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The trilby by Lock & Co. Hatters / VIDEO: HATS AND HAT ETIQUETTE

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 A trilby is a narrow-brimmed type of hat. The trilby was once viewed as the rich man's favored hat; it is sometimes called the "brown trilby" in Britain and was frequently seen at the horse races. The London hat company Lock and Co. describes the trilby as having a "shorter brim which is angled down at the front and slightly turned up at the back" versus the fedora's "wider brim which is more level". The trilby also has a slightly shorter crown than a typical fedora design.

The hat's name derives from the stage adaptation of George du Maurier's 1894 novel Trilby. A hat of this style was worn in the first London production of the play, and promptly came to be called "a Trilby hat".

Traditionally it was made from rabbit hair felt, but now is usually made from other materials, such as tweed, straw, wool and wool/nylon blends. The hat reached its zenith of common popularity in the 1960s; the lower head clearance in American automobiles made it impractical to wear a hat with a tall crown while driving. It faded from popularity in the 1970s when any type of men's headwear went out of fashion, and men's fashion instead began focusing on highly maintained hairstyles.

The hat saw a resurgence in popularity in the early 1980s, when it was marketed to both men and women in an attempt to capitalise on a retro fashion trend.






Lock & Co. Hatters (formally James Lock and Company Limited) is the world's oldest hat shop, the world's 34th oldest family-owned business and is a Royal warrant holder. Its shop is located at 6 St James's Street, London and is a Grade II* listed building.

The company was founded in 1676 by Robert Davis. His son Charles continued the business and took James Lock (1731–1806) on as an apprentice in 1747. James later married Charles Davis's only child, Mary. When Davis died in 1759, James Lock inherited the company from his former master, and the Lock family, James's descendants, still own and run the company today. The shop has been in its current location since 1765.

The company is responsible for the origination of the bowler hat. In 1849, Edward Coke, nephew of Thomas Coke, 1st Earl of Leicester and the younger brother of Thomas Coke, 2nd Earl of Leicester, requested a hat to solve the problem of gamekeepers' headgear. Traditional top hats were too fragile and too tall (often getting knocked off by low branches) for the job. The company commissioned London hat-makers William and Thomas Bowler to solve the problem. Anecdotally, when Coke returned for his new hat, he dropped it on the floor and stamped on it twice to test its strength before paying 12 shillings and leaving satisfied.

Admiral Lord Nelson wore a bicorne of the brand’s into the Battle of Trafalgar complete with eye-shade. The eternally rakish Beau Brummell procured its hats as part of his sartorial arsenal. Winston Churchill adopted their Cambridge and Homburg hats as sartorial signatures and Anthony Eden was never without his trusty Lock Homburg.

Located in the eaves of the building is a workroom from which seasonal women's couture collections are conjured up. The resident milliners also oversee the customisation of men's hats including band and bow changes and brim trimming.

At the back of the shop is a hard-hat fitting room which is adorned with framed and signed head shapes, taken from Lock's unique conformateur, of famous customers past and present, from Admiral Lord Nelson, Oscar Wilde and Douglas Fairbanks Jr (who lived in a flat above the shop)[3] to Laurence Olivier, Charlie Chaplin, Jackie Chan, Cecil Beaton, Michael Palin, Alec Guinness, Jeremy Irons, Donald Sinden, Marc Sinden, Jackie Onassis, Eric Clapton, Duke of Windsor, Gary Oldman, Pierce Brosnan, Jon Voight, Victor Borge, Peter O'Toole and David Beckham who is often photographed wearing their 'Baker-Boy' style caps. Also in the room is a lit-cabinet displaying the original order (ledger) for Admiral Lord Nelson's hat, the very first bowler hat, the order for the velvet and ermine fur to re-line Elizabeth II's Coronation Crown and a photograph of Winston Churchill in a Lock silk top hat on his wedding day.


Lock & Co. is a Royal warrant holder as Hatter to Prince Philip, Duke of Edinburgh and Charles, Prince of Wales










Sundance 2018: Keira Knightley and the new wave of progressive costume drama / Colette review – Keira Knightley is on top form in exhilarating literary biopic

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 Daisy Ridley in Ophelia, Rupert Everett in The Happy Prince and Keira Knightley in Colette.

Sundance 2018: Keira Knightley and the new wave of progressive costume drama

With Knightley starring as Colette – alongside Rupert Everett’s Oscar Wilde biopic and Daisy Ridley as Hamlet’s Ophelia – the period drama has never looked so interesting

Andrew Pulver
 @Andrew_Pulver
Sat 20 Jan 2018 06.00 GMT Last modified on Sat 20 Jan 2018 06.03 GMT


The Sundance film festival has sold itself for 40 years as the champion of cutting-edge, radical independent cinema; not a natural habitat for the stiffly costumed and perfectly spoken habits of the literary-inflected costume drama. But this year a choice selection of such films have found their way to Sundance, at a time when the period film has gained considerable currency as an illuminator of contemporary social issues. The Happy Prince, Rupert Everett’s Oscar Wilde biopic about the writer’s final years will be joined at the festival by Ophelia, a reworking of the Hamlet story starring Star Wars’ Daisy Ridley, and Colette, a biopic of the transgressive French literary icon that stars costume-pic veteran Keira Knightley.

All three can claim to be part of a new wave of socially conscious period films: The Happy Prince examines Wilde’s years in exile after his release from jail in 1897, as he struggled with impoverishment and social disgrace, before dying in 1900. Everett, who directs as well as stars as Wilde, said the writer was his “patron saint” and that Wilde “is a kind of Christ figure in a way for every LGBT person now on their journey”. An adaptation of the young-adult novel by American writer Lisa Klein, Ophelia puts the celebrated “mad” Shakespeare character centre stage, in a reimagining that will clearly strike a chord with the #MeToo generation. And Colette, which emerges from the same production stable as the groundbreaking lesbian romance Carol, focusses on the French author and sexual boundary-pusher, best known for the boarding school Claudine series as well as Gigi, the 1944 novel about a convention-defying young woman who is trained to be a “courtesan”.

Stephen Woolley, the British producer of such films as The Crying Game and Made in Dagenham, is part of the team behind Colette (as well as Carol), and says that “period films can often be more persuasive on contemporary issues – political, gender, sociological”. He adds: “Despite its turn of the last century setting, Colette feels as up to the minute as any movie made last year. Its themes, including female empowerment, could be snatched from today’s headlines.” Its star, Keira Knightley, has already made waves criticising contemporary cinema’s obsession with rape, saying she found historical characters “inspiring” and that she avoids films set in the modern day as “the female characters nearly always get raped”.

The rise of progressive-minded historical dramas – as opposed to the sunlit Laura Ashley-style period films of the 1980s and 90s (think Room with a View to Shakespeare in Love), and the likes of TV’s Downton Abbey – goes back to films such as Andrea Arnold’s radical adaptation of Wuthering Heights, which cast mixed-race actor James Howson as Heathcliff, and the Amma Asante-directed Belle, the 18th-century-set biopic of Dido Belle, who went from childhood among slaves on a West Indian plantation to frilled frocks in Kenwood House.

The best known recent example of the style is the low-budget Lady Macbeth, which again tackled race issues in a more apparently-conventional period: here, in an adaptation of the Russian story Lady Macbeth of the Mtsensk District, Florence Pugh’s genteel Katherine, trapped in a loveless marriage, embarks on a Lady Chatterley style love affair with an estate worker, played by another mixed-race actor, Cosmo Jarvis. Its director, William Oldroyd, told the Guardian “That area of England was far more diverse than we have been led to believe. A lot of people make assumptions, and those assumptions are usually based on films they’ve seen already.”

Verdicts have not yet come in for these films, which all receive their world premieres in Sundance. But they represent a laudable next step in breaking down the fustiness and irrelevance of the traditional costume drama, and that is surely something to be welcomed.


Colette screens on 20 January, The Happy Prince on 21 January, and Ophelia on 22 January at the Sundance film festival.



Colette review – Keira Knightley is on top form in exhilarating literary biopic
4 / 5 stars    
The life of Sidonie-Gabrielle Colette makes for fascinating drama in a nuanced and inspiring film with a luminous central performance

Jordan Hoffman
@jhoffman
Mon 22 Jan 2018 01.21 GMT Last modified on Mon 22 Jan 2018 01.35 GMT

No, not another biopic about a writer! Ugh, Keira Knightley’s in a corset again! Get all of that out of your system now because I’m here to tell you that Wash Westmoreland’s Colette is exhilarating, funny, inspiring and (remember: corsets!) gorgeous, too.

The first third of this story is pretty traditional. Sidonie-Gabrielle Colette (Knightley) is a country girl waiting to get whisked away into marriage by the worldly literary “entrepreneur” known simply as Willy (Dominic West). When the new bride is presented at the salons, Parisian gossips are stunned. The notorious libertine Willy is to settle down?

While his admiration of his new bride is sincere, his desires are not entirely stunted. But Colette (as she is not yet known) doesn’t exactly sit idly when she learns of his infidelity. She demands honesty in their marriage and, for a time, she gets it. She also saves the family’s finances when her book that Willy initially rejected for publication is reworked, branded “a Willy novel” and becomes the talk of all Paris.

Much of what makes this film so fascinating is the not-quite-villain-but-certainly-not-hero role Willy plays. It’s a very juicy role for Dominic West, and undoubtedly the best film performance he’s ever given. (I’ve never in my life seen a man look dashing even while flatulating.) The obvious read is that Willy exploited Colette in ways bordering on cruelty. (He even locks her in a room and shouts “write!” when her initial Claudine novel demands a follow-up.) Westmoreland’s film doesn’t exactly excuse him, but does offer context about his contributions to Colette’s initial success as well as a realistic portrayal of how women writers were perceived at the time.

That doesn’t make it any easier for Colette as her husband steals all her glory. Luckily, they each have activities that keep them busy – for a stretch, the activity is sleeping with the same woman. Willy encourages Colette to link up with a bored Louisiana millionaire, but he doesn’t tell her that he’s visiting her apartment on alternating days.

This leads to a kind of understanding, or at least a delay for the inevitable reckoning. Willy’s indulgences lead to a depletion of funds, but what ultimately bankrupts him is producing a play featuring Colette and her new lover (the transgender pioneer “Missy”, the Marquise de Belbeuf). This failure forces Willy to sell the rights to the extremely popular Claudine character, and kickstarts Colette’s career as a vaudevillian.

There’s no shortage of domestic drama (and Knightley and West do fine work with the sharp screenplay Westmoreland co-wrote with Richard Glatzer and Rebecca Lenkiewicz) but the delay in building to a final knockout row is something of a revelation. We so often look to the lives of artists for meaning, but when dramatized they regularly end up being just another bit of soap opera. Colette’s life is deserving of nuance and care, and that’s what she gets in this film.

She also gets Keira Knightley is top form: luminous, clever, sexy and sympathetic. The scenes of physical intimacy are tasteful and few, but have quite an impact. Much of what drove Colette was a need to be recognized. Knightley will not suffer the same fate when this film is viewed by wider audiences.


Colette is showing at the Sundance film festival

Sunday Images / 10 Painted Interiors ( 2 )

Handmade: By Royal Appointment -2. John Lobb Shoes BBC Documentary 2016

Handmade: By Royal Appointment 2. John Lobb Shoes BBC Documentary 2016 / VIDEO below

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Six months to make a pair of shoes
Neil and Michael explain the craft of last making and why it has kept them at John Lobb for over 30 years.

"In the shadow of St Jamess Palace is the workshop of shoemakers John Lobb. Since the mid-19th century, they have handcrafted shoes for gentlemen and boast royal warrants from both the Duke of Edinburgh and the Prince of Wales. Its a rare heritage company still run by the original family and this film follows a day in the life of the shoemakers, who use methods that have barely changed since the company was founded. From pencilled outlines on brown paper to the cutting and stitching of leather, heels hammered on soles to the final polishing, the film follows the meticulous craft process and hears from the shoemakers themselves, many of whom have spent decades working for the company."
SEE VIDEO below











John Lobb Bootmaker is a company that manufactures and retails a very exclusive luxury brand of shoes and boots mainly for men, but also for women. It is based near St James's Palace, at 9 St James's Street, London. Founded in 1849, Lobb is one of England's oldest makers of bench-made shoes, worn by clients such as King Edward VII, famous 20th century opera tenor Enrico Caruso, and actor Daniel Day Lewis. John Lobb shoes are also worn by Ian Fleming's fictional character James Bond. At Lobb, special care is taken to select the fine leather skins—with crocodile skin shoes for about USD 8000 at the top of the range.
The original, family-owned Lobb still handmakes shoes one pair at a time, while Hermès who acquired use of the John Lobb name in 1976 broadened the reach of the John Lobb brandname through its ready-to-wear line. The production of each pair of John Lobb ready-to-wear shoes is so time-consuming that only about 100 pairs of shoes are finished per day.
Hermès' John Lobb shoes are available in both ready-to-wear and made-to-measure. Its motto is "The Bare Maximum for a Man".
Hermès' John Lobb shoes are sold in its own boutiques or in luxury department stores such as Harrods, Bergdorf Goodman, Selfridges, Neiman Marcus and Lane Crawford. Hermès' John Lobb also has boutiques in countries around the world, including the United States, Russia, Switzerland, Japan, South Korea, Taiwan and several European Union countries.
A pair of bespoke leather shoes costs over £2400. The average price is approximately £2700 (as on 15 January 2009), if ordering from the St James's Street shop.


Prince Charles Vintage bespoke hand made shoes by John Lobb



















Vintage cleverley hand made shoes


.... It did occur to me to wonder what the eponymous George Cleverley (pictured, in black and white) would have thought. Born in 1898 into a shoe-making family, he worked for Tuczek in Mayfair for 38 years, before starting his own business in 1958 and rapidly becoming famous for his graceful shoes with the chisel toe, with clients of the calibre of Rudolph Valentino, Humphrey Bogart, John Gielgud and Winston Churchill. Eventually his pupils, John Carnera and George Glasgow (pictured, with Mr Glasgow on the right), became his successors. Mr Cleverley worked right up to his departure from this life, aged 93, in 1991. He had two great interests: shoes and horse-racing. Indeed, it was one of Mr Carnera’s regular duties to take his boss off for the day to the racecourse at Newmarket. I hope that the great man, who clearly enjoyed the good things of life, would have permitted himself a smile at my desire for co-respondent shoes. ( in "Welcome to Brown's Bespoke")




The tradition began after World War I, when George Cleverley worked for Tuczek, the fashionable shoemaker in Clifford Street, Mayfair, where he developed a signature style called the Cleverley shape, famous for its chiselled toe. The Cleverley quickly became popular with Rudolph Valentino, Humphrey Bogart and Sir Lawrence Olivier.
In 1958 Cleverley set up his own business in Cork Street, and continued to fit some of the most famous feet in the world, amassing a diverse client list that ranged from Sir Winston Churchill to Rolling Stone Charlie Watts.
Before his death in 1991 at 93, Cleverley appointed his successors, George Glasgow and John Carnera, current co-owners who carry on Cleverley’s shoemaking reputation. They trade as G.J Cleverley & Co, now located in the Royal Arcade adjacent to Old Bond Street. Today famous clients include David Beckham and Sir Elton John.
The handmade shoemaking process starts – with a style consultation and measurements.
A unique ‘last’ is made for each customer, which is a wooden block from which the shoe is built. The ‘last’ serves to reproduce the dimensions of the client’s feet.
One can approximate that 45-50 hours of work are required to complete a pair of handmade shoes. They will pass through the hands of several craftsmen, each with a specific skill such as cutting, closing or finishing, which means that the new customer can expect to receive the final product some four to six months down the line.
A pair of bespoke brogues cost in the region of £2,000.

As well as the renowned bespoke business, GJ Cleverley offer a semi-bespoke shoe service along with a readymade range that is very much influenced by the firm’s handmade products.
Their finest semi-bespoke and ready to wear collection is named after shoemaker Anthony Cleverley. This unique collection is styled from shoes once designed for Anthony’s clients, Baron de Rede, Count Visconti, Monsieur de Givenchy and the Rothschild family.
This collection is available as ready to wear from UK 6 to UK 12 sized shoes with half size increments. And also as a made-to-order Anthony Cleverley, for clients who will only wish to make slight modifications. These shoes will take between 12-14 weeks to produce. All shoes come with a lasted beachwood shoes tree .(in Toffsmen)


Darkest Hour / Appeasement / Churchill , Halifax and Londonderry / VIDEO:DARKEST HOUR - Official Trailer 2 [HD] - In Select Theaters November 22nd

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Winston Churchill makes a fine movie star. If only we had a leader to match him in real life today
The Observer
Britain’s wartime leader is played by Gary Oldman in the film Darkest Hour, following portrayals by John Lithgow and Brian Cox. His enduring legend is a rebuke to current world politicians, says the Observer’s chief political columnist



Andrew Rawnsley
Sun 7 Jan 2018 08.00 GMT

‘He mobilised the English language and sent it into battle’: Winston Churchill rallies the nation in May 1940.
In an early scene in Darkest Hour, Clementine Churchill tells another character that her husband is “just a man, like any other”. This is a knowing opening joke in Joe Wright’s new film about May 1940 and the first three weeks of Winston Churchill’s premiership. It is a joke that just about everyone is guaranteed to get. Even those of its citizens with the slenderest grasp of this country’s past will know that Churchill was not a man like any other. During its long and rich history, Britain has had good, bad and mediocre leaders. Churchill occupies an elevated plinth all to himself as the prime minister who led his country through a struggle for national survival, the like of which it had never before endured and has never since experienced. The stakes were vertiginous when he replaced the discredited Neville Chamberlain at Number 10. The choices made in the early weeks of Churchill’s premiership were a hinge point in history. In play was not just the freedom of Britain but the future of an entire continent.

