, the Duke of Wellington Pub and Cecil Court, amongst other places. I promise that we'll be covering all that in full in the near future. For now, know that at the end of that day, I made a pit stop at the Peter Jones department store in Sloane Square, just doors away from our hotel.



I was after a pair of flip flops. I'd go so far as to say that at that moment, I lusted after a pair of flip flops. Which was pretty funny actually, as I live in Florida and own numerous pairs of flip flops. In fact, as I'd been packing for this trip, a little voice in my head had encouraged me to throw a pair of flip flops into my suitcase. Don't be daft, I'd told myself, what are you going to do with flip flops in England? Throw in another pair of boots instead. Oy vey.

But I digress (again). I took the escalator up to the shoe department only to find that the selection of summer shoes was slim, indeed. Finally, I found a too large pair of plain flip flops and grabbed at them as if they were pure gold. Eureka!


Now, these are not the exact pair I bought, but they're close enough. Just a plain old pair of flip flops, the sort you can buy at any store in Florida for $7.99. These cost me twenty pounds - or roughly $35.00. A crime, really, but well worth the price for comfort alone.

I'd like to be able to tell you that the Tale of the Shoes ended there, but it didn't. A few days on, when the Duke of Wellington Tour actually started, we visited Apsley House. I'd been wearing my flip flops every day since I'd bought them, but really, one can't wear flip flops to Apsley House. It just wasn't done, or so I thought. So I put my short, black boots on for our private tour of the house. Again, Victoria and I will be covering our visit to Apsley House and the Wellington Arch shortly, but for now you should know that I did pretty well with the boots on until we got to the striped drawing room just beyond the dining room. My feet began to yell in protest and I made a beeline to the settee you can see in the photo below.




You may recall that this is the same settee that Hubby and I had sat upon together during a previous trip when we paused to admire the Thomas Lawrence portrait of the Duke below.

Upon leaving Apsley House, we were scheduled for a private guided tour of the Wellington Arch.


We made our way through the pedestrian underpass to the Arch, when I finally took my boots off and walked the rest of the way barefoot. I hoped that the Duke wouldn't perceive this as a mark of disrespect but, knowing how he felt about his soldiers being well shod, I took the chance that he'd appreciate my predicament.


 Across the lawn I walked, barefoot, heedless of what, exactly, I was stepping upon.

Once inside the Arch, we climbed, and climbed, and climbed to the top. Reader, I would never had made it had I still been wearing my boots.

At the top, we had a true bird's eye view of the Guards as they made their way back to the barracks from the Palace. All went well until we reached the ground again and I discovered that the Guards, or rather their horses, had left me a few things to be avoided, especially whilst barefooted.






 Back across the grass I walked until we'd reached our tour bus, where I put my flip flops back on and left them on for the remainder of the trip. And that, dear Readers, ends the tale of my feet. And shoes. Your sympathy has been much appreciated.


More Loose In London coming soon!

WATERLOO WEDNESDAY - AT AUCTION: WELLINGTON, WATERLOO AND THE NAPOLEONIC WARS

Thank God for the 200th Anniversary of the Battle of Waterloo - Wellington is finally back in the spotlight thanks to all the buzz surrounding the host of upcoming Waterloo events in the news. I've gone from mentions of Wellington being akin to needles in haystacks to his being in the forefront of celebratory events. Huzzah!

Speaking of Wellington related events (as seemingly everyone does nowadays) on April 1, 2015, Bonham's, London, will hold their sale Wellington, Waterloo and the Napoleonic Wars. You can view the entire auction catalogue at the Bonham's site here, but in the meantime we've rounded up a few lots from the sale that will illustrate the variety of items that will be included in the sale. Get down to Coutts Bank and draw out some banker's drafts - there are sure to be a few items that will no doubt tempt you to buy.




