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The Best Polo in the World | Argentina 2017 | Polo | HD

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British settlers in the Argentine pampas started practising it during their free time. Among them, David Shennan is credited with having organised the first formal polo game of the country in 1875, at Estancia El Negrete, located in the province of Buenos Aires.

The sport spread fast between the skilful gauchos and several clubs opened in the following years in the towns of Venado Tuerto, Cañada de Gómez, Quilmes, Flores and later (1888) Hurlingham. In 1892 The River Plate Polo Association was founded and constituted the basis for the current Asociación Argentina de Polo. In the Olympic Games held in Paris in 1924 a team composed by Juan Miles, Enrique Padilla, Juan Nelson, Arturo Kenny, G. Brooke Naylor and A. Peña obtained the first gold medal for the country's olympic history; this also occurred in Berlín 1936 with players Manuel Andrada, Andrés Gazzotti, Roberto Cavanagh, Luis Duggan, Juan Nelson, Diego Cavanagh and Enrique Alberdi.

From then on, the game spread powerfully across the country and Argentina is credited globally as the mecca of polo, mainly because Argentina is notably the country with the largest number ever of 10 handicap players in the world.

Five great teams were able to ensemble together four 10 handicap players in order to make a 40 handicap team: Coronel Suárez, 1975, 1977–1979 (Alberto Heguy, Juan Carlos Harriott, Alfredo Harriot and Horacio Heguy); La Espadaña, 1989–1990 (Carlos Gracida, Gonzalo Pieres, Alfonso Pieres y Ernesto Trotz Jr.); Indios Chapaleufú, 1992–1993 (Bautista Heguy, Gonzalo Heguy, Horacio Heguy Jr. and Marcos Heguy); La Dolfina, 2009–2010 (Adolfo Cambiaso Jr., Lucas Monteverde, Mariano Aguerre y Bartolomé Castagnola); Ellerstina, 2009 (Facundo Pieres, Gonzalo Pieres Jr., Pablo Mac Donough and Juan Martín Nero).

Argentina was host of the ninth edition of the World Polo Championship (for teams of up to 14 goals) at the Estancia Grande Polo Club, in the province of San Luis in October 2011.

The three major polo tournaments in Argentina, known as "Triple Corona" ("Triple Crown"), are Hurlingham Polo Open, Tortugas Polo Open, Palermo Polo Open. Polo season usually last from October to December.


Polo then found popularity throughout the rest of the Americas like Brazil, Chile, Mexico, and the United States of America.






Le Château de Vaux-le-Vicomte

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Once a small château between the royal residences of Vincennes and Fontainebleau, the estate of Vaux-le-Vicomte was purchased in 1641 by Nicolas Fouquet, an ambitious 26-year-old member of the Parlement of Paris. Fouquet was an avid patron of the arts, attracting many artists with his generosity.
When Fouquet became King Louis XIV's superintendant of finances in 1657, he commissioned Le Vau, Le Brun and Le Nôtre to renovate his estate and garden to match his grand ambition. Fouquet’s artistic and cultivated personality subsequently brought out the best in the three.
To secure the necessary grounds for the elaborate plans for Vaux-le-Vicomte’s garden and castle, Fouquet purchased and demolished three villages. The displaced villagers were then employed in the upkeep and maintenance of the gardens. It was said to have employed 18 thousand workers and cost as much as 16 million livres.
The château and its patron became for a short time a focus for fine feasts, literature and arts. The poet Jean de La Fontaine and the playwright Molière were among the artists close to Fouquet. At the inauguration of Vaux-le-Vicomte, a Molière play was performed, along with a dinner event organized by François Vatel and an impressive firework show.
The château was lavish, refined and dazzling to behold, but those characteristics proved tragic for its owner: the king had Fouquet arrested shortly after a famous fête that took place on 17 August 1661, where Molière's play 'Les Fâcheux' debuted. The celebration had been too impressive and the superintendent's home too luxurious. Fouquet's intentions were to flatter the king: part of Vaux-le-Vicomte was actually constructed specifically for the king, but Fouquet's plan backfired. Jean-Baptiste Colbert led the king to believe that his minister's magnificence was funded by the misappropriation of public funds. Colbert, who then replaced Fouquet as superintendent of finances, arrested him. Later, Voltaire was to sum up the famous fête: "On 17 August, at six in the evening Fouquet was the King of France: at two in the morning he was nobody." La Fontaine wrote describing the fête and shortly afterwards penned his Elégie aux nymphes de Vaux
After Fouquet was arrested and imprisoned for life and his wife exiled, Vaux-le-Vicomte was placed under sequestration. The king seized, confiscated or purchased 120 tapestries, the statues and all the orange trees from Vaux-le-Vicomte. He then sent the team of artists (Le Vau, Le Nôtre and Le Brun) to design what would be a much larger project than Vaux-le-Vicomte, the palace and gardens of Versailles.

Madame Fouquet recovered her property 10 years later and retired there with her eldest son. In 1705, after the death of her husband and son, she decided to put Vaux-le-Vicomte up for sale.






The chateau is situated near the northern end of a 1.5-km long north-south axis with the entrance front facing north. Its elevations are perfectly symmetrical to either side of this axis. Somewhat surprisingly the interior plan is also nearly completely symmetrical with few differences between the eastern and western halves. The two rooms in the centre, the entrance vestibule to the north and the oval salon to the south, were originally an open-air loggia, dividing the chateau into two distinct sections. The interior decoration of these two rooms was therefore more typical of an outdoor setting. Three sets of three arches, those on the entrance front, three more between the vestibule and the salon, and the three leading from the salon to the garden are all aligned and permitted the arriving visitor to see through to the central axis of the garden even before entering the chateau. The exterior arches could be closed with iron gates and only later were filled in with glass doors and the interior arches with mirrored doors. Since the loggia divided the building into two halves, there are two symmetrical staircases on either side of it, rather than a single staircase. The rooms in the eastern half of the house were intended for the use of the king, those in the western were for Fouquet. The provision of a suite of rooms for the king was normal practice in aristocratic houses of the time, since the king travelled frequently.
Another surprising feature of the plan is the thickness of the main body of the building (corps de logis), which consists of two rows of rooms running east and west. Traditionally, the middle of the corps de logis of French chateaux consisted of a single row of rooms. Double-thick corps de logis had already been used in hôtels particuliers in Paris, including Le Vau's Hôtel Tambonneau, but Vaux was the first chateau to incorporate this change. Even more unusual, the main rooms are all on the ground floor rather than the first floor (the traditional piano nobile). This accounts for the lack of a grand staircase or a gallery, standard elements of most contemporary chateaux. Also noteworthy are corridors in the basement and on the first floor, which run the length of house, providing privacy to the rooms they access. Up to the middle of the 17th century, corridors were essentially unknown. Another feature of the plan, the four pavilions, one at each corner of the building, is more conventional.
Vaux-le-Vicomte was originally planned to be constructed in brick and stone, but after the mid-century, as the middle classes began to imitate this style, aristocratic circles began using stone exclusively. Rather late in the design process, Fouquet and Le Vau switched to stone, a decision that may have been influenced by the use of stone at François Mansart's Château de Maisons. The service buildings flanking the large avant-cour to the north of the house remained in brick and stone, and other structures preceding them were in rubble-stone and plaster, a social ranking of building materials that would be common in France for a considerable length of time thereafter.[9]
The main chateau is constructed entirely on a moated platform, reached via two bridges, both aligned with the central axis and placed on the north and south sides. The moat is a picturesque holdover from medieval fortified residences, and is again a feature that Le Vau may have borrowed from Maisons. The moat at Vaux may also have been inspired by the previous chateau on the site, which Le Vau's work replaced.
The bridge over the moat on the north side leads from the avant-cour to an ample forecourt, flanked by raised terraces on either side, a layout evoking the cour d'honneur of older aristocratic houses in which the entrance court was enclosed by anterior wings, typically housing kitchens and domestic quarters. Le Vau's terraces even terminate in larger squares suggesting former pavilions. In more modern residences, like Vaux, it had become the custom to put these facilities in the basement, so these structures were no longer needed. This U-shaped plan of the house with the terraces is a device that again recalls Maisons, where Mansart intended "to indicate that his château was conceived in a noble tradition of French design while at the same time emphasizing its modernity in comparison to predecessors."
The entrance front of the main chateau is characteristically French, with the two lateral pavilions flanking a central avant-corps, again reminiscent of Mansart's work at Maisons. Le Vau supplements these with two additional receding volumes between the pavilions and the central mass. All of these elements are further emphasized with steep pyramidal caps. Such steep roofs were inherited from medieval times and, like brick, were rapidly going out of fashion. Le Vau would never use them again. The overall effect at Vaux, according to Andrew Ayers, is "somewhat disparate and disorderly". Moreover, as David Hanser points out, Le Vau's elevation violates several rules of pure classical architecture. One of the most egregious is the use of two, rather than three, bays in the lateral pavilions, resulting in the uncomfortable placement of the pediments directly over the central pilaster. Ayers does concede however that, "although rather ungainly, the entrance facade at Vaux is nonetheless picturesque, in spite, or perhaps because, of its idiosyncrasies."
The garden front of the main chateau is considered more successful. The enormous, double-height Grand Salon that substantially protrudes from the corps de logis clearly dominates the southern elevation. The salon is covered by a huge slate dome surmounted with an imposing lantern and is fronted with a two-storey portico that is almost identical to one at the Hôtel Tambonneau. The use of a central oval salon is an innovation adopted by Le Vau from Italy. Although he himself had never been there, he undoubtedly knew from drawings and engravings of examples in buildings, such as the Palazzo Barberini in Rome, and had already used one to great effect at his Château du Raincy. At Le Raincy the salon spans the corps de logis and projects on both sides, but at Vaux, because of the double row of rooms, it is preceded by the vestibule on the entrance side, "thus delaying and dramatizing the visitor's discovery of this, the centrepiece of the house." The lateral pavilions of the garden facade project only slightly but are three bays wide with traditional tall slate roofs like those on the entrance front, effectively balancing the central domed salon.











Le Nôtre created a magnificent scene to be viewed from the house, using the laws of perspective. Le Nôtre used the natural terrain to his advantage. He placed the canal at the lowest part of the complex, thus hiding it from the main perspectival point of view. Past the canal, the garden ascends a large open lawn and ends with the Hercules column added in the 19th century. Shrubberies provided a picture frame to the garden that also served as a stage for royal fêtes.

Le Nôtre

Le Nôtre employed an optical illusion called anamorphosis abscondita (which might be roughly translated as 'hidden distortion') in his garden design in order to establish decelerated perspective. The most apparent change in this manner is of the reflecting pools. They are narrower at the closest point to the viewer (standing at the rear of the château) than at their farthest point; this makes them appear closer to the viewer. From a certain designed viewing point, the distortion designed into the landscape elements produces a particular forced perspective and the eye perceives the elements to be closer than they actually are. That point, for Vaux-le-Vicomte, is at the top of the stairs at the rear of the château. Standing atop the grand staircase, one begins to experience the garden with a magnificent perspectival view. The anamorphosis abscondita creates visual effects, which are not encountered in nature, making the spectacle of gardens designed in this way extremely unusual to the viewer (who experiences a tension between the natural perspective cues in his peripheral vision and the forced perspective of the formal garden). The perspective effects are not readily apparent in photographs, either, making viewing the gardens in person the only way of truly experiencing them.

From the top of the grand staircase, this gives the impression that the entire garden is revealed in one single glance. Initially, the view consists of symmetrical rows of shrubbery, avenues, fountains, statues, flowers and other pieces developed to imitate nature: the elements exemplify the Baroque desire to mold nature to fit its wishes, thus using nature to imitate nature. The centrepiece is a large reflecting pool flanked by grottos holding statues in their many niches. The grand sloping lawn is not visible until one begins to explore the garden, when the viewer is made aware of the optical elements involved and discovers that the garden is much larger than it looks. Next, a circular pool, previously seen as ovular due to foreshortening, is passed and a canal that bisects the site is revealed, as well as a lower level path. As the viewer continues on, the second pool shows itself to be square and the grottos and their niched statues become clearer. However, when one walks towards the grottos, the relationship between the pool and the grottos appears awry. The grottos are actually on a much lower level than the rest of the garden and separated by a wide canal that is over half a mile (almost a kilometre) long. According to Allen Weiss, in Mirrors of Infinity, this optical effect is a result of the use of the tenth theorem of Euclid's Optics, which asserts that "the most distant parts of planes situated below the eye appear to be the most elevated".
In Fouquet’s time, interested parties could cross the canal in a boat, but walking around the canal provides a view of the woods that mark what is no longer the garden and shows the distortion of the grottos previously seen as sculptural. Once the canal and grottos have been passed, the large sloping lawn is reached and the garden is viewed from the initial viewpoint’s vanishing point, thus completing the circuit as intended by Le Nôtre. From this point, the distortions create the illusion that the gardens are much longer than they actually are. The many discoveries made as one travels through the dynamic garden contrast the static view of the garden from the château.


Ties The Book of Public School Old Boys, University, Navy. Army, Air Force & Club Ties Hardcover – 1968 by James. Laver

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Review
By Andrew S. Rogerson 5 August 2012 -
Produced in 1968 and introduced (though not written) by British costume historian James Laver, this is a remarkably thorough look at the title topic. As the first paragraph of the preface says, "As far as we can trace, this is the first book to be published that illustrates a large number of the best-known ties of Britain, as well as some from Commonwealth countries. We believe it will be extremely useful both to those whose work involves ties and to all those who are interested in them."

How useful it is will be evident to anyone familiar with South Carolina menswear retailer Ben Silver, who produces ties based on many of the same old boys, university, etc. designs catalogued in this book. The descriptions in their catalog and on their website seem to draw extensively from the information in this book. I say that not as a criticism, but just to point out that this is indeed a reference still in use today.

Which isn't to say it's perfect. Great as the full-color plates are, reproducing 21 or more ties on a page desn't allow for much detail, particularly on crested ties. And one area where the descriptions are incomplete (and where Ben Silver's descriptions in fact add value) is in listing the colors on each tie (while the plates do show color, it would be nice if they were named). This book is supplemented, but not made obsolete, by the later volume Ties of Distinction (Schiffer Book for Designers & Collectors). Get the other too if this is something you're interested in. But if a chance does arise to grab a copy of this at a non-extortionate price, do so.







Fiat 500 / VIDEO: Fiat 500 Anniversario – “See you in the future” (Web extended version)

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 In 1949, Fiat released the front engine Fiat 500 economy car to meet the demands of the post-war market. It had a 2-door coupe body with sun-roof, which was later complemented by an Estate version. Both continued until 1954 when they were replaced by an all-new, lighter car. The new car had a rear-mounted engine, on the pattern of the Volkswagen Beetle, just like its bigger brother the 1955 Fiat 600. Several car makers followed the now uncommon rear engine configuration at the time and were quite successful. The Neckar version of the 500 was manufactured in Heilbronn under a complicated deal involving NSU, and was introduced in October 1961. Steyr-Puch produced cars based on the Fiat 500 under license in Graz, Austria.

Despite its very small size, the 500 proved to be an enormously practical and popular vehicle throughout Europe. Besides the two-door coupé, it was also available as the "Giardiniera" estate; this variant featured the standard engine laid on its side, the wheelbase lengthened by 10 cm (3.9 in) to provide a more convenient rear seat, a full-length sunroof, and larger brakes from the Fiat 600.

Sports models were famously produced by Abarth, as well as by Giannini. An Austrian variant, produced by Steyr-Daimler-Puch, the 1957–1973 Steyr-Puch 500, had a motorcycle-derived Puch boxer twin motor, a sports model of which was the 1965–1969 Steyr-Puch 650 TR2.

Production of the 500 ended in 1975, although its replacement, the Fiat 126, was launched two years earlier. The 126 was never as popular as its predecessor in Italy, but was enormously popular in the former Eastern Bloc countries, where it is famed for its mechanical durability and high fuel economy. The Fiat 500 has a Cx (aerodynamic resistance coefficient) of 0,38, a very good performance for its time

The Fiat 500 (Italian: Cinquecento ) was a rear-engined two-door, four seat, small city car manufactured and marketed by Fiat Automobiles from 1957 to 1975 over a single generation in 2-door saloon and 2-door station wagon bodystyles.

Launched as the Nuova (new) 500 in July 1957, as a successor to the 500 "Topolino", it was a cheap and practical little town car. Measuring 2.97 metres (9 feet 9 inches) long, and originally powered by a 479 cc two-cylinder, air-cooled engine, the 500 was still 24.5 centimetres (9.6 inches) smaller than Fiat's 600, launched two years earlier, and is considered one of the first purpose designed city cars.