This makes the Churchill legend one deserving of his country’s pride and at the same time it presents us with several linked problems. He is a challenge for actors who try to embody him and for the politicians who have followed him. There is also a Churchill conundrum for the country that remembers – and misremembers – his role in its history.

Let’s start with the actors. Their portrayals of Churchill matter. As the wartime generation fades away, more and more of us will only know him – or think we do – from the versions we see on screen. Some of our finest actors have given it a go in recent years. There was a cameo Churchill from Timothy Spall in The King’s Speech, which was rightly chastised for taking some liberties with the history of his relationship with the monarchy. John Lithgow offered an empathetic Churchill in his second, peacetime, period as prime minister for the Netflix series The Crown. Michael Gambon gave us an affecting portrayal of the great man in decline in ITV’s Churchill’s Secret. He was never seen on screen during Christopher Nolan’s Dunkirk, but a Churchillian spirit infused that immersive account of the British army’s narrow escape from France in 1940. Brian Cox was a jowl-quivering Churchill in last year’s film of the same name, which presented him not as the imperturbable war leader but as a man tortured with agonies about the risks of attempting the 1944 Normandy landings.

Darkest Hour also has an ambition to peel back myth and find the complex character within. Wearing a fat suit and a lot of prosthetics, Gary Oldman’s impersonation is sufficiently spirited to shine even through layers of latex. This film doesn’t avoid all the Churchill cliches. There is a lot of cigar-chomping and whisky-swilling. Despite that, Oldman succeeds in creating a Churchill who is more interesting than the “bulldog” of simple legend. We see him courageous, martial and inspirational, but also beleaguered and uncertain, playful and earthy, fearsome and maudlin, cunning and loving, bad-tempered, sentimental and tearful. We are reminded that the superman was, just as his wife said, a man. He was a genius not because he was without faults but because he transcended his flaws. This is what makes him such a remarkable example of the human species.

And such an intimidating challenge to each politician who has followed him in Number 10. At some level, every prime minister since has known that they will never match his place in history. In today’s rather baleful political scene, he is more than a challenge –he is a rebuke.

 We pine for politicians who aspire to do more with language than marshal banalities, incite division and rouse nastiness
The recent burst of film-making about the 1940s may be mainly because the period provides such strong material. I suspect something else is going on: a feeling that there is no one like Churchill – or anywhere close to being like him – among contemporary political leaders on either side of the Atlantic. It is our misfortune to be passing through a period when the worst sort of leader uses passion in the service of malevolence while the better types struggle to articulate much by way of uplifting conviction. Do we have a yearning for leadership that combines principle, vision and humanity with the capacity to mobilise and unify people behind a collective and heroic endeavour? I rather suspect we do.

We surely also pine for politicians who aspire to do more with language than marshal banalities, incite division and rouse nastiness. Darkest Hour pivots around three of Churchill’s finest speeches: his debut to parliament as prime minister, his first radio address to a frightened nation and another speech to MPs following the Dunkirk evacuation. In that short span of just three weeks, Churchill produced a triptych of some of the most influential feats of 20th-century oratory when, in the words of Edward R Murrow, “he mobilised the English language and sent it into battle”.

It would be unreasonable to expect today’s politicians to match the Churchillian style. His lavish orotundities and bombastic circumlocutions are stirring in a historical drama but they wouldn’t suit our period when television and social media are the principal environments in which contemporary politicians must operate. That said, his most memorable phrases resonate down the decades because they are timeless in their potency and so much better than anything to be heard from politicians of this age.

“I would say to the House, as I said to those who have joined the government: I have nothing to offer but blood, toil, tears and sweat.”

“You ask, what is our aim? I can answer in one word. Victory. Victory at all costs. Victory in spite of all terror. Victory, however long and hard the road may be, for without victory there is no survival.”


“We shall fight on the seas and oceans. We shall fight with growing confidence and growing strength in the air. We shall defend our island, whatever the cost may be. We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender…”

Never in the field of human conflict was so much owed by so many to one man’s brilliance with words.

Compare and mournfully contrast the power of his oratorical poetry with a Donald Trump tweet or Theresa May coughing her way through a conference speech or Jeremy Corbyn having a bit of a rant or Jean-Claude Juncker on a verbal ramble at a Brussels news conference. Inasmuch as contemporary political players pay homage to Churchill, it is the dismal tribute of offering bastardised versions of his wartime rhetoric in self-serving support of their own causes. Mrs May does this with her awful “red, white and blue Brexit”.Boris Johnson does this when he claims that Britain will become “a vassal state” if it doesn’t have a relationship with the European Union that he approves of.

How painful it is to contrast what was at stake in 1940, when there was a genuine danger of Britain becoming “a vassal state” of Nazism, with the phoney and petty furies that foam around many of the arguments related to Brexit. The current cabinet bickers about whether Britain should aspire to be Canada plus or Norway minus. What wretchedly pathetic wrangling compared with the awesome choice facing Britain when Churchill became prime minister.

Hitler had swallowed Austria and consumed Czechoslovakia. Poland had been devoured by Nazism in diabolical compact with Stalin’s Soviet Union. Denmark and Norway had been gobbled up too. Belgium, Holland and France were overrun within a month of Churchill’s arrival at Number 10. The military situation facing Britain looked catastrophic. Consideration was given to evacuating George VI and the royal family to Canada. The Americans were sitting on their hands. In an excellent scene in Darkest Hour, Churchill is on a bad transatlantic phone line to Washington to beg help from Franklin Roosevelt. The American president is all sympathy and no assistance. He can give only excuses for inaction. The Americans are even reluctant to release planes that Britain has already paid for.

To fight on – or to take up an offer from Mussolini to mediate a peace with Hitler? That is the grave question around which revolves the political drama of Darkest Hour. The film reminds us that the choice made by Churchill was not at all obviously the correct one to many of his colleagues. He began his wartime premiership as a much distrusted figure within the Tory party. Though it later suited everyone to pretend that he was the inevitable choice as prime minister, a significant number of his colleagues thought it should be anyone but him. George VI, who has been treated kindly by recent film and television productions, was among the Churchill sceptics.

Chamberlain (Ronald Pickup) and Viscount Halifax (Stephen Dillane) are accurately portrayed agitating for Britain to take up Mussolini’s offer. One of the things to like about Darkest Hour is that it does not depict them as cartoon appeasers of fascism, but as men sincerely convinced that fighting on will be national suicide. To them, Churchill’s fine rhetoric is beside the point compared with the power of Hitler’s weapons of destruction. “Words and words and only more words,” sneers Halifax. He was wrong, but he was wrong for reasons that seemed compelling to many people in May 1940. Much of the British military thought invasion highly likely and defeat unavoidable. This context makes Churchill’s determination to fight on all the braver.

Here the story of his leadership folds into our national legend to create a collective memory that has always set apart Britain from its neighbours. For most Europeans, 1940 will always be a darkest hour. The majority of the continent was either celebrating Hitler or allied to Germany or conquered by the Third Reich or would be soon occupied. For Britons, 1940 became a finest hour. It was retrospectively bathed with a fierce patriotic glow as the year when this country stood splendidly defiant – “very well, alone”, as the great man put it. This has made a major contribution over the decades since to a strong strand of British exceptionalism that has inevitably infected the argument whenever we have debated our relationship with the rest of Europe.

Yet 1940 has never represented a case for Britain to be detached from its continent. Churchill understood that. It is central to his historical importance that he saw this much more clearly than Chamberlain and Halifax. He argued for fighting on because he grasped that Britain’s fate was entwined with that of its continent. Making peace with Hitler would mean surrendering Europe to the barbarity of Nazism. On 18 June 1940, in the wake of the capitulation of France, he told the Commons: “Hitler knows that he will have to break us in this island or lose the war. If we can stand up to him, all Europe may be free and the life of the world may move forward into broad, sunlit uplands. But if we fail, then the whole world, including the United States, including all that we have known and cared for, will sink into the abyss of a new Dark Age made more sinister, and perhaps more protracted, by the lights of perverted science.”

He took this stance in the face of considerable public terror about the consequences of fighting on. The most irritating scene in Darkest Hour is one that is entirely made up. At the height of the war cabinet’s debate about whether to sue for peace, the film-makers put Churchill in a London underground carriage where he asks a selection of salt-of-the-earth Brits whether he should open negotiations with Hitler. To a man and woman, adult and child, they all respond “never”. This invented scene is seriously misrepresentative of public opinion in May 1940. Many Britons were very fearful, and understandably so, of carrying on the war. It had not been that long ago that crowds thronged to cheer Chamberlain when he returned from Munich with his bogus “peace for our time”.

Britons were still scarred by the meat-grinder carnage of the trenches of the first world war. The advent of airpower – “the bomber will always get through” – added to the horror of a conflict of indefinite duration that the country could not be at all confident of surviving. It was really only after the unexpected deliverance at Dunkirk and during the Battle of Britain that followed that the nation solidified behind Churchill’s view that there could be no compromising with the menace of Nazism.


This is one of the many aspects of Churchill to admire. When he started to deliver his fighting speeches, he couldn’t be sure that he would carry Britain with him. He did not tell the public what they all wanted to hear; he used his powers of advocacy and inspiration to rally parliament and the people behind him. He did not follow public opinion. He led it. That is at the heart of his magnificence. It is also another reason to mourn the lack of contemporary politicians who aspire to emulate his example.


Lord Halifax tried to negotiate peace with the Nazis
Lord Halifax, Britain's Foreign Secretary at the outbreak of the Second World War, secretly met with an Old Etonian who tried to broker a peace deal with the Nazis, according to newly-declassified security files.
By Chris Hastings, Public Affairs Editor 2:09PM BST 30 Aug 2008

The files reveal that shortly after the outbreak of war Halifax helped with the travel arrangements of John Lonsdale Bryans, who believed he could bring down Hitler by making contact with prominent anti-Nazi Germans including Ulrich von Hassell, the former German ambassador in Rome.

Initially Lonsdale Bryans thought he could drum up support for an anti-Nazi coup in Germany. But he subsequently changed tactic and tried to contact Adolf Hitler in a bid to negotiate a peace.

The disclosure that the Foreign Secretary had such close links with someone trying to contact Hitler during wartime will reignite the debate about his own beliefs.

Halifax, who met Hitler in 1937, was criticised for being too close to the cause of appeasement. Shortly after Churchill took over as Prime Minister in 1940 he was moved from the Foreign Office to the British Embassy in Washington.

The documents reveal that Halifax met Lonsdale Bryans, personally helped with his travel arrangements and even accepted intelligence reports from him.

A letter in the files from the passport office to Captain WS Mars, dated January 9, 1940, states: "The permit granted on the 8th was given at the request of Mr CGS Stevenson, the Private Secretary to Lord Halifax, who telephoned to say that the Secretary of State wished that all possible facilities should be granted to Mr Bryans."

More details of Lord Halifax's involvement are contained in a internal note for the Ministry of Information dated October 19, 1945.

Its states: "Lonsdale Bryans met Lord Halifax on 25 August 1939. That he should travel to Europe to make contact with enemy groups opposed to Hitler. Lord Halifax is reputed to have said that Britain would not fight for Danzig and the [Polish] corridor and later to have minuted that he was impressed by the proposal."

Security officials stumbled upon the mission by accident when they arrested an associate of Lonsdale Bryans called Anderson who had letters from the old Etonian on his person.

A note connected with an interrogation of Anderson states: "The main point which seemed to emerge from the interrogation was that according to Anderson, Lonsdale Bryans was a personal friend of Lord Brocket and also claimed to be something in the nature of an unofficial envoy of Lord Halifax. He wished to see Hitler and with this in view had asked Anderson to get in touch with a certain Stahmer that Bryans would be vouched by a number of persons including those on the list."

On December 13, 1940, MI5 contacted Sir Alexander Codogan, the Permanent Under Secretary of State at the Foreign Office, to provide further details of the arrest and to disclose what the service had learned about Lonsdale Bryans from his associate.

The MI5 note states: "With reference to our conversation yesterday afternoon with regard to the case of John Lonsdale Bryans, I attach a copy of a letter which this individual wrote to the Director of the Schwartzhaupter Verlay, Leipzig, evidently offering to make a trip to Germany for the purpose of an audience with the Fuhrer.

"In writing this letter Bryans has of course been guilty of an offence under the Defence Regulations (DR4A) in the he has attempted to communicate with the enemy, but I certainly agree with your view that in the circumstances of the case the suggestion that we should request the Admiralty to intercept the Portuguese vessel on which Bryans is now travelling from Funchal to Lisbon is not practical."

Sir Alexander agrees that given the Foreign Office's involvement the idea of an arrest is out of the question. On 7th April 1941 he wrote: "Although there seems to be a good deal to be said for locking him up to prevent him airing his views to all and sundry, I understand that if this is done it will inevitably involve him bringing up the question of his contacts with the Foreign Office and the facilities offered to him to get into Italy.

"In the circumstances we feel that he might be left at large though of course be strictly watched."

The Foreign Office seems to have spent the rest of the war worried that Lonsdale Bryans will reveal the mission to the outside world.

One Foreign Office note from the period states: "Bryans is becoming desperately short of money and although no mischief has been done so far, I anticipate the possibility that he might try to sell his story the press. It occurs to me that it might be a good idea to warn Lonsdale Bryans as seriously and solemly as possible that he should not go on telling people of how he contacted the Germans."

An MI5 official notes on 1 March 1944: "Bryans story would make sensational reading in the Daily Mirror."

The Foreign Office provided its clearest explanation of events in a letter sent seven years after the end of the war, when the security services found out about plans by Lonsdale Bryans to write about his adventures.

In a letter dated 15 August, 1952, an official wrote: "The truth of the matter seems to be that Bryans managed, by importuning a number of influential people in the country, to get himself an interview with Lord Halifax and, by virtue of his Italian contacts, to arrange a meeting with von Hassell in Switzerland to discuss a possible revolution in Germany and peace terms. He brought back a paper which he gave to Sir Alexander Cadogan purporting to be set out von Hassell's views. His did this off his own bat and was never set on any mission by Lord Halifax or employed by HMG in any capacity whatsoever, though Lord Halifax did see him and though his journeys to Switzerland and Italy were facilitated on two occasions, but solely to the extent then necessary to enable anyone to travel."





Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry
He was appointed to the new Air Council at Westminster in 1919 by the postwar coalition government. Promoted to Under-Secretary of State for Air in 1920, Londonderry was nevertheless frustrated and took advantage of his Ulster connections to join the first Government of Northern Ireland in June 1921, as Leader of the Senate and Minister for Education. At Belfast he acted as a check on the increasingly partisan and survivalist government of Prime Minister Sir James Craig. Nevertheless, Londonderry's Education Act of 1923 received little in the way of good will from either Protestant or Catholic educational interests, and was amended to the point that its purpose, to secularise schooling in Northern Ireland, was lost.

In 1926, he resigned from the Northern Ireland Parliament and involved himself in the General Strike of that year, playing the role of a moderate mine owner, a stance made easier for him by the relative success of the Londonderry mines in County Durham. His performance earned him high praise, and along with the Londonderrys' role as leading political hosts, he was rewarded by Prime Minister Stanley Baldwin with a seat in the Cabinet in 1928 as First Commissioner of Works. Londonderry was also invited to join the emergency National Government under Prime Minister Ramsay MacDonald and Lord President Baldwin in 1931. This was the cause of some scandal as MacDonald's many critics accused the erstwhile Labour leader of being too friendly with Edith, Lady Londonderry.

When the National Government won the 1931 General Election he returned to the Cabinet as Secretary of State for Air (Londonderry also held a pilot's licence). This position became increasingly important during his tenure, not least due to the deliberations of the League of Nations Disarmament Conference at Geneva. Londonderry toed the British government's equivocal line on disarmament, but opposed in Cabinet any moves that would risk the deterrent value of the Royal Air Force. For this he was attacked by Clement Attlee and the Labour Party, and thus became a liability to the National Government. In the spring of 1935 he was removed from the Air Ministry but retained in the Cabinet as Lord Privy Seal and Leader of the House of Lords. Combined with his role as a leading member of the Anglo-German Fellowship, he attracted the popular nickname of "Londonderry Herr".

The sense of hurt Lord Londonderry felt at this, and of accusations that he had misled Baldwin about the strength of Nazi Germany's Luftwaffe, led him to seek to clear his reputation as a 'warmonger', by engaging in diplomacy. This involved visits to meet Hitler, Hess, Goering, Himmler, von Papen, and other senior members of the German Government and the much-discussed two stays, of several days each, in 1936, of Joachim von Ribbentrop, German Ambassador to the Court of St. James, later the German foreign minister, at the principal ancestral homes of the Marquess in Northern Ireland and England. They came to Mount Stewart on 29 May – 2 June, and were at Wynyard Hall on 13–17 November, and for subsequent briefings with government officials in London.

