TOUR D'HORIZON by Adèle Geras

The phrase 'tour d'horizon' is one I heard on  the 4th February, when I was on my walk, listening to one of my favourite podcasts. It's called The Rest is History and every episode is a conversation between Dominic Sandbrook and Tom Holland, both of them wonderful talkers and excellent historians and writers of accessible and fascinating books.  For this episode, on China, they had Michael Wood as their guest and the hour -long discussion of China's history was described as only touching the surface....glancing across the whole horizon...of an enormous subject.

 

So I decided to call my post by the same name because that's what it is: a glance across the last six months of the Pandemic, which has changed our lives in all kinds of ways and done very strange things to the ordinary unrolling of each day. In many ways, I'm leading exactly the same life I always do: in my house, by myself, getting on with my stuff.  There was a time, as recently as September 16th, which is when the photograph above was taken, when it was possible for me to get on a bus and go and meet my friend Caroline Wilson in the garden of Emmanuel College. She showed me this magnificent tree, the oldest in Cambridge and we sat there on a bench in the sunshine having coffee from a flask and wondering what the autumn would bring. I'd just read a book by Richard Powers called  The Overstory and so trees were on my mind and this one  had a history of many hundreds of years. 

Trees again....all through this time, in hard lockdowns and easier times too,  I've been walking in my own neighbourhood. I always have an eye out for the trees and this shot taken in late October shows them at their best.  I do an hour a day and sometimes I go through a suburb which has grown up from scratch about five minutes from my front door. When we came to Cambridge in 2010, there was nothing but fields between our house and Addenbrooke's Hospital. Now there's a whole suburb there, called Great Kneighton, complete with school, Medical Centre, and lots of imaginatively designed (for the most part) houses and flats. There's Hobson's Park  in the middle  of Great Kneighton and that has a lovely bird reserve. You can look over the bird reserve and see the blue curve of Royal Papworth Hospital in the distance. You'll see a photograph of this towards the end of this post. One of the things I most admire about the design of Great Kneighton is the imaginative planting of many different varieties of trees and shrubs which is still going on. Only yesterday gardeners were busy putting in lots of saplings. 

One of the joys of being in Tier 2 in November was still being able to meet a friend in the park for a walk. Judith Lennox and I walked a lot on Jesus Green in Cambridge and ended our walk sitting outside at a pavement cafe back in the day when this was still allowed. The weather was cold but it was such an enjoyable thing to do. 

The date on the photo above is New Year's Eve. Helen Craig (of Angelina Ballerina fame) and I went walking in Great Shelford Recreation Ground. I went there once about nine years ago to watch my grandson playing football but here it had been raining.  There's a lot of Great Shelford history attached to Helen. Her daughter-in-law is the writer Sally Christie who still lives in the village.   Sally is the daughter of Philippa Pearce, who is arguably the most famous person to have lived here. Philippa's children's books,  especially Tom's Midnight Garden, are classics and several (like Minnow on the Say) are set along this stretch of river. There's now a memorial arch to Philippa a few yards away from the river, at the entrance to the children's playground. 

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On another walk, on January 6th, I came across the little star labelled HOPE. I regarded this as an omen for my new book, which is being published on March 4th under my pseudonym HOPE ADAMS. It's a novel called Dangerous Women, and my publishers, Michael Joseph in the UK and Berkley in the USA (where it came out ten days ago) have done wonders online to publicise it and ensure that the world  is aware of it. Still, it's odd  not being able to visit bookshops and I'm looking forward to the world of books returning to normal by the time the paperback appears.

What the little star did turn out to be an omen for was the Vaccine. I had my first jab at my local Medical Centre and was able to walk there and back. This lovely young woman was my vaccinator and the whole process took minutes. All most efficiently and kindly done and it's the vaccines which give me the expectation that one day this pandemic will end and we will be able to see everyone again, just as we did in those long ago days before Corona virus hit us. It goes without saying that I'm full of admiration and praise for everyone in the NHS who has worked hard to deal with everything that's been thrown at them. But I'm also grateful to shop workers, delivery drivers, bus drivers, teachers, home schoolers and everyone else who's worked their socks off to make things bearable. Most of all, though, I'd like to thank every scientist who's worked on ways of vaccinating us, finding drugs to  help us if we get sick and every single person who's had to deal with this strange situation in the best possible way. 

The blue building is Royal Papworth Hospital, part of the Cambridge University Hospitals, which with Addenbrooke's just behind it, employs thousands of people and contributes to the welfare of the area and the nation in so many ways.  I'm not about to write any fiction about the Pandemic, but it will be interesting to see the novels and dramas that emerge in future, reminding us of what went on, all over the world. This is a particular moment in history and I've had a ringside seat for it, in front of my television. We take television for granted but it's been a real life saver. I've also read reams and reams about the situation in newspapers and  I'm grateful to all journalists, film makers and broadcasters. They showed us the world and explained it at a very strange time.

Gaetano Meo and his great-granddaughter. By Adèle Geras

 Before Christmas, I spoke to my friend Helen Craig about her great-grandfather, Gaetano Meo, and I'm also  grateful to Sarah Timewell for her help with much information about him. He's the handsome young man in the very jolly hat below. 

