Beauties of the age – sketches by Thomas Orde, 1st Baron Bolton

This blog is a little different in so much as it is primarily looking at some sketches that we came across whilst doing a spot of research at North Yorkshire archives. We were looking for a specific 18th-century person when the archivist told us that they had a book of sketches by Thomas Orde, 1st Baron Bolton (1740-1807), that she thought we might like to see.

Thomas Orde married the daughter of the 5th Duke of Bolton, Jean Browne Powlett and assumed the name Orde-Powlett in 1795. He was then created 1st Baron Bolton two years later.

Upon opening the sketchbook, we were amazed by who we found and are excited to share them with our lovely readers. These sketches have probably been safely preserved in the archives and rarely if ever been looked at for years.

So, bear in mind these are private sketches, never published as works of art, but merely drawings by Thomas. There are quite a few sketches in the collection which were drawn at an event in Buxton 1777 but they are mainly family ones, apart from one of the Duchess of Devonshire. So far we haven’t found any references to any event that took place in Buxton matching that year, so we can only presume it was a private gathering but presumably he took his sketchbook with him and you can almost imagine him sitting there sketching people. We are aware that other sketches are in the public domain, but we can’t find anywhere that shows these beauties. As to whether the individuals would have been flattered by their likenesses, who can say. Others are not dated, so we have no idea when or where they would have been sketched.

We have put the sketches alongside known portraits of the sitters, we would love to know what you think.

We begin with Emma, Lady Hamilton. This one is not dated.

Emma, Lady Hamilton, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
Emma, Lady Hamilton, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
Romney, George; Emma Hart (c.1765-1815), Lady Hamilton, as Euphrosyne (?); National Trust, Trerice;

Next we have Anne, Marchioness Townsend. She looks decidedly ‘matronly’ and not at all glamorous in this sketch unlike her portrait by Reynolds. We’re not at all sure she would have been flattered by this sketch.

Marchioness Townsend, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
Marchioness Townsend, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
Anne, Viscountess Townshend by Joshua Reynolds
Anne, Viscountess Townshend by Joshua Reynolds

Next, we have Mary Isabella, Duchess of Rutland. Note the fashionable ‘high hair’.

Mary Isabella, Duchess of Rutland, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
Mary Isabella, Duchess of Rutland, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
Lady Mary Isabella Somerset, 4th Duchess of Rutland original by Joshua Reynolds
Lady Mary Isabella Somerset, 4th Duchess of Rutland original by Joshua Reynolds

Then we have the beautiful Georgiana, Duchess of Devonshire and her sister, Henrietta Ponsonby, Countess of Bessborough.

Duchess of Devonshire, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
Duchess of Devonshire, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
The Duchess of Devonshire by Thomas Gainsborough, 1783.
The Duchess of Devonshire by Thomas Gainsborough, 1783.
Countess of Bessborough, sketch by Thomas Orde, 1st Baron Bolton, Courtesy of North Yorkshire Archives
Countess of Bessborough, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
1793 portrait of Henrietta, Countess of Bessborough by Angelica Kauffman
1793 portrait of Henrietta, Countess of Bessborough by Angelica Kauffman

There’s another one of Georgiana, Duchess of Devonshire, this one is dated and was sketched at Buxton.

Duchess of Devonshire, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
Duchess of Devonshire, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives

Last, but by no means least we present the actress, Mrs Sarah Siddons.

Mrs Sarah Siddons, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
Mrs Sarah Siddons, sketch by Thomas Orde, 1st Baron Bolton. Courtesy of North Yorkshire Archives
Mrs Siddons, 1785 by Thomas Gainsborough. National Portrait Gallery NG683
Mrs Siddons, 1785 by Thomas Gainsborough. National Portrait Gallery NG683
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The Great Chaise Match, Newmarket, 1750 by James Seymour

The Great Chaise Match on Newmarket Heath, 29th August 1750

In the early summer of 1750, the Earl of March (later the 4th Duke of Queensberry and more commonly known as ‘Old Q’) and Alexander Montgomerie, 10th Earl of Eglinton made a wager with Theobald Taaffe, Esquire that a four-wheel carriage (or chariot/chaise), carrying a man, could run 19 miles on Newmarket Heath within an hour. The stakes were high, as the bet was for 1,000l.

The Earl of March and His 'Blossom' by William Shaw, 1754
The Earl of March and His ‘Blossom’ by William Shaw, 1754; Northampton Museums & Art Gallery

Theobald Taaffe was from an Irish Roman Catholic family. Having married a wealthy English heiress and through her gained rights in a Jamaican property and a house in Hanover Square he had a brief interest in politics before setting to in squandering his fortune in high living. During 1750, Taaffe was one of the boon companions of the Duke of Bedford and Lord Sandwich, who were spending their whole time that summer in ‘riot and gaming’. This perhaps gives some indication of the atmosphere in which the Newmarket wager was conceived.

In 1751, Horace Walpole wrote to his friend, Horace Mann describing Theobald Taaffe as:

an Irishman, who changed his religion to fight a duel, as … you know, in Ireland a Catholic may not wear a sword. He is the hero who having betted Mrs. Woffington five guineas on as many performances in one night, and demanding the money which he won, received the famous reply, double or quits. He is a gamester, usurer, adventurer, and of late has divided his attentions between the Duke of Newcastle and Madame de Pompadour, travelling with turtles and pineapples in post-chaises, to the latter, flying back to the former for Lewes races—and smuggling Burgundy at the same time.

William Douglas, Earl of March, was cut from much the same cloth as Taaffe; he too had a reputation as a dissolute gambler and a rake. He also had a keen interest in horses and horse racing and was so frequently seen on the turf at Newmarket that it was almost his second home.

The 4th Duke of Queensberry ('Old Q') as Earl of March by Joshua Reynolds, 1759
The 4th Duke of Queensberry (‘Old Q’) as Earl of March by Joshua Reynolds, 1759; The Wallace Collection

The match was to be run in August; it was supposed to take place in the middle of the month but was pushed back to the 29th. Lord March and Lord Eglinton commissioned a lightweight four-wheeled carriage from Mr Wright, a coachmaker in Long Acre, Covent Garden, to be built in haste. Long Acre was known for coachbuilding and Wright was one of the most noted, along with John Hatchett who also had premises on the street.

View of Mr Hatchett's Capital House in Long Acre, 1780.
View of Mr Hatchett’s Capital House in Long Acre, 1780.

The first prototype of the four-wheeled race carriage was not an unbridled success; in trials on the heath two horses were killed and one lamed. Another carriage was built and conveyed to Newmarket which proved much more successful.

It is a most surprising piece of mechanism, and ‘tis said it does not weigh much more than 100 weight.

(Newcastle Courant, 7th July 1750)

This second carriage was extremely light and almost skeletal, and not at all what Taafe had envisaged when he made his bet. The Earl of March was a canny and astute operator and never bet when he thought the odds were against him; he almost certainly had a carriage of his own design – moreover one pulled by trained horses – in mind when he agreed to the challenge.

Even so, in early July, the bets were three to two that they didn’t do it.

Alexander Montgomerie, 10th Earl of Eglington by Joshua Reynolds c.1766.
Alexander Montgomerie, 10th Earl of Eglington by Joshua Reynolds c.1766. Abe Bailey Collection

Eventually, the date was set, to great excitement. Despite the report below, it was actually run on 29th August 1750 which was a Wednesday.

The Four Wheel Carriage, so long talked of, will certainly be run on Newmarket Heath on Tuesday next, when it is expected there will be the greatest number of nobility, &c that has been for many years at that place.

(Derby Mercury, 24th August 1750)

The carriage had one of Lord March’s postilions seated in it and four horses to pull it. Just before seven o’clock in the morning, they were off, starting at the Six Mile House on the Newmarket racecourse.

The near fore horse was a brown one, named Tawney, late Greville’s; the off fore horse was a dark grey, named Roderick Random, late Tom Stanford’s; the near wheel horse was a chestnut, named Chance, late Duke Hamilton’s; and the off wheel horse a grey, named Little Dan, late Parson Thompson’s of Beverley.

The Chaise Match Run on Newmarket Heath on Wednesday the 29th of August, 1750 by James Seymour.
The Chaise Match Run on Newmarket Heath on Wednesday the 29th of August, 1750 by James Seymour. Yale Center for British Art, Paul Mellon Collection

Three boys were assigned seats on the horses while the fourth was ridden by William Everett, groom to a Mr Panton, all four of them wearing blue satin waistcoats, buckskin breeches, white silk stockings and black velvet caps. Another groom, dressed in crimson, rode in front to clear the way. The poor postilion, sitting precariously in the carriage, wore a white satin waistcoat, black velvet cap and red silk stockings (although in the picture above he appears to be dressed similarly to the riders).

Immense crowds had come to watch, the ‘greatest part of the Sporting Gentlemen in England present’ and betting had changed to five to three in favour of the 19 miles being covered in less than an hour.

Luckily for the Earls of March and Eglinton, everything ran to clockwork. The first four miles were run in just nine minutes and there was then little doubt in the minds of the spectators but that Lord March and Lord Eglinton would be victorious. In the end, the spectacle was completed in well under the allotted hour (the London Evening Post said in 53 minutes and 20 seconds, and the Whitehall Evening Post had the time at 54 minutes 30 seconds but both newspapers agreed that the carriage could actually have covered 20 miles in less than an hour).

The Great Chaise Match, Newmarket, 1750 by James Seymour
A slightly different version of the Great Chaise Match, Newmarket, 1750 by James Seymour; The National Trust for Scotland, Brodick Castle, Garden & Country Park

At least three of the horses, Tawney, Roderick Random (named after the eponymous hero of Tobias Smollett’s, The Adventures of Roderick Random which had been published two years earlier) and Little Dan were auctioned off at Newmarket a few weeks later. Perhaps Chance was the horse ridden by William Everitt, and described below as Evrat’s Horse?

On Thursday last the Chaise Horses were sold at Newmarket as follows:

  1. Tawney, for 110 guineas to Mr Horsley
  2. Roderick Random, for 90 guineas to Sir Thomas Sebright
  3. Little Dan, for 55 guineas to Mr Prance
  4. Surly, for 56 guineas to Mr Vernon
  5. Single Peeper, for 50 guineas to Lord Chedworth
  6. A Bay Horse, got by Fletcher’s Arabian, for 80 guineas to Mr Prance
  7. A Grey Horse, got by Dusty Miller, for 28 guineas to Sir William Beauchamp Proctor
  8. Evrat’s Horse, for 27 guineas to Mr Allen

(Derby Mercury, 12th October 1750)

Sources not mentioned above:

The Ipswich Journal, 9th June 1750 and 1st September 1750

Taaffe, Theobald (c.1708-80), of Hanover Sq., London, published in The History of Parliament: the House of Commons 1715-1754, ed. R. Sedgwick, 1970

The Duchesses of Devonshire in the long eighteenth-century

We all know of the famous (or infamous) Duchess of Devonshire, Georgiana Cavendish née Spencer. But, what of the other Duchesses of Devonshire during the long eighteenth-century? Today, we are taking a whistle-stop tour to look at them one-by-one.

We start with Lady Mary Butler (1646-1710), daughter of James Butler, 1st Duke of Ormonde. In 1662 she married William Cavendish (1640-1707), then merely Lord Cavendish, the eldest son of William Cavendish, 3rd Earl of Devonshire; in 1684 Mary became the Countess of Devonshire when her husband succeeded to the earldom. His support of the Glorious Revolution in 1688 brought him the support of William III (of Orange) and in 1694 the Earl and Countess of Devonshire became, additionally, the 1st Duke and Duchess of Devonshire.

Lady Mary Butler (1646-1710), Duchess of Devonshire by Willem Wissing
Lady Mary Butler (1646-1710), Duchess of Devonshire by Willem Wissing; National Trust, Hardwick Hall

Next is the Honourable Rachel Russell (1674-1725), daughter of William Russell, Lord Russell and the wife of William Cavendish, 2nd Duke of Devonshire (c.1672-1729) (you might be gathering by this point that the Cavendish family weren’t that imaginative when it came to naming the heir!). William and Rachel married on 21st June 1688 and had five children.

Rachel Russell (1674-1725), Duchess of Devonshire by Godfrey Kneller
Rachel Russell (1674-1725), Duchess of Devonshire by Godfrey Kneller; National Trust, Hardwick Hall

The eldest son of the 2nd Duke and Duchess was… you’ve guessed it! William Cavendish, 3rd Duke of Devonshire (1698-1755). At a young age, he married Katherine Hoskins or Hoskyn (c.1698-1777) of whom little appears to be known.

An interesting snippet concerning the 3rd Duke and Duchess of Devonshire, they are the most recent common ancestors of Charles, Prince of Wales and Lady Diana Spencer; Charles is descended from the 3rd duke’s eldest son (who we will come onto next, go on, have a guess at his name!) and the second eldest daughter of the family, Lady Elizabeth Cavendish (who married John Ponsonby) was the direct ancestor of Diana.

Katherine outlived her husband by more than 20 years.

Portrait of Katherine Hoskins, Duchess of Devonshire as St Catherine by Charles Jervas
Portrait of Katherine Hoskins, Duchess of Devonshire as St Catherine by Charles Jervas; Chatsworth House

Yes, you’re correct! The next to hold the title was William Cavendish, 4th Duke of Devonshire who, when Marquess of Hartington, married Lady Charlotte Elizabeth Boyle, the only surviving daughter of Richard Boyle, 3rd Earl of Burlington (it was a wedding which had been planned since they were both children, and was a very happy one). Charlotte inherited all her father’s estates and the title of Baroness Clifford in her own right.

Lady Dorothy Boyle (1724-1742), Countess of Euston, and Her Sister Lady Charlotte Boyle (1731-1754), Later Marchioness of Hartington by Dorothy Savile
Lady Dorothy Boyle (1724-1742), Countess of Euston, and Her Sister Lady Charlotte Boyle (1731-1754), Later Marchioness of Hartington by Dorothy Savile; National Trust, Hardwick Hall

Now, strictly speaking, Charlotte should not be included here as she never actually became the Duchess of Devonshire. She died of smallpox at Uppingham in Rutland at the beginning of December 1754, mere months before her husband became the duke upon the death of his father (and tragically, she died just over 8 months after the birth of her fourth child). So, Charlotte was only ever Marchioness of Hartington, but we felt she should take her place on this blog.

Lady Charlotte Boyle (1731-1754) by George Knapton
Lady Charlotte Boyle (1731-1754) by George Knapton; English Heritage, Chiswick House

And so we come to William Cavendish, 5th Duke of Devonshire (1748-1811), who married Lady Georgiana Spencer (1757-1806) in 1774, on her 17th birthday at Wimbledon parish church. It is well-known that the marriage was unhappy; the duke was emotionally cold to Georgiana although he continued to entertain mistresses.

Georgiana, Duchess of Devonshire by Thomas Gainsborough, 1787
Georgiana, Duchess of Devonshire by Thomas Gainsborough, 1787; Chatsworth House

In 1782, the Duke and Duchess of Devonshire made the acquaintance of Lady Elizabeth (Bess) Foster née Hervey (1758-1824), the daughter of Frederick Hervey, 4th Earl of Bristol who was separated from her own husband (and three sons). The two ladies became friends, and Bess and the duke more than that; Bess went to live with the couple and something of a ménage à trois developed, reluctantly tolerated by Georgiana (Bess and the duke had two illegitimate children together).

Georgiana, Duchess of Devonshire, and Lady Elisabeth Foster, miniature by Jean-Urbain Guérin, 1791.
Georgiana, Duchess of Devonshire, and Lady Elisabeth Foster, miniature by Jean-Urbain Guérin, 1791. The Wallace Collection

Georgiana embarked upon an affair of her own after having given birth to two daughters (Lady Georgiana Dorothy Cavendish, known as Little G and Lady Harriet Elizabeth Cavendish, or Harryo) and a son and heir, William George Spencer Cavendish, aka Hart (as his title from birth was Marquess of Hartington). Her lover was the politician Charles Grey (later Earl Grey), and the affair resulted in a daughter, known as Eliza Courtney, in 1792, resulting in the duchess being banished abroad for a period of time before she was allowed home to live with her husband, children and Bess.

After Georgiana’s early death in 1806 (she was 48), the 5th Duke of Devonshire married Bess, so she too gained the title of Duchess of Devonshire although the duke died just two years after their wedding.

Lady Elizabeth Christiana Hervey (1759-1824), Lady Elizabeth Foster, Later Duchess of Devonshire by Angelica Kauffman
Lady Elizabeth Christiana Hervey (1759-1824), Lady Elizabeth Foster, Later Duchess of Devonshire by Angelica Kauffman; National Trust, Ickworth

Hart (otherwise William Cavendish, 1790-1858), the eldest son of the 5th Duke of Devonshire and Georgiana did in time become the 6th Duke (in 1811) but he never married.

After Hart’s death, in 1858, the title passed to the eldest son of George Cavendish, 1st Earl of Burlington who, in turn, was the eldest son of the 4th Duke of Devonshire and Lady Charlotte Boyle. With excellent forward planning, he too was named William Cavendish and, although we’re well out of the ‘long eighteenth-century’ now, we’ll share one last image with you, of another woman who took her place in the Cavendish family tree but who never became Duchess of Devonshire.

In 1829, the 7th Duke, before he had come into his estates and titles (he was, from 1834, the 2nd Earl of Burlington), married Blanche Georgiana Howard (1812-1840), the daughter of George Howard, 6th Earl of Carlisle and Georgiana Cavendish who we have already mentioned above as ‘Little G’, the eldest daughter of Georgiana, Duchess of Devonshire.