In 2007, the 50th anniversary of the Nuova 500's launch, Fiat launched another new 500, stylistically inspired by the 1957 Nuova 500, featuring a front-mounted engine and front-wheel drive.




New & Lingwood Shirtmakers, Hosiers and Shoemakers / London Day 3 - The Best of Luxury Shopping on Jermyn Street, Old Bond St...

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New & Lingwood
Shirtmakers, Hosiers and Shoemakers
New & Lingwood is a world-renowned menswear company which was established in 1865 in Eton to serve the scholars of Eton College. It has continued since then to act as the official outfitters to the College from its original premises at 118 High Street, Eton, fitting out in many cases five generations of the same family.










Diana: The Last Days

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“As soon as the world heard the news of the death of Diana, Princess of Wales in a crash in Paris on 31 August 1997, many questions began to be asked by people who believed it was a conspiracy and not an accident: was she engaged to Dodi Fayed? was she pregnant with Dodi's child? why did the ambulance take so long to get to the hospital? what were the roles of the 'blinding white flash' and the Fiat Uno? were the blood samples taken from the driver switched before testing? Martyn Gregory has interviewed close friends of Diana, the bodyguards who were with her and now for this revised and updated edition the head of the French investigation to delve into the real truth behind the crash. He answers all of these questions and more in an authoritative, exhaustively researched and utterly compelling book that reveals what really happened in Diana's last hours.”
Diana: The Last Days Hardcover – September, 2004
by Martyn Gregory 



Beach BBQs with Dodi, rows with bodyguards and that 'engagement ring'... The truth about the last week of Princess Diana's life

Martyn Gregory
24 AUGUST 2017 • 12:20PM

It turned out to be a terrible decision, but Diana,  Princess of Wales, chose to spend her final summer in the company of the Fayedeen – billionaire businessman Mohamed Fayed’s retinue of family, staff, PR and security – in Fayed boats, apartments and hotels. Having been invited on holiday with the Harrods boss, Diana started her relationship with his son, Dodi, in July 1997.

Unbeknown to her, Dodi was at the time holidaying with his American fiancée, Kelly Fisher – a Calvin Klein model. Dodi was sleeping with Kelly on one of the Fayed boats, while courting Diana on another – the Jonikal, a 150ft luxury yacht Mohamed had bought specifically to entertain the Princess. It was only six weeks after they met that Diana and Dodi were killed in a fatal Paris car crash.

Mohamed Fayed has since spent tens of millions of pounds attempting to expunge the Fayed name from the following sequence of events.

When she died, Diana was travelling from a Fayed hotel to a Fayed apartment. She was in a Fayed car, sitting next to Fayed’s son and heir, Dodi. The driver, Henri Paul, was not a chauffeur.

He was the acting head of the Hôtel Ritz Paris security who had been recalled from an evening off by the Fayeds – father and son – to return Diana and Dodi to the Arsène Houssaye apartment – their luxury accommodation just off the Champs-Élysées.

In over a decade of Ritz service, Paul had never driven any member of the Fayed family anywhere, ever. Neither Fayed had any reason to believe that Paul had been drinking. Nor did the two Fayed bodyguards, who were responsible for the couple’s safety.

A sad irony of Diana’s last journey was that chauffeurs Philippe Dourneau and Jean-François Musa, who had driven the couple to the Ritz for their last meal, had been waiting for them at the front of the hotel.

No qualified French chauffeur has ever been involved in a fatal accident. Dourneau and Musa later made their way to the Alma-tunnel crash site, and were devastated to discover that Paul had been at the wheel.

28/29 August 1997

This day was a most significant one for Diana – exactly one year earlier she had been divorced from the Prince of Wales. She toasted the moment in champagne with Dodi on the Jonikal. 

The following evening, the couple celebrated with a barbecue on a small beach in Sardinia. According to their butler, Rene Delorme, this was one of the most romantic nights of their summer together. Dressed in an evening suit and bow tie, he served them with caviar.

The Jonikal’s chef prepared barbecued chicken burgers, pork and smoked sausages. The next day, they flew from Olbia in Sardinia to Paris. The couple – and their Fayed bodyguards, Kes Wingfield and Trevor Rees-Jones – touched down at Le Bourget airport at lunchtime.

Close friends say that Diana had been reluctant to go to Paris, and wanted to go straight home to see her sons. Her summer with Dodi was at an end, but he had insisted on a final flourish in Paris, where some of his family’s proudest possessions  are to be found.

Unsurprisingly, their flight was met by the paparazzi, and the final pursuit of Diana then began. The Fayed PR team had made the most of the Diana factor since ‘The Kiss’ picture in  the Sunday Mirror in August had alerted the world to the romance. PR supremo Max Clifford told me that even he had  been made aware of Dodi’s intention to visit Paris before returning to the UK.

As soon as they got into their limousine at the airport, driven by Dodi’s personal chauffeur, Dourneau, they were chased by paparazzi on motorbikes. Dodi was upset by this and instructed Dourneau to drive fast to try to lose them.


Princess Diana was also upset. Dourneau recalls her screaming at him to ‘slow down’ so he would not hit a photographer as they hurtled around the périphérique. The seasoned chauffeur managed to lose the paparazzi altogether with a deft manouevre to exit the Paris ring road.

His task was made easier as no one had any idea where Dodi was taking the Princess. According to Dourneau, Diana was trying to soothe his boss during their journey. ‘Don’t worry Dodi,’ he recalls her saying, as she placed a hand on his knee.

30 August 1997 - 15:45

Their first destination was the Villa Windsor, which Mohamed Fayed has rented from the Paris authorities for decades. (It is thought unlikely that Dodi told Diana that the previous month he had given his then fiancée, Kelly Fisher, an identical tour.)

The villa is the former home of the exiled King Edward VIII and his American wife, Wallis Simpson – the Duke and Duchess of Windsor. It lies in the Bois de Boulogne on the edge of Paris. Although Diana told friends that she was ‘blissfully happy’, while she was in Paris she did not enjoy the Villa Windsor visit.

Later that afternoon, she confided in one  journalist that ‘it has a history and ghosts of its own and I have no wish to follow that’.

They then went to the Ritz. Diana would have been familiar with the hotel as the couple had visited it secretly for a brief stay in July. Claude Roulet, assistant to the president of the Ritz, welcomed them. He was also a historian who was writing a book about the hotel. He remembers asking Diana if he should address her as ‘Lady Dee’ – as most French people called her. Placing her hand on his arm, she told him, ‘Just call me Di.’

While Diana had her hair done by a Ritz stylist, Dodi visited the jeweller Repossi in the Place Vendôme. Although only 80 metres from the Ritz, Dodi instructed Dourneau to drive him there.

He emerged with only a brochure, but he had arranged purchase of what was to become a controversial gold and diamond ring. After the couple died, Mohamed Fayed claimed that it was an engagement ring, as did Alberto Repossi himself.

Roulet accompanied Dodi to the jewellers. He does not recall either man mentioning ‘engagement’ as the ring  was selected. Roulet later collected it. When he gave it to Dodi, he asked if he intended to give the ring to Diana that night. Dodi said he did not know. There is no evidence that Diana ever saw the ring. It was later recovered from the Fayed apartment on rue Arsène Houssaye.

Mohamed Fayed paid for the ring after the couple died.  It was later put on display in Harrods. Despite the fact that  there was no evidence to support the claim, it was described as the couple’s ‘engagement ring’.

30 August 1997 - 21:45

After leaving the Ritz, the couple  spent a couple of hours in the Arsène  Houssaye apartment until two Fayed vehicles arrived to collect them and take them to the trendy Chez Benoit restaurant, where Claude Roulet had booked a table for them (in his own name) and was awaiting their arrival.

However, dozens of paparazzi had gathered outside the apartment; an agency had already put their pictures (from their arrival at Le Bourget) on the wires and word was out. The presence of the same two cars outside – one driven by Dourneau, which would take the couple, and the other  by Jean-Francois Musa for the bodyguards – indicated that departure was imminent.

As soon as their car moved off, the paps behaved like real devils
Bodyguard Kes Wingfield remembers the chaotic scenes outside the Arsène Houssaye apartment. ‘As soon as their car moved off, the paps behaved like real devils. They called for their bikes and sped off like fools, trying to stick to the car. They could have knocked over pedestrians. People flattened themselves against walls as their bikes mounted the pavements  and sped past.’

‘They were all around us,’ recalls Dourneau. ‘At the sides, in front, behind. Some acted as scouts, riding ahead of us to find out where we were going.’

Unfamiliar with being pursued like this, a furious Dodi ditched his Chez Benoit idea en route. He told Dourneau to head for the protection of the Ritz. The photographers would not be able to get in and the couple could regain some privacy after the shambles of their apartment exit.

Dodi chose to blame the bodyguards for what he described as the ‘f— up’ of their final journey. The bodyguards countered by telling Dodi that it had been impossible for them to prepare for it, as they had no idea that the hotel would be their destination.

They had thought they were going to Chez Benoit. The couple were last seen on the hotel’s CCTV. Despite the photographers’ best efforts, they failed to get a single picture of the Diana and Dodi out together in Paris.

Diana looked disconsolate as she entered the Ritz for the last time. The couple went straight to the L’Espadon restaurant. They ordered food but Diana was clearly upset. Fellow diners reported that they saw her crying as she ordered before they decamped to the Imperial Suite for their final meal to be served.

CCTV later captured Dodi emerging from the suite and talking to the bodyguards around midnight. He told them that he had devised a plan to evade the paparazzi when they left the hotel. It was in this conversation that his and Diana’s fates were sealed.

Dodi’s ‘plan’ was to leave the Ritz with Diana by the rear entrance. He had asked staff to whistle up another Mercedes which, he told the bodyguards, would be driven by Henri Paul. Wingfield and Rees-Jones, said Dodi, were not to accompany them.

Their role would be to ‘create a diversion’ by taking the two limousines from the front of the hotel. Both bodyguards strongly objected to the idea of Diana being allowed to leave the hotel without security. And neither man believed they would be best deployed as decoys.

Dodi countered by saying that his plan had been ‘OK’d with MF’ – which meant ‘my father’, Mohamed Fayed. All now knew the argument was over. MF called the shots in the Ritz, as he had throughout the couple’s French holiday.

It was the best “plan” Dodi had ever come up with. And it were crap
Wingfield, a plain-speaking Yorkshireman, later told me, ‘It was the best “plan” Dodi had ever come up with. And it were crap.’

Fayed himself has given several different versions of this final conversation with Dodi. Characteristically all his versions omit mention of Henri Paul, or his own responsibility for standing down Dourneau and Musa, the regular Fayed chauffeurs, who were awaiting the couple at the front of the Ritz.

31 August 1997 - 00:18

Whatever the content of the final Fayed family conversation, another  Mercedes appeared at the back of the Ritz. Diana, Dodi and Henri Paul are captured on CCTV waiting, and then leaving at 12.18am. Because of the bodyguards’ objections, Dodi had agreed to take one of them: Trevor Rees-Jones.

Five minutes later, Henri Paul drove the Mercedes into pillar 13 of the Place l’Alma underpass and died instantly, as did Dodi Fayed. Trevor Rees-Jones was to be the only survivor despite savage injuries. None of them had been wearing seatbelts.

Princess Diana was cut out of the car by the French emergency service SAMU. She had been critically injured and she had  a heart attack at this time. Because her blood pressure was  dangerously low she was driven extremely slowly to the Pitié-Salpêtrière Hospital. However, despite the best efforts of top emergency surgeons, Diana was declared dead at 4am.

In the French Investigation, Judge Hervé  Stéphan concluded in his report that Henri Paul hit the  pillar without touching the Mercedes’ brakes, driving at between 61 and 63mph. (The speed limit is 30mph.) Paul was also drunk.

The French legal driving limit is 0.50 grams of alcohol per litre. Paul’s blood samples showed he had a level of 1.74g/litre. Ritz bills indicated that he had drunk two pastis there, and it is thought that he must have been drinking prior to his return to the hotel.

At Paul’s parents’ request, a second set of tests were performed which were videotaped. The results were identical. The judge decided that none of the chasing photographers or paparazzi should be prosecuted.

Expert forensic analysis of white paint scrapes on the crashed Mercedes by technicians at the Institut de Recherche Criminelle de la Gendarmerie Nationale established that the Mercedes had brushed a white Fiat Uno immediately before the crash.

No one claimed to have seen the Fiat in the Alma tunnel at the time of the crash. However, witnesses later confirmed that they had seen an Uno exiting the tunnel. Despite a nationwide search, the Fiat was never found.

Before Diana’s corpse had reached the Hammersmith and Fulham mortuary in London for its autopsy on 31 August 1997, Fayed had dispatched Ritz officials to French police to inform them that, as Dodi’s father, he suspected ‘a conspiracy to murder’ the couple.

The Ritz hotel president, Frank Klein, and his assistant, Claude Roulet, were tasked with transmitting this initial piece of fake news. Before the 2007 UK inquests, Fayed spent tens of millions of pounds in an apparent attempt to distance his family from any responsibility for Diana’s death.

 The final journey: Trevor Rees-Jones (left), and Henri Paul leaving the Ritz with Diana and Dodi
Trevor Rees-Jones (left), and Henri Paul leaving the Ritz with Diana and Dodi CREDIT: GETTY IMAGES
Headed by former Metropolitan police chief Sir John Stevens in 2006, Operation Paget was to investigate all of Fayed’s 175 ‘conspiracy to murder’ theories in the build-up to the inquest. Not one shred of credible evidence to support any of these charges was found.

The massive 832-page report, which appeared to redefine the meaning of the word ‘comprehensive’,  was definitive. At 500,000 words long, the report concluded that, ‘There was no conspiracy to murder any of the occupants of the car. This was a tragic accident.’

Well-informed legal sources estimate that Fayed spent at least £50 million on the 2007/2008 London inquests into Diana and Dodi’s deaths. He hired three of the UK’s leading QCs, plus appropriate legal support to represent himself, his hotel and Henri Paul’s parents. 

However, Fayed himself was humiliated and ridiculed in the witness box. He scattered accusations of a vast plot to kill the couple encompassing British and French security, police, medical and judicial services as well as the Duke of Edinburgh, Tony Blair, his own bodyguards, even Henri Paul, without being able to produce evidence for any of them.

No one who was not an employee, in his pay or a client, gave support to his claims. Fayed told the inquest that he would accept the jury’s finding. However, he then spent more millions producing a film, Unlawful Killing, about the deaths. (The film was never seen in the UK as Fayed’s own lawyers reportedly advised  87 cuts would have to be made.)

A telling moment occurred mid-inquest when the coroner, Lord Justice Scott Baker, interrupted Fayed’s QC, Michael Mansfield, and told him to ‘tether his allegations to evidence’. He was concerned that the inquests, which eventually ran  for six months, might never end.

Unable to achieve this, as there was no evidence to support his case, Mansfield told the court that the couple had been murdered in a criminal conspiracy by the British Establishment, allegedly led by the Duke of Edinburgh. 

Eventually the QC and his client had to accept the jury’s  verdict. Princess Diana and Dodi Fayed had been ‘unlawfully killed’ by ‘grossly negligent driving’.

Neither bodyguard on duty that night in Paris had approved the security arrangements that were to kill the woman who became known, on the day she died, as the ‘People’s Princess’.
Diana, The Last Days, by Martyn Gregory, is published  by Virgin B

The princess myth: Hilary Mantel on Diana

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The princess myth: Hilary Mantel on Diana

The Wolf Hall novelist on the 20th anniversary of the death of the Princess of Wales, an icon ‘only loosely based on the young woman born Diana Spencer’

Saturday 26 August 2017 06.00 BST

Royal time should move slowly and by its own laws: creeping, like the flow of chrism from a jar. But 20 ordinary years have jog-trotted by, and it’s possible to have a grownup conversation with someone who wasn’t born when Diana died. Her widower is long remarried. Her eldest son, once so like her, shows signs of developing the ponderous looks of Philip, his grand-father. Diana should be as passe as ostrich plumes: one of those royal or quasi-royal women, like May of Teck or Wallis Simpson or the last tsarina, whose images fade to sepia and whose bones are white as pearls. Instead, we gossip about her as if she had just left the room. We still debate how in 1981 a sweet-faced, puppy-eyed 20-year-old came to marry into the royal house. Was it a setup from the start? Did she know her fiance loved another woman? Was she complicit, or was she an innocent, garlanded for the slab and the knife?

