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Love, Cecil / VIDEO: Trailer #1 (2018)

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Love, Cecil
Director:  Lisa Immordino Vreeland
Stars: Cecil Beaton, Hamish Bowles, Leslie Caron, Rupert Everett, David Hockney

Love, Cecil review – intelligent tribute to fashion's Bright Young Thing
3 / 5 stars 3 out of 5 stars.    
Rupert Everett narrates designer Cecil Beaton’s diaries in Lisa Immordino Vreeland’s sympathetic study of his life and influence on British style

Peter Bradshaw
 @PeterBradshaw1
Fri 1 Dec 2017 13.00 GMT Last modified on Mon 2 Jul 2018 14.51 BST

Lisa Immordino Vreeland’s previous documentary was a portrait of art patron Peggy Guggenheim, and this study of Cecil Beaton is in the same celebratory mode. This was the British designer, photographer, social alpinist and Bright Young Thing who suffered a scandal after making an antisemitic slur in the 1930s, but after his craven, miserable (and sincere) apology for this silly shock tactic, he enjoyed royal patronage from the then Queen Elizabeth and was rehabilitated with the approach of war, during which he took valuable reportage pictures for Life magazine. He went on to create the look for the movie version of My Fair Lady, and maintained his own slightly quaint neo-Edwardian aesthetic for fashion magazines well into the swinging 60s. The film is intelligent, thorough and sympathetic, with Rupert Everett narrating Beaton’s diaries. But it never quite persuades you that Beaton really deserves to be considered a substantial artist. I found myself thinking of FR Leavis’s wisecrack about the Sitwells belonging to the history of publicity rather than of poetry. There is a touch of satirist Craig Brown in Beaton’s icily haughty pronouncements such as: “The call saying that the Queen wants me to take her coronation photographs comes as an enormous relief.” A moderately interesting study.


A Film Digs Beneath the Dandy Persona of Cecil Beaton

A new film explores the visual legacy of Cecil Beaton, who was inspired by a range of art movements and carefully curated scenes that throbbed with sensuality, drama, and romance.

Bedatri D. ChoudhuryJuly 4, 2018

“The Queen wonders if you’ll photograph her tomorrow afternoon?”

Cecil Beaton, after being fired from American Vogue in 1938, on charges of anti-Semitism, was living in England when his phone rang. Queen Elizabeth, the Queen Mother, who would go on to be his favorite royal subject, wanted to be photographed by him. For Beaton, the artist, photographer, costume and set designer, and diarist, this was the resurrection. Years later, he would sit in Westminster Abbey, high up near the organ pipes, taking photos of Queen Elizabeth II’s coronation with his top hat stuffed with sandwiches.

Beaton, the eponymous protagonist of Lisa Immordino Vreeland’s documentary, Love, Cecil was guided by the strength of his visual acuity. He sought to find a certain kind of beauty in the things that he saw and chose to express this beauty in as many ways as possible — in his drawings for Vogue, photographs, collages, diaries, Broadway sets and costumes. His obsession with beauty, as the documentary reveals, stemmed from theatre: the suspension of disbelief and the evocative power of beautiful sets, costumes and make-up overpowered him during his days at Cambridge University. In what is retrospectively one of the earliest instances of queering the campus, Beaton would attend classes in drag — his face adorned with feathers and done up with heavy make-up, wearing clothes that no one had ever seen before — least of all, on a man.

His relentless search for beauty essentially emerges from a constant feeling of not belonging and dissatisfaction that can perhaps be traced back to his family. His father was a timber merchant and the Beaton children, Cecil and his three siblings, grew up in comfortable abundance: attending the esteemed Harrow School, and later Cambridge. But he was never satisfied. This was not the life he wanted — this life of studying, rote learning, growing up to run a business. Beaton wanted to be free, open, living a life of careless luxury. When he finally left Cambridge without finishing his degree, he became a part of Bright Young Things, group of young, carefree, rich youngsters who dressed up, posed for pictures, threw parties, drank copiously and were everything Cecil Beaton wanted to be. The pictures that he took of Stephen Tennant and his other bohemian friends not only mark the beginnings of his formal photography career, but also exist as invaluable documents of this sub-culture of young men and women who in 1920s London lived a life of grandeur and decadence typical of the 1890s — the decade that shocked the rigid Victorian morality with its hubristic aestheticism, sensuality, and transgressive openness to sexual and political experimentation. For Beaton, who never completely belonged to his own time and society, this turning back of time was euphoric.

There’s no denying that Beaton brought to fashion photography a certain intellectual gravitas that was hitherto unseen. Inspired by a range of art movements — from German Expressionism to French Romanticism, he incorporated shadows and sets to carefully curate mise-en-scènes that throbbed with sensuality, drama, and romance. The flair and meticulousness with which he captured people is the same flair with which he wrote out his diaries, and the same meticulousness with which he did up his house in Ashcombe, and with which he hosted intellectual and cultural giants. Salvador Dali holds a fencing mask and stares to his right; Mona von Bismarck peeps through a torn screen of paper; Charles Henry Ford places his chin on Pavel Tchelitchew’s neck; Lady Diana Cooper wears an ornate headdress and wraps a velvet shawl around herself. In Beaton’s photographs, it’s never just the person who is the subject of the photograph but always the persona and the idea of the thousand different characters they might be. Beauty, for Beaton, is a dynamic ever-changing entity, a force so intent on expressing itself that it defies the established norms of expression and anonymity.

Vreeland makes a concerted effort to probe beyond the Cecil Beaton the world knows — the Oscar-winning unabashedly dapper, flamboyant, self-confessed “dandy” Cecil Beaton who through his costumes for Gigi, My Fair Lady, On a Clear Day You Can See Forever, lent to Hollywood some of that charismatic flamboyance and chicness. She uncovers the deeply hurt Beaton who could never really forgive himself for the anti-Semitic Vogue illustration, the tiny but legible word “Kike” peeking out of a drawing. Almost as a way of redeeming himself, he joined the British Ministry of Information during the Second World War and travelled across Burma, China, and Egypt — photographing the deadly aftermath but at the same time, celebrating the beauty that survives war and the culture of aesthetics that outlives destruction. During the Blitz he photographed three-year-old Eileen Dunne, her head bandaged, arms clutching a teddy and her eyes set in a piercing gaze — the photograph that would finally appear on the cover of Life and convince the Americans to aid Britain in the war. This is a Beaton who gets seldom talked about: the Beaton who documented a devastating war with as much dedication and skill as he documented the crème de la crème of Hollywood and the British royalty.

The documentary also highlights the frankness with which Beaton lived his life. It is peppered with anecdotes about people he hated. He famously said that Elizabeth Taylor combined the worst of American and English tastes, and that Katharine Hepburn was as graceless as a “dried out boot.” It also underscores the inherent duality of his life — the unabashed, frank side and the contradictory, private, secretive side. As Truman Capote notes in the film, “He was both very vain and very modest at the same time.” For him almost everything was about style and self-fashioning — so much so that he was often labelled a vain narcissist. “I am not vain,” he said, “I’m at worst, pretty.”

“I’m a terrible homosexualist,” Beaton wrote in his diary. Underlining all of his creative pursuits, is the deep discomfort of never being able to live freely as a homosexual, of living a life of endless discretion. The documentary uncovers the deep love he felt for British art collector Peter Watson and then later, the American fencer Kinmont Hoitsma (whom he calls him “ceaselessly beautiful”)— both affairs left him heartbroken and sad. The film also explores his deep relationship with Greta Garbo, who was the most beautiful woman in his eyes. In this segment, the camera fleets from one portrait to another — in one she gazes obliquely sitting among flowers; in another she lays down wearing a white turtle neck as her hair frames her face; and in another, she gazes out a window.

When Beaton passed away in 1980, in the Reddish House in the village of Broad Chalke in Wiltshire, England — an 18th-century manor he bought and renovated — his room only had three portraits that he had taken: of Watson, Hoitsma, and Garbo. The self-created man who saw the life he wanted to live and built it for himself, who bought much beauty into the world, passed away in solitude, forever in pursuit of unattainable beauty, never in surrender.



Robert Kime. A decorator by royal appointment.

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Robert Kime
A decorator by royal appointment
08 DECEMBER 2015| By Elfreda Pownall

Scott Fitzgerald was wrong: the very rich are not so very different from you and me. “It’s the same in a palace or a cottage, people want to sit down comfortably and slop around,” says Robert Kime. And nowhere can they slop around in such comfort as in the homes created for them by this antiques dealer and interior decorator.

A new book, Robert Kime, by Alastair Langlands, the first ever published on his work, shows 12 homes he has designed since 1985. When the Prince of Wales took over Clarence House after the death of the Queen Mother, Kime was called in to redecorate, and his work is shown in the book. He was also the choice of Gela Nash-Taylor, co-founder of Juicy Couture, when she and her husband John Taylor, bass guitarist of Duran Duran, bought a 17th-century manor house in Wiltshire, which is also shown. There  is an exquisite hunting lodge, decorated for one of the five dukes whose stately homes Kime has worked on, as well as a beach house in the Bahamas, and a Provençal farmhouse. Homes belonging to the Kimes are included too: a tiny Irish cottage, a tin house built from a former village hall, and his present home, a warren of rooms above his shop near the British Museum.

And it is here, sinking into a sofa of cloud-like softness, that you realise that the very rich  are different – at least in the sofa department. “Palace or cottage – you just scale it up or down,” says Kime, flicking through the book. “I didn’t think I was the sort of person who wanted  a book. And, though there are decorating principles here, it’s not a decorator’s book, it’s more a summation of what I do,” he says. He is right. It is not about the latest look or the “new” colour; it is more a design biography, showing a personal style he has perfected, using historical knowledge, and an uncanny ability to put a room together so it looks and feels right.

Born in Hampshire in 1946, Kime was first interested in antiques on a small scale. He collected coins as a schoolboy and speculated about their history. He left school at 16 with four A-levels and worked on archeological digs in Greece and Masada. As an undergraduate at Oxford, he was reading history when a sudden family crisis meant he had to sell his mother’s furniture to raise money. It was heart-rending to have to lose the pieces he had grown up with. “But selling them was how I learned,” he says. “It was vital to get the maximum price for every item.” To do so, he learned as much as possible about each piece, its ideal price and buyer. “It stopped me being an amateur,” he says.

It was also early training. He was soon dealing antiques to pay for university, even selling objects  to Oxford’s Ashmolean Museum. Undergraduates are usually moved to different rooms every year,  but Kime persuaded the bursar of Worcester College to allow him to keep his room, so antique dealers would know where to find him.

After leaving Oxford, Kime used  that charisma and confidence to  attract the renowned scientist Miriam Rothschild. Within half  a day of their meeting she had commissioned him to sell an attic-full of her family’s 18th-century furniture, and later helped him set up his first antiques shop. The extraordinary variety and quality of the furniture and objects in his shop, and later in a warehouse adjoining his home in Wiltshire, was a magnet for antiques dealers: Arts and Crafts tables, textiles from Ghana, Uzbekistan and Turkey, French farmhouse linens, metal lanterns, fossils, Iznik tiles, deep-buttoned Victorian sofas were all on view and wonderfully arranged in the warm and beautiful homes made by Kime and his late wife Helen Nicoll, the creator of the Meg and Mog children’s books.

Kime became an interior decorator by default, giving up his Fridays to design houses for people who, after seeing his warehouse and his home, asked him to make their home  look just like his. He is considered  the most erudite and prestigious decorator in Britain, yet it is difficult to discover just how he does it. There is a story of him turning up to help a friend who didn’t like her sitting room. He came armed with one mirror, two pictures and three strong men. All he did was re-arrange everything, and by the evening its owner said it was perfection.

“It’s not about the things,” he says, “they are far less important than how you live in the room.” But plainly the “things” inspire him: “Wonderful,” he says, grinning when he tells you where he found a particular chair or rug. “Most of my rooms begin with a rug,” he says. “And then you have your star piece, maybe a mirror or a picture, and it all just fits into place.”

Recently Kime has been unable to find all the antiques and vintage fabrics he needs, so he has copied some of his favourites. A typical example of his care with these  new designs is one of the hand-embroidered fabrics. “For this yellow pattern I used four different shades, from nearly-green, to almost-brown to yellow, to pale primrose,” he says. “That way, the fabric looks lively, and it is the way the original vegetable dyes would have aged.” This is a man who has trained his eye since childhood, who creates calm, comfortable and eminently covetable interiors.

robertkime.com




BOOK REVIEW: THE NEW ROBERT KIME

 “A room should represent the absent owner, its arrangement is the owners memory”

In the newly published book by Alastair Langlands, Robert Kime reveals that he follows in the tradition Mario Praz ‘s Philosophy of Furniture and that his rooms represent the character of their owner.  From this point of view, this beautifully produced book becomes even more fascinating.   Not only can the reader observe the genius of Kime’s work but also take pleasure in attempting to gain insight into the character and personality of the owner.



The Dining Room South Wraxall Manor. Photographer Tessa Traeger.

Considering Robert Kime’s importance for many years as the undisputed King of interior decoration, this book is remarkably understated and discreet. Decorator to half the aristocracy, a plethora of rock stars and most importantly The Prince of Wales, this book provides a wonderful opportunity to see his work.


Beautiful cantilevered staircase created by Mary Lou Arscott, at La Gonette Provence. Photographer Tessa Traeger

From surprisingly humble cottages, to the gorgeous romantic fantasy of South Wraxall Manor, home of John Taylor and Gela Nash Taylor,  we pass through Royal, Ducal, and palatial residences, via the Caribbean and South of France. To the discerning eye, it is possible to begin to distil a few of the elements of Kime’s genius and the magic that he weaves. The book covers a period of over twenty years and it is also notable to see how timeless the work is and how many of the ideas have been adopted by the mainstream over the years.




Bathroom, Royal Terrace Edinburgh. Photograph James Mortimer.

Famous for working on the “eye”, Kime began his career as a dealer, and when his CV is read backwards it seems it was almost inevitable that he would end up as decorator to the Prince of Wales.



The Sitting Room at Upper Farm. The Kime family home for several years. Photograph Tessa Traeger.

Following studying history at Oxford and an early break working for Mirriam Rothschild, Kime moved to Sotheby’s then back to Oundle to set off on his own - A career path that would eventually lead to becoming one of the greatest interior decorators of his age.

Robert Kime has worked with both of the great dealer decorators, Geoffrey Bennison and Christopher Gibbs, and throughout the book it is easy to see their influence on his work, especially in the magical arrangement of objects and his trademark antique and later own label textiles.  This sensational visual vibration, between beautiful and sometimes disparate shapes and patterns, chosen and arranged on the eye, is the essence of his work.



Dining room at the Duke of Beauforts Maison du Plaisance, Swangrove. The owners presence embodied in the order of the garter flasks on the chimney piece.  Photographer Fritz von der Schulenburg

The rooms created by Robet Kime and featured throughout the book by Langlands are not formally ostentatious, although they are very smart.   Even when very strong pieces are used, as in The Garden Room at Clarence House, they are offset against other pieces of equal value, giving a sense of overall richness and wonder. The patterns and colours resonate against each other delightfully, with the subtext of visual harmony feeding the critical eye and distinguishing his work from his many impersonators.


 Drawing Room, Royal Terrace Edinburgh. Photographer James Mortimer.

Overall, this book is not only a shining example of the literary eye of Alistair Langlands, but also a visual feast of exquisite works by Robert Kime, - definitely one for the festive wish list.

Robert Kime: Text by Alistair Langlands

Photographs by Tessa Traeger

Frances Lincoln Limited October 2015

ISBN: 978-0-7112-3663-9


A royal revolution: Prince Charles Poundbury / VIDEO:Queen Mother Square, Poundbury, Dorchester, Dorset

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“Almost 30 years since the masterplan was drawn up for this 400-acre site on the edge of Dorchester, Poundbury has finally received its town centre in the form of Queen Mother Square. If the first phase, built in the early 90s, was based on a villagey “Dorset vernacular”, this grandiloquent piazza has cranked up the dial to full Greco-Roman. A doric colonnade marches along the front of a new Waitrose on one side, facing the yellow facade of Strathmore House across the square. Strathmore, a palatial pile that could have been airlifted in from St Petersburg, contains eight luxury apartments beneath its royal-crested pediment. Next door stands the white stone heft of the Duchess of Cornwall, Poundbury’s first hotel, based on Palladio’s Convento della Carità in Venice, natch.”





A royal revolution: is Prince Charles's model village having the last laugh?

Poundbury, the Prince of Wales’s traditionalist village in Dorset, has long been mocked as a feudal Disneyland. But a growing and diverse community suggests it’s getting a lot of things right




Oliver Wainwright
@ollywainwright
Thu 27 Oct 2016 09.00 BST Last modified on Fri 11 May 2018 13.09 BST

‘This supposed ghost town feels increasingly like a real place’ … Prince Charles visits Poundbury in 2013.
 In a room of raw concrete block walls and exposed steel beams, a man with a long hipster beard takes an order on his iPad and froths up a flat white. Young mums and retired couples sit at long communal tables among Wi-Fi workers. It could be a trendy east London cafe in a repurposed industrial space, but this is the centre of Poundbury, the Prince of Wales’s traditionalist model village in Dorset. And there’s not a doily or tweed jacket in sight.

 Something quietly radical has been going on here – and it's got nothing to do with architecture
“It’s not quite what most people expect,” says Ben Pentreath, one of the architects who have been engaged in producing replica Georgian terraces and quaint country cottages here over the last two decades. In jeans and New Balance trainers, the designer isn’t quite what you would expect from a classical architect, either. “For 20 years, this place has been treated as a joke, a whim of HRH,” he says. “But something quietly radical has been going on – and it’s got nothing to do with architecture.”

It is easy to get distracted by the buildings. From flint-clad cottages and Scottish baronial villas to Palladian mansions and miniature pink gothic castles, Poundbury is a merry riot of porticoes and pilasters, mansards and mouldings, sampling from the rich history of architectural pattern books with promiscuous glee. On the outside of its breeze-block walls, Pentreath’s Butter Cross bakery is dressed as an early 19th-century brick gazebo, crowned with a gilded fibreglass orb. It looks on to a little market square, where cast-iron verandahs face off against a creamy rendered terrace, watched over by a neoclassical office block that is raised on an arcaded plinth. It might seem grand for a village square, but it’s nothing compared with the latest set-piece tableau a few streets away, unveiled by the Queen today.





Almost 30 years since the masterplan was drawn up for this 400-acre site on the edge of Dorchester, Poundbury has finally received its town centre in the form of Queen Mother Square. If the first phase, built in the early 90s, was based on a villagey “Dorset vernacular”, this grandiloquent piazza has cranked up the dial to full Greco-Roman. A doric colonnade marches along the front of a new Waitrose on one side, facing the yellow facade of Strathmore House across the square. Strathmore, a palatial pile that could have been airlifted in from St Petersburg, contains eight luxury apartments beneath its royal-crested pediment. Next door stands the white stone heft of the Duchess of Cornwall, Poundbury’s first hotel, based on Palladio’s Convento della Carità in Venice, natch.

 “The silent majority like this sort of building,” says 79-year-old , one of Prince Charles’s favourite architects, who designed most of the buildings around the square with his son Francis. Walk around the back and you find a cheeky nod to the stage-set nature of the place: here the columns and capitals are simply painted on to the facade. “It’s the poor man’s choice,” says Terry, “but it makes it more poetic.”

 It’s easy to come here and compare it unfavourably with a 300-year-old town. But it’s just a modern housing estate
The residents of the new square will be anything but poor. Flats in Strathmore House have sold for £750,000, while apartments in the Royal Pavilion, complete with a spa, are likely to cost even more when they’re released next year. Sprouting from this block (which “brings to Dorchester design standards normally associated with Knightsbridge”), a 40-metre-high tower now rises above the square, visible from far around. It’s an odd beast, looking a bit like an inflated Georgian townhouse perched on top of the Arc de Triomphe, crowned with a domed pavilion and a little bright green pergola. It’s based on the Choragic Monument of Lysicrates in Athens, says Pentreath, who clearly had a field day with his pattern books on this particular job. But the tallest edifice in the area by far didn’t happen without a struggle.

“There was a real plot to stop the tower because of the landscape impact,” says Léon Krier, the Luxembourgian architect who drew up the Poundbury masterplan at the Prince’s request in 1989 and has overseen the development. “But we wanted to impact the landscape. The whole point of a monumental building is to create a landmark.”

 We are engaged in creating a convincing fake. All architecture is essentially wallpaper: underneath, it’s all the same
The grand palazzo next to the tower was intended to be a magistrate’s court, but the plan was changed to make it more economically viable. “Perhaps it’s an interesting symbol, being luxury flats,” says Krier. “That’s the spirit of our time. After all, the masterplanner is not the master of the game.”

If Poundbury is a game, it is one that has become a good deal more convincing over time. For years derided as a feudal Disneyland, where Prince Charles could play at being planner like Marie Antoinette with her toy hamlet in Versailles, this supposed ghost town feels increasingly like a real place. The quality of the early phases was mixed – even Krier admits there were some “ghastly mistakes” – and construction has certainly improved. But strip away the fancy dress and you find a plan that far exceeds the sophistication achieved by any modern housebuilder.

Now two-thirds complete, this “urban extension” is home to a community of more than 3,000 residents, with around 1,500 homes (35% of which are let at affordable rent, pepper-potted throughout the development) and 2,000 jobs in 185 businesses. It has industry, shops and small workshop units mixed in among terraced streets, apartment blocks, mews houses and squares, arranged in such a way that the layout of buildings defines the street pattern, rather than being straitjacketed into a car-dominated grid. The streets are winding and deliberately chaotic to calm traffic, with blind bends and no stop signs or any other signage, while each neighbourhood is planned to be no more than a five-minute walk to its centre.

Still, the progressive attitude to cars hasn’t curbed habits: a survey conducted at the end of the first phase showed that car use was higher in Poundbury than in the surrounding rural district of West Dorset. The free-for-all parking policy, meanwhile, has turned many of the streets and squares into a car park for Dorchester shoppers.

But the chief success has been achieving the holy grail of genuine mixed use. As well as the medical clinics and vets, offices of lawyers and accountants, travel agents and a funeral home, there is a thriving chocolate and cereal factory, a tech company making components for plane wings, along with 80 small units for startup businesses scattered among the porticoes. “We sort of reinvented medieval workshops by mistake,” says Poundbury’s estate director, Simon Conibear, listing the enterprises, ranging from those making cakes and wedding dresses to curtains and electric bikes, two-thirds of which are run by women.

A primary school is also under construction, reflecting the increasing number of young families moving to Poundbury. “I thought it was a retirement village,” says Aaron Watkins, who opened menswear shop Clath here last month, stocking Red Wing and YMC, rather than Hunter and Barbour. “But it’s a really mixed demographic with loads of younger people moving down from London.”