Between January 1936 and September 1938 Lord Londonderry made six visits to Nazi Germany, the first lasting for three weeks, but a seventh invitation previously accepted for March 1939 was abruptly declined by Londonderry following the Nazi occupation of Prague.

During the first two visits, prior to the abdication of Edward VIII (who the Nazis assessed as a supporter of their party), Londonderry was considered an aristocrat of real influence by Hitler. The friendly regard in which the Marquess was held in Berlin was reflected in Hitler indiscreetly informing his guest, in October 1936, of his intended moves both on Czechoslovakia and Poland years in advance of these two invasions being actioned.

Although Londonderry immediately passed this information regarding Hitler's indicated future direction of German policy on to a member of the British Government, via a letter to Lord Halifax on 24 December 1936 rearmament was not notably accelerated in Britain at this point. In the end, Londonderry's high-profile promotion of Anglo-German friendship marked him with a far greater slur than that which had led him to engage in appeasement in the first place.

Under attack from anti-Nazis inside and outside Westminster, Lord Londonderry attempted to explain his position by publishing Ourselves and Germany in March 1938. Then, after the Munich agreement, in October 1938, Londonderry wrote in a letter that he was aware that Hitler was "gradually getting back to the theories which he evolved in prison", when working on Mein Kampf.

After playing a marginal role in the resignation of Neville Chamberlain as Prime Minister in 1940, he failed to win any favour from the new Prime Minister, Winston Churchill (his second cousin), who thought little of his talents. Out of office during the war, he produced his memoirs, Wings of Destiny (1943), a relatively short book that was considerably censured by some of his former colleagues.


Ian Kershaw’s biography of Adolf Hitler is widely regarded as the definitive work on the subject, as well as one of the most brilliant biographies of our time. In Making Friends with Hitler, the great scholar shines remarkable new light on decisions that led to war by tracing the extraordinary story of Lord Londonderry—one of Britain’s wealthiest aristocrats, cousin of Winston Churchill, confidant of the king, and the only British cabinet member to outwardly support the Nazi party. Through Londonderry’s tragic tale, Kershaw shows us that behind the accepted dogma of English appeasement and German bullying is a much more complicated and interesting reality—full of miscalculations on both sides that proved to be among the most fateful in history.


The lord who courted the Nazis
Alan Judd reviews Making Friends with Hitler by Ian Kershaw.
Alan Judd12:01AM BST 24 Oct 2004

Ian Kershaw's attention was drawn to Lord Londonderry's relationship with the Nazis by an 18in Meissen porcelain statuette of an SS stormtrooper adorning the mantelpiece of the Londonderry family home in Northern Ireland. It was a present from Joachim von Ribbentrop, German ambassador to London and later Hitler's foreign minister, who had been a weekend guest in 1936. Making Friends with Hitler is a window into the almost-forgotten world of 1930s appeasement, showing why it appealed to so many and why it was doomed from the start.

It is hard now to appreciate the social and political eminence of people such as Lord and Lady Londonderry, owners of coal mines, vast tracts of land and, among other properties, a Park Lane mansion with 44 servants. They entertained royalty – Londonderry was called "Charley" by the King – and were on first-name terms with leading political figures. It is harder still to appreciate how they saw themselves: their rights were birthrights, their pre-eminence pre-ordained. They were the cream of a society which it was not only their pleasure but their duty to lead and serve.

To Lady Londonderry, society hostess and high Tory, it was perfectly natural that she should have Ramsay MacDonald, the first Labour prime minister, at her fingertips. (The gossip of the time suggested it was rather more than that, although Kershaw thinks their flirtation didn't amount to an affair.)

In 1931 Londonderry was made secretary of state for air by MacDonald's National Government – an appointment which, according to Lloyd George, can be attributed to his wife's influence. Londonderry's political tastes were pro-German and anti-French, which brought him into early conflict with British policy, but his overwhelming motive was to avoid repeating the First World War. In this he was at one not only with his colleagues but with most of his countrymen. Yet he recognised that, if we were to have an air force (there was pressure for the RAF to be scrapped), it ought to be modern, and he pressed for expansion.

Like nearly everyone – apart from Churchill and Sir Horace Rumbold, British ambassador to Berlin – he underestimated Hitler and thought the Germans could be persuaded to disarm, especially if we strengthened our air force. When, in 1935, the true scale of German rearmament was at last accepted and the political tide turned overnight, Londonderry was pilloried, then sacked.

He spent the rest of his life trying to justify a career that had been characterised by political misjudgments, moderate competence, an overestimation of his own abilities and a degree of bad luck. But his activities during the next few years made everything worse. Convinced that the Foreign Office (now waking up to Hitler) was wrong in its estimation of the German threat, and that critics such as Churchill were more likely to bring about the war everyone feared, he courted the Nazi leadership, visiting Hitler, going shooting with Goering and entertaining von Ribbentrop.

He applauded Nazi anti-communism and was unworried by its anti-Semitism, but he was no Nazi. Rather, as Kershaw says, he was "idealistic enough to presume that politics… were determined by goodwill, moral objectives, the gentleman's code of honour, the preservation of legal order". Above all he wanted to avert another war. He was not alone: Attlee, convinced that Hitler's dictatorship was "gradually falling down", was still opposing rearmament in 1939. Privately, both the Londonderrys and the Nazis made similar miscalculations – on the one hand that German aggression could be ameliorated by friendship, on the other that social position was sufficient to influence British national policy. It wasn't like that any more – if it ever had been.

During the war Londonderry proved a staunch patriot, albeit dominated by his desire for vindication. "I was the only person who was right during the 1930s," he claimed. Of his cousin Churchill he wrote: "I wanted to achieve by what I thought was statesmanship what he wanted to achieve by war." Denying that he was an appeaser, he couldn't see that what he had tried to do was, in fact, to appease; but that is perhaps the nature of appeasement.

This is an erudite, wise and instructive account of what might, with hindsight, seem one of history's sideshows. Yet it was for years the conventional political wisdom, the most favoured illusion, and Kershaw helps us to understand it better.




The other man who tried to appease Hitler
Rich, well connected and with a fascination for politics, Lord Londonderry was that most useful of men - a perfect scapegoat. Ian Kershaw tells his story in Making Friends with Hitler
Neal Ascherson

Sun 21 Nov 2004 00.50 GMT First published on Sun 21 Nov 2004 00.50 GMT

'Very agreeable... a kindly man, with a receding chin and an impressive face'. So reported Lord Londonderry after his first meeting with Hitler in 1936. Lady Londonderry, the great society hostess and fixer, saw 'a man with wonderful, far-seeing eyes... simple, dignified, humble'. Later, she wrote to him: 'You and Germany remind me of the Book of Genesis in the Bible.'

At this point, you may wonder why a good scholar like Ian Kershaw has bothered to write about such a twit as Londonderry, the sort of solemnly self-important ass my parents used to refer to as a 'stiff'. But Londonderry, if he did not achieve anything much, certainly stood for something. In the first place, he came to stand for the archetypal pro-Nazi appeaser. This was unjust, because he was never anything like a fascist. Londonderry regarded the Nazi regime as foul and suitable only for foreigners, but he did believe that Hitler had genuine grievances and should be reasoned with, not excluded.

However, during and after the war, the British needed an aristocratic scapegoat, someone who was at once appeaser and coalfield owner to symbolise the rotten old system which had brought the Depression and war.

Second, Londonderry stood for a policy which did make a sort of sense. Once Hitler came to power in 1933, there were three possible British policies. These were: to negotiate with Hitler and to disarm in order to reassure him; to give him not an inch and to rearm at full speed (Churchill's line); or to open a dialogue with Germany while steadily rearming. Londonderry pursued the third option. He did so very badly, but given that his cousin Churchill's 'war policy' had almost no support at the time, it was the least worst path to take.

The Londonderrys were immensely rich, owning more than 50,000 acres, a colliery empire in the north-east of England, Mount Stewart in County Down and four other country houses, and Londonderry House on London's Park Lane.

Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry, was raised to expect responsibility and office. 'Charley', as King George V called him, became a Tory MP in 1907 and fought on the Somme in 1916. His mother and wife wangled him a transfer home, but he was denied the junior ministry he expected. This was because he had failed to get Lord Curzon's footman exempted from active service.

In 1931, he was made Secretary of State for Air in the National Government. This was because Ramsay MacDonald was obsessed with Lady Londonderry, calling himself 'your attendant ghillie'. At the Disarmament Conference, Londonderry made himself unpopular by resisting pressure to reduce Britain's bomber force. At home, he was denounced as a warmonger. He made it all worse by arguing that bombers were needed to deal with rebellious wogs in Iraq or the North-West Frontier.

When Germany walked out of the conference in 1935, Londonderry asked for an increase in the RAF. The government at first refused, then suddenly changed its mind. Chamberlain (then Chancellor) took the credit for almost doubling aircraft strength. Londonderry, once blamed for loving bombers, was now blamed for failing to rearm fast enough. In March 1935, Hitler announced that he had already achieved air parity with Britain. Londonderry responded hopelessly badly in Parliament, querulously defending his own record instead of promising more aircraft. Stanley Baldwin, the new Prime Minister, sacked him. It was all very unfair.

Now began his long, fatal flirtation with Nazi Germany. He would show those middle-class second-raters what a freelance grandee could achieve. The 1936 visit to Hitler and Goering was the first of a series in which he offered himself as a mediator, as an influential friend who could convey German wishes to the highest circles in Britain.

At first, the Nazi leaders took his self-importance at face value. It was several years before they realised that nobody in Whitehall listened to Londonderry any more. The Foreign Office, which comes out of this book very well, had always known that Hitler's promises were worthless. The politicians, although they dithered, were too afraid of public opinion to follow Londonderry's calls for a 'rapprochement'.

The high-point of all these contacts was the weekend when Joachim von Ribbentrop, soon to be Nazi ambassador to London, flew in his own Junkers to Mount Stewart and joined Londonderry's house party. The diplomatic results were zero and the visit damaged Londonderry's name almost as badly as his attempt to invite Goering to the Coronation in 1937.

Kershaw, who shows genuine pity - if not quite sympathy - for his subject, points out why his campaign for friendship with Germany failed. First, Londonderry kept asking the Nazi leaders what they wanted and what the limits of their claims were. This was a non-question, because they wanted all they could get, preferably by war rather than by some international treaty.

Second, although a conventional anti-semite, he never grasped that murderous violence against Jews was central to the Nazi project, not a mere excess. Third, he could not conceive that British opinion might come to prefer an alliance with 'Bolshevik Russia' against Nazi Germany, rather than the reverse.

For a moment in 1938, Munich persuaded him that Britain had seen the light at last. Chamberlain's calculation was that Britain must negotiate with Hitler because our forces were still too weak to win a Czechoslovak war against him. But his mistake was also Londonderry's: that Hitler must prefer gains by treaty to gains by war. Within weeks, the 'Crystal Night' pogrom and then the occupation of Bohemia in March 1939 ended all Londonderry's hopes.

'Charley' was tall, thin and courteous and had a charming smile. It was not the fact of being an aristocrat in 20th-century politics which sank him; it was the fact that he was a stupid aristocrat, unable to grasp how the world had changed. The fabulous receptions at Londonderry House earned him no respect from the bourgeois politicians who thronged them.

And he did not respect them, either. Privately, he thought they were all tradesmen except for cousin Winston, of course. 'I now see why I failed to understand the very second-class people I had to deal with and how glad they must have been to get me out of the way,' he reflected. But that was the only failure he ever admitted.


‘The Londonderry Herr’: Lord Londonderry and the appeasement of Nazi Germany
Published in 20th-century / Contemporary History, Features, Issue 1 (Jan/Feb 2005), Volume 13

The term ‘appeasement’ remains as much a slur today as it was in the 1940s. Yet appeasement is far from unusual in politics, although owing to the negativity surrounding ‘appeasement’ we now prefer to use words like ‘compromise’ and ‘accommodation’. Our detailed knowledge of Nazi Germany (1933–45), in particular its project to exterminate European Jews, has only emphasised the folly of appeasement and those who advocated it in the 1930s. Yet for those who lived through that decade, with memories of the Great War of 1914–18 and deep fears of a new war involving the use of aerial bombing, the issues were not as clear-cut as they would appear to us today.
The reputation of the British aristocracy in particular was damaged by the involvement of many aristocrats in the appeasement campaign. One such nobleman, with substantial connections to Ireland, was the seventh marquess of Londonderry (1878–1949). Up until very recently Lord Londonderry has received almost no scholarly attention, an omission signally rectified by two new books, Sir Ian Kershaw’s Making friends with Hitler: Lord Londonderry and Britain’s road to war, and this writer’s The marquess of Londonderry: aristocracy, power and politics in Britain and Ireland. The Londonderry family owned an estate near Newtownards, Co. Down, as well as wealthy coalfields in County Durham, England. The seventh marquess had been the first Northern Ireland minister for education (1921–6), and from 1931 to 1935 he sat in the British cabinet as secretary of state for air.

Aristocratic appeasers

Why should the aristocracy be remembered in particular? Most people in the UK and France feared another war with Germany. Nevertheless, many found the fascist regimes of Europe distasteful, and governments had to balance their wish to avoid another war with a foreign policy that did not appear too friendly towards Mussolini and Hitler. This situation heightened the sense of confusion surrounding foreign affairs in the 1930s. With governments trying to steer a careful course, interest groups for and against appeasement were developed to agitate ministers. One such group was the Anglo-German Fellowship.
Members of what might be called ‘the establishment’ dominated the Fellowship. Their wealth and influence were considerable, and they had the economic and social means to visit senior Nazis in Germany. But far from being overly powerful, the Fellowship was only one of many pressure groups and interests that the UK government had to consider when formulating foreign policy. And although all wanted to avoid war, there was a significant difference of opinion, in the cabinet, parliament and the intelligence services, on how this was to be achieved.
As the appeasement lobby appeared to be dominated by titled grandees, that class became associated with being pro-Nazi, a presumption reinforced by the odd maverick like Sir Oswald Mosley, leader of the British Union of Fascists. However, even before the mid-1930s, aristocrats were being marginalised. Compared to their dominance in the nineteenth century, it was increasingly difficult for them to occupy posts in the cabinet without criticism, and they had to jostle for influence with other wealthy and powerful groups such as the press, businessmen, trade unions and, most importantly, the electorate.
It is unsurprising, then, that for their detractors the aristocracy’s role in appeasement confirmed long-term criticisms. But such condemnation tends to ignore the almost universal support given to appeasement before the Second World War, and that the hero of that war, Winston Churchill, was the grandson of a duke and a cousin of Londonderry.
Aristocratic appeasement is also easier to understand when we consider how the Nazis viewed the aristocracy. For Hitler the nobility was ‘the scum produced by societal mutation gone haywire from having had its blood and thinking infected by cosmopolitanism’. But for Hitler’s Nazi adviser on foreign affairs, Joachim von Ribbentrop, the British aristocracy was the key to power and influence in the UK. Realising that Britain could be the main opponent to Nazi territorial expansion, Ribbentrop, with Hitler’s approval, set about forging better relations with Britain’s nobility, a task made simpler by his appointment as ambassador to London in October 1936.

Londonderry and appeasement

Lord Londonderry’s relations with Nazi Germany cannot be taken as typical, although his motivations were far from unusual. With enormous wealth at his disposal, Londonderry could have retired quietly from politics in 1935. But it was his political career and outlook, alongside other widely held reasons for appeasement, that determined Londonderry’s decision to take up the cause.
As an approach to politics, appeasement was a crucial component of Londonderry’s political character. From the period when he represented the Ulster Unionists at the Irish Convention of 1917–18, Londonderry was determined not only to buck the trend of aristocratic decline and have a career in politics but also to adopt what he felt to be a conciliatory approach, most notably in Ireland: he had advocated cooperation with nationalists at the Convention, and as Northern Ireland’s first education minister he attempted (unsuccessfully) to build a non-denominational primary-school system (HI Spring 2001).
However, it was Londonderry’s period as air secretary that led him to engage in the appeasement of Germany outside government. His dismissal from the cabinet in November 1935 was the conclusion to a troubled period of representing the interests of the Royal Air Force. Londonderry’s overly careful attitude had led him to be blamed for both the retention of air forces (and thereby aerial bombing) and not rearming the RAF fast enough in the wake of claims about German rearmament. With the Labour Party branding him a warmonger, Londonderry was determined to restore his reputation. As a former cabinet minister, he believed that he could do this and also play a useful role in promoting better understanding between the UK and Germany. Like many Conservatives, Londonderry had long regarded the Versailles Treaty as too harsh on Germany, and in May 1932 he warned that Hitler would assume power unless German grievances were addressed.