For some people, being dead is only a relative condition; they wreak more than the living do. After their first rigor, they reshape themselves, taking on a flexibility in public discourse. For the anniversary of her death, the princess’s sons remember her for the TV cameras, and we learn that she was “fun” and “very caring” and “a breath of fresh air”. They speak sincerely, but they have no news. Yet there is no bar on saying what you like about her, in defiance of the evidence. Private tapes she made with her voice coach have been shown in a TV documentary, Diana: In Her Own Words. They were trailed as revealing a princess who is “candid” and “uninhibited”. Yet never has she appeared so self-conscious and recalcitrant. Squirming, twitching, avoiding the camera’s eye, she describes herself hopefully as “a rebel”, on the grounds that she liked to do the opposite of everyone else. You want to veil the lens and explain: that is reaction, not rebellion. Throwing a tantrum when thwarted doesn’t make you a free spirit. Rolling your eyes and shrugging doesn’t prove you are brave. And because people say “trust me”, it doesn’t means they’ll keep your secrets.

Yet royal people exist in a place beyond fact-correction, in a mystical realm with rules that, as individuals, they may not see; Diana consulted psychics to work out what was going on. The perennial demand for them to cut costs and be more “down to earth” is futile. They are not people like us, but with better hats. They exist apart from utility, and by virtue of our unexamined and irrational needs. You can’t write or speak about the princess without explicating and embellishing her myth. She no longer exists as herself, only as what we made of her. Her story is archaic and transpersonal. “It is as if,” said the psychotherapist Warren Colman, “Diana broadcast on an archetypal frequency.”

Though she was not born royal, her ancestors were ancient power-brokers, dug more deeply into these islands than the Windsors. She arrived on the scene in an era of gross self-interest, to distract the nation from the hardness of its own character. As she correctly discerned, “The British people needed someone to give affection.” A soft-eyed, fertile blond, she represented conjugal and maternal love, and what other source did we have? Until Tony Blair took office as a fresh-faced Prince Charming we had female leaders, but they were old and their cupboards were bare of food and love: a queen who, even at Diana’s death, was reluctant to descend from the cold north, and a prime minister formerly known as Maggie Thatcher, Milk Snatcher.

The princess we invented to fill a vacancy had little to do with any actual person. Even at the beginning she was only loosely based on the young woman born Diana Spencer, and once she was engaged to the Prince of Wales she cut adrift from her modest CV. In the recent documentary Diana, Our Mother, her son Harry spoke of her as “an ordinary 20-year-old”; then checked himself, remembering she was an aristocrat. But in some ways his first thought was right. Like a farmer’s daughter, Diana married the boy across the hedge – she grew up near the queen’s estate at Sandringham. As the third daughter born to Viscount Althorp, she was perhaps a disappointment. The family’s previous child, a son, had died within hours of birth, and Spencer and his wife Frances had to try again for an heir. The Jungian analyst Marion Woodman posits that unwanted or superfluous children have difficulty in becoming embodied; they remain airy, available to fate, as if no one has signed them out of the soul store. By Diana’s cradle – where the witches and good fairies do battle – stood a friend of the Queen Mother, her maternal grandmother Ruth Fermoy. When Diana was six, Frances left her young family. Fermoy took sides against her daughter and helped Spencer get custody of his four desolate children. Later, promoted to his earldom, he remarried without telling them. Diana is said to have expressed her views by pushing her stepmother downstairs.

Diana’s private education implanted few cultural interests and no sense of their lack. She passed no public exams. But she could write a civil letter in her rounded hand, and since she didn’t have to earn a living, did it matter? In Diana: In Her Own Words, she speaks of her sense of destiny. “I knew … something profound was coming my way … I knew I was different from my friends …” Like Cinderella in the kitchen, she served an apprenticeship in humility, working as an upper-class cleaner, and in a nursery mopping up after other people’s babies. Then the prince came calling: a mature man, with a history of his own.

By her own account, Diana was not clever. Nor was she especially good, in the sense of having a dependable inclination to virtue; she was quixotically loving, not steadily charitable: mutable, not dependable: given to infatuation, prey to impulse. This is not a criticism. Myth does not reject any material. It only asks for a heart of wax. Then it works subtly to shape its subject, mould her to be fit for fate. When people described Diana as a “fairytale princess”, were they thinking of the cleaned-up versions? Fairytales are not about gauzy frocks and ego gratification. They are about child murder, cannibalism, starvation, deformity, desperate human creatures cast into the form of beasts, or chained by spells, or immured alive in thorns. The caged child is milk-fed, finger felt for plumpness by the witch, and if there is a happy-ever-after, it is usually written on someone’s skin.

In a TV interview before the marriage – the “ghastly interview,” as Diana called it – Charles wondered quizzically, “whatever ‘in love’ means”. He has been blamed ever since for destroying the simple faith of a simple maid. But off-camera, Diana was preparing. Her choice of hymn makes the marriage a patriotic duty, like signing up for a war:

By Diana’s later account, the wedding day was “the worst day of my life”. But at the time – July 1981 – she looked dazed with happiness. Even for republicans there was much to enjoy. A great city en fête. The oily reverence of the commentators with their peculiar word order: “For the first time through the centre gateway of Admiralty Arch arrives Lady Diana …” Best of all, the outfits: Princess Anne dressed as an Easter egg, wearing a furious scowl. Diana’s entrance into legend prompted a national gasp, as she tumbled from her coach like a bride in a bag. Her gown unfolded perfectly, like a paper flower. But some palace lackey had erred; the vehicle was too cramped for a tall flouncing lassie and her frock.

It takes a lot a lot of know-how and behind-the-scenes sweat to transform Cinderella from dust-maid to belle. Fairytales do not describe the day after the wedding, when the young wife lost in the corridors of the palace sees her reflection splinter, and turns in panicked circles looking for a mirror that recognises her. Prince Charles’s attitude of anxious perplexity seems to have concealed an obtuseness about what the marriage meant to his bride. The usual young woman of the era had a job, sexual experience, friends who stayed within her circle – her wedding was simply a big party, and she probably didn’t even move house. But Diana’s experience as daughter of a landed family did not prepare her for Buckingham Palace, any more than Schönbrunn prepared the teenage Marie Antoinette for Versailles. It was Diana’s complaint that no one helped her or saw her need. Fermoy had expressed doubts before the marriage. “Darling, you must understand that their sense of humour and their lifestyle are different …” The bathos is superb. “Mind how you go,” say the elders, as they tip off the dragon and chain the virgin to the mossy rock.

What would have happened to Diana if she had made the sort of marriage her friends made? You can picture her stabled in the shires with a husband untroubled by brains: furnishing a cold house with good pieces, skiing annually, hosting shoots, stuffing the children off to board: spending more on replenishing the ancestral linen cupboard than on her own back. With not too much face-paint, jacket sleeves too short for her long arms, vital organs shielded by a stout bag bought at a country show, she would have ossified into convention; no one would have suspected her of being a beauty. Like many women in mid-life, she would have lived in a mist of discontent, struggling to define something owing, something that had eluded her. But in her case the “something” would have been the throne.

Even in childhood photos Diana seems to pose, as if watching her own show. Her gaze flits sideways, as if to check everyone is looking at her. One “friend” told a TV crew that as a teenager, “whenever you saw her alone she would have picked up some trashy romantic novel”. Leave aside the casual denigration of women’s taste: if Diana imagined herself – the least and youngest daughter – as magnificent, all-conquering, a queen, she had a means of turning her daydream into fact. Diana claimed that she and the prince met only 13 times before their wedding. Did she keep a note? She lacked self-awareness, but had strong instincts. It must have been child’s play – because she was anxious to please, or because she was crafty – to seem to share his visions and concerns. An earnest look, a shy silence, job done. Chaste maids were not too plentiful in the 1980s. The prince took advice: snap her up, sir.

Diana was no doubt really shy, and certainly unused and unformed: a hollow vessel, able to carry not just heirs but the projections of others. After marriage she had power that she had not sought or imagined. She had expected adulation, but of a private kind: to be adored by her prince, respected and revered by her subjects. She could not have imagined how insatiable the public would be, once demand for her had been ramped up by the media and her own tactics. In her circle there were no solid witnesses to the nature of reality – only those who, by virtue of their vocation, were fantasists, exalting sentiment, exploiting the nation’s infantile needs, equating history with the history of a few titled families. She had a sense of her own fitness to be princess, and unfitness for any other role. But she had no sense of the true history in which she was now embedded, or the strength of the forces she would constellate. At first, she said, she was afraid of the crowds who gathered to adore her. Then she began to feed on them.

When Diana became the most famous woman in the world, it is not surprising that less popular members of the Firm were miffed. The queen herself had been a beauty, but may have thought it vulgar to be too interested in one’s looks. Diana was allowed to interest herself in little else. Her dealings with the press and photographers were not innocent. The images had to be carefully curated – her good side, so to speak. There were unacceptable angles. And when an image is created by the lens it can fuzz and slip and blur. Unsure of her boundaries, the princess starved herself, as if her healthy frame could pare away to the elfin proportions of the models and dancers who fascinated her. She threw up her food, hacked at herself with a blade. In Diana: In Her Own Words she sneers at her young self – her tone contemptuous, punitive. She cannot forgive that girl, naive heroine of a gothic novel – whose fate is to be locked in a keep by a man of dubious intentions, and to be practised upon by older women who have secrets she needs to know.

In 1992 Charles and Diana separated. In 1996 the dead marriage was buried. This was not what had been negotiated, in the 13 encounters. The prince resumed his old narrative, with the woman he should have married in the first place. Another story had begun to tell Diana. Cut loose, she opened the doors of her identity and all the dead princesses floated in, those deposed and exiled, beheaded and shot. With them came the screen idols and the spoiled glamour girls – Monroe naked and dead, Garbo who wanted to be alone. As we grow up, we aim to be “self-possessed”, not taken over by others. But as the novelist Ivy Compton Burnett says, “People have no chance to grow up. A lifetime is not long enough.”

Isolated by the pique and indifference of the other royals, neglected, crossed in love and bested by Mrs Parker Bowles, she found “affinity”, she said, with the rejected. To her credit, she had begun to work actively to lessen the amount of pain in the world. She visited the sick, and stopped just short of claiming the healing touch that custom bestows on the divinely anointed; had she become queen, she would surely have gone about raising the dead. Legend insists she showed the world that it was safe to shake hands with a person with Aids. Even in the unenlightened days of 1987, only the bigoted and ignorant thought casual contact would infect them, but any gesture from Diana was worth years of public education and millions in funding. She hung around with Mother Teresa, and did it while wearing couture; she moved towards suffering, rather than swerving from it. “When people are dying,” she said, “they’re much more open, more vulnerable, much more real than other people, and I appreciate that.” Among the weak she recovered her strength – transformed from peely-wally puking maid to an Amazon heading to battle. She knew dread diseases would not kill her. Like Joan of Arc, protected by her own magic, she walked unscathed. Campaigning against landmines, she passed through explosive terrain. Her armoured vest was inscribed, “the HALO Trust”. Her blond head gleamed like a fell invitation, inviting a bolt from the blue.

The divorce was a sour one. It is difficult to extract sober truth from the bitching of the sycophants on either side. Diana won the War of the Waleses because she was ruthless, and had better legs. Her withdrawal from publiclife, dramatically announced, suggested that she would emerge as a new model. Possibly this transformation was under way, but it failed to complete, till death completed it. Instead she behaved like a daffy celebrity, and her fans began to laugh at her attempts to hoover up a hero. What kind of mate fits the bill, if your first has been a future king? The chance of an ordinary life of trial and error was what she had rejected long ago – when, as her sisters put it, they printed her face on the souvenir tea towels. But though her sheen was smudged a little by her failures in love, the marks could be polished away. It was possible for the public to hold two views of her simultaneously, and perhaps they were not contradictory: goddesses are not known for propriety. It’s no use saying to a super-being, “Keep your hands off my husband.” She takes and consumes, and spits out the tough bits.

By the time of her Panorama interview, late in 1995, Diana had developed a habit of speaking of herself in the third person. Sphinx-like, unsmiling and with mater dolorosa makeup, she presented herself as both a victim and a person of great power, and though she spoke plainly enough, it was with the mysterious air of one forced to communicate in riddles.

    When she referred to herself as a 'queen of hearts', the blood chilled. She seemed to be reading from her own obituary.

She was too much for the royal family, she said: wasted on them. She saw nothing good for Charles. “Who knows what fate will produce?” It was not a question. In her polite duchessy way, she was cursing him.

But the end of royal status had stripped away Diana’s protection, both practically and mystically. After the Panorama broadcast there was a buzz in the air: a doomy feeling, as if her options were running out. She still played games with the press, but they knew a dirtier game. They spat at her, insulted her to try to draw a reaction. She teased them, and they chased her down, not killing her yet. She is supposed to have feared sinister forces, anticipated that her end was prepared. As every fortune-teller knows, such hints assume precision in retrospect.

A deathbed, once, was a location dense with meaning, a room packed with the invisible presences of angels, devils, ancestors. But now, as many of us don’t believe in an afterlife, we envisage no final justice, no ultimate meaning, and have no support for our sense of loss when “positivity” falters. Perhaps we are baffled by the process of extinction. In recent years, death narratives have attained a popularity they have not held for centuries. Those with a terminal illness scope it out in blogs. This summer the last days of baby Charlie Gard riveted worldwide attention. But what is the point of all this introspection? Even before the funeral, survivors are supposed to flip back to normal. “Keeping busy” is the secret, Prince William has advised.

Grief is exhausting, as we all know. The bereaved are muddled and tense, they need allowances made. But who knows you are mourning, if there is nothing but a long face to set you apart? No one wants to go back to the elaborate conventions of the Victorians, but they had the merit of tagging the bereaved, marking them out for tenderness. And if your secret was that you felt no sorrow, your clothes did the right thing on your behalf. Now funeral notices specify “colourful clothing”. The grief-stricken are described as “depressed”, as if sorrow were a pathology. We pour every effort into cheering ourselves up and releasing balloons. When someone dies, “he wouldn’t have wanted to see long faces”, we assure ourselves – but we cross our fingers as we say it. What if he did? What if the dead person hoped for us to rend our garments and wail?

When Diana died, a crack appeared in a vial of grief, and released a salt ocean. A nation took to the boats. Vast crowds gathered to pool their dismay and sense of shock. As Diana was a collective creation, she was also a collective possession. The mass-mourning offended the taste police. It was gaudy, it was kitsch – the rotting flowers in their shrouds, the padded hearts of crimson plastic, the teddy bears and dolls and broken-backed verses. But all these testified to the struggle for self-expression of individuals who were spiritually and imaginatively deprived, who released their own suppressed sorrow in grieving for a woman they did not know. The term “mass hysteria” was a facile denigration of a phenomenon that eluded the commentators and their framework of analysis. They did not see the active work the crowds were doing. Mourning is work. It is not simply being sad. It is naming your pain. It is witnessing the sorrow of others, drawing out the shape of loss. It is natural and necessary and there is no healing without it.
Princess Diana during a visit to The Royal Botanical Gardens in Melbourne, Australia.
Princess Diana during a visit to The Royal Botanical Gardens in Melbourne, Australia. Photograph: Tim Graham/Getty Images

It is irrelevant to object that Diana alive bore no resemblance to Diana dead. The crowds were not deluded about what they had lost. They were not mourning something perfect, but something that was unfinished. There was speculation that Diana might have been pregnant when she died. Was something of startling interest evolving beneath her skin – another way of living? The question was left hanging. Her death released subterranean doubtsand fear. Even those who scorn conspiracy theories asked, what exactly is an accident? Why, on the last night of her life, did Diana go below ground to reach her destination? She need not have gone that way. But she didn’t choose – she was driven. Her gods wanted her: she had been out too late.

From her first emergence in public, sun shining through her skirt, Diana was exploited, for money, for thrills, for laughs. She was not a saint, or a rebel who needs our posthumous assistance – she was a young woman of scant personal resources who believed she was basking with dolphins when she was foundering among sharks. But as a phenomenon, she was bigger than all of us: self-renewing as the seasons, always desired and never possessed. She was the White Goddess evoked by Robert Graves, the slender being with the hook nose and startling blue eyes; the being he describes as a shape-shifter, a virgin but also a vixen, a hag, mermaid, weasel. She was Thomas Wyatt’s white deer, fleeing into the forest darkness. She was the creature “painted and damned and young and fair”, whom the poet Stevie Smith described:

    I wonder why I fear so much What surely has no modern touch?