Despite the leaded windows, the place has impressive energy credentials, too. An anaerobic digester nearby uses local farm waste to create enough fuel to power up to 56,000 homes on the Dorset grid, as well as charging the electric blue bus that trundles between Poundbury and Dorchester (bridging the “us and them” divide, which has softened over the years). So does this quaint experiment deserve all the derision?

“It’s easy to come here and compare it unfavourably with a 300-year-old town,” says Pentreath. “But it’s just a modern housing estate. If you look at a 1989 suburban development, it’s all identical two-storey brick houses, with a business park on the edge if you’re lucky. Here you’ll find a terrace of social housing opposite a big private house designed by the same architect, and a sense of genuine civic life.” Despite being on Duchy of Cornwall land, it is a hard-nosed commercial project, developed by local housebuilders who sell their product at a premium. A recent Savills survey found that values in Poundbury were up to 29% higher than on other new build schemes in the area.

 We went a bit crazy and thought we'd do a bit of Shoreditch … HRH loves things that are quirky
Ben Pentreath

As for aesthetics, there has been much hand-wringing in the architectural community over the “honesty” of Poundbury, questioning how faithful it is to both the local vernacular (it’s not) and natural materials (ditto), two of the prince’s primary tenets. Most of the stone is reconstituted, the traditional facades hide steel frames and blockwork walls, and much of the “metalwork” is painted fibreglass. Krier professes truth to materials, but Pentreath is frank. “We are engaged in creating a convincing fake,” he says. “All architecture is essentially wallpaper: underneath, it’s all the same stuff.”

The latest phase, which he has designed with fellow young classicist George Saumarez Smith, casts its stylistic net even wider to include what look like converted Victorian warehouses. “We went a bit crazy and thought we’d do a bit of Shoreditch or Shad Thames,” he says, pointing out the polychromatic brickwork and steel girder lintels above the shopfronts. “For the next phase we’re thinking of more of an Arts and Crafts vibe. HRH loves things that are quirky.”

Poundbury should be completed by 2025, by which time it will be home to an estimated 4,500 people, increasing Dorchester’s population by a quarter. Then the Duchy will leave it to run itself. Krier, who is writing a book on Le Corbusier, says he and Prince Charles will then embark on their ultimate project: “We are going to build a small modernist town and show them how to do it.”

This article was amended on 27 October 2016. An earlier version incorrectly ascribed Ben Pentreath’s pull-quote to George Saumarez Smith



"Forests … are in fact the world’s air-conditioning system—the very lungs of the planet—and help to store the largest body of freshwater on the planet … essential to produce food for our planet’s growing population. The rainforests of the world also provide the livelihoods of more than a billion of the poorest people on this Earth… In simple terms, the rainforests, which encircle the world, are our very life-support system—and we are on the verge of switching it off."

— Charles, Prince of Wales

"Following Charles Prince of Wales in his admirable and remarkable idealistic journey of selfless dedication in fields such as architecture, urbanism, ecology, organic farming, alternative medicine... etc., we found that the priority of its Concerns lies in using the prestige of his position and the symbolic power of his title for the sake of the common good.
In this sense he honors his motto (ICH DIEN) in his attitude of "Oblige"... and it can be said that his concern, through a personal process of search and acts, essentially resides in being first a ' Gentleman '. In order to become a prince of/with Alma. "(prince of / with Soul)
The Gentleman in 12 19 (Summer 2018) by António Sérgio Rosa de Carvalho/Architectural Historian.


Manifesto of Leon Krier, advisor to Principe Carlos, published in 2000 and translated by me in a joint initiative with Krier, in order to disseminate his ideas to the public in the Portuguese language
Arquitectura: Escolha ou Fatalidade ( Architecture: Choice Or Fate )
LEON KRIER / Translation: António Sérgio Rosa de Carvalho/Architectural Historian.



Prince, Son and Heir Charles at 70 - BBC

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A special documentary to mark the seventieth birthday of HRH the Prince of Wales.

For this observational documentary, film-maker John Bridcut has had exclusive access to the prince over the past 12 months, both at work and behind the scenes, at home and abroad. He speaks to those who know him best, including HRH the Duchess of Cornwall and the Dukes of Cambridge and Sussex. His sons discuss their upbringing and their feelings about the prince's working life.

As the prince reaches his seventith birthday, he has been involved in public affairs for 50 years, championing environmental and social issues long before they reached the mainstream, from plastic waste and global warming to lack of opportunity for young people.

The documentary charts the prince's working life at a time when he is taking on an increasing amount of duties in support of the Queen. He is seen on working visits to County Durham, Cornwall and the Brecon Beacons, and at home at Highgrove in Gloucestershire and Birkhall in Aberdeenshire.

The film features behind-the-scenes footage of the Prince with the Queen in Buckingham Palace at the time of the Commonwealth Heads of Government Meeting in April, when the prince was named as the next head of the Commonwealth.

Also included is the stunning ceremonial welcome given to the prince in the Pacific island republic of Vanuatu, when he was invested as a high chief, and his visit to three Caribbean countries struggling to recover after hurricanes Irma and Maria a year ago.

What emerges is a revealing and intimate portrait of the longest-serving heir to the throne, who still feels he has a lot more to do


BBC




 “I Don’t Really See Any Value in Saying, ‘I Told You So,’”: Prince Charles on His Climate-Change Fight, Life with Camilla, and Becoming King



“I Don’t Really See Any Value in Saying, ‘I Told You So,’”: Prince Charles on His Climate-Change Fight, Life with Camilla, and Becoming King

by JAMES REGINATOphotographs by ALEXI LUBOMIRSKI
NOVEMBER 1, 2018 12:00 AM

“Anyone of my age knows that days pass at a far greater speed than when they were young,” a man nearing his 70th birthday recently told me. “But in my case there are so many things that need to be done.”

“Things that need to be done” takes on a strikingly different quality if you are on the verge of ascending the British throne. Past the age at which many people retire, Charles Philip Arthur George, the Prince of Wales, is still waiting to begin the job he’s been in line for since he was three years old, when his mother, Her Majesty Queen Elizabeth II, began her monarchy in 1952. As she has become the longest-reigning sovereign in British history, he’s become the longest-waiting heir apparent. While the Queen, at 92, still vigorously carries out the major elements of her role as head of state, her reign is inexorably beginning to wind down. At her request, the Prince of Wales has begun to ramp things up.

“Charles figured out a very long time ago that he was going to be Prince of Wales for a very long time,” an English peer intimate with the royal family says. “He planned his life accordingly, and he wouldn’t have been able to accomplish half of what he has if he had become King earlier.”

Dodging the sovereign’s constitutionally mandated straitjacket and muzzle, the Prince of Wales has been able to express strong opinions on many issues—including climate change, alternative medicine, and architectural preservation—for which he has been harshly criticized.

He has also been a prolific worker bee in the Windsor hive, his work constituting charity appearances and other public forays for the greater good. A tally of “jobs” attended by the royal family in 2017 attests to the amount of heavy lifting Charles is doing. With 546 under his belt, Charles was at the top of the list, while the Queen came in fourth (behind Princess Anne and Prince Andrew) at 296. Prince Harry and Prince William, future King himself, notched considerably fewer: 209 and 171, respectively.

As the United Kingdom lurches toward Brexit and relations with the European Union fray, the royal family’s soft power may be Britain’s trump card. They charm, they command respect; they impart a sense of stability and continuity. Meanwhile, the Commonwealth states—home to 2.4 billion citizens, a third of the world’s population—are ever critical. It was not just an act of fashion when Meghan had her 16-foot veil embroidered with flora from each of the 53 member nations. In April, the heads of these countries—which include India, New Zealand, and Nigeria—officially voted that Charles will succeed his mother as leader.

While his relatives and his subjects tiptoe around the mere thought of the Queen’s death, Charles has become a proxy head of state for his mother, while his own children have helped garner massive positive press for the royal family. (Some two billion people around the world tuned in to watch Meghan and Harry’s wedding and their baby news is a global preoccupation.) So, on May 7, when I boarded a plane with the Prince of Wales and his wife of 13 years, the Duchess of Cornwall, bound for an official royal tour through France and Greece, the couple was in high spirits.

ON THE ROAD
Since 2016 the royal family and the prime minister have shared a jumbo jet for long-haul flights. (Previously, they had to charter aircraft or, worse, fly commercial.) The RAF Voyager, a massive military tanker based on an Airbus A330 capable of air-to-air refueling and missile detection, was ordered by David Cameron and refitted at a cost of £10 million.


Impressive yet discreet, the aircraft is gray and blue inside and out, with 158 seats in three cabins on one deck. As it sits on the tarmac of R.A.F. Brize Norton, in Oxfordshire, and its two pilots and eight cabin crew prepare for flight, what would be the business class on a commercial plane fills up with Clarence House staff members: dark-suited, solemn-looking private secretaries, personal protection officers (P.P.O.’s), the royal doctor, a valet, Communications Secretary Julian Payne, and the Prince’s equerry, Major Harry Pilcher, as well as Hugh Green and Jacqui Meakin, the Duchess’s longtime hairdresser and stylist. In the rear cabin are dozens of uniformed military personnel—engineers, soldiers, baggage handlers, and other tactical officers—along with about five members of the British press who regularly report on the royals. And me. All journalists are later invoiced for their flights—the cost being comparable to an equivalent full-fare coach seat. Finally, after about an hour, a large black car pulls up to the front stairs of the plane. As soon as Their Royal Highnesses climb aboard, into the first-class cabin, the Voyager roars into the sky and cabin attendants in blue military uniforms offer beverages, including good Moët, to passengers. The atmosphere is one of restrained elegance. Typically, midflight, Camilla will appear for a few moments in the rear cabin, prompting all military personnel to immediately stand at attention.

“He figured out a very long time ago that he was going to be Prince of Wales for a very long time.”

Though he’s not yet a head of state, the Prince of Wales is received like one wherever we land. In Nice, a military band plays the British and French national anthems and an honor guard stands at attention as T.R.H. disembark onto a red carpet at the end of which stands a long convoy of official vehicles.

Our first stop is Villa Masséna, an ornate Belle Époque-era art museum, where a memorial to the 86 victims of the 2016 Bastille Day attack on the Promenade des Anglais has been erected. Payne jumps out of a car. “The first rule of royal tours is don’t get left behind!” he cautions me as he sprints ahead.


T.R.H. have come to meet survivors, their families, first responders, and other Nice citizens in the villa’s garden. They lay a bouquet composed of Camassia leichtlinii (Caerulea Group), Narcissi ‘Actaea,’ Viburnum x carlcephalum, and lilies of the valley, all gathered from the Prince of Wales’s garden at Highgrove, his country house.

Next, the convoy speeds off to Èze, perched in the hills outside Nice, for a walkabout through the narrow, winding cobblestone streets. Citizens and tourists pour out of shops, cafés, nooks, and crannies, treating Charles and Camilla as impeccably suited rock stars, which is how it goes all week.

While their agenda includes many stately private events at palaces, embassies, and such, the action unfolds in open streets and squares, where they shake hundreds of hands. (No germophobes here: I never saw any hand sanitizer deployed.) These walkabouts are often mapped out in advance by the Prince’s security detail, but can be unexpectedly fluid. The plan for a visit to Nice’s bustling flower market, for example, calls for “three designated points” for T.R.H. to visit, but allows for “some off-piste walking.” Meaning: Charles goes wherever he wants.

“He has complete confidence in his protection officers,” says a staff member, “so he dives right into the crowds.”

At a food market in Lyon, an urgent, almost alarming cry—“Your Highness! Please!”—stops the Prince in his tracks, resulting in a pileup of trailing entourage. A butcher in a white apron is desperate for him to sample his sausages.

“Qu’est-ce que c’est?” Charles inquires, and is quickly passed a bit of saucisson. A hush descends; the butcher is on tenterhooks before the royal opinion is issued: “Excellent! Incroyable!” says the future King. The butcher’s face registers ecstasy. Charles beckons the Duchess from the cheese aisle. “Try this, darling,” he coos, as onlookers smile and photographers click.


“The people in the crowds are usually great, it’s just the press who can get too pushy sometimes,” one of the P.P.O.’s tells me. “We guard Cabinet ministers, too. They’re never a problem because they don’t want to go out into the public. But Prince Charles really wants to.”

Charles assiduously reads the lengthy briefings that are prepared in advance of all engagements. “So, if he’s meeting an elderly veteran he can say, ‘I know you flew Spitfires in the war,’” a former staff member tells me. “They’re like, ‘Holy shit, how did he know that?’” (“The bullet points I remember,” the Duchess says.)

In Greece, there are visits to the presidential palace, a battleship, a monastery, and the Yacht Club, for swanky cocktails with shipping magnates. On Aiolou Street, Athens’s busiest shopping thoroughfare, the royal couple sample koulouri, traditional Greek pretzels, then repair to an outdoor café—a planned photo op, of course. But when the Prince declines the plastic straw that comes with his freddo cappuccino—a cause célèbre for the likes of Adrian Grenier, Brooklyn Decker, and Neil deGrasse Tyson—the rejection becomes front-page news in Greece, where sipping your cold coffee from a plastic straw is de rigueur. (A few weeks later, McDonald’s will announce plans to phase out plastic straws across its 1,361 restaurants in Britain.)

During the foreign tour, I travel in an anonymous black van with about a dozen of the British photographers and correspondents who are dedicated to covering the royals at their nearly every turn. (Some are salaried employees of news organizations and some are independent operators; the British government does not pay any of their travel expenses.) There is fierce competition among these fellows—and most are men. But they are great mates, addressing one another often by nickname, and with salty language. (Which some of them requested I refrain from printing, indicating that royals are not the only people sensitive about their coverage.) “We sometimes have our elbows out, but we’re like brothers,” says Shutterstock photographer Tim Rooke, who has been on the beat for 28 years. “We’ve spent more time with each other than we have with our wives,” says Chris Jackson, who has the clout that comes with being the royal photographer for Getty Images.

A week before Harry and Meghan’s wedding, everybody is champing at the bit for a sound bite from T.R.H. about the event. Word goes around that there will be a brush-by—a quick, pre-arranged moment, often when a royal is about to get in a car, when they answer seemingly spontaneous questions lobbed at them. But this brush-by keeps getting delayed, leading to frazzled nerves and vociferous complaints among the pack. “This is arse backwards, tits up!” carps one passenger on the van, whatever that means.

At last, the brush-by transpires in Nice. “Obviously . . . it’s going to be marvelous,” says His Royal Highness. “I’m sure it will be a special day for everyone.” “It’s all very exciting. Can’t wait,” Her Royal Highness adds. The press corps are always eager for a quote from Camilla.

Occasional grumbling aside, these royal-watchers esteem Charles and Camilla. “She’s my favorite royal, by a country mile,” I’m told by one correspondent. “She knows all our names, she fosters a sense that we’re all in this together. She always gives you a little gleam in her eye and will find a moment to look at our cameras,” says another. William and Kate, by comparison, go out of their way not to look at the “fixed point” where photographers gather. In general, this correspondent goes on, the younger generation of royals are “control freaks” about their coverage, whereas Charles is “far more relaxed.” As is Camilla.

“We think the world of her, we adore her. She’s an amazing woman,” says Sun photographer Arthur Edwards. “She always shows up with a great smile and is never, ever, grumpy.”

Edwards, 78, speaks with authority. The dean of the royal camera corps, he’s been shooting the Windsors for 41 years. In 2003, Queen Elizabeth bestowed an M.B.E. on him at Buckingham Palace. (“It means ‘much bigger expenses,’” he jokes in his Cockney accent.)

Edwards shot one of the most iconic, and prophetic, royal images ever, in February of 1992: the so-called lonely princess photo of Diana sitting alone on a bench in front of the Taj Mahal, in India.

“All right, Arthur, where do you want me?” he recalls her asking him when she arrived at the site. But the location was hardly as empty as it appears in the photo. “There were 50 people around—we said, ‘Get out of the way!’” recalls a correspondent, who was also there. Diana, they agree, was far savvier than the public gave her credit for. “‘It’s very healing,’” Edwards remembers the Princess commenting after the shot. “We were all trying to work out what she meant.” “She and Charles did separate 10 months later—so we weren’t wrong,” says Edwards.

“Everything that is too political he is transitioning out of.”

Among this troop, there is unanimous agreement that since Camilla has come aboard, “the boss” is a helluva lot easier and happier. “She’s made a massive difference in him,” a longtime correspondent observes. “He’s much more relaxed now. They are always laughing and chatting, they have great affection and humor between them.”

Photographer Alexi Lubomirski, who shot Harry and Meghan’s official engagement and wedding pictures, says as much, when Charles and Camilla greet him in the morning room at Clarence House to pose for the portraits in this story. “As soon as they looked at each other, there was a sparkle in their eyes—that’s when the magic happened,” he says. “You feel like they are a young couple in love.”

THE FUTURE QUEEN
Friends agree that, 13 years on from their wedding, Charles and Camilla have never been in a better place. “They’re a rock,” says a longtime friend of the couple’s.

Their saga, told by every tabloid, is well known: They met in the summer of 1971 and were smitten with each other. But according to the customs of the time, Camilla Shand wasn’t considered a royal-bride candidate, having been the on-and-off girlfriend of Andrew Parker Bowles for more than six years. Camilla married him and they had two children before they divorced. Meanwhile, the public fairy tale of the royal romance between Charles and Lady Diana Spencer was privately in tatters from the start.

Though they were pilloried in the press, Charles and Camilla just couldn’t quit each other. And on April 9, 2005, almost nine years after the dissolution of Charles’s marriage to Diana, he and Camilla were married in a civil ceremony at Windsor Guildhall. At the time, it was announced that when Charles does accede to the throne she will be given the title princess consort. In subsequent years, public opinion of her has turned around. According to recent reports, she will eventually become queen consort, the customary title for the wife of a reigning king.


“They’re in a very good place right now,” says Mark Bolland. As deputy private secretary to the Prince of Wales from 1997 to 2002, Bolland masterminded the campaign to win public acceptance for Camilla and rehabilitate Charles’s reputation.

“We have a prime minister and government distracted by the horror of Brexit,” says Bolland. “It makes the monarchy stronger, as it is a beacon of stability and hope.” Meanwhile, Camilla has brought to the House of Windsor refreshingly natural warmth and taste. The Duchess’s father was a wine expert and her son is a food writer, Bolland points out, so when Charles becomes King “the flowers at Buckingham Palace will be a lot better, and the food and wine too.”

Camilla seems constitutionally suited to being Queen. “She never complains, she never explains,” says a London man-about-town who socializes with the royals. “She’s not an intellectual, but there’s nothing lightweight about her. She’s not a bullshitter and she doesn’t take any bullshit.”

The shadiest comment comes from an aristocratic dowager, who says that “she’s a bossy woman.” But this source hastens to add that “she’s been very good for him. She gives him all the love and support he needs.” Payne seconds that. “She can change his mind in a way nobody else can,” says the communications secretary. “Every so often, I can go to the Duchess, cap in hand. She’s your last card. If she thinks it’s the right thing, she’ll say, ‘Leave it with me. . ..’”

“They are both clearly great on their own. But two and two makes five in a big way here,” says Camilla’s nephew, Ben Elliot, a co-founder of the Quintessentially Group. “You can see it when they are together. They enjoy each other’s company so much. You can see it best when they are dancing together—such genuine, deep-down affection and love. They both get the giggles—she first, then he tries to hold it together.


“She knows that he is the boss, the star. She does everything she can possibly do to support him. At the same time, he’s very proud of her. She’s very sharp and perceptive,” Elliot adds. And no need to worry that the future King and Queen won’t be able to keep up with their duties, notwithstanding their septuagenarian status: “They are both—he particularly—unbelievably physically fit. I’ve never seen a man his age who is as strong as he is. I’ve gone stalking with him in Scotland. He walks soldiers off the Highlands.”

The Duchess has retained her old house, Ray Mill, to which she escapes periodically. “She doesn’t wake up in the morning thinking about what her title will be,” Elliot adds in jest. Instead, she likes to cook simple English fare, keep her bees, and enjoy visits from her five grandchildren. Charles and Camilla’s happy place, though, is Birkhall, the Scottish estate formerly owned by the Queen Mother. “It’s a lodge—not particularly grand. It has a wonderful, warm coziness,” where the couple can indulge in the “relentless” reading they enjoy, and watch some TV, Elliot elaborates. He begs off the million-pound question as to whether they watch The Crown. But the chatty London man-about-town quoted earlier says Camilla has privately confessed to having enjoyed the program, though she hastened to add that she “wasn’t looking forward to the bits to come.” The young Camilla will be introduced in Season Three, which covers the royals from 1964 to the early 70s.

Elliot was an adolescent when wall-to-wall coverage of “Camillagate” made his aunt the most unpopular woman in Britain. “Her children are like brother and sister to me—we’re all very close,” he says. “It was bloody hard. She was a prisoner in her own house. For everyone involved it was not a happy time. In the breakdown of any marriage, you want privacy to deal with it, but they didn’t have any of that.”


WORK, WORK, WORK, WORK
Camilla’s popularity turnaround may have been strategic, but it would have fallen flat without a genuine personality underneath. Maintaining the dignity of the royals while trying to engender affection for them, and keeping them dutifully engaged—that’s the tightrope on which Palace staff walk.

Not only did the Duchess burn rubber, but she also delivered a winning message during the event, at Hampton Court Palace, where awards were given to schoolchildren for short stories they had written. Another day found the Duchess at the Royal Mews, Buckingham Palace, with none other than Her Majesty. Any joint engagement between the Queen and another royal signifies that the other royal is in her good books, and also that she approves of the cause. Read into that everything you want about the Duchess of Sussex’s giggle-filled jaunt with Her Majesty to Cheshire in June.

The sovereign and the Duchess of Cornwall have teamed up for an event to mark the 10th anniversary of Medical Detection Dogs. The organization has been at the forefront of a nascent field that trains dogs to recognize the odors of various diseases. The theory holds that dogs are such extraordinary biosensors, they have the ability to detect diseases at very early stages, which could aid treatment options.

A day later, T.R.H. visited the Royal Cornwall Show, which is something of a Coachella of British country life: heifers, horses, sheepshearing, tractors, chainsaw-carving, flowers, Cornish wrestling, blacksmithing, bees and honey, ferret racing, a pig-of-the-year contest, fly-fishing. T.R.H. worked their way through jam-packed crowds for about three hours, and there wasn’t a man or woman who didn’t appear to be hugely admiring. A fearsome-looking big guy of around 30, covered in tattoos and holding a baby, beamed when the Prince shook his hand and the baby’s. The mass affection for Charles isn’t just a product of public-relations efforts. His vast charitable endeavors have personally touched a huge portion of the British population.