A Pair of 25-Bore Over-And-Under Flintlock Officer's Pistols
Signed E. Baker, London, Early 19th CenturyWith rebrowned twist octagonal sighted barrels each signed along the top flat, breeches each with gold line and platinum-lined touch-hole, signed border engraved flat bevelled locks decorated with foliage and starbursts, rainproof pans, rollers and engraved safety-catches, chequered figured rounded butts, border engraved steel trigger-guards each decorated with a martial trophy and foliage, vacant silver escutcheons, and stirrup ramrods, maker's special proof marks (2)
17.8 cm. barrelsFOOTNOTESEzekiel Baker (1758-1836) inventor of the Baker rifle and author of Remarks on Rifle Guns (1801), was Gunmaker-in-Ordinary to King George IV. He was influential in the King's shooting and collecting, and thus played an important role in the formation of the Carlton House Armoury




Lot 35JAMES GREEN(British, 1771-1834)Portrait of Napoleon Bonaparte (1769-1821), First Emperor of the French (1804-1815), aged twenty, in a gilt wood frame£1,000 - 1,500
US$ 1,500 - 2,300


Lot 45CHARLES AUGUSTE STEUBEN(German, 1788-1856)Portrait of Napoleon£5,000 - 8,000
US$ 7,700 - 12,000



Lot 69MOULINIÉ, GENÈVE. A 19TH CENTURY 18CT GOLD KEY WIND OPEN FACE POCKET WATCH WITH TRIPLE ENAMEL PORTRAIT OF THE DUKE OF WELLINGTONCase & Cuvette No.26361, Circa 1830£15,000 - 25,000
US$ 23,000 - 38,000


Lot 77MATTHEW NOBLE (1817-1876):Arthur Wellesley, First Duke of Wellington,£1,500 - 2,000
US$ 2,300 - 3,100


Lot 88WELLINGTON'S HAIRLock of the Duke of Wellington's hair, tied with tread, in a slip of paper inscribed "D. of Wellington's Hair for Captain Harris. Geor. G. Adams" and the date "1857 January 5", retained in the pocket of George Gammon Adams' pocket sketchbook; 126 Sloane Street. London S.W., [1857]£600 - 800
US$ 920 - 1,200


Lot 102THE SWORD WORN BY LT. GENERAL SIR G. COOK K.C.B. AT THE BATTLE OF QUATRE BRAS AND WATERLOOBy R. Johnston, Late Bland & Foster, Sword Cutler & Belt Maker to his Majesty, 68 St. James's Street, London, Early 19th Century
£15,000 - 20,000
US$ 23,000 - 31,000


Lot 106ENGLISH SCHOOL, 19TH CENTURYPortrait of John Siddall (1788-1856), Veterinary Surgeon for the Royal Horse Guards at Waterloo, seated, bust length wearing a blue millitary tunic and the Army General Service Medal and the Waterloo Medal£1,000 - 1,500
US$ 1,500 - 2,300


Lot 128WATERLOO MEDAL 1815,£1,500 - 2,000
US$ 2,300 - 3,100


Lot 142A VERY RARE WATERLOO PERIOD CEREMONIAL BASE-DRUM OF THE COLDSTREAM REGIMENT OF FOOT GUARDSCirca 1810£6,000 - 8,000
US$ 9,200 - 12,000


Lot 152LORD UXBRIDGE (1ST MARQUESS OF ANGELESEY): A GEORGE IV 18 CARAT GOLD IRISH FREEDOM BOXby Edward Murray, Dublin 1827£50,000 - 70,000
US$ 77,000 - 110,000


Lot 157AN EXTREMELY RARE 1822-26 PATTERN FULL DRESS SHAKO OF A LIGHT COMPANY OFFICER OF THE GRENADIER GUARDS£5,000 - 7,000
US$ 7,700 - 11,000

LYING WITH A VENGEANCE

  From the Journal of Mrs. Arbuthnot, March 24, 1822


      The Duke (of Wellington) told us a good story he heard from Lady Cowper (above). When she was at Brighton the King talked to her of her mother, Lady Melbourne (by whom the King was supposed to have had a son, Geo Lamb) and said he used, during her last illness, to walk across the parade to her house every day, see her constantly and said that at last she died in his arms!! Lady Cowper knowing all the time that for the last ten days of her mother's life she never was out of her room and that, so far from the King calling to see her or having her die in his arms, he never even sent to enquire after her. This is lying with a vengeance!

LOOSE IN LONDON: ROYAL CHILDHOOD EXHIBITION

Victoria here. If I hadn't already known  that Buckingham Palace was exhibiting a collection about Royal Childhood, I would have been rather shocked to see a Rocking Horse in the Green Drawing Room leading into the Throne Room.