Visiting the Nazis

Londonderry initiated his new political role with a private visit to Germany at the end of January 1936. Ribbentrop ensured that Londonderry was treated well and that he met with leading Nazis like Hermann Göring, Rudolf Hess and Hitler himself. All the Nazis made sure that their guest understood that Germany only wanted friendship with the UK, but that it also expected certain grievances to be addressed, such as the return of African colonies and a revision of its European borders. The Nazis suggested an anti-communist alliance as the basis for UK–German relations. Like many British appeasers, the fear of Soviet expansion was central to Londonderry’s advocacy of better relations with Berlin. But the British government, although sympathetic to such a view, was not yet prepared to formalise a pact with dictators.
Unwilling to encourage amateur diplomats like Londonderry, only one cabinet minister was prepared to meet with him upon his return from Germany, and Oliver Stanley was Londonderry’s son-in-law. Londonderry despaired at the attitude of his former colleagues. But if the government acted indifferently, the high society circles in which the Londonderrys had moved did not approve. However, both Londonderry and his formidable wife, Edith, were determined to struggle through such criticism, although it became increasingly difficult when the press began to label them pro-Nazi.
Londonderry was an easy target for such accusations. His pleas for better UK–German relations were matched by the Londonderrys’ legendary hospitality towards Ribbentrop. The ambassador visited their County Down estate, Mount Stewart, in May 1936. He described Edith’s gardens as ‘paradise’, and created quite a stir in the locality with his SS guard. Indeed, Ribbentrop’s association with the Irish peer became so infamous that he was nicknamed ‘the Londonderry Herr’.

Action and reaction

In the months and years that followed his first visit to Germany in early 1936, Londonderry made himself one of the most prominent advocates of appeasement. Owing to his ability to contact senior ministers in both London and Berlin, he became increasingly useful in circumventing the lack of full and frank diplomacy between the two states.
In March 1936 Londonderry was criticised for a letter to The Times in which he not only defended Hitler’s recent occupation of the Rhineland but also called for an agreement to be made with Berlin. The British government began to take an increasing interest in what their former colleague was discussing with the Nazis. And although Londonderry had never forgiven Prime Minister Stanley Baldwin for dismissing him in 1935, the latter attempted to mend the fence by having his close associate Lord Halifax meet with Londonderry to discuss his findings. However, discussions soon broke down when Halifax refused to countenance Londonderry’s request for an anti-communist pact.
Following the utter failure of his attempt to influence foreign policy, Londonderry dropped his advocacy of a direct deal between London and Berlin in favour of a conference of the great powers, to include Britain, France, Germany and Italy, but not Russia. Londonderry argued that this conference should resemble the Congress of Vienna, the great diplomatic achievement of his ancestor Viscount Castlereagh (later second marquess of Londonderry). Such comparisons with his forebear heightened Londonderry’s sense of personal mission. But he also felt that just as Vienna had created peace after the fall of Napoleon without crushing France, so a similar congress was necessary to revise the controversial Versailles Treaty. Such an agreement would, he hoped, ‘pin Hitler down to peace under all circumstances for a period of time if necessary’.
A second meeting between Hitler and Londonderry in October 1936 reawakened the interest of Halifax. Londonderry informed Halifax that, among the usual list of German complaints and aspirations, Hitler alluded to the eastward expansion of the Reich.

Drift ends, deception begins

On the face of it, 1937 should have been a good year for UK–German relations. In May Neville Chamberlain replaced Baldwin as prime minister. Chamberlain was determined to end the policy of drift and actively engage in improving diplomatic channels with the Nazi leadership. But it was during that year that it became increasingly obvious to Ribbentrop that power in Britain did not lie with the aristocracy. He was weary of his unpopularity among London socialites and disappointed at the lack of openly amicable relations between his country and the UK. Under pressure from Hitler, Ribbentrop concluded that Britain would not be an ally to Nazi ambitions. In fact, he argued that if war should break out the UK would be the Reich’s main enemy.
Although the Nazis switched their focus to forming anti-communist alliances with Italy and Japan, they continued to cultivate supporters of appeasement in Britain. That way, it did not appear that Germany rejected British overtures for peace, especially when it came to revising the Versailles Treaty, but it meant that appeasers like Londonderry were unwittingly engaged in promoting a sham. When Londonderry visited Göring in September 1937 he was disappointed by his host’s ‘less conciliatory’ attitude. He complained about this to Ribbentrop, blamed it on Mussolini’s recent visit to Germany, and protested that he had barely any influence over his former colleagues in the government.

Heightening confusion

Just as the Nazis were downgrading Londonderry’s value as a man of influence, the British were becoming increasingly interested in his recent findings. Ironically, worsening relations between London and Berlin made informal contacts more valuable. Following his visit to Göring, Londonderry met with Chamberlain. Subsequently, Londonderry was kept informed of a secret plan to send Halifax over to Germany for a meeting with Hitler in November 1937. It is uncertain how much of an influence Londonderry was at this point, but it is notable that part of Halifax’s mission was to propose a pact between the powers of Western Europe.
Prior to the visit, Londonderry paid another trip to Germany and informed Halifax of his findings. Halifax has been criticised for mentioning revisions to Germany’s eastern border before Hitler raised the subject. However, it is worth noting that Hitler had communicated this aspiration through Londonderry a year in advance.
Londonderry was deeply disappointed that that meeting did not produce an agreement. He recognised that the Nazis no longer seemed responsive to British concerns, but failed to register why. For Londonderry, the cloud of suspicion that complicated relations between the two states had to be cleared. In his letters to Ribbentrop, he became markedly more critical of the damage that certain Nazi policies were doing to British public opinion, but continued to advocate a Vienna-style congress.

Ourselves and Germany

To his lasting misfortune, the cooling of UK–German relations led Londonderry to conclude that more efforts to promote them were necessary. From this endeavour came Ourselves and Germany, published and reprinted throughout 1938. The small book was intended to promote an understanding of Nazi grievances. It contained frank reports of Londonderry’s relations with leading Nazis, some of which dealt with the persecution of Jews. Given that he hoped to generate mutual understanding, Londonderry printed a letter in which he informed Ribbentrop that although Germany had a legitimate grievance with the Jews, it was not applicable to every Jew, and such policies were harmful to public opinion in the UK.
The letter attracted adverse publicity, although the context is often ignored. It does reveal, however, that the Nazis could rely on the widespread popularity of anti-Jewish prejudices. Nevertheless, it is important to note that Nazi brutality towards the Jews made comparatively mild prejudices seem harmless. Londonderry certainly did not regard himself as anti-Semitic; one of his sons-in-law, Lord Jessel, was Jewish, and he apologised for publishing the letter to his friend Anthony de Rothschild. Fearing for his reputation and the prospects of worsening relations, Londonderry became increasingly critical of Nazi policy towards religious minorities, and mentioned it to Hitler when he wrote to the indifferent leader of Germany in April 1938.
Ourselves and Germany was published against the background of worsening relations. In March 1938 Hitler broke the Versailles Treaty by incorporating Austria into the Reich. In private, Londonderry wrote to a member of the Anglo-German Fellowship condemning Hitler’s sudden and unilateral methods. But this only encouraged him to believe that an agreement would pin Hitler down. In his April 1938 letter to Hitler, Londonderry defended some of his more critical comments about German policy in Ourselves and Germany. But he reminded Hitler that Britain and Germany could still reach an agreement that would allow both to be leading powers. Hitler sent a curt reply to thank Londonderry for his copy of Ourselves and Germany. The book was subsequently refused publication in Germany until Londonderry leant on Göring.
Londonderry paid another visit to Germany in June 1938. He met with Göring and noted how his host appeared less truculent than before. Göring informed Londonderry that Germany’s final demands would be satisfied by the settlement of the Sudeten question in favour of the Reich. Londonderry afterwards reported this to Halifax, although the latter did not appreciate Londonderry’s negative views on Czechoslovakia.

Munich

As the crisis intensified, Chamberlain flew to Germany for a meeting with Hitler at Berchtesgaden on 15 September 1938. Londonderry’s informal contacts were no longer useful now that the prime minister was meeting Hitler face to face. However, Londonderry was pleased that his hoped-for summit between the two leaders was finally happening. After some initial difficulties, a conference between the four powers convened at Munich on 29 September. Londonderry was in Munich at the time but played no part in the proceedings. The resulting agreement gave Hitler the Sudeten territories and guaranteed the remainder of Czechoslovakia through an agreement with France and Italy. The following day Chamberlain had Hitler sign the infamous letter declaring their intention never to go to war. As Churchill informed Londonderry, ‘Your policy is certainly being tried’.
But unlike Chamberlain, Londonderry did not enjoy any short-lived public adulation. His presence at Munich attracted the hostility of the left-wing press. Not only did he rush to his own defence, but he also added his name to a letter to The Times from the pro-Nazi ‘Link’ group of politicians, praising the Munich agreement. He was not the only non-member to add his name, but as an ex-cabinet minister it was a scandalous act, considering the Link’s reputed connections to Berlin. As he subsequently informed Lord Powerscourt, he thereafter became the victim of a ‘conspiracy of silence’.

Worsening relations

The apparent triumph of ‘Munich’ quickly turned sour by 10 November 1938 following reports of Crystal Night, a violent anti-Jewish pogrom in Germany. Londonderry halted his communications with Nazi leaders and publicly condemned what had happened, but, in contrast to many other appeasers, the worsening situation led him to call for a new agreement between the two states. The Londonderrys were in Sweden as guests of the royal family when, on 15 March 1939, the Germans divided Czechoslovakia between themselves, Poland and Hungary. This ended Londonderry’s public calls for a deal with Germany; instead he argued that Hitler was untrustworthy. But it did not end his private advocacy of an agreement in correspondence with Halifax.
In the months that followed, Londonderry continued to involve himself in a situation that was heading towards war. Reopening communications with Göring, he said that he could do little other than support Chamberlain’s guarantee of Poland; he felt that Hitler had ‘destroyed’ all his efforts at promoting peace. He sent a similar complaint to the former chancellor of Germany and fellow aristocrat Franz von Papen. Londonderry also wrote to the German ambassador to London, demanding that he save UK–German relations by denying press reports about Nazi brutality. The ambassador failed to rise to the challenge, yet Londonderry issued a renewed call for a peace settlement in a letter to The Times on 22 June 1939.
It would seem that Londonderry had begun to separate his views on the Nazis from those on Germany. In early July 1939 he arranged with Philip Conwell-Evans—an ex-appeaser who had forged links with German opposition groups—a meeting with the ‘moderate’ Colonel Schwerin of the German general staff. Schwerin was one of a number of aristocratic senior officers who regarded Hitler’s military plans as disastrous. Londonderry informed Halifax of the meeting although he was sceptical of Schwerin’s request for British military force. Halifax appreciated the information. But this gratitude only led Londonderry to believe that he could perform a useful role again and he began to plan another visit to Hitler.
As soon as Halifax was informed of Londonderry’s proposed mission he stopped it. The former air minister had over-inflated his own usefulness, and the government had its own special envoy. Londonderry argued defensively that he had unique contacts with the German leadership that would allow him to declare that he had been betrayed by their assurances and that he ‘represented the spirit of the British government and people in being determined to resist any further aggression’. It was Hitler’s style to leave his guests with the impression that they mattered. Halifax, also a victim of this, remained steadfastly opposed to the visit.
With this, Londonderry’s political career and reputation lay in ruins. When the Nazis concluded a pact with Stalin on 23 August, Londonderry blamed not himself for being deluded but the way that the British government had allowed this development to happen by not acting earlier. In the weeks leading to the declaration of war on 3 September 1939, the Londonderrys moved to Mount Stewart and were subject to press rumours about being interned.

Peace party?

It has been suggested that during the war Londonderry was part of a mysterious ‘peace party’ that wanted to negotiate with Hitler. It is true that Londonderry remained concerned about Soviet expansion and broadly sympathetic with German grievances. But his inclusion on a list of names carried by Hess on his flight to Scotland in September 1940 reveals more about Nazi delusions than political power in Britain. In contrast to some aristocratic appeasers, Londonderry was not openly hostile to the war, and far from being a member of a peace party he had advocated Chamberlain’s replacement with Churchill. For the remainder of the war Londonderry helped with army recruitment in Northern Ireland and struggled with the government to publish his memoirs. He died at Mount Stewart in 1949 and was buried in the family graveyard there, flanked by statues of four Irish saints.
For Londonderry and many other aristocrats the promotion of appeasement had given them a renewed sense of political input after decades of steady decline. Their participation was intensified by the lack of a clear British foreign policy, Nazi encouragement and the universal fear of another war, with its concomitant danger of Soviet expansion and further imperial decline. We now know how deeply mistaken they were to rely on Hitler. But they were far from unique in this regard. As John F. Kennedy noted while a student in London in the 1930s, British public opinion dictated the need for disarmament and appeasement, for almost no one wanted to provoke another war.

Neil Fleming is Lecturer in Modern History, Queen’s University, Belfast.

Further reading:

N.J. Crowson, Facing fascism (London, 1997).

N.C. Fleming, The marquess of Londonderry (London, 2005).

H.M. Hyde, The Londonderrys (London, 1979).

I.    Kershaw, Making friends with Hitler (London, 2004).

10 Sunday Images / Scottish Clans

James Smith & Sons - Hazelwood House, 53 New Oxford Street, London

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London's top shops: James Smith & Sons umbrella shop
Europe's oldest umbrella shop, this family-run business has served customers, rain or shine, since Victorian times.

By Olivia Parker 17 Feb 2012 in The Telegraph
A slice of Victorian London is thriving on Oxford Street. A five-minute walk from the bland expanse of high-street shops that stretch from Tottenham Court Road station westwards to Bond Street, James Smith and Sons Umbrella Shop has remained largely unchanged since it moved to the location in 1857 (the shop was originally located in Foubert Place, off Regent Street, where it opened in 1830).
The windows of the handsome shop make an immediate impact on anyone walking past the corner of New Oxford Street, filled as they are with rows and rows of elegantly shaped umbrellas. Their design has remained relatively unaltered over the years, even as the streets surrounding the shop have evolved from cobbled laneways carrying horse-drawn carriages to rubble-strewn wartime streets to today’s traffic-choked arteries.

Inside, James Smith and Sons sells every conceivable type of men's and women’s umbrellas and parasols, as well as made-to-measure walking sticks (fitted while you wait). Given the heritage of the brand, some prices are pleasingly affordable – walking sticks are cut to length from £30. Others prove more prohibitive, with some antique and bespoke items costing thousands of pounds. Many are assembled in the workshop on site, their carefully crafted parts ordered and sent from specialists across Europe. Some are ‘classic city umbrellas’, topped with intricately wrought handles and bearing engraved silver collars, others are sun umbrellas with tassels hanging off them for a more flamboyant finish.

The walking sticks, both the shepherd’s ‘Crook’ style and the hooked ‘Derby’, are a marvel; topped with striking silver animal heads and skulls for handles, they make the prospect of using an umbrella, should you need to, infinitely appealing. The shop even does an unexpected line in gadgetry with made-to-order ‘drinking sticks’, which hold two slim glasses and a tiny flask, and canes whose handles untwist to become a corkscrew or a briarwood pipe.

A tradition of craftsmanship runs through all the products on show. The shop is the oldest umbrella shop in Europe and members of the original Smith family are still connected to the business. The customer base has remained constant too, with members of the same families remaining loyal to the business for generations. William Gladstone was a customer in the 1800s; today customers come from all over and, presumably for decorative purposes rather than everyday use, goods from the shop are highly sought after in Africa and the Middle East. Looking through the stock I’m taken by a fabulous ceremonial wand topped with a chunky silver hippo, commissioned for a Nigerian prince.

Perhaps the man who has had the most significance on the business is Jonas Hanway, whose portrait hangs in the shop. Believed to be the first Londoner who owned an umbrella, his canopy was mocked by coachmen who were aggrieved at the loss of custom the veil provided. Over time his curious accessory gained acceptance; although many of the clockmakers, locksmiths and butchers that surrounded James Smith & Sons have closed down, the umbrella shop has been there to serve Londoners and visitors whatever the weather.

Location: Hazelwood House, 53 New Oxford Street, London WC1A 1BL
Opening hours: Mon & Wed – Fri: 9.30am-5pm; Tue & Sat: 10am-5pm; Sun: closed.
Tube: Tottenham Court Road, Holborn







HISTORY OF JAMES SMITH & SONS UMBRELLA SHOP

In 1830 James Smith founded the famous firm of James Smith and Sons at Foubert Place in London's West End. His son, also called James, was quite an entrepreneur and moved the business to New Oxford Street in 1857 - he also opened six other businesses including a hatters and a barbershop. He had eight sons and a daughter, and when he moved to Tasmania with two of his sons to take up farming, he left the others to run the business at home. In 1930 it was his grandson Mr Mesger (great grandson of the founder) who moved back from Tasmania to take over the running of the business.

A branch shop was opened just off Savile Row and it was from here that umbrellas were sold to Gladstone, Bonar Law and Lord Curzon, among many other dignitaries. When this shop was pulled down to make way for a new road, the branch moved to New Burlington Street, but this was unfortunately destroyed in the Second World War.

The business in umbrellas has always thrived, perhaps because of the English weather, but also because of the outstanding reputation the company has for new umbrellas, and their repair service. The company was one of the first to use the famous Fox Frame and has led the field in utilising the most recent advances in fabrics and structure.