Charles has long been a champion of traditional craftsmanship and rural values. “Traditional crafts have always defined the character and beauty of a civilization’s particular culture. They underpin the rich tapestry of cultures that make up the world,” he says. “So if you think them irrelevant and worth abandoning, then you abandon the richness of human civilization. You submit to the dehumanized, reductive approach of the lifeless machine. . .. What a sorry world that would be!” As for the charities, last March, Charles created a new umbrella entity, the Prince’s Foundation, to oversee and streamline his vast empire of them. Since it was set up in 1976, the Prince’s Trust has helped more than 870,000 disadvantaged people aged 11 to 30 move into work, education, or job training. In the past decade, the Prince of Wales Charitable Foundation has given away more than £52 million in grants. “As he nears his 70th, it’s all to do with making things leaner, neater. . .. The tidying-up process has started,” says his cousin David Linley, the Earl of Snowdon, who is vice president of the Prince’s Foundation.


“He’s a great connector—the ultimate networker,” says Dame Julia Cleverdon, the former C.E.O. of one of Charles’s outreach initiatives. “He creatively swipes ideas from all over the world. Then he’ll say, for example, Why hasn’t this one been implemented in Dorset?”

“There’s a lack of dot-joining today,” Prince Charles says to a group of young people in Athens. “I’ve spent my whole life trying to join the dots.”

CHANGE AGENT
Charles puts a lot of elbow grease into connecting the dots. He adheres to a strict schedule: He’s at his desk at 8:30 A.M. and spends two hours on correspondence. Then it’s steady meetings until breaking for tea at five—he doesn’t eat lunch—followed by a walk. After dinner, he generally goes back to his study to write letters or read for a couple hours.

In years past, many of those letters might have been to harangue politicians or editors, venting his opinions or dispensing advice on his pet issues. “He’s been expressing his views less and less,” a former Clarence House courtier says. “Everything that is too political he is transitioning out of.” Nevertheless, in written correspondence to me, Charles elaborated on climate change and other crises that “keep me awake at night.”

“I don’t really see any value in saying, ‘I told you so,’” he wrote. “As a teenager, I remember feeling deeply about this appallingly excessive demolition job being done on every aspect of life. . .. In putting my head above the parapet on all these issues, and trying to remind people of their long-term, timeless relevance to our human experience—never mind trying to do something about them—I found myself in conflict with the conventional outlook which, as I discovered, is not exactly the most pleasant situation to find yourself.


“One of [my] duties has been to find solutions to the vast challenges we face over accelerating climate change. . . . However, it seems to take forever to alert people to the scale of the challenge. Over forty years ago I remember making a speech about the problems of plastic and other waste, but at that stage nobody was really interested and I was considered old-fashioned, out of touch and ‘anti-science’ for warning of such things,” the Prince wrote. “If we don’t engage with these issues, and many other related and critical problems that they inevitably compound, we will all be the victims. Nothing escapes.”

SUCCESSION
Charles has outspokenness in common with his new daughter-in-law. According to an attendee at the Sussexes’ wedding, Charles and Camilla’s presence was very much felt and appreciated: “He seemed like the settling hand on the whole day—he carried the thing together, while she seemed like she had been doing this forever.”

He escorted Meghan Markle’s mother, Doria Ragland, during the ceremony, and it was Charles who suggested that the phenomenal Kingdom Choir perform at the service. Meanwhile, the Duchess of Cornwall and the Duchess of Sussex get along “aces,” according to a close family friend. “They clearly really like each other. There is real warmth and support. Camilla has been very helpful to Meghan.”

It is verboten for the royal family or anyone who works for them to address what will happen when the Queen dies. But there is a meticulously detailed secret plan: Operation London Bridge will be activated to steer Britain for 10 days, down to the moment, following her passing. According to The Guardian, it takes effect when the Palace informs the prime minister: “London Bridge is down.” At the BBC, a cold-war-era alarm system, the “radio alert transmission system” (RATS), will be deployed, and its correspondents will don black suits. Meanwhile, blue “obit lights” will flash at radio stations, signaling them to begin playing solemn music and to switch to news. Charles will address the nation on the evening of his mother’s death and then will immediately tour the country, visiting Edinburgh, Belfast, and Cardiff to attend services and meet leaders.


Operation London Bridge will be followed by Operation Golden Orb, the top-secret plan for Charles’s coronation. Preparation for both stepped up after Christmas 2016, when the Queen did not appear for church services at Sandringham. “A heavy cold” was the reason given by Buckingham Palace, but according to a Palace insider, her condition was quite grave. As that source said, “It put everybody on notice that they have to be ready whenever it does happen.”

The Queen recovered, though, and enjoys robust health. “She’s absolutely marvelous—better than the two of us put together,” says a friend of the Queen’s who has been her guest in the past year at both Sandringham and Buckingham Palace. “She never sits down! Before dinner in the salon, she stands the whole time with a drink in her hand, while we’re collapsed on the sofa. And her mind still works so fast. At the table, she was listening to three different conversations going on—jumping back and forth between them.” This source also recalls the Queen saying after the Pope resigned, in 2013, something that may mean Charles has a long wait yet: “I would never do that.”

Happy Birthday and many more years to come ! / Prince Charles - The Royal Restoration (Full Documentary)

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 Happy Birthday and many more years to come !

Prince Charles poses for an official portrait to mark his 70th birthday in the gardens of Clarence House

The Politician's Husband Trailer - BBC Two

The Politician's Wife (1995) - Juliet Stevenson

House of Cards Trailer


"You might very well think that; I couldn't possibly comment". / Three British top political thrillers

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 "You might very well think that; I couldn't possibly comment".





 House of Cards is a 1990 British political thriller television serial in four episodes, set after the end of Margaret Thatcher's tenure as Prime Minister of the United Kingdom. It was televised by the BBC from 18 November to 9 December 1990, to critical and popular acclaim.

Andrew Davies adapted the story from the novel of the same name by Michael Dobbs, a former Chief of Staff at Conservative Party headquarters. Neville Teller also dramatised Dobbs's novel for BBC World Service in 1996, and it had two television sequels (To Play the King and The Final Cut). The opening and closing theme music for those TV series is entitled "Francis Urquhart's March."

The antihero of House of Cards is Francis Urquhart, a fictional Chief Whip of the Conservative Party, played by Ian Richardson. The plot follows his amoral and manipulative scheme to become leader of the governing party and, thus, Prime Minister of the United Kingdom.

Michael Dobbs did not envision writing the second and third books, as Urquhart dies at the end of the first novel. The screenplay of the BBC's dramatisation of House of Cards differs from the book, and hence allows future series. Dobbs wrote two following books, To Play the King and The Final Cut, which were televised in 1993 and 1995, respectively.

House of Cards was said to draw from Shakespeare's plays Macbeth and Richard III, both of which feature main characters who are corrupted by power and ambition. Richardson has a Shakespearean background and said he based his characterisation of Urquhart on Shakespeare's portrayal of Richard III.

Urquhart frequently talks through the camera to the audience, breaking the fourth wall.

After Margaret Thatcher's resignation, the ruling Conservative Party is about to elect a new leader. Francis Urquhart (Ian Richardson), an MP and the Government Chief Whip in the House of Commons, introduces viewers to the contestants, from which Henry "Hal" Collingridge (David Lyon) emerges victorious. Urquhart is secretly contemptuous of the well-meaning but weak Collingridge, but expects a promotion to a senior position in the Cabinet. After the general election, which the party wins by a reduced majority, Urquhart submits his suggestions for a reshuffle that includes his desired promotion. However, Collingridge – citing Harold Macmillan's political demise after the 1962 Night of the Long Knives – effects no changes at all. Urquhart resolves to oust Collingridge, with encouragement from his wife, Elizabeth (Diane Fletcher).

At the same time, with Elizabeth's blessing, Urquhart begins an affair with Mattie Storin (Susannah Harker), a junior political reporter at a Conservative-leaning tabloid newspaper called The Chronicle. The affair allows Urquhart to manipulate Mattie and indirectly skew her coverage of the Conservative leadership contest in his favour. Mattie has an apparent Electra complex; she finds appeal in Urquhart's much older age and later refers to him as "Daddy." Another unwitting pawn is Roger O'Neill (Miles Anderson), the party's cocaine-addicted public relations consultant.

Urquhart blackmails O'Neill into leaking information on budget cuts that humiliates Collingridge during the Prime Minister's Questions. Later, he blames party chairman Lord "Teddy" Billsborough (Nicholas Selby) for leaking an internal poll showing a drop in Tory numbers, leading Collingridge to sack him. As Collingridge's image suffers, Urquhart encourages ultraconservative Foreign Secretary Patrick Woolton (Malcolm Tierney) and Chronicle owner Benjamin Landless to support his removal. Urquhart also poses as Collingridge's alcoholic brother Charles (James Villiers), to trade shares in a chemical company about to benefit from advance information confidential to the government. Consequently, Collingridge becomes falsely accused of insider trading and is forced to resign.

In the ensuing leadership race, Urquhart initially feigns unwillingness to stand before announcing his candidacy. With the help of his underling, Tim Stamper (Colin Jeavons), Urquhart goes about making sure his competitors drop out of the race: Health Secretary Peter MacKenzie (Christopher Owen) accidentally runs his car over a disabled protester at a demonstration staged by Urquhart and is forced by the public outcry to withdraw, while Education Secretary Harold Earle (Kenneth Gilbert) is blackmailed into withdrawing when Urquhart anonymously sends pictures of him in the company of a rent boy whom Earle had paid for sex.

The first ballot leaves Urquhart to face Woolton and Michael Samuels, the moderate Environment Secretary supported by Billsborough. Urquhart eliminates Woolton by a prolonged scheme: at the party conference, he pressures O'Neill into persuading his personal assistant and lover, Penny Guy (Alphonsia Emmanuel), to have a one-night stand with Woolton in his suite, which Urquhart records via a bugged ministerial red box. When the tape is sent to Woolton, he is led to assume that Samuels is behind the scheme and backs Urquhart in the contest. Urquhart also receives support from Collingridge, who is unaware of Urquhart's role in his own downfall. Samuels is forced out of the running when the tabloids reveal that he backed leftist causes as a student at University of Cambridge.

Stumbling across contradictions in the allegations against Collingridge and his brother, Mattie begins to dig deeper. On Urquhart's orders, O'Neill arranges for her car and flat to be vandalised in a show of intimidation. However, O'Neill becomes increasingly uneasy with what he is being asked to do, and his cocaine addiction adds to his instability. Urquhart mixes O'Neill's cocaine with rat poison, causing him to kill himself when taking the cocaine in a motorway lavatory. Though initially blind to the truth of matters thanks to her relations with Urquhart, Mattie eventually deduces that Urquhart is responsible for O'Neill's death and is behind the unfortunate downfalls of Collingridge and all of Urquhart's rivals.

Mattie looks for Urquhart at the point when it seems his victory is certain. She eventually finds him on the roof garden of the Houses of Parliament, where she confronts him. He admits to O'Neill's murder and everything else he has done. He then asks whether he can trust Mattie, and, though she answers in the affirmative, he does not believe her and throws her off the roof onto a van parked below. An unseen person picks up Mattie's tape recorder, which she had been using to secretly record her conversations with Urquhart. The series ends with Urquhart defeating Samuels in the second leadership ballot and being driven to Buckingham Palace to be invited to form a government by Elizabeth II.




 The Politician's Wife is a British television political drama broadcast on Channel 4 in 1995, written by Paula Milne, and starring Trevor Eve and Juliet Stevenson. Milne returned to the same themes in her BBC 2 drama miniseries, The Politician's Husband (2013).


Duncan Matlock (Trevor Eve), a high-flying politician and Families Minister for the British government, who becomes embroiled in a tabloid scandal as it is discovered that he has been having a 10-month affair with a former escort turned parliamentary researcher (Minnie Driver). Duncan's wife, Flora (Juliet Stevenson), becomes the focus of media attention as her reactions to the revelations are played out. Initially she plays the part of the loyal wife, but as an aide of her husband's, Mark Hollister (Anton Lesser), feeds her details about the affair and various other political scandals that could be made to happen, she begins to sabotage her husband's integrity and reputation through a campaign of leaks and misinformation to the press and British Conservative Party stalwarts. After a series of increasingly sensational and damaging stories in the press, her husband is forced to resign in humiliation. The last episode closes with the results of the by-election being announced on TV. Flora Matlock wins with the support of her party, whilst her husband is exiled to a minor post in Belgium.




The Politician's Husband is a three-episode British television miniseries, first shown on BBC Two between 25 April and 9 May 2013. Written by Paula Milne, it makes a pair with her 1995 drama The Politician's Wife.

Senior Cabinet minister Aiden Hoynes (David Tennant) and his wife Freya Gardner (Emily Watson) are a high-flying golden political couple. Hoynes resigns from his post as part of a planned leadership bid, which is thwarted when his friend, the equally ambitious Bruce Babbish (Ed Stoppard), condemns Aiden's resignation and inflammatory resignation speech. Babbish is aided by Chief Whip Marcus Brock (Roger Allam), who plans to help the former in his own leadership bid. Freya, who had to temporarily stall her career to look after her and Aiden's two children, Noah and Ruby, replaces Aiden in Cabinet. Away from Westminster, husband and wife face an uncertain future as they come to terms with the diagnosis that Noah (Oscar Kennedy) has Asperger syndrome.

Desperate to salvage his political career, Aiden convinces Freya to bide her time until an opportune moment in which she can pledge support to her husband's position, thus undermining the current Prime Minister. However, soon afterward, on a television interview, Freya is asked point-blank if she supports her husband's reasons for resigning, and she reluctantly says she does not. Aiden initially reacts with rage but later reasons that it was the only answer his wife could give if she hoped to save her job. The two seem to make up, but then Aiden rapes Freya later that night. Aiden leaves the room crying and later apologises to his wife for his actions.

Aiden and Freya slowly attempt to mend their relationship. Undermining their efforts are the necessity that Freya work closely with Bruce due to the close linkage of their departments (Work and Pensions, and Welfare and Employment, respectively), leading Aiden to become paranoid that his wife and Bruce will have an affair. The couple's au pair Dita (Anamaria Marinca) attempts to seduce Aiden, is rebuffed, then later quits and tells numerous tabloids she and Aiden were having an affair. Freya stands by her husband, believing his claims of innocence. Aiden, however has become convinced that Freya is now sleeping with Bruce, though unknown to him Freya has already rejected Bruce's attempts at seducing her. Aiden's father Joe (Jack Shepherd) stays with the family to fill in for Dita.

Aiden calls a meeting with Bruce, telling the latter he wants to mend their relationship for Freya's sake. He offers Bruce a revolutionary plan to provide much-needed elder care through incentives offered to qualified immigrants, overseen by a local start-up management company. Bruce accepts the plan and readies to propose it, meeting with the management firm. With Bruce occupied, Aiden makes a speech in the House of Commons decrying the current government as lacking ethics, which makes headlines. The next day, Bruce is forced to resign when it is revealed that the firm representatives he met were actually undercover reporters, tipped off by Aiden, and that they have video of him soliciting and accepting bribes from them.

Bruce confronts Aiden and Freya, accusing them of having conspired against him. Freya doesn't believe the accusation but later finds a draft of the plan in Aiden's home office. She accuses him of being unable to cope with no longer being "on top" in the relationship and confronts him over how his deception nearly ended her own career. Then, she becomes mortified when she realises that was his intent. Aiden accuses Freya of sleeping with Bruce and claims his scheme was meant to restore things to the way they originally were, before realising that this means the end of their marriage.

That night, Aiden's father berates him for what he has done. The next morning, the couple's daughter, Ruby, finds Aiden's father dead in the back yard, having died walking back from Aiden's office. After the funeral, Freya makes arrangements for Aiden to move out.

Six months later, Aiden has seemingly been elected Prime Minister, with Freya as his Deputy Prime Minister. However, they only remain married for political purposes. They share a brief private moment before their first cabinet meeting, comprising staring at each other emotionlessly. As the cabinet files in, a brief exchange with Marcus Brock reveals that it is Freya, not Aiden, who has been elected Prime Minister.



The Politician's Husband – TV review
Ambition, betrayal and battles in the bedroom – and that's just episode one of this follow-up to Paula Milne's The Politician's Wife

Sam Wollaston
@samwollaston
Fri 26 Apr 2013 07.00 BST First published on Fri 26 Apr 2013 07.00 BST

I like to think of a few real politicians watching The Politician's Husband (BBC1). Yvette Cooper and Ed Balls, certainly; it might give her a few ideas. Ed Miliband, too, for the betrayal, though here the betrayal is not of a brother, but of a best friend, best man, godparent of children etc. And any number of politicians for dramatic resignations and/or leadership challengers – Geoffrey Howe, Michael Heseltine, John Redwood …

In the belated follow-up to Paula Milne's 1995 drama The Politician's Wife, Westminster golden boy Aiden Hoynes (television's golden boy David Tennant, worryingly golden-haired here) resigns from the government, nominally in protest at the PM's immigration policy, though really because he is challenging for the leadership himself. It backfires big time, mainly because his best mate, secretary of state for work and pensions and master of the dark arts Bruce Babbish (Ed Stoppard) hangs him out to dry. Aiden scuttles home, to plot bitterly, between the school run and comedy dismal MP's surgeries in the local church hall; and to stare at a symbolic question mark-shaped crack on the bedroom ceiling. While the political career of his wife, Freya Gardner (Emily Watson), who always put the brakes on her own ambition to support her husband and for the good of the family, goes through the roof.

So we're not just talking about power battles in the corridors of Westminster here, we're (actually mainly) talking about power battles in the hall and on the landing at the top of the stairs of a semi in a salubrious-looking London suburb. Oh and in the bedroom; big shift going on in there too. It's not just careerwise that Freya's on top. And she's enjoying it, a lot.

There is heaps to enjoy in The Politician's Husband. Well, him and her, Tennant and Watson; they're both great, and great together, convincing as a couple. I like – no, not like, approve of – the fact that their son Noah has Asperger's. That also makes them more convincing, more real – even before the  massive (question mark-shaped?) cracks begin to appear in their relationship. And Aiden's difficult relationship with Noah, a son he – and she – clearly find it very hard to love, acts as a subplot to what is going on between his parents and down in London SW1.

It's an entertaining, but bleak, picture of politics in this country too, a world of bitter competitiveness and ruthless ambition that has very little to do with the interests of the country. Any ideological motivation someone might have once had is soon squeezed out by the pressure of the system. Soon it's only about party politics, power, battles and games. Probably fairly accurate, then.

A couple of things don't quite ring true for me. Aiden's total betrayal by his pal Bruce, whose hand Aiden held when Bruce's wife left him and when he had a health scare, now stabbing him in the back and kicking him in the balls, when he's down. I suspect there's more betrayal to come from him, I'm thinking maybe involving Freya. No, that's OK, they all do that? OK then, the bottle of wine that Bruce orders over lunch with Freya? Lunchtime boozing doesn't go on any more does it? Unless you're Kenneth Clarke, perhaps. But if you're young and thrusting and power-crazed, you can't do all that after a bottle of 2009 Châteauneuf du Pape blanc.

The Politician's Husband isn't subtle, sometimes to the point of crudeness. Like when Freya, invited to drinks at No 10, sneaks in to the cabinet room, and runs her hands over the backs of the chairs, the ones at the middle of the table where the PM and the most important members sit, and she is overcome with a look of deep sensuality, literally seduced by the power. Ha! Nor is it Borgen – it lacks that humanness, the genuine plausibility and depth of character of the Danish drama. And though, like Borgen, it does have a strong woman at its heart, she's not strong simply because she's brilliant; it looks as if Freya is going to be sucked into the wicked power game with the rest of them. Oh, what the hell. It's melodrama, and a lot of fun, a big boiling pot of hot, lusty power soup, with crunchy croutons of deceit and a generous sprinkling of revenge.

Nice performance by Kirsty Wark too – almost uncanny – as herself.

Norman Hartnell, British fashion designer / VÍDEO: THE QUEEN'S CORONATION ROBE - COLOUR - NO SOUND

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 Sir Norman Bishop Hartnell, KCVO (12 June 1901 – 8 June 1979) was a leading British fashion designer, best known for his work for the ladies of the Royal Family. Hartnell gained the Royal Warrant as Dressmaker to Queen Elizabeth The Queen Mother in 1940; and Royal Warrant as Dressmaker to Queen Elizabeth II in 1957.



 Hartnell is famous as the man who made London a viable twentieth century fashion centre during the inter-war years. Born to an upwardly mobile family in Streatham, in southwest London, his parents were then publicans and owners of the prophetically named Crown & Sceptre, at the top of Streatham Hill. Educated at Mill Hill School, Hartnell became an undergraduate of Magdalene College in the University of Cambridge and read Modern Languages. His main interest lay in performing, and designing productions for the university Footlights and he was noticed by the London press as the designer of a Footlights production which transferred to Daly's Theatre, London. He then worked unsuccessfully for two London designers, including the celebrated Lucile, whom he sued for damages when several of his drawings appeared unattributed in her weekly fashion column in the London Daily Sketch. In 1923 he opened his own business at 10 Bruton Street, Mayfair, with the financial help of his father and first business colleague, his sister Phyllis. He is second cousins with actor William Hartnell (Doctor Who).



1923-1934
Thanks to his Cambridge connections, Hartnell acquired a clientele of débutantes and their mothers intent on fashionable originality in dress design for a busy social life centred on the London Season. and was considered by some to be a good London alternative to Parisian or older London dress houses. The London press seized on the novelty of his youth and gender. Although expressing the spirit of the Bright Young Things and Flappers, his designs overlaid the harder silhouettes with a fluid romanticism in detail and construction. This was most evident in Hartnell's predilection for evening and bridal gowns, gowns for court presentations, and afternoon gowns for guests at society weddings. Hartnell's success ensured international press coverage and a flourishing trade with those no longer content with 'safe' London clothes derived from Parisian designs. Hartnell became popular with the younger stars of stage and screen, and went on to dress such leading ladies as Gladys Cooper, Elsie Randolph, Gertrude Lawrence (also a client of Edward Molyneux), Jessie Matthews, Merle Oberon, Evelyn Laye and Anna Neagle. Even top French stars Alice Delysia and Mistinguett were impressed by the young Englishman's genius.

Alarmed by the lack of sales, Phyllis insisted that Norman cease his pre-occupation with the design of evening clothes and he create practical day clothes. He achieved a subtlety and ingenuity with British woollens, previously scarcely imagined in London dressmaking, yet already successfully demonstrated in Paris by Coco Chanel, who showed a keen interest in his 1927 and 1929 collections when shown in Paris. Hartnell successfully emulated his British predecessor and hero Charles Frederick Worth by taking his designs to the heart of world fashion. Hartnell specialised in expensive and often lavish embroidery as an integral part of his most expensive clothes, creating the luxurious and exclusive effect which justified the high prices. They were also created to deflect the ready-to wear copyists. The Hartnell in-house embroidery workroom was the largest in London couture and continued until his death, also producing the embroidered Christmas cards for clients and press during quiet August days, a practical form of publicity at which Hartnell was always adept. The originality and intricacy of Hartnell embroideries were frequently described in the press, especially in reports of the original wedding dresses he designed for socially prominent young women during the 1920s and 1930s, a natural extension of his designs for them as débutantes, when many wore his innovative evening dresses and day clothes.