In the TV broadcast last month, Prince William said, “We won’t be doing this again. We won’t speak openly or publicly about her again …” When her broken body was laid to rest on a private island, it was a conscious and perhaps superfluous attempt to embed her in national myth. No commemorative scheme has proved equal or, you might think, necessary. She is like John Keats, but more photogenic: “Here lies one whose name was writ in water.” If Diana is present now, it is in what flows and is mutable, what waxes and wanes, what cannot be fixed, measured, confined, is not time-bound and so renders anniversaries obsolete: and therefore, possibly, not dead at all, but slid into the Alma tunnel to re-emerge in the autumn of 1997, collar turned up, long feet like blades carving through the rain.

To Bill with our warmest regards and the best memories of London Sérgio (JEEVES) & Trudie / The Hornets in Kensington Offers London Men Style, Not Fashion

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To Bill with our warmest regards and the best memories of London
Sérgio (JEEVES) & Trudie

This interview was first published in The Wall Street Journal…

 Known in the vintage-clothes business as “Bill Hornets,” William Hornets Wilde is one of those English gentlemen whom visitors to London imagine the city must be filled with. It isn’t, of course, which is what makes Mr. Wilde and his shops so special.

 He owns three stores in the Kensington area: two for vintage suits, hats and shoes, and a third for seasonal wear—whether that’s tweeds for the shooting season, tails for Ascot or any other esoteric formal-outing requirements.

 Although Mr. Wilde won’t mention names (“I never recognize anybody,” he said), his extensive inventory has made loyal customers out of designers like Ralph Laure and Tom Ford.

 Mostly, though, Mr. Wilde caters to country gentlemen, aristocrats, royal cousins, university students—patrons who prefer to avoid the expense and formality of Jermyn Street and the fickleness of the fashion industry.

 Anyone in the market for say, a bespoke 1960s Anderson & Sheppard kid mohair suit, a vintage alligator-skin suitcase or a ’30s chocolate-brown smoking jacket are well advised to drop in.

 Mr. Wilde, who was also a TV actor in the ’60s and ’70s (now best remembered for his part in “Blood Beast Terror” from the British film studio Hammer), maintains a network of buyers throughout southern England who forage for treasures at estate sales and flea markets.



In-store, Mr. Wilde helps customers with questions of sartorial refinement, promoting his modus operandi (proudly displayed on the Hornets website: “Not Fashion. Style.”

 One should never follow fashion for fashion’s sake. With classic style you stand out from the crowd, with fashion you become one of the crowd.

 The best pair of shoes I own are brown brogues from George Cleverley.

 The great figures of style are the Duke of Windsor, Cary Grant, the present Prince of Wales.

 I prefer French cuffs and straight collars.

 A bow tie can be worn in day time with a jacket or three-piece suit.

The lady on your arm can be extravagant and colorful. You have to be quietly masculine. At Ascot, a morning suit is very simple, but a lady can be fairly outrageous with her hat. A man has to be simple in his dress.

 I wish men wouldn’t tie a hangman’s knot in their scarves, nor wear beanie hats, trainers or colorful silk waistcoats with morning suits. There are more offenses, but they are too terrible to mention.

 My favorite suit was a three-piece chalk-stripe Huntsman. It fit me so beautifully, as if I were poured into it. The pants were cut very high, military style. The waistcoat had small lapels. As I am tall and was slim in those days, it looked fantastic.

 My favorite style of men’s dress is English country clothing: shooting jackets, tweed suits, moleskins and cords.

 My favorite warm weather vacation is on the English Riviera: Dorset, Devon and Cornwall.

 I prefer a dry martini shaken, not stirred, at the St. James Hotel in London.

 The single piece of clothing I’ve had the longest is a ’30s double- breasted tan-colored leather motoring coat.

 My favorite album of all time is Billie Holiday “Lady in Satin.”

 I’ve just got into Agatha Christie’s “Murder on the Orient Express.”

 In the morning I love half a cold game bird from the night before, black coffee and the Times. Then I read and send some emails.

 My favorite hotel is the Grande Bretagne in Athens. Many happy memories.


 —Edited from an interview by Edward Helmore


The Diana Chronicles by Tina Brown

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Years after her death, Princess Diana remains a mystery. Was she "the people's princess," who electrified the world with her beauty and humanitarian missions? Or was she a manipulative, media-savvy neurotic who nearly brought down the monarchy?
Only Tina Brown, former Editor-in-Chief of Tatler, England's glossiest gossip magazine; Vanity Fair; and The New Yorker could possibly give us the truth. Tina knew Diana personally and has far-reaching insight into the royals and the Queen herself.
In The Diana Chronicles, you will meet a formidable female cast and understand as never before the society that shaped them: Diana's sexually charged mother, her scheming grandmother, the stepmother she hated but finally came to terms with, and bad-girl Fergie, her sister-in-law, who concealed wounds of her own. Most formidable of them all was her mother-in-law, the Queen, whose admiration Diana sought till the day she died. Add Camilla Parker-Bowles, the ultimate "other woman" into this combustible mix, and it's no wonder that Diana broke out of her royal cage into celebrity culture, where she found her own power and used it to devastating effect.



Tabloid Princess
By CAROLINE WEBERJUNE 10, 2007

Admittedly, I’m biased. On July 29, 1981, when Lady Diana Spencer married Prince Charles, I was in London with my family. I was 11, and like millions of people, I couldn’t get enough of the “Shy Di” fairy tale: ugly (O.K., gangly) duckling meets handsome (O.K., gangly) prince and becomes luminous royal swan. In the new couple’s honor, I spent a month’s allowance on wedding memorabilia. My prize purchase was a Diana coffee mug with a wide-brimmed ceramic hat. “Only the girls are going in for this lot,” the sales clerk grumbled. He might have been talking about the fairy princess myth itself. Sometimes against their better judgment, women the world over were entranced by the prospect of untold leisure, unequaled glamour and redemptive metamorphosis that this particular myth promised. Ladies, let’s be honest: who really among us hasn’t dreamed of becoming a princess?

With “The Diana Chronicles,” Tina Brown breathes new life into the saga of this royal “icon of blondness” by astutely revealing just how powerful, and how marketable, her story became in the age of modern celebrity journalism. Indeed, while Diana named Camilla Parker Bowles as the third party in her unhappy union, she might also have mentioned a fourth: the media. “She was way ahead of her contemporaries in foreseeing a world where celebrity was, so to speak, the coin of the realm,” Brown writes. “An aristocrat herself, Diana knew that the aristocracy of birth was now irrelevant. All that counted now was the aristocracy of exposure.” And Brown offers an insightful, absorbing account of the pas de deux into which, to her eventual peril, Diana joined with the paparazzi.

As the former editor of Vanity Fair and The New Yorker, Brown certainly has the authority to examine the Princess of Wales as a creation and a casualty of the media glare. Perhaps not incidentally, Brown’s own years in the spotlight were bookended by Diana’s rise and fall. In July 1981, Brown appeared as a “royalty expert” on the “Today” show’s coverage of the Wales wedding. Then the editor of the British gossip magazine Tatler, Brown recalls that “the wedding did for the sales of Tatler ... what the O. J. Simpson chase did for the ratings of CNN. It put us on the map.”

After Diana’s death in August 1997, Brown again placed the magazine over which she presided — this time, The New Yorker — “in the middle” of what was still “the biggest tabloid story in the world,” by publishing a special issue devoted to the princess’ memory. Brown stressed the dramatic difference between the Windsors’ self-styled identity (“local, modest, unsurprising” guarantors of British tradition) and Diana’s (global superstar, unapologetically “shrewd ... at press relations”). The conflicted relationship between the two had been, the historian Simon Schama noted in the same issue, a “wedding of the past and the future: the Radetzky March meets the Tatler cover girl. ... But, as it turned out, the past and the future couldn’t get along.” What’s more — as Brown’s book demonstrates, and as the recent film “The Queen” has also made clear — the future was bound to win, even if it claimed its own leading avatar in the process.

In fact, Diana’s conquest of the camera was bittersweet from the start. In February 1967, when she was 5, her mother, Frances, began an extramarital liaison that led to her parents’ acrimonious divorce. Diana’s father, Johnnie Spencer, retaliated against Frances by gaining custody of the children. But his stiff-upper-lip reaction to the trauma (“speaking in words of one syllable ... and sitting morosely for hours staring out of the window”) made him ill-suited to handle its effects on his offspring, for whom he was able to show affection only by taking “amateur movies and still photographs” of them. As a result, Brown notes, “Diana grew up associating the camera with love,” and striving to give it what it appeared to want in return. Her brother, Charles, told Sally Bedell Smith, a previous biographer, that when Johnnie was filming Diana, “she would automatically sort of make gestures and strike poses.” Honing her star power became, Brown observes, the bereft little girl’s “own way of surviving.”

In theory, this was useful preparation for her relationship with Prince Charles, which first made it into the newspapers in September 1980. By this time, the British press was in a full-scale backlash against “the culture of deference” that had long dominated its society pages. Since Rupert Murdoch’s acquisition of “the prurient News of the World” in 1969 and his reinvigoration, a year later, of The Sun “as a rollicking, up-yours tabloid featuring bare-breasted pinups every day,” England had entered a “racier media age” in which the staid House of Windsor “was acquiring the stale, curdled taste of a British Rail cheese sandwich.” Because “pictures of a middle-aged Princess Margaret churning grandly around the dance floor in her caftan in Mustique hardly moved product” — and Brown should know, having trumpeted that princess’ “Mustique mystique” for The Tatler — “the guessing game of the Prince of Wales’s love life was the sole excitement for the media.” And what excitement it was. The prince was Europe’s most eligible bachelor, and his romantic exploits became fodder for an increasingly rapacious media machine.


Before Diana, Charles had tried to evade the tabloids’ scrutiny by bedding married women, “because the need for secrecy made them ‘safe.’ ” But when he began appearing publicly with Diana — the 19-year-old debutante with a “soft, peachy complexion” and legs that seemed “to extend up to her ears like Bambi” — secrecy ceased to be an option. The paparazzi went wild for the girl who was not only (as an aristocrat, Protestant and self-proclaimed virgin) an ideal royal bride, but also a magnificently photogenic subject. Notwithstanding her “Shy Di” nickname, born of her habit of glancing up coyly at the camera from beneath batting eyelashes, Diana proved “a natural at giving the press what they wanted”: gorgeous pictures. “One by one,” according to Brown, “the hack pack fell in love with her.”

Winning the affection of the press was not, however, the same thing as winning the affection of Prince Charles, as Diana would soon be devastated to learn. One of the more striking revelations in “The Diana Chronicles” is that it was the media just as much as the royal family — ready for Charles to stop dithering and settle down — that propelled him into marriage with a woman he didn’t love. A former royal-watcher for The Sun told Brown: “We really got behind Diana and pushed her towards him. I am absolutely convinced that we the media forced Charles to marry her.”

The prince’s heart belonged to his married girlfriend, Camilla Parker Bowles (now his second wife), but as heir to the throne, he was neither encouraged nor expected to follow his heart. The problem was that the tabloids — and Diana, who consumed them avidly — insisted on a different story line: He’s in Love. Other biographers have attributed the subsequent unraveling of the Waleses’ marriage to Charles’s cruelty (Andrew Morton) or Diana’s mental illness (Sally Bedell Smith), but Brown chalks the disaster up to the bride’s naïve belief in a tabloid fiction. She and the media became partners in ignoring the warning signs from the groom himself, like his now notorious reply when, receiving news of the couple’s engagement in February 1981, a BBC reporter asked Charles if he and his fiancée were in love: “Whatever ‘in love’ means.” Amazingly, Brown points out, “the print press literally erased” the phrase “from their accounts. No one, it seems, wanted to break the spell.” Least of all Diana, who answered the reporter’s “love” question with a giggle: “Of course.”

The bride was in for a rude awakening. And though most of the Waleses’ sordid domestic drama has already been covered at length elsewhere, Brown perceptively highlights the media’s starring role. Once married to Charles, Diana chafed at playing second fiddle not only to Camilla but also to Queen Elizabeth. While still a newlywed, she was deeply offended when Charles offered his mother a drink before her. “I always thought it was the wife first — stupid thought,” she complained afterward. Brown observes that first offering drinks to an older woman — queen or not — “was only basic good manners” and concludes: “Stupid thought, yes, or maybe something worse: the onset of superstar entitlement. ... Six months of adulation from the press had begun to reshape Diana’s worldview.” Offended by the Windsors’ failure to appreciate the qualities everyone else seemed to admire, she turned increasingly to the tabloids to nourish and sustain her.

To that end, Diana became a master of press manipulation, regularly leaking tips and planting stories about both herself and her enemies. She also understood the incomparable power of the image, which led her, at the height of her problems with Charles, to pose for a photograph alone in front of the Taj Mahal, “the monument to marital love.” In one of the book’s many new interviews, John Travolta tells Brown about his legendary dance with Diana at the White House in 1985: “I thought, She not only knows who she is, she knows what this is — and how big this is. She was so savvy about the media impact of it all.”

Yet Diana’s savvy had its limits. For although her public-relations wizardry enabled her repeatedly to upstage and — with the tell-all interviews she did in 1992 and 1995 — humiliate the Windsors, it did more than just give the monarchy an appealing, “human” face. By inviting the press to share in her most intimate experiences, the princess abolished every last vestige of celebrity privacy. And by providing the press with picture after dazzling, salable picture, she stoked “the media’s inexhaustible appetite for celebrity images.” In an extended meteorological conceit, Brown observes: “The sunshine of publicity in which Diana would at first be happy to bask, posing and smiling for the cameras, grew steadily hotter and harsher. As the superheated imperatives of an invasive press bumped up increasingly against the milder human necessity of privacy, scattered rains gave way to drenching gales and then to spectacular and finally lethal hurricanes. ... Diana herself had accelerated the climate change that ended up making her life literally impossible.” Mistakenly, she thought she could “control the genie she had released.”

But the genie pursued her to the end, right into the Pont de l’Alma tunnel in Paris, where a high-speed paparazzi chase culminated in the princess’ death. Lying unconscious and badly wounded in the wreckage of a black Mercedes, Diana continued to inspire the frenzied photographers. As the picture editor of The Sun confessed to Brown, that very evening he initially agreed to pay £300,000 to one of the shutterbugs who had followed the Mercedes into the tunnel for snapshots of its mangled blond occupant. “Even as Diana struggled for life,” Brown writes, “she was being sold as an exclusive.”

Caroline Weber, whose most recent book is “Queen of Fashion: What Marie Antoinette Wore to the Revolution,” is a frequent contributor to the Book Review.


The put-upon princess
Tina Brown's The Diana Chronicles takes the familiar tales and translates them into racier dialect, says Catherine Bennett
 The Diana Chronicles by Tina Brown

Catherine Bennett
Saturday 23 June 2007 23.51 BST First published on Saturday 23 June 2007 23.51 BST

The Diana Chronicles
by Tina Brown
496pp, Century, £18.99

Luckily, perhaps, Princes William and Harry appear to have inherited their family's ancestral indifference to books. It is on the press and television that they focus, writing recently to Channel 4 to complain about the documentary Diana: The Witnesses in the Tunnel: "a gross disrespect to their mother's memory". Memories of Andrew Morton, with whom their mother had colluded, may also explain why similarly pained - if futile - rebukes are rarely levelled at literary scavengers.

Asked by the princes' secretary "if it were your or my mother dying in that tunnel, would we want the scene broadcast to the nation?", a Channel 4 executive might reasonably have replied that his intrusions were as nothing compared with the rogue psychiatry and whiffy speculation that has become almost standard in books about Diana, including such classy additions to the genre as Tina Brown's The Diana Chronicles. In which we find the outgoing prime minister's exclusive reassessment (she taught us "a new way to be British") sharing the same capacious bucket as Brown's relentlessly smutty guesswork. "To keep her company," Brown leers, "there was always what she called 'Le Gaget', the tiny vibrator one of the staff bought for her in Paris as a joke."

Like most of the Chronicles, the existence of "Le Gaget" was previously advertised in a first-generation Diana book (Ken Wharfe, 2003), already rifled by Sarah Bradford for her authoritative 2006 biography, Diana. Contrary to the claims of novelty circulating before publication, Brown's solitary contribution to the archives appears to be the disclosure that the teenage Diana once behaved like a carnivorous Goldilocks, picking all the meat out of her employer's stew.



For the rest, Brown's novelties are confined to changes of emphasis, and to speculation, none of it enough to modify Bradford's compassionate portrait of a dreadfully isolated young woman, whose problems - once you appreciated the misery caused by her mother's exit and her stepmother's equally sudden arrival, the ghastliness of her entire family, and the fact that she was only 20 when Charles and his fellow conspirators started telling her she was mad - seem far from being of her own making.