For a long time the company specialised in making ceremonial umbrellas, maces, and gentlemen's canes and these are in service around the world. Until the 1920's the cane or stick was an essential part of the well dressed male's attire. During World War I many hundreds of thousands of military 'swagger sticks' were sold to soldiers, but today the cane or stick is used mostly as an aid to walking.

Much of the business for sticks comes from America where there has always been a shortage of good sticks and canes. One American client even asked the company to make him a stick in every English wood possible - he received over 70 sticks in total!

Apart from being the leading umbrella company for 180 years and the first name in sticks and canes, the shop on New Oxford Street is a legend in itself. It is a perfect example of Victorian shop front design and has remained virtually unaltered in 140 years. Inside, it is a unique experience; most of the fittings were designed and made by a fitter employed by Mr Smith.

A MANUFACTURING TRADITION

The First James Smith started our tradition of umbrella making in 1830 when he opened a small shop in Fouberts Place, off Regent Street. He made the umbrellas at the back of the shop and customers were served at the front.

That tradition is still maintained in our New Oxford Street premises. Our workshops have always been situated in the basement and it is there that we still make umbrellas and walking sticks.

These days we sell so many that some have to be made specially for us by other small family firms. The design and materials of the gentleman's traditional umbrella have changed little over the years, apart from the fact that most of the covers nowadays are made from nylon. It is generally recognised that London has been the home of the best umbrellas and walking sticks and we are pleased to be able to continue that tradition.
in http://www.james-smith.co.uk




The Umbrella

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THE UMBRELLA COMES TO EUROPE

Apparently the umbrella entered Europe via Greece, Italy and Turkey. Tradition has it that the Normans brought the umbrella to England with them (presumably some sort of canopy regalia) in 1066, but there is nothing very tangible to support this. Umbrellas were however in common use in France in 1620. It is often claimed that umbrellas were introduced to England by Jonas Hanway about 1750, but this is definitely not correct. They are mentioned in Gays Trivia, The Art of Walking the Streets of London, published in 1712 and also in the Female Tattler for December 12th 1709. But Jonas Hanway was the first Englishman to carry an umbrella regularly. He was pelted by coachmen and chairmen for his persistence, since they saw this craze could endanger there own means of livelihood.

It should be remembered that in those days the only covered transport was the private coach or Sedan chair. Also that the umbrellas were very heavy, ungainly things made with whalebone or cane ribs, mounted on a long, stout stick of about 1" in diameter and covered with a heavy cotton fabric, waterproofed by oiling or waxing.

Only on a few public buildings was rainwater led from the roofs by gutters and fallpipes. In the main the water simply ran off the roof into the street. Although sometimes it was collected in gutters under the eaves and poured out like a miniature Niagara Falls, through the mouths of grotesque gargoyles at each corner of the building. Pavements were unknown and the gutter or kennel was in the middle of the street. The choice was then either to carry one of these portable tents or get soaked.

By 1787 the umbrella had achieved some considerable measure of popularity within a short period of time and the French ladies umbrellas had achieved remarkable elegance, and on the continent they were used as much as a sunshade as protection from rain. And it is from this period and via the sunshade that umbrellas began to develop into something lighter and more graceful.

Between 1816 and 1820 men's umbrellas had again reached a weight of over four pounds, but ladies umbrellas continued to be much lighter, weighing less than one pound. This was partly due to the use of finer fabric of silk and by the substitution of light iron stretchers, but in general umbrellas in this country, until the middle of the last century, were made with ribs of whalebone for the best quality and of split cane for the cheaper quality.


Then in the late 1800's came the development of the Fox Steel Ribs and Frames. And so the modern umbrella was born.









Marchesa Elena Grimaldi, by Anthonis van Dyck, 1623

17th century

Thomas Wright, in his Domestic Manners of the English, gives a drawing from the Harleian MS., No. 604, which represents an Anglo-Saxon gentleman walking out attended by his servant, the servant carrying an umbrella with a handle that slopes backwards, so as to bring the umbrella over the head of the person in front. It probably could not be closed, but otherwise it looks like an ordinary umbrella, and the ribs are represented distinctly.

The use of the parasol and umbrella in France and England was adopted, probably from China, about the middle of the seventeenth century. At that period, pictorial representations of it are frequently found, some of which exhibit the peculiar broad and deep canopy belonging to the large parasol of the Chinese Government officials, borne by native attendants.

John Evelyn, in his Diary for June 22, 1664, mentions a collection of rarities shown to him by "Thompson", a Roman Catholic priest, sent by the Jesuits of Japan and China to France.[23] Among the curiosities were "fans like those our ladies use, but much larger, and with long handles, strangely carved and filled with Chinese characters", which is evidently a description of the parasol.

In Thomas Coryat's Crudities, published in 1611, about a century and a half prior to the general introduction of the umbrella into England, is a reference to a custom of riders in Italy using umbrellas:

And many of them doe carry other fine things of a far greater price, that will cost at the least a duckat, which they commonly call in the Italian tongue umbrellas, that is, things which minister shadowve to them for shelter against the scorching heate of the sunne. These are made of leather, something answerable to the forme of a little cannopy, & hooped in the inside with divers little wooden hoopes that extend the umbrella in a pretty large compasse. They are used especially by horsemen, who carry them in their hands when they ride, fastening the end of the handle upon one of their thighs, and they impart so large a shadow unto them, that it keepeth the heate of the sunne from the upper parts of their bodies.

In John Florio's "A WORLD of Words" (1598), the Italian word Ombrella is translated

a fan, a canopie. also a testern or cloth of state for a prince. also a kind of round fan or shadowing that they vse to ride with in sommer in Italy, a little shade. Also a bonegrace for a woman. Also the husk or cod of any seede or corne. also a broad spreding bunch, as of fenell, nill, or elder bloomes.

In Randle Cotgrave's Dictionary of the French and English Tongues (1614), the French Ombrelle is translated

An umbrello; a (fashion of) round and broad fanne, wherewith the Indians (and from them our great ones) preserve themselves from the heat of a scorching sunne; and hence any little shadow, fanne, or thing, wherewith women hide their faces from the sunne.

In Fynes Moryson's Itinerary (1617) is a similar allusion to the habit of carrying umbrellas in hot countries "to auoide the beames of the Sunne". Their employment, says the author, is dangerous, "because they gather the heate into a pyramidall point, and thence cast it down perpendicularly upon the head, except they know how to carry them for auoyding that danger".

In France, the umbrella (parapluie) began to appear in 1660s, when the fabric of parasols carried for protection against the sun was coated with wax. The inventory of the French royal court in 1763 mentioned "eleven parasols of taffeta in different colours" as well as "three parasols of waxed toile, decorated around the edges with lace of gold and silver." They were rare, and the word parapluie ("against the rain") did not enter the dictionary of the Académie française until 1718.  


18th and 19th centuries

Kersey's Dictionary (1708) describes an umbrella as a "screen commonly used by women to keep off rain".

The first lightweight folding umbrella in Europe was introduced in 1710 by a Paris merchant named Jean Marius, whose shop was located near the barrier of Saint-Honoré. It could be opened and closed in the same way as modern umbrellas, and weighed less than one kilogram. Marius received from the King the exclusive right to produce folding umbrellas for five years. A model was purchased by the Princess Palatine in 1712, and she enthused about it to her aristocratic friends, making it an essential fashion item for Parisiennes. In 1759, a French scientist named Navarre presented a new design to the French Academy of Sciences for an umbrella combined with a cane. Pressing a small button on the side of the cane opened the umbrella.

Their use became widespread in Paris. In 1768, a Paris magazine reported:

"The common usage for quite some time now is not to go out without an umbrella, and to have the inconvenience of carrying it under your arm for six months in order to use it perhaps six times. Those who do not want to be mistaken for vulgar people much prefer to take the risk of being soaked, rather than to be regarded as someone who goes on foot; an umbrella is a sure sign of someone who doesn't have his own carriage."

In 1769, the Maison Antoine, a store at the Magasin d'Italie on rue Saint-Denis, was the first to offer umbrellas for rent to those caught in downpours, and it became a common practice. The Lieutenant General of Police of Paris issued regulations for the rental umbrellas; they were made of oiled green silk, and carried a number so they could be found and reclaimed if someone walked off with one.

Parisians in the rain with umbrellas, by Louis-Léopold Boilly (1803)

By 1808 there were seven shops making and selling umbrellas in Paris; one shop, Sagnier on rue des Vielles-Haudriettes, received the first patent given for an invention in France for a new model of umbrella. By 1813 there were 42 shops; by 1848 there were three hundred seventy-seven small shops making umbrellas in Paris, employing 1400 workers. By the end of the century, however, cheaper manufacturers in the Auvergne replaced Paris as the centre of umbrella manufacturing, and the town of Aurillac became the umbrella capital of France. The town still produces about half the umbrellas made in France; the umbrella factories there employ about one hundred workers.


In Daniel Defoe's Robinson Crusoe, he constructed his own umbrella in imitation of those that he had seen used in Brazil. "I covered it with skins," he says, "the hair outwards, so that it cast off the rain like a pent-house, and kept off the sun so effectually, that I could walk out in the hottest of the weather with greater advantage than I could before in the coolest." From this description the original heavy umbrella came to be called "Robinson" which they retained for many years in England.

Captain James Cook, in one of his voyages in the late 18th century, reported seeing some of the natives of the South Pacific Islands with umbrellas made of palm leaves.

The use of the umbrella or parasol (though not unknown) was uncommon in England during the earlier half of the eighteenth century, as is evident from the comment made by General (then Lieut.-Colonel) James Wolfe, when writing from Paris in 1752; he speaks of the use of umbrellas for protection from the sun and rain, and wonders why a similar practice did not occur in England. About the same time, umbrellas came into general use as people found their value, and got over the shyness natural to its introduction. Jonas Hanway, the founder of the Magdalen Hospital, has the credit of being the first man who ventured to dare public reproach and ridicule by carrying one habitually in London. As he died in 1786, and he is said to have carried an umbrella for thirty years, the date of its first use by him may be set down at about 1750. John Macdonald[disambiguation needed] relates that in 1770, he used to be addressed as, "Frenchman, Frenchman! why don't you call a coach?" whenever he went out with his umbrella. By 1788 however they seem to have been accepted: a London newspaper advertises the sale of 'improved and pocket Umbrellas, on steel frames, with every other kind of common Umbrella.' But full acceptance is not complete even today with some considering umbrellas effete.

Paris Street; Rainy Weather, by Gustave Caillebotte (1877)

Since then, the umbrella has come into general use, in consequence of numerous improvements. In China people learned how to waterproof their paper umbrellas with wax and lacquer. The transition to the present portable form is due, partly, to the substitution of silk and gingham for the heavy and troublesome oiled silk, which admitted of the ribs and frames being made much lighter, and also to many ingenious mechanical improvements in the framework. Victorian era umbrellas had frames of wood or baleen, but these devices were expensive and hard to fold when wet. Samuel Fox invented the steel-ribbed umbrella in 1852; however, the Encyclopédie Méthodique mentions metal ribs at the end of the eighteenth century, and they were also on sale in London during the 1780s. Modern designs usually employ a telescoping steel trunk; new materials such as cotton, plastic film and nylon often replace the original silk.

Swaine Adeney Brigg of London / Royal Umbrellas | euromaxx

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Swaine Adeney Brigg of London has been selling umbrellas since 1750,and got its royal warrant from Queen Victoria in 1893. The Brigg brolly achieved international fame when wielded by John Steed in The Avengers TV series. But they're not that cheap so what makes them different from more ordinary umberellas?





Swaine Adeney History
In the year 1750, John Ross founded a Whip making business at 238 Piccadilly, London W1.

James Swaine later purchased this business in 1798, having for some years been foreman of a successful whip making business in Holborn.

A royal appointment to His Majesty King George III and to his sons, The Prince of Wales and the Dukes of York, Clarence, Kent, Cumberland and Cambridge quickly followed and Swaine Adeney’s reputation for quality and excellence was established.

The Royal appointments were renewed in the reigns of His Majesty George IV and His Majesty William IV. In the year 1835, James Swaine moved his business to larger premises at 185 Piccadilly. The business continued to flourish and in 1845 Edward Swaine took his nephew into partnership and Swaine Adeney was born.

In many ways, much remains the same today, the same artisan’s crafts are used to hand-shape the fine leather goods: tooling, stitching and engraving each piece in time-honoured tradition.

The Swaine Adeney workshops in Cambridgeshire and Norfolk are (alas) one of the UK’s last studios left in the UK to craft fine leather in this way. This is where customers can send their favourite pieces for repair, however old!

In 1851, Swaine Adeney decided to put its fine products on show to the world at the London Exhibition held at the newly constructed Crystal Palace. The Exhibition was the largest the world had ever seen (attracting over six million visitors to a space four times the size of St. Peter’s in Rome).

Swaine Adeney won several prize medals at the London Exhibition, prompting the company to show its fine goods at the Paris Exhibition of 1900 (at which further medals followed). Swaine Adeney’s reputation was now growing on a worldwide stage, as the finest producer of leather goods.

Thomas Brigg and Son’s was established in 1836 at No. 23 St. James’s Street a stone’s throw from Swaine Adeney Brigg’s present location. The company specialised in the manufacture of the finest umbrellas, walking sticks and hunting crops.

During the Second World War, Brigg & Sons lost its Paris shop when France was occupied. Back home in London, help was at hand in the form of Swaine Adeney: the two firms joined forces mid-war in February 1943, to form Swaine Adeney Brigg & Sons Limited. The store became well known for the supply of its equestrian goods, which are still made to this day.

In the late 18th century, Royal tradesmen began displaying the Royal Arms on their premises and stationery. Queen Victoria ensured Royal Warrants gained the prestige they enjoy today. During her 64 year reign, the Queen and her family granted more than 2000 Royal Warrants, eight times as many as the Queen’s uncle, George IV.

In 1893, Thomas Brigg and Sons received its first Royal Appointment from Her Majesty Queen Victoria and became the first umbrella maker ever to be honoured with an appointment. Further Royal Appointments were also bestowed by Her Majesty Queen Victoria and by His Majesty Edward VI with the last bestowed by HRH The Prince of Wales.

Papworth History
Originally based in Papworth Everard, Cambridgeshire, Papworth Travel Goods owes its beginnings to Dr (later Sir) Pendrill Varrier-Jones, a social pioneer who founded the Cambridgeshire Tuberculosis Colony. The Colony was later to become the Papworth Village Settlement and the forerunner of the Papworth Trust. Varrier-Jones’ vision was to create not just a hospital or rehabilitation centre for TB patients, but a whole community.

The Colony began at Bourn in Cambridgeshire in 1917 however, Varrier-Jones soon collected enough funding (£6,000) to purchase Papworth Hall, and the Colony moved to the village of Papworth Everard the following year. With the Hall went most of the land in the parish and, under Varrier-Jones’ capable management, the Papworth Colony rapidly expanded. Although there were still many deaths from tuberculosis, the aim was to rehabilitate sufferers by providing treatment for them (surgery and ‘fresh air’) and giving them appropriate work.

When the Hall became too small, a new hospital was built, along with new homes for the TB patients and their families. In the 1930’s factory buildings were also constructed, to enable patients who were well enough the opportunity to work.

The Papworth Industries became a great financial success, expanding over many years under the trade-mark of ‘Pendragon’. Industries included the manufacture of travel goods, carpentry, cabinet making, leather work, and printing.
‘Pendragon Travel Goods’ evolved in the 1970s to become ‘Papworth Travel Goods.’

The brand was acquired in 1997 by Swaine Adeney Brigg.

Royal Warrants issued to Papworth Travel Goods

1924-1941

Warrant appointing Cambridgeshire Tuberculosis Colony as trunk makers and cabinet-makers by King George V

1931

Warrant appointing Papworth Industries trunk and cabinet -makers by the Prince of Wales

1940 – 1947

Warrant appointing Papworth Industries trunk and cabinet-makers by Queen Elizabeth.

1952 – 2002

Warrant appointing Papworth Industries trunk and cabinet-makers by Queen Elizabeth the Queen Mother

The Company Today

To emphasise Pendragon's speciality of fine leather goods manufacturing we adopted a new name - Papworth Leather Goods. For over three-quarters of a century luggage of distinction and quality has been produced by Pendragon in a quiet leafy village in the heart of the English countryside eight miles from Cambridge.
Traditional tools and methods of manufacture are still employed and encouraged and largely contribute to the individuality and characteristics of Papworth business cases and luggage. Papworth Travel Goods are hand-made by craftsmen with years of experience in the trade, whose first consideration is quality.

Renowned the world over for lasting quality, every Papworth case is an individual creation – top quality selected hides of many different hues and grains are carefully stored, awaiting their turn to be cut and matched to linings of gentle suedes, velvets and silks. Locks and fittings of solid brass and other metals will be carefully fitted by hand, transforming the whole into items of prestige and elegance.

From the distinctive style of our suitcase to the classic cut of our briefcases, the Papworth signature is always unmistakable.

Brigg History
Thomas Brigg & Sons were established in 1836.

In 1893, Thomas Brigg and Sons received its first Royal Appointment from Her Majesty Queen Victoria and became the first umbrella maker ever to be honoured with an appointment. Further Royal Appointments were also bestowed by His Majesty King Edward VII and successive Monarchs.