But there it was, just as it looked when Princesses Elizabeth and Margaret Rose sat upon it decades ago.

In fact, all through the palace were a few toys and dolls upon the sofas and tables in the stately  gilded rooms, and looking not at all out of place for a house that is often home to several generations of children. The Exhibition closed in September 2014, but you can read more about it here.

One of the oldest displays, a handwriting practice book of George IV, 1767

The Buckingham Palace Ballroom fitted out as an exhibition hall
In addition to dolls and toys in various rooms of the Palace, a large exhibition was mounted in the Ballroom with many display cases for clothing, toys, and memorabilia.

Childhood clothing over centuries
Worn by George V in 1868
Visitors enjoying the exhibition
Cradle of Princess Alice, 1843
Queen Elizabeth II's Dolls
Enhancing the objects were many photos and films of the Royal children,In an exhibition review in the Telegraph, July 28, 2014, Richard Dorment wrote, "It goes without saying that, from a material point of view, royal children have everything any child could want and more. But none of that means anything without a family life based on parental love and the affection of siblings. What knits the show together and gives everything we’ve seen the context it needs to bring it to life is the selection of deeply private home movies on view in the ball room. Particularly touching are the grainy films showing the touching relationship between the Queen and her sister Princess Margaret, seen practicing dance steps or playing with their corgis under the amused and clearly doting gaze of their parents."
Princess Elizabeth and her Doll-Buggy

Royal Collection Curator Anna Reynolds with a rocking horse sent by President and Mrs. Obama to Prince William of Cambridge

A Tea Set played with by Princess Elizabeth in the 1930's
George, Prince of wales, and Frederick, later Duke of York, at Buckingham House, 1765by Johan Zoffany(1733-1810)
To end our account of the Royal Childhood Exhibition, we go back to the beginning. to show this portrait of the earliest days of Buckingham House as a royal home. The first two offspring of George III and Queen Charlotte were not yet "breeched" in this painting. George would have been almost three and Frederick almost two years of age. 

VIDEO WEDNESDAY: LIFE BELOW STAIRS

"The Real Downton Abbey" Servants: The True Story Of Life Below StairsA century ago, 1.5 million British people worked as servants – astonishingly, more than worked in factories or farms. But while servants are often portrayed as characters in period dramas, the real stories of Britain’s servants have largely been forgotten. Presented by social historian Dr Pamela Cox - herself the great-granddaughter of servants - this three-part series uncovers the reality of servants’ lives from the Victorian era through to the Second World War.
Click here to watch Part One

FASHIONS FOR 1815

Victoria here sharing a few of my fashion plates from magazines of 1815. At one time, I owned most of the 1815 and 1816 La Belle Assemblee volumes and plates, now residing in the Chawton House Library.  I have kept digital and printed copies for my own use, but they will reach a better audience there.  I still have a few from Ackermann's, so herewith :
What you'd  be Wearing 200 years ago!

La Belle Assemblée, February, 1815
From the magazine: "Parisian Costume: A short round dress of the finest light ruby Merino cloth, trimmed with narrow blue velvet, is worn over a cambric petticoat, no part of which is seen by the double flounce of the finest Valenciennes edging with which it is ornamented at the bottom.  We refer our readers to the Print for the form of this dress.  An elegant little cap of black velvet is put on over one of white lace, the lace border is disposed round the face in a very novel and becoming style.  The hair is little seen on the forehead, and not at all on the neck, otherwise the fullness of lace would look much better; the cap is ornamented with a beautiful plume of white ostrich feathers, put on so as to fall over in front.  White silk scarf with a border of intermingled blue and ruby.  Black kid slippers, tied round the ancle (sic.) with a narrow black ribband; and white kid gloves.                We have selected this dress because it is at present in the highest estimation amongst the Parisian elegantes; it is certainly original, and the materials are elegant, the scarf, in particular, is superb; its tout ensemble is truly French, and the admirers of Parisian fashions will, we think, agree with us, as to its being one of the most striking lately introduced in that tasteful metropolis. The dinner dress was invented by Mrs. Bell, Inventress of the Ladies Chapeau Bras and the Circassian Corsets, and of whom only it can be had, at her Magazin des Modes, No. 26, Charlotte-street, Bedford-square; of who also May be had the Parisian Costume as above described.