He's also the gorgeous youth in Edward Burne- Jones's famous painting, Love among the Ruins. You will find him in paintings by Dante Gabriel Rossetti, Henry  Holiday, and William Blake Richmond, who taught the young Italian to paint. Gaetano had walked all the way across Europe from his home province, Basilicata, near Calabria, earning money by playing his harp. In London, he met members of the Pre-Raphaelite Brotherhood and today, his image is here, on display in the exhibition currently on show at Tate Britain.

Below is one of Gaetano's drawings, now in the possession of his great grand-daughter, Helen Craig.  It's a depiction of his birthplace, called A Memory of Basilicata.

Readers all over the world know Helen as the creator of the beautiful illustrations for Angelina Ballerina, but as well as being one of our best illustrators of many different children's books in addition to the  Angelina stories, she's also an accomplished sculptor. 

Helen grew up hearing stories about her famous great-grandmother, Ellen Terry, whose son by Edward Godwin was the theatre designer, Edward Gordon Craig. He has a theatre called after him in Stevenage and he changed the way sets were conceived and hugely extended the possibilities of what could be done on a stage. While a neighbour of the Downshire Hill house in Hampstead, Edward Gordon Craig, (who was married) fell in love with Elena, Gaetano's violinist daughter and they ran away to live together.  Gaetano was enraged, but later,  he and Elena were reconciled. Helen's father, art director Edward (Carrick) Craig, often sat with his grandfather, listening to tales of his adventures on the way to England, including the story of the captain who smuggled him aboard a ship bound for London...

The grave where Gaetano is buried was somehow forgotten until  recently. It was made by him as a memorial for his beloved wife and it was the last mosaic he created. When it was rediscovered,  it was not in a good state, but Helen, together with the well-known mosaicist Tessa Hunkin (who carried out the skilled cleaning, and the replacement of fallen tesserae) brought it back to its old glory once again.

After much preliminary experimentation with different paints to see what would be suitable for working on  glass (which is the material used for the tesserae) and after many sketches of the Madonna and her child, Helen went to Hampstead Cemetery to paint new and beautiful faces on Gaetano's gravestone. Her nephew, Paul,  fixed up a wooden frame which made it possible to paint straight on to the glass and here's a picture of Helen doing that on a hot summer day.

This is the finished image .....

...and I'm sure Gaetano would have loved it and been proud that his own great granddaughter  was instrumental in restoring it to a state of great beauty.  If there's an afterlife, Helen's ancestor, (who seems to have been a delightful man, as well as a talented artist,) would be thrilled to bits with what she's done.  

Helen has a hat too, though it lacks Gaetano's decorations. Here she is at the grave. She should put a feather in her cap, I think, in honour of what she and Tessa Hunkin have rescued from oblivion.

Portrait of a Lady . A guest post by Philip Stott. Introduced by Adèle Geras

For some years now, the Stotts, (Philip and Anne) have been good friends of mine. The friendship began when Philip emailed my late husband,  Norman Geras, on  his blog (normblog).  Norm very quickly discovered that Anne Stott knew a great deal about many things, not least Jane Austen, and he often asked Anne to write for the blog, which she did with great style and erudition.  I'm hoping to ask her to contribute to the History Girls in the fullness of time but meanwhile, her husband, Philip Stott, is writing here about a forthcoming exhibition at Ightham Mote.

It's thanks to the Stotts that I have such a good working knowledge of National Trust Scones. I have visited NT properties mainly with them and what they don't know about almost everything isn't worth knowing. They're the best of guides and now Philip has found his true métier as a Volunteer at Ightham Mote. He's writing here about something I hope many History Girls and also many readers of this blog might find interesting.

“She had an immense curiosity about life, and was constantly staring and wondering.”



The story of Elsie Palmer, and of her spirited mother, is worthy of a Henry James novel.

In April 1887, a still-young American woman, Mary Lincoln Mellen Palmer, Queen, brought her three daughters, Elsie, Dorothy (‘Dos’), and Marjory, to live at the late-Medieval moated manor house of Ightham Mote in Kent, England [https://www.nationaltrust.org.uk/ightham-mote]. The family were to stay at the Mote until March 1890. Their father, William Jackson Palmer, the founder of Colorado Springs, a famous railroad engineer, Union Army General, and recipient of the Medal of Honor, would visit them from time to time, as work permitted, most notably for Christmas, 1887.

During her residence at the Mote, Queen, who had received her universally-used nickname from her maternal grandmother, entertained many distinguished people in the world of the arts. Her fascination with the Aesthetic Movement was why she had chosen to rent an English moated manor house in the first instance, and she soon began to turn it into a rural ‘salon’ visited by such luminaries as the great American writer, Henry James.

[This photo was taken in1889 and shows Queen Mellen Palmer with her eldest daughter, Elsie, and the family dog, in the north-eastern corner of the Medieval courtyard at Ightham Mote, Kent. Ightham Mote Archives.] 