1934–1940
By 1934 Hartnell's success had outgrown his premises and he moved over the road to a large Mayfair town house already provided with floors of work-rooms at the rear to Bruton Mews. The first floor salon was the height of modernity, like his clothes and the glass and mirror-lined Art Moderne space was designed by the innovative young architect Gerald Lacoste (1909–1983). The interiors of the large late 18th-century town house are now protected as one of the finest examples of art-moderne pre-war commercial design in the UK. The timeless quality of Lacoste's designs was the perfect background for each new season of Hartnell designs, created for aristocratic British women of all ages and worn by most of the famous theatre and film stars of their day, including Vivien Leigh, Gertrude Lawrence, Merle Oberon, Ann Todd, Evelyn Laye, Anna Neagle and trans-Atlantic stars such as Marlene Dietrich, Elizabeth Taylor and Linda Christian. At the same time, Hartnell moved into the new building, he acquired a week-end retreat, Lovel Dene, a Queen Anne cottage in Windsor Forest, Berkshire. this was extensively re-modelled for him by Lacoste. London life was based in The Tower House, Park Village West Regent's Park, also re-modelled and furnished with a fashionable mixture of Regency and modern furniture.

In 1935 Hartnell received the momentous first royal commands, inaugurating four decades of his world-wide fame and success in providing clothes for the ladies of the British Royal Family. Lady Alice Montagu-Douglas-Scott, the future Princess Alice, Duchess of Gloucester, a daughter of the Duke of Buccleuch, approached Hartnell to design her dress and those of her bridesmaids for her marriage to Prince Henry, Duke of Gloucester, third son of King George V. Two bridesmaids were Princess Elizabeth and Princess Margaret, daughters of the Duke and Duchess of York (the future King King George VI and his consort Elizabeth). Both George V and Queen Mary approved the designs, the latter also becoming a client. The future Queen Elizabeth, then a client of Madame Handley-Seymour, who had made her wedding dress in 1923, accompanied her daughters to the Hartnell salon to view the fittings and met the designer for the first time.


Although Hartnell's designs for the new Duchess of Gloucester's wedding and her trousseau achieved worldwide publicity, the death of the bride's father and consequent period of mourning led to the cancellation of the large State Wedding at Westminster Abbey. The substitution of a small private ceremony in the chapel of Buckingham Palace prevented the full theatre of a royal occasion and Hartnell regretted that his work on the designs for the magnificent occasion was denied world-wide publicity. Vast crowds did see the newest member of the royal family drive off from Buckingham Palace wearing her going-away Hartnell ensemble and the seal of royal approval was reflected in increased business for Hartnell.

For the 1937 Coronation of King George VI, his consort Queen Elizabeth ordered the maid of honour dresses from Hartnell, remaining loyal to Handley-Seymour for her Coronation gown. Until 1939 Hartnell received most of the Queen's orders and after 1946, with the exception of some country clothes, she remained a Hartnell client, even after his death. Hartnell's ability in adapting current fashion to a personal royal style began with slimmer fitted designs for day and evening wear. The new Queen was short and her new clothes gave her height and distinction, public day-clothes usually consisted of a long or three-quarter length coat over a slim skirt, often embellished by fur trimmings or some detail around the neck. His designs for the Queens evening wear varied from unembellished slim dresses, which in the fashion of the day formed a background to the jewellery worn. Some evening wear was embroidered with sequins and glass. There was a complete change of style apparent in designs for the grander evening occasions, when Hartnell re-introduced the crinoline to world fashion, after the King showed Hartnell the Winterhalter portraits in the Royal Collection. King George suggested that the style favoured earlier by Queen Victoria would enhance her presence. It also cam to symbolise the continuing values of the established British monarchy world-wide, after the debacle of the Abdication Crisis, when the uncrowned Edward VIII wanted to marry a twice-divorced American, Wallis Simpson. Having failed to gain the support of the British government, and that of the Dominions, he left for exile and marriage abroad.

Mrs Simpson, subsequently the Duchess of Windsor, was also a London Hartnell client, later patronizing Mainbocher who made her wedding dress. Main Bocher was a friend of Hartnell's with whom the latter credited with sound early advice, when he showed his 1929 summer collection in Paris. Then a Vogue editor, Bocher told Hartnell that he had seldom seen so many wonderful dresses so badly made. Hartnell took his advice and employed the talented Parisian 'Mamselle' Davide, reputedly the highest paid member of any London couture house, and other talented cutters, fitters and tailors to execute his designs to the highest international couture standards. by the 1930s. In 1929 Hartnell showed his clothes to the international press in Paris and the floor-length hems of his evening dresses, after a decade of rising hems, were hailed as the advent of a new fashion, copied throughout the world as evidenced by the press of the time. His clothes were so popular with the press that he opened a House in Paris in order to participate in Parisian Collection showings.

Within a decade, Hartnell again effectively changed the fashion able evening dress silhouette, when more of the crinoline dresses worn by the Queen during the State Visit to Paris in July 1938 also created a world-wide sensation viewed in the press and on news-reels. The death of the Queen's mother Cecilia Bowes-Lyon, wife of the Earl of Strathmore, before the visit resulted in court mourning and a short delay in the dates of the visit to a vital British Ally, of enormous political significance at a time when Germany was threatening war in Europe. Royal Mourning dictated black, and shades of mauve, which meant that all the clothes utilising colour for the planned June Visit had to be re-made and Hartnell's work-rooms worked long hours to create a new wardrobe in white, which Hartnell remembered had a precedent in British Royal Mourning and was not unknown for a younger Queen. The designs featured some lavish use of detail, such as the courtesy shown to France with a day dress of yards of Valenciennes lace, day ensembles trimmed with white fox and the magnificent satin crinoline dress, the ruched decoration highlighted by camellias, worn for a Gala at the Opera and seen to effect on Garnier's impressive staircase Hartnell was decorated by the French government and his friend Christian Dior, creator of the full-skirted post-war New Look, was not immune to the influence and romance of the look. He publicly stated that whenever he thought of beautiful clothes, it was of those created by Hartnell for the 1938 State Visit, which he viewed as an young aspirant in the fashion world. The crinoline fashion for evening wear influenced fashion internationally and French designers were not slow to take up the influence of the Scottish-born Queen and the many kilted Scots soldiers in Paris for the State Visit; day clothes featuring plaids or tartans were evident in the next seasons collections of many Parisian designers.

The Queen commanded another extensive wardrobe by Hartnell for The Royal Tour of Canada and Visit to North America during May and June 1939. At a critical time in world history, the Visit cemented North American ties of friendship in the months before the outbreak of World War II in September 1939. The King and Queen were received with enormous acclaim by great crowds throughout the Tour and Visit and the dignity and charm of the Queen were undoubtedly aided by her Hartnell wardrobe. Hitler termed Queen Elizabeth "the most dangerous woman in Europe" on viewing film footage of the successful Tour. The aura of majesty encapsulated by the Queen during the last two years of peace is poignantly captured by Cecil Beaton's 1939 photographs at Buckingham Palace in which she wears some of the Hartnell dresses made inn 1938 and 1939. In 1940 Norman Hartnell received a Royal Warrant in 1940 as Dressmaker to the Queen

By 1939, largely due to Hartnell's success, London was known as an innovative fashion centre and was often first visited by American buyers, before they travelled on to Paris. Hartnell had already had substantial American slaes to various shops and copyists, a lucrative source of income to all designers. Some French designers, such as Anglo-Irish Edward Molyneux and Elsa Schiaparelli opened London Houses, which had a glittering social life centred around the Court. Young British designers opened their own successful Houses, such as Victor Stiebel and Digby Morton, formerly at Lachasse where Hardy Amies was the acclaimed designer after 1935. Peter Russell also opened his own House and all attracted younger smart women. Older more staid generations still patronised the older London Houses of Handley Seymour, Reville and the British owned London concessions of House of Worth and Paquin. Before Hartnell established himself, the only British designer with a worldwide reputation for originality in design and finish was Lucile, whose London house closed in 1924. Then as now, the younger members of the British Royal Family attracted world-wide publicity. Whilst it was a triumph for Hartnell to have gained the impressive figure of Queen Mary as a client wearing his most shimmering sequin encrusted designs off-set by fabulous jewels, the four young wives of her four sons created fashion news - even if Mrs Simpson was a worrying distraction. Princess Marina, was a notable figure and a patron of Edward Molyneux in Paris. He designed her 1934 wedding dress and the bridesmaids dresses for her marriage to Queen Mary's fourth son Prince George, Duke of Kent and when Molyneux opened his London salon, also designed by Lacoste, she became a steady client of his until he closed the business in 1950. Thereafter, she was often a Hartnell client.


During the Second World War (1939–1945) Hartnell – in common with other couture designers – was subject to government trading and rationing restrictions, part of the utility scheme; apart from specific rules on the amount of fabric allowed per garment, the number of buttons, fastenings and the amount and components of embroideries were all calculated and controlled. He joined the Home Guard and sustained his career by sponsoring collections for sale to overseas buyers, competing with the Occupied French and German designers, but also a growing group of American designers. Private clients ordered new clothes within the restrictions or had existing clothes altered. This also applied to the Queen, who appeared in her own often re-worked clothes in bombed areas around the country. Hartnell received her endorsement to design clothes for the government's Utility campaign, mass-produced by Berketex with whom he entered a business relationship that continued into the 1950s. Through this partnership, he became the first leading mid-20th century designers to design mass-produced ready-to-wear clothing. In 1916 Lucile, had shown the way during the First World War by designing an extensive line of clothes for the American catalogue retailers Sears, Roebuck.

Hartnell was among the founders of the Incorporated Society of London Fashion Designers – also known as IncSoc – established in 1942 to promote British fashion design at home and abroad. Hartnell was also commissioned to design women's uniforms for the British army and medical corps during the war. He would go on to design service uniforms for nurses and for the women's Metropolitan Police in London.

In 1946 Hartnell took a successful collection to South America, where his clients included Eva Peron and Magda Lupescu. In 1947 he received the Neiman Marcus Fashion Award for his influence on world fashion and in the same year created an extensive wardrobe for Queen Elizabeth to wear during the Royal Tour of South Africa in 1947, the first Royal Tour abroad since 1939. Both slimline and crinoline styles were included. In addition Hartnell designed for the young Princess Elizabeth and Princess Margaret; Molyneux also designed some day clothes for the Princesses during this trip.

Although worried that at 46 he was too old for the job, he was commanded by the Queen to create the wedding dress of Princess Elizabeth in 1947 for her marriage to Prince Philip (later the Duke of Edinburgh).With a fashionable sweetheart neckline and a softly folding full skirt it was embroidered with some 10,000 seed-pearls and thousands of white beads. He also created the going-away outfit and her trousseau, becoming her main designer to be augmented by Hardy Amies in the early 1950s  appealing to whole new generation of clients. While Princess Elizabeth began to take on more duties and visits abroad, her less restrained younger sister, Princess Margaret, became the obsession of the press, her Hartnell clothes given tremendous media attention.

Hartnell's elegant evening wear from this period can be seen in museum collections to this day.

A lifelong bachelor, Hartnell had many women friends, often drawn from theatrical and film cicrcles. one of whom, Claire Huth Jackson, later Claire de Loriol, appointed the designer as guardian to her son, Peter-Gabriel. He also designed dresses for his long-term friend and fellow Streatham resident, the London socialite and ex-Tiller Girl Renee Probert-Price. A rare Hartnell evening ensemble features in the collection of vintage dresses inherited by Probert-Price's great-niece following her death in 2013.

1952–1979
Hartnell designed the coronation gown for Elizabeth II – which proved to be a complex process due to the gown's weight and embroidery
Following the early death of George VI in 1952, Hartnell was commanded by Queen Elizabeth II to design her 1953 Coronation Dress. Many versions were sketched by Hartnell and his new assistant Ian Thomas. These were then discussed with the Queen. At the command of the Queen, the final design had the similar 'sweet-heart' neckline used for Her Majesty's wedding dress in 1947, the fuller skirt with heavy, soft folds of silk embellished with varied embroideries, including the depiction of the national botanical emblems of the United Kingdom and Commonwealth countries, echoing earlier Coronation Dresses. The complicated construction of the supporting undergarments and frustrating hours of work involved are described by Hartnell in his autobiography. The weight of the dress made it difficult to effect a perfect balance and lend a gentle, forward swaying motion rather than the lurching list of the prototypes. This was the work of his expert cutters and fitters, as he could not sew a stitch, although he understood construction and the handling of various fabrics.

In addition, Hartnell designed the accompanying dresses worn by the Queen's Maids of Honour and those of all major Royal ladies in attendance, creating the necessary theatrical tableaux in Westminster Abbey. He also designed dresses for many other clients who attended the ceremony, and his summer 1953 collection of some 150 designs was named The Silver and Gold Collection, subsequently used as the title for his autobiography, illustrated largely by his assistant Ian Thomas. Thomas subsequently opened his own establishment in 1968 and together with Hardy Amies created many designs included in the wardrobes of the Queen. Queen Elizabeth II undertook an increasingly large number of State Visits and Royal Tours abroad, as well as numerous events at home, all necessitating a volume of clothing too large for just one House to devote its time to. During 1953-1954 she made an extensive Royal Tour of most of the countries forming the British Commonwealth. The Coronation Dress was worn for the opening of Parliament in several countries, and her varied wardrobe gained press and newsreel headlines internationally, not least for the cotton dresses worn and copied worldwide, many ordered from a specialist wholesale company Horrockses. Hartnell designs were augmented by a number of gowns from Hardy Amies, her secondary designer from 1951 onwards. Most of the ladies of the Royal Family used Hartnell as well as other London designers to create their clothes for use at home and abroad

Hartnell's design for the wedding dress of HRH Princess Margaret in 1960 marked the last full State occasion for which he designed an impressive tableau of dresses. It also marked the swan-song of lavish British couture. The bride wore a multi-layered white Princess line dress, totally unadorned yet demanding in its construction, utilising many layers of fine silk, and requiring as much skill as the complexities of the Queen's Coronation dress, which it echoed in outline. The Queen wore a long blue lace day dress with a bolero echoing the design with a slight bolero jacket and a hat adorned with a single rose, reminiscent of the Princess's full name, Margaret Rose. Victor Stiebel made the going-away outfit for the Princess and the whole wedding and departure of the couple from the Pool of London on HMY Britannia received worldwide newspaper and television publicity.

Fashion rapidly changed in the 1960s, and by the time of the Investiture of The Prince of Wales in 1969, Hartnell's clothes for the Queen and Queen Elizabeth The Queen Mother were short, simple designs, reflecting their own personal style. His royal clothes created an impeccably neat look that managed to be stylish without making an overt fashion statement. This ability exemplified his genius and was practised to perfection, as he became increasingly pre-occupied with royal orders. In this he was helped by Ian Thomas, who left to found his own establishment in 1966, and the Japanese designer Yuki (Gnyuki Tormimaru), who similarly left to create his own highly successful business.

In the mid 1950s Hartnell reached the peak of his fame and the business employed some 500 people together with many others in the ancillary businesses. In common with all couture houses of the era, rising costs and changing tastes in women's clothing were a portent of the difficult times ahead. Throughout the 1950s and 1960s, the name of Norman Hartnell was continually found in the press. Apart from designing two collections a year and maintaining his theatrical and film star links, he was adept at publicity, whether it was in creating a full evening dress of pound notes for a news-paper stunt, touring fashion shows at home and abroad or using the latest fabrics and man-made materials. Memorable evening dresses were worn by the concert pianist Eileen Joyce or TV cookery star Fanny Cradock and typified his high profile as an innovative designer, although in his sixth decade - then considered to be a great age. Hartnell designed and created collections on a smaller scale until 1979 with designs for the Queen and Queen Elizabeth, the Queen Mother still commanding his time and attention. The business struggled with overheads in common with all couture businesses and various merchandising ventures had some success in helping to bolster the finances. The sale of 'In Love' scent and then other scents was re- introduced in 1954, followed by stockings, knitwear, costume jewellery and late in the 1960s, menswear. But it was not enough to turn the tide of high-street youthful fashion and he even had to sell his country retreat Lovel Dene to finance the Bruton Street business.Hartnell's elegant evening wear from this period can be seen in museum collections to this day.

At the time of the Queen's Silver Jubilee in 1977, Hartnell was appointed KCVO and on arriving at Buckingham Palace was delighted to find hat the Queen had deputed Queen Elizabeth The Queen Mother to invest him with the honour. Prudence Glynn / Lady Windlesham, the astute fashion editor then of the London 'Times' termed him The First Fashion Knight and his work as The Norman Conquest Hartnell designed and created collections on a smaller scale until 1979 with designs for the Queen and Queen Elizabeth, the Queen Mother still commanding his time and attention. The business struggled with overheads in common with all couture businesses

Hartnell was buried on 15 June 1979 next to his mother and sister in the graveyard of Clayton church, West Sussex.

A memorial service in London was led by the then Bishop of Southwark, Mervyn Stockwood, a friend, and was attended by many models and employees and clients, including one of his earliest from the 1920s, his lifelong supporter Barbara Cartland, and another from a time as the Deb of the Year in 1930, Margaret Whigham. Wearing a spectacular Hartnell dress, her wedding to Charles Sweeny stopped the traffic in Knightsbridge. As Margaret, Duchess of Argyll, she remained a client.

After his death the Queen Elizabeth, the Queen Mother remained a steadfast client, as did other older clients. In order to continue and revive the business John Tullis, a nephew of Edward Molyneux, designed for the House until the business was sold. A consortium headed by Manny Silverman, formerly of Moss Bros., acquired the company. Guest collections were designed by Gina Fratini and Murray Arbeid and the building was completely renovated under the direction of Michael Pick who brought back to life its original Art Moderne splendours. The famous glass chimney-piece forming the focal point of Lacoste's scheme leading on from the ground floor to the first floor salon with its faceted art moderne detailed mirror cladding and pilasters was returned by the V&A as the focal point of the grand mirrored salon. The house re-opened with an acclaimed collection designed by former Christian Dior designer Marc Bohan. Unfortunately, the Gulf War and subsequent recession of the early 1990s killed the venture and the house closed its doors in 1992.

On 11 May 2005, the Norman Hartnell premises were commemorated with a blue plaque at 26 Bruton Street where he spent his working life from 1934 to 1979.

The Norman Hartnell name was acquired by Li & Fung as part of an extensive London fashion portfolio which includes Hardy Amies Ltd, acquired in 2008 by Fung Capital. Hardy Amies is now owned by No.14 Savile Row, which in turn is owned by Fung Capital, the private investment holding company of the Fung family also the controlling shareholders of publicly listed Li & Fung Limited and Trinity Limited. Various Norman Hartnell themed housewares have been produced and there are plans to further develop the brand.


Hartnell never married, but enjoyed a discreet and quiet life at a time when homosexual relations between men were illegal. In many ways, the consummate Edwardian in attitudes and life-style, he considered himself a confirmed bachelor, and his close friends were almost never in the public eye, nor did he ever do anything to compromise his position and business as a leading designer to both ladies of the British Royal Family and his aristocratic or 'society' clients upon whom his success was founded. He was on chilly terms with the self-publicising Cecil Beaton and others of the more flamboyant theatrical set. Hartnell was generally considered to be the leading British dress designer, even by most of his INCSOC colleagues. He rarely socialised with any of them. The younger Hardy Amies, fellow designer for Queen Elizabeth II, was surprised to discover how much he enjoyed his company in Paris in 1959. They were both there during the State Visit to France to view their creations being worn. Hartnell had been known to term Amies 'Hardly Amiable'. In late years, long after Hartnell's death and in a more liberal climate, Amies became known for some unfortunate ad lib remarks during interviews and in explaining his business success compared to Hartnell's near penury at the end, he more than once termed Hartnell a 'soppy' or 'silly old queen' whilst describing himself as a 'bitchy' or 'clever old queen.' Hartnell's elegant evening wear from this period can be seen in museum collections to this day.

Hartnell had many women friends, often drawn from the more talented actresses seen on the stage or on film or more private circles. Claire Huth Jackson, later Claire de Loriol, appointed the designer as guardian to her son, Peter-Gabriel. His dresses were also worn by another Streatham resident of the past, ex-Tiller Girl Renee Probert-Price. A Hartnell evening ensemble features in the collection of vintage dresses inherited by Probert-Price's great-niece following her death in 2013.


He was the second cousin of original Doctor Who star William Hartnell.







Darcy Clothing

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Darcy Clothing Ltd began life as The Vintage Shirt Company in 2004. The intention then was to supply accurate replicas of mens period shirts and collars for use in plays and costume dramas.Since then we have expanded our range to provide hats, socks, trousers, waistcoats, underwear and a huge variety of general accessories.

As we grew, the old name didn’t really represent the variety of available stock so in 2010 we decided to re-brand as Darcy Clothing Ltd. (A name taken from the creator of the business, Catherine Darcy, not the more famous Mr.)

The clothing is largely made specially for us and is taken directly from original garments. The shapes and fabrics are uncompromisingly genuine. We only ever use natural fibres in any pre C20th garments. The construction methods however take advantage of modern mass production techniques which means that we can supply costume designers with the authenticity they require at an affordable price.

We now sell all over the world to everyone from sheep farmers in Wales needing sturdy braces to Hollywood stars playing pirates. Everyone receives the same service wherby we aim to despatch orders the same day providing the items are in stock.

The past may be another country but you can visit it here at Darcy Clothing.
The Maltings
Castle Precincts
Lewes
East Sussex
BN7 1YT
Tel: +44 (0) 1273 471586
Fax: +44 (0) 1273 475322
Email: sales@darcyclothing.com


Cambridge Photography by Grant Finney.

















EILEEN ATKINS "I believe I was put on this planet to act" / VIDEO:Dame Eileen Atkins: 'We have to stop thinking it's all over at 80!'

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Dame
Eileen Atkins
Dame Eileen June Atkins, DBE (born 16 June 1934) is an English actress and occasional screenwriter. She has worked in the theatre, film, and television consistently since 1953. In 2008, she won the BAFTA TV Award for Best Actress and the Emmy Award for Outstanding Supporting Actress in a Miniseries or Movie for Cranford. She is also a three-time Olivier Award winner, winning Best Supporting Performance in 1988 (for Multiple roles) and Best Actress for The Unexpected Man (1999) and Honour (2004). She was appointed Commander of the Order of the British Empire (CBE) in 1990 and Dame Commander of the Order of the British Empire (DBE) in 2001.