Ackermann's, March 1815
This looks like just the ensemble for the chilly winds of March. But that hat would need a strong set of pins to keep it on her head.
Description from the magazine: "Walking Dress: Pelisse of short walking length, made of evening-primrose coloured velvet, ornamented down the front with satin trimming, round capes, trimmed to correspond, full lace ruff.  A French bonnet, composed of white velvet and satin in reversed plaitings, trimmed round the edge with a quilting of lace, full plume of ostrich feathers in the front. Half-boots of tan-coloured kid. Gloves, Limerick or York tan."

Ackermann's, April 1815
I love the parrot or budgie on her hand. 
"Morning Dress: A loose robe of fine cambric or worked jaconot muslin, over a petticoat of the same, flounced with French trimming; long, full sleeve, confined at the wrist with treble drawings, and ornamented with corresponding trimming. The robe or neglige of demi-length, is confined at the top by a narrow collar or gathered into a Vandyke ruff, and is worn with coloured silk handkerchief, tied carelessly round the neck, and is fastened down the front with bows and tassels.  A mob cap, composed of net and Brussels lace, decorated with a cluster of flowers, and bows of satin ribbon. Hair curled in the neck. Slippers or sandals of pale tan-coloured kid. Gloves en suite."

La Belle Assemblée, May, 1815
Angouleme Walking Dress
Angouleme is an area of southwestern France. In 1799, the Duke of Angouleme married Marie Thérèse 1778-1851), eldest child of  King Louis XVI of France and Queen Marie Antoinette. The Duke was the son of the eventual French King Charles X, who abdicated in 1830.  As the niece of Louis XVIII. the Duchess was part of his entourage when he became King in 1814, and she accompanied him when he fled at Napoleon's return to Paris. Since I cannot locate the magazine's description of this plate, alas, I assume the ensemble is named for the Duchess in some regard.

La Belle Assemblée July 1815
Waterloo Walking Dress:  After the Battle, the publishers of this magazine must have raced to find a suitable dress to commemorate the battle, something in the colors of mourning for the dead, yet expressive of the victorious celebration throughout the nation. Do you think they succeeded?
From the magazine: "Waterloo Walking DressThis very beautiful dress, which answers the double purpose of walking or dinner dress, is composed of clear muslin and is made in a most original and tasteful style:  the petticoat, as our readers will perceive by the Print, is ornamented in an elegant and appropriate manner with a tasteful black trimming.  The body and sleeves, composed of an intermixture of black satin and clear muslin, are exquisitely fancied; they are made in a style of novelty, elegance, and simplicity which we never recollect being equalled in the mourning costume.  The Waterloo dress, when worn for dinner parties, has no shirt, but some ladies shade the neck a little by a narrow frill of white crape round the bosom.  In the walking costume it is worn with a shirt invented for the occasion, and trimmed in a very novel and appropriate style.  Of the hat worn with this dress we can only observe that it is the most elegant and striking headdress ever invented for mourning; it is an intermixture of white satin and black crape, most tastefully ornamented with either black or white feathers.  Black or white kid sandals and white kid gloves finish the dress, the effect of which altogether is much more elegant than our fair readers can conceive either from the Print or from our description.  The above dress was invented by Mrs. Bell, Inventress of the Ladies Chapeau Bras and the Circassian Corset, and of whom only they can be had, at her Magazin des Modes, No. 26, Charlotte Street, Bedford-Square."

La Belle Assemblée  August 1815
The description below is particularly amusing, referring to ease of shedding the dress while in the bathing machine (see background drawing) ready to be 'plunged.'