Then why - if it wasn't for the £1m reason - did Brown volunteer for this massive anniversary cuts job? She has nothing illuminating to add, and seems neither to have liked Diana nor to have found her all that interesting. At Tatler magazine, edited by Brown at the time of the royal engagement, the uneducated princess was apparently considered a pitifully naive "sociological throwback", impressing Tatlerites only with the "tameness of her set". There was "no sign of Lady Diana Spencer or her ilk", Brown emphasises, at a party once attended by her own, much faster circle. "The definitive end-of-decade social event of the 70s was the riotously eclectic fancy dress party in Hampshire to celebrate the 40th birthday of Nicky Haslam, the fashionable decorator ... 'You can always tell a gentleman by the quality of his drugs,' an exuberant Lord Hesketh told me as we stood in line for the buffet."

Regrettably, Tina must break off here from her own, very promising, memoirs and return to translating Morton/Burrell/Jephson/Bradford into a racier dialect that renders lovers "shag mates" ("today's terminology", she assures us), has Dodi's driver putting "the pedal to the metal", Charles preferring "gags over shags", and the effect of Diana's glamour on "cafe society" being to "turbo charge" it.

Even the tragedy of Diana's later years evidently looks a little parochial, from Brown's demanding, transatlantic perspective. Maybe a sprinkle of Hollywood glamour? "While the world was thrilling to the spectacle of Diana's life as a Rodgers and Hammerstein musical," she writes about Highgrove, "her home life was becoming more like something out of Hitchcock. Under a King and I façade lurked a Rebecca-like sinister melodrama ... the shadow of Rebecca is never far away." Just outside Chippenham, to be precise. For the benefit of American readers Brown includes a variety of topographical notes, possibly based on memory. "Gloucestershire", they learn, "has a very wet climate.”


For their part, English readers of this simultaneous translation are schooled in the significance of Diana's disco dance with John Travolta. Her arrival in Brown's world was "an iconic moment ... There was a Hollywood dimension now to Diana's glittering fable of the shy girl who married a dashing prince."

Not for the first time, an iconic photograph would be a bonus. But there are no pictures in the Chronicles, even though images of the acutely self-conscious Diana are, as Brown affirms, key elements in her story: "In an iconic photograph," she writes of the Diana-Hewitt polo trophy presentation, "their eyes meet ..." Presumably Brown requires this austere, picture-free eminence from which to pour scorn on lowlier chroniclers - "the paps waited like hyenas" - without being labelled a flesh-eater herself.

As for Diana's wretched complicity with her snappers, Brown explains that her father's fondness for amateur photography meant that "Diana grew up associating the camera with love". At the same time, the girl was reading too much Barbara Cartland, "leaving her spiritual bloodstream permanently polluted with saccharine". A diagnosis that may be as accurate as any of Brown's other aperçus: "Gloucestershire people have to be one of two things - hunters or gardeners." Perhaps she was away for Fred West.

Largely on the basis of his charming appearance, our expert concludes that in William, Diana's "legacy is in good hands". Really? Even though William's father is a helpless whiner, his grandmother a grimly repressed survivor and his Windsor grandfather a bully? His mother was abandoned, for life, by her own, twice-divorced mother (who finally turned to the bottle), humiliated by the palace post-divorce, after which she endured only romantic disappointment before being violently killed, whereupon 15-year-old William's uncle provoked a blood feud with his grandmother, and his father resumed, with indecent haste, his courtship of the woman who had haunted and tormented Diana all her adult life - and has since made this shameless creature into William's stepmother. Interviewed last week, Prince William said he thought about his mother's death every day. It would be like something out of Philip Larkin, if only it wasn't true.

Sunday Images / Just "Old London" ...

GOODWOOD REVIVAL 2017

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Tickets sold out!
General admission tickets for 2017 have sold out.







Goodwood Revival 2017 – everything you need to know about the world's greatest classic car show
Ed Wiseman
5 SEPTEMBER 2017 • 3:01PM



The Goodwood Revival is a weekend of motorsport like nothing else on the planet. Held on the famous Goodwood Estate – which also hosts the Festival of Speed in summer and exclusive Members' Meeting in spring – the Revival is a celebration of classic racing, focused firmly on the era between 1948 and 1966.
It was during this time that the Goodwood Circuit enjoyed its golden years, beginning when it hosted Britain's first post-war motor race and ending when racing cars became too fast for the track itself.
Unlike the Festival of Speed, the Revival takes place at the Circuit rather than in the immediate surrounds of Goodwood House. More importantly, the event operates a dress code – attendees are expected to come in period garb. By bringing many hundreds of 1948-66 cars to the circuit, and many thousands of people dressed to match, the Revival creates a unique spectacle.

How do I buy Goodwood revival tickets and how much do they cost?
The short answer to all of these questions is "sorry, you're too late". The circuit's capacity is limited and tickets sell out extremely quickly – you can sign up to be alerted when 2018's tickets go on sale. There are no more general admission tickets available for 2017. Hospitality packages (costing hundreds of pounds per person) are still available in limited numbers, and often include other perks.
You cannot buy tickets at the gate. Tickets are only available in advance. You are extremely unlikely to be able to enter the Goodwood Revival if you turn up without a valid ticket!



When is the 2017 Goodwood Revival and where does it take place?
The dates for 2017's Goodwood Revival are Friday 8 September, Saturday 9 September and Sunday 10 September. Most of the racing takes place on the Saturday and Sunday, though pretty much all the weekend's competitors will be taking advantage of practice sessions on the track on Friday. Saturday and Sunday then have seven races each.

The Revival takes place at Goodwood's historic racing circuit. This is around a mile south of Goodwood House, which is where the Festival of Speed takes place, and two miles south of Goodwood Racecourse – home to a different type of racing, using a different sort of horsepower. The Goodwood Estate itself is located in Westhampnett, near Chichester in West Sussex, England.

RAF Westhampnett was a Royal Air Force station built as a satellite airfield for nearby RAF Tangmere. The motor racing circuit is based on the airfield's perimeter road, which was paved one year after a particularly wet winter made it difficult to move aircraft. And while Tangmere is now defunct, Goodwood lives on as an airfield within the circuit.
Goodwood is in one of the prettiest parts of Sussex, known for its rural beauty, unspoilt woodland and narrow, winding lanes. Several times a year, however, Lord March invites hundreds of thousands of people to his enormous garden – and most of them drive.
The result is some of the most spectacular congestion outside of Shanghai. Despite attempts by the organisers to control the traffic, attendees can expect to spend a reasonable amount of time stuck in a queue if they choose to drive. It's nowhere near as bad as the Festival of Speed, but you should still factor in at least an hour.
Most people will be heading to Goodwood from the broad direction of the M25. Heading anticlockwise, the most straightforward route involves the A3; clockwise and you might be better off coming down the M23 through Crawley and Horsham.
Whichever way you arrive will involve traffic but due to the nature of the Revival, much of the traffic will be delightful. If, however, you'd rather leave your car at home, you can take a direct coach from towns and cities in the south of England (go to the 'Goodwood Revival Fanzone' for more information) or ordinary public transport.
The nearest train station is Chichester, which is around 90 minutes from London Victoria. From here, bus no. 902 will run every half hour from 0700 to 2200. Taxis could be somewhat expensive if the traffic is bad, but can drop you off at one of the gates of the Revival.
Alternatively, it's around an hour's tricky walk from Chichester station to the circuit's main entrance.
What exactly is the Goodwood Revival – what's happening there?
The atmosphere of the Revival is an attraction in itself – it's not every day that you see thousands of people merrily dressed in clothes from 70 years ago.
Goodwood Motor Circuit owes its existence to the airfield, so it should come as no surprise that there will be some vintage planes present. In keeping with the estate's traditional vibes, Goodwood Aerodrome waives landing fees to light aircraft built before 1966.
'Over the Road' is a small event that takes place on the car park side of Claypit Lane. This used to be free but now is a ticketed event – attendees will need to have a valid entry ticket to the Goodwood Revival to access 'Over the Road'. Here, an endless array of classic cars are parked in a static display (the Revival Car Show in association with Smith & Williamson) along with shopping and dining options not found in the main festival.
Expect plenty of retail experiences across the Revival site, of course, almost all of which will be based on Britain's motorsport heritage. And every year, the Bonhams classic car auction makes headlines as historic models change hands for enormous sums. It's impossible to be bored at the Revival – we've been media partners for the event several years running, and have yet to cover everything.
Of course the main attraction is the racing. Friday is the official practice day for the Revival weekend, which means that nearly all the cars present at the event will be being tested on the circuit at some point. At the end of the day, in twilight, the first race of Revival 2017 will take place, with just two closed-cockpit GT cars battling in fading light.
Saturday sees seven races in total. The first is the Chichester Cup, which involves rear-engined Formula Juniors. The second is the Madgwick Cup, which is a 20-minute-long race involving prototypes of less than three litres that raced between 1955 and 1960.
Then comes the Barry Sheene Memorial Trophy, Part 1. This is the first installment of a motorcycle race between two riders, each astride a machine from the Sixties. Don't worry if you miss this – they'll have another go on Sunday.
After the motorbikes is the St Mary's Trophy, Part 1, a race between saloon cars from the Fifties. For many, this is the highlight of the Revival weekend, and as with the Barry Sheene bikes these cars will be out again on Sunday.
The Goodwood Trophy follows, as Grand Prix and Voiturette cars from the Thirties, Forties, and Fifties roar around the track. Then comes the Whitsun Trophy, the fastest race of the weekend – expect GT40s, Lolas and McLarens here. Saturday's final race is the Freddie March Memorial Trophy, a 20-minute sample of some of the endurace racing hosted at Goodwood during the early Fifties.
Sunday sees another seven races. The Brooklands Trophy starts things off, with cars from before 1939 piercing the silence of a Sussex Sunday morning. Then, the Grand Prix cars of the late Fifties roar around the track for the Richmond Trophy, the second race of the day. Both the Barry Sheene Memorial Trophy and the St Mary's Trophy return for the final time, followed by an hour-long closed-cockpit GT battle in the form of the Royal Automobile Club TT Celebration.

As the afternoon draws on, early Sixties Grand Prix cars race in the Glover Trophy. Then, just as the sun begins to set on another Goodwood Revival, World Championship sports cars and production racing cars from 1955 and 1960 take to the track for the Sussex Trophy.
The Goodwood Revival is a unique event and, as such, it attracts enthusiasts from all walks of life. Previous attendees include Sir Stirling Moss, David Gandy, Rowan Atkinson, Sir Chris Hoy, Derek Bell, Martin Brundle, Jay Kay, Nick Mason, Chris Evans – and many more.
How to dress for the Goodwood Revival is a question best left to our friends on the fashion desk, but if in doubt, pick your favourite car from 1948 to 1966, and dress as if you're driving it there.


"TWEEDY" Images / Just Ten ...

The Aristocracy - Never the Same Again: 1919-1945 1st part

The Aristocracy - Born to Rule

Entitled A Critical History of the British Aristocracy Chris Bryant / How the aristocracy preserved their power / The Aristocracy ... The Best Documentary ever, produced by the BBC, concerning the British Aristocracy ...

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Entitled  A Critical History of the British Aristocracy  Chris Bryant 

A polemical history of the British ruling class and how they ended up owning our nation.
The full, shocking story of the British aristocracy, from Anglo-Saxon times until the present day.
Exploring the extraordinary and sometimes pernicious social and political dominance enjoyed by the British aristocracy over centuries, Entitled seeks to explain how a tiny number of noble families rose to such a position in the first place and reveals the often nefarious means they have employed to maintain their wealth, power and prestige. It examines the greed, ambition, jealousy and rivalry which drove local barons to compete with one another and aristocratic families to guard their inheritance with phenomenal determination. In telling their history, it introduces a cast of extraordinary characters: fierce warriors, rakish dandies, political dilettantes, charming eccentrics, arrogant snobs and criminals who got away with murder.
Meticulously researched and engagingly written, Entitled tells a riveting story of arrogance, corruption and greed, the defining characteristic of the British ruling class.


The long read
How the aristocracy preserved their power
After democracy finally shunted aside hereditary lords, they found new means to protect their extravagant riches. For all the modern tales of noble poverty and leaking ancestral homes, their private wealth and influence remain phenomenal

by Chris Bryant
Thursday 7 September 2017 06.00 BST Last modified on Thursday 7 September 2017 14.09 BST

On 11 January this year, Charlie, the genial 3rd Baron Lyell, died aged 77 in Dundee after a short illness. He had inherited his title and the 10,000-acre Kinnordy estate, in Angus, when he was just four years old. After Eton, Christ Church and the Scots Guards, he spent nearly 47 years in the Lords, serving as a Conservative minister from 1979 to 1989. He never married and his title died with him, but under the byzantine rules drawn up when the majority of hereditary peers were excluded from the Lords in 1999, his seat was contested in a byelection in which 27 hereditary peers stood.

In the short statement required of them, most of the candidates emphasized their career and credentials, but Hugh Crossley, the 45-year-old 4th Baron Somerleyton, went straight for the ideological jugular: “I think the hereditary peerage worth preserving and its principle creates a sense of innate commitment to the welfare of the nation,” he wrote.

It is not difficult to understand why Crossley would think that way. He was born in, owns, lives in and runs Somerleyton Hall near Lowestoft, Suffolk, which was bought by his carpet-manufacturer ancestor Sir Francis Crossley in 1863. It is palatial, with elaborate Italianate features, a maze, an aviary, a pergola 300ft long, a marina, a 12-acre garden and a 5,000-acre estate. His own publicity material claims that “a trip to Somerleyton is an experience of historical opulence”. Of course he believes in the hereditary principle and his own entitlement.

For most of the 20th century, the aristocracy showed itself remarkably indifferent to the welfare of the nation, if attendance in the upper house is any indication. Debates in the Lords were cursory and poorly attended. Peers had a short week – rarely sitting on a Monday or Friday – and short days, starting at 3.45pm or 4.15pm. During the second world war, there were rarely more than two dozen peers in attendance, and in the postwar years the trend was accentuated. The tedious business of daily attendance no longer interested their lordships, but when their personal interest was at stake or their hackles were raised, they would turn up in force. This became evident in 1956 when the Commons carried a private member’s bill to abolish the death penalty and the Lords voted it down by a resounding 238 votes to 95.

Today, of course, we are accustomed to thinking of Britain’s aristocracy as a quaint historical curiosity. Under Tony Blair’s first government, most hereditary peers were removed from the Lords. Some might think this a fall from grace, but the very fact that 92 hereditaries were to remain (a larger number than had attended most debates over the previous eight decades) was a victory that proved their enduring strength. They had not just delayed but prevented democratic reform of the Lords, and they had entrenched their reactionary presence.

By the 1990s, politics had become a minority interest for the aristocracy, yet for those who chose to exercise their parliamentary rights, the Lords gave them safe passage into government. John Major appointed a string of hereditary peers to his government. The leader of the House of Lords was Viscount Cranborne, heir to the 6th Marquess of Salisbury, and among the ministers were seven earls, four viscounts and five hereditary barons. Even the administration formed by Theresa May in June 2017 included one earl, one viscount and three hereditary barons.



The Dowager Countess of Cawdor at Cawdor Castle, Nairn, Scotland. Photograph: Alamy Stock Photo

Behind the beauty of the British aristocracy’s stately homes and the sometimes romantic and eventful lives they led, lies a darker story: a legacy of theft, violence and unrepentant greed.

Historically, the British aristocracy’s defining feature was not a noble aspiration to serve the common weal but a desperate desire for self-advancement. They stole land under the pretence of piety in the early middle ages, they seized it by conquest, they expropriated it from the monasteries and they enclosed it for their private use under the pretence of efficiency. They grasped wealth, corruptly carved out their niche at the pinnacle of society and held on to it with a vice-like grip. They endlessly reinforced their own status and enforced deference on others through ostentatiously exorbitant expenditure on palaces, clothing and jewellery. They laid down a strict set of rules for the rest of society, but lived by a different standard.

Such was their sense of entitlement that they believed – and persuaded others to believe – that a hierarchical society with them placed firmly and unassailably at the top was the natural order of things. Even to suggest otherwise, they implied, was to shake the foundations of morality.

They were shocked and angered when others sought to deprive or degrade them. They clung tenaciously to their position. They developed ever more specious arguments to defend their privileges. They eulogised themselves and built great temples to their greatness. They jealously guarded access to their hallowed halls. And when democracy finally and rudely shunted them aside, they found new means of preserving their extravagant riches without the tedium of pretending they sought the common interest. Far from dying away, they remain very much alive.