Atkins joined the Royal Shakespeare Company in 1957 and made her Broadway debut in the 1966 production of The Killing of Sister George, for which she received the first of four Tony Award nominations for Best Actress in a Play in 1967. She received subsequent nominations for, Vivat! Vivat Regina! (1972), Indiscretions (1995) and The Retreat from Moscow (2004). Other stage credits include The Tempest (Old Vic 1962), Exit the King (Edinburgh Festival and Royal Court 1963), The Promise (New York 1967), The Night of the Tribades (New York 1977), Medea (Young Vic 1985), A Delicate Balance (Haymarket, West End 1997) and Doubt (New York 2006).

Atkins co-created the television dramas Upstairs, Downstairs (1971–75) and The House of Elliot (1991–93) with Jean Marsh. She also wrote the screenplay for the 1997 film Mrs Dalloway. Her film appearances include Equus (1977), The Dresser (1983), Let Him Have It (1991), Wolf (1994), Jack and Sarah (1995), Gosford Park (2001), Evening (2005), Last Chance Harvey (2008), Robin Hood (2010) and Magic in the Moonlight (2014)


Atkins was born in the Mothers' Hospital in Clapton, a Salvation Army maternity hospital in East London. Her mother, Annie Ellen (née Elkins), was a barmaid who was 46 when Eileen was born, and her father, Arthur Thomas Atkins, was a gas meter reader who was previously under-chauffeur to the Portuguese Ambassador. She was the third child in the family and when she was born the family moved to a council home in Tottenham. Her father did not, in fact, know how to drive and was responsible, as under-chauffeur, mainly for cleaning the car. At the time Eileen was born, her mother worked in a factory the whole day and then as a barmaid in the Elephant & Castle at night. When Eileen was three, a Gypsy woman came to their door selling lucky heather and clothes pegs. She saw little Eileen and told her mother that her daughter would be a famous dancer. Her mother promptly enrolled her in a dance class. Although she hated it, she studied dancing from age 3 to 15 or 16. From age 7 to 15, which covered the last four years of the Second World War (1941–45), she danced in working men's club circuits for 15 shillings a time as "Baby Eileen". During the war, she performed as well at London's Stage Door canteen for American troops and sang songs like "Yankee Doodle." At one time she was attending dance class four or five times a week.

By 12, she was a professional in panto in Clapham and Kilburn. Once, when she was given a line to recite, someone told her mother that she had a Cockney accent. Her mother was appalled but speech lessons were too expensive for the family. Fortunately, a woman took interest in her and paid for her to be educated at Parkside Preparatory School in Tottenham. Eileen Atkins has since publicly credited the Principal, Miss D. M. Hall, for the wise and firm guidance under which her character developed. From Parkside she went on to The Latymer School, a grammar school in Edmonton, London. One of her grammar school teachers who used to give them religious instruction, a Rev. Michael Burton, spotted her potential and rigorously drilled away her Cockney accent without charge. He also introduced her to the works of William Shakespeare. She studied under him for two years.

When she was 14 or 15 and still at Latymer's, she also attended "drama demonstration" sessions twice a year with this same teacher. At around this time (though some sources say she was 12), her first encounter with Robert Atkins took place. She was taken to see Atkins' production of King John at the Regent's Park Open Air Theatre. She wrote to him saying that the boy who played Prince Arthur was not good enough and that she could do better. Robert Atkins wrote back and asked that she come to see him. On the day they met, Atkins thought she was a shop girl and not a school girl. She gave a little prince speech and he told her to go to drama school and come back when she was grown up.

Mr Burton came to an agreement with Eileen's parents that he would try to get her a scholarship for one drama school and that if she did not get the scholarship he would arrange for her to do a teaching course in some other drama school. Her parents were not at all keen on the fact that she would stay in school until 16 as her sister had left at 14 and her brother at 15 but somehow they were convinced. Eileen was in Latymer's until 16. Out of 300 applicants for a RADA scholarship, she got down to the last three but was not selected, so she did a three-year course on teaching at the Guildhall School of Music and Drama. But, although she was taking the teaching course, she also attended drama classes and in fact performed in three plays in her last year. This was in the early 1950s. In her third and last year she had to teach once a week, an experience she later said she hated. She graduated from Guildhall in 1953.

As soon as she left Guildhall she got her first job with Robert Atkins in 1953: as Jaquenetta in Love's Labour's Lost at the same Regent's Park Open Air Theatre where she was brought to see Robert Atkins' King John production years before. She was also, very briefly, an assistant stage manager at the Oxford Playhouse until Peter Hall fired her for impudence. She was also part of repertory companies performing in Billy Butlin's holiday camp in Skegness, Lincolnshire. It was there when she met Julian Glover.

It took nine years (1953–62) before she was working steadily.


She joined the Guild Players Repertory Company in Bangor, County Down, Northern Ireland as a professional actress in 1952. She appeared as the nurse in Harvey at the Repertory Theatre, Bangor, in 1952. In 1953 she appeared as an attendant in Love's Labours Lost at the Regent's Park Open Air Theatre. Her London stage debut was in 1953 as Jaquenetta in Robert Atkins's staging of Love's Labour's Lost at the Open Air Theatre in Regent's Park.

Atkins has regularly returned to the life and work of Virginia Woolf for professional inspiration. She has played the writer on stage in Patrick Garland's adaptation of A Room of One's Own and also in Vita and Virginia, winning the Drama Desk Award for Outstanding One-Person Show for the former and screen (the 1990 television version of Room); she also provided the screenplay for the 1997 film adaptation of Woolf's novel Mrs. Dalloway, and made a cameo appearance in the 2002 film version of Michael Cunningham's Woolf-themed novel, The Hours.

Atkins joined the Royal Shakespeare Company in 1957 and stayed for two seasons. She was with the Old Vic in its 1961–62 season (she appeared in the Old Vic's Repertoire Leaflets of February–April 1962 and April–May 1962).

She appeared as Maggie Clayhanger in all six episodes of Arnold Bennett's Hilda Lessways from 15 May to 19 June 1959, produced by the BBC Midlands with Judi Dench and Brian Smith. In the 1960 Shakespeare production An Age of Kings she played Joan of Arc.

She helped create two television series. Along with fellow actress, Jean Marsh, she created the concept for an original television series, Behind the Green Baize Door, which became the award-winning ITV series Upstairs, Downstairs (1971–75). Marsh played maid Rose for the duration of the series but Atkins was unable to accept a part because of stage commitments. The same team was also responsible for the BBC series The House of Eliott (1991–93).

Her film and television work includes Sons and Lovers (1981), Smiley's People (1982), Oliver Twist (1982), Titus Andronicus (1985), A Better Class of Person (1985), Roman Holiday (1987), The Lost Language of Cranes (1991), Cold Comfort Farm (1995), Talking Heads (1998), Madame Bovary (2000), David Copperfield (2000), Wit (2001) and Bertie and Elizabeth (2002), Cold Mountain (2003), What a Girl Wants (2003), Vanity Fair (2004), Ballet Shoes (2005) and Ask the Dust (2006).

In the autumn of 2007, she co-starred with Dame Judi Dench and Sir Michael Gambon in the BBC One drama Cranford playing the central role of Miss Deborah Jenkyns. This performance earned her the 2008 BAFTA Award for best actress, as well as the Emmy Award. In September 2007 she played Abigail Dusniak in Waking the Dead Yahrzeit (S6:E11-12).



In 2009 Atkins played the evil Nurse Edwina Kenchington in the BBC Two black comedy Psychoville. Atkins replaced Vanessa Redgrave as Eleanor of Aquitaine in the blockbuster movie Robin Hood, starring Russell Crowe, which was released in the UK in May 2010. The same year, she played Louisa in the dark comedy film, Wild Target.

Atkins and Jean Marsh, creators of the original 1970s series of Upstairs, Downstairs, were among the cast of a new BBC adaptation, shown over the winter of 2010–11. The new series is set in 1936. Marsh again played Rose while Atkins was cast as the redoubtable Maud, Lady Holland. In August 2011, it was revealed that Atkins had decided not to continue to take part as she was unhappy with the scripts. In September 2011, Atkins joined the cast of ITV comedy-drama series Doc Martin playing the title character's aunt, Ruth Ellingham. She returned as Aunt Ruth for the show's sixth series in September 2013, the seventh in September 2015 and eighth in September 2017.

Atkins starred as Lady Spence with Matthew Rhys in an adaptation of Daphne du Maurier's The Scapegoat, shown in September 2012.

She has portrayed Queen Mary on two occasions, in the 2002 television film Bertie and Elizabeth and in the 2016 Netflix-produced television series The Crown.


Atkins portrayed graduate school professor Evelyn Ashford to Vivian Bearing (Emma Thompson) in the film Wit. Wit is a 2001 American television movie directed by Mike Nichols. The teleplay by Nichols and Emma Thompson is based on the 1999 Pulitzer Prize winning play of the same title by Margaret Edson. The film was shown at the Berlin International Film Festival on 9 February 2001 before being broadcast by HBO on 24 March. It was shown at the Edinburgh Film Festival and the Warsaw Film Festival later in the year.


Dame Eileen Atkins: 'I'd rather be content than happy'
EILEEN ATKINS
"I believe I was put on this planet to act"
Eileen Atkins
'I have a tendency to blow up'
 Richard Barber
26 SEPTEMBER 2017 • 6:22PM

She may now be 83 but Dame Eileen Atkins still works just as often as she likes. There are rumours of a West End role on the horizon and, in the meantime, she’s back in ITV’s feelgood series, Doc Martin, playing Martin Clunes’s irascible aunt, retired clinical psychiatrist, Ruth Ellingham.

If she existed would Eileen like Ruth? “Oh, very much,” says Atkins, “although she might frighten me a bit.” That would take some doing. “I know. Everyone says that a lot of people are frightened of me but I’ve no idea why.”

Well, she’s quite formidable, not someone to suffer fools. “That’s silly when I’m such a fool myself,” she insists. “I do admit, though, I have a tendency to blow up but then it’s all over for me in five minutes.” But perhaps not for everyone else? She chuckles. “Yes, I can leave people in pieces.”

 Eileen Atkins with Michael Gambon and director Trevor Nunn
Eileen Atkins with Michael Gambon and director Trevor Nunn in 2012 CREDIT:  ANDREW CROWLEY
She was at her most combustible when the BBC decided to revive Upstairs, Downstairs in 2010. (Atkins and actress Jean Marsh had created the original hit series in the early 70s.) “That’s when I blew up outrageously,” she admits.

Initially, she didn’t want to be in it but it was made clear they’d only go ahead with the revival if she agreed. She wanted to play the cook; they wanted her to be the matriarch. There were several rows and she lost. She was cast as Maud, Lady Holland.

Everyone says that a lot of people are frightened of me but I’ve no idea why
This new series was written by Heidi Thomas, creator of the enormously successful Call The Midwife. “Heidi writes brilliantly for the lower middle classes,” says Atkins, witheringly. “But she simply cannot write for the upper classes. I was endlessly trying to change my lines which must have driven her crazy.”

Atkins was also determined to make Lady Holland as distinct from Maggie Smith’s Dowager Countess of Grantham in Downton as possible. The two actresses are friends and knew they were going to be in rather similar rival shows. “So I suggested Maud ought to have a pet monkey called Solomon.”

 EILEEN ATKINS

"There were some [illicit liaisons]. It would have been odd if there weren’t"

Heidi Thomas was unconvinced. “If she’d said right at the beginning she hated the idea of the monkey, then I would have chosen another pet – a parrot perhaps.” But it had gone too far by that stage and Eileen, well, blew up. “I said: ‘If you don’t get the f***ing monkey, then you don’t f***ing get me.’”

The Dame got her monkey.

She’d won the battle but not the war. She kept asking for the scripts for the second series, which finally arrived a matter of weeks before filming began. “I had about six lines in three different scenes – and in one of them I was wearing a gas mask.” It was time to quit.

I believe I was put on this planet to act and it’s given me huge fulfilment. I feel I’ve realised my destiny
She was quickly snapped up by Clunes for Doc Martin, where she and I meet on the set in Port Isaac, Cornwall, and then enjoyed much acclaim for her one-woman show about Shakespearean actress Ellen Terry. More recently, she graced Netflix’s global hit, The Crown, as Queen Mary.

How does she explain all the Bafta nominations it garnered but failure to win a single one? “I think it was something called jealousy. People – by which I mean the panel – were envious of Netflix having such a big budget. I thought it was absolutely stunning.”

Atkins loves her work, always has done. “Does it define me? Yes, I’d say it does. And I never had children. In fact, it was only when I turned 80 that I began to realise the point of grandchildren. I see other people with theirs and they seem quite sweet.”

But motherhood just didn’t pan out. She got married the first time to actor Julian Glover when he was 21, she a year older. “By our mid-20s, people began asking when we were going to have children. Well, we tried but nothing happened and then Julian was told that no way could he ever become a father.”

As it happens, his second wife, actress Isla Blair, got pregnant almost immediately after they married. Their son, Jamie, is also an actor. So how did Atkins react to the prospect of being childless? “To be honest, I hadn’t got married wanting children and my career was then beginning to show signs of possibility.”

She and Julian applied to adopt; “It was what everyone did then. What’s more, we both had to agree that, if it came to it, we’d be happy to have ‘a child of colour’, as they were called then.

“We lived in a flat on the top floor of a large house and there was no intercom. One day, the doorbell rang so I went downstairs and opened the front door. On the step was a baby in a cradle, a little black baby.

 “I stood and stared at it and my only thought was: ‘They’ve delivered our baby.’ And the feeling that swept over me was as if the blood was running out of the ends of my fingers.

“I remember thinking: ‘This is your life now, looking after this baby for the next 20 years.’ And then a woman appeared from the basement. She’d left the baby on the doorstep while she went downstairs to collect more things and she’d rung the doorbell so someone would keep an eye on it until she got back.

It was only when I turned 80 that I began to realise the point of grandchildren
“I’m not a particularly spiritual person but I knew that moment was sent to me. It was a sign. The only thought running through my head was that I had to tell Julian I couldn’t ever adopt. And when I did, his instant reaction was: ‘Thank God, neither can I.’ As it turns out, Jamie is like my godson, a wonderful addition to my life.”

Divorced at 29, Atkins didn’t marry again until she was 43. “And there was no way I’d have chosen to be a single mother in the meantime. Anyway, I was having a high old time.”

So were there many illicit liaisons? “Well, there were some. It would have been odd if there weren’t. As it happens, I’ve been reading Artemis Cooper’s biography of Elizabeth Jane Howard and she had lots and lots of affairs. It’s made me feel quite virginal by comparison.”

 EILEEN ATKINS
"I believe I was put on this planet to act"

Bill Shepherd was nine years Eileen’s junior, unmarried and without children, when they met. “I said to him early on that I was getting a bit old for motherhood and anyway I didn’t really want a child. But then nor did he.

“I’ll never forget Miriam Stoppard saying to me when I was about 50: ‘It’s a terrible thing not to have children. But I can help you.’ I said: ‘Miriam, please, I’m OK.’ I don’t want to sound like Edith Piaf but being childless has never been a matter of regret.

“I believe I was put on this planet to act and it’s given me huge fulfilment. I feel I’ve realised my destiny and I’ve had a very, very good time doing it.

Atkins believes “people look down their noses at the word ‘ambition’ – and especially when applied to women. But I was ambitious and I don’t see anything wrong in that. I know some people feel you’re not quite a woman if you’re ambitious. Not me.”

And she’s happy? “No, I’m content and I think contentment is rather underrated. I’m content to be an old woman. I’m vastly lucky that I can still work. And that makes me content, too.

“Mark you, I’m thinking of putting a contract out on Angela Lansbury. Still acting at 91? Utterly ridiculous!”

Doc Martin is on ITV on Wednesday at 9pm

KURT HAHN and Gordonstoun School

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KURT HAHN
Kurt Matthias Robert Martin Hahn CBE (5 June 1886, Berlin – 14 December 1974, Hermannsberg) was a German Jewish educator. He founded Schule Schloss Salem, Gordonstoun, Outward Bound and the United World Colleges.

Early life
Born in Berlin to Jewish parents, Hahn attended school in Berlin, then universities at Oxford, Heidelberg, Freiburg and Göttingen. During World War I, Hahn worked in the German Department for Foreign Affairs, analyzing British newspapers and advising the Foreign Office. He had been private secretary to Prince Max von Baden, the last Imperial Chancellor of Germany.[3] In 1920, Hahn and Prince Max founded Schule Schloss Salem, a private boarding school, where Hahn served as headmaster until 1933.

Hahn was raised as a Jew and served as the Salem School's headmaster during Adolf Hitler's rise to power. Hahn began his fierce criticism of the Nazi regime after Hitler's storm troopers killed a young communist in the presence of his mother. When he spoke out against the storm troopers, who had received no punishment, Hahn spoke against Hitler publicly. He asked the students, faculty and alumni of the Salem school to choose between Salem and Hitler. As a result, he was imprisoned for five days (from 11 to 16 March 1933). After an appeal by British Prime Minister Ramsay MacDonald, Hahn was released, and in July 1933 he was forced to leave Germany and moved to Britain.

United Kingdom
Hahn settled in Scotland, where he founded Gordonstoun with Sir Lawrence Holt on similar principles to the school in Salem. Later, Hahn converted to Christianity and became a communicant member of the Church of England in 1945 and preached in the Church of Scotland. He also started an international organisation of schools, now called Round Square. Hahn was also involved in the foundation of the Outward Bound Organisation, Atlantic College in Wales and the wider United World College movement, and the Duke of Edinburgh's Award.

Return to Germany
Hahn divided his time between Britain and Germany after the war. He founded several new boarding schools based on the principles of Salem and Gordonstoun: Anavryta, Greece (1949); Louisenlund, Germany (1949); Battisborough, England (1955); Rannoch School, Scotland (1959); Box Hill, England (1959); International School Ibadan, Nigeria (1963); The Athenian School, USA (1965). He resigned from the headship of Gordonstoun on health grounds and returned to Hermannsberg near Salem in 1953. He died there on 14 December 1974 and was buried in Salem.

Philosophy
Hahn's educational philosophy was based on respect for adolescents, whom he believed to possess an innate decency and moral sense, but who were, he believed, corrupted by society as they aged. He believed that education could prevent this corruption, if students were given opportunities for personal leadership and to see the results of their own actions. This is one reason for the focus on outdoor adventure in his philosophy. Hahn relied here on Dr. Bernhard Zimmermann, the former Director of the Göttingen University Physical Education Department, who had to leave Germany in 1938 as he did not want to divorce his Jewish wife. Hahn's educational thinking was crystallized by World War I, which he viewed as proof of the corruption of society and a promise of later doom if people, Europeans particularly, could not be taught differently. At the Schule Schloss Salem, in addition to acting as headmaster, he taught history, politics, ancient Greek, Shakespeare, and Schiller. He was deeply influenced by Plato's thought. Gordonstoun is based less on Eton than on Salem. Hahn's prefects are called Colour Bearers, and traditionally they are promoted according to Hahn's values: concern and compassion for others, the willingness to accept responsibility, and concern and tenacity in pursuit of the truth. Punishment of any kind is viewed as a last resort.

Hahn also emphasized what he called "Samaritan service", having students give service to others. He formulated this as focusing on finding Christian purpose in life. It has however been adopted by the IB program and secularized.




Gordonstoun School
Gordonstoun School is a co-educational independent school for boarding and day pupils in Moray, Scotland. It is named after the 150-acre (61 ha) estate originally owned by Sir Robert Gordon in the 17th century; the school now uses this estate as its campus. It is located in Duffus to the north-west of Elgin. It is a "public school" in the English usage of the term as defined by the Public Schools Act 1868. The school follows certain practices such as usage of the Common Entrance Exam for the 13+ entry age.

Founded in 1934 by German educator Kurt Hahn, Gordonstoun has an enrolment of around 500 full boarders as well as about 100 day pupils between the ages of 6 and 18. With the number of teaching staff exceeding 100, there is a low student-teacher ratio compared to the average in the United Kingdom. There are eight boarding houses, formerly nine prior to the closure of Altyre house in summer 2016, including two 17th-century buildings that were part of the original estate. The other houses have been built or modified since the school was established.

Gordonstoun has a few notable alumni. Three generations of British royalty were educated at Gordonstoun, including the Duke of Edinburgh and the Prince of Wales.Due to Dr. Hahn's influence, the school has had a strong connection with Germany. It is part of the Round Square Conference of Schools, a group of more than 80 schools across the globe based on the teaching of Hahn. Around 30% of students attending Gordonstoun come from abroad.

History
The British Salem School of Gordonstoun was established in 1934 by Kurt Hahn after he was asked by friends to give a demonstration in the UK of his "Salem system".He was born in Berlin in 1886 and studied at the University of Oxford.[8] After reading Plato's The Republic as a young man, Hahn conceived the idea of a modern school. With the help of Prince Max of Baden, he set up the Schule Schloss Salem in 1919.After the First World War, both men decided that education was key in influencing the future. They developed Salem in order to develop its students as community leaders. By the 1930s Salem had already become a renowned school throughout Europe. In 1932 Hahn spoke out against the Nazis and was arrested in March 1933.

He was released and exiled to Britain in the same year through the influence of the Prime Minister, Ramsay MacDonald, who was familiar with Hahn's work.[10] At the urging of British friends, Hahn decided to start a new school in Morayshire.

Gordonstoun was started in a small way and had financial difficulties in its early years. After the death in 1930 of Sir William Gordon-Cumming, 4th Baronet, his house at Gordonstoun was obtained by Kurt Hahn, whose offer for the lease was accepted on 14 March 1934. The buildings needed repair and renovation, and at the start of the first academic year, the school had only two enrolled pupils. Hahn expected Gordonstoun to operate for only a few years, as an example of his vision. The number of pupils steadily increased, and some additional pupils transferred from Salem, including Prince Philip of Greece, now the Duke of Edinburgh. By the start of the Second World War, 135 boys were attending.

In June 1940 the school was evacuated and the Gordonstoun estate was taken over by the army for use as barracks. The school was relocated temporarily to quarters in Montgomeryshire in Mid Wales when Lord Davies, a parent of two pupils, allowed the school to use one of his houses. The buildings were insufficient, and finances and pupil numbers began to drop. The school survived the war, pupil numbers increased again, and the school became well known throughout Wales and the Midlands. Once the war had ended, the school returned to the Gordonstoun estate.