Up until WWII, Thomas Brigg & Sons also had an establishment in Paris.

Thomas Brigg & Sons merged in 1943 with Swaine & Adeney and were afterwards styled ‘Swaine, Adeney, Brigg & Sons’.

The Brigg umbrella is famous for its high quality and long history supplying Royal Families, Prime Ministers and distinguished Ladies and Gentlemen around the World.

Today, we are still crafting reputedly the best umbrellas in the world in our workrooms in England!!



Herbert Johnson History
In 1872, a young Lad named Herbert Louis Johnson was apprenticed, by his parents, for seven years to hat-makers Lincoln Bennett, to learn the trade. He obviously did well and in 1889 on the somewhat unlikely advice of the Prince of Wales (later to become King Edward VII), he went into business with one Edward John Glazier at 45 New Bond Street, London W1.

The story recounts that one day when the Prince of Wales was riding in the park, his top hat blew off, damaging it. The young Herbert Johnson who happened to be ‘to hand’, picked up the Royal topper and offered his professional services. The hat was duly repaired. The Prince was pleased and subsequently suggested to the young hero that he set himself up in business. All this came to pass and Herbert Johnson soon became well known for all forms of headwear for the well-dressed gentleman including Royal patronage.

Fame and success came quickly and Kaiser Wilhelm, the Czar of Russia, King George of Greece not to mention the Duke of Clarence – of doubtful fame – amongst other great names, all found their way to Bond Street.

Herbert Johnson continued to work in the business personally until his retirement in 1928. He had made the name synonymous with quality “..a man with a Herbert Johnson hat is a man apart”. He has an air of sophistication and assurance such as arises from the knowledge that he is in possession of superb quality craftsmanship”. Whether a bowler (black for the town, brown for the country or grey for driving), a classic tweed cap for shooting or fishing, a classic Homberg, a hat for racing across the Atlantic or a cap for scoring runs on the village green – it had to be from Herbert Johnson.

Today Herbert Johnson hats can be found in some of the most prestigious retailers worldwide. The company also enjoys a long, successful and continuing relationship with the worlds of both theatre and film.

The military is an equally important patron. Nearly every regiment patronises Herbert Johnson for dress caps, khaki caps and berets. Bombay bowlers and Polo caps were specially made for Lord Kitchener’s troops in Sudan.

Herbert Johnson military hats are best known for their ‘floating bevel’. This concept dates from World War 1 when Herbert Johnson supplied the ‘soft topped’ cap, then known as the ‘Jack Johnson’ in response to requests by Generals Haig and French and other senior officers for both a practical and comfortable cap for field operations. After the 2nd World War, many British Regiments who had liked the ‘soft topped’ cap for field operations, requested that Herbert Johnson produce their dress caps also in the ‘floating bevel’ style. Regiments who currently wear the Herbert Johnson hat include all those listed on the products page.

                                                                     



 

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BBC FOUR: ART, PASSION & POWER: THE STORY OF THE ROYAL COLLECTION
Forty years since the story of the Royal Collection was last told so extensively on television, a four-part series for BBC Four brings the many treasures of the Collection to television.  Andrew Graham-Dixon selects some of the most spectacular works of art, as well as some of the lesser-known objects, as he visits royal residences, museums and galleries across the UK.





TV Review: Art, Passion and Power: The Story of the Royal Collection (BBC4)
Sean O'Grady is intrigued by Andrew Graham-Dixon's account of a remarkable gathering of works

Sean O'Grady
@_seanogrady Wednesday 24 January 2018

Art isn’t stats, but the cannonball numbers propelled towards the viewer by Andrew Graham-Dixon in the latest instalment in his survey of the Royal Collection were as impactful as any of the magnificent works we were allowed a glimpse of. The Collection, for example, contains the world’s largest gathering of Canalettos (50 or so); the world’s greatest collection of drawings by Leonardo da Vinci (say 600); and the heaviest mobile work of art in this country, if not the world, the Gold State Coach. This four-tonner was completed in 1762, and the Queen recently gave poor marks to it in her (belated) report of her 1953 road test. Ride quality, very poor indeed; craftsmanship of gilded tritons and golden mutts – peerless.

Even with a focus on judiciously chosen episodes and works it was, in reality, and even on the small screen, all too much to take in. That is hardly Graham-Dixon’s fault; it is the nature of the beast, that beast being the astonishingly varied and magnificent collection of art and furniture displayed across palaces and stately houses that are themselves works of fine architecture (mostly). It might well be the greatest such collection since the ancients.

I won’t labour the point, but I have to mention that it is, despite some public viewings and loans to collections, an essentially private affair, the property of one person, the Queen, by hereditary right. This, I think, radically devalues its worth to the nation. Ask yourself, for example, what was the last time you actually saw Vermeer’s 1662 masterpiece A Lady at the Virginal with a Gentleman. Or the silver furniture commissioned to rival Louis XIV’s Versailles? Or the Mogul-era paintings so fine they say the brushstrokes were rendered using the hairs of a kitten?

Not every monarch was an enlightened patron of the arts. George II, for instance, his words rendered with a hammy German accent by Graham-Dixon is reputed to have remarked that “I hate art and I hate poetry”, though one exception would seem to be the not-very-good painting of a “Fat Venus” that he had a bit of a Hanoverian crush on. 

By contrast, Charles II, by instinct an absolutist, was determined to restore the Royal Collection as much as he was the throne itself, much of it having been sold off or melted down during England's brief experiment with Republicanism under Oliver Cromwell. Charles’s coronation portrait, complete with new crown, new sceptre and new orb shows him face on, staring down anyone who cared to gaze up at his countenance, his spindly legs “manspreading” across the canvas. Quite a divine sight of kings, you might say.

Charles II, by the way, also seems to have been a bit of a Harvey Weinstein of his time. The long gallery of portraits of the “Windsor Beauties” by Sir Peter Lely are a testament to his taste, libertine ways and (abuse of) power, their eyes suggesting a post-regal-coital state of contentment. Except for one, that is: Francis Stuart, Duchess of Richmond. At the age of 15 she was introduced to the court of Charles II and he became obsessed with her, which put her in a predicament. In the words of our narrator: “Imagine having to rebuff the advances of a lecherous king in a greased periwig.” She never, to her great credit, became the king’s mistress. An early hero of #MeToo, right there.

Given where the UK’s national finances seem to be heading right now this might be a good moment for Philip Hammond to get all this stuff valued, if only for insurance purposes, as they say on the Antiques Roadshow. It would make a substantial inroad into the national debt. As I say, given that most of us never get to see any of the Collection, you’d have to ask yourself if you’d miss them.

I’m not ashamed to admit that I was terrified by the end of the latest Inside No. 9 playlet. The story of a long-married couple trying to save what was left of their 20-year marriage was poignant and difficult enough to watch anyway. Harriet (Nicola Walker) trying, for example, role play as sexy “Nurse Honeypot and her magic fingers” on her bored and boring husband Adrian (Steve Pemberton), was an exquisitely embarrassing and funny scene, as is so much of Inside No. 9. Nothing, though, prepared the viewer for the rapid denouement. In the final few minutes, with magnificent economy of direction and dialogue, was revealed the darkest of dark secrets in professional wedding photographer Adrian’s basement dark room. For Adrian had been keeping, Josef Fritzl-style, their Polish cleaner (Agnes, Magdalena Kurek) and her son, we suppose fathered by Adrian,  locked up and fed on Pot Noodles for the past nine years: but, after a failed suicide attempt, was then himself incarcerated in that same cell, to be fed on Pot Noodles and chained to a wall indefinitely. Worst of all, we felt as though he deserved it. To be drawn into such dark thoughts was a deeply disquieting experience. Never has comedy been so grotesque.



Charles II: Art and Power review – crowning glories of a royal passion
Queen’s Gallery, London
Portraits depicted him as a grotesque figure but the king loved art and amassed a magnificent array of works that celebrate his love of theatre – and Nell Gwyn

Jonathan Jones
Thu 7 Dec 2017 17.28 GMT Last modified on Thu 7 Dec 2017 17.31 GMT

Stage villain … detail from Charles II, c1676, by John Michael Wright. See the full image Photograph: Royal Collection Trust/© Her Majesty Queen Elizabeth II
Charles II had the face of a corrupt satyr. His portraits resemble the one Oscar Wilde’s Dorian Gray kept in the attic. Every sin seems etched into the work as a grotesque wrinkle. His heavy black eyebrows and ungainly nose add to the ugliness. In a popular print that was pinned up in about 1661 in a pub or coffee house (it still has the pinholes), these features are exaggerated into an almost devilish mask.

He may not have minded looking like a stage villain, because he loved and supported the stage. When Charles was invited to claim the British throne in 1660, plays had been illegal for nearly two decades. They were banned for their “lascivious Mirth and Levity” in 1642 by the Puritans, who won the English civil war. Their religious bigotry was one of the reasons crowds hailed Charles II so enthusiastically when he returned from exile in the Low Countries, after the death of the Puritan dictator Oliver Cromwell.

A mezzotint portrait of a nude Nell Gwyn, posing as Venus, reveals the exact nature of Charles II’s passion for theatre – it was primarily a passion for female actors. Women were immediately employed as professional actors when the theatres reopened in 1660. In Shakespeare’s time that had been inconceivable. Gwyn rose from selling oranges to acting in comedies, to bearing the king two illegitimate sons, as a portrait in which she reclines on draperies while her two blueblooded boys float above her breasts. No, this was not feminism, but it wasn’t cultural conservatism either.

All of these are printed images, not paintings. They’re beautiful, funny, strange and grotesque – we see in these prints the beginning of the visual world that would soon produce William Hogarth. Most spectacular of all, a giant louse bursts out of a book, its vicious claws clutching a stalk, its hard carapace covered with tiny hairs. It would make a great illustration to Franz Kafka’s Metamorphosis, in which a man wakes up to find he has changed into a giant insect. In fact, this is a superbly accurate scientific drawing from Robert Hooke’s 1665 book Micrographia, in which this pioneering researcher describes and illustrates tiny creatures he has seen with a microscope. Charles II is known to have owned similar drawings by Hooke’s friend Christopher Wren.

Hooke was a gifted artist as well as one of the founders of modern science. He’d learned to draw from his teacher, the artist Peter Lely, who became the definitive painter of the Restoration court. The reason Lely was so perfect for the job was that he enjoyed painting “beauties” – he actually painted a series called The Windsor Beauties. While not exactly masterpieces, they leap into life when he gets aroused. The king’s mistress Louise de Kérouaille, Duchess of Portsmouth, looks powerful and monarchical, holding a crown of flowers between her fingers as if it was the monarchy itself. Protestants feared her power over the king lured him towards Catholicism.

This is all good fun and fascinating history, but the real drop-dead highlights of this absorbing show don’t come from Britain at all. Charles spent a lot of money recreating the royal art collection, which had been sold off by Cromwell. In fact, the Royal Collection as we know it starts with his reign – and what gobsmacking works he purchased, or sometimes repurchased. He got his hands on the greatest collection of Leonardo da Vinci’s drawings in the world. Just four are on view here from the hundreds of stupendous sheets that are still preserved in the Royal Library, but they light up a winter day.

Another treasure is Lorenzo Lotto’s portrait of Andrea Odoni, my favourite painting owned by the Queen. In this 1527 masterpiece, a man puts his hand on his heart as he daydreams of ancient grandeur amid his collection of Roman marble fragments. The white and yellow stone heads and headless bodies seem to come to life around him in this intensely atmospheric, enigmatic painting.

If only Britain’s public art collections were as rich. If only the Royal Collection was part of our free museums. Exhibitions like this show that it is undeniably being well run. At a time when the monarchy looks like Britain’s healthiest institution, even its most outrageous asset, the Royal Collection is clearly being managed intelligently. In a year when good exhibitions of pre-modern art were thin on the ground, God bless the royals for giving a damn about history.

Charles II: Art and Power is at the Queen’s Gallery, Buckingham Palace, London, until 13 May.

SUNDAY IMAGES / Just Five ...

Amber Jane Butchart - Secrets of Selfridges


A Stitch in Time / BBC FOUR / VIDEO: A Stitch in Time Episode 01 Charles II

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A Stitch in Time
REVIEW
by Jane Rackham




It’s hard to tear your eyes away from fashion historian Amber Butchart because she has such a mesmerising wardrobe of unusual outfits and a distinctive look. But perhaps that’s apt as she’s exploring how fashion has reflected and influenced society, starting with the restoration king – Charles II. He is credited with creating the three-piece suit, a look he championed to teach the nobility thrift.
Butchart fills in the historical background but what’s fascinating is seeing Ninya Mikhaila and her team of tailors re-create the clothes, using only traditional methods. One of Charles’s outfits looks relatively simple but involves an extraordinary amount of fiddly hand stitching – his jacket boasted more than 100 buttonholes, complicated pleating and yards of decoratively looped silk ribbons. But it really comes to life when Butchart tries it on.

SUMMARY
Fusing biography, art and the history of fashion, Amber Butchart explores the lives of historical figures through the clothes they wore, starting with Charles II.
CAST & CREW
Presenter Amber Butchart
Executive Producer Caroline Wright
Series Producer Lucy Kenwright




( …) A different sort of sisterhood got to work on A Stitch In Time (BBC4), as a group of female historians set about recreating a costume styled by King Charles II — noting gleefully that tailoring was once an exclusively male occupation.
They were quizzed by the fabulously named Amber Butchart, who with her beret and copper bob looks like a David Bowie mannequin from his Scary Monsters period. This half-hour documentary packed far more information on the history and art of making clothes than you’ll find in an entire series of the Great British Sewing Bee.
We learned that the flamboyant king invented the forerunner of the three-piece suit, in a conscious effort to create a style that was quintessentially English. How ironic that suits are now what men wear when we want to be conformist, even invisible.
The French hated Charlie’s suits, of course. King Louis dressed his footmen in the ‘English vest’, as a deliberate snub. What do the French know about fashion anyhow?

By Christopher Stevens Reviews Last Night's Tv
PUBLISHED: 01:22 GMT, 4 January 2018 | UPDATED: 01:30 GMT, 4 January 2018


Amber Jane Butchart is a British fashion historian and writer. She presents the BBC Four Documentary series A Stitch in Time. She is an associate lecturer at the London College of Fashion,and was formerly head buyer for vintage clothing company Beyond Retro.
She has an MA in History and Culture of Fashion from the London College of Fashion, now part of the University of the Arts London.
Butchart is a regular guest on BBC Radio 4's Women's Hour. In January 2017 she appeared on Radio 4's The Museum of Curiosity where her hypothetical donation to this imaginary museum was "the colour mauve". She has also produced a two-part documentary for Radio 4 about the history of the vintage fashion industry entitled From Rags to Riches.
She is half of DJ duo Broken Hearts along with Nisha Stevens.


Amber Jane Butchart: My style can be described as art teacher meets Pat Butcher Bel Jacobs for
MetroWednesday 1 May 2013 6:00 am

Fashion historian Amber Jane Butchart reveals her style secrets (Picture: Phillip Waterman)
Amber Jane Butchart, 32, is a fashion historian, DJ, writer, broadcaster and an associate lecturer at London College of Fashion. What are you wearing? A Vlisco wax print dress (supposed to be a top) from Beyond Retro, from when I was their head buyer; a green Nan’s Knitwear turban knitted by my friend’s grandma; a pear brooch from my mum; Terry de Havilland ‘Amber’ shoes, which are named after me. Describe your style. Art teacher in Ghostworld meets Pat Butcher. How has it evolved? I’m interested in colour and print and, through my work, I’m often researching different eras and cultures that hugely influence the way I dress. Biggest style mistakes? I don’t believe in style mistakes. Style rules are there to be broken. What inspires your style? I’m lucky my work involves constant research, from our radio show [Peppermint Candy on Jazz FM] to fashion history lectures at London College of Fashion. I’m always inspired by things I find. We’ve recently been focusing on ‘forgotten women of the Jazz Age’ for the radio show – Gladys Bentley was a cross-dressing blues singer in Harlem who had the most incredible suits. Who is your biggest inspiration? My mum, as you can tell from how many of her clothes feature in my answers. She’s taught me many things (and missed a few out – cleanse, tone, moisturise spring to mind) but mainly she’s taught me the power of green and the defining importance of painted nails. Where and how do you shop? I get the majority of my clothes from charity shops and the high street and from the market in Bethnal Green Road. I don’t tend to go into vintage shops any more as they can be overpriced. I’m pretty old school in that I love to rummage. I’m less interested in shopping from a ‘curated’ selection someone else has picked out. Favourite piece of clothing? A green floor-length Biba dress that belonged to my mum. I’ve been obsessed with Biba since I was tiny, mainly due to this dress. It’s fascinating the role clothing plays in emotional memory. Is there anything you’d like to own but can’t afford? The entire last few Dolce & Gabbana collections – and a house. If you had a skill, what would it be? I would love to be able to tap dance. When I was little you could only learn tap if you also learned ballet. I was not a fan of ballet so gave up on both. www.theatreoffashion.co.uk  www.thebrokenhearts.co.uk
BBC 4: A Stitch In Time


Amber Butchart: Fashion Historian / NEWS
HAPPY NEW YEAR!