“Sea Side Bathing Dress: This very elegant dress is composed of the newly introduced Berlin silk. It is made in the form of a pelisse, and is so contrived that the stays, petticoat, and pelisse are all put on in a few moments. A flounce of green gauze, crape, or muslin, edged with an exceedingly pretty silk trimming, ornaments the dress; which, when on, is so finished and elegant that no one could suppose it was possible to adjust it in a few moments. A Leghorn hat ornamented with a plume of straw colour feathers, and green plaid leather boots, finish this dress, which we look upon as a chef d’oeuvre in its way, since, independent of the advantage which it is to a lady to be able to dress and undress so quickly, the most fastidious belle must confess that nothing can possibly be more becoming than this Sea Side Bathing Dress. The Wellington corset, with which it is worn, is admirably adapted to display in the most easy and graceful manner the natural proportions of the shape; and the tout ensemble of this elegant and useful habit is simple, tasteful and in the highest degree appropriate.”


Ackermann's, September 1815
"Dinner Dress: A white satin slip worn under a dress made in primrose-coloured French gauze, terminating at the feet with a full flounce  of blond lace, headed with a double border of the same, gathered in full, and confined with folds of satin, corresponding colours to the dress; handkerchief -front trimmed with white satin, and a falling collar of blond lace; long sleeve of white satin, the fulness upon the shoulder confined under an epaulet of the French gauze tried with white satin; the sleeve drawn alternately across the arm with the evening primrose coloured satin ribbon. Long white sash of white satin, tied in front.  The ends of the hind hair brought forward, to fall in ringlets over the temple, confined with a plain white satin ribbon, and ornamented with a tiara of pearl. Necklace to correspond. Gloves, French kid. Slippers, white satin."

We will save the Autumn and Winter 1815 fashions for later in the year,  In the meantime, if you know of any more description of the Angouleme Walking Dress from the May 1815 LBA, please let me know where to look.  Thank you!!

LOOSE IN LONDON: THE HISTORY OF BUCKINGHAM PALACE

Great Britain has no shortage of castles and palaces.  London alone has plenty, think Hampton Court, Kensington, St James's, Lambeth -- and that's not to mention those now demolished.

Buckingham Palace, Sunday, August 31. 2014
But there is one above all that we associated with the present-day Royal Family, and it might be a surprise to find that it has been the home of the monarch less than 200 years, beginning with Queen Victoria. Buckingham House, built for the Duke of Buckingham in 1701-03
The site of the present-day Palace and Garden belonged to various nobles and religious orders until the time of Henry VII, who took it the Manor of Ebury for himself from Westminster Abbey in 1536. James I created a mulberry garden on the site to feed what he hoped would become a silkworm industry in London. Several houses were built on the site and changed hands frequently.  Designed by William Winde, the above mansion, which is still the core of the central part of the palace, was completed in 1703 for the Duke of Buckingham.
The Queen's House
In 1761, the new young King George III purchased and remodeled the building as a  home for his new Queen, Charlotte of Mecklenburg-Strelitz (1744-1818). who bore most of their fifteen children in the house.  During this period, the house was faced in red brick and had the appearance of  Georgian country mansion -- which it was.
The Royal Family officially lived at St James's Palace, not far away.  The Prince Regent, upon reaching his majority in 1783, was given Carlton House as his residence. The Prince began s series of remodeling projects that lasted until he became George IV in 1820, when he decided Carlton House was not sufficiently large and grand enough for a British Monarch. 
Carlton House demolished, 1825
He and Architect John Nash, who also worked on his Brighton Pavilion, embarked on a series of structural and decorative embellishments to the Queen's House, renaming it Buckingham Palace. They added several wings into the forecourt and eventually constructed a triumphal arch to make a ceremonial entrance into the palace.
The Palace c. 1837
When Carlton House was demolished, many of the furnishings and interior decor fittings were moved into the "new" palace.  George IV did not live to see completion of his masterpiece and after his death, poor John Nash was criticized for the chronic overspending and overly grand plans George pressed him to create. The new King in 1830 was George's brother William IV, not known for his interest in the arts, who lived at Clarence House. (See our visit to Clarence House here)  Since the interiors at Buckingham Palace were neither finished nor to his (lack of) taste, King William and Queen Adelaide remained at Clarence House until his death in 1837.
.   Buckingham Palace, 1837
After the Houses of Parliament burned in 1834, King William IV suggested that Parliament might take over the unfinished Buckingham Palace and adapt it for the seats of the Houses of Commons and Lords. But this offer was rejected, and building continued, accelerating after Victoria became Queen in 1837.
Many of the rooms might have been splendid, but the palace was cold, ill-lit, smoky and uncomfortable. More repairs and alterations were planned, and continued after her marriage to Prince Albert of Saxe-Coburg-Gotha. who personally led some of the improvements.
In the mid-1840's, the wings were expanded and plans for a new section, which we know as the familiar front of the Palace, necessitated the relocation of the triumphal Arch.
Marble Arch
The Marble Arch was moved into the northeast corner of Hyde Park, but that site today is in the middle of a traffic circle. In order to facilitate the ever-growing volume of cars lorries and buses, the crucial intersection of Park Land, Edgware Road, and Oxford Street was widened by taking park land and isolating the Arch. At least it was cleaned up.  It stands there today, a sort of monument to a by-gone era.  The location of Tyburn Tree, a public execution site from 1388 to 1793, is nearby.
According to the Monarchy's website,  "A serious problem for the newly married couple was the absence of any nurseries and too few bedrooms for visitors. The only solution was to move the Marble Arch - it now stands at the north-east corner of Hyde Park - and build a fourth wing, thereby creating a quadrangle. (Edward) Blore, the architect in charge, created the East Front and, thanks largely to his builder, Thomas Cubitt, the costs were reduced from £150,000 to £106,000. The cost of the new wing was largely covered by the sale of George IV's Royal Pavilion at Brighton. Blore added an attic floor to the main block of the Palace and decorated it externally with marble friezes originally intended for Nash's Marble Arch. The work was completed in 1847."