Lady Blanche Georgiana Howard (1812-1840), Countess of Burlington by John Lucas
Lady Blanche Georgiana Howard (1812-1840), Countess of Burlington by John Lucas; National Trust, Hardwick Hall

It was to be a short but happy marriage, engineered by Hart, the childless 6th Duke of Devonshire; five children were born to the couple before Blanche died in 1840, aged just 28. For the last two years of her life, Blanche, Countess of Burlington, was one of Queen Victoria’s Ladies of the Bedchamber.

If you’ve enjoyed reading this, then you might enjoy our Georgian and Victorian era biographies which are available with worldwide free postage from Book Depository or from all good retailers.

Featured image

Georgiana, Duchess of Devonshire with her infant daughter Lady Georgiana Cavendish by Joshua Reynolds; Chatsworth House.

The Next Dance, George Goodwin Kilburne,

Madame de Staël in London

14th July 1817 saw the demise of the Swiss author, woman of letters and political thinker, aged 51, Madame Germaine de Staël.  She was regarded as a witty socialite and always wore the most fashionable if daring clothing. Living through the French Revolution and opposed to Napoleon, she spent much of the time in exile.

Madame de Staël by François Gérard
Madame de Staël by François Gérard

In late June 1813, she arrived in London, with her daughter and was seen at all the fashionable places and social events, proving herself to be exceptionally popular and invited to all the best society parties. The newspapers were full of details of her attendance at events – everyone wanted to meet her.

Little known fact – she had ugly feet!

The presence of Madame de Staël in London has set all the journalists an magazine writers at work, to collect anecdotes of her conversational powers, her age, her appearance, her fine arm and her ugly feet. With respect to the latter, the following story is told. The French are famous for their neat quibbles – Madame de Staël was once at a place in Paris, where there was a pedestal, which, vain of her arm, she mounted, and put herself in an attitude to display it; but unluckily, which in this situation, she exhibited one of her feet. A French wit approached, and pretending to look more immediately at the pedestal, without noticing her feet, exclaimed ‘O le villain Pie-De-Stal!’

Windsor and Eton Express 01 August 1813

During her stay in London, she took great interest in the British education system and the newspapers reported her visits to various schools in London; she also managed a visit to Oxford University in December 1813.

H.R.H. the Prince Regent received by the University and City of Oxford, June 14, 1814 by George Jones.
H.R.H. the Prince Regent received by the University and City of Oxford, June 14, 1814 by George Jones; The Ashmolean Museum of Art and Archaeology.

In 1814 Paris had surrendered to the Allied troops and Napoléon, when he saw there was no option left, had abdicated his position of Emperor, surrendered to his opponents on 11th April and was exiled to the island of Elba.

“L’empereur Napoleon Ier (1769-1821) signant son abdication au chateau de Fontainebleau le 4/04/1814” Detail Peinture de Gaetano Ferri (1822-1896) d’apres Francois Bouchot (1800-1842) 1843 Dim 1,3×1,61 m versailles, musee du chateau ©DeAgostini/Leemage

This was regarded as a cause for celebration and we came across a report of her attendance as one of the honoured guests, at a ‘Fete’ in honour of The Peace. The account gave such a detailed description of the venue we simply had to share it with you.

On Friday night Breadalbane House in Park Lane was opened, for the first time two years, with a Fete, given expressly in honour of the late glorious change in the political hemisphere. To this entertainment were invited all the illustrious branches of the House of Bourbon. The most distinguished personages, the most fashionable youth of both sexes were present and exhibited an emulous display of the most superb dresses, enchanting beauty, and refined wit.

Lord Petre's (later Breadalbane) House (demolished), plans in 1783. 'Park Lane', in Survey of London: Volume 40, the Grosvenor Estate in Mayfair, Part 2 (The Buildings), ed. F H W Sheppard (London, 1980), pp. 264-289. British History Online
Lord Petre’s (later Breadalbane) House (demolished), plans in 1783. ‘Park Lane’, in Survey of London: Volume 40, the Grosvenor Estate in Mayfair, Part 2 (The Buildings), ed. F H W Sheppard (London, 1980), pp. 264-289. British History Online

On entering, the company were introduced into a hall, decorated with natural and artificial flowers, curiously interwoven, among which the white rose and laurel leaves were conspicuously blended.

The Next Dance, George Goodwin Kilburne,
The Next Dance, George Goodwin Kilburne, Wikimedia Commons

Ascending the grand geometrical staircase (a fine piece of architecture), a very pleasing object presented itself to view; it was festoons, garlands and wreaths of white roses and laurel leaves. In the principal room appeared objects of singular splendour, superb mirrors, ottomans, chairs, sofas, fauteuils, and jardinières of burnished gold, exquisite paintings with all the warmth and colouring of the Italian school; bronzes, porcelain and ormolu; inestimable specimens of rare bijoutry and other articles of vertu.

Here the floor was painted in watercolours, in which the artist inimitably described the fall of despotism by allegorical figures, with the rising sun of the Capets, personified by a bust of Louis XVIII. ‘Vivent Les Bourbons’ and the lily appeared on every side.

A Ballroom by Patrick William Adam
A Ballroom by Patrick William Adam; City of Edinburgh Council

It is impossible to give a just idea of the charming coup d’oeil presented by the former capacious room lighted by superb chandeliers and filled with elegant dancers. The music commenced at half-past eleven o’clock, with ‘The White Cockade’ led off by the Earl of Kinnoull and Lady Elizabeth Campbell. Next followed the Prince Regent. A double set was increased by four. The spirit and animation displayed was uncommonly gratifying and without prejudice, we may stage, that Lady Elizabeth Campbell excelled.

Thomas Robert Hay, Eleventh Earl of Kinnoull (1785–1866) by Sir Henry Raeburn, 1815.
Thomas Robert Hay, Eleventh Earl of Kinnoull (1785–1866) by Sir Henry Raeburn, 1815. North Carolina Museum of Art

The waltzing commenced at one o’clock. Here was an admirable display of refinement in that mode of exhibiting ‘the light fantastic toe’. The Duke of Devonshire and Miss Mercer Elphinstone; Lord Maitland and Lady Susan Ryder; Earl of Fife and Lady Westmorland; Countess of Jersey and the Hon. Mrs Fitzroy. At two o’clock supper was announced. The company promenaded down the stairs into the library. On the staircase were the colours of the different Allies – Russia. Austria, Prussia and England.

Miss Mercer Elphinstone
Miss Mercer Elphinstone

Here another object of powerful influence rivetted the attention of every individual; it was a display of gold plate, antique and exquisitely wrought. These glittering objects, dazzling the senses into confusion- candelabras, tripods, urns, cups and salvers. A horseshoe table in this room and several long ones in the two adjoining apartments supped two hundred and fifty persons.

Regency dinner table.
Image sourced via Pinterest.

The most exquisite wines, the costliest preserves, the finest pineapples, grapes and produce of hot and succession houses, were in abundance. In short, everything that could recommend an entertainment was remembered.

Study of Fruit by George Gray
Study of Fruit by George Gray; Laing Art Gallery

Adding not a little to the effect may be enumerated the lighting of upwards of 200 wax candles, were used. Although the crowded rooms produced heat, the effect was not disagreeable, owing no doubt, to the use of wax instead of oil. The latter is a most pernicious custom, and we are happy to hear, will be nearly exploded this season, the Marchioness of Salisbury having likewise set the example.

Highest Life in London Society.
Highest Life in London Society. NYPL

The dancing recommenced with reels, at three o’clock and the whole concluded at six in the morning. An elegant dejeune was then served up, and the visitants soon after retired.

By September 1814, Madame de Staël had returned to Paris and was apparently

no longer in vogue. Her literary vagaries found no countenance from the French Court, and as for the middling classes, these persons do not understand, or even attempt to read her works.

We can share with you an interesting comment made by our Georgian Heroine, Mrs (Rachel) Charlotte Williams Biggs, written to a close friend in early April 1814, which conjured up quite an amusing image.

Clearly, Charlotte’s perception of Madame de Staël was somewhat different from views elsewhere expressed about her relationship with Napoleon. Could she see that Madame de Staël would fall out of favour?

Madame de Staël & her disciples will now be out of fashion & I doubt not but that she feels disappointed and mortified – she liked the principle of Buonaparte’s power, and only objected to that portion of it which was exercised against herself – I recommend the sending all these people to Elba, they would be like confined spiders & soon destroy each other.

A Georgian Heroine: The Intriguing Life of Rachel Charlotte Williams Biggs. The bizarre but true story of an astounding woman persevering in a man’s world

Sources: 

Morning Chronicle 22 June 1813

Liverpool Mercury 31 December 1813

Morning Post 30 March 1814

Morning Post 25 April 1814

Morning Post 17 September 1814

Sketch of a ball at Almack's 1815, from The reminiscences and recollections of Captain Gronow, being anecdotes of the camp, court, clubs and society, 1810-1860. Beau Brummell is to the left, deep in conversation with the Duchess of Rutland.

Sketch of a Ball at Almack’s, 1815

There were a number of establishments known as Almack’s over the years; today we are focusing on the famous Assembly Rooms on King Street, St James.

Opened in 1765 by a Yorkshireman named William Almack (often mistakenly claimed to be a Scot named William MacCall) the assembly rooms consisted of a ballroom (balls were held on a Wednesday evening during the season), supper room (where a rather meager repast was to be found) and game room. From the outset, Almack allowed his rooms to be goverened by a clique of titled and influential Lady Patronesses; entry to the hallowed inner rooms was strictly policed and good breeding rather than wealth was the key to a ticket. Inside was to be found dancing, gossiping and match-making; according to Captain Gronow, an officer in the guards and a friend to many of the elite including the famed Beau Brummell, Almack’s was ‘the seventh heaven of the fashionable world’.

View of the Almack's Ball Room on the south side of King Street, St James's Square, built in 1765. By Thomas Hosmer Shepherd.
View of the Almack’s Ball Room on the south side of King Street, St James’s Square, built in 1765. By Thomas Hosmer Shepherd. © The Trustees of the British Museum

Today, from one of Captain Gronow’s reminscences, we are going to take a closer look at an account of a Regency ball held at Almack’s during 1815. By this date, the assembly rooms were owned by Almack’s daughter, Elizabeth Pitcairn (her husband, David Pitcairn, physician extraordinary to the Prince of Wales, was first cousin to our ‘infamous mistress’, Grace Dalrymple Elliott).

Sketch of a ball at Almack's 1815, from The reminiscences and recollections of Captain Gronow, being anecdotes of the camp, court, clubs and society, 1810-1860. Beau Brummell is to the left, deep in conversation with the Duchess of Rutland.
Sketch of a ball at Almack’s 1815, from The reminiscences and recollections of Captain Gronow, being anecdotes of the camp, court, clubs and society, 1810-1860.

The image above accompanied Gronow’s reminiscence, although the outfits worn are clearly later than 1815. Nevertheless, it depicts the dandy, Beau Brummell deep in conversation with the Duchess of Rutland. In the centre, the Comte de Saint Antonio, later the Duke of Cannizarro, is leading the Princess Esterhazy, who was the youngest Lady Patroness of Almack’s during the Regency, into a waltz. The princess, whose husband was the Austrian Ambassador to England, was described as being, ‘black, animated, and somewhat spiteful’ by Dorothea, Princess Lieven, wife of the Russian ambassador and an influential figure amongst the corps diplomatique, who nevertheless cheerfully admitted that she got on well with her. Sir George Warrender and the Comte de Sainte-Alegonde stand together on the right. The former was once a great friend of both Beau Brummell and the Prince Regent; a generous host, he gained the nickname, Sir George Provender.

The Regency Dandy, Beau Brummell
Beau Brummell

Almack’s in 1815. — The personages delineated on the cover are well worthy of notice, both from the position they held in the fashionable world, and from their being represented with great truth and accuracy. The great George Brummell, the admirable Crichton of the age, stands in a dégagé attitude, with his fingers in his waistcoat pocket. His neckcloth is inimitable, and must have cost him much time and trouble to arrive at such perfection; as the following anecdote shows. A friend calling on the beau saw the valet with an armful of flowing white cravats, and asked him if his master wanted so many at once. “These, sir, are our failures,” was the reply. “Clean linen, and plenty of it,” was Brummell’s maxim. He is talking earnestly to the charming Duchess of Rutland, who was a Howard, and mother to the present Duke.

Elizabeth (Howard), Duchess of Rutland, 1780 - 1825. Daughter of the 5th Earl of Carlisle; wife of John, 5th Duke of Rutland. By Samuel Cousins; after George Sanders
Elizabeth (Howard), Duchess of Rutland, 1780 – 1825. Daughter of the 5th Earl of Carlisle; wife of John, 5th Duke of Rutland. By Samuel Cousins; after George Sanders; National Galleries of Scotland.

The tall man, in a black coat, who is preparing to waltz with Princess Esterhazy, so long ambassadress of Austria in London, is the Comte de St Antonio, afterwards Duke of Canizzaro. He resided many years in England, was a very handsome man, and a great lady-killer; he married an English heiress, Miss Johnson.

Maria Theresia, née Princess von Thurn und Taxis and wife of Prince Paul Anton Esterházy III
Maria Theresia, née Princess von Thurn und Taxis and wife of Prince Paul Anton Esterházy III (www.esterhazy.at)

The original sketch from which these figures are taken, included also portraits of Charles, Marquis of Queensberry, Baron Neumann, at that time secretary of the Austrian Embassy; the late Sir George Warrender (who was styled by his friends Sir George Provender, being famed for his good dinners); and the handsome Comte St Aldegonde, afterwards a general, and at this period aide-de-camp to Louis Philippe, then Duke of Orleans.

Camille de Sainte-Aldegonde is one of the two men in the background, in the suite of the Duke of Orleans who is on horseback, in the uniform of colonel-general of the Hussars reviewing the troops and giving orders to Colonel Oudinot. Engraving after a picture by Horace Vernet, 1817.
Camille de Sainte-Aldegonde is one of the two men in the background, in the suite of the Duke of Orleans who is on horseback, in the uniform of colonel-general of the Hussars reviewing the troops and giving orders to Colonel Oudinot. Engraving after a picture by Horace Vernet, 1817. Royal Collection Trust.

The sketch was made in water-colours, from a group of these celebrities at a ball at Almack’s, and was given to Brummell by the artist who executed it; it was highly prized by the king of the dandies, and was purchased at the sale of his effects in Chapel Street by the person who gave it to me.

NB: Gronow talks about an ‘original sketch’ which included other Regency personalities and which had been owned by Brummell and later given to Gronow. For some reason, it would appear that Gronow had the sketch redrawn and possibly from memory? If so, it would be wonderful to rediscover the one which presumably shows those at the ball attired in full Regency fashion.

Sources:

Museum of Painting and Sculpture, Or, Collection of the Principal Pictures, Statues and Bas-reliefs in the Public and Private Galleries of Europe, Volume 6 by Etienne Achille Réveil, 1829.

Letters of Dorothea, Princess Lieven, during her residence in London, 1812-1834. Edited by Lionel G. Robinson, 1902.

Anecdotes of celebrities of London and Paris: to which are added the last recollections of Captain Gronow, formerly of the First Foot Guards, volume 2, 1870.

Reminiscences of Captain Gronow, formerly of the Grenadier Guards: and M.P. for Stafford: being Anecdotes of the Camp, the Court and the Clubs at the close of the last war with France, Pickle Partners Publishing, 2011

Portrait of Dido Elizabeth Belle Lindsay and her cousin Lady Elizabeth Murray, c.1778. Formerly attributed to Johann Zoffany.

Dido Elizabeth Belle – A new perspective on her portrait

In our previous blog about the turban that Dido Elizabeth Belle was wearing in the portrait of her with her cousin, the Honourable Lady Elizabeth Murray, we mentioned that the portrait was reputed to have been painted by Johann Zoffany and we promised to give you an update with some new information, so here we go.

We now know more about the turban, courtesy of one of our lovely readers, Etienne Daly, who has been diligently researching Dido for some considerable years now.

The turban that Dido was wearing was not merely a fashion statement but was a gift to her from her father, Sir John Lindsay, so it was not part of a portrait ‘costume’ as had been assumed.

Sir John was invested as a Knight of the Bath in an extravagant ceremony in India on 11th March 1771.

A sketch of Sir John Lindsay KB, Prince Of Arcot (and father of Dido Elizabeth Belle), as he would have looked around the time of his investiture at the Chepauk Palace, Madras, India on 11th March 1771 when he was the King's ambassador to India. By Ian Sciacaluga.
A sketch of Sir John Lindsay KB, Prince Of Arcot (and father of Dido Elizabeth Belle), as he would have looked around the time of his investiture at the Chepauk Palace, Madras, India on 11th March 1771 when he was the King’s ambassador to India.

At that time he was presented with ‘a very rich dress of gold brocade, made after the European manner with the star upon the left breast,’ a ring with several titles engraved on it in Persian and a turban, all given by Nawab Muhammed Ali Khan Wallajah. It is also understood that, at the same time, Sir  John was bestowed the title of Prince of Arcot by the ruling Nawab who was an ally of the East India Company.

Muhammad Ali Khan, Nawab of Arcot by Tilly Kettle, c.1772-1776. © Victoria and Albert Museum, London
Muhammad Ali Khan, Nawab of Arcot by Tilly Kettle, c.1772-1776. © Victoria and Albert Museum, London

We think it seems a lovely gesture that she would wear it as a ‘nod’ to her father, in the only known portrait of her. 