For all the tales of noble poverty and leaking ancestral homes, the private wealth of Britain’s aristocracy remains phenomenal. According to a 2010 report for Country Life, a third of Britain’s land still belongs to the aristocracy. Notwithstanding the extinction of some titles and the sales of land early in the 20th century, the lists of major aristocratic landowners in 1872 and in 2001 remain remarkably similar. Some of the oldest families have survived in the rudest financial health. In one analysis, the aristocratic descendants of the Plantagenet kings were worth £4bn in 2001, owning 700,000 acres, and 42 of them were members of the Lords up to 1999, including the dukes of Northumberland, Bedford, Beaufort and Norfolk.

The figures for Scotland are even more striking. Nearly half the land is in the hands of 432 private individuals and companies. More than a quarter of all Scottish estates of more than 5,000 acres are held by a list of aristocratic families. In total they hold some 2.24m acres, largely in the Lowlands.

Many noble landholdings are among the most prestigious and valuable in the world. In addition to his 96,000-acre Reay Forest, the 23,500-acre Abbeystead estate in Lancashire and the 11,500-acre Eaton estate in Cheshire, the Duke of Westminster owns large chunks of Mayfair and Belgravia in London. Earl Cadogan owns parts of Cadogan Square, Sloane Street and the Kings Road, the Marquess of Northampton owns 260 acres in Clerkenwell and Canonbury, and the Baroness Howard de Walden holds most of Harley Street and Marylebone High Street. These holdings attract some of the highest rental values in the world. Little has changed since 1925, when the journalist WB Northrop published a postcard portraying the octopus of “landlordism” with its tentacles spread across London, charging the aristocracy with pauperising the peasantry, paralysing the building trade and sucking the lifeblood of the people.



WB Northrop’s 1925 polemic map shows the octopus of ‘Landlordism’ strangling London. Each of the beast’s tentacles surrounds an area of land said to be owned by the wealthy and powerful: Earl Cadogan, the Duke of Westminster, the Duke of Norfolk, Lord Northampton, the Duke of Bedford, Howard de Walden, Lord Portman and the ‘Ecclesiastical Commissioners’. Photograph: Cornell University/PJ Mode Collection of Persuasive Cartography

One legal provision unique to England and Wales has been of particular importance to these aristocratic landlords: over the centuries they built many millions of houses, mansion blocks and flats, which they sold on a leasehold rather than freehold basis. This meant that purchasers are not buying the property outright, but merely a time-limited interest in it, so even the “owners” of multimillion-pound residences have to pay ground rent to the owner of the freehold, to whom the property reverts when their leases (which in some areas of central London are for no more than 35 years) run out. This is unearned income par excellence.

Built property aside, land ownership itself is still the source of exorbitant wealth, as agricultural land has increased in value. According to the 2016 Sunday Times Rich List, 30 peers are each worth £100m or more.

Many aspects of those peers’ lives have barely changed over the centuries. Edward William Fitzalan-Howard, the 18th Duke of Norfolk, is still the premier duke of England, as well as being the Earl Marshal, the Hereditary Marshal of England, a member of the Lords and the holder of nine other titles. His landholdings are obscure, but, as he (under-)stated in his maiden (and only) speech in the Lords: “I farm in West Sussex and own moorland in North Yorkshire”, and he still lives at Arundel Castle. Many of those who have ceded their homes to the National Trust or to a charitable trust of their own devising (with all the concomitant tax advantages) still occupy their ancestral pads, with the added benefit of modern plumbing and wiring. The Dowager Countess of Cawdor still lives in her son’s castle thanks to a tax exemption, the Marquess of Curzon still lives and shoots at Kedleston, Derbyshire, thanks to the National Heritage Memorial Fund (NHMF), and the Duke of Marlborough still dines in the saloon at Blenheim, which charges a £24.90-a-head entry fee for visitors.

The country-house business is in fine fettle. True, the owners of lesser homes face significant challenges and a few peers have decided to downsize. In 2005 Lord Hesketh sold Easton Neston – designed by Nicholas Hawksmoor – in Northamptonshire (but kept Towcester racecourse). The 7th marquess of Bute offered Dumfries House to the National Trust for Scotland, and when they refused it Prince Charles stepped in with a consortium that found £45m to purchase the house and its contents in 2007, and endow it for the future. (It got £7 million from the NHMF.)



The Duke (second left) and Duchess of Marlborough (right), with Alexander and Scarlett Spencer-Churchill, at Goodwood in July. Photograph: Dave Benett/Getty Images

Grand homes such as Chatsworth, Woburn and Longleat attract many thousands of visitors, while the stately homes that survived in private hands up until 1960 are virtually all still in the same private hands today, and many peers continue their annual peregrination from one well-appointed palace to another. The Buccleuchs, for instance, have the rose-coloured sandstone palace of Drumlanrig, in Dumfries and Galloway, as their main home, but they spend winter months at the much-enlarged hunting lodge, Bowhill, in the Borders, and at Boughton in Northamptonshire, an 11,000-acre estate that includes five villages and a stately home that hosts artworks by Van Dyck, El Greco and Gainsborough. When the previous duke made this journey, he would be accompanied by Leonardo da Vinci’s Madonna of the Yarnwinder – the only Leonardo in private hands – until it was stolen in 2003.


Habits and obsessions have barely changed. Of today’s 24 non-royal dukes, half went to Eton. Twenty-first-century aristocrats still belong to the same clubs their ancestors frequented: Brooks’s, Boodle’s, Pratt’s and White’s. Like Nancy Mitford in 1955, they entertain themselves distinguishing between U terms, as used by the upper classes (“napkins”, “false teeth”, “spectacles” and “vegetables”), and Non-U, or middle-class, ones (“serviettes”, “dentures”, “glasses” and “greens”). They play polo and love guns, horses and hounds. The 12th Duke of Devonshire has been the queen’s representative at Ascot, senior steward of the Jockey Club and a prominent buyer and seller of fine art (in 2012 he sold a Raphael for £29.7m). The 10th Duke of Beaufort was master of his eponymous hunt for 60 years and the hunt still meets regularly at Badminton, Gloucestershire. Emma, Duchess of Rutland, hostess of the Belvoir hunt and countless shooting parties, is so committed to making shooting a central attraction at Belvoir that she toured all the best shoots in the land and published her rhapsody to hunting in Shooting: A Season of Discovery.

How have the aristocracy achieved such a remarkable recovery of their fortunes? First, in common with their ancestors, they have systematically, repeatedly and successfully sought to avoid tax. The 18th-century satirist Charles Churchill wrote words that might have been the common motto of the aristocracy:

What is’t to us, if taxes rise or fall,
Thanks to our fortune, we pay none at all.

Thus, when the 2nd Duke of Westminster deliberately paid his gardeners in a way that obviated any tax liability and was challenged in court, the judge, Lord Tomlin, ruled in 1936 that: “Every man is entitled, if he can, to order his affairs so that the tax attracted under the appropriate act is less than it otherwise would be. If he succeeds in ordering them so as to secure this result, then, however unappreciative the commissioners of Inland Revenue or his fellow taxpayers may be of his ingenuity, he cannot be compelled to pay an increased tax.”

His fellow peers took this principle to heart. William and Edmund Vestey, the meat-packing businessmen who in 1922 bought themselves a peerage and a baronetcy from the prime minister, David Lloyd George, for £20,000, regularly begged to be excused income tax, went into tax exile in Argentina and settled their finances in a trust based in Paris, whose accounts were filed in Uruguay that saved the family £88m in tax. In 1980, Samuel, the 3rd Baron Vestey, and his cousin, Edmund, were found to have paid just £10 in tax on the family business’s £2.3m profit. When they were challenged, Edmund shrugged his shoulders and said: “Let’s face it. Nobody pays more tax than they have to. We’re all tax dodgers, aren’t we?”



 The Duke of Devonshire (left) and Baron Grimthorpe in the royal procession at Ascot, 2015. Photograph: Charlie Crowhurst/Getty Images for Ascot Racecourse

When the trustees of Castle Howard, a stately home in North Yorkshire, sold Joshua Reynolds’s painting Omai for £9.4m to pay for its aristocratic occupant Simon Howard’s divorce in 2001, they argued they should not have to pay capital gains tax on it as it was part of the fabric of the castle, and therefore a “wasting asset”, which was exempt. Extraordinarily, in 2014 the Court of Appeal agreed. This tax loophole was closed in the 2015 budget.

The primary means of squirrelling away substantial assets so as to preserve them intact and deliver a healthy income for aristocratic descendants without bothering the taxman is the trust. Countless peers with major landholdings and stately homes have put all their assets into discretionary trusts, thereby evading both public scrutiny and inheritance tax. This is the case with the Duke of Westminster’s Grosvenor estates, whose trustees, chaired by the duke, dole out benefits and payments to members of the family while keeping the assets separate from any individual’s estate. Her Majesty’s Revenue and Customs is entitled to a percentage of the value of the trust fund every 10th anniversary of its creation, but after exemptions for farms and businesses have been taken into consideration, the Revenue is left virtually empty-handed.

Income is subject to tax, but the patrimonial asset remains intact. In 1995, the 9th Duke of Buccleuch complained that the Sunday Times Rich List had overestimated his worth at £200m, as he owned “no shares in Buccleuch Estates Ltd”. Legally, he was quite correct. Despite being a parent company for a string of valuable joint ventures and property holdings, the company is vested in four Edinburgh shareholder lawyers at a total value of £4. Since today’s directors are the 10th duke, the duchess, their heir, the Earl of Dalkeith, and the duke’s two brothers, John and Damian, it is difficult not to conclude that the Buccleuchs are in reality the beneficial owners.

Dozens of the old nobility have done the same, meaning that the family trust can quietly provide a house, an income, a lifestyle (and, if required, a divorce settlement) to any number of beneficiaries without fearing inheritance tax or the prying eyes of the public.

Aristocrats may not like paying tax, but they don’t object to taking handouts from the taxpayer. The landed aristocracy has benefited to an extraordinary degree from payments under the EU’s common agricultural policy. The figures are staggering. At least one in five of the UK’s top 100 single-payment recipients in 2015/16 was aristocratic.

The richest have carried off the most. The Duke of Westminster’s Grosvenor Farms estate received £913,517, the Duke of Northumberland’s Percy Farms took £1,010,672, the Duke of Marlborough’s Blenheim Farms got £823,055 and Lord Rothschild’s Waddesdon estates received £708,919. This is all in a single year. Multiplied across the years, the payments from the EU have benefited the British aristocracy to the tune of many millions of pounds.

Exploiting the system is second nature to the landowning class. The 11th Duke and Duchess of Beaufort, the owners of Badminton House, have benefited handsomely from their property rights. Their company, Swangrove Estates Ltd, whose directors are the duke and duchess; their son, the Marquess of Worcester; and grandson, the Earl of Glamorgan, received £456,810 from the CAP in 2014/15, and in 2009 it was discovered that the duke had exercised his ancestral rights over the riverbed in Swansea by charging the council £281,431 to build a bridge across the river from a shopping centre to Swansea FC’s Liberty Stadium. With the help of the taxpayer – and no little ingenuity of his own – the duke has secured a fortune reckoned to be about £135m.

The EU is not their only source of financial assistance. Charles Chetwynd-Talbot, 22nd Earl of Shrewsbury, who lives at the 17th-century manor house of Wanfield Hall in Shropshire and is president of the Gun Trade Association, has auctioned off a number of feudal titles, including that of High Steward of Ireland, a practice that has helped keep several other peers in the style to which their families had become accustomed. In April 2015, the earl put the lordship of Whitchurch up for sale; in 1996 Earl Spencer sold the lordship of the manor of Wimbledon for $250,000; and at the time of writing Manorial Auctioneers Ltd claim to be auctioning lordships of the manor, a seignory in Jersey and a feudal barony in Ireland on the instructions of “members of the aristocracy”.



The Duke of Beaufort’s hunt at Badminton, Gloucestershire, in 2013. Photograph: Matt Cardy/Getty Images

Attendance in the House of Lords brings in an income, too, although peers are keen to state that it is not a salary. When life peerages were introduced in 1958, the Marquess of Salisbury was quick to point out the three guineas a day they were paid did not represent “any additional remuneration; it is merely repayment for expenditure which has already been incurred by noble lords in the performance of their duties”. So too, today peers may claim £300 a day if the Lords records show that they attended a sitting of the house, or £150 a day if they undertook qualifying work away from Westminster.

In March 2016, when the Lords sat for 15 days, 16 earls were paid £52,650 between them in tax-free attendance allowance, plus travel costs, and 13 viscounts received £43,050. The Duke of Somerset claimed £3,600, and the Duke of Montrose was paid £2,750 plus £1,570 in travel costs: £76 for the use of his car, £258 for train tickets, £1,087 for air tickets and £149 for taxis and parking costs. The duke spoke in debate or in grand committee just twice in the whole parliamentary session, and not at all that March.

The secret to the survival of the old aristocracy through the centuries was the mystique of grandeur they cultivated. They dressed, decorated and built to impress, so that nobody dared question their right to rule. The secret of their modern existence is their sheer invisibility. As the Daily Mail commented when Tatler magazine gathered a table of 10 dukes together in 2009: “Once, the holders of these titles would have been the A-list celebrities of their time. Today, most people would be pushed to name a single one of them.”

That is no accident. British laws on land tenure, inheritance tax, corporate governance and discretionary trusts still make it easy to hide wealth from public view. Land is subsidised, and taxed more lightly than residential property. Unearned income bears less of a burden than earned income. All this quietly underpins the continued power of the aristocracy, wrapped in the old aura of entitlement, counting its blessings and hoping that nobody notices.

Curiously enough, Nancy Mitford, that sceptical daughter of the preposterously rightwing 2nd Baron Redesdale, was probably right: “It may well be that he who, for a thousand years has weathered so many a storm, religious, dynastic and political, is taking cover in order to weather yet one more.”

Entitled: A Critical History of the British Aristocracy by Chris Bryant is published today by Doubleday, priced £25. To order a copy for £21.25, go to bookshop.theguardian.com or call 0330 333 6846. Free UK p&p over £10, online orders only. Phone orders min p&p of £1.99

• Follow the Long Read on Twitter at @gdnlongread, or sign up to the long read weekly email here.



The Aristocracy series originally aired on the BBC. Each episode explores a period in the history of Britain's noble classes. Focusing on the decline of this class in the modern world, each tape offers a glimpse into a world only the privileged are intimately familiar with. In this particular episode, viewers explore a golden age for England's aristocracy. Around the turn of the century, Britain's aristocracy owned 80 percent of the land and dominated Parliament. The program features interviews with current dukes and duchesses, as well as with leading historians.

Born to Rule: 1875-1914Broadcasts
BBC TwoWed 29 Jan 199721:00BBC Two
BBC TwoMon 27 Jul 199821:30BBC Two
BBC FourMon 3 Sep 200120:00BBC Four
BBC FourTue 4 Sep 200100:05BBC Four
BBC FourSat 15 Sep 200109:00BBC Four
BBC FourSat 15 Sep 200112:00BBC Four
BBC FourSat 15 Sep 200115:00BBC Four
BBC FourSat 15 Sep 200118:00BBC Four


A Merry War Film / Keep the Aspidistra Flying by George Orwell / A Merry War Trailer 1998

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A Merry War
Reviewed by Sandra Contreras

This intermittently amusing but always thoughtful adaptation of George Orwell's autobiographical novel, Keep the Aspidistra Flying, features Richard E. Grant as Gordon Comstock, a would-be poet who supports himself as a copywriter in 1930s
London. When Comstock's first book of poetry receives a good review in the Times Literary Supplement, he decides to cast off the trappings of what he considers to be his demeaning and predictable life (job, marriage etc.) to become a full-time poet and free man. Comstock's subsequent
free-fall into penury and degradation (remember that Orwell's nonfiction works include the terrifying Down and Out in Paris and London ) is, fortunately, leavened with humor. Comstock isn't the most sympathetic of protagonists: He leaches money from his hardworking spinster sister Julia
(Harriet Walter), and treats both his upper-class publisher Ravelston (Julian Wadham) and his devoted girlfriend Rosemary (Helena Bonham Carter) exceedingly badly, spurning them viciously whenever they try to pull him back into the safety of the middle-class fold. But Comstock's rants and whines
about the bitter pills life forces one to swallow will resonate with anyone who's ever done work they considered morally reprehensible or without integrity. Less convincing, however faithful to the novel, is the ending: Spurred by Rosemary's unplanned pregnancy, Comstock happily decides to take
back his old job and settle into the very life of middle-class mediocrity against which he railed so vigorously, going so far as to embrace that emblem of bourgeois conformity and staple of overstuffed English parlors, the humble aspidistra plant.