The Palace East Wing as it appeared in 1910
Victoria and Albert also had a grand ballroom built to accommodate various official events and balls. It opened in 1856, at that time, the largest room in London.
The Opening Ball in the new Ballroom, 1856
The Ballroom set up for a large dinner party
Victoria Memorial, 2014
Shortly after her death, Queen Victoria's eldest son successor, Edward VII, called for a memorial to the Queen and Empress.  Sir Thomas Brock created the sculpture and the base was designed by Sir Aston Webb. The project was not completed until 1924
Because pollution had discolored and pitted the stone of the East Wing, its face was replaced in 1913 by a facade of white Portland Stone.  Sir Aston Webb was in charge, and the work was finished in the summer of 1914, just before the outbreak of World War I.


The present Portland Stone facade of the East Front, 2010
During World War II, German bombs hit the Palace seven times.  Queen Elizabeth and King George VI remained in residence. The Queen said, "I'm glad we have been bombed. Now I can look the East End in the face".  She could certainly sympathize with the oft-bombed residents of East London.
King George VI and Queen Elizabeth in the Palace after an air attack
The Balcony on the East Front is the national and international focal point for the celebration of great events.
Celebrating the end of World War II in 1945

After the 1953 Coronation of Queen Elizabeth II
After the wedding of Prince William and Kate Middleton
An Aerial View
As it stands today, Buckingham Palace has 775 rooms, used for state occasions, personal and guest apartments, nearly 100 offices, and 78 bathrooms. It is a working palace and often hosts state dinners. Below, the March, 2015, visit of the President and First Lady of Mexico, with the Queen and Prince Philip.

WATERLOO WEDNESDAY: WATERLOO AT WINDSOR

By Guest Blogger Nicola Cornick

There can be few places more appropriate than Windsor Castle to hold an exhibition to commemorate the 200thanniversary of the Battle of Waterloo. Originally founded by William the Conqueror at the end of the 11th century, Windsor has been home to 39 monarchs and is the oldest royal residence in the British Isles. At various points in its history it has undergone major remodelling and one of these took place in the late 18th and early 19th century with the creation of a new grand staircase and state apartments. During the Peninsular Wars when there was a threat to the country from republican France, Windsor was recognised as a symbolic bastion of the British nation and the monarchy.
It was George IV who created the Waterloo Chamber in celebration of the allied victory of 1815, and the room was completed by his successor William IV. It is a vast pace filled with Sir Thomas Lawrence’s imposing portraits of those who were instrumental in the victory, including the Duke of Wellington. A portrait of George himself is placed at the centre of the room and thus as the focal point of the victory.