Dido Elizabeth Belle

If you look closely at the turban you will notice that it sparkles; it was studded with gold and diamonds. You will also note the presence of a black ostrich feather at the back of the turban. Now, this was a fashion statement! It is also worth mentioning that the fashion of the day was to wear rouge and Dido was no exception to this.

Ostrich feathers were all the rage in the mid-1770s and Dido’s uncle, Viscount Stormont bought some back from Paris in 1774. Perhaps he gave one to Dido and following the fashion, she added it to the turban?

The preposterous head dress, or the featherd lady, 1776.
The preposterous headdress, or the featherd lady, 1776. © The Trustees of the British Museum

Viscount Stormont also presented one to the Duchess of Devonshire on his return, and being the fashion doyenne of the day, she sent the fashion world into a spin by adding it to her hat. This sparked the caricaturists into a frenzy, creating the most elaborate caricatures with the largest of plumes, as you can see above.

The Duchess of Devonshire by Joshua Reynolds.
The Duchess of Devonshire by Joshua Reynolds.

It has to be said that the Duchess of Devonshire was mocked mercilessly and according to the British Museum:

Lady Louisa Stuart wrote in her old age of “the outrageous zeal manifested against the first introduction of ostrich feathers as a headdress. This fashion was not attacked as fantastic or unbecoming or inconvenient or expensive, but as seriously wrong or immoral. The unfortunate feathers were insulted mobbed burned almost pelted…”. 

Massachusetts colonial governor Thomas Hutchinson by Edward Truman
Massachusetts colonial governor Thomas Hutchinson by Edward Truman. Massachusetts Historical Society

When Thomas Hutchinson, Governor of Massachusetts, dined with Lord Mansfield in 1779 he met Dido and recorded the following in his diary:

A black came in after dinner and sat with the ladies, and after coffee, walked with the company in the gardens, one of the young ladies having her arm within the other. She had a very high cap and her wool was much frizzled in her neck, but not enough to answer the large curls now in fashion. She is neither handsome nor genteel – pert enough.

We now move on to look at the artist of the portrait. It has long been reputed to have been painted by Johann (John) Zoffany, but this is now disputed, and to this day it remains ‘artist unknown’.

It is acknowledged that Zoffany went to Europe for several years, finally returning to England at some stage in 1779 the very year that the portrait was reputed to have been painted.

From the account of his life, John Zoffany, R.A. his life and works: 1735-1810, it tells us that he remained in Coblenz well into the summer of 1779. Although not impossible, it certainly would have given him little time to have painted Dido on his return. So, if we discount Zoffany that leaves only a few other possible artists, two of whom we think were feasible. One would be Allan Ramsay’s protégé, David Martin (1737-1797), who was known to the family as he painted the stunning portrait of Lord Mansfield.

William Murray (1705-1793), 1st Earl of Mansfield; David Martin
William Murray (1705-1793), 1st Earl of Mansfield; David Martin; English Heritage, Kenwood

The slight difficulty we have with the portrait of Dido and Lady Elizabeth Murray being painted by Martin is that again there is a question as to whether he was still living in England in 1779 or if he had returned to his native Scotland (although he retained his property in Dartford until 1782). Certainly, we know that in 1780 Martin was in Scotland when he was admitted to the Royal Company of Archers. Again, the dates are tight!

David Martin self-portrait. National Galleries of Scotland
David Martin self-portrait. National Galleries of Scotland

If it was definitively painted in 1779, then it is feasible that he could have at least had some input into the work, especially as Ramsay had severely injured his hand a few years previously which stopped him taking on any major projects.

The other difficulty we have with Martin is that Etienne has checked Lord Mansfield’s accounts. These proved inconclusive.

So, that leaves only the principal painter to the King (George III), Allan Ramsay, and although we don’t have the expertise to validate this, with the research we have done it would appear far more likely that it was painted by him. Why? Well, there are several reasons to suppose this.

Allan Ramsay, self portrait c.1755-1756.
Allan Ramsay, self-portrait c.1755-1756. National Galleries Scotland.

Firstly, we understand that the portrait was commissioned by Lord Mansfield, but there is no record in his accounts of him paying for any such portraiture.

Secondly, given the socially precarious position Dido held in Georgian society, then why not ‘keep it in the family’? Especially when you have an extremely distinguished portrait artist as an uncle to call upon, in the guise of none other than the Scottish portrait painter, Allan Ramsay who was married to Margaret Lindsay, the sister of Sir John Lindsay.

The Artist's Wife: Margaret Lindsay of Evelick, c 1726 - 1782 by Allan Ramsay.
The Artist’s Wife: Margaret Lindsay of Evelick, c 1726 – 1782 by Allan Ramsay. National Galleries Scotland

Thirdly, despite an earlier family ‘falling out’ over Ramsay being not regarded as a suitable match for Sir John’s sister, Margaret, we know that the family had been reconciled and Ramsay was, at this time, close to Dido’s extended family. Amongst his paintings, there was one, if not two portraits of Sir John Lindsay himself, so again, it would seem natural for him to paint his illegitimate daughter. Ramsay also named Lord Mansfield and Sir John Lindsay in his will, another sign of the close familial ties.

Captain Sir John Lindsay (1737-1788) by Allan Ramsay
Captain Sir John Lindsay (1737-1788) by Allan Ramsay; Glasgow Museums

Finally, the posing of the subjects in the painting appears very relaxed and informal as if being painted by someone the girls knew well and were comfortable with.

Hopefully one day someone will be able to validate the artist and settle that unanswered question once and for all, perhaps one for the BBC’s Fake or Fortune to investigate!

To see the portrait of Dido and Lady Elizabeth in situ, it would be well worth a visit to Scone Palace, Perth, Scotland or to the home, where she spent many of her years, Kenwood  House (Caenwood as it was formerly known as), Hampstead.

During our research into the life of Dido, we have also discovered NEW information about Sir John Lindsay’s other illegitimate children and  NEW information about what became of Dido and her husband John Davinieré. To find out more follow the highlighted links.

Sources:

The History of the Royal Company of Archers: The Queen’s Bodyguard for Scotland by Sir James Balfour Paul

General Evening Post, September 14, 1771 – September 17, 1771

English Common Law in the Age of Mansfield, by James Oldham

John Zoffany, R.A. his life and works: 1735-1810

Coursers Taking the Field at Hatfield Park, Hertfordshire, the Seat of the Marquess of Salisbury by James Pollard, exhibited 1824. The Marchioness, in the blue livery of the hunt, is in the forefront of the scene, at the age of 73, peering through an eye glass attached to her whip.

An Unconventional Marchioness: The Life of Lady Salisbury

In our earlier blog, looking at entertainments in Regency London, it was remarked that the Marchioness of Salisbury was unusual in opening her house to guests upon a Sunday. She always held a musical conversazione upon that day during the London season, attended by those of high rank and the best musicians.

The Pic-Nic Orchestra. © The Trustees of the British Museum The Marchioness of Salisbury is depicted blowing a french horn while the Earl of Cholmondeley plays the flute.
The Pic-Nic Orchestra. © The Trustees of the British Museum
The Marchioness of Salisbury is depicted blowing a french horn while the Earl of Cholmondeley plays the flute.

Mary Amelia Hill (known as Emily Mary) was born in 1750, the daughter of Wills Hill, 2nd Viscount Hillsborough (later 1st Earl of Hillsborough and 1st Marquess of Downshire). In 1773 she married James Cecil, Viscount Cranborn of Hatfield House, Hertfordshire. Her new husband was the only son and heir of the 6th Earl of Salisbury and, just seven years after their marriage, James became the 7th earl and Emily Mary his countess (the couple were later elevated in the peerage to the 1st Marquess and Marchioness of Salisbury). Lady Salisbury was known as a prominent political hostess (a Tory and a fervent supporter of the monarchy) and was also a keen and talented sportswoman.  It is perhaps unkind to describe her as eccentric, but she certainly paid little heed to many conventional norms as she determinedly walked her own path.

The south east view of Hatfield House, the seat of the Marquess of Salisbury, 1812.
The south east view of Hatfield House, the seat of the Marquess of Salisbury, 1812. Yale Center for British Art, Paul Mellon Collection

Lady Salisbury was seen as the political opposite to the Whig supporting Georgiana, Duchess of Devonshire and noted as a model female canvasser.

Her proceedings have been marked with such delicacy and dignity, as to shame the mobbing conduct of her rivals.

A trendsetter rather than a follower, Lady Salisbury was often to be seen in clothes of her own design and she rode enthusiastically to hounds well into her dotage, dressed in a sky blue riding habit with black collar and cuffs, a hunting cap on her head. Her slight frame belied her strength and she had an almost limitless energy. She took over the ownership of the Hertfordshire hounds in 1793 when her husband was forced by ill-health to resign his mastership and moved the kennels lock, stock and barrel to Hatfield House; they were subsequently known as the Hatfield hounds.

The Marchioness of Salisbury (Diana return'd from the Chace) by James Gillray.
The Marchioness of Salisbury (Diana return’d from the Chace) by James Gillray. © National Portrait Gallery, London

Archery was another of Lady Salisbury’s passions and she was also a talented artist.

The Misses Van by Lady Salisbury, 1791.
The Misses Van by Lady Salisbury, 1791. Yale Center for British Art, Paul Mellon Collection

Described as pretty, witty, intelligent and outspoken, she was married – reasonably happily it would seem – for thirteen years before having four children in quick succession, Georgiana Charlotte Augusta (1786), Emily (1789), James Brownlow William (1792) and Caroline (1793). Sadly, the youngest, Caroline, died in childhood and Lady Salisbury was widowed in 1823.

Mary Amelia 'Emily Mary' Cecil, 1st Machioness of Salisbury (1750 – 1835) by Sir Joshua Reynolds.
Mary Amelia ‘Emily Mary’ Cecil, 1st Marchioness of Salisbury (1750 – 1835) by Sir Joshua Reynolds. Wikimedia Commons

As the years passed and, well into her 70s, Lady Salisbury continued to run rings around people half her age; she was affectionately known as ‘Old Sally’. Even when her eyesight was failing and she had to be tied into her saddle, she still rode with the hunt.

Coursers Taking the Field at Hatfield Park, Hertfordshire, the Seat of the Marquess of Salisbury by James Pollard, exhibited 1824. The Marchioness, in the blue livery of the hunt, is in the forefront of the scene, at the age of 73, peering through an eye glass attached to her whip.
Coursers Taking the Field at Hatfield Park, Hertfordshire, the Seat of the Marquess of Salisbury by James Pollard, exhibited 1824. The Tate.
The Marchioness, in the blue livery of the hunt, is in the forefront of the scene, at the age of 73, peering through an eye glass attached to her whip.

The manner of Old Sally’s death was just as unconventional as her life had been. She had remained at Hatfield House after her husband’s death, living with her son, his wife and her grandchildren in her own apartments consisting of two suites of rooms. At 6 o’clock on the evening of the 27th November 1835, Lady Salisbury, after dressing for dinner, sat down at her writing desk. It is thought that some item of her clothing, perhaps the feathers she was wearing in her hair, caught alight from the three candles burning beside her but, whatever the cause, an intense fire broke out in her suite. By the time it was discovered (by a needlewoman named Brown who noticed the passageway was full of smoke), the room in which Lady Salisbury had been sitting was a mass of flames and so densely filled with smoke that it was impossible for anyone to enter.

A female servant, and one of old Lady Salisbury’s men-servants, attempted to do so; but the man fell down stupefied by the smoke, as soon as he had crossed the threshold, and was with difficulty saved. It appears certain that the fire must have commenced about twenty minutes before it was discovered; and the apartments being all wainscoted, its progress was terrifically rapid. No vestige of the Marchioness was discovered by any one; nor was a sound heard by those who first approached the room, except the moaning of an old favourite dog who was shut up with her.

Lord Salisbury arrived on the scene and had to be forcibly held back from attempts to rush into the flames and save his mother. The west wing of Hatfield House was destroyed and all that remained of the dowager marchioness were a few fragments of bone.

Sources:

Spectator, 5th December 1835

Cecil [née Hill], Mary Amelia [Emily Mary], marchioness of Salisbury by E H Chalus, Oxford Dictionary of National Biography

Tales of English Eccentrics, Tony Grumley-Grennan

La Duthé couchée by Lié Louis Périn-Salbreux.

Rosalie Duthé: courtesan, opera dancer and the first ‘dumb blonde’

Courtesan, dancer and – reputedly – the first ‘dumb blonde’, Catherine-Rosalie Duthé was a true eighteenth-century celebrity.

Portrait of a young lady by Jean-Honoré Fragonard, 1770. Traditionally identified as Rosalie Duthé.
Portrait of a young lady by Jean-Honoré Fragonard, 1770. Traditionally identified as Rosalie Duthé. © Carmen Thyssen-Bornemisza Collection on loan at the Museo Nacional Thyssen-Bornemisza

She was born on the 23rd November 1748, in Versailles to Jean-François Gérard, an ‘officier’ or gentleman servant to the king at the royal palace, and his wife, Louise-Rosalie Caumont. At the registration of her birth four days later, Catherine-Rosalie’s father was absent – perhaps away in attendance upon Louis XV – and the official document was signed by her grandmother and Christophe Broilleux, her godfather.

A view of the Palace of Versailles towards the garden.
A view of the Palace of Versailles towards the garden. Yale Center for British Art, Paul Mellon Collection

After being educated at the convent of Saint Aure in Paris she was sent, aged 15, to live with an aunt, Madame Duval. It is claimed that Catherine-Rosalie’s aunt introduced her to two well-known courtesans and actresses, Marie and Géneviève Rinteau of Verrières, the beautiful daughters of a lemonade merchant who caught the eye of men such as Maurice, Count of Saxony. (In 1748, the same year as Catherine-Rosalie’s birth, Marie had given birth to an illegitimate daughter, Marie Aurore by the Count of Saxony.)

Marie Rinteau, called Mademoiselle de Verrières by François Hubert Drouais, 1761.
Marie Rinteau, called Mademoiselle de Verrières by François Hubert Drouais, 1761. Metropolitan Museum of Art

Marie and Géneviève took the young, pink-cheeked and fair-haired Catherine-Rosalie under their wing, and, at their home on the rue de la Chaussée d’Antin, taught her the tricks of their trade. Under their tutelage, she learnt signing, comedy and gallantry. Probably very intelligent, the tag of being the ‘first dumb blonde’ was given as Catherine-Rosalie was lampooned in her day due to her habit of leaving long pregnant pauses before speaking. Soon, the young Mademoiselle Gérard was dancing at the Paris Opera and adopted the name by which she is remembered, Rosalie Duthé.

Mademoiselle Duthé dancing by Jean-Frédéric Schall.
Mademoiselle Duthé dancing by Jean-Frédéric Schall. Sothebys

She had watched Marie and Géneviève profit from their various lovers and determined to follow in their path. Arthur Richard Dillon, Archbishop of Narbonne, the French born son of Count Dillon (an Irish Jacobite), was her first protector; Rosalie was just 17, he was 44.

Many men were then seduced by Rosalie’s youthful beauty and she even captivated the young Duke of Chartres (the future Philippe, Duke of Orléans, Philippe Égalité). With this royal approval, even more men hastened to pay court to Rosalie, and the more lovers she collected, the wealthier she became. Even Christian VII of Denmark, on a visit to Paris, fell for her charms.

Portrait of Rosalie Duthé by Lié Louis Périn-Salbreux, 1775.
Portrait of Rosalie Duthé by Lié Louis Périn-Salbreux, 1775. Collection privée, Foulon de Vaulx

With her new found money and fame, Rosalie was painted by many of the best artists in France. The Count of Artois, youngest brother to Louis XVI (and the future Charles X) saw her portrait and hastened to Paris to court the beauty (his wife, Marie Thérèse of Savoy, was pregnant with their first child at the time).

Every night he came to follow her in the alleys of the Palais-Royal, publicly displaying a passion that he should have hidden for the sake of his rank.

Showering Rosalie with jewels and money, Artois conquered her affections and the two enjoyed a six month affair, from July 1775 to February 1776. One story relates that during these months, Rosalie was turned out of the Champs Elysées by Queen Marie Antoinette when she appeared with her carriage and equipage more sumptuously decorated with rare and expensive flowers than that of the Queen. Marie Thérèse of Savoy could not compete with Rosalie in terms of beauty. Playing on her surname (thé means tea in French) critics unkindly remarked that:

The prince, having had an indigestion with the cake of Savoy, comes to take tea in Paris.

Marie-Thérèse de Savoie, comtesse d'Artois by François Hubert Drouais, c.1775.
Marie-Thérèse de Savoie, comtesse d’Artois by François Hubert Drouais, c.1775. Via Wikimedia

Artois commissioned Lié Louis Périn-Salbreux to paint Rosalie sitting naked on the end of her bath, a work of art which the count displayed in the bathroom at château de Bagatelle, his pleasure house in the Bois de Boulogne.  Another portrait of Rosalie by Périn-Salbreux, possibly also painted for her royal lover, depicts her laying semi-naked on a bed, her hair loose and falling around her shoulders.

La Duthé couchée by Lié Louis Périn-Salbreux, 1775.
La Duthé couchée by Lié Louis Périn-Salbreux, 1775. Reims; musée des beaux-arts

Criss-crossing the Channel, Rosalie entertained a succession of wealthy and influential men both in Paris and in London. Paris was her home though, and it was there that she invested her money is a series of fine mansions but, in 1786, she sailed once again for England, imported, as it were, by George Wyndham, 3rd Earl of Egremont whom she ruined financially.