By the end of the 1940s, the school achieved its primary target of 250 pupils and continued growing in size. It built dormitories on the estate, removing the need of maintaining a house in Altyre, Forres, many miles away from the main campus. Gordonstoun also developed its academic offerings. It arranged to admit poorer children from the surrounding areas, and to deepen the "Outward Bound"-type activities that were central to Hahn's system. Skills in mountaineering and seamanship were always taught at the school. The introduction of the Moray Badge, from which the Duke of Edinburgh's Award was borrowed, expanded the types of physical challenges for students to conquer.
From the 1950s onwards, the school administration concentrated on improving the facilities and expanding the curriculum. Major changes since then include: the founding of Round Square in 1966,[6] an international community of schools sharing Hahn's educational ideals; the school becoming co-educational in 1972; and the moving of Aberlour House, Gordonstoun's preparatory school, from Speyside to a purpose-built Junior Schoola[›] on campus in 2004.

Ethos
In the beginning, Hahn blended a traditional private school ethos, modelled on his experiences at Eton and Oxford, with a philosophy inspired by Plato's The Republic and other elements of ancient Greek history. This is seen in the title "Guardian", denoting the head boy and girl, the adoption of a Greek trireme as the school's emblem, and a routine that could be described as Spartan. Outdoor activities and skills such as seamanship and mountaineering are emphasized. The school had a reputation for harsh conditions, with cold showers and morning runs as a matter of routine. It also used physical punishments, known as "penalty drill" or PD, in the form of supervised runs around one's house (dormitory) or the south lawn of Gordonstoun House (pictured). Physical education and challenging outdoor activities are still practised, but cold showers and punishment runs have been dropped.

Hahn's views on education centred on the ability to understand different cultures. Gordonstoun incorporates this in a number of ways including its association with Round Square and in offering pupil exchanges to the different schools within the association. Additionally there is a chance to join one of the annual international service projects which take pupils abroad to help a foreign community, for instance there have been projects to build schools in Africa, build wells in Thailand and help orphans in Romania. Hahn believed that an important part of education was to challenge a person and take them out of their areas of familiarity and comfort, improving a person's ability to deal with difficult situations. The school requires that every pupil takes part in a series of outdoor programmes particularly expeditions in the Cairngorms and sailing training on the school's 80-foot vessel, Ocean Spirit.

Hahn believed that "The Platonic view of education is that a nation must do all it can to make the individual citizen discover his own power and further more that the individual becomes a cripple in his or her point of view if he is not qualified by education to serve the community."[29] The idea of service at the school is thought to encourage students to gain a feeling of responsibility to aid other people and is implemented in creating an array of services to the community which every student becomes involved in.

Gordonstoun offers a series of grants, drawing on its investments and other funds from which the school can draw upon in order to support pupils who are unable to pay the full fees.[30] In the academic year 2009/10 the school provided financial support for 163 pupils including 11 with 100% fee coverage and 95 with 50% fee reduction.The school is a registered charity: Scottish charity number SC037867.

Flannelled Fool: A Slice of a Life in the Thirties

Flannelled Fool: A Slice of a Life in the Thirties is an autobiography by T. C. Worsley, published in 1967. It takes its title from a phrase in "The Islanders", a poem by Rudyard Kipling.

Though Flannelled Fool is subtitled A Slice of a Life in the Thirties, much of it treats the author's childhood and education at Marlborough College before he began a schoolmastering career at Wellington College in 1929.

The frank accounts of many of its personages, only thinly disguised by false names, led, according to Alan Ross, the book's eventual publisher, to several rejections:

At least three leading publishers turned it down on legal advice, and Cuthbert Worsley himself admitted that he had been warned it was folly to expect publication. Re-reading it now I feel there were good reasons for anxiety, but at the time, with little to lose, it seemed worth the risk. Worsley had assured me that all the 'college' [Wellington] masters likely to cause trouble were dead, and Kurt Hahn, whose possible reaction had done most to scare off the others, was, safely, we hoped, back in Germany.

In the event, nothing happened. Far from bankrupting us or putting Cuthbert and me in gaol, the book both sold well and received a wonderful press.


Flannelled fool: A slice of life in the Thirties (1967)

by Thomas Cuthbert Worsley

REVIEW by jbarnabasl

3.0 out of 5 starsIs he a fool?

19 December 2006

https://www.amazon.co.uk/Flannelled-fool-slice-life-Thirties/dp/B0000CNFRJ

T. C. Worsley is disarmingly -self-deprecating, in a way that is rather out of fashion now. He was brought up in what would now be considered a dysfunctional family. His father, the Dean of Llandaff, abandoned his senior post in the Church of England, his house and his family, and spent most of his time playing golf. For Worsley, his father's life and character represents the kind of ineffectuality that he desperately wants to avoid in his own life, but fears he will ineluctably become.

Worsley is clearly good at some things, particularly cricket. At his public school, Marlborough, he takes on the character of a "hearty", one who loves games and despises learning. When he goes up to Cambridge, though, he eventually comes to love English literature and spends his early adulthood trying to find a balance between the various things he loves.

He repeatedly makes it clear that he is a late maturer in many ways. He is sexually repressed, but comes to recognize that his preference is for boys. Nowadays, this would earn him nothing but obloquy, but in the less censorious 1930s, when he was a young master at "College", it was believed by some that men who are paederastically inclined sometimes make the best teachers of boys. As far as we can tell from the book, he did not have any kind of sexual contact with the boys he taught, although he was subject to insinuations of inappropriate behaviour by "the old guard", the older masters at "College".

I recognized "College" (which is how Worsley refers to the school at which he taught) as Wellington College, my alma mater. Worsley's description of the buildings would be recognized by any Old Wellingtonian (and I am one), as would the name of the Master (the head master), Malim, and one of the outstanding teachers (in a Mr Chips kind of way), Talboys.

Worsley suffered from the illusion that he had to write a novel and left his post at Wellington to dedicate himself to writing. He encountered Kurt Hahn, the founder of Gordonstoun (the boarding school in the north of Scotland where Prince Charles was sent). Hahn invites him to spend a term at Gordonstoun, where he could live and write in return for advising Hahn about how the school was developing - it was a new school in those days. Worsley very soon realizes that Hahn, a Jew who had left Hitler's Germany to escape persecution, is as much an elitist as the Nazis whose attentions he had fled from. Worsley neatly undermines the Hahn myth and shows Hahn himself to be rather an unpleasant, if charismatic, character.

Just before the Second World War starts, Worsley finds a niche at the New Statesman, work he's able to resume after grappling with the stupidities of bureaucracy and the Services during the War (all amusingly described); he has a breakdown and is invalided out of the RAF, returns to the New Statesman and in due course becomes the Literary Editor and Drama Critic.

The book is subtly written, easy to read, but not one of great or universal significance. I enjoyed it, partly because Worsley had been a teacher at my old school, Wellington and partly because I recognize Worsley's fear of falling into the kind of ineffectual life his father (despite his promotion to a senior post in the Church) had lived and the kind of character his father had been. In fact, Worsley cannot have been as ineffectual as he feared, far from it. He fought many battles with those whose views he found repellant and found subtle ways to deal with the bullying of senior officers to which he and others were subject during the War. Clearly he is a good writer, but I was left with a sense of a man who yearned to have had a loving and strong father - the failure of his father to form a strong emotional bond with him seems to have stunted his (Worsley's) capacity to form strong, lasting and healthy relationships with others.




In 1934, through his lectures in London to the New Education Fellowship, Hahn met the educationalist T. C. Worsley and persuaded him to spend a summer term at the newly founded Gordonstoun in the capacity of consultant.In his memoir Flannelled Fool: A Slice of a Life in the Thirties, Worsley records his impressions of Hahn's penetrating character analysis, and his energy and commitment in the cause of human development, but as time went on he became critical of Hahn's "despotic, overpowering personality":

He revealed himself as having a fierce temper, a strong hand with the cane, and a temperament which hated being crossed. Especially damaging to my very English view, was his dislike of being defeated at any game. Hahn was an avid tennis player. But was it an easily forgiveable weakness that his opponents had to be chosen for being his inferiors or else, if their form was unknown, instructed not to let themselves win?

Hahn's behaviour came to seem to Worsley "so ineffably, so Germanically silly" that he was unable to share the clear adulation of the teaching staff:

We were going through the classrooms when, in one, he suddenly stopped, gripped my arm, raised his nostrils in the air, and then, in his marked German accent, he solemnly pronounced:

'Somevon has been talking dirt in this room. I can smell it.'

Hahn's views on Shakespeare led to an open disagreement:

He had what I have since learned to be a common German belief that Shakespeare was better in German than in English. I refused to allow this. I argued that the German translation might indeed be very good, but that the English original must be better. No, he assured me, the German was better; and as I didn't know German and he did know English, he must be right. We grew absurdly heated.


 This is the story of Worsley’s acquaintanceship (ending badly) with Kurt Hahn, the forceful German exile who founded Gordonstoun School in Scotland in 1934. Having met him twice, Worsley was invited to spend a summer term observing Gordonstoun without being enrolled as a teacher.

He [Hahn] took me over one day to show me this coastguard watch in action. As we walked towards it there came, trotting towards us away from it, one of the duty boys, dressed in the shirt and shorts which all Gordonstoun boys sensibly wore. The lad trotted by, and Hahn stopped me and in that familiar gesture of his gripped my arm:

‘Did you notice that boy?’

I had noticed him only because he was well known as the school tart; but I wasn’t sure whether Hahn would have been aware of that so I replied non-committally:

‘Not particularly.’

‘You didn’t,’ said Hahn, ‘notice his eyes?’ I admitted that I hadn’t.

‘Ah!’ Hahn said sadly. ‘You should have noticed that. That’s what coastguard watching does for a boy. His eyes were crystalline and pure. You only see such eyes in two kinds of people,’ and with immense emphasis, ‘ze hunter home from ze hill and ze sailor home from ze sea.’

This remark, and the other in the classroom seemed to me so ineffably, so Germanically silly, that I couldn’t take Hahn completely seriously from then on.




The Lonely Heir: Inside the Isolating Boarding School Days of Prince Charles
Growing up, Prince Charles struggled to please his parents and to fill a role that was against his nature. In an adaptation from her new book, Sally Bedell Smith chronicles the brutal bullying the heir endured at school, and the unlikely place in which he found solace.
by SALLY BEDELL SMITH
APRIL 2017

I. A SENSITIVE BOY
Before the stroke of midnight on November 14, 1948, Prince Charles Philip Arthur George officially became public property. While his 22-year-old mother, Princess Elizabeth, rested in her bedroom suite in Buckingham Palace, her newborn heir was brought to the vast gilded ballroom by the royal midwife, Sister Helen Rowe. Under the 46-foot-high ceilings—juxtaposed with the monarch’s massive throne draped in red-and-gold embroidered velvet—the infant was swaddled in white blankets and placed in a simple cot for viewing by the royal courtiers who served his grandfather King George VI and his grandmother Queen Elizabeth.

“Just a plasticine head,” observed Major Thomas Harvey, the Queen’s private secretary. “Poor little chap, two and a half hours after being born, he was being looked at by outsiders—but with great affection and good will.”

Charles was hemmed in by high expectations and scrutiny from the start—unlike his mother, who had 10 relatively carefree years of childhood. It was only when her father unexpectedly took the throne, in 1936, on the abdication of his older brother, King Edward VIII, that Princess Elizabeth assumed her position as next in line.

In December, four-week-old Charles was christened beneath the ornate dome of the Music Room at Buckingham Palace. The Archbishop of Canterbury doused the little prince with water from the river Jordan that had been poured into the gold Lily Font, designed by Prince Albert and used for all of his and Queen Victoria’s children. Delighted with her firstborn, Elizabeth breast-fed him for two months, until she contracted measles and was forced to stop. Yet she was often away from Charles in his infancy, spending as much time as she could with her husband, Philip, the Duke of Edinburgh, an officer in the Royal Navy, who was posted to Malta in October 1949. She managed to celebrate her son’s first birthday, but afterward she was abroad, and separated from her son, for long intervals.

Prince Philip scarcely knew his son for the first two years of the boy’s life, though on his return from overseas duty he did take the time to teach Charles to shoot and fish, and to swim in the Buckingham Palace pool. When Prince Charles hit bottom after his separation from Diana, in 1992, he unburdened himself about the miseries of his youth to Jonathan Dimbleby, who was writing an authorized biography. Dimbleby noted that, as a little boy, Charles was “easily cowed by the forceful personality of his father,” whose rebukes for “a deficiency in behaviour or attitude . . . easily drew tears.” While brusque, Philip was “well-meaning but unimaginative.” Friends who spoke with Charles’s permission described the duke’s “belittling” and even “bullying” his son. Charles was less harsh about his mother, but his opinion had a bitter edge. She was “not indifferent so much as detached.”

Nearly two decades later, in 2012, Charles tried to make amends in a TV documentary tribute to the Queen on her Diamond Jubilee. Home movies depicted an idyllic childhood at the family’s country estates at Sandringham, in Norfolk, and Balmoral, in Scotland. Footage of Prince Philip teetering on a tricycle and zooming down a slide on the Royal Yacht Britannia contradicted his reputation as a tetchy martinet, and scenes of the Queen romping with her children were meant to dispel the notion of her being distant and unaffectionate.


Charles was sensitive from the start, and his finely tuned antennae were susceptible to slights and rebukes. During one luncheon at Broadlands, the home of Philip’s uncle Louis Mountbatten, the guests were served wild strawberries. Charles, aged eight, methodically began removing the stems from the berries on his plate. “Don’t take the little stems out,” Edwina Mountbatten said. “Look, you can pick them up by the stems and dip them in sugar.” Moments later, his cousin Pamela Hicks noticed that “the poor child was trying to put all the stems back on. That was so sad, and so typical of how sensitive he was.”

As Philip watched these traits emerging, he worried that Charles could become weak and vulnerable, so he set about toughening him up. Asked in an interview when he was 20 years old whether his father had been a “tough disciplinarian” and whether he had been told “to sit down and shut up,” Charles answered without hesitation: “The whole time, yes.”

More often than not, the duke was a blunt instrument, unable to resist personal remarks. He was sarcastic with his daughter, Anne, as well. But Charles’s younger sister, a confident extrovert, could push back, while the young prince wilted, retreating farther into his shell.

When Elizabeth became Queen, her dedication to her duties meant even less time for her children. She relied increasingly on her husband to make the major family decisions. Neither parent was physically demonstrative. That lack of tactile connection was achingly apparent in May 1954, when the Queen and Prince Philip greeted five-year-old Charles and three-year-old Anne with handshakes after an absence of nearly six months on a tour of Commonwealth nations. Martin Charteris, Elizabeth’s onetime private secretary, observed that Charles “must have been baffled by what a natural mother-son relationship was meant to be like.”

Charles was indulged by his maternal grandmother, the Queen Mother, and visited her frequently at Royal Lodge, her pale-pink home in Windsor Great Park, when his parents were away. As early as age two, he would sit on her bed playing with her lipsticks, rattling the tops, marveling at the colors. When he was five, she let him explore Shaw Farm, in the Windsor Home Park. She also opened up a world of music and art that Charles felt his parents didn’t adequately appreciate. “My grandmother was the person who taught me to look at things,” he recalled.

As heir to the throne, he made an inviting target for school-mates, who ridiculed his protruding ears.

She never hesitated to give her grandson the hugs he craved. She encouraged his kind and gentle nature—the eagerness to share his candy with other children, and, when choosing sides for games, to select the weakest first for his team. “Her protective side clocked in on his behalf,” said her longtime lady-in-waiting, Dame Frances Campbell-Preston. At the same time, with the best intentions, she fueled the young prince’s tendency to self-pity, which fed one of his strongest traits, known as “whinging”—the more pointed British word for whining.

II. “OUT FOR A DUCK”
Charles’s early home-schooling was supervised by Catherine Peebles, his sensible Glaswegian governess, nicknamed “Mispy,” who felt compassion for his insecurities and his tendency to “draw back” at the hint of a raised voice. Eager to please, he plodded diligently through his lessons but was easily distracted and dreamy. “He is young to think so much,” Winston Churchill remarked after observing Charles shortly before his fourth birthday.

One book that caught the prince’s eye and helped hone his sense of humor was Hilaire Belloc’s Cautionary Verses, a volume of poetry about the consequences of bad behavior. It brimmed with quirkiness and bizarre characters—a precursor to the sketches by the Goons and Monty Python comedy troupes, two happily subversive influences in his life. But by the time he was eight, the Queen and Prince Philip had decided that he needed the company of children in a classroom, making him the first heir to the throne to be educated outside the palace.

Early in 1957, he arrived in a royal limousine at Hill House School, in Knightsbridge, London. For all his parents’ efforts to put Charles in a normal environment—taking the bus to the playing fields and sweeping the classroom floors—he had difficulty mixing with the other boys. A newsreel of the school’s “field day” of sports competitions that spring showed a solemn prince introducing his parents to his classmates, who obediently bowed.

Charles had ability in reading and writing, although he struggled with mathematics. His first-term report noted that “he simply loves drawing and painting” and showed musical aptitude as well. But after a mere six months, his father transferred him to Cheam School, in Hampshire, where Philip himself had been sent at the age of eight. Although it was founded in 1645, the school had a progressive tilt, avoiding the exclusive atmosphere of other preparatory boarding schools.

Charles was just shy of his ninth birthday but considerably more vulnerable than his father. He suffered from acute homesickness, clutching his teddy bear and weeping frequently in private. “I’ve always preferred my own company or just a one to one,” he has said. As heir to the throne, he made an inviting target for school-mates, who ridiculed his protruding ears and called the pudgy prince “fatty.” He fell into a routine that included weekly letters home—the beginning of his passion for written correspondence. In the tradition of the time, he braved beatings from two different headmasters for flouting the rules. “I am one of those for whom corporal punishment actually worked,” he grimly recalled.

Charles lacked his father’s resilient temperament, and he lacked the physical prowess to command respect.

Charles had a fragile constitution. He suffered from chronic sinus infections and was hospitalized for a tonsillectomy in May 1957. Later that year, when he was bed-ridden at school with Asian flu, his parents didn’t visit him. (Both had been inoculated, so there was no fear of contagion.) Instead, before leaving for a royal tour of Canada, in October, the Queen sent him a farewell letter. The Queen and Prince Philip were again on tour, in India, when Charles came down with measles, at age 12.

Physically uncoordinated and slow as well as overweight, Charles had no talent for Rugby, cricket, or soccer—the prestige schoolboy sports. During vacations he joined local boys who lived near Balmoral for cricket matches. “I would invariably walk boldly out to the crease,” he recalled, “only to return, ignominiously, a few minutes later when I was out for a duck”—that is, having failed to score any runs. Elizabeth had taught Charles to ride, starting at age four. He was timorous on horseback, while his sister, Anne, was bold. Mostly he feared jumping. Anne’s equine prowess pleased her mother, and Philip saw a kindred spirit in her confidence and fearlessness.

Charles’s loneliness and unhappiness at Cheam were painfully obvious to his family. In a letter to Prime Minister Anthony Eden at the beginning of 1958, the Queen wrote, “Charles is just beginning to dread the return to school next week—so much worse for the second term.” She knew that Cheam was “a misery” to her son, according to a biography of Charles by Dermot Morrah, which was sanctioned by the royal family. Morrah observed that the Queen thought her son was “a slow developer.”

Asked as he was approaching his 21st birthday to describe the moment he first realized as a little boy that he was heir to the throne, Charles replied, “I think it’s something that dawns on you with the most ghastly inexorable sense . . . and slowly you get the idea that you have a certain duty and responsibility.” He did, however, experience an unanticipated jolt in the summer of 1958 while watching the closing ceremony of the Commonwealth Games in Cardiff, Wales, on television with some school-mates in the headmaster’s study at Cheam. Suddenly he heard his mother declare in a recorded speech that she was naming him the Prince of Wales—a mortifying moment for a shy nine-year-old boy who wanted desperately to be seen as normal and already carried the burden of his six other titles. Even as a very young boy, he was marked out as different.

The most important experience at Cheam was Charles’s discovery that he felt at home on a stage—a helpful skill for a public figure. For his role in a play about King Richard III, called The Last Baron, he spent hours listening to a recording of Laurence Olivier in a production of Shakespeare’s Richard III. It was November 1961, and once again his parents were abroad, this time in Ghana. In their place, the Queen Mother and Princess Anne watched the heir to the throne perform as Richard, the 15th-century monarch famous for his deformity.

“After a few minutes on to the stage shambled a most horrible looking creature,” the Queen Mother wrote to her daughter, “a leering vulgarian, with a dreadful expression on his twisted mouth; & to my horror I began to realize that this was my dear grandson!” She added that “he acted his part very well” and that “in fact he made the part quite revolting!”

Charles formed no lasting friendships during his five years at Cheam. The Queen Mother made a strong pitch to his parents for him to continue his education at Eton College, the ancient boarding school near Windsor Castle. She knew that Philip had been pushing for his own alma mater, Gordonstoun, located in an isolated part of northeastern Scotland. In a letter to the Queen in May 1961, the Queen Mother described Eton as “ideal . . . for one of his character & temperament.” If he went to Gordonstoun, “he might as well be at school abroad.” She pointed out, quite reasonably, that the children of the Queen’s friends were at Eton.

But Philip doubled down on the value of a rough-and-tumble education, arguing that Gordonstoun would be the best place for his timorous son. The Queen sided with Philip, sealing Charles’s fate.

III. THE PRISON OF PRIVILEGE
The Queen did not accompany her husband in May 1962, when he delivered Charles to Gordonstoun. A certified pilot, Philip flew Charles to a Royal Air Force base in Scotland and drove him the rest of the way. With a 17th-century gray stone building at its center (built in a circular design, according to legend, by Sir Robert Gordon so that no devils could fly into corners), the campus had an undistinguished collection of seven pre-fabricated wooden residences that had previously been used as R.A.F. barracks. The prince was assigned to Windmill Lodge with 13 other boys, the start of an ordeal that he viewed as nothing less than a “prison sentence.”

The school’s founder, Kurt Hahn, was a progressive educator who had been a Rhodes scholar at Oxford and ran a school in southern Germany called Salem. Hahn, who was Jewish, fled to Britain after Hitler came to power. He established Gordonstoun in 1934, with Prince Philip among the first students. The school’s motto: “There is more in you.”

Hahn sought to develop character along with intellect. He promoted Plato’s idealistic vision in The Republic of a world where “philosophers become kings . . . , or till those we now call kings and rulers truly become philosophers, and political power and philosophy thus come into the same hands.” Contemplating his future reign, Charles would identify with the philosopher king, a notion later encouraged by well-meaning advisers who championed the idea of an “activist” monarch who would impose his wide-ranging worldview on his subjects.

Physical challenges at Gordonstoun were at the heart of building character. The testing began with the boys’ attire (short trousers throughout the year) and the living conditions (open windows at all times in the grim dormitories). The day began with a run before breakfast, followed by a frigid shower. “It was a memorable experience, especially during the winter,” recalled Somerset Waters, a school-mate of Charles’s. The prince nevertheless became so accustomed to the morning ritual that as an adult he continued to take a cold shower each day, in addition to the hot bath drawn by his valet.