I hope you had a joyous start to 2018! I have some very exciting news, as my BBC Four series, A Stitch in Time starts airing tomorrow, Wednesday January 3rd at 8.30pm.

Fusing biography, art and the history of fashion, throughout A Stitch in Time I get to explore the lives of historical figures through the clothes they wore, while key garments are recreated using the original techniques by historical tailor Ninya Mikhaila and her team. Tomorrow we begin with a look at the Restoration king, Charles II, and how he used fashion as propaganda with an outfit that foreshadowed the three piece suit.

Over the coming 6 weeks I’ll be investigating the the costume clues held within Van Eyck’s mysterious Arnolfini portrait, the role of hand-me-downs among 18th century workers, the impact of cotton on British life, a flamboyant armorial piece which sits at odds with the allegedly brutal nature of its wearer and the impact a scandalously informal gown would have on an already unpopular queen.

I’m delighted to say it’s been selected as Pick of the Day in the Guardian, featured in the Critics’ Choice section of the Sunday Times, one of the Highlights in the TV Times, and one of the Radio Times’ Choices.

 There are already some clips online for episode one, click on the image below to see me examine the wedding suit of James II from 1673, with Susan North from the V&A.

Here’s a taster of what you can expect over the next 6 weeks!




IN OTHER NEWS… My latest book, Fashion Illustration in Britain: Society and the Seasons for the British Library was released in October! It was fantastic spending some serious time in the British Library archives, going through previously unpublished periodicals and magazines from the 18th century to the 1930s. The book charts the history of fashion and the social calendar in Britain through the fashion plates of some of the most important publications, offering a record of fashion illustration in Britain that spans across three centuries. For a peek inside, head over to my Instagram.

BL book

Get hold of a copy at all good bookshops, including Foyles (above), online, and of course at the British Library shop.

Also, a reminder that my Radio 4 documentary, From Rags to Riches, is still available to listen online through BBC iPlayer, and to download through the Seriously podcast. Episode 1 looks at the transition of old clothes from second-hand to ‘vintage’, and how our attitude to used clothing has changed over a century and more. It features a wealth of contributors from Vogue’s thrifting connoisseur Bay Garnett to fashion auction pioneer Kerry Taylor and even my mum. Episode 2 looks at the global ramifications of our cast-off clothes. It took me from charity shops to sorting warehouses in Leeds and the markets and tailors of Dakar, Senegal.

Rags to Riches


For more regular updates you can keep up with me on Instagram and Twitter, and if you’re interested in learning more about fashion history, I’m teaching my short course again at London College of Fashion. Fashion History: The Evolution of Style covers the key moments in fashion history and theory over 200 years, from the French Revolution through to the 1990s, and it’s running in February and August. 

"For He's A Jolly Good Chap"... great photographs by Rose Callahan

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These delicious photographs by Rose Callahan of this undoubtedly
"Gentleman - Chap", Sean Crowley and his Microcosmos, illustrate a unique philosophy of Life and a Quest for quality ... I wish Rose all the very best in her very creative Quest ... yours Jeeves

Rose Callahan is a portrait, fashion, & reportage photographer, and multimedia producer living in Brooklyn. The Dandy Portraits are her current personal project and obsession.

Search for:

The Dandy Portraits: The Lives of Exquisite Gentlemen Today by Rose Callahan-

Dandyland-

Dandy Portraits-

Rose Callahan Photography


Sean Crowley Esq. Inhabitant of a Microcosmos









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The Grand Tour ...Aristocratic Initiation ... Individual Privilege instead of Mass Tourism

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The more you know ... the more you see ... This is the only weapon against the collective paranoia of mass consumption that has invaded the modern concept of Tourism ... The old dilemma between "Being" and "Having" with the most important aspect in between ... "Becoming"
Yours ... Jeeves



The Grand Tour was the traditional travel of Europe undertaken by mainly upper-class European young men of means. The custom flourished from about 1660 until the advent of large-scale rail transit in the 1840s, and was associated with a standard itinerary. It served as an educational rite of passage. Though primarily associated with the British nobility and wealthy landed gentry, similar trips were made by wealthy young men of Protestant Northern European nations on the Continent, and from the second half of the 18th century some American and other overseas youth joined in.

The primary value of the Grand Tour, it was believed, lay in the exposure both to the cultural legacy of classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A grand tour could last from several months to several years. It was commonly undertaken in the company of a Cicerone, a knowledgeable guide or tutor. The Grand Tour had more than superficial cultural importance; as E.P. Thompson opined, "ruling-class control in the 18th century was located primarily in a cultural hegemony, and only secondarily in an expression of economic or physical (military) power."









THE SOCIETY OF DILETTANTI
This group was to fund some of the most important expeditions for the knowledge of the architecture in Greece and Asia Minor. The most famous ones are those of Robert Wood in 1750, and James Stuart and Nicholas Revett, in 1748-1755.

Robert Wood’s expedition to Greece, Asia Minor and Syria was led by James Dawkins (? -1757, a wealthy gentleman) and John Bouverie (1722-1750, amateur archaeologist). Robert Wood was a travel "guide", as he had been in Constantinople, several Aegean islands, Egypt and some cities in Syria and Mesopotamia. Wood was an erudite in classical themes, with sensitivity to capture the characteristics of a place, and a subtle understanding of natural beauties. For this reason Dawkins and Bouverie invited him to accompany them. Along with them went the architect, landscape architect and artist Giovanni Battista (Torquilio) Borra (1712-1786), as well. Wood and Borra drew the ruins of the cities of Palmyra (Syria) and Baalbeck (Lebanon), and published the drawings in two books, The Ruins of Palmyra in 1753, and The Ruins of Baalbeck in 1757.
(Francisco Martínez Mindeguía)





The essential place to visit, however, was Italy. The British traveler Charles Thompson speaks for many Grand Tourists when in 1744 he describes himself as "being impatiently desirous of viewing a country so famous in history, which once gave laws to the world; which is at present the greatest school of music and painting, contains the noblest productions of statuary and architecture, and abounds with cabinets of rarities, and collections of all kinds of antiquities." Within Italy, the great focus was Rome, whose ancient ruins and more recent achievements were shown to every Grand Tourist. Panini's Ancient Rome and Modern Rome represent the sights most prized, including celebrated Greco-Roman statues and views of famous ruins, fountains, and churches. Since there were few museums anywhere in Europe before the close of the eighteenth century, Grand Tourists often saw paintings and sculptures by gaining admission to private collections, and many were eager to acquire examples of Greco-Roman and Italian art for their own collections. In England, where architecture was increasingly seen as an aristocratic pursuit, noblemen often applied what they learned from the villas of Palladio in the Veneto and the evocative ruins of Rome to their own country houses and gardens.





...and many were eager to acquire examples of Greco-Roman and Italian art for their own collections...



Zoffani ... Charles Townley at home ...


The Grand Tour gave concrete form to Northern Europeans' ideas about the Greco-Roman world and helped foster Neoclassical ideals. The most ambitious tourists visited excavations at such sites as Pompeii, Herculaneum, and Tivoli, and purchased antiquities to decorate their homes.



Kedleston Hall by Robert Adam


The dining rooms of Robert Adam's interiors typically incorporated classical statuary; the nine lifesized figures set in niches in the Lansdowne dining room were among the many antiquities acquired by the second earl of Shelburne, whose collecting activities accelerated after 1771, when he visited Italy and met Gavin Hamilton, a noted antiquary and one of the first dealers to take an interest in Attic ceramics, then known as "Etruscan vases."

THE GRAND TOUR - Ladies of the Grand Tour by Brian Delan / The Grand Tour by Christopher Hibbert / The English Gentlewoman by Flora Fraser .

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`An utterly absorbing account, brilliantly researched and written, of women's lives and travels in the 18th-century.' Katie Hickman According to `The Art of Governing A Wife' (1747), women in Georgian England were supposed to `lay up and save, look to the house; talk to few and take of all within'. However, some broke from these taboos and took up the previously male privilege of travelling to the Continent to develop mind, spirit and body. Hearing of the delights of the Grand Tour from pioneering friends, increasing numbers of English ladies set off to sample foreign lands from which many returned apparently `the best informed and most perfect creatures'. For others the Grand Tour was an intellectual and romantic rite of passage, widening their knowledge of society, love and politics and inspiring a genre of literary fiction all of its own. Brian Dolan leads us into the hearts and minds of the ladies through the stories, thoughts and court gossip recorded in their journals, letters and diaries.

Women's travel: Women who broke the bell jar
Joanna Symons reviews Ladies of the Grand Tour by Brian Delan
12:01AM BST 15 Jun 2001

AS you set off on holiday this summer, spare a thought for the adventurous women of 18th-century England: trapped not so much beneath a glass ceiling as in a bell jar.

Georgian England was, according to Brian Dolan, run like a gentleman's club. Though the advantages of the Grand Tour for young men were widely acknowledged, such experiences were considered too stimulating for women. Their role, according to a contemporary work, The Art of Governing a Wife, was to "lay up and save; look to the house; talk to few; take of all within".

But some women did break the mould, to experience the wonders and pitfalls of Continental travel. These were not frivolous sun-seekers but well-educated blue stockings with a thirst for experience, who held strong opinions and were not slow to express them.

One wonders what European society made of Elizabeth Montague, who, Dolan reveals, returned one night from a ball and, still in formal dress, "chose to relax by reading the 'Ajax' and the 'Philoctetes' of Sophocles, wrote commentaries on both, then went to bed".

It is the stories of these women, set against the culture of the time, that Dolan sets out to explore; characters such as the writers Mary Berry and Mary Wollstonecraft, Maria Edgeworth and Hesther Thrale, whose diaries and journals vividly capture their fascination with (and sometimes disapproval of) European ways.

Their voices bring the book alive - whether they're exclaiming over French fashions or the French Revolution. Annoyingly, we don't hear enough of them.

Dolan has researched his subject thoroughly (the bibliography is almost a chapter long) but it's not until halfway through the book that you hear more than the odd snippet of life abroad. I began to feel as frustrated as the women themselves: I wanted to share their experiences across the Channel.


Dolan flits from one character to another; I had to keep turning to the dramatis personae section to keep track of who was who. Reading this book is rather like drifting along in a boat with one oar. You're not sure where you're going, it takes a long time to get there, but there's always a chance of bumping into something fascinating.



Gin and pistols
Vera Rule on women at sea in Heroines and Harlots by David Cordingly, and Ladies of the Grand Tour by Brian Dolan
Vera Rule

Sat 9 Jun 2001 10.17 BST First published on Sat 9 Jun 2001 10.17 BST

Heroines and Harlots: Women at Sea in the Great Age of Sail
David Cordingly
334pp, MacMillan
Ladies of the Grand Tour
Brian Dolan
330pp, HarperCollins, £19.99

What a fab party of women to be stranded with at an airport terminal gate. High-born (salonista Lady Holland, "the only really undisputed monarchy in Europe") and lowlife (China Emma, the Limehouse sailors' whore, who growled "I'd die for a drink, I must have it, and I don't care what I does to get it"); horribly real (Helen Williams, in fear of the guillotine in the Luxembourg Palace) and wildly fictional (Hannah Hewitt, the "Female Crusoe", cast away en route to India in a 1792 novel). They take the waters at Spa and Aix; they take lovers in Paris and Naples; they shop and ship by the crate; they adopt riding habits and are called "Sir"; they put on white duck trousers and pass themselves off for years as sailors, presumably pissing very discreetly.

That last group, the female mariners, appear in Heroines and Harlots ; these superboys with tits hidden under canvas jackets had a Lara Croft-like appeal to the 18th-century popular imagination. Some 20 of them were known to have served at sea between 1650 and 1815, including "William Brown", young, black and handsome, who joined the British navy and spent 12 years as "captain of the foretop" - leader of the team that climbed aloft to set the riskiest sails on battleships of the Napoleonic wars. Cordingly's anecdotes make us want to buy the movie rights, and even when her sex was revealed it didn't end her career; she rejoined her fellow tars at a higher rank before evaporating from the records.

She was not the first to be lioness-ised: Mary Lacy, a carpenter's mate, put in 12-hour days plus serious drinking time in Chatham dockyard to qualify as a shipwright. She was at last awarded, by a confused Admiralty, a disability pension "equal to that granted to Superannuated Shipwrights" and probably better than she could draw now. Then there was Hannah Snell, a marine who was wounded 12 times in the siege of Pondicherry in India; she had to extract a musket ball from her own groin as she dared not let surgeons discover her secret. Well, that's what the contemporary biography claimed, although its other nasty incidents, including naked-torso'ed floggings, sound suspiciously like the male author's sadistic fantasies. Published in the US in 1815, and with even more blockbuster potential, were the adventures of Louisa Baker, a ruined Bostonian girl who, bandaging her bosom and pulling on a tight "pair of under draws" - which she apparently never changed - fled a life of prostitution to become a sharpshooter high in the rigging of famous men'o'war. She married a wealthy New Yorker and lived quietly ever after, which last improbable plot developments reveal that the miniseries was dreamed up by a scriptwriter employed by a Boston pop publisher: both men, natch.

In fact, and in fiction, the women are present mostly to serve masculine purposes - for a start, those of their authors. David Cordingly's work reads, right down to its trollopy title, as if he had expanded it from a minor chapter in an ocean-going history - the kind of segment that uses up a historian's spicier notes on the incidence of mermaids before he returns, with relief, to analysing the protein content of weevils in ships' biscuits.

I had the impression that the only time Cordingly felt safe using the word "she" was when he was writing of a vessel; he too often cites a woman merely so that he can give a detailed account of her menfolk. Or he introduces them as conquests, entitling one section "Two Naval Heroes and Their Women", permitting Their Women only supernumary roles - even carved wooden figureheads (and Cordingly has a chapter on those, too) are allowed more individual character than his Emma Hamilton. He also employs fake-empathetic "what must have been her feelings" formulas, as when he writes about Mary Patten, a merchant captain's young bride who took command of the ship round Cape Horn when her husband fell sick. But overall his approach is a nervous raise of the glass to the ladies, god bless 'em. I did appreciate, though, a nautical ballad in the appendix: "Oh cruel was the splinter to break my deary's leg / Now he's obliged to fiddle, and I'm obliged to beg . . . / Like me you'll be rewarded, and have your heart's delight, / With fiddling in the morning, and a drop of gin at night. " Bet that anon balladeer was a woman.

Brian Dolan admits to expanding Ladies of the Grand Tour from a file left over from research on 18th-century British travellers, and makes even such unbiddable biddies as the bluestocking educationalist Hannah More demonstrate his own (not uninteresting) history-of-medicine thesis about the therapeutic effects of continental travel upon grand ladies. But when he quotes his sources in proof of his postulations, his gloss gets in the way (especially since his prose tends to the smooth ponderousness of presenter-ese). Better to read their words unmediated: they constantly subvert his.

There is nothing in Dolan's own sentences as informative about the robustness required for Georgian journeying as the items he cites from Mariana Starke's 1792 "things most requisite list" - "Two large thick leather-sheets . . . Pistols, knives . . . Sugar-tongs". Nor is there anything as celebratory of newfound freedom as Hester Piozzi's description of Parisian boulevards: "People of Fashion sitting on chairs in little Parties of five & six . . . a sett of Footmen round a Table drinking beer, old Soldiers smoaking, Shopwomen and Abigails . . . Puppet Shews, raree Shews, Monsters, Dancing Dogs".

I confess I can hardly remember Dolan's final conclusions, and I reread them twice out of politeness. Something about the stock of female knowledge continuing to increase - and what does that mean? And yet, I've been prompted by him to think all week about Mary Wollstonecraft, pregnant by her American lover, in a hideaway outside Paris during the Terror. There she penned her proto the-personal-is-political sentence - "The face of things, public and private, vexes me" - and worried that her anguish about the disintegrating revolution might be "tormenting or perhaps killing, a poor little animal, about whom I am grown anxious and tender, now I feel it alive". I wish she could be sitting in the window seat next time I fly.


                                Christopher Hibbert
Prolific popular historian who brought style and narrative pace to a wealth of subjects from Agincourt to Disraeli
Christopher Hibbert
6:31PM GMT 23 Dec 2008



Christopher Hibbert, who died on December 21 aged 84, was a prolific popular historian, praised by readers and reviewers alike for his meticulous scholarship and flowing prose.

Following in the tradition of such figures as Philip Guedalla and Sir Arthur Bryant, Hibbert strove to bridge the gap between popular history and academic scholarship.

In a writing career that spanned half a century he wrote more than 40 books on subjects ranging from the Indian Mutiny and the House of Medici to the cities of Florence and Venice; from battles such as Agincourt and Arnhem to biographies of Dickens and Mussolini.

His breakthrough came with his fourth book, The Destruction of Lord Raglan (1961), a history of the Crimean War for which he won the Heinemann Award for Literature.

Once described as the "pearl of biographers", Hibbert covered some of the most august figures in British history, including Charles I (1968), Samuel Johnson (1971), Elizabeth I (1990), Nelson (1994), Wellington (1997), George III (1998), Queen Victoria (2000) and Disraeli (2004).

He was the first person to use the papers of George IV, when he produced his two-volume biography (1972-73). Often called "personal histories", his biographies were human portraits which eschewed deep analysis in favour of using anecdote and narrative to reveal the character of the subject.