A view of Margate with the Bathing Place, 1786, J Wells after Thomas Smith of Derby. Yale Center for British Art, Paul Mellon Collection.
A view of Margate with the Bathing Place, 1786, J Wells after Thomas Smith of Derby. Yale Center for British Art, Paul Mellon Collection.

During the summer of 1786, the 4th Earl of Cholmondeley and Madame Saint-Albin were to be found in Kingsgate at Margate. The earl had been the former lover of Grace Dalrymple Elliott, until that infamous courtesan left for Paris and the arms of the Duke of Orléans. Marie-Françoise Henriette, Madame Saint-Albin had supplanted Grace in the earl’s affections and they were taking the sea air in the same house he had spent a summer of pleasure in with Grace almost a decade earlier. The couple were joined there by Lord Coleraine, another disreputable rake accompanied by his new courtesan of choice, Marie-Françoise Henriette’s countrywoman and compatriot, Rosalie Duthé. The two Frenchwomen moved in England, as they had in France, in similar circles. Mrs Elliott was also Rosalie’s contemporary; they both shared a lover in the person of the Duke of Orléans so were rivals, if not friends.

Presumed portrait of Rosalie Duthé, attributed to Claude-Jean-Baptiste Hoin.
Presumed portrait of Rosalie Duthé, attributed to Claude-Jean-Baptiste Hoin. MFA Boston

Rosalie escaped the terrors of the French Revolution, remaining in safety in England although she was declared an émigré and her house which she had owned since 1775 on rue du Mont-Blanc (at the corner of rue Saint-Lazare, formerly the rue de la Chaussée d’Antin and where she had lived with Marie and Géneviève Rinteau) was forfeit and declared ‘national goods’ in her absence.

She returned to Paris briefly to try to reclaim her property, aided by her friend and banker Jean-Frédéric Perregaux who commissioned a portrait of Rosalie by Danloux which was painted in London during 1792.

Portrait of Mlle Duthé by Henri-Pierre Danloux, c.1792.
Portrait of Mlle Duthé by Henri-Pierre Danloux, c.1792. © MAD, Paris / photo: Jean Tholance

Perregaux was the banker of choice for foreign travellers to Paris including Rosalie’s friend, Lord Cholmondeley and of known spies, as well as of courtesans like Rosalie. He lived on the same Parisian street, the rue de la Chaussée d’Antin. It is said that when Perregaux died, in 1808, he did so while contemplating his portrait of Rosalie Duthé who had remained one of his greatest friends.

Rosalie remained in London until 1816, then returned to Paris. She continued to receive many visitors and lived peacefully although in her later years she was almost blind. She died 24th September 1830 aged 82 years and was buried in the Père-Lachaise cemetery underneath two cedar trees. Rosalie left no will but two of her cousins, Madame Malacrida, a widow living in the Rue Laffitte, and Marie-Angélique Malacrida profited from the sale of her furniture which made 9,000 francs.

Rosalie Duthé by Antoine Vestier
Rosalie Duthé by Antoine Vestier. Bonhams

Notes:

Catherine-Rosalie’s father is named as Jean-Baptiste Gérard in many sources, but on the register of her birth, it is Jean-François.

The rue de la Chaussée d’Antin was renamed the rue de Mirabeau in 1793 in honour of the revolutionary leader Honoré Gabriel Riqueti, Count of Mirabeau and then, when Mirabeau was proscribed in 1793, the rue du Mont-Blanc in 1793, but it reverted to its former name in 1815.

Marie Rinteau is the great-grandmother of the writer, George Sand.

Sources:

Souvenirs de Mlle Duthé de l’Opéra (1748-1830), Louis-Michaud, 1909

Archives nationales, Paris

Registres paroissiaux et d’état civil, St Louis, Versailles

The Morning Post, 15th September, 1786

On Blondes by Joanne Pitman, 2004

Christmas Festivities: Tales, Sketches, and Characters with Beauties of the Modern Drama, in Four Specimens by John Poole, 1845

Hellgate – He Lived for The Moment

Once upon a time, there were three brothers, with the surname Barry and with the nicknames ‘Newgate ’alias Augustus, as this was said to be the only prison he had been in.  Henry, known as ‘Cripplegate’ due to his club foot and then there is the one we are going to look at, Richard Barry, the 7th Earl of Barrymore, better known as ‘Hellgate’ as this was the gateway he was destined to enter.

Richard as a child - how angelic! © National Portrait Gallery, London
Richard as a child – how angelic! © National Portrait Gallery, London

Richard was born 1769, the eldest surviving of the four sons born to the 6th Earl of Barrymore and his wife Lady Amelia Stanhope during their short marriage. As the eldest son, Richard naturally inherited his father’s title when he died in August 1773 in Ireland from a fever.

The death of the 6th Earl left Amelia in their London home at Portman Square, to raise alone, a daughter plus the three boys. The youngest, Augustus was born only a few days before his father’s death.

This must have been a dreadful time for her, so she placed Richard under the care of the Reverend John Tickell, Wargrave, Berkshire until he was old enough to go up to Eton which he duly did from 1784 until he was 18.  However, in 1780 Lady Barrymore, aged just 31, died in France, after a lingering illness, her body, preserved in spirits was returned to England for burial. This left the four children, orphans, who were in part raised by their grandmother, Countess Harrington, who appeared to have little control of them allowing them free reign to do as they pleased, so of course, they ran wild.  The death of both parents must have had a profound effect on the children, especially Richard, which might explain the way he lived the rest of his life, for live his life he did in a way that today we call ‘living life on the edge’.

Scrub & Bonniface, or, Three brave lads against one poor Roscius Newgate invt. ; Cripplegate direxit ; Hellgate fecit. Lewis Walpole Library.
Scrub & Bonniface, or, Three brave lads against one poor Roscius Newgate invt. ; Cripplegate direxit ; Hellgate fecit. Lewis Walpole Library.

He rented a house in Wargrave and with his passion for the theatre he borrowed an advance on his inheritance which he would receive when aged twenty-one and had a theatre built opposite the house to indulge his passion. His inheritance was estimated to be around eleven thousand pounds a year, a nest egg which had been accumulating year on year since the death of his father, so around £190,000 when he reached his majority and from then on around £24,000 per year.

Richard certainly enjoyed the finer things in life and was a prolific gambler, lover of horse racing and of boxing and bare fist fighting, both watching and participating in as well as hosting parties for the great and the good of the day including the Prince Regent. He lived at a time when clubs were all the rage and he was a member of most, and if they did not exist he created them, such as the ‘Two O’Clock Club’, which was named for the hour of the morning they met. The ‘Star and Garter’ which was a tavern they met in.

George IV by Sir Thomas Lawrence. © National Portrait Gallery, London
George IV by Sir Thomas Lawrence. © National Portrait Gallery, London

He had an immense passion for gambling and would gamble on virtually anything. One of his more obscure bets took place in 1788 when the newspapers reported a bet between Richard and the Duke of Bedford, that he could produce a man who could eat a live cat. Quite what the sum of this wager was we may never know but he did win his bet two weeks later by producing a man who tore the cat limb from limb and devoured every morsel.  Later that year Richard continued with another of his passions, that of the theatre by performing at the theatre in Brighton.

A Royal Salute
Courtesy of Yale Center for British Art

On another occasion, he wagered that he could beat a Mr Bullock in a race around Brighton. Richard left the gentleman to set the course, the gentleman was somewhat rotund and set the course in incorporate a very narrow lane that Richard was unaware of. Richard gave him a thirty-five-yard start, then he set off, assuming this race would be easy to win. However, when they reached the narrow lane he could not pass Mr Bullock and so Richard lost the bet.

To add to his many vices, Richard had a fondness for the ladies and they for him in return, after all what was there not to like him, on receiving his inheritance he would be exceptionally wealthy, he was tall, very handsome, excellent physique, charming, witty, a skilled boxer, handy with a sword and an excellent horseman. He even learnt a language, which he was reputedly taught by the Duchess of Bolton, which was unintelligible to anyone who was not a party to the secret language, thereby allowing those ‘in the know’ to converse about everyone around them without them understanding a word of it.

His love of women led him to have several liaisons with women, married or otherwise including a Miss Ponsonby who had a connection to the Dukes of Devonshire, but her father put a stop to this liaison as Richard was not a wealthy or possibly suitable match for his daughter. He then had a brief, but intense relationship with a Mary Ann Pearce who benefitted from the luxurious lifestyle, living with him in his splendid house and with her own carriage.

Their relationship came to an end when he eloped in 1792, aged twenty-two, to Gretna Green where he married Charlotte Goulding, the daughter of a London sedan chairman and niece to Lady Letitia (Letty) Lade who had made a scandalous marriage with Sir John Lade, one of the inner circle of the Prince of Wales. In 1791, owing a great deal of money, and in order to stave off his creditors, Richard decided to become a member of Parliament for Heytesbury.

Letitia, Lady Lade by George Stubbs, 1793. Royal Collection
Letitia, Lady Lade by George Stubbs, 1793. Royal Collection

He was a Captain in the Royal Berkshire Militia and had been driving a gig which was taking French prisoners of war to Dover when his musket accidentally discharged. He was buried at Wargrave, Berkshire on 17th March 1793, so didn’t quite make it to his 24th birthday. Even after his death, there were rumours that he had been buried in secret to prevent his creditors from taking his corpse until his considerable debts had been paid. As he died intestate his estate was administered in March 1794 and valued at under £5,000, so did he gamble away all his wealth? It certainly would appear to be the case.

Sources Used

Pasquin, Anthony. The life of the late Earl of Barrymore

A Personal Observer. Truth Opposed to Fiction: Or, An Authentic and Impartial Review of the Life of the Late, Right Honourable the Earl of Barrymore

Saint Martin in the Fields, Westminster, marriage register

The Ipswich Journal 18 September 1773

Stamford Mercury 11 April 1788

Ipswich Journal 29 August 1789

Bury and Norwich Post 23 September 1789

Featured Image

Theatrical peer of Berks/ Theatrical peer of Berkshire. Courtesy of Lewis Walpole Library

Bude Haven by Joseph Stannard.

The Ringers of Launcells Tower

The Ringers of Launcells Tower; Frederick Smallfield. This painting was inspired by a poem called 'The Ringers of Launcells Tower' by Reverend Hawker of Morwenstow. The bell ringers who had rung the bells at the accession of George III in 1760, were still alive and able to ring the bells on his Golden Jubilee in 1810. The church of Launcells is midway between Stratton and Bude. As the painting was done 77 years after George III's Golden Jubilee, it is a reconstruction.
The Ringers of Launcells Tower; Frederick Smallfield; Royal Institution of Cornwall

We came across this piece of art whilst researching the heroine of our latest book, Mrs Rachel Charlotte Williams Biggs. The painting was inspired by a poem called ‘The Ringers of Launcells Tower’ that was written, some decades after the event, by Reverend Hawker of Morwenstow and which we thought we would share with you.

Reverend Hawker of Morwenstow in 1864, who wrote a poem called ‘The Ringers of Launcells Tower’.

The Ringers of Launcells

They rang at the Accession of George the Third and lived to ring again at the fiftieth anniversary of his reign.

They meet once more! That ancient band –

With furrowed cheek and failing hand, –

One peal today they fain must ring

The Jubilee of England’s King!

*************

They meet once more – but changed are now

The sinewy arm and laughing brow:

The strength that hail’d in former times

King George the third with lusty chimes!

*************

Yet proudly gaze on that lone tower!

No goodlier sight hath hall or bower, –

Meekly they strive – and closing day

Gilds with soft light their locks of gray!

*************

Hark! Proudly hark! With that true tone

They welcomed Him to Land and Throne,

So ere they die they fain would ring

The Jubilee of England’s King!

*************

Hearts of old Cornwall! Fare ye well,

Fast fade such scenes from field and dell,

How wilt thou lack, my own dear land,

Those trusty arms, that faithful band!

*************

Launcells is a rural hamlet between Stratton and Bude in Cornwall where, during the eighteenth- and early nineteenth-century, there lived six bell ringers. The six men are identified as John Lyle (1736-1832), Richard Hayman (1739-1816), John Ham (1742-1825), Richard Venning (1744-?), Henry Cade and John Allen.

Stratton by Charles Henry Branscombe
Stratton by Charles Henry Branscombe; Bude-Stratton Town Council

John Lyle was the longest living member of the group and was born and bred in Launcells and remained there his entire life. He was reputed to have rung a merry peal for King George III’s coronation in 1760, then again for his golden Jubilee in 1810, then for the coronation of King George IV in 1821 and, as unlikely as it seems, also for the coronation of King William IV in 1831, just one year before he died at the ripe old age of 96. That was quite some achievement. Two others also lived long enough to join John Lyle in ringing the peals for George IV’s coronation, Richard Hayman and John Ham.

George III (1738-1820) by Allan Ramsay
George III (1738-1820) by Allan Ramsay; City of London Corporation

The only other member we managed to find out anything about was John Ham who began his working life as an apprentice cooper to the Lyle family in 1754 and who married Anna Maria Lisle in 1761 at the parish church in Launcells.

The painting was a reconstruction of the scene as Frederick Smallfield imagined it would have looked, depicting the six bell ringers ringing the bells as part of the celebrations for the golden jubilee of King George III. It was clearly important to Smallfield that he captured everything correctly so he studied bell ringers at his local church as well as visiting the church tower in Launcells.

Bude Haven by Joseph Stannard.
Bude Haven, Cornwall by Joseph Stannard; Newport Museum and Art Gallery

We know that great celebrations were held across the country to celebrate the jubilee of King George III in 1809 as it was our very own heroine who instigated them. References to this painting seem to confirm though that the bell ringing took place in 1810, i.e. at the end of King George III’s 50th year on the throne.

A Audience at Drury Lane Theatre, Yale Center for British Art, Paul Mellon Collection

Tom Weston of the Theatre Royal, Drury Lane

Alas! Poor Tom has tumbled off the perch,

And left his gay Thalia in the lurch;

Once high he stood upon the comic pinnacle,

But when he slipp’d fell – Scrub – Sneak – Last – and Binnacle

(Epitaph to Tom Weston)

Thomas Weston was an actor/comedian who graced the stage of the Theatre Royal on Drury Lane but so much of his life seems to be told in tall tales that he has, to a certain extent, remained a man of mystery. Two facts are certain, however. That he was a great comedic actor is unquestionable, as is the fact that he was a larger than life character.

Mr Weston and Mr Garrick in the characters of Scrub and Archer in The Stratagem, 1771. © Victoria and Albert Museum, London
Mr Weston and Mr Garrick in the characters of Scrub and Archer in The Stratagem, 1771. © Victoria and Albert Museum, London

Tom was born in 1737, the son of a man who was a cook to the court of George II. Shortly after Tom’s death, his Memoir was published, by an anonymous author. In this Memoir, his father is named as Thomas Weston. However, the only man with the surname Weston who was the cook to the king, and who appears on the lists of office holders at court, is a Charles Weston. There appear to be two possible baptisms in existence; the first took place on 31st August 1737, at St Paul’s, Covent Garden with the parents named as Thomas and Elizabeth and the second on 16th October 1737, at St James, Westminster, son of Charles and Elizabeth.

If he was the son of Thomas and Elizabeth, the parish records of St Paul, Covent Garden show burials for both parents, Elizabeth on 22nd January 1755, wife of Thomas, and then Thomas’s burial on the 24th September 1757 (though Tom’s Memoirs suggest his father was alive after this date). We theorize that Tom Weston’s father was actually Charles Weston.

Covent Garden Market by Balthasar Nebot, 1737
Covent Garden Market by Balthasar Nebot, 1737; Tate

Charles Weston started off as a kitchen boy in the king’s kitchen in 1724, rising to the position of master cook to King George II in the same establishment thirty years later. A tale about Mr Weston the master cook is told in The Table Book or Daily Recreation and Information: concerning remarkable men, manners, times, seasons, solemnities, merry-makings, antiquities and novelties, forming a complete history of the year, 1827.

The Royal Table

Origin of Making the King’s Dishes with the Cook’s Names

King George II was accustomed every other year to visit his German dominions with the greater part of the officers of his household and especially those belonging to the kitchen. Once on his passage at sea, his first cook was so ill with the sea-sickness, that he could not hold up his head to dress his majesty’s dinner; this being told to the king, he was exceedingly sorry for it, as he was famous for making a Rhenish soup, which his majesty was very fond of; he therefore ordered inquiry to be made among the assistant-cooks, if any of them could make the above soup. One named Weston (father of Tom Weston, the player) undertook it, and so pleased the king, that he declared it was full as good as that made by the first cook. Soon after the king’s return to England, the first cook died; when the king was informed of it, he said, that his steward of the household always appointed his cooks, but that he would now name one for himself, and therefore asking if one Weston was still in the kitchen, and being answered that he was, “That man,” said he, “shall be my first cook, for her makes the most excellent Rhenish soup.”  This favour begot envy among all the servants, so that, when any dish was found fault with, they used to say it was Weston’s dressing: the king took notice of this, and said to the servants, it was very extraordinary, that every dish he disliked should happen to be Weston’s; “in future,” said he, “let every dish be marked with the name of the cook that makes it.”  By this means the king detected their arts, and from that time Weston’s dishes pleased him most. The custom has continued ever since, and is still practised at the king’s table.

In 1754 Mr Weston obtained the position of turnbroach for his son in the palace kitchen, which entailed turning the spit on which meat or poultry was roasting, a lowly position but one which was actually executed by a deputy. The position paid £30 a year and, of this, the deputy was paid some £7 or £8. Tom Weston seems to have lucratively retained this position until his death. It is also reported that he was made under-clerk to the clerk of the kitchen and sailed, with his father and the royal household to Holland on the way to Hanover. George II made his last visit to Hanover in April 1755, returning in the September of that year, so if Tom did indeed travel with his household this must have been the date of his trip.