Director: Robert Bierman
Writers: George Orwell (novel), Alan Plater (screenplay)
Stars: Richard E. Grant, Helena Bonham Carter, Julian Wadham
Produced by
Robert Bierman                ...            executive producer
Sara Giles            ...            associate producer
Joyce Herlihy     ...            associate producer
Peter Shaw        ...            producer
John Wolstenholme       ...            executive




Keep the Aspidistra Flying, first published in 1936, is a socially critical novel by George Orwell. It is set in 1930s London. The main theme is Gordon Comstock's romantic ambition to defy worship of the money-god and status, and the dismal life that results.


Two aspidistra plants – "The types he saw all round him, especially the older men, made him squirm. That was what it meant to worship the money-god! To settle down, to Make Good, to sell your soul for a villa and an aspidistra! To turn into the typical bowler-hatted sneak – Strube's 'little man' [-] What a fate!" (Ch III)
Orwell wrote the book in 1934 and 1935 when he was living at various locations near Hampstead in London, and drew on his experiences in these and the preceding few years. At the beginning of 1928 he lived in lodgings in Portobello Road from where he started his tramping expeditions, sleeping rough and roaming in the poorer parts of London. At this time he wrote a fragment of a play in which the protagonist Stone needs money for his child's life-saving operation. Stone would prefer to prostitute his wife rather than prostitute his artistic integrity by writing advertising copy.

Orwell's early publications appeared in The Adelphi, a left-wing literary journal edited by Sir Richard Rees, a wealthy and idealistic baronet who made Orwell one of his protégés. The character of Ravelston the wealthy publisher in Keep the Aspidistra Flying has much in common with Rees. Ravelston is acutely self-conscious of his upper-class status and defensive about his unearned income. Comstock speculates that Ravelston receives nearly two thousand pounds a year after tax—a very comfortable sum in those days—and Rees, in a volume of autobiography published in 1963 wrote: "... I have never had the spending of much less than £1,000 a year of unearned income, and sometimes considerably more ... Before the war, this was wealth, especially for an unmarried man. Many of my socialist and intellectual friends were paupers compared to me..." In quoting this, Orwell's biographer Michael Shelden commented "One of these 'paupers'—at least in 1935—was Orwell, who was lucky if he made £200 that year ... He appreciated Rees's editorial support at the Adelphi and sincerely enjoyed having him as a friend, but he could not have avoided feeling some degree of resentment toward a man who had no real job but who enjoyed an income four or five times greater than his."

In 1932 Orwell took a job as a teacher in a small school in West London. From there he would take journeys into the country at places like Burnham Beeches. There are allusions to Burnham Beeches and walks in the country in Orwell's correspondence at this time with Brenda Salkeld and Eleanor Jacques.

In October 1934, after nine months at his home in Southwold, Orwell's aunt Nellie Limouzin found him a job as a part-time assistant in Booklovers' Corner, a second-hand bookshop in Hampstead run by Francis and Myfanwy Westrope. The Westropes, who were friends of Nellie in the Esperanto movement, had an easy-going outlook and provided him with comfortable accommodation at Warwick Mansions, Pond Street. He was job sharing with Jon Kimche who also lived with the Westropes. Orwell worked at the shop in the afternoons, having the mornings free to write and the evenings to socialise. He was at Booklovers' Corner for fifteen months. His essay "Bookshop Memories", published in November 1936, recalled aspects of his time at the bookshop, and in Keep the Aspidistra Flying, "he described it, or revenged himself upon it, with acerbity and wit and spleen." In their study of Orwell the writers Stansky & Abrahams remarked upon the improvement on the "stumbling attempts at female portraiture in his first two novels: the stereotyped Elizabeth Lackersteen in Burmese Days and the hapless Dorothy in A Clergyman's Daughter" and contended that, in contrast, "Rosemary is a credible female portrait." Through his work in the bookshop Orwell was in a position to become acquainted with women, "first as a clerk, then as a friend ... and with whom, if circumstances were favourable, he might eventually embark upon a 'relationship' ... This for Orwell the author and Blair the man, was the chief reward of working at Booklovers' Corner." In particular, Orwell met Sally Jerome, at this time working for an advertising agency (like Rosemary in Keep the Aspidistra Flying), and Kay Ekevall, who ran a small typing and secretarial service which did work for Adelphi magazine.

By the end of February 1935 he had moved into a flat in Parliament Hill; his landlady, Rosalind Obermeyer, was studying at the University of London. It was through a joint party with his landlady here that Orwell met his future wife Eileen O'Shaughnessy. In August Orwell moved into a flat in Kentish Town, which he shared with Michael Sayers and Rayner Heppenstall. Over this period he was working on Keep the Aspidistra Flying and had two novels, Burmese Days and A Clergyman's Daughter, published. At the beginning of 1936 Orwell was dealing with pre-publication issues for Keep the Aspidistra Flying while on his tour in the North of England collecting material for The Road to Wigan Pier. The novel was published by Victor Gollancz Ltd on 20 April 1936.

PLOT
Gordon Comstock has 'declared war' on what he sees as an 'overarching dependence' on money by leaving a promising job as a copywriter for an advertising company called 'New Albion'—at which he shows great dexterity—and taking a low-paying job instead, ostensibly so he can write poetry. Coming from a respectable family background in which the inherited wealth has now become dissipated, Gordon resents having to work for a living. The 'war' (and the poetry), however, aren't going particularly well and, under the stress of his 'self-imposed exile' from affluence, Gordon has become absurd, petty and deeply neurotic.

Comstock lives without luxuries in a bedsit in London, which he affords by working in a small bookshop owned by a Scot, McKechnie. He works intermittently at a magnum opus he plans to call 'London Pleasures', describing a day in London; meanwhile, his only published work, a slim volume of poetry entitled Mice, collects dust on the remainder shelf. He is simultaneously content with his meagre existence and also disdainful of it. He lives without financial ambition and the need for a 'good job,' but his living conditions are uncomfortable and his job is boring.

Comstock is 'obsessed' by what he sees as a pervasion of money (the 'Money God', as he calls it) behind social relationships, feeling sure that women would find him more attractive if he were better off. At the beginning of the novel, he senses that his girlfriend Rosemary Waterlow, whom he met at New Albion and who continues to work there, is dissatisfied with him because of his poverty. An example of his financial embarrassment is when he is desperate for a pint of beer at his local pub, but has run out of pocket money and is ashamed to cadge a drink off his fellow lodger, Flaxman.

One of Comstock's last remaining friends, Philip Ravelston, a Marxist who publishes a magazine called Anti-Christ, agrees with Comstock in principle, but is comfortably well-off himself and this causes strains when the practical miseries of Comstock's life become apparent. He does, however, endeavour to publish some of Comstock's work and his efforts, unbeknownst to Comstock, had resulted in Mice being published via one of his publisher contacts.

Gordon and Rosemary have little time together—she works late and lives in a hostel, and his 'bitch of a landlady' forbids female visitors to her tenants. Then one evening, having headed southward and having been thinking about women—this women business in general, and Rosemary in particular—he happens to see Rosemary in a street market. Rosemary won't have sex with him but she wants to spend a Sunday with him, right out in the country, near Burnham Beeches. At their parting, as he takes the tram from Tottenham Court Road back to his bedsit, he is happy and feels that somehow it is agreed between them that Rosemary is going to be his mistress. However, what was intended as a pleasant day out away from London's grime turns into a disaster when, though hungry, they opt to pass by a 'rather low-looking' pub, and then, not able to find another pub, are forced to eat an unappetising lunch at a fancy, overpriced hotel. Gordon has to pay the bill with all the money he had set aside for their jaunt and worries about having to borrow money from Rosemary. Out in the countryside again, they are about to have sex for the first time when she violently pushes him back—he wasn't going to use contraception. He rails at her; "Money again, you see! ... You say you 'can't' have a baby. ... You mean you daren't; because you'd lose your job and I've got no money and all of us would starve."

Having sent a poem to an American publication, Gordon suddenly receives from them a cheque worth ten pounds — a considerable sum for him at the time. He intends to set aside half for his sister Julia, who has always been there to lend him money and support. He treats Rosemary and Ravelston to dinner, which begins well, but the evening deteriorates as it proceeds. Gordon, drunk, tries to force himself upon Rosemary but she angrily rebukes him and leaves. Gordon continues drinking, drags Ravelston with him to visit a pair of prostitutes, and ends up broke and in a police cell the next morning. He is guilt-ridden over the thought of being unable to pay his sister back the money he owes her, because his £5 note is gone, given to, or stolen by, one of the tarts.

Ravelston pays Gordon's fine after a brief appearance before the magistrate, but a reporter hears about the case, and writes about it in the local paper. The ensuing publicity results in Gordon losing his job at the bookshop, and, consequently, his relatively 'comfortable' lifestyle. As Gordon searches for another job, his life deteriorates, and his poetry stagnates. After living with his friend Ravelston and, during his time of employment, with his girlfriend Hermione, Gordon ends up working, this time in Lambeth, at another book shop and cheap two-penny lending library owned by the sinister Mr. Cheeseman, where he's paid an even smaller wage of 30 shillings a week. This is 10 shillings less than he was earning before, but Gordon is satisfied; "The job would do. There was no trouble about a job like this; no room for ambition, no effort, no hope." Determined to sink to the lowest level of society Gordon takes a furnished bed-sitting-room in a filthy alley parallel to Lambeth Cut. Both Julia and Rosemary, "in feminine league against him," seek to get Gordon to go back to his 'good' job at the New Albion advertising agency.

Rosemary, having avoided Gordon for some time, suddenly comes to visit him one day at his dismal lodgings. Despite his terrible poverty and shabbiness, they have sex but it is without any emotion or passion. Later, Rosemary drops in one day unexpectedly at the library, having not been in touch with Gordon for some time, and tells him that she is pregnant. Gordon is presented with the choice between leaving Rosemary to a life of social shame at the hands of her family—since both of them reject the idea of an abortion—or marrying her and returning to a life of respectability by taking back the job he once so deplored at the New Albion with its £4 weekly salary.

He chooses Rosemary and respectability and then experiences a feeling of relief at having abandoned his anti-money principles with such comparative ease. After two years of abject failure and poverty, he throws his poetic work 'London Pleasures' down a drain, marries Rosemary, resumes his advertising career, and plunges into a campaign to promote a new product to prevent foot odour. In his lonely walks around mean streets, aspidistras seem to appear in every lower-middle class window. As the book closes, Gordon wins an argument with Rosemary to install an aspidistra in their new small but comfortable flat off the Edgware Road.


How not to succeed
An introduction to Orwell's Keep the Aspidistra Flying, the first modern classic title for our new Observer Book Group

Sunder Katwala
Sunday 6 July 2003 03.16 BST First published on Sunday 6 July 2003 03.16 BST

Keep the Aspidistra Flying, George Orwell's third novel published in 1936, is a savagely satirical portrait of the literary life. Orwell chronicles the struggles of Gordon Comstock, who gives up a successful job in an advertising - "the rattling of a stick inside a swill bucket" - to become an unsuccessful poet, taking refuge by day in a failing bookshop as he descends into genteel poverty.

Having vowed to "make it his especial purpose not to 'succeed'" Comstock rails against how "The Money God" dominates all aspects of life. "Don't you see that a man's whole personality is bound up with his income? His personality is his income. How can you be attractive to a girl when you've got no money?", he asks his somewhat disaffected girlfriend Rosemary. The aspidistra of the book's title comes from the pot plants to be found on every window sill which, for Comstock, symbolise all that is wrong with the "mingy, lower-class decency" he is desperate to escape.

D.J. Taylor, in his recently published biography, writes that "of all the fiction that Orwell produced in the 1930s, Keep the Aspidistra Flying is the one most closely associated with him as a writer". Orwell was himself a struggling writer working part-time in a Hampstead bookshop. His journeys around England and beyond - chronicled in Down and Out in London and Paris - do often resemble Comstock's circumstances and attitude. But the facts of Orwell's own life were rather different - considerably more sociable and quickly becoming more successful - to Comstock's.

The novel is perhaps a better guide to Orwell's intellectual development than it is autobiographical. It is the novel in which Orwell is most directly influenced by one of his heroes George Gissing, the late Victorian novelist whose New Grub Street remains the seminal description of literary failure. In his later essay on Gissing, Orwell describes the quintessential flavour of Gissing's world - "the grime, the stupidity, the ugliness, the sex-starvation, the furtive debauchery, the vulgarity, the bad manners, the censoriousness" - which sums up the world Orwell sought to capture and to criticise in Keep the Aspidistra Flying.


Comstock can also be seen as something of a predecessor of the Angry Young Men of the 1950s - though Comstock was, if anything, angrier still. Christopher Hitchens' recent book Orwell's Victory offers an illuminating comparison of of the many parallels between Orwell's novel and Kingsley Amis' Lucky Jim, which did much to define postwar British fiction, although the two books are markedly different in tone and it is Orwell's comic essay 'Confessions of a Book Reviewer' which resembles the comic spirit of the Amis novel.

The publication of Keep the Aspidistra Flying was not a particularly happy one for Orwell. He had numerous run-ins with his publishers, who insisted on changes to the book late in the process because of the fear that many of the real advertising slogans which it contained were too risky to print. Orwell therefore had to produce new, fictitious slogans which would take up exactly the same amount of space because of the inflexibility of lead typesetting - and complained that the book had been "ruined". Peter Davison's Complete Orwell in 1998 finally reversed these changes which meant, for example, restoring the genuine 'New Hope for the Ruptured' instead of Orwell's substitution 'The Truth about Bad Legs'.

The book received mixed reviews. Cyril Connolly complained that the book's obsession with money prevented it being considered a work of art. The Daily Mail praised the novel's vigour but was unconvinced by its demolition of middle England: "among the aspidistra, Mr Orwell seems to lose the plot". The misfortunes did not end there. Many of the first print run of 3,000 were lost in a bombing raid in the early years of world war two.

Whether Orwell would have been impressed with the film adaptation, released in 1999, is another moot point. Much of the grimness of the novel has been replaced by a warm period gloss. Richard E Grant's Comstock is a considerably more comical figure - particularly well-suited to the disastrous Soho binge when some money does come in - while Helena Bonham-Carter's Rosemary has become considerably more sexually confident. This is definitely a case where anybody employing the ruse of relying on the film to take part in our book group discussion may be found out rather quickly.

Orwell refused to allow either Keep the Aspidistra Flying or his first novel, the considerably weaker A Clergyman's Daughter, to be reprinted in his lifetime. His dislike of his early novels arose from his incredibly strong sense that he would always be a literary failure, which enabled him to empathise so strongly with his creations like Comstock.

Orwell's six novels make just a small part of his nearly two million published words. Many critics, including biographer Bernard Crick, see Orwell's claim to literary greatness resting much more upon his talents as an essayist - on everything from Politics and the English Language to the perfect cup of tea - than on his novels. Yet while Orwell's first four novels are not nearly so completely realised as their more famous successors Animal Farm and 1984, they offer many important insights into the development of the most important English novelist of ideas of the last century.

MAGGIE SMITH & JUDI DENCH INTERVIEW / PART 2

Judi Dench and Maggie Smith to reflect on lives in new BBC arts output / MAGGIE SMITH & JUDI DENCH INTERVIEW Part 1

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Judi Dench and Maggie Smith to reflect on lives in new BBC arts output
Two actors will spend a weekend retreat together with fellow dames Eileen Atkins and Joan Plowright for new programme
Dames Judi Dench, Maggie Smith, Eileen Atkins and Joan Plowright will reflect on their lives and careers in a new programme for BBC2.

Press Association
Sunday 10 September 2017 17.42 BST

The old friends will spend a weekend together reminiscing at a retreat once shared by Plowright and Laurence Olivier for a one-off programme directed by the Notting Hill filmmaker Roger Mitchell.

The film, which has the working title Nothing Like A Dame, is one of the new arts programmes the BBC has announced.

The broadcaster will also celebrate the 20th anniversary of the publication of the first Harry Potter book with Harry Potter: A History of Magic, which will follow the run-up to the opening of an exhibition about the books at the British Library.

Also a one-off for BBC2, the programme will unveil rare books, manuscripts and magical objects from the exhibition, which includes original drafts and drawings lent by JK Rowling and the Harry Potter illustrator Jim Kay from their personal archives, on display for the first time.

It will explore the world of Hogwarts, and will include an interview with Rowling in which she talks about some of the personal items she has donated to the exhibition. Readings from famous fans will recreate some of the best loved spells, potions and magical moments from the series.

Joe Orton Laid Bare, which uses the playwright’s own words from his personal memoirs, stage and TV plays to examine his life and work, is also planned for BBC2. The programme will celebrate his unique and ambitious voice 50 years on from his death.