Hibbert equated popular history with the narrative style. His intention was to describe rather than explain, leaving the reader to his or her own reflections. He noted: "The main aim is to entertain and tell a good, accurate story without attempting to make historical discoveries or change historical opinion in any way. You've got to make the reader want to know what's going to happen next, even if you're writing about something, the outcome of which is well known. You have to build up an atmosphere, almost like writing a novel or detective story. The popular historian's books are almost invariably narrative – which in many academic quarters is considered not the way to write history." While academics wanted analysis, Hibbert was adamant that he did not do that: "My readers wouldn't want me to."

Although his style was sometimes criticised for failing to break new ground or to tackle subjects in enough depth, Hibbert was sure of his methodology and his audience. He described himself as writing for those who were interested in history but who did not have the time or inclination to read an abundance of academic scholarship. He strove to make his writing accessible, and as a consequence his books were written with great style and a brisk narrative pace. They were rich in anecdote and filled with choice quotations.

Christopher Hibbert was born on March 5 1924 in Leicestershire, the second son of Canon HV Hibbert. He was educated at Radley and Oriel College, Oxford, where his studies were interrupted by war service, but not before he had won a half Blue for boxing. He served as an infantry officer with the London Irish Rifles and fought in Italy from 1944 to 1945, and was awarded a Military Cross.

During an advance along the bank of the Senio river in February 1945, Hibbert's platoon encountered a minefield. One member had his foot blown off in an explosion that brought down enemy fire, causing the others to withdraw. With complete disregard for his own safety Hibbert rescued the wounded man from the minefield while under fire.

Shortly after this Hibbert had his spectacles blown from his face when he was nearly hit by a mortar bomb. Despite his reduced vision he reorganised his platoon and went on to assault enemy machine-gun posts. His determined action meant that his platoon was able to occupy positions along the river, which ensured the safety of the rest of the advancing company.

On another occasion, while in a farmhouse being used as an observation post during an attack on the German lines, he found himself confronted by the farmer's wife. She was in a state of advanced labour, and when asked later how he had coped he replied: "I asked for plenty of hot water, remembering that was the standard request in films, but fortunately the farmer's wife seemed to know what to do!"

After the war, Hibbert returned to Oxford to complete his History degree before settling in Henley-on-Thames and embarking on a career as an estate agent. His literary career began when a friend invited him to become a television critic – a novelty at the time – for the magazine Truth.

After publishing short stories he was encouraged by JR Ackerley, literary editor of The Listener, to attempt a novel. His tale of the highwayman Jack Sheppard was turned, at the suggestion of a publisher, into a historical work and appeared as The Road to Tyburn in 1957. After King Mob (1958) and Wolfe at Quebec (1959), the success of The Destruction of Lord Raglan led him to take up writing full time.

From then on Hibbert never looked back, completing books at the rate of roughly one a year and enjoying popular success. Not only were his works widely read in Britain and America, they were also translated into many languages. His book The Grand Tour was turned into an ITV series in 1987.

Described as possessing "the sprightly, genial air of a cheerful curate", Hibbert was a sociable man with friends who delighted in his company. He enjoyed gardening, cooking and travel.

He also loved walking, though at times his choice of footwear was a little unorthodox. He once arrived on the summit of Great Gable, in the Lake District, wearing wellington boots, producing incredulous stares from a group of experienced climbers who had come up the hard side.

He served as president of the Johnson Society in 1980, and was awarded an honorary DLitt by Leicester University in 1996. He was a Fellow of the Royal Society of Literature.

Christopher Hibbert married, in 1948, Susan Piggford, a fellow undergraduate at Oxford. They had two sons and a daughter.  



    Flora Fraser Soros (born 30 October 1958) is an English writer of historical biographies.
She is the daughter of historian and historical biographer Lady Antonia Fraser and the late Sir Hugh Fraser, a British Conservative politician. Her stepfather was the playwright Harold Pinter, the 2005 Nobel Laureate in Literature, her mother's second husband until his death in 2008. Her maternal grandparents were the late Elizabeth Longford, also an eminent biographer, and the late Lord Longford, a well-known politician, social reformer, and author.
She was named after Scottish Jacobite Flora MacDonald. Using her maiden name Flora Fraser, she has written biographies of Emma Hamilton, Caroline of Brunswick, the daughters of George III, and Pauline Bonaparte


The Grand Tour was the traditional trip of Europe undertaken by mainly upper class European young men of sufficient means and rank (or those of more humble origin who could find a sponsor), as well as young women if they were also of sufficient means, and accompanied by a chaperon, such as other family members, when they had come of age (about the age of 21 years old)The custom flourished from about 1660, until the advent of large-scale rail transport in the 1840s, and was associated with a standard itinerary. It served as an educational rite of passage. Though primarily associated with the British nobility and wealthy landed gentry, similar trips were made by wealthy young men of other Protestant Northern European nations, and from the second half of the 18th century, by some South and North Americans. The tradition declined with the lapse of neo-classical enthusiasm and after rail and steamship travel made the journeys much easier when Thomas Cook made the "Cook's Tour" of early mass tourism a byword.

The New York Times in 2008 described the Grand Tour in this way:
Three hundred years ago, wealthy young Englishmen began taking a post-Oxbridge trek through France and Italy in search of art, culture and the roots of Western civilization. With nearly unlimited funds, aristocratic connections and months (or years) to roam, they commissioned paintings, perfected their language skills and mingled with the upper crust of the Continent.
— Gross, Matt., "Lessons From the Frugal Grand Tour." New York Times 5 September 2008.

The primary value of the Grand Tour, it was believed, lay in the exposure both to the cultural legacy of classical antiquity and the Renaissance, and to the aristocratic and fashionably polite society of the European continent. In addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from several months to several years. It was commonly undertaken in the company of a Cicerone, a knowledgeable guide or tutor. The Grand Tour had more than superficial cultural importance; as E. P. Thompson stated, "ruling-class control in the 18th century was located primarily in a cultural hegemony, and only secondarily in an expression of economic or physical (military) power." The legacy of the Grand Tour lives on to the modern day and is still evident in works of travel and literature. From its aristocratic origins and the permutations of sentimental and romantic travel to the age of tourism and globalization, the Grand Tour still influences the destinations tourists choose and shapes the ideas of culture and sophistication that surround the act of travel.

In essence, the Grand Tour was neither a scholar's pilgrimage nor a religious one, though a pleasurable stay in Venice and a cautious residence in Rome were essential. Catholic Grand Tourists followed the same routes as Protestant Whigs. Since the 17th century, a tour to such places was also considered essential for budding young artists to understand proper painting and sculpture techniques, though the trappings of the Grand Tour—valets and coachmen, perhaps a cook, certainly a "bear-leader" or scholarly guide—were beyond their reach. The advent of popular guides, such as the Richardsons', did much to popularise such trips, and following the artists themselves, the elite considered travel to such centres as necessary rites of passage. For gentlemen, some works of art were essential to demonstrate the breadth and polish they had received from their tour: in Rome, antiquaries like Thomas Jenkins provided access to private collections of antiquities, among which enough proved to be for sale that the English market raised the price of such things, and for coins and medals, which formed more portable souvenirs and a respected gentleman's guide to ancient history. Pompeo Batoni made a career of painting the English milord posed with graceful ease among Roman antiquities. Many continued on to Naples, where they viewed Herculaneum and Pompeii, but few ventured far into Southern Italy or Malta, and fewer still to Greece, still under Turkish rule.

In Britain, Thomas Coryat's travel book Coryat's Crudities (1611), published during the Twelve Years' Truce, was an early influence on the Grand Tour but it was the far more extensive tour through Italy as far as Naples undertaken by the 'Collector' Earl of Arundel, with his wife and children in 1613–14 that established the most significant precedent. This is partly because he asked Inigo Jones, not yet established as an architect but already known as a 'great traveller' and masque designer, to act as his cicerone (guide). Larger numbers of tourists began their tours after the Peace of Münster in 1648. According to the Oxford English Dictionary, the first recorded use of the term (perhaps its introduction to English) was by Richard Lassels (c. 1603–1668), an expatriate Roman Catholic priest, in his book The Voyage of Italy, which was published posthumously in Paris in 1670 and then in London.[a] Lassels's introduction listed four areas in which travel furnished "an accomplished, consummate Traveller": the intellectual, the social, the ethical (by the opportunity of drawing moral instruction from all the traveller saw), and the political.


The idea of travelling for the sake of curiosity and learning was a developing idea in the 17th century. With John Locke's Essay Concerning Human Understanding (1690), it was argued, and widely accepted, that knowledge comes entirely from the external senses, that what one knows comes from the physical stimuli to which one has been exposed. Thus, one could "use up" the environment, taking from it all it offers, requiring a change of place. Travel, therefore, was necessary for one to develop the mind and expand knowledge of the world. As a young man at the outset of his account of a repeat Grand Tour, the historian Edward Gibbon remarked that "According to the law of custom, and perhaps of reason, foreign travel completes the education of an English gentleman." Consciously adapted for intellectual self-improvement, Gibbon was "revisiting the Continent on a larger and more liberal plan"; most Grand Tourists did not pause more than briefly in libraries. On the eve of the Romantic era he played a significant part in introducing, William Beckford wrote a vivid account of his Grand Tour that made Gibbon's unadventurous Italian tour look distinctly conventional.

The typical 18th-century sentiment was that of the studious observer travelling through foreign lands reporting his findings on human nature for those unfortunate enough to have stayed home. Recounting one's observations to society at large to increase its welfare was considered an obligation; the Grand Tour flourished in this mindset.

The Grand Tour offered a liberal education, and the opportunity to acquire things otherwise unavailable at home, lending an air of accomplishment and prestige to the traveller. Grand Tourists would return with crates full of books, works of art, scientific instruments, and cultural artifacts – from snuff boxes and paperweights, to altars, fountains, and statuary – to be displayed in libraries, cabinets, gardens, drawing rooms, and galleries built for that purpose. The trappings of the Grand Tour, especially portraits of the traveller painted in iconic continental settings, became the obligatory emblems of worldliness, gravitas and influence. Artists who especially thrived on Grand Tourists included Carlo Maratti, who was first patronized by John Evelyn as early as 1645, Pompeo Batoni the portraitist, and the vedutisti such as Canaletto, Pannini and Guardi. The less well-off could return with an album of Piranesi etchings.

The "perhaps" in Gibbon's opening remark cast an ironic shadow over his resounding statement.Critics of the Grand Tour derided its lack of adventure. "The tour of Europe is a paltry thing", said one 18th century critic, "a tame, uniform, unvaried prospect".The Grand Tour was said to reinforce the old preconceptions and prejudices about national characteristics, as Jean Gailhard's Compleat Gentleman (1678) observes: "French courteous. Spanish lordly. Italian amorous. German clownish." The deep suspicion with which Tour was viewed at home in England, where it was feared that the very experiences that completed the British gentleman might well undo him, were epitomised in the sarcastic nativist view of the ostentatiously "well-travelled" maccaroni of the 1760s and 1770s.

Also worth noticing is that the Grand Tour not only inspired stereotypes among the countries themselves but also led to a dynamic between the northern and southern Europe. By constantly depicting Italy as a "picturesque place", the travellers also unconsciously degrade Italy as a place of backwardness. This unconscious degradation is best reflected in the famous verses of Lamartine in which Italy is depicted as a "land of the past... where everything sleeps."

After the arrival of steam-powered transportation, around 1825, the Grand Tour custom continued, but it was of a qualitative difference — cheaper to undertake, safer, easier, open to anyone. During much of the 19th century, most educated young men of privilege undertook the Grand Tour. Germany and Switzerland came to be included in a more broadly defined circuit. Later, it became fashionable for young women as well; a trip to Italy, with a spinster aunt as chaperone, was part of the upper-class woman's education, as in E. M. Forster's novel A Room with a View.


The most common itinerary of the Grand Tour shifted across generations in the cities it embraced, but the British tourist usually began in Dover, England and crossed the English Channel to Ostend,[b] in Belgium, or to Calais or Le Havre in France. From there the tourist, usually accompanied by a tutor (known colloquially as a "bear-leader") and (if wealthy enough) a troop of servants, could rent or acquire a coach (which could be resold in any city or disassembled and packed across the Alps, as in Giacomo Casanova's travels, who resold it on completion), or opt to make the trip by boat as far as the Alps, either travelling up the Seine to Paris, or up the Rhine to Basel.

Upon hiring a French-speaking guide, as French was the dominant language of the elite in Europe during the 17th and 18th centuries, the tourist and his entourage would travel to Paris. There the traveller might undertake lessons in French, dancing, fencing, and riding. The appeal of Paris lay in the sophisticated language and manners of French high society, including courtly behavior and fashion. This served the purpose of preparing the young man for a leadership position at home, often in government or diplomacy.

From Paris he would typically go to urban Switzerland for a while, often to Geneva (the cradle of the Protestant Reformation) or Lausanne. ("Alpinism" or mountaineering developed in the 19th century.) From there the traveller would endure a difficult crossing over the Alps into northern Italy (such as at the Great St Bernard Pass), which included dismantling the carriage and luggage. If wealthy enough, he might be carried over the hard terrain by servants.

Once in Italy, the tourist would visit Turin (and, less often, Milan), then might spend a few months in Florence, where there was a considerable Anglo-Italian society accessible to travelling Englishmen "of quality" and where the Tribuna of the Uffizi gallery brought together in one space the monuments of High Renaissance paintings and Roman sculptures that would inspire picture galleries adorned with antiquities at home, with side trips to Pisa, then move on to Padua, Bologna, and Venice. The British idea of Venice as the "locus of decadent Italianate allure" made it an epitome and cultural setpiece of the Grand Tour.


From Venice the traveller went to Rome to study the ruins of ancient Rome, and the masterpieces of painting, sculpture, and architecture of Rome's Early Christian, Renaissance, and Baroque periods. Some travellers also visited Naples to study music, and (after the mid-18th century) to appreciate the recently discovered archaeological sites of Herculaneum and Pompeii, and perhaps (for the adventurous) an ascent of Mount Vesuvius. Later in the period the more adventurous, especially if provided with a yacht, might attempt Sicily (the site of Greek ruins), Malta or even Greece itself. But Naples – or later Paestum further south – was the usual terminus.

From here the traveller traversed the Alps heading north through to the German-speaking parts of Europe. The traveller might stop first in Innsbruck before visiting Vienna, Dresden, Berlin and Potsdam, with perhaps some study time at the universities in Munich or Heidelberg. From there travellers visited Holland and Flanders (with more gallery-going and art appreciation) before returning across the Channel to England.

Published accounts
Published (and often polished) personal accounts of the Grand Tour provide illuminating detail and a first-hand perspective of the experience. Examining some accounts offered by authors in their own lifetimes, Jeremy Black detects the element of literary artifice in these and cautions that they should be approached as travel literature rather than unvarnished accounts. He lists as examples Joseph Addison, John Andrews, William Thomas Beckford, whose Dreams, Waking Thoughts, and Incidents was a published account of his letters back home in 1780, embellished with stream-of-consciousness associations, William Coxe, Elizabeth Craven, John Moore, tutor to successive dukes of Hamilton, Samuel Jackson Pratt, Tobias Smollett, Philip Thicknesse, and Arthur Young. Although Italy was written as the "sink of iniquity," many travelers were not kept from recording the activities they participated in or the people they met, especially the women they encountered. To the Grand Tourists, Italy was an unconventional country, for "The shameless women of Venice made it unusual, in its own way.” Sir James Hall confided in his written diary to comment on seeing "more handsome women this day than I ever saw in my life," also noting "how flattering Venetian dress [was] — or perhaps the lack of it." Eighteenth and nineteenth century Italian women, with their unfamiliar methods and routines, were opposites to the western dress expected of European women in the eighteenth and nineteenth century; their "foreign" ways led to the documentation of encounters with them, providing published accounts of the Grand Tour. Boswell courted noble ladies and recorded his progress with his relationships, mentioning that Madame Micheli "Talked of religion, philosophy… Kissed hand often." The promiscuity of Boswell’s encounters with Italian elite are shared in his diary and provide further detail on events that occurred during the Grand Tour. Boswell notes "Yesterday morning with her. Pulled up petticoat and showed whole knees… Touched with her goodness. All other liberties exquisite." He describes his time with the Italian women he encounters and shares a part of history in his written accounts. Lord Byron's letters to his mother with the accounts of his travels have also been published. Byron spoke of his first enduring Venetian love, his landlord’s wife, mentioning that he has "fallen in love with a very pretty Venetian of two and twenty— with great black eyes — she is married — and so am I — we have found & sworn an eternal attachment … & I am more in love than ever . . . and I verily believe we are one of the happiest unlawful couples on this side of the Alps."Many tourists enjoyed sexual relations while abroad but to a great extent were well behaved, such as Thomas Pelham, and scholars, such as Richard Pococke, who wrote lengthy letters of their Grand Tour experiences.

Inventor Sir Francis Ronalds’ journals and sketches of his 1818–20 tour to Europe and the Near East have been published on the web.The letters written by sisters Mary and Ida Saxton of Canton, Ohio in 1869 while on a six-month tour offer insight into the Grand Tour tradition from an American perspective.
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