King George II (1683-1760) by John Shackleton, c.1750; Government Art Collection
King George II (1683-1760) by John Shackleton, c.1750; Government Art Collection

Back home Tom spent most of his time frequenting the local public houses and theatres. Soon he was dismissed from his position of under-clerk for misbehaviour and sent to sea as a midshipman instead (as his father was determined to keep him from the stage). Samuel Foote, the actor, playwright and theatre manager, recalled that Weston was placed aboard the Warspite under the command of Sir John Bentley and, as Bentley took command of this ship in 1759, so this must be the date of young Tom’s short-lived naval career.

Weston’s genius triumphed over his father’s determinations; as soon after he was stationed on board this ship he contrived to run away; and being afraid to meet his father after this conduct, he entered into one of the strolling companies of the north, where he experienced all those strange vicissitudes of life which are so peculiarly incident to that situation.

Tom enlisted a friend in the war office to help him escape from the Warspite. This friend was persuaded to write to him whilst the ship was docked in Long Reach on the Suffolk coast before it sailed for Portsmouth, sealing the letter with an official seal, telling Tom that there was an army commission waiting for him in London. Sir John Bentley allowed Tom to go to London, bidding him to return if he did not obtain the commission. There was no commission but Tom did not return. Instead, he travelled with several acting troops before setting off for London where the Covent Garden and Drury Lane actors Ned Shuter and Richard Yates had taken booths at the Bartholomew Fair, which began every year on the 24th August and ran for two weeks. Tom engaged to play with them.

t Bartholomew's Fair, Smithfield, London; British School; 18th century; Museum of London
St Bartholomew’s Fair, Smithfield, London; Museum of London

From a booth in the George Inn yard, Shuter put on, in 1759, The French Flogg’d: or the English Sailors in America, a piece based on The Tempest. Yates had his own booth that year in the Greyhound Inn Yard where he put on a similar piece, The Ship-Wreck’d Lovers; or, French Perfidy Punished, ‘Interspersed with the comical and diverting Humours and Adventures of Lieutenant Fireball, a true English Tar; Noddy Nestlecock, a distress’d Beau; Snivel Thimble, a Taylor; Split-farthing, an old Userer; and Glisterpipe, a Finical Surgeon. Both were eminently suitable for a former young midshipman to take to the stage in. A friend got Tom an engagement with Samuel Foote and he made his first appearance on the London stage on the 28th September 1759, to the despair of his father, playing Sir Francis Gripe in Susannah Centilevre’s The Busy Body at the Haymarket. His next appearance in London was on the 28th June 1760, playing in Samuel Foote’s The Minor, and it is possible he returned to the strolling troop playing the provinces in the interim.

Samuel Foote and Thomas Weston in 'The Devil Upon Two Sticks' by Foote, Haymarket Theatre, 1768.
Samuel Foote and Thomas Weston in ‘The Devil Upon Two Sticks’ by Foote, Haymarket Theatre, 1768 (grisaille copy c.1769 after Johann Zoffany by John Finlayson); The Holburne Museum

Reputedly, he now met and married a young lady who was a milliner in the Haymarket. This unnamed lady was encouraged by Tom to take to the stage too, appearing as Lucy in The Minor. Mr and Mrs Weston travelled the provinces, returning to London to play Jerry Sneak at the Haymarket. A sojourn at Dublin (without great success) followed and then Tom was hired at Drury Lane where he was paid £3 a week.

His wife, if indeed she was so far no proof of a marriage has yet been found, had departed: she and Tom had argued whilst on tour in Wiltshire with Johnson’s Company and she took up with another actor, a Mr Price with whom she had several children, and she died around 1774 in Sunderland whilst on tour.

Tom, back in London, lived in St James’s Street above a glass shop with a lady named Miss Lee during a short-lived liaison which reputedly saw her debut on stage at the Haymarket as Cherry in The Beaux’ Stratagem. She was mentioned in the 1773 edition of Harris’s List of Covent Garden Ladies.

Miss Lee. Glass Shop, St. James’s-street

“Doats upon the silliest things.”

This lady had a connexion with a comedian of Drury-lane, which has lately been broke off, for what cause we cannot say, and madam now depends upon the generous public for support; but she is not unacquainted with the business, she is only returned to her old calling. She is a pretty black girl, about the middle size, with remarkable find dark eyes and hair. Her skin is very good, a little pock-marked, and not a bad companion.

She has performed two or three little characters at Foote’s and came off decently; and ’tis said she intends to take up with the stage, and live honest:- Very honestly intended; but we are afraid it is not a school to cause such a happy reformation.

Always short of cash, Tom was perpetually chased by creditors and, to evade them, often missed rehearsals and even performances, behaviour which led to his discharge from the theatre but Samuel Foote stepped in to help, starting a subscription among the nobility to pay Tom’s debts and taking Tom with him to Edinburgh at £5 a week.

The actor, playwright and theatre manager, Samuel Foote by Jean François Colson, 1769; National Portrait Gallery, London
Samuel Foote by Jean François Colson, 1769; National Portrait Gallery, London

At this time, Tom’s boon companion was Dick Hughes, brother to Mrs Elizabeth Steele (who was the confidante of the actress Sophia Baddeley). Dick was, apparently, famed for being able to hop upon one leg for an hour without changing and able to scale a brick wall with ease, a trick which got him in and out of the King’s Bench prison where he was often held for debt. When Tom was drunk he was inclined to be saucy and to get himself into trouble; Dick Hughes was the one to pacify the situation before it came to blows.

On one night Tom and Dick had been out at The Black Lion tavern and were returning home in the early hours of the morning, rolling drunk, when they met two women, described in Tom’s Memoirs as ‘a couple of Dulcineas, whose garb did not promise any great things.’  Tom feeling amorous, they followed the women to their lodgings in Mutton Lane, Holborn, ‘a most desirable situation, being surrounded with dunghills, pig styes, slaughterhouses, and many other equally as agreeable neighbours.’  Tom, when he awoke in the morning, was rather pleased with his conquest for, although she was coarse in manner, she was young, pretty and in the full bloom of health. This girl was named Martha and continued as his lover for the rest of Tom’s life, taking his surname although we doubt there was a marriage.

Theatre Royal, Drury Lane, anonymous painting dating to c.1775.
Theatre Royal, Drury Lane, anonymous painting dating to c.1775.
Victoria & Albert Museum.

Foote reconciled Tom and the managers of the Drury Lane Theatre and had his wage increased to £5 a week, with a further twenty shillings for the lady who called herself Mrs Weston. Tom was now a habitual drunkard, often appearing on-stage intoxicated but never forgetting his lines. He continued to evade his creditors which led to various adventures in getting to the theatre for his performance.  For one whole season, he entered by the upper dressing room window which he was able to access, unnoticed, via the Tennis Court in St. James. Dick Hughes went ahead of him each time as an advance guard to make sure the coast was clear.

Tom’s drinking took its toll. The Public Advertiser on the 22nd December 1775, reported that The School for Wives, which had been deferred at the Drury Lane Theatre on account of Mr Weston’s illness, would be performed soon after Christmas.

Reports of his death at his lodgings in Newington appeared in the newspapers soon after, but the Morning Chronicle stated on the 3rd January 1776, that:

Mr. Weston, we hear, is not dead; but so dangerously ill, that he is given over by his physicians.

His death is generally acknowledged to have occurred on the 18th January 1776, although the newspapers were giving reports of his passing from the 30th December 1775. Even in the matter of his death, he continues to leave vague reports behind him!

Mr Weston in the character of Dr Last in Samuel Foote's the Devil Upon Two Sticks. The Folger Library
Mr Weston in the character of Dr Last in Samuel Foote’s the Devil Upon Two Sticks. The Folger Library

It was said that, in the days leading up to his death, Tom had drawn up a facetious mock last will and testament. This was vehemently denied by Martha Weston, and a document purporting to be his genuine will was given, one witnessed by his old friend Richard (Dick) Hughes. Richard Hughes also sent a letter to the papers in support of Martha Weston, affirming the truth of this. If this second will was genuine we can, however, find no record of it being proved and it was, after the religious preamble, particularly short and sweet.

First I give and bequeath my all to Martha Weston; and lastly my Scrub’s wig to Ned Shuter.

Thomas Weston

Witness, D. Holdstock, Richard Hughes and Henry Kaylock

For those who are interested, the mock will (which still has people arguing over its authenticity) is given below.

Mr. WESTON’s WILL

One afternoon, a few weeks before Mr. WESTON died, seeing a pen and ink upon the table, he said to a friend who was sitting with him, “If you’ll write for me, I’ll make my will,” which his friend accordingly did, and Tom dictated in the following manner:

I Thomas Weston, comedian, hating all form and ceremony, shall use none to my will, but proceed immediately to the explaining my intentions.

Imprimis. As from Mr. Foote I derived all my consequence in life, and as it is the best thing I am in possession of, I would, in gratitude at my decease, leave it to the said Mr. Foote, but I know he neither stands in need of it as a author, actor, or as a man; the public have fully proved it in the two first, and his good-nature and humanity have secured it to him in the last.

Item. I owe some obligations to Mr. Garrick, I therefore bequeath him all the money I die possessed of, as there is nothing on earth he is so very fond of.

Item. Though I own no obligations to Mr. Harris, yet his having shewn a sincere regard for the performers of his theatre, (by assisting them in their necessities, and yet taking no advantage thereof, by driving a Jew bargain at their signing fresh articles) demands from me, as an actor, some acknowledgement, I therefore leave him the entire possession of that satisfaction which must naturally result on reflecting, that during his management, he has never done any thing base or mean to sully his character as an honest man, or a gentleman.

Item. I having played under the management of Mr. Jefferson, at Richmond, and received from him every politeness, I therefore leave him all my stock of prudence, it being the only good quality I think he stands in need of.

Item. I give to Mr. Reddish a grain of honesty: ’tis indeed a small legacy, but being a rarity to him, I think he will not refuse to accept it.

Item. I leave to Mr. Yates all my spirit.

Item. I leave to Mrs. Yates all my humility.

Item. Upon reflection, I think it wrong to give separate legacies to a man and his wife, therefore I revoke the above bequests, and leave to be enjoyed by them jointly, peace, harmony, and good nature.

Item. Notwithstanding my illness, I think I shall outlive Ned Shuter; if I should not, I had thoughts of leaving him my example how to live, but that I am afraid would be of little use to him, I therefore leave him my example how to die.

Item. I leave Mr. Brereton a small portion of modesty. Too much of one thing is good for nothing.

Item. As Mr. Jacobs has been a long while eagerly waiting for dead mens shoes, I leave him two or three pair, (the worst I have) they being good enough in all conscience for him.

Item. Though the want of vanity be a proof of understanding, yet I would recommend to my old friend Baddeley to make use of a little of the first, though it cost him more than he would willingly pay for it. – It will encrease not only his consequence with the public, but his salary with the managers; but however, should his stomach turn against it, as nauseous, he may use for a succedaneum a small quantity of opinion, and it will answer the purpose as well.

Item. Mr. Quick has long laboured to obtain the applause of the public – the method he has taken is a vague one; the surest method to obtain his end is to copy Nature. – Experientia docet.

Item. Miss Young has had some disputes with the Managers, about dressing her tail, complaining of the want of fringe, as fringe seems to be an absolute requisite in the ornamenting ladies tails, and I always loved to see them as they ought to be; I leave her therefore the fringe about the flaps of my waistcoat, in which I usually played Jerry Sneak.

Item. As I would not forget my friends, particularly old ones, I leave Charles Bannister my portrait, to be taken when I am dead, and to be worn about his neck as a memento to him, that regularity is among the most certain methods to procure health and long life.

Item. Dibble Davis claims something at my hands from the length of our acquaintance, I therefore leave him my constitution; but I am afraid when I die, it will scarcely better than his own.

Item. I leave to the ladies in general, on the stage, (if not the reality, yet) the appearance of modesty; ’twill serve them on more occasions than they are aware of.

Item. To the gentlemen of the stage, some show of prudence.

Item. To the authors of the present times, a smattering of humour.

Item. To the public, a grateful heart.

Here his voice failing him, he told his friend he would finish it as the next day, and bade him put it into his pocket, which he did; but Tom left it, as he did all his promises of amendment, only just begun.

* * * * * * *

Apart from his Memoirs, a short account of Tom’s life was included in the book The Lives of The Players written by John Galt in 1831.

Featured image:

An Audience at Drury Lane Theatre, undated, Yale Center for British Art, Paul Mellon Collection

Elopement and the Duchess of Richmond’s Ball

ELOPEMENT IN HIGH LIFE – A young married Lady of rank, and highly distinguished in the fashionable circles by her personal attractions, absconded from the neighbourhood of Berkeley-square, a few days since, in order to throw herself into the arms of a noble gallant, the brother of an English Duke. The fair inconstant had shown a restless disposition for some time before her indiscreet departure, which took place by her going out immediately after breakfast, and walking to a street adjoining the New Road, where Lord ____ awaited her arrival in his gig, ascending which, she was instantly driven off to their amorous retreat, which the afflicted husband, Sir ____, has not yet been able to discover. Lady ____, either from hurry or singular design, went off without a single article of apparel besides the dress she wore. Her Ladyship is only in her 25th year, and in the full bloom of beauty; and the only palliation that can be offered for this indiscreet transfer of her charms, is, that “her mother did so before her!

This salacious titbit of gossip was located in a provincial newspaper, the Bristol Mirror, on the 16th September 1815, on page 4.

View of the west side of Berkeley Square; a carriage driving away from the viewer on the street, two men on the pavement to the right. 1813 © The Trustees of the British Museum
View of the west side of Berkeley Square; a carriage driving away from the viewer on the street, two men on the pavement to the right. © The Trustees of the British Museum

Page 2 of the same issue had a refutation of the allegation, interestingly above one which related to the Duchess of Richmond’s ball held on the eve of the Battle of Waterloo. The two claims, one spurious and one all too true, had something in common which would have been all too obvious to London high society. They both had a link to the Duke of Wellington.

LIES. – The statement of an elopement in high life, inserted in our fourth page (from a London paper) turns out to be UTTERLY FALSE. – The statement of a Female Conspiracy at Brussels, which has appeared in all the papers, and the object of which was said to be to make prisoners of the Duke of Wellington and his staff, at a ball given by the Duchess of Richmond, – is also a COMPLETE FICTION.

While the rumours of a conspiracy at the Duchess of Richmond’s ball might have been false, the former claim was, in fact, all too true. Let’s fill in the blanks on the names.

Lord ____ was Lord Charles Bentinck, younger brother of the 4th Duke of Portland. He was a widower with a young daughter (his first wife had been the former Miss Georgiana Seymour, daughter of the infamous eighteenth-century courtesan Grace Dalrymple Elliott and – reputedly – the Prince of Wales, later George IV).

The Rt Hon Lord Charles Bentinck as Treasurer of the Royal Household at the coronation of George IV.
© The Trustees of the British Museum

The afflicted husband, Sir ____ was Sir William Abdy, Baronet, reckoned as the richest commoner in England but rumoured to be impotent and unable to satisfy his gregarious young wife. And what of that wife? Lady ___ was, therefore, Lady Anne Abdy, née Wellesley, the daughter of Richard Colley Wellesley, 1st Marquess Wellesley and his Parisian wife, Hyacinthe Gabrielle née Rolland. Although Anne was not exactly doing what ‘her mother [had done] before her’, Hyacinthe Gabrielle had been Wellesley’s mistress for many years before their marriage, and all their children had been born illegitimate. Hyacinthe Gabrielle might, in 1815, have been a marchioness but popular gossip still remembered her reputation as a courtesan.

Portrait of Lady Charles Bentinck (née Wellesley) by Sir Thomas Lawrence c.1825. Philip Mould
Portrait of Lady Charles Bentinck (née Wellesley) by Sir Thomas Lawrence c.1825. Philip Mould Historical Portraits.

Anne was the niece of the great Duke of Wellington who had been at the Duchess of Richmond’s ball in Brussels on the 15th June 1815, when the news that Napoleon Bonaparte was on the march had reached him. He later victoriously commanded the allied forces at the Battle of Waterloo on the 18th June where some of the officers, having not had time to change, fought in the clothes they had been attired in for the Duchess’ ball, and many young men never returned to waltz in a ballroom again.

The Duchess of Richmond's Ball by Robert Hillingford (via Wikimedia).
The Duchess of Richmond’s Ball by Robert Hillingford (via Wikimedia).

Brussels was known to be sympathetic to Bonaparte; a story had spread that Bonaparte suggested to the ladies of Brussels that they should encourage the Duchess of Richmond to hold her ball. It was even rumoured that he had men hidden outside waiting for his arrival only for one of the ladies to give the plot away. These rumours were totally false, the duchess had actually applied to the Duke of Wellington himself, asking his permission to hold her ball as it was known that the French were drawing close to the Belgian capital city.

Arthur Wellesley, 1st Duke of Wellington by Sir Thomas Lawrence, displayed in the Waterloo Chamber at Windsor Castle. The Royal Collection © Her Majesty Queen Elizabeth II
Arthur Wellesley, 1st Duke of Wellington by Sir Thomas Lawrence, displayed in the Waterloo Chamber at Windsor Castle.
The Royal Collection © Her Majesty Queen Elizabeth II

Charles and Anne’s elopement, just weeks after the great battle, caused a scandal which set the gossip’s tongues wagging; they had been discussing Wellington’s great victory, now instead they tattled about the marital indiscretions of his niece.