It will feature contributions from Kenneth Cranham, Sir Michael Codron, Christopher Hampton, Dame Patricia Routledge and Joe Orton’s sister Leonie.

BBC4 will tell the story of the mountaineer, explorer and linguist Gertrude Bell in Letters From Baghdad. The programme has been given unique access to more than 1,600 letters, and will follow her journey into the uncharted Arabian desert and the inner sanctum of British male colonial power at the turn of the 20th century. It will also explore the complex history of Iraq, with recorded reminiscences from those who knew her and Bell’s own words voiced by Tilda Swinton.

BBC1 has confirmed that the Strictly Come Dancing star the Rev Richard Coles and Mariella Frostrup will return to host The Big Painting Challenge when it comes back in 2018. Ten new amateur artists will compete in six weeks of challenges.

The channel will also bring back Fake Or Fortune? for a seventh series, presented by the art dealer Philip Mould and journalist Fiona Bruce, who search for lost masterpieces.

Mark Bell, the head of commissioning for BBC Arts, said: “We hope our arts programming will cast a spell over audiences with an in-depth look at the real-life inspirations for JK Rowling’s magical world.

“We can also offer BBC2 viewers the privilege of spending time with four great dames as they reflect on their incredible lives and careers on stage and screen, and alongside a fantastic season of programmes exploring Mexican art and life we will also examine the lives of British icons including Gertrude Bell and Joe Orton using their own writings.


“And The Big Painting Challenge will hopefully again inspire people to pick up a paintbrush and have a go.”

Ralph Lauren working on memoir / 50 years anniversary of Polo Ralph Lauren

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(23 Sep 2016) RALPH LAUREN WORKING ON MEMOIR
Ralph Lauren, one of the giants of modern American fashion,
is working on his autobiography.
Simon & Schuster will release the book in fall 2017,
in conjunction with his company's 50th anniversary. The book is currently
untitled.
Famed for his company's polo-pony motif, the 76-year-old
Lauren has combined Americana, ruggedness and refinement to create an upscale
look and a lifestyle known worldwide. He has risen from an immigrant household
in New York City to founding an iconic brand that made him one of the world's
richest men.
Lauren stepped down as chief executive in 2015 and was
succeeded by Old Navy President Stefan Larsson.



Simon & Schuster to Publish Ralph Lauren Memoir in Fall of 2017
SEPTEMBER 21, 2016 CORPORATE COMMUNICATIONS CORPORATE NEWS, SIMON & SCHUSTER

New York, NY, September 21, 2016— Ralph Lauren, the legendary founder of the company that brought American style to the world, will publish his autobiography with Simon & Schuster in the fall of 2017. The work will be published in hardcover, ebook, and audio editions by Simon & Schuster in the United States, United Kingdom, Canada, Australia, and India.

“Ralph Lauren is a true American original who has built one of the world’s greatest, most iconic fashion brands and lifestyle empires,” said Carolyn Reidy, CEO of Simon & Schuster. “His style is instantly recognizable to even the most casual observer, a triumph of business savvy and aesthetic sensibility that is unmatched anywhere.  We are delighted to have the opportunity to bring his fascinating story to readers worldwide.”

Jonathan Karp, Simon & Schuster’s publisher, said: “How Ralph Lauren’s business became the epitome of American style is one of the great cultural stories of our time.  We are honored that he has chosen Simon & Schuster as his publisher.  We expect this to be one of the most avidly read books of the year.”

World rights were acquired by Priscilla Painton, Vice President and Executive Editor at Simon & Schuster, through Lauren’s outside counsel, Robert B. Barnett of Williams & Connolly. Lauren began conversations with Painton four years ago about telling his story of rising from the Bronx to become one of the world’s most admired and well-known businessmen with a brand that is enduring and recognized everywhere. Lauren has given few in-depth interviews in his long career and decided to open up about his extraordinary life in time to celebrate his company’s 50th anniversary next year.

Simon & Schuster, part of CBS Corporation, is a global leader in the field of general interest publishing, dedicated to providing the best in fiction and nonfiction for consumers of all ages, across all printed, electronic, and audio formats. It has been the publisher of books by Bruce Springsteen, Hillary Rodham Clinton, Ruth Bader Ginsburg, and David McCullough. Its divisions include Simon & Schuster Adult Publishing, Simon & Schuster Children’s Publishing, Simon & Schuster Audio, Simon & Schuster Digital, and international companies in Australia, Canada, and the United Kingdom. For more information, visit our website at www.simonandschuster.com

Contact:

Cary Goldstein, VP/Executive Director of Publicity, 212-698-1122 Cary.Goldstein@simonandschuster.com


RALPH LAUREN IS WRITING A TELL-ALL MEMOIR
​The book will be released next year to celebrate the brand's 50th anniversary
By Ella Alexander
22 September 2016

Ralph Lauren is writing a memoir that will chronicle how his business became the "epitome of American style".

The book, published by Simon & Schuster, will be released in autumn next year to coincide with the brand's 50th anniversary.

"His style is instantly recognisable to even the most casual observer, a triumph of business savvy and aesthetic sensibility that is unmatched anywhere," the Simon & Schuster CEO Carolyn Reidy said.

Many designers have an interesting story to tell, but Lauren's life is more colourful than most. He was born in the Bronx in New York to Jewish immigrants and his first job was in the US Army. He left to become a sales assistant for Brooks Brothers and eventually ended up setting up his own brand from a drawer in the Empire State Building, taking rags and turning them into ties.

Soon after, Neiman Marcus bought 1,200 of Lauren's ties and the rest, as they say, is history. He resigned as chief executive of his hugely successful brand in 2015.


“Seeing as Ralph Lauren’s empire is celebrating its 50th anniversary this year, we’re promised at least four books about the brand (including Ralph’s autobiography in 2018) on the horizon. Rizzoli has got a couple planned, including the Ralph Lauren: 50 Years of Fashion retrospective in association with WWD and a third version of the 2007 monograph, which will be expanded with more imagery and coverage of the last ten years.”

Remembering ... Ten Dukes gathered together.

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Ten dukes-a-dining: Gathered together over lunch for a unique picture, the grandees with £2bn and 340,000 acres between them
By ROBERT HARDMAN

At first glance, it might resemble the board meeting of a firm of auctioneers or a convention of prep school headmasters.
On closer inspection, it is actually a remarkable portrait of the grandest club in Britain, a super-elite who account for some 340,000 acres, more than £2billion and 4,505 years of aristocratic moving and shaking.
Some owe their fortunes to bravery in battle, others to royal philandering or political chicanery. But they are all distantly related to each other and they are all addressed in exactly the same way: Your Grace.
Outside the Royal Family, dukedoms have only ever been granted to a handful of men of power and influence.
Dukes are just one rung down from royalty in the social pecking order and enjoy a special status way above the rank and file of the aristocracy. As peerages go, it's the jackpot.
Today, there are just 24 non-royal dukes in existence, down from a total of 40 intheir Georgian heyday. And it's fair to say that no modern monarch or government is likely to create any more.
So, to celebrate its 300th birthday, Tatler magazine decided to invite this dwindling band of mega-toffs to a ducal lunch. The result was the largest gathering of dukes since the Coronation of 1953.
Some were too frail to attend. Some live abroad. But ten of them gathered for oysters and Dover sole in London's clubland. And the result is this intriguing study of 21st century nobility.
'After 300 years, we wanted to recapture the spirit of the original Tatler, and what better than a room full of dukes,' says Tatler editor Catherine Ostler.
Once, the holders of these titles would have been the A-list celebrities of their time. Today, most people would be pushed to name a single one of them.
With hereditary peers cast out into the political wilderness, dukes might seem little more than a comic anachronism in modern Britain. While they retain their rank and social clout, their only power is financial.
In the case of, say, the Duke of Bedford, this amounts to £500million in art, London property and a large slab of Home Counties commuter belt. As for the Duke of Leinster, whose grandfather ran a teashop, it is next to nothing.
Yet many dukes still play an active part in public life. The Duke of Norfolk, as hereditary Earl Marshal, is still responsible for organising the State Opening of Parliament and any coronations which should occur.
The Duke of Northumberland runs several public bodies across the North East while his wife is the local Lord Lieutenant.
The very first dukedom was a royal affair. In 1337, Edward III created his son, the Black Prince, the Duke of Cornwall. The title derives from the Latin dux - leader - and, throughout history, fewer than 500 British men have held the rank of 'Duke'.
The last non-royal dukedom was created in 1900 for the former Earl of Fife, who was upgraded to Duke following his wedding to Queen Victoria's granddaughter.
There might have been a new one in 1955 when the Queen offered one to Churchill, but he declined, preferring to die a commoner.
The only non-duke at the Tatler gathering was historian Andrew Roberts, invited to chronicle the event.
'They're all related and they all stick up for each other,' he recalls.
But he fears that dukes could become an endangered species. 'Not long ago, two important dukedoms - Newcastle and Portland - became extinct,' says the historian.
'So, my parting plea to the dukes was simple, even if it startled some of them. I simply said: 'Keep procreating!'

The assembled: (from left to right) 1. James Graham, 8th Duke of Montrose; 2. David Manners, 11th Duke of Rutland; 3. John Seymour, 19th Duke of Somerset; 4. Ralph Percy, 12th Duke of Northumberland; 5. Andrew Russell, 15th Duke of Bedford; 6. Edward Fizalan-Howard, 18th Duke of Norfolk; 7. Torquhil Campbell, 18th Duke of Argyll; 8. Maurice FitzGerald, 9th Duke of Leinster; 9. Murray Beauclerk, 14th Duke of St Albans; 10. Arthur Wellesey, 8th Duke of Wellington. See list below for details

A very special edition: The picture appears in the November issue of Tatler magazine

1 James Graham, 8th Duke of Montrose
Age: 72.
Title created: 1707. Other titles include Viscount Dundaff and Lord Aberuthven, Mugdock and Fintrie.
Seat: Auchmar, a modest estate near Loch Lomond.
Wealth: A high-ranking, but lower league landowner with 8,800 acres valued at around £1 million in 2001.
History: The dukedom was awarded for supporting the Act of Union in 1707. The sixth Duke helped to invent the aircraft carrier during World War I. The present Duke spent part of his childhood in a mud hut in Rhodesia (where his father was building a farm). Instead of the usual Eton education, he attended Loretto School in Edinburgh - just like the Chancellor, Alistair Darling.

2 David Manners, 11th Duke of Rutland
Age: 50.
Title created: 1703. Other titles include Marquess of Granby and Baron Roos of Belvoir.
Seat: Belvoir Castle, Leicestershire.
Wealth: Ranked 474th in the latest Rich List, he is valued at £115 million. Estates across Leicestershire (12,000 acres), Derbyshire (10,000 acres), Cambridgeshire (4,000 acres) and Lincolnshire (2,000 acres).
History: While the main seat, Belvoir, is a magnificent 365-room pile with an underground railway and £100 million of art, the family also owns Haddon Hall in Derbyshire, widely recognised as one of Britain's finest medieval and Tudor manor houses. A previous Marquess of Granby (later the third duke) was a popular soldier and helped many of his men with their retirement, hence the number of pubs called the Marquess of Granby.

3 John Seymour, 19th Duke of Somerset
Age: 56. Title created: 1547. His other title is Lord Seymour.
Seat: Maiden Bradley, Somerset.
Wealth: Around 5,000 acres of Somerset, including several villages.
History: He is a descendant of Jane Seymour, Henry VIII's third wife. The first Duke of Somerset, Edward Seymour, was Jane's brother.
The family owns the fourposter oak bed in which Edward VI is said to have been conceived.
Having rented out his main house at £50,000 a year, the Duke runs the estate from a smaller house in Devon.


4 Ralph Percy, 12th Duke of Northumberland
Age: 52.
Title created: 1766. Other titles include Earl Percy, Earl of Beverley, Baron Warkworth.
Seat: Alnwick Castle, Northumberland.
Wealth: With 132,000 acres, Syon Park in West London and a substantial art collection, he is valued at £300 million and ranked No. 178 on the latest Rich List.
History: Part of the original Norman Conquest gang, the Percy family have been dominant in their part of the country for centuries. Alnwick Castle is the authentic knight-in-shining-armour fortress and has featured in Blackadder and the Harry Potter films. The present Duke recently sold a Raphael painting to the nation for £22 million, a deal which attracted controversy because of the use of Lottery funds. The newly-refurbished Alnwick Garden is a major tourist attraction.

5 Andrew Russell, 15th Duke of Bedford
Age: 47.
Title created: 1694. Other titles include Marquess of Tavistock and Baron Howland
Seat: Woburn Abbey, Bedfordshire
Wealth: Valued at £489million. Owns 23,000 acres and prime central London real estate.
History: The first Duke fought on both sides in the Civil War and was ennobled after the Glorious Revolution of 1688. The family has made Woburn Abbey a major tourist attraction and the present Duke is busy refurbishing much of the London estate (significantly smaller than it once was after much of it became part of London University).
The family were stars of the BBC's Country House series.


6 Edward Fizalan-Howard, 18th Duke of Norfolk
Age: 53.
Title created: 1483. Other titles include Earl of Surrey and Baron Maltravers.
Seat: Arundel Castle, West Sussex.
Wealth: Half his 30,000 acres are in leafy West Sussex, while the family also owns a ten-acre parcel of London valued at £100 million in 2001.
History: As England's senior duke, Norfolk carries the hereditary title of Earl Marshal. As such, he plays an important role in running state occasions. The family's royal links stretch back centuries and the present Duke's wife, Georgina, stands in for the Queen at rehearsals of the State Opening of Parliament. The Duke's eldest son and heir, Henry, the Earl of Arundel, 21, is a promising Formula Three driver.


7 Torquhil Campbell, 13th Duke of Argyll
Age: 41.
Title created: 1701. Other titles include Marquess of Kintyre and Lorne, Viscount Lochow and Glenilla and Lord Morvern.
Seat: Inveraray Castle, Argyllshire.
Wealth: Family owns 60,000 acres of Scotland, valued at £12.5m in 2001.
History: The dukedom comes with plenty of baggage, including the hereditary posts of Master of HM's Household in Scotland and Keeper of the Great Seal of Scotland.
The family suffered serious scandal in the Sixties, when the divorce proceedings of the 11th duke unearthed a famous photograph of his soon-to-be former wife with a mysterious naked man. The present duke, when not working in the whisky trade, is captain of the Scottish elephant polo team.


8 Maurice FitzGerald, 9th Duke of Leinster
Age: 61.
Title created: 1766. Other titles include Marquess of Kildare and Earl of Offaly
Seat: Formerly Carton House, Co. Kildare. Now a farmhouse in Oxfordshire.
Wealth: No landholdings of any note, the Duke works as a landscape gardener.
History: The FitzGeralds assisted Edward I in his battles against the Scots. The family fortunes declined in the 20th century after the 7th Duke sold his interests in the family estates and was then declared bankrupt. His fourth wife, with whom he opened a teashop in Rye in 1965, was the caretaker of the block of flats in which he lived. Educated at Millfield, the present Duke is president of the Oxfordshire Dyslexia Association.

9 Murray Beauclerk, 14th Duke of St Albans
Age: 70. Title created: 1684. Other titles include Earl of Burford, and Baron Heddington.
Seat: A terrace house in Knightsbridge, London.
Wealth: Never a great landowning family, the Beauclerks were said to own 4,000 acres, worth £12m, in 2001.
History: The first Duke was the illegitimate son of Charles II and Nell Gwyn. Though the present Duke is a Tonbridge-educated chartered accountant, an eccentric strain still runs through family.
His heir, the Earl of Burford, has long campaigned to prove his ancestor, Edward de Vere, 17th Earl of Oxford, was the true author of the works of Shakespeare. In 1999, the young Earl was forcibly expelled from the House of Lords for jumping on the Woolsack and accusing the Government of treason in its expulsion of hereditary peers.

10 Arthur Wellesley, 8th Duke of Wellington
Age: 94.
Title created: 1814. Other titles include Prince of Waterloo, Duke of Vittoria and Earl of Mornington.
Seat: Stratfield Saye House, Hampshire and Apsley House, London.
Wealth: 7,000-acre Hampshire estate, 20,000 acres of Belgium and Spain. Thought to be worth £50m in 2001.
History: Like the original Iron Duke, the present Duke had a long Army career, winning the Military Cross and reaching the rank of Brigadier. In later life, he has devoted himself to his estates and charities, coming top in Country Life's 'Good Duke Guide' in 1991. His heir, the Marquess of Douro, is a former Tory MEP while his daughter, Lady Jane Wellesley, was once talked of as a bride for the Prince of Wales. More recent beaux include Melvyn Bragg and Loyd Grossman.
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