Hahn aimed to create an egalitarian society where “the sons of the powerful can be emancipated from the prison of privilege,” an ethos that suited Philip when he was there. His assertive personality and Teutonic sensibility helped him adjust to the school’s demands. He was also a natural athlete who served as captain of both the cricket and hockey teams. Charles had neither his father’s resilient temperament nor his relative anonymity, and he lacked the physical prowess to command respect. Encumbered by his titles and his status as heir to the throne, he was singled out as a victim from his first day. “Bullying was virtually institutionalized and very rough,” said John Stonborough, a classmate of Charles’s.

The housemaster at Charles’s dorm was Robert Whitby, “a truly nasty piece of work,” recalled Stonborough. “He was vicious, a classic bully, a weak man. If he didn’t like you, he took it out on you. He was wrong for Charles.” Whitby, like the other housemasters, handed over the running of the houses to senior boys, who imposed a form of martial law, with ritualized psychological and physical abuse that included tying boys up in laundry baskets under a cold shower. Few students would walk with Charles to meals or class. Those boys who tried to befriend the prince were derided with “slurping” noises. Many years later Charles complained, with evident anguish, that since his schooldays people were always “moving away from me, because they don’t want to be seen as sucking up.”

As at Cheam, he was taunted for his jug ears, which his great-uncle Earl Mountbatten unavailingly urged his parents to have surgically pinned back. During intra-house Rugby matches, teammates and opponents alike pummeled Charles in the scrum. “I never saw him react at all,” recalled Stonborough. “He was very stoic. He never fought back.” At night in the dormitory, the bullies tormented Charles, who detailed the abuse in anguished letters to friends and relatives.

Charles found one escape at the nearby home of Captain Iain Tennant and his wife, Lady Margaret. She was the sister of a childhood friend of the Queen’s, David Airlie (the 13th earl). Tennant was chairman of Gordonstoun, so he could extend the privilege of weekend visits, when Charles would “cry his eyes out,” said Sir Malcolm Ross, who served as one of the Queen’s longtime senior advisers. “Iain and Margy really saved him from complete misery,” said David Airlie’s wife, Virginia.

A crucial day-to-day support for Charles was Donald Green, the royal bodyguard who, in time, became a father figure. Green stood six feet five, dressed well, drove a Land Rover, and seemed “slightly James Bond-ish” to the other boys. Green was Charles’s one constant friend, although there was little he could do about the abuse that occurred within the dormitories. This friendship, more readily made than with Charles’s peers, set the prince’s lifelong pattern of seeking company with his elders.

In June 1963, during Charles’s second year, he was sailing on the school ketch, the Pinta, to the Isle of Lewis. The boys were taken to a pub in the village at Stornoway Harbor, where the 14-year-old prince ordered a cherry brandy. “I said the first drink that came into my head,” he recalled, “because I’d drunk it before, when it was cold, out shooting.” Unbeknownst to Charles, a tabloid reporter was present, and his foray into under-age drinking became banner headlines in the tabloids as “the whole world exploded around my ears.” Afterward, the Metropolitan Police fired Don Green, robbing Charles of an ally and confidant. Charles was devastated, saying later that “I have never been able to forgive them for doing that. . . . I thought it was the end of the world.”

Charles had middling success in his coursework—with the exception of his declamatory ability—but he found a creative refuge in the art room presided over by a kind and somewhat effete master in his 20s named Robert Waddell. The prince gravitated toward pottery rather than painting—“like an idiot,” he later said. Classical music served as a balm as well. His grandmother had taken him to see a concert by cellist Jacqueline du Pré, inspiring him to take up the instrument at age 14. “It had such a rich deep sound,” he recalled. “I’d never heard sounds like it.”

Gordonstoun nearly extinguished Charles’s budding interest in Shakespeare, as he and his classmates “ground our way” through Julius Caesar for standardized tests. The Bard came alive only after the arrival in 1964 of a new English master, Eric Anderson—like the art teacher Waddell, also in his 20s—who encouraged Charles to act in several of Shakespeare’s dramas. In November 1965 he played the lead in Macbeth. His interpretation, said Anderson, evoked “a sensitive soul who is behaving in a way that is really uncharacteristic of him because of other forces.” Charles was excited about the prospect of his parents’ coming to see a performance. But as he “lay there and thrashed about” onstage, he wrote in a letter, “all I could hear was my father and ‘Ha, ha, ha.’ ” Afterward, he asked Prince Philip, “Why did you laugh?” “It sounds like the Goons,” said his father—a dagger to the heart of a young man so eager to please.

He similarly disappointed Philip in team sports, although he did develop considerable skill in the more solitary pursuit of fishing, along with traditional upper-crust shooting. At 13, Charles shot his first stag, steeling himself to the sight of the beast being eviscerated by servants on the hillside at Balmoral.

In 1961, he took up polo, eager to follow his father. “I was all for it,” said Charles. “At least you stay on the ground”—as opposed to jumping over fences in fox-hunting. By 1964, Charles was applying himself to the sport more seriously. That year, he also started playing practice matches with Philip at the Household Brigade Polo Club, on Smith’s Lawn, at Windsor Great Park. Still a censorious figure, Philip nevertheless was idolized by Charles. The young prince began to mimic his mannerisms—walking with one arm behind his back, gesturing with his right forefinger, clasping his hands for emphasis, and pushing up the sleeve of his left arm.

IV. “POMMIE BASTARD”
With renewed determination to give his son backbone, Philip made the unusual decision to send him to Australia at age 17 for two terms in the outback at Timbertop, the wilderness branch of the Geelong Church of England Grammar School, in Melbourne. Other than a trip on the Britannia to Libya, at age five, it was Charles’s first time leaving Europe.

Philip assigned David Checketts, his equerry—an aide-de-camp entrusted with logistics—to supervise his son’s stay Down Under. Unlike other royal advisers, the 36-year-old Checketts was decidedly middle-class. The product of a state-run grammar school, he had served in the Royal Air Force. His down-to-earth manner put the uncertain prince at ease.

Charles and Checketts arrived in Australia in early February 1966. They were greeted by a daunting contingent of more than 300 reporters and photographers that the prince endured with gritted teeth. At Timbertop he shared a bedroom and sitting room with a handpicked roommate, Geelong’s head boy.

The prince was liberated by the informality of a country where, as he quickly discerned, “there is no such thing as aristocracy or anything like it.” For the first time, he was judged on “how people see you, and feel about you.” Students and masters treated him as one of them, and to his surprise he felt little homesickness. He was mildly teased as a “Pommie,” Australian slang for Englishman, but faced none of the sadistic hazing endemic at Gordonstoun.

The boys did only a modicum of studying. Timbertop was all about physical challenges, which Charles now embraced with surprising success. He undertook cross-country expeditions in blistering heat, logging as many as 70 miles in three days—climbing five peaks along the way—and spending nights freezing in a sleeping bag. He proudly relayed his accomplishments in his letters home.

He encountered leeches, snakes, bull ants, and funnel-web spiders, and joined the other students in chopping and splitting wood, feeding pigs, picking up litter, and cleaning out fly traps—“revolting glass bowls seething with flies and very ancient meat.” It was a more physically testing experience than Gordonstoun, “but it was jolly good for the character and, in many ways, I loved it and learnt a lot from it.” On his own terms, in the right circumstances, he showed his toughness and proved to his father that he was not, in fact, a weakling.

On weekends he relished ordinary life with David Checketts’s family at the farm they rented near the small town of Lillydale. He indulged his passion for fishing, helped David’s wife, Leila, in the kitchen, played with their three children, and watched television in his pajamas. In completely relaxed surroundings he perfected his talent for mimicry by performing routines from his favorite characters on The Goon Show, which to his “profound regret” had ended its run on the radio in 1960. One of his best efforts was Peter Sellers’s falsetto “Bluebottle.”

Charles reveled in the sheer Goons silliness. (Seagoon: “Wait! I’ve got a hunch!” Grytpype-Thynne: “It suits you!”) Later in life he would rely on a sense of absurdity as an antidote to his oppressive surroundings. Goons humor, typically British, was all about breaking the rules, which carried an extra frisson of pleasure for the heir to the throne.

Charles enjoyed his six months in Australia “mainly because it was such a contrast to everything he couldn’t stand about Gordonstoun,” said one of his advisers, recalling the bullying that had so tormented him. He also showed his mettle during some 50 official engagements—his first exposure to crowds on his own. “I took the plunge and went over and talked to people,” he recalled. “That suddenly unlocked a completely different feeling, and I was then able to communicate and talk to people so much more.” The Australians, in turn, discovered “a friendly, intelligent, natural boy with a good sense of humor,” said Thomas Garnett, the headmaster of Timbertop, “someone who by no means has an easy task ahead of him in life.” When he left, in July 1966, his mates gave him a rousing “three cheers for Prince Charles—a real Pommie bastard!”

After an extended summertime stay at Balmoral, Charles returned to Gordonstoun in the autumn of 1966 for his final year. Headmaster Robert Chew named him head boy, known by the Platonic term “Guardian.” Among the prince’s privileges as Guardian was his own bedroom in the apartment assigned to Robert Waddell, “the quiet alter ego of Gordonstoun,” in the view of Charles’s cousin and godson Timothy Knatchbull, who later attended the school. “With his tittle-tattle and his mini-snobbery . . . [Waddell] had the sort of mind of a Victorian matron. He was a wonderful other pole of Gordonstoun, away from the sort of knobby-kneed brigade.” Charles’s only lasting friendships from his five years on the shores of the Moray Firth were with his older masters, Anderson and Waddell.

After he left with his parents for Balmoral at the end of July 1967, Charles obediently said that Gordonstoun had taught him self-control and self-discipline, and had given “shape and form and tidiness” to his life, although in fact he was personally disorganized. Always a correct, dutiful, and seemingly mature figure in the public eye, Charles nevertheless remained socially awkward and emotionally immature, even as he appeared old before his time. Surprisingly, his parents acknowledged to authorized royal biographer Dermot Morrah that the Gordonstoun experiment had fallen short of their hopes, and that Charles was “a square peg in a round hole.” Morrah wrote in To Be a King, his 1968 book about Charles’s early life, that the school had driven the prince only “further in upon himself.” Well into his 60s, Charles continued to complain about the unhappiness he had felt at Gordonstoun. And as his cousin Pamela Hicks observed, “he can never leave anything behind him.”

Adapted from Prince Charles: The Passions and Paradoxes of an Improbable Life, by Sally Bedell Smith, to be published this month by Random House; © 2017 by the author.

Menswear: Vintage People on Photo Postcards (Photo Postcards from the Tom Phillips Archive) Foreword by Eric Musgrave

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 Menswear: Vintage People on Photo Postcards (Photo Postcards from the Tom Phillips Archive)
Menswear
Foreword by Eric Musgrave
Publication Date: 3rd October 2012
Hardback: 112 pages
Publisher: The Bodleian Library
ISBN: 978-185124-378-5

To celebrate the acquisition of the Tom Phillips archive, the Bodleian Library has asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, 'ordinary' people could afford to own their portraits. Menswear presents men in all manner of outfits, formal, practical or casual  but always as individuals nudging the stylistic vocabulary this way and that, in fashion’s wide, rich and entertaining spectrum. Each book contains 200 images chosen with the eye of a leading artist from a visually rich vein of social history. Their covers will also feature a thematically linked painting, especially created for each title, from Tom Phillips' signature work, A Humument.











Tom Phillips  and Eric Musgrave


The Queen's First House ! A Wendy house fit for a Queen: The secrets and history of the tiny Welsh cottage in the grounds of Windsor where generations of royals have played / Unseen Photos Show A Young Princess Elizabeth ...

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A Wendy house fit for a Queen: The secrets and history of the tiny Welsh cottage in the grounds of Windsor where generations of royals have played
By NIKKI MURFITT FOR MAILONLINE and POLLY DUNBAR FOR MAILONLINE
UPDATED: 08:25 GMT, 13 February 2012

The Diamond Queen, the BBC’s three-part series celebrating Elizabeth II’s 60 years on the throne, is perhaps the most intimate ever portrait of Britain’s monarch. Its presenter, Andrew Marr, was given unprecedented access to the Royal family, whose personal recollections offer a rare glimpse of the woman behind the role. 

Among the most intriguing stories in last Monday’s first programme was that of The Little House, the miniature cottage in the grounds of Windsor’s Royal Lodge where the Queen played as a child. Long forgotten by the public, it was revealed that it has recently been refurbished by Princess Beatrice, who charmed Marr and viewers alike when she spoke of her love for the tiny property and gave him a tour.

Another tantalising scene showed the Queen - dubbed Reader Number One by Parliament for her insistence on poring over every official paper - sitting at her favourite writing desk in Buckingham Palace. It was described as having once belonged to the Bourbons of France prior to the Revolution, but with no further explanation.

Behind the fleeting insights into these aspects of her life are fascinating stories, which can now be revealed by the Mail on Sunday...

Tucked away from public view in the south side of the gardens of Windsor’s Royal Lodge stands a miniature thatched, white-washed cottage described by the Queen’s granddaughter Princess Beatrice as ‘the most glamorous wendy house ever.’ Called Y Bwthyn Bach, or The Little House, it has been a play den for the Queen and subsequent generations of her family for the past 80 years.

The two-thirds size cottage, which measures 24 feet long, eight feet deep and with five feet high rooms, was presented to Princess Elizabeth and her sister Margaret in March 1932 on behalf of ‘the people of Wales’ on the occasion of Elizabeth’s sixth birthday. 

Designed by architect Edmund Willmott, who had earlier built a less grand little house for his own daughter to play in, it was intended as a symbol of the love and fascination of the Welsh people for the little princess who was, at that stage, never expected to become Queen. 

The mining communities of the valleys had suffered more unemployment than any other part of Britain during the Depression, and the house, built exclusively by Welsh labour and from Welsh materials left over from the Llandough Hospital, was a poignant reminder of a workforce in despair.

It was also designed as a link between the two privileged little princesses and those who lived in genuine cottages. It gave the sisters the chance to play at keeping an ordinary house - although it was far more luxurious than the vast majority of family homes at the time. 

The layout of a typical Welsh cottage was followed for the interior. The front door opens onto a small hallway with a kitchen to the right and the ‘siamber fach’, or Little Chamber, on the left. A staircase gives access to a bedroom and a bathroom, which, when it was first built, was very modern, with hot and cold running water, a heated towel rail and electricity.

The contents included a tiny radio, a little oak dresser and a miniature blue and gold china set. There was linen with the initial ‘E’ and a portrait of the Queen’s mother, the Duchess of York, hanging over the dining room mantelpiece. A bookcase filled with Beatrix Potter’s little books, including Jemima Puddleduck, ensured the girls never grew bored. Lattice windows, blue and white checked curtains, blue carpets and white walls finished off the decor.    

The house also contained little books, pots and pans, food cans, brooms, a packet of Epsom salts and a radio licence, all made to order and to scale. In the kitchen, there was a gas cooker and a fridge which both worked. There was even a working, miniature-sized telephone. The house also had its own front garden with scaled down hedges and flower borders. 

The presentation of the finished house was preceded by a narrowly averted disaster. When the house was in transit, first by low loader and then by a steam traction engine, the tarpaulin protecting it caught fire, destroying the thatched roof and many of the timbers. Luckily, the Sea Insurance Company had issued a miniature fire policy for £750 on the building and £500 on the contents. 

Craftsmen worked day and night to repair the damage, with the final bill for all the work coming to an estimated £1,100. When it was finally ready, it was displayed at the Daily Mail’s Ideal Home Exhibition at Olympia for the masses to see. It was then reconstructed in Windsor Great Park for Elizabeth and became a favourite pastime.

The princesses spent many hours cleaning and tidying their tiny home, with Elizabeth in particular developing a reputation for being exceptionally neat. This was the children’s domain, and adults, who had to crounch to fit through the door, were admitted only by invitation.

Over the years, the Queen’s children have also played in the house and latterly, her grandchildren. It holds a special place in the hearts of all the royal children, but Beatrice was especially captivated it, adding, as a child,  a selection of her own teddy-bears to the living room sofa.

She has recently overseen its complete refurbishment over the course of a year, believed to have been paid for by her father, the Duke of York, who has resided at Royal Lodge since 2004. In the first episode of The Diamond Queen, the princess was seen showing presenter Andrew Marr the results.

Under Beatrice’s guidance, new curtains and upholstery were put in, the paintwork was refreshed, the roof was rethatched and the cottage was rewired. The original blue colour scheme was replaced by pale green sofa coverings and cream curtains with tiny dark pink flowers.

‘Granny was very clear that for all the fabric she wanted very little designs. It’s such a little house that she wanted little flowers and patterns,’ she said.    

‘It’s beautiful. I’ve been lucky enough to play here and now Granny’s a great-granny, so now Savannah [Peter and Autumn Phillips’s daughter] can enjoy it too.’    

My father put in the plumbing... and I played in the house before Elizabeth
The honour of presenting the keys of Y Bwthyn Bach to Princess Elizabeth’s parents, then the Duke and Duchess of York, was bestowed  Welsh schoolgirl Jean Blake.

On March 16 1932, the seven-year-old dressed in Welsh national costume and accompanied her father William, a plumber and engineer, to Cardiff’s Drill Hall. There, Jean was allowed to explore the little house before greeting the future King and Queen and proudly posing with them.

The Mail on Sunday has tracked down Jean, now 86 and living in Ontario, Canada. Eight decades on, she still recalls the excitement of the day she spent with Royalty.

‘It was luck that I was chosen really,’ she says. ‘I was a similar age Princess Elizabeth and my dad had installed all the plumbing and electricity in the cottage and knew the architect who designed it.

‘My first thought when I saw the house was that it was absolutely beautiful, unbelievable because everything was so life-like but in miniature.  The tea sets, the pictures, a fridge and a cooker, all perfect for a child to use.

‘I remember sitting down at the kitchen table and pouring myself a cup of tea in the little cups. Everything worked just like in a normal house, yet it was a toy.’

Jean, a retired secretary who moved to Canada with her husband Frank Sharman, 90, in 1968, presented a bouquet of flowers to the Duchess of York. The princesses themselves were unable to attend, but their parents were thrilled with the little house.



Jean Sharman on the day she handed over the keys in 1932

‘It was really difficult for adults, especially men, to get into the house easily but the Duke of York ducked down and had a look around. I can’t remember what I said to them, but I do remember they were impressed with the cottage. It would be hard not to fall in love with it.

‘The highlight for me was peddling round in a toy car that was also being given to Princess Elizabeth. It had a little space in the back with a small puppy sitting in it that was another gift from the people of Wales. I’ve always loved dogs and if I’d had the chance I would have taken him home with me rather than hand him over,’ she adds, laughing.

Jean and her husband, who have six great grandchildren, still come back to Britain every year to visit family and friends.

‘A couple of years ago we went to Windsor Castle and asked about The Little House but we were told that it was tucked far back in the gardens of Royal Lodge away from public view and no-one except the Royal Family are given access, which is a great shame.


‘We are coming back to Britain next month and it would be lovely to see it again. At the age of six I didn’t really think about the part I was playing in this historic event, but now I feel very privileged to have been one of the few people outside the Royal Family to have played in the house - even more so knowing I got to go inside it before the Queen herself.’


Queen Mary's Dolls' House in detail

Queen Mary's Dolls' House

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Queen Mary's Dolls' House is a doll's house built in the early 1920s, completed in 1924, for Queen Mary, the wife of King George V.
The idea for building it originally came from the Queen's cousin, Princess Marie Louise, who discussed her idea with one of the top architects of the time, Sir Edwin Lutyens at the Royal Academy Summer Exhibition of 1921. Sir Edwin agreed to construct the dolls' house and began preparations. Princess Marie Louise had many connections in the arts and arranged for the top artists and craftsmen of the time to contribute their special abilities to the house. As a result, the dolls' house has an amazing collection of miniature items that actually work. It even has running water through its tiny pipes. It was created as a gift to Queen Mary from the people, and to serve as an historical document on how a royal family might have lived during that period in England.
It showcased the very finest and most modern goods of the period. Later the dolls' house was put on display to raise funds for the Queen's charities. It was originally exhibited at the British Empire Exhibition, 1924–1925, and is now on display in Windsor Castle, at Windsor, Berkshire, England, as a tourist attraction, especially to people with an interest in miniature houses and furniture.
It was made to a scale of 1:12 (one inch to one foot), is over three feet tall, and contains models of products of well-known companies of the time. It is remarkable for its detail and the detail of the objects within it, many of which are 1/12 replicas of items in Windsor Castle. These were either made by the companies themselves, or by specialist modelmakers, such as Twining Models of Northampton, England. The carpets, curtains and furnishings are all copies of the real thing, and even the light fittings are working. The bathrooms are fully plumbed; that includes a flushable toilet and miniature lavatory paper.
In addition, well-known writers wrote special books which were written and bound in scale size by Sangorski & Sutcliffe. Sir Arthur Conan Doyle contributed the short story "How Watson Learned the Trick", and the ghost-story writer M. R. James wrote "The Haunted Dolls' House". Other authors included J. M. Barrie, Thomas Hardy, Rudyard Kipling and W. Somerset Maugham. (George Bernard Shaw rebuffed the princess's request for a tiny volume of his work). Painters also provided miniature pictures. Even the bottles in the wine cellar were filled with the appropriate wines and spirits, and the wheels of motor vehicles are properly spoked.
There is a hidden garden revealed only when a vast drawer is pulled out from beneath the main building. This has replicas of greenery and garden implements and follows a traditional ornamental garden theme.

















The Country House: Past, Present, Future: Great Houses of The British Isles / Written by Jeremy Musson and David Cannadine,

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The Country House: Past, Present, Future: Great Houses of The British Isles

Written by Jeremy Musson and David Cannadine, Contribution by The Royal Oak Foundation, Foreword by Tim Parker and Lynne Rickabaugh


This exciting new book on British country houses offers an unusual and magnificent look at the lifestyle, architecture, and interior design of the country house of the British Isles.

From Brideshead to Downton Abbey, the country house is a subject of fantasy and curiosity, as well as a rich resource to explore the history of great architecture and decoration and the lives of landowners and those who made the houses work. With hundreds of photographs from the National Trust, and others from public and private collections, this visually lavish volume draws back the curtain on important historic homes in England, Wales, Scotland, and Ireland. At the same time it reveals the complex stories of these interiors, both grand and hidden, from great halls, libraries and entryways to the kitchens and stables and gardens. Locations featured include Knole, Cragside, Castle Howard, Chatsworth, Polesden Lacey, Petworth, Bodiam Castle, Blenheim, Longleat, and dozens more.
An insightful essay by renowned British author and historian David Cannadine explores how the idea of the country house has changed over the past forty years. Additional essays reflect on how changing twentieth century values have impacted the country house, with contributions by writers and scholars such as Sarah Callander-Beckett on the private house, Dr. Madge Dresser on slavery and the country house, and Dr. Oliver Cox on the 'Downton Abbey 'effect.' The texts are woven around extensive picture essays, introduced and curated by country house specialist Jeremy Musson, which look at the identity and image of British country houses of all kinds and the stories they contain.