Our book, A Right Royal Scandal: two marriages that changed history, documents the elopement and the ensuing Criminal Conversation trial and divorce. It follows the family through to the next generation when Charles and Anne’s eldest son made a marriage which was equally scandalous, if for different reasons.

And why a Right Royal Scandal? Because this is a branch of the British royal family’s tree, ancestors of Queen Elizabeth II, one which has not been researched in-depth before.

A Right Royal Scandal: Two Marriages That Changed History by Joanne Major and Sarah Murden. https://www.amazon.co.uk/Right-Royal-Scandal-Marriages-Changed/dp/1473863422

 

 

The actor and theatre manager David Garrick as Shakespeare's Richard III by William Hogarth, c.1745.

The Shakespeare Jubilee of 1769

Between the 6th and 8th of September 1769, the town of Stratford-upon-Avon held the first jubilee celebration commemorating the life of the great playwright, William Shakespeare. The event was organised by David Garrick, who was both an actor and the manager of the Theatre Royal in Drury Lane, Covent Garden. Garrick had portrayed many of Shakespeare’s best-known characters on the stages of London and of Dublin and so was invited to dedicate a statue of the bard at the new town hall: Garrick had other ideas however and turned the event into a three-day spectacular.

The actor and theatre manager David Garrick in His Regalia as Steward of Stratford Jubilee, 1769 by Benjamin Vandergucht
David Garrick in His Regalia as Steward of Stratford Jubilee, 1769 by Benjamin Vandergucht; Samuel Johnson Birthplace Museum

The 1769 Shakespeare Jubilee, also known as Garrick’s Jubilee, was ostensibly to celebrate Shakespeare’s birth but was held five years too late (Shakespeare was baptised in April 1564). Regardless of the discrepancy in dates, it was hugely popular and helped to fix Shakespeare as England’s national poet.

Ticket for the dinner, ode and ball at the Garrick Jubilee held in Stratford-Upon-Avon in 1769 to commemorate the life of William Shakespeare.
Jubilee entrance ticket. Folger Shakespeare Collection.

Stratford-upon-Avon was flooded – a somewhat unfortunate metaphor, as will be seen – with visitors for the duration of the Jubilee. The town’s only inn was fully booked and townspeople made a small fortune in renting out rooms (albeit while grumbling about the inconvenience to their daily lives) but even so, many visitors were forced to sleep in their carriages overnight. A masquerade warehouse had opened in the town, in anticipation of the extravaganza and, a new sight to the townsfolk, sedan chairs had been brought from London and Bath.

Scene at the High Cross, Garrick Jubilee of 1769, Stratford-upon-Avon, Warwickshire; Shakespeare Birthplace Trust
Scene at the High Cross, Garrick Jubilee, Stratford-upon-Avon, Warwickshire; Shakespeare Birthplace Trust

The celebrations opened on Wednesday 6th September to cannon fire and a breakfast at the town hall. A portrait of Shakespeare by Garrick’s friend Benjamin Wilson hung at one end of the dining room and one of Garrick by Thomas Gainsborough at the other (both portraits were sadly lost in a fire in 1946). At 11 o’clock Dr Thomas Arne’s Oratorio of Judith was performed in the church, featuring, amongst others, the celebrated Mrs Sophia Baddeley.

The actor and theatre manager, David Garrick leaning on a bust of Shakespeare, after Thomas Gainsborough. The original portrait (presented to mark the Garrick Jubilee in 1769) hung in Stratford-upon-Avon town hall but was destroyed by fire in 1946.
David Garrick leaning on a bust of Shakespeare, after Thomas Gainsborough. The original portrait hung in Stratford-upon-Avon town hall but was destroyed by fire in 1946. Folger Shakespeare Library.

After that, attention turned to a specially built wooden structure on the banks of the River Avon, the Jubilee Pavilion or rotunda, where a dinner was held with almost a thousand ladies and gentlemen crammed in at the tables, many more than anticipated. The food was accompanied by the sound of workmen hammering in nails: the rotunda had not been completed in time and work was still ongoing to make it sound. Garrick, ever the showman, carried on regardless and proclaimed the toast while holding a goblet made of mulberry wood ‘cut out of the mulberry tree planted by Shakespeare’. Following the dinner was a ball which was opened by John Sackville, 3rd Duke of Dorset and the Duke of Ancaster’s sister, Lady Mary Greathead.

John Frederick Sackville, 3rd Duke of Dorset by Joshua Reynolds, 1769. Knole, National Trust via British Art Studies.
John Frederick Sackville, 3rd Duke of Dorset by Joshua Reynolds, 1769. Knole, National Trust via British Art Studies.

The Jubilee, despite Garrick’s best-laid plans, now began to descend into a comedic farce and the typically British weather was to blame. It didn’t just rain, it poured and the pageant and attendant processions through the streets of Stratford-upon-Avon, with participants dressed as characters from Shakespeare’s plays, had to be abandoned. Instead, after a public breakfast, Garrick delivered an ode in honour of the bard, wearing a medallion of Shakespeare on his breast and brandishing a wand both made, like his goblet, from mulberry wood. In the window frames, were large transparent portraits representing the most popular Shakespearian characters.

Mr. Garrick reciting the ode in honor of Shakespeare at the Jubilee at Stratford, with the musical performers, &c., 1769.
Mr Garrick reciting the ode in honour of Shakespeare at the Jubilee at Stratford, with the musical performers, &c., 1769. Lewis Walpole Library

The evening entertainment was a masquerade ball, held in the rotunda, and a planned firework display. Unfortunately, the masquerade guests had to be carried in, or risk their footwear as they waded ankle-deep through the river water which was rapidly rising, and the roof was discovered to leak in places. Despite this, a good time was had by all, with the guests attired in a myriad of fantastical costumes. James Boswell, newly returned from Corsica, and having just published a memoir of his travels, appeared finely dressed as a Corsican. He subsequently had his picture engraved and published in the London Magazine with a puff-piece of an article written by himself.

One of the most remarkable masks upon this occasion was James Boswell Esq.

The fireworks ended up being little more than damp squibs in the deluge. At the close of the festivities, various masked guests including drunken witches, harlequins, sultans and one Corsican had to wade knee-deep across the meadow on which the rotunda was sited to reach their carriages and beds.

James Boswell in full Corsican dress at the Shakespeare Jubilee, 1769. © The Trustees of the British Museum.
James Boswell in full Corsican dress at the Shakespeare Jubilee, 1769. © The Trustees of the British Museum.

It rained until midday on Friday 8th September. The River Avon had overflowed to such an extent that the rotunda was flooded. All that could be salvaged of the last day’s planned entertainment was an extremely waterlogged horse race on Shottery Meadow but by this time it was too late and many guests had abandoned the Jubilee altogether and were heading as fast as they could on jam-packed roads away from the town. As Boswell noted:

After the joy of the jubilee came the uneasy reflection that I was in a little village in wet weather and knew not how to get away.

The paviliion - or amphitheatre - built on the banks of the River Avon for the Garrick Jubilee in 1769.
The pavilion – or amphitheatre – built on the banks of the River Avon for the Garrick Jubilee in 1769. Shakespeare Birthplace Trust/RSC via The Guardian.

Bizarrely, there had been no performance of a Shakespeare play planned for the event, not even one scene, a fact which garnered much criticism. Referring to the event afterwards as ‘my folly’, Garrick was forced to admit that, although this was an intended omission with the idea that people would discover the bard ‘all around them’ instead of through his plays, this was a glaring error and – coupled with the complete washout of the event – it marked a low point in his career. He also lost a large sum of his own money in staging the event. However, as we shall see in a later blog, all was not yet lost. The redoubtable Garrick had one more trick up his sleeve with which he hoped to salvage both his reputation and the Jubilee celebrations.

 

Sources:

Bath Chronicle and Weekly Gazette, 14th September 1769

Boswell’s Jubilee: against the backdrop of the 1769 Shakespeare Jubilee, James Boswell’s willpower is tested. Andrew McConnell Stott, 2016 (Lapham’s Quarterly)

‘The borough of Stratford-upon-Avon: Shakespearean festivals and theatres’, in A History of the County of Warwick: Volume 3, Barlichway Hundred, ed. Philip Styles (London, 1945), pp. 244-247. British History Online

Featured image:

The actor and theatre manager David Garrick as Shakespeare’s Richard III by William Hogarth, c.1745. Walker Art Gallery.

Sandpit near Sudbury, Suffolk by Joshua Kirby (1716-1774)

Sarah Trimmer née Kirby (1741-1810), author, critic and educational reformer

Sarah Trimmer née Kirby, author, critic and religious and educational reformer, was born in 1741 at Ipswich, the only daughter of the Suffolk landscape painter Joshua Kirby (a close friend of Thomas Gainsborough) and his wife Sarah née Bell. The Kirby family, including Sarah’s younger brother, William moved to London in 1755 where Joshua Kirby tutored the Prince of Wales (the future George III) in perspective.

Sarah Kirby (née Bull) and her husband (John) Joshua Kirby by Thomas Gainsborough, c.1751-52. © National Portrait Gallery, London
Sarah Kirby (née Bull) and her husband (John) Joshua Kirby by Thomas Gainsborough, c.1751-52. © National Portrait Gallery, London

Many well-known personalities of the day counted the Kirbys as friends, including William Hogarth and Samuel Johnson and, as befitted the daughter of an artist, and one with social connections to the best artistic and literary talents of the day, Sarah later had her portrait painted three times, by Henry Howard, George Romney and Thomas Lawrence. She herself was a talented amateur artist, and several miniatures by her survive.

Sarah Trimmer by Sir Thomas Lawrence, c.1790. © National Portrait Gallery, London
Sarah Trimmer by Sir Thomas Lawrence, c.1790. © National Portrait Gallery, London

In time, the family moved to Kew when Joshua Kirby was appointed Clerk to the Works of the Royal Household at Kew Palace and it was at Kew that Sarah met her future husband, James Trimmer whose family owned a brick making business at Brentford; the young couple married on 21st September 1762, at Ealing. The notice of their marriage in the Ipswich Journal reveals the name by which Sarah was known to her family.

MARRIAGE – At Great Ealing, Mr. James Trimmer, of Brentford, to Miss Sally Kirby, of the Chapelry of Kew.

A View of the Palace at Kew from the Lawn, in the Royal Gardens at Kew, 1763. This plate was engraved after Joshua Kirby for William Chambers’s Plans, Elevations, Sections and Perspective Views of the Gardens and Buildings at Kew, published in 1763 and dedicated to the Dowager Princess of Wales.
A View of the Palace at Kew from the Lawn, in the Royal Gardens at Kew, 1763. This plate was engraved after Joshua Kirby for William Chambers’s Plans, Elevations, Sections and Perspective Views of the Gardens and Buildings at Kew, published in 1763 and dedicated to the Dowager Princess of Wales. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017

The Trimmers had twelve children in all, equally divided between boys and girls and – as she was responsible for their education – Sarah, both a mother and a teacher, discovered a lifelong passion for education. She founded the first Sunday school for poor children in 1786 and began to write and publish books, initially treatises on how to establish Sunday schools with a sub-text of social reform and then branching out into instructive works and fiction for children, such as her Fabulous Histories. She also reviewed children’s literature in her periodical, The Guardian of Education, with the aim of influencing both authors and publishers and redefining the content of these books.

She used to say, that as soon as she became a mother, her thoughts were turned so entirely to the subject of education, that she scarcely read a book upon any other topic, and believed she almost wearied her friends by making it so frequently the subject of conversation. Having experienced the greatest success in her plan of educating her own family, she naturally wished to extent that blessing to others, and this probably first induced her to become an author.

After James Trimmer died in 1792, Sarah and her unmarried daughters moved to Brentford, and it was there that she died on 15th December 1810, in the act of writing a letter.

Sarah Trimmer by Henry Howard, c.1798. © National Portrait Gallery, London
Sarah Trimmer by Henry Howard, c.1798. © National Portrait Gallery, London

She had been known to fall asleep at her desk in her study, and so when her daughters found her, with her head bowed forward onto her bosom, they assumed she merely slumbering and it was some time before they could be made to believe that she was dead. This gave rise to a few ‘Chinese whispers’ which were reported in the newspapers, with a slightly more lurid take on poor Sarah’s demise.

MRS TRIMMER – This authoress died under circumstances of a peculiar nature. Having received intelligence of the death of a favourite sister, she sat down to write a letter of condolence to her family; but soon after, on her female servant going into the room, she found her mistress sitting, apparently in the utmost composure, with her pen in one hand, and her head reclining on the other; in this attitude it appears that she died. What added to the singularity of this extraordinary occurrence was, that although she had been dead three weeks, her countenance had not changed in the least, and in consequence her relatives had directed that no interment should take place, in the hope (a vain one, it is feared) that the body might be recovered from a trance.

Sarah had no sister, favourite or otherwise, and her sister-in-law – and her brother – had both died some years previously. She was buried on the 5th January 1811, in a family plot in St Mary’s churchyard, Ealing, the delay between her death and burial probably being more to do with the weather and the season rather than any fanciful notions supposed to have been entertained by the children of such an eminently sensible, moral and instructive mother.

Portrait of Sarah Trimmer by George Romney (1734-1802). Image taken from Illustrated Catalogue of the Fifth Series of 100 Paintings by Old Masters, being a portion of the Sedelmeyer Gallery, Paris, 1899.
Portrait of Sarah Trimmer by George Romney (1734-1802). Image taken from Illustrated Catalogue of the Fifth Series of 100 Paintings by Old Masters, being a portion of the Sedelmeyer Gallery, Paris, 1899.

One of Sarah’s daughters, at least, followed in her footsteps; her daughter Selina was appointed by the Duke and Duchess of Devonshire to be the governess to their daughters and their cousins, including the future Lady Caroline Lamb. You can read more about Selina and her life as a governess in the Cavendish household here, in a blog post by Lauren Gilbert.

 

Sources not mentioned above:

Ipswich Journal, 25th September 1762

Chester Chronicle, 1st February 1811

Chalmer’s General Biographical Dictionary, volume 30

Brentford High Street Project: The Trimmer family

 

Featured image:

Sandpit near Sudbury, Suffolk by Joshua Kirby (1716-1774)

Martha Gunn (1726-1815), Brighton 'dipper'

Martha Gunn – Brighton Celebrity

We’re not quite sure that Martha’s claim to fame would work in today’s celebrity culture, for Martha, who was born Martha Killick daughter of Friend and Anne Killick in 1726 (baptized 19 September 1731), was a ‘dipper‘. Much has been written about her already, but we thought we would add a few extra bits.

'A Calm' by James Gillray (1810).
‘A Calm’ by James Gillray (1810). Courtesy of Princeton University Library

What was a ‘dipper’? Well, in the 1700 and early 1800s doctors would recommend that people bath in seawater to restore their health. Needless to say, this concept was terrifying for many, so in places such as Brighton people were employed as ‘dippers‘.

Huts on wheels, like the one below were used to allow the bather to protect their modesty, the bather would climb into the hut, change into their swimming attire, the machine was then pulled by dippers into the sea. Dippers were also expected to ensure that people were not swept away by the current, arguably like a modern day lifeguard, so they would need to be very strong.

Bathing machine at Weymouth
Weymouth

This occupation in itself was never going to give Martha celebrity status, but her royal connection to the Prince of Wales, later George IV, did. She was a favourite of his and apparently enjoyed special privileges including free access to the kitchen at the Royal Pavilion.

Martha Gunn, Bather at Brighton, 1791 Courtesy of Yale Center for British Art
Martha Gunn, Bather at Brighton, 1791 Courtesy of Yale Center for British Art

The portrait of her below is reputed to show Martha holding the Prince of Wales as a small child, however, this is not feasible as the Prince did not visit Brighton until September 7th, 1783, he was 21. So despite the annotation at the top of the painting this must have been added at a later stage.

Todd’s print catalogue of 1799 simply described the painting as being with an unnamed child

There was also another copy of the piece produced by William Nutter which is now held by The Met, dated 1797. It does not state that the child was the Prince of Wales, but that the original was in his possession and this one was dedicated to the Prince of Wales.

V0017100 Martha Gunn, a Brighton bather holding a small child that she has just saved from drowning. Coloured engraving by W. Nutter, 1797, after J. Russell. 1797 By: John Russell after: William NutterPublished: 1 June 1797

It also appeared in the following catalogue which confirmed the artist to be John Russell – ‘A catalogue of all the capital and valuable finished and unfinished original works of the distinguished artist, John Russell, Esq. R.A where it was to be sold along with other paintings by Mr Christie on February 14th, 1807.

Martha Gunn and the Prince of Wales by John Russell
Martha Gunn and the Prince of Wales by John Russell; Brighton and Hove Museums and Art Galleries
The Prince of Wales, afterwards George IV born 1762 and Mrs Gunn

Martha was a large and strong woman and was well respected by the town and she even featured in the caricature below.

A scene at Brighton; some Frenchmen have landed on the beach; others are in broad clumsy boats which have left French men-of-war. In the foreground old women and yokels are dealing with the invaders. A woman resembling Martha Gunn, the bathing-woman, trampling on prostrate bodies, holds out at arm's length a kicking French soldier. Courtesy of British Museum
A scene at Brighton; some Frenchmen have landed on the beach; others are in broad clumsy boats which have left French men-of-war. In the foreground, old women and yokels are dealing with the invaders. A woman resembling Martha Gunn, the bathing-woman, trampling on prostrate bodies, holds out at arm’s length a kicking French soldier. Courtesy of British Museum

She died in May 1815 and was buried in the local churchyard.