The “Waterloo at Windsor” exhibition is running throughout this year and I was lucky enough to go and see it a couple of weeks ago. It’s a fascinating mixture of prints, drawings and archive material from the Royal Collection, which explore the battle and its aftermath. The introduction to the exhibition is via the Drawings Gallery where there is a display of maps of the battlefield and paintings that were in some cases produced in the immediate aftermath of the battle, showing tourists already visiting the site.  I also loved the collection of Rowlandson cartoons depicting Napoleon as a Corsican bloodhound and it was interesting to see some French propaganda cartoons and pictures, showing him from a very different perspective, that of the peacemaker of Europe. I also learned some fascinating facts; that amongst the memorials planned after the battle was one for a pyramid as high as St Paul’s Cathedral, which would have cost a million pounds in the currency of the day. Like many of the proposed memorials it was never built.



Elsewhere in the staterooms are a whole host of artefacts with connections to the battle. By far my favourite was Napoleon’s burnous, a red felt hooded cloak lined with yellow silk brocade and decorated with silver braid (above). This had been found amongst Napoleon’s baggage train on the field at Waterloo and was presented to the Prince Regent by General Blucher.  Also taken from Napoleon’s belongings was a leather travelling desk, decorated with gold bees and the monogram “N.” It contained two inkpots, a sandbox, a candlestick and bell. Napoleon certainly didn’t travel light!
It was the little details of the exhibition that I enjoyed the most: The drawing of the Waterloo Elm, which had been Wellington’s command post during the battle, and the story that it was subsequently stripped of its leaves and branches by souvenir hunters and turned into a chair! The gorgeous silver gilt tea service and toast racks that Napoleon gave to his adopted daughter Stephanie on her marriage… Each item had a different story to tell and a different light to shed not only the Battle of Waterloo itself but also on the enigmatic Emperor who continued to be a figure of fascination even in exile.

Throughout 2015, Waterloo at Windsor: 1815–2015 will combine a themed trail through the State Apartments with a display of prints, drawings and archival material that explores the battle and its aftermath.
The trail will highlight objects seized on the battlefield by the victors, including silver, furniture, weapons and the beautiful red cloak belonging to Napoleon, presented to George IV by Wellington's ally, Field-Marshal Gebhardt von Blücher.


You can visit guest blogger and USA Today Best Selling Author Nicola Cornick's website here. 

TRAVELS WITH VICTORIA: BRITISH NOTABLES AT THE RINGLING MUSEUM OF ART IN FLORIDA

COMING HERE; REYNOLDS, GAINSBOROUGH, LAWRENCE, RAEBURN, BURNE-JONES...BUT FIRST...

Herewith a disclaimer! For many years, I went to the Circus Parade in Milwaukee.  It was fantastic, with the many antique circus wagons from the Circus World Museum in Barbaboo, WI, pulled by teams of draft horses from all over the US. So I have to admit that both my visits to the Ringling  Complex in Sarasota, FL, were disappointing when it came to the circus memorabilia. Much better to visit the Baraboo site if you are looking for old time circus material related to the Ringling Bros. Barnum and Bailey shows. However, Baraboo doesn't have the fantastic Ringling mansion or the wonderful Art Museum...for those, go to Sarasota.

Great Circus Parade, Milwaukee, 2009

The Golden Age of Chivalry wagon at Baraboo
But the circus is not the subject of this post, other than the fact that the Ringling Brothers were from   Baraboo, and John and Mable Ringling made their fortune from the circus, then built their mansion in Sarasota and gave their art collection to the people and the State of Florida.

In the fashion of numerous American millionaires in the early 20th century, Ringling spent time in Europe and acquired a massive collection of art, antiquities, furniture, and decorative art.

Ca' d'Zan, Sarasota, FL
Of course, I couldn't get far enough away or up in the air to take a photo like this, so this is from the website. To see more click here. Ca' d'Zan means House of John, but on the architect's plans, it was known as residence of Mrs John Ringling.
Visitors file through the house almost every day.
Taking the inspiration from their many visits to Venice, the Ringlings hired architect Dwight James Baum to design the house -- with Mable's eager participation. After two years of construction, it was completed in 1926. Sadly, Mable was able to enjoy it for only three years before she died at age 54.

Style: Venetian Gothic !