Specially shot interview with Costume Designer, Janice Rider, about working on the BBC series, 'All Creatures Great and Small'.

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 "In the early episodes I smoked a pipe, because I knew that Donald did in the early days," continued Hardy. "By the end I was very involved with my costumes and used to wear a lot of my own clothes, because at the beginning the designer put me into some of the most frightful stuff, which really made me unhappy because it just made me look like a block of really absurd tweeds.""[In series 6] Robert Hardy was still getting his costumes from Carters Country Wear in Helmsley," recalled costume designer Janice Rider in 2016. "I purchased his green tweed jacket and several waistcoats in a selection of bottle-green, fawn and mustard colours. He always wore Tattersall checked shirts and, apart from the shape of the collar, they haven't changed a great deal over the years."







Specially shot interview with Costume Designer, Janice Rider, about working on the BBC series, 'All Creatures Great and Small', which was recorded by BBC Pebble Mill, on location in Askrigg, in the Yorkshire Dales, and in Studio A.


All Creatures Great and Small - Janice Rider from pebblemill on Vimeo.



Teenage daughter of the Marquess of Queensberry, 18, died at Notting Hill house party after two-day heroin and cocaine binge /John Douglas, 9th Marquess of Queensberry / Wilde's sex life exposed in explicit court files / He betrayed Wilde. But that wasn't the worst thing Bosie did.

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Teenage daughter of the Marquess of Queensberry, 18, died at Notting Hill house party after two-day heroin and cocaine binge, inquest hears
Lady Beth Douglas, 18, was found dead in March with needle marks in her arm
Her death is the latest ‘Queensberry Curse’ tragedy to befall aristocratic family
Family members have endured suicide and violent deaths, married into Osama bin laden's family and 9th marquess was instrumental in Oscar Wilde's downfall
By CHRIS GREENWOOD CHIEF CRIME CORRESPONDENT FOR THE DAILY MAIL

PUBLISHED: 22:02 GMT, 9 November 2018 | UPDATED: 02:41 GMT, 10 November 2018

The teenage daughter of the Marquess of Queensberry died at a house party after a two-day drug and alcohol binge, an inquest heard.

Lady Beth Douglas, 18, the youngest child of David Douglas, the 88-year-old 12th marquess, was found with needle marks in her arm.

Her boyfriend thought she had fallen asleep on a sofa but dialled 999 when he was later unable to revive her at the flat in Notting Hill, west London.

The teenage daughter of the Marquess of Queensbury died at a house party after a two day drug and alcohol binge. Lady Beth Douglas, 18, the youngest child of Lord David, the 12th Marquess of Queensbury, was found with needle marks in her arm             +5
The teenage daughter of the Marquess of Queensbury died at a house party after a two day drug and alcohol binge. Lady Beth Douglas, 18, the youngest child of Lord David, the 12th Marquess of Queensbury, was found with needle marks in her arm

He discovered she had injected heroin, possibly for the first time. Tests also revealed cocaine and morphine in her blood.

Her father criticised detectives for failing to discover the identity of the dealer who gave her the drugs or even to contact other people who attended the party.

Beth’s death is the latest tragedy to befall a colourful aristocratic dynasty which has endured centuries of misfortune once labelled the ‘Queensberry Curse’.

The 18-year-old had injected heroin, possibly for the first time. Tests also revealed cocaine and morphine in her blood                +5
The 18-year-old had injected heroin, possibly for the first time. Tests also revealed cocaine and morphine in her blood

The 9th marquess played a leading role in the downfall of Oscar Wilde and he also gave his name to the official rules of boxing after endorsing changes to the sport in 1867 that largely put an end to bare-knuckle fighting.

More recently, the family has a link by marriage to the family of Osama Bin Laden.

Beth, known to family and friends as ‘Ling Ling’, was the only daughter of the marquess’s third wife, Taiwanese artist Hsueh-Chun Liao.

She was a student and talented violinist but struggled with drug and alcohol addiction and was being treated for mental illness.

Westminster Coroner’s Court heard she died after going to a house party at the £2.5million Notting Hill flat in March.

Her boyfriend Jenan Karagoli, 21, said the pair had spent at least two days drinking and taking drugs while staying in hotels.

At the house party he went out to buy wine after she complained about drinking cognac. He returned to find her apparently asleep on a sofa where he joined her.

Mr Karagoli admitted she had asked him to obtain heroin for her. He said: ‘I really didn’t want to do it. She used to snort heroin back before I even knew her.

Lady Beth Douglas was a student and talented violinist but struggled with drug and alcohol addiction and was being treated for mental illness             +5
Lady Beth Douglas was a student and talented violinist but struggled with drug and alcohol addiction and was being treated for mental illness

‘I said I didn’t know anyone. She made a phone call and said we were going to a party.’

Mr Karagoli, who had been taking anti-anxiety medication and cocaine, said he did not know who supplied the lethal drug.

‘She asked me to get her a bottle of red wine,’ he said. ‘When I came back I saw the person who lived there in a chair with a crack pipe. Ling Ling was asleep on the couch.’ Describing how he later tried to rouse her, he said: ‘I couldn’t wake her up. The man in the flat said she had taken heroin. I just picked up her arms and saw a little peck of dots.’

The inquest heard that Beth had been known to mental health services since the age of 13, when she started self-harming and had been sectioned under the Mental Health Act aged 17.

Lord Queensberry criticised police for failing to identify the dealer who gave his daughter the heroin and possibly helped her inject it.

He said: ‘There was mention there was a lot of drug-taking in this flat. I was concerned because in this flat where my daughter died, it seems to have been connected with the injection of heroin.

In 1895, the writer and wit Oscar Wilde (L) was jailed for gross indecency after a legal battle with the 9th marquess, whose son Lord Alfred Douglas (R), nicknamed ‘Bosie’, was Wilde’s lover             +5
In 1895, the writer and wit Oscar Wilde (L) was jailed for gross indecency after a legal battle with the 9th marquess, whose son Lord Alfred Douglas (R), nicknamed ‘Bosie’, was Wilde’s lover

‘The owner of the flat is not here to make any statement. And the other people at the party, police haven’t contacted them. I am almost certain that this is the first occasion in which my daughter, who had taken a lot of drugs...but she had not had intravenous heroin before as far as I know.

‘No one takes their first intravenous injection of heroin without assistance. Someone helped her and nobody seems interested as to who that is.’

The inquest recorded Beth’s cause of death as a cardiac respiratory failure and cocaine and heroin poisoning.

Coroner Dr Shirley Radcliffe apologised to the family for being unable to ‘answer all of your questions’. She said: ‘It’s not possible to say what the cause of death was – cocaine ingestion, heroin ingestion or a combination of the two drugs.

‘The police found no needles or syringes. As far as they are concerned there is no further action they can take in this matter.

‘They have no evidence of any criminal act and they had no identification details for the couple who were there that evening.’

A family with tragedies dating back to the dark ages
The ‘Curse of the Queensberrys’ dates back to the Scotland of the Dark Ages when Sir William Douglas died in the Tower of London in 1298 after fighting for William Wallace against the English.

His son, Sir James Douglas, a confidant of Robert the Bruce, died in 1330 taking his dead leader’s heart on a pilgrimage to the Holy Land.

The family were created earls in 1358. The 2nd earl died at the Battle of Otterburn in 1388, and the 4th earl was killed four years later in the Battle of Homildon Hill. The title was elevated to marquess by Charles II in 1681.

In 1858 the 8th marquess shot himself dead with his own gun while hunting rabbits. Two of his sons also died violent deaths.

In 1895, the writer and wit Oscar Wilde was jailed for gross indecency after a legal battle with the 9th marquess, whose son Lord Alfred Douglas, nicknamed ‘Bosie’, was Wilde’s lover. The case went to court after Wilde unsuccessfully sued the marquess for writing that he was a ‘sodomite’.

The current, 12th marquess, David Harrington Angus Douglas, has married three times, producing eight children by four women. Caroline Carey, half-sister of his illegitimate son Ambrose Carey, married Salem Bin Laden, a brother of terrorist Osama. When he died in a plane crash she married another brother, Khaled.

In 1995, Lady Beth Douglas’s half-sister, Lady Alice Douglas, married Simon Melia, an armed robber she met while holding a drama workshop at a prison. They divorced after he cheated on her. In 2009, Beth’s half-brother, Milo Douglas, 34, committed suicide by jumping off a tower block.


Marquess of Queensberry's daughter, 18, was 'working as a prostitute and earned money from online sex videos' before she died after taking heroin, her boyfriend reveals
Lady Beth Douglas, 18, died after injecting heroin for the first time in March
Her boyfriend Jenan Karagoli, 21, alleged she had been working as a prostitute
He said she had been earning money by taking part in online sex videos
By COURTNEY BARTLETT FOR THE DAILY MAIL

PUBLISHED: 22:00 GMT, 11 November 2018 | UPDATED: 09:21 GMT, 12 November 2018

A teenage aristocrat who died from a drugs overdose was working as a prostitute before her sordid death, her boyfriend has claimed.

Lady Beth Douglas, 18 – the youngest child of David Douglas, the 12th Marquess of Queensberry – died after injecting heroin for the first time in March.

Her boyfriend Jenan Karagoli, 21, alleged she had been working as a prostitute and earning money by taking part in online sex videos. She had also been selling her underwear online for £30 a time.

‘I knew about all this adult work, escorting, so on and so forth – but I kept my mouth shut,’ he said. He added that the day before her death on March 7, the couple had argued about her sexual behaviour. She would tell him to wait in a pub while she disappeared for hours.


 ‘She told me to sit and enjoy my Guinness while she went and met a friend. Soon she would phone and say she had got us a hotel room for the night,’ he said.

When Mr Karagoli asked how she had procured £250-a-night rooms when they were penniless, Lady Beth told him ‘I did what I had to do’.

Lady Beth Douglas was a student and talented violinist but struggled with drug and alcohol addiction and was being treated for mental illness             +7
Lady Beth Douglas was a student and talented violinist but struggled with drug and alcohol addiction and was being treated for mental illness

He was ‘disgusted’ at the idea of her working as an escort, and the pair had a tearful row in the middle of a three-day drugs binge, he said.

‘I knew something had been happening, but my mind was too clouded from the drink and drugs. I told her: “I know what you’re doing, you can talk to me about it. You don’t have to hide things from me and, if you’re desperate for money, I’ll help”,’ said Mr Karagoli.

He claimed he knew she had been performing dominatrix webcam shows with men for ‘two or three months’ and then she asked him if she should sell her used underwear online.

He called that ‘a step too far’, adding: ‘I now think all of this was a gateway to her seeing men in person, hence the hotel rooms.’ Mr Karagoli met the talented violinist, known to her family as ‘Ling Ling’, through friends on her 18th birthday and they had a ten-month relationship.

But he ‘could tell she had her demons from the day we first met’. He said: ‘A lot of it stemmed from losing her half-brother Milo to suicide. She loved him and would often tell me he was the only sibling to truly accept her.’

She would also often mention the ‘Queensberry curse’ and that the dynasty has endured centuries of misfortune. He said their relationship descended into regular cocaine-taking. On March 6, they were invited to a house party in Notting Hill, West London, close to the flat they shared.

The teenage daughter of the Marquess of Queensbury died at a house party after a two day drug and alcohol binge                +7
The teenage daughter of the Marquess of Queensbury died at a house party after a two day drug and alcohol binge

He described how Lady Beth asked him to leave the party to buy wine. When he returned at around 11.30pm, she had passed out on the sofa, so he went to sleep beside her. But at 1.30am he woke to find her ‘lifeless’.

He said: ‘She was so troubled but she was a wonderful woman.’ Mr Karagoli has now sworn off all drugs and declares himself ‘clean as a whistle’.

Last week an inquest recorded Lady Beth’s cause of death as a cardiac respiratory failure and cocaine and heroin poisoning.

A family with tragedies dating back to the dark ages
The ‘Curse of the Queensberrys’ dates back to the Scotland of the Dark Ages when Sir William Douglas died in the Tower of London in 1298 after fighting for William Wallace against the English.

His son, Sir James Douglas, a confidant of Robert the Bruce, died in 1330 taking his dead leader’s heart on a pilgrimage to the Holy Land.

The family were created earls in 1358. The 2nd earl died at the Battle of Otterburn in 1388, and the 4th earl was killed four years later in the Battle of Homildon Hill. The title was elevated to marquess by Charles II in 1681.

In 1858 the 8th marquess shot himself dead with his own gun while hunting rabbits. Two of his sons also died violent deaths.

In 1895, the writer and wit Oscar Wilde was jailed for gross indecency after a legal battle with the 9th marquess, whose son Lord Alfred Douglas, nicknamed ‘Bosie’, was Wilde’s lover. The case went to court after Wilde unsuccessfully sued the marquess for writing that he was a ‘sodomite’.

The current, 12th marquess, David Harrington Angus Douglas, has married three times, producing eight children by four women. Caroline Carey, half-sister of his illegitimate son Ambrose Carey, married Salem Bin Laden, a brother of terrorist Osama. When he died in a plane crash she married another brother, Khaled.




John Douglas, 9th Marquess of Queensberry
In February 1895, angered by the apparent ongoing homosexual relationship between Oscar Wilde and his son Alfred, Queensberry left a calling card reading "For Oscar Wilde, posing as Somdomite at Wilde's club. Wilde sued for criminal libel, leading to Queensberry's arrest.

Queensberry's lawyers, headed by barrister Edward Carson, portrayed Wilde as a vicious older man who seduced innocent young boys into a life of degenerate homosexuality. Wilde dropped the libel case when Queensberry's lawyers informed the court that they intended to call several male prostitutes as witnesses to testify that they had had sex with Wilde. According to the Libel Act 1843, proving the truth of the accusation and a public interest in its exposure was a defence against a libel charge, and Wilde's lawyers concluded that the prostitutes' testimony was likely to do that. Queensberry won a counterclaim against Wilde for the considerable expenses he had incurred on lawyers and private detectives in organising his defence. Wilde was left bankrupt; his assets were seized and sold at auction to pay the claim.

Queensberry then sent the evidence collected by his detectives to Scotland Yard, which resulted in Wilde being charged and convicted of gross indecency under the Criminal Law Amendment Act 1885 and sentenced to two years' hard labour. His health and reputation destroyed, Wilde went into exile in France.

Queensberry died on 31 January 1900. Ten months later, Oscar Wilde died at the Hotel d'Alsace in Paris.





Wilde's sex life exposed in explicit court files
Under the hammer: unpublished witness statements tell of 'rough' teenage boys and soiled sheets
Vanessa Thorpe and Simon de Burton

Sun 6 May 2001 02.42 BST First published on Sun 6 May 2001 02.42 BST

Explicit documents prepared for the Oscar Wilde libel case have come to light, offering a revealing new glimpse of the double life led by the celebrated Irish writer.
The shocking witness statements, previously unseen, were drawn up by employees at Day Russell of the Strand, solicitors for the defence in Wilde's disastrous 1895 legal action against the Marquis of Queensberry. Most of the papers were filed away and never used in court.

While Wilde is remembered today as the dandy-about-town, sporting bespoke suits and habitually wearing a green carnation in his buttonhole, these statements - from chamber-maids, valets, bell-boys and even a lamp-wick seller portray his private life in lurid detail.

Seedy descriptions of Wilde's bedroom are included in the damaging file, which was instrumental in Wilde's downfall and formed the background for one of the most famous cases in British legal history.

Wilde took legal action against the Marquis, father of his lover, Lord Alfred Douglas, after he found a visiting card left by Queensberry at the Albermarle club. It was inscribed with the words: 'For Oscar Wilde posing Somdomite [ sic ]'.

The 52 pages of statements from 32 witnesses have never been published and are hand-written on heavy sheets of paper. They were picked up in a London junk shop for a pittance during the Fifties by a private collector whose widow is now selling them at Christie's on 6 June. The historic bundle, wrapped in pink string, is expected to fetch £12,000.

Among the more sordid details are those revealed by Margaret Cotta, a chambermaid at the Savoy Hotel, a favourite rendezvous for Wilde and his series of young male 'renters'. Describing a prolonged visit to the hotel by Wilde and Alfred Douglas, who was affectionately known as Bosie, Miss Cotta said she found a 'common boy, rough looking, about 14 years of age' in Wilde's bed, the sheets of which 'were always in a most disgusting state... [with] traces of vaseline, soil and semen'.

Instructions were given that the linen should be kept apart and washed separately. Miss Cotta added that a stream of page boys delivering letters were usually kissed by Wilde, who then tipped them two shillings and sixpence for their trouble.

Thomas Venning, a manuscripts specialist at Christie's, said the documents provided a new account of Wilde's undoing and had 'very detailed sexual content which was only mentioned in the trial euphemistically'.

The statements also show Wilde's carefree attitude to discovery. Wallis Grainger, an apprentice electrician from Oxford, told how Wilde took him to a cottage in nearby Goring-on-Thames which he had rented and where he wrote An Ideal Husband.

On the second or third night, said Grainger, Wilde 'came into my bedroom and woke me up and told me to come into his bedroom which was next door... he worked me up with his hand and made me spend in his mouth'. The former butler of the Marquis of Queensberry was in the next room.

On another occasion, during the Goring regatta, Gertrude Simmons, governess to Wilde's two sons, reported seeing him 'holding the arm of a boat boy called George Hughes and patting him very familiarly'. During the same visit she came across a carelessly discarded letter to Wilde from Bosie which was signed 'your own loving darling boy to do what you like with'.

Another statement came from a 20-year-old called Fred Atkins, who Wilde had met at the Café Royale. Atkins said Wilde 'took me to the hairdresser and had my hair curled'. Wilde later took him off to Paris as his secretary, Atkins said. The job involved 'writing out only half a page of a manuscript which took about 10 minutes' after which Wilde 'made improper proposals'.

Queensberry had used detectives to track down a circle of male prostitutes, and some of their statements are among those being sold. Wilde's action against Queensberry opened on 3 April 1895 at the Old Bailey but collapsed with a not guilty verdict. At noon on 5 April, the evidence gathered by solicitor Charles Russell was immediately forwarded to the Director of Public Prosecutions and Wilde was arrested on a charge of gross indecency.

On 24 May, after two further trials, he was sentenced to two years' imprisonment with hard labour, which broke his health. After his release he lived abroad as a bankrupt under the pseudonym Sebastian Melmoth. He died in Paris on 30 November 1900.




He betrayed Wilde. But that wasn't the worst thing Bosie did
Douglas Murray's Bosie is a brave attempt at rehabilitation of a golden boy who played on his charm... until it ran out
Philip Hoare

Sun 4 Jun 2000 00.01 BST First published on Sun 4 Jun 2000 00.01 BST

Bosie: A Biography of Lord Alfred Douglas
Douglas Murray

In 1895, as the storm clouds gathered over the already tempestuous affair between Oscar Wilde and Lord Alfred Douglas, Bosie's intemperate and quite possibly insane father, the Marquess of Queensberry, voiced the opinion that his son ought to have 'the shit kicked out of him'.

I'm afraid it's an idea which might occur more than once to the reader wading through incident after paranoid incident of hurt, reproach, libel suit and vicious sonnet in Bosie's life story, all employed by this 'golden boy' in the relentless pursuit of his own ends. Douglas Murray's rehabilitation of his subject is a brave attempt to redeem a character immured in the calumny of legend. Beloved of Wilde, betrayed by Wilde, betrayer of Wilde, Douglas was a man-boy who played on his charm until it ran out, then raged against Fate for that mortal fact.

After a colourful introduction to the 'black Douglases', Murray's well-researched account soon has us in the thick of the affair, and by telling it from Douglas's point of view, the author gives us an illuminating new angle, especially on Bosie's sexuality. An early experimenter with his own sex, Douglas came to Magdalen as the leader of 'the cause', a campaigner by default. Yet he would turn both straight and Catholic post-Wilde. Indeed, it increasingly seems as though it was both protagonists' heterosexuality which proved their downfall.

Bosie had the added burden of genetic instability to cope with. Murray reminds us what a monster the Marquess was. He was a vicious man who damned his family to misery. None more so than Alfred, although his other son, Percy, was described by his father as a 'sicked-up looking creature, as if he had come up the wrong way. When he was a child swathed in irons to hold him together it used to make me sick to look at him and think that he could be called my son.'


Murray's account of the familiar tragedy of Wilde's trials is well marshalled. He points out that when Bosie failed to make it into the dock to defend Wilde, the rest of his life would seem to have been a series of attempts - often in the courts - to make up for the fact. Most crucial of all is the time-bomb of Wilde's prison letter to Douglas, De Profundis, which was kept from Bosie by Wilde's 'devoted friend' Robbie Ross and which Murray correctly sees as Wilde's most 'destructive legacy' to Douglas.

Bosie became twisted up in his own past, his literary talent wastefully channelled into vituperative sonnets and magazines which seem to exist solely for the purposes of pursuing his campaigns against Robbie Ross, the Asquiths, Jews, and any other party by whom he felt wronged. This sometimes tiresome sequence of spats culminated in the infamous Pemberton Billing trial of 1918, when the protofascist MP Billing alleged the war effort was being undermined by sexual perverts in the highest positions of influence. Douglas, seizing the opportunity for revenge on Ross - and Wilde, by one remove - and encouraged by Billing in his mad conspiracy theories, took the stand to declare that Wilde was 'the greatest force of evil that has appeared in Europe during the last 350 years'.

But Douglas's public nadir came when Churchill sued him over wild allegations that he had taken part in a Jewish-financed conspiracy to have Kitchener 'murdered' in 1916; Douglas received a prison sentence. Murray depicts this as a turning-point in Douglas's life. Like Wilde, Douglas wrote an epic work whilst in prison - In Excelsis - which his biographer sees as a purging of his old obsessions, although with lines such as 'The leprous spawn of scattered Israel/Spends its contagion in your English blood', it merely repeated the kind of libels which had got Douglas into prison in the first place. Contorted in the fundamentalist pathology of the time, such accusations were little removed from those made by Billing's intellectual patron, Arnold White, that: 'Wilde, after death, was found to have a tumour on his brain, a fact that pointed to a hospital rather than Reading gaol'.

Yet Douglas did redeem himself in the Twenties and Thirties, repledging his name to Wilde's. Abandoned by his wife, his son in a mental hospital, slipping further into poverty, he was supported only by his undoubted Catholic faith and friends as disparate as Marie Stopes and Bernard Shaw. In a centennial year which threatens many more books on Wilde, Murray's book does a fine job of putting an irksome and faded legendary boy to bed.

• Philip Hoare's study of the Billing case, Wilde's Last Stand , is published by Duckworth

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