Hampshire Chronicle, 15th May 1815

Long after her death, a plaque was added to the house where she and her family lived.

Plaque on the Brighton house where Martha Gunn lived. It says: Martha Gunn 1727-1815, the original bathing woman lived here.

Featured Image

British School; Martha Gunn (1726-1815); Brighton and Hove Museums and Art Galleries

Charlectote Park from Morris's Picturesque Views of Seats of the Noblemen and Gentlemen of Great Britain and Ireland, 1880.

Mary Elizabeth Williams’ marriage to George Hammond Lucy of Charlecote Park, 1823

On 2nd December 1823, the young Mary Elizabeth Williams, fourth daughter of John Williams, Baronet of Bodelwyddan in north Wales, married George Hammond Lucy, the eligible new owner of the magnificent Charlecote Park in Warwickshire.

Mary had been reluctant to accept George’s proposal; she thought him too old (Mary was not quite 20-years of age and her suitor was 34) and – besides – her elder sister Margaret (Miggie) was in love with him. But accept him she did, and he sealed their betrothal by placing a turquoise ring on her finger. During their short courtship and amid the whirlwind of preparing for the wedding, Mary quickly came to like and then to love her new husband.

Mary Elizabeth Williams (1803-1890), Mrs George Hammond Lucy by Richard Buckner, 1847; National Trust, Charlecote Park;
Mary Elizabeth Williams (1803-1890), Mrs George Hammond Lucy by Richard Buckner, 1847; National Trust, Charlecote Park

On the day, Mary wore a bridal robe of snow-white silk and a lace veil, the ‘texture fine as a spider’s web’ falling over her carefully arranged hair which was decorated with orange blossoms. She was attended by six bridesmaids, her four sisters and two friends, all dressed simply in white cashmere with their bonnets lined with pink, Mary’s favourite colour. A whole fleet of carriages took the bridal party to St Asaph Cathedral where the ceremony – by special licence – was to take place.

All was perfect, and Mary and her new husband knelt at the altar as they were pronounced man and wife but, when she tried to stand, Mary fainted and fell to the ground, much to George’s consternation. She was soon recovered however, and left the church for her honeymoon, her uncle’s seat at Cerig Llwydion. The bridesmaids threw old satin shoes at the carriage as the Lucy’s departed, for good luck.

George Hammond Lucy (1789-1845), MP by Friedrich von Amerling, 1841; National Trust, Charlecote Park;
George Hammond Lucy (1789-1845), MP by Friedrich von Amerling, 1841; National Trust, Charlecote Park

Mary’s wedding dress survives, and it was made in the height of fashion.

Detail of the white silk wedding dress worn by Mary Elizabeth Williams when she married George Hammond Lucy on 2 December 1823.
Detail of the white silk wedding dress worn by Mary Elizabeth Williams when she married George Hammond Lucy on 2 December 1823.

As you can see, the detailing on the bodice of the gown is very similar to one shown in Ackermann’s Repository, dated October 1823, and it gives us an idea of what the dress might have looked like in its entirety.

Morning Dress, fashion plate dated October 1823 from Rudolph Ackermann's Repository of Arts, Literature, Fashions, &c, third series, vol 2.
Morning Dress, fashion plate dated October 1823 from Rudolph Ackermann’s Repository of Arts, Literature, Fashions, &c, third series, vol 2.

George Hammond Lucy’s father, John Lucy (born John Hammond), was a ‘pugnacious, hard-drinking clergyman’ who had found himself – a little unexpectedly – the heir in the male line to the Warwickshire Lucy family.

Early in 1823, at his father’s death, George had inherited Charlecote Park but it was in a dilapidated state. It became his life’s work to restore the estate.

Charlecote Park from Jones's Views of the Seats of Noblemen and Gentlemen, 1820.
Charlecote Park from Jones’s Views of the Seats of Noblemen and Gentlemen, 1820.

Mary and George had a long marriage and many children. In her sixties, Mary wrote down her memories and they are published as Mistress of Charlecote: The Memoirs of Mary Elizabeth Lucy 1803-1889. It is a wonderful read and contains images of two portraits of the couple painted at the time of their wedding.

For more information on the Lucy’s of Charlecote Park, also see the blog Charlecote Park: Uncovered by the National Trust.

 

Sources:

Mistress of Charlecote: The Memories of Mary Elizabeth Lucy 1803-1889, introduced by Alice Fairfax-Lucy (Orion, 2002).

The History of Parliament: the House of Commons 1790-1820, ed. R. Thorne, 1986

National Trust images

Featured image:

Charlecote Park from Morris’s Picturesque Views of Seats of the Noblemen and Gentlemen of Great Britain and Ireland, 1880.

(From left to right) John Glynn, John Wilkes and John Horne Tooke and is a copy after Richard Houston, (original 1769) (National Portrait Gallery London)

John Wilkes and Knighton Gorges Manor House

In the late eighteenth-century, John Wilkes, journalist, radical and politician, took a cottage on the Isle of Wight in which he installed his middle aged mistress Amelia Arnold and subsequently he was a frequent guest at Knighton Gorges Manor, the nearby house of Maurice George Bisset and his wife.  Bisset’s wife, formerly Harriat Mordaunt, was the illegitimate daughter of Charles Henry Mordaunt, the 4th Earl of Peterborough and his mistress (and later second wife) Robinaiana Brown and also cousin to the infamous courtesan Grace Dalrymple Elliott, as we reveal in our book An Infamous Mistress: The Life, Loves and Family of the celebrated Grace Dalrymple Elliot. Another local landowner was Sir Richard Worsley whose wife Bisset had, some years earlier, eloped with, leading to a very public and shocking criminal conversation case (for more information on the infamous Lady Worsley see Hallie Rubenhold’s excellent biography, The Scandalous Lady W).

John Wilkes's Cottage [near Sandown Fort] on the Isle of Wight.
John Wilkes’s Cottage [near Sandown Fort] on the Isle of Wight. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017
John Wilkes had a legitimate daughter, Mary (Polly) (to whom he wrote about Lady Peterborough and Miss Mordaunt in 1775) and two illegitimate children, a son by his housekeeper Catherine Smith who he passed off as his nephew and a daughter named Harriet by his mistress, Amelia Arnold.

Brighthelmstone,

Thursday, Oct. 16, 1775

Lady Peterborough, Miss M___t, more gloomy and dejected than ever, and Miss G___d as pert and flippant as at Bath, more is impossible, are here, and no other ladies I believe of your acquaintance.

Wilkes wrote to his daughter Polly from Sandham Cottage, his house on the Isle of Wight, on 15th July 1791 to tell her that ‘Captain Bissett dined here yesterday, but I have neither seen nor heard of Sir Richard Worsley. The French ladies are at Knighton House, a grandmother, mother and little daughter’ and later that same month he wrote again, mentioning that he was kindly supplied with melons and other fruit from Knighton Gorges.  The French ladies were perhaps aristocratic emigrants who had run for their lives before they lost their heads to the guillotine during the French Revolution. Grace Dalrymple Elliot and her friend Lady Seymour Worsley (Sir Richard’s wife) were not quite so lucky, and while they kept their heads on their shoulders, they were unable to flee Paris and had to endure the terror of those years, documented in An Infamous Mistress.

John Wilkes and his daughter Mary by Johann Zoffany, c.1779.
John Wilkes and his daughter Mary (Polly) by Johann Zoffany, c.1779. National Portrait Gallery, London

Knighton Gorges (now demolished) was one of the most magnificent houses on the island, a contemporary description in an island history says of it:

The manor house is an ancient building, but appears to have been constructed with much taste and judgment; and great attention has been evidently paid to it, to preserve its original beauty, in the various reparations which inevitably have been bestowed upon it. In particular we may observe, that one part of the building is finely variegated by the ivy that binds its gable ends, which perhaps, are too numerous to afford pleasure and delight to the eye; and that the windows in front are all latticed and retain their antique pillars of stone for their present supporters. It is finely situated on the gentle rising of a hill between some fine woods, but at a sufficient distance to afford some very beautiful prospects.

Knighton, the Seat of George M. Bisset, Esq.
Knighton, the Seat of George M. Bisset, Esq. Yale Center for British Art, Paul Mellon Collection

Featured image:

The picture at the head of the article is of (from left to right) John Glynn, John Wilkes and John Horne Tooke and is a copy after Richard Houston, (original 1769) (National Portrait Gallery London)

Sources:

Letters from the year 1774 to the year 1796, of John Wilkes, Esq. addressed to his daughter the late Miss Wilkes, Volume 4, 1804.82-83

A New, Correct and much improved History of the Isle of Wight, John Albin, London, 1795

Sir Joshua Reynolds, self portrait; National Portrait Gallery, London

James Turner and George White, beggars and artists’ models

James Turner and George White were beggars and it might seem odd that they should have been immortalised in works of art by the likes of Sir Joshua Reynolds and Nathaniel Hone, the elder. In actual fact they were used by some of the greatest painters of the eighteenth-century as artist’s models, a nice side-line which supplemented their income derived from begging on the London streets and as casual labourers.

James Turner, with his long white hair and flowing beard and his wise, wrinkled and well-lived-in face was painted in miniature by Nathaniel Hone the elder in 1750. He was reputedly 93-years old and was paid one shilling per hour for his services to the artist, ‘which he asserted he always got by his profession of begging’.

James Turner by Nathaniel Hone the elder (inscribed James Turner a beggar aged 93 who valued his time at a shilling an hour, 1750). Adam's
James Turner by Nathaniel Hone the elder (inscribed James Turner a beggar aged 93 who valued his time at a shilling an hour, 1750). Adam’s

Anglesey Abbey, a National Trust property in Cambridgeshire holds a miniature of an unknown man which is catalogued as possibly being an earlier miniature of James Turner by Nathaniel Hone.

An Unknown Man, possibly James Turner (b.1657) by Nathaniel Hone the elder. Anglesey Abbey, Cambridgeshire
An Unknown Man, possibly James Turner (b.1657) by Nathaniel Hone the elder. Anglesey Abbey, Cambridgeshire

After James, Hone and his great rival Sir Joshua Reynolds both used another beggar in their work, George White. Reynolds used him as the thirteenth-century Italian nobleman, Count Ugolino (featured in Dante’s Divine Comedy) in his 1773 depiction of the count and his children, starved to death.

Count Ugolino and His Children in the Dungeon by Joshua Reynolds; National Trust, Knole
Count Ugolino and His Children in the Dungeon by Joshua Reynolds; National Trust, Knole

George White, a Yorkshireman, became one of Reynold’s favourite models. He was discovered by the artist while working as a casual labourer, laying paving stones.

Old George… owed the case in which he passed his latter days, in great measure to Sir Joshua Reynolds, who found him exerting himself in the laborious employment of thumping down the stones in the street; and observing not only the grand and majestic traits of his countenance, but the dignity of his muscular figure, took him out of a situation to which his strength was by no means equal, clothed, fed, and had him, first as a model in his own painting room, then introduced him as a subject for the students of the Royal Academy.

In winter White would return to Yorkshire as ‘coals be cheap in the north, and warmth be the life of an old man’.

A Man's Head c.1771-3 by Sir Joshua Reynolds. Presented by Sir George Beaumont Bt 1826. Tate
A Man’s Head c.1771-3 by Sir Joshua Reynolds. Presented by Sir George Beaumont Bt 1826. Tate

George White also appears in a portrait named Pope Pavarius (a pun on White’s former profession as a street mender or paviour) by Joshua Reynolds.

Pope Pavarius by Joshua Reynolds, via Wikimedia.
Pope Pavarius by Joshua Reynolds, via Wikimedia.

Nathaniel Hone too used White in his painting, The Pictorial Conjurer displaying the Whole Art of Optical Deception.

Portraits, memoirs, and characters, of remarkable persons (1820) – which does admittedly mix up James Turner and George White – has this to say of The Conjuror.

Some difference existing between Sir Joshua Reynolds and Mr Hone, the latter, in revenge, painted the figure of an old man, with a magic want, conjuring from the flames various designs from old masters, which Sir Joshua had taken for models of some of his best pictures; and had afterwards destroyed the originals. On the death of Mr Hone, in 1784, the whole of his collection of paintings, prints, and drawings, were sold by auction, at Hutchins’ rooms, in King-street, Covent-garden, when the picture of the Conjuror was purchased for sixty guineas, by an agent of Sir Joshua’s, and consigned to the same destructive element that had consumed the old masters.

Sketch for 'The Conjuror' 1775 by Nathaniel Hone. Tate
Sketch for ‘The Conjuror’ 1775 by Nathaniel Hone. Tate

 

More information on Nathaniel Hone, the elder can be found on Mike Rendell’s excellent blog by clicking here.

 

Sources not mentioned or linked to above:

Lowell Libson Ltd, 2015

 

Header image: Sir Joshua Reynolds, self portrait; National Portrait Gallery, London

More female misers

We recently told you about the miser Mary Luhorne, that we came across in the book Lives and Anecdotes of Misers. Needless to say, we unearthed a few more, but unfortunately, unlike Mary, we are unable to validate most of these, apart from to confirm that details of their stories also appeared in the newspapers some years later. Once again, amongst many questions, it does beg the question ‘where were the relatives when they were alive?‘ sadly, we have no answer to that question.

Anyway, here we go:

Elizabeth Wilcocks

In 1768, in Nether-Shuckburgh, in Warwickshire, lived an old maid, named Elizabeth Wilcocks, whose life was very similar to that of Mary Luhorne. For many years before her death, she ate nothing but horse-beans or a few curlings: she had hardly any clothes, and had nothing but a bundle of straw and an old blanket to lie upon; yet, at her death, twelve pairs of sheets, and a large quantity of other linen, was found in her drawers.

She hid her wealth in the most unaccountable places. In a pickle-pot, stowed away in the clock-case, was discovered eighty pounds in gold and five pounds in silver. In a hole under the stairs a canister full of gold: in an old rat-trap a large quantity of gold and silver, and in several other places similar hoards were discovered by her executors.

In addition to all this wealth, this miserable old miser was possessed of an estate in houses and land producing a handsome revenue. She left the whole of her property to a very distant relative.

Geikie, Walter; The Fruit Seller; National Galleries of Scotland; http://www.artuk.org/artworks/the-fruit-seller-210099
Geikie, Walter; The Fruit Seller; National Galleries of Scotland

Joanna Horrel

Many years ago, there used to sit in the streets of Exeter an old woman selling lemons and apples. In the very hottest day she did not flinch before the sun; and in the very bitterest of December nights she was sure to be found at her accustomed place.

Now and then she did business in her little way, and took a few coppers from the urchins in the streets. Her appearance bespoke the utmost poverty, and her rigid habits of parsimony were regarded by the charitable as the shifts of indigence.

She had been an old inhabitant of the city but all her relatives were poor, and one of them had long been an inmate of the workhouse. There were but few who, knowing these circumstances, did not pity poor old Joanna Horrel, the apple-woman, of Exeter; and loose halfpence were often quietly dropped into her fruit-basket.

These tributes of compassion were always carefully hoarded up, and however much she obtained by such means, she never altered her appearance, never lived more generously, never indulged herself in luxuries or comforts at home, and never once thought of her relative in the poor-house.  In the year 1789, Joanna had grown old, and her span of life was at an end. Her relatives came to fulfill the last duties for the dead and on searching her room, hid here and there in cracks and corners, behind bricks and under the flooring, they discovered a fortune of near ten thousand pounds.

Maria Vooght

In an old newspaper, called the General Evening Post, of the date December 21, 1779, there is an announcement of the death of Miss Maria Vooght, the female miser, of Amsterdam. She was the last of three singular and parsimonious sisters. Lest they should not be enabled to gratify their propensity to accumulate and save, they resolutely declined all offers of matrimony.

They lived huddled together in one room—gloried, like true misers, in filth, and lumber, and vermin. They ate the coarsest food, and of that but sparingly, and they were never known to have bestowed a fraction in charity. There never, perhaps, were seen such miserable, dirty, and untidy old maids. In all three, the passion of avarice was equally strong: it appeared in them a family vice: they were not induced to become so parsimonious from the fear of any future want, for they had each a fortune which would have secured all those comforts and enjoyments it is in the power of gold to provide.

Maria Vooght, the last of these eccentric characters, left at her death, a fortune of five millions of guilders, equal to five hundred thousand pounds. She died intestate, and the money went to strangers.

Brown, William; Margery Jackson (1722-1812), Hiring Croglin Watty at Carlisle Cross; Tullie House Museum and Art Gallery; http://www.artuk.org/artworks/margery-jackson-17221812-hiring-croglin-watty-at-carlisle-cross-144228
Brown, William; Margery Jackson (1722-1812), Hiring Croglin Watty at Carlisle Cross; Tullie House Museum and Art Gallery

Margery Jackson, The Carlisle miser and misanthrope (1722 – 1812)

This story is somewhat different, but equally sad, so rather than sharing her whole story with you, we will simply redirect you to this brief online Memoir of Margery Jackson, it makes fascinating reading, we would definitely recommend having a quick read of it, she even created mayhem after her death! – not the most pleasant of women.

children-toads

Tullie House Museum and Art Gallery in Carlisle even have a dress owned by Margery in their collection.