John lived until 1936, having remarried and suffered from the effects of the Great Depression. His fortune had declined to almost nothing, but he insisted on leaving the house, grounds and Art Museum to the people and State of Florida. For many decades the property was neglected until it was used for the decrepit home of Miss Havisham in 1996 Hollywood version of Dickens' Great Expectations.  The State of Florida and Florida State University have restored the house and grounds and renovated the Art Museum in the last couple of decades and it is in pristine shape today.. 
Now to the Art Museum Collection -- just like the Grand Tours that 18th Century young men took, so 19th and early 20th century American millionaires, craving cultural education and acquisition of treasures to prove their erudition, enjoyed touring continental cities, castles, and museums. In addition to hiring European circus performers for the Ringling Brothers Circus in the U.S., John and Mable Ringling bought and shipped many artworks; he was particularly attuned to baroque Italian art, according to guides at the museum.  But he also bought many wonderful works in Great Britain.
Marquis of Granby, 1766, by Sir Joshua Reynolds
I think my absolute favorite here is a portrait of John Manners (1721-1770) the Marquis of Granby,1766, by Sir Joshua Reynolds (1723-1792). It was loaned to the Tate Britain for their Joshua Reynolds: Creation of Celebrity exhibition in 2005 (click here)-- and it may look rather familiar as portions of it are often seen on pub signs. Apparently many pubs, even today, are named after the famous general, who did not live long enough to succeed his father as Duke of Rutland. The Marquess was popular with his men and is said to have set up many of them in pubs of their own which they named after their benefactor.
Lt. General Philip Honywood by Thomas Gainsborough, 1765 
Reynolds' competitor, Thomas Gainsborough, (1727-1788), is represented by this  fine military portrait with a beautiful landscape background.  Honywood was a colleague of the Marquis of Granby in battle. One can see the evidence of Gainsborough's admiration of the equestrian portraits by Van Dyke in this work.

Agrippina and her Children Mourning over the Ashes of Germanicus, 1773by Benjamin West 
American-born Benjamin West (1738-1820) moved to London in and never returned.  He was the second president of the Royal Academy of Art, succeeding Sir Joshua Reynolds, He was an excellent painter of historical, mythological, and religious canvases, large in scope and accomplishment,


Mr. Hope Vere of Blackwood, by Henry Raeburn, c. 1805
Raeburn (1756-1823) was perhaps Scotland's greatest artist of his period. A miniaturist and self-taught portraitist, he married well and was able to travel to Italy and hone his talents. When he returned to Scotland, he painted many of Edinburgh's notables, including author Sir Walter Scott
George IV when Prince of Wales, attributed to John Hoppner, c. 1792-1807
Hoppner (1758-1810) was one of the successors to Reynolds and Gainsborough for royal and aristocratic portraiture.  He was born to a family from Bavaria that served the British court. Young Hoppner trained at the Royal Academy. The Prince's attire is portrayed colorfully in the grand tradition.

The Sisters, c. 1810, by George Watson 
This charming double portrait was once attributed to Henry Raeburn, but later identified as the work of George Watson (1778-1837), another Edinburgh painter of great accomplishment. Portrayed are Georgina and Elizabeth Reay of Killingworth Hall, Northumberland.

Mrs. George Frederick Stratton, 1811, by Thomas Lawrence
Lawrence inherited the position of primary portraitist from Reynolds and Gainsborough in the Regency period in England. He was particularly influenced by Van Dyke, and it is said he never painted a non-beautiful woman.

The Sirens, 1870 unfinished, by Edward Burne-Jones
Burne-Jones (1833-1898) was one of the leading members of the pre-Raphaelite movement. This unfinished painting depicts a scene from Homer's The Odyssey, with the sailors' ship approaching the deadly Sirens.

Roman Courtship, c. 1900, by Sir William Ernest Reynolds-Stephens
Reynolds-Stephens (1862-1943) was American born but trained and spent most of his working life in Europe. This picture shows the mythological figure of Morta holding the threads of life over the couple while Cupid drapes flowers over the woman, seeming to indicate her life will be short. The style was influenced by the pre-Raphaelites.
Courtyard of the Ringling Museum of Art. Sarasota, FL
This is just a sample of the treasures in the museum, from antiquities to 20th C. masters and contemporary works as well.  Plan a visit!