These notable Americans were joined by some of the leading lights of the English Aesthetic Movement, including:
the painter Edward Coley Burne-Jones; the doyen of the Arts and Craft movement, William Morris; the novelist and poet, George Meredith; the actress, Ellen Terry; and the costume designer, Alice Strettell (Mrs J. Comyns Carr).

Most important of all, however, Queen commissioned the controversial American portraitist, John Singer Sargent, to paint her eldest daughter, Elsie, against the antique linen-fold panelling of the Mote. This portrait is now regarded as one of Sargent’s masterpieces. It is known as A Young Lady in White, and it normally hangs at the Colorado Springs Fine Arts Center in the beautiful mountain resort established by her father.
However, from March 4 until 23 December, 2017, this stunning work has returned to the old house in which it was painted, where it will be displayed on a special stage in a room close to where Elsie took up her pose, and where it forms the centre piece of a major Exhibition entitled The Queen of Ightham Mote - an American Interlude: Queen Palmer, John Singer Sargent and their Circle.

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[Miss Else Palmer, aged 17, A Young Lady in White, by John Singer Sargent, 1889-90, Colorado Springs Fine Art Center]

John Singer Sargent’s powerful portrait of Elsie Palmer [oil on canvas; 190.5 x 114.3 cm] was mainly painted when she was aged 17. Over the years, it has been given a number of titles, including A Young Lady in White, Portrait of a Girl in White, and Portrait of Miss Elsie Palmer. For the portrait, Sargent made a range of pen-and-ink/oil sketches of Elsie, including an exquisite full-length oil sketch of her wearing the same dress in the late-Medieval Great Hall of Ightham Mote [exhibited in the Oriel Room]. The final portrait is inscribed, lower right, ‘John S. Sargent 1890’, and it was first shown at Joseph Comyns Carr’s New Gallery, Regent Street, London, in 1891.

The family owned the picture until the mid-1920s, when it was purchased by a family friend, Col. Charles Clifton, and presented to the Albright [-Knox] Art Gallery, Buffalo, N.Y. It was finally acquired in 1969 by the Colorado Springs Fine Arts Center with funds collected through public subscription. In 1998/99, it formed part of the important Sargent at the Tate exhibition in London.

Richard Ormond, Sargent’s great nephew and a world authority on the artist notes that:
 “.. the portrait remains one of Sargent's most compelling and original characterisations."
 He observes: “Elsie appears hauntingly beautiful, dressed in a costume that is both picturesquely antique and stylishly modern.
 The linen-fold panelling behind her plays up the feeling of past times and historical associations.  Because she has not ‘come of age’, she wears her hair long, and her dress, as we can tell from a preliminary study, is ankle-length, another sign of her youth.” He further adds that the “... frontal and symmetrical pose is often to be found in pictures of the Madonna by Renaissance masters.”

The Exhibition also features many other items relating to the Palmer family’s stay at Ightham Mote, including replicas of Elsie’s dress and of Ellen Terry’s famous beetle- wing costume in which she played Lady Macbeth in 1888/89. But most importantly, there is a second major work by Sargent. While he was engaged on the great portrait of Elsie, he also produced a large canvas of bowls being played on the North, or ‘Bowling Green’, Lawn. This is a classic conversation piece distinguished by the portrayal of a group of people engaged in civilized conversation and genteel activity out of doors. 



[A Game of Bowls, Ightham Mote, Kent by John Singer Sargent, 1889. Sotheby's New York]

Typically, the  group comprises membersof the family (Queen and Elsie), with close friends (Alma Strettell; Violet, Sargent’s sister; and the Jamesons). Amusingly, it has often been taken to be a comment on English weather. The Hon. Sir Evan Charteris wrote of the scene in 1927: “Here he has caught English scenery, not at its best by any means, but in a grave and dreary mood, low in key and tone, but not lacking in truth either of colour or general effect. Moreover, the game goes forward as though the players themselves were affected by the opacity of the atmosphere.” Elsie recalled later that the ladies were all expected to wear hats. A Game of Bowls has been generously loaned to Ightham Mote for the Exhibition by Sotheby’s, New York, with the option to buy this fine work permanently for the house. An appeal has been launched to raise the necessary funds. 

It would be wonderful if some of the History Girls were able to come to see Elsie and the Exhibition during the year, especially as Adèle Geras will be assisting Helen Craig, the creator of Angelina Ballerina, in an Angelina Ballerina and Henry workshop and trail. Helen is the great granddaughter of Ellen Terry, the fond friend of both Queen and Elsie, while her grandfather, Edward Gordon Craig, the famous theatre designer, was the childhood playmate of the three Palmer sisters during their stay at Ightham Mote.

[ from The Gardeners’ Chronicle, Saturday, February 2, 1889, pp.135-136]

Ightham Mote is open daily throughout the Exhibition. See here for full details: https://www.nationaltrust.org.uk/ightham-mote/openingtimes.

Philip Stott is Emeritus Professor in the University of London, where he taught at SOAS. Since his retirement, he has been a volunteer room guide and researcher at National Trust Ightham Mote. He has a long-term interest in early music and art. He is married to the historian and biographer, Anne Stott.