56b1cf7347f94-image-1-tullie-house-mantua-dress-1
Courtesy of Experience UK

Featured image:

Margery Jackson, the Carlisle Miser, by William Brown (active 1811-1837). Tuille house Museum and Art Gallery

The sad tale of the miser Mary Luhorne

Sailmaker, Isaac; Two Views of an East Indiaman of the Time of William III; National Maritime Museum; http://www.artuk.org/artworks/two-views-of-an-east-indiaman-of-the-time-of-william-iii-175440
Isaac Sailmaker; Two Views of an East Indiaman of the Time of William III; National Maritime Museum

Mary Manlove married Nicholas Luhorne, some seven years her senior, in 1715 at St Andrews Holborn. There’s nothing especially noteworthy about either of them on the face of it until after the death of Nicholas, a captain in the navy, when the story of Mary’s life after the loss of her husband became particularly tragic as we discovered in a book, titled Lives and anecdotes of misers. What became of Mary…?

In the month of August of the year 1766 there died at Deptford a wretched old woman, in her ninety-sixth year; she was the widow of Captain Luhorne, of the East India service. She survived her husband forty years, and during the whole of that period she lived a most miserly and penurious manner. She not only denied herself the comforts, but even the most common necessaries and decencies of life.

Her clothes were so tattered that she was almost in a state of nudity, and the rags which she hung upon her shoulders were so filthy, and so animated with vermin, that passengers took the precaution to keep at a distance from her in the streets.

marriage-1715

She was never known to have lit a fire in her room, and never indulged in the luxury of a candle; she wore no under garments, and had no sheet to cover her at night; she eschewed all the rules of cleanliness, and appeared never so happy as when surrounded with filth and loathsomeness. She would frequently wander along the roads to beg of passers by, and always professed the utmost poverty.

The demon of avarice was so strong within this covetous soul, that she was more than once detected pilfering some trifling articles from her neighbours. One Tuesday the old woman was missed; she had not been observed to leave her room, and she had not been seen in her accustomed walks: Wednesday past, and the neighbours began to suspect that the old miser must be ill; they knocked at her door, but no voice replied; they waited for the morrow; and when the day had far advanced, and she did not appear, they got in at the window. They found her in bed alive, but speechless: with the attention she revived a little, but on Saturday the old woman died.

Her relatives were sent for, who on opening her drawers and chests found securities and gold to the amount of forty thousand pounds, besides clothes of the most sumptuous make and texture, plate, china, jewels and linen. For years she had been surrounded with this wealth and possessed these luxuries, which if rightly used would have served to comfort her old age, and have been the means of relieving the miseries and wants of others; the remembrance would in return have proved great solace to the bed of sickness and death.

st-pauls-deptford-burial-6th-aug
Although not very clear, we finally found her burial – 6th August 1766, St Nicholas, Deptford, Kent

Yet although her drawers were thus crammed with costly apparel, which was slowly moldering  and rotting before the effects of time; that wretched object of penury chose rather to wear rags so filthy that it became the imperative duty of her relatives to burn them immediately after her death.

In a life so wretched, so devoid of purpose, so laborious, so self-denying and so debased, we have a striking ample of the littleness of human wishes, and the ignobility of the human mind, when unguided by reason, and when swayed by the despotism of the passions. Her life is indeed, a problem the philosopher will find some difficulty to solve. With forty thousand pounds, no fraction of which she would venture to enjoy – with none for whom affection would prompt her to save – here was a wretched being whose lust for gold and whose propensity to hoard was so overwhelming, that she would beg of strangers in the streets whatever she could lay her hands upon; and although surrounded with an abundance, deprive herself of every enjoyment – of every hope and consolation, that she might gratify this most senseless propensity of her life, of her avarice, as manifested in all its strength at the age of ninety five, and of her lonely and comfortless death bed, we are prompted to exclaims, with the psalmist:

Vanitas Vanitatum omnia vanitas!

(vanity, vanity, all is vanity)

Covent Garden Market by Balthasar Nebot, 1737

Moll King, proprietress of King’s Coffee House in Covent Garden

‘What rake is ignorant of King’s Coffee House?’

(Henry Fielding, The Covent Garden Tragedy, 1732).

There are many tall tales told about Mary (Moll) King, a shrewd businesswoman and proprietress of King’s Coffee House in London’s Covent Garden. Several sources also say that she was a pickpocket, stealing watches from ladies’ pockets, and spent time in Newgate for her crimes as well as being transported on more than one occasion, each time returning home to England post haste. She was, it was alleged, an accomplice of the notorious Jonathan Wild, one of his gang of thieves, and while in Newgate met Daniel Defoe who, it is alleged, used her as the inspiration for Moll Flanders. Later she settled down with her husband to run their very successful coffee shop, from where she operated as a form of bawd and was prosecuted for keeping a disorderly house.

Moll King of King's Coffee House, Covent Garden

It all seems a little far-fetched and, if we’re completely honest, we don’t believe the half of it. A certain Moll King appeared before the judges for thieving in 1693, and our Moll wasn’t born until 1696 (as claimed in a pamphlet, The Life and Character of Moll King, late mistress of King’s Coffee House in Covent Garden published anonymously in 1747 shortly after her death).

Mary King is not an uncommon name and we’re sure more than one Mary or Moll King would have been in trouble with the authorities in London in the first half of the eighteenth-century. It seems that the history of the pick-pocketing Moll King, who had a criminal career lasting between at least 1693 and 1728 and who Defoe based Moll Flanders upon, has become entwined in popular imagination with that of Moll King, mistress of King’s Coffee House. The pick-pocketing rumours abounded even during Moll’s own lifetime, as they are specifically discredited in The Life and Character.

Moll was born in 1696 in a garret in Vine Street (now Grape Street) in the heart of St Giles in the Fields, the daughter of a shoemaker and a fruit, fish and greens seller. As a child, she helped her mother in the market and had a brief spell as a servant but hated being indoors all day and went back to selling fruit from a barrow. According to The Life and Character, in 1717 at the Fleet, she married one Thomas King.

Vegetable seller, Covent Garden market by Pieter Angillis, c.1726. Yale Center for British Art, Paul Mellon Collection
Vegetable seller, Covent Garden market by Pieter Angillis, c.1726.
Yale Center for British Art, Paul Mellon Collection

Tom King too has a somewhat fanciful story. The son of an obviously well-to-do family, he was born around 1694 in West Ashton in Wiltshire. E.J. Burford, in Wits, Wenchers, and Wantons: London’s Low Life: Covent Garden in the Eighteenth Century says he was the son of Thomas King, a squire of Thurlow in Suffolk and Elizabeth, daughter of Sir John Cordell, Baronet, who had married in 1691 at St Paul’s in Covent Garden.[1] In 1708, at the age of 14 years, he went to Eton and then, in 1713, to King’s College, Cambridge. Three years later he left Cambridge under a cloud, either expelled or in apprehension that his fellowship would be denied to him, depending upon which account you read. Whatever the cause, he ended up working in Covent Garden market where he was known as Smooth’d-Fac’d-Tom, and there he met Moll.

Covent Garden Market (1726), Pieter Angillis from the Yale Center for British Art, Paul Mellon Collection
Covent Garden Market (1726), Pieter Angillis from the Yale Center for British Art, Paul Mellon Collection

Around the time she met Tom, it is alleged that Moll also had an affair with a gentleman named John Stanley who, in 1723, met his end at the gallows on Tyburn; he had stabbed his mistress. A pamphlet published the same year gave his history, including details of his brief dalliance with Moll five years earlier.

Is it true? Almost certainly not; it’s another of the many myths which surround Moll’s life, and probably relates to Moll the pick-pocket. The Life and Character admits only an affair with a man named Murray who was in high public office, whilst noting that the handsome Moll was never short of male admirers. One son was born to Tom and Moll, named Charles (Moll names him in her will as her only child and subsequent claims that she educated him at Eton appear to be a falsehood stemming from Tom King’s education there).

The next sighting of either Tom or Moll upon which we can rely comes in 1730 when ‘Thomas King, the Market’ appeared amongst the list of victuallers in St Paul’s, Covent Garden in the licensing register.

The Kings, or rather Moll, had made a tidy profit selling nuts from a stall in the Covent Garden market, and with the money rented a shabby little house (in fact nothing more than a wooden shack) in the Piazza at Covent Garden market and began selling coffee, tea and chocolate to the market sellers, naming their business King’s Coffee House. It was soon known informally as King’s College. As they opened in the very early hours of the morning, when the market traders began work and started to sell strong liquors as well as coffee, they began attracting the custom of those who had ventured to Covent Garden after dark, seeking pleasure, everyone from prostitutes to fashionable young beaux. Soon they were open all through the night. It is said that the clientele included Hogarth, Henry Fielding (who mentioned the coffee house in two of his works), Alexander Pope and John Gay. By 1732 business was booming and the Kings bought the two adjoining properties to expand their business. The new Covent Garden Theatre opened next door to their coffee house.

Inside the King's Coffee House. British Museum
Inside the King’s Coffee House.
British Museum

The business thrived. It is said that Moll acted as a procuress and bawd, but had no beds in the coffee house (except hers and Tom’s in an upstairs room, accessed via a ladder which they pulled up behind them) so she could not be prosecuted for running a brothel. Instead, the assignation would be made at her coffee house and she would then send a servant to light their way to a nearby bagnio. It is also suggested that she operated as a money lender. To deter outsiders from knowing what was going on within their doors, Tom and Moll, and their customers, started ‘Talking Flash’, their own secret language.

Their good fortune enabled Tom to build two or three ‘substantial houses’ and a villa on Haverstock Hill on the road to Hampstead, and he and Moll moved into one of them. The dancer and actress Nancy Dawson (famous for her hornpipe between acts in The Beggar’s Opera) later lived in the villa. Tom King died in the October of 1737 at his Hampstead home after a lingering illness exacerbated by his drinking and was buried at St Paul’s in Covent Garden on the 11th of that month. Moll was granted administration of his estate (goods in Hart Street, Covent Garden and the Coffee House in Covent Garden were mentioned) and took over the running of their coffee house, together with her nephew, William King.

Moll now took to drink – she was previously known for remaining sober – and the coffee house gained a worse reputation than that which it had previously enjoyed under Tom’s management and she began to appear before the courts charged with keeping a disorderly house. It was around this time that Hogarth depicted King’s College in his painting Morning, one of ‘The Four Times of the Day’ series. The scene shows two rakes and their prostitutes who have just staggered out of King’s into the early morning sunshine of a wintry day; icicles can be seen hanging from the timber roof of the coffee shop. Inside, a fight can be seen taking place.

Morning, one of the Four Times of Day series by William Hogarth.
British Museum

Moll stayed a widow for a twelvemonth, and when her year of mourning was over she married again, on the 11th October 1738 at St Dunstan in the West, to John Hoff, a carpenter and builder who lived on Compton Street in Soho. It was thought that John Hoff married Moll for her money, and indeed she did continue to use her former married name, at least in connection with her coffee house, but none of the evidence suggests that Mr Hoff was after Moll’s fortune. He died just less than four months into their marriage and his will, written on the 6th February 1739, appoints Moll as his executrix and everything is left to her. Moll proved the will on the 9th February before her husband was even in his grave. (John Hoff was buried at St Paul’s in Covent Garden on the 14th February 1739.)

It was in 1739, shortly after Mr Hoff’s death, that a disturbance at King’s Coffee House made the newspapers. A young gentleman claimed that Moll had beaten him in her house and the case ended up in the Court of the King’s Bench. Moll was found guilty. She was told that she was to be fined the considerable sum of £200, had to find sureties for her future good behaviour and that she would be held in prison until the fine was paid. Moll stubbornly went to prison refusing to pay the fine for, as she said, “if she was to pay two hundred pounds to all the insolent boys she had thrash’d for their impudence, the Bank of England would be unable to furnish her with the cash”. In her absence, the coffee house was run by her nephew and Moll languished in prison. It was said that she eventually came to an arrangement to pay less than half the fine in return for her release.

Moll retained her Hampstead villa (which was known locally as Moll King’s Folly), but when she came to write her will on the 6th June 1747 she was ‘Mary Hoff of the parish of St Paul Covent Garden, widow’. She left a few small bequests to her sister-in-law and friends, but the bulk of her reputedly considerable fortune she left to her only child, Charles King, in trust for him until he reached 30 years of age. If he died before that, she willed that her estate was to be used by the parish of St Giles in the Fields to benefit poor children. Moll obviously hadn’t forgotten her roots. She died later that year, on the 17th September 1747 and was buried ten days later in the same churchyard as her two husbands, St Paul’s Covent Garden.

A view of Hampstead Road near Tom King's House
British Museum

It was after Moll’s death that The Life and Character of Moll King appeared on the streets, which gave details of her criminal career. But how much truth is there in it? To be honest, we’re still not completely sure. Our opinion, and it is no more than that, is that the legend of the pick-pocketing Moll King has become entwined with that of Moll King, mistress of King’s Coffee House. You could accuse the latter Moll of being a bawd, a drunk and the keeper of a disorderly house, but we’re not sure that you could accuse her of much else. Unfortunately, it’s probably one of those cases which will never truly be proved one way or the other.

A Monument for Tom King of King's Coffee House. British Museum
A Monument for Tom King of King’s Coffee House
British Museum

 

Notes:

[1] E. J. Burford says Thurlow in Essex, but the marriage register at Covent Garden gives Thurlow in Suffolk. Thomas was the son of Robert King of Great Thurlow in Suffolk; Robert’s will c.1709 mentions his ‘unfortunate son’ Thomas and a grandson named John King, but not a grandson named Thomas.

 

Header image:

Covent Garden Market by Balthasar Nebot, 1737 (The Tate)

 

Sources:

The Records of Old Westminsters, Up to 1927

The Life and Character of Moll King, late mistress of King’s Coffee House in Covent Garden, 1747

Women in Business, 1700-1850 by Nicola Jane Phillips, Boydell & Brewer Ltd, 2006

London – The Wicked City: A Thousand Years of Prostitution and Vice by Fergus Linnane, Robson, 2007

Wits, Wenchers, and Wantons: London’s Low Life: Covent Garden in the Eighteenth Century by E. J. Burford, Robert Hale Ltd, 1986

Transactions of the Royal Historical Society: Volume 11: Sixth Series, The Royal Historical Society, Cambridge University Press, 2003

Tom King’s Coffee House on Wikipedia

Old and New London: Volume 5. Originally published by Cassell, Petter & Galpin, London, 1878.

Derby Mercury, 13th October 1737 and 7th June 1739

National Archives: PROB 3/36/147, 20th December 1737

The Green Man of Brighton – Henry Cope

Following one from one of our earlier posts about the colour green, we find ourselves once again on the same topic. This time however, it is about an English eccentric: Henry Cope aka The Green Man. It is reported that Henry loved anything and everything green. This extract about Henry comes from The Omnium Gatherum, 1809.

The Green Man at Brighton – Amongst the visitors this season is an original, or would-be original, generally known by the appellation of ‘The Green Man’. He is dressed in green pantaloons, green waistcoat, green frock, green cravat and though his ears, whiskers, eye-brows and chin are better powdered than his head, which is, however, covered with flour, his countenance, no doubt, from the reflection of his clothes, is also green. He eats nothing but greens, fruits and vegetables; has his apartments painted green, and furnished with green sofa, green chairs, green tables, green bed and green curtains. His gig, his livery his portmanteau, his gloves and his whips, are all green. With a green silk handkerchief in his hand and a large watch chain with green seals, fastened to the green buttons of his green waistcoat he parades every day on the Steyne, Brighton.

Henry Cope by an unknown artist, published 1806. © National Portrait Gallery, London
Henry Cope by an unknown artist published 1806.
© National Portrait Gallery, London

He became so famous that a verse was written about him, also contained in the above book.

ballad-of-henry-cope-the-green-man

Virtually nothing seems to be known of his early life, but many tall tales were told about him. Henry was reputed to have been a descendant of Sir John Cope, owner of Bramshill House, Hampshire (later Bramshill Police College) and Henry’s ghost is one of many said to haunt the house. The Morning Advertiser (10 October 1806) however, claimed that The Green Man was a student of Lincoln’s Inn, his mental faculties deranged by intense study, and a near relative of the Duchess of Dorset, Arabella Diana née Cope, daughter of Sir Charles Cope, 2nd Baronet. Others said that he had lost his wits over his love for a beautiful woman. Perhaps she was the Crazy Jane mentioned in this snippet?

Morning Post, 13 October 1806

An interesting young female, in whimsical attire, resembling the costume of the time of Queen ELIZABETH, appeared on Friday evening on the Steyne, at Brighton, in quest, as she said, ‘of the “Knight of the Green Man, who had stolen the wits of Crazy Jane.” She, however, precipitately retired to her residence, before the crowd around her could increase.

A portrait on the Sotheby’s website supposedly shows Henry Cope, The Green Man, as a young man c.1765-1770, identifying him as one of the family of Cope of Bramshill House and holding a ring. The catalogue notes suggest that possibly the portrait was commissioned to mark the sitter’s marriage, but no record of a marriage exists. What happened to Henry Cope’s bride-to-be? Perhaps this might also be a clue to his mental affliction? The artist was Francis Cotes who died 1775.

Portrait of Henry Cope, 'The Green Man', half-length, wearing green and holding a ring in his left hand. Sotheby's
Portrait of Henry Cope, ‘The Green Man’, half-length, wearing green and holding a ring in his left hand. Sotheby’s

His fame soon spread, and the London newspapers continued to run stories, laughing at his expense.

Morning Advertiser, 16 October 1806

The servant of the Green Man at Brighton arrived yesterday in town, at the Green Man and Still in Oxford-street, for the purpose of contracting with an eminent Poulterer to supply him constantly with green geese at any price at which they can be obtained. The Physicians have pronounced that the unfortunate man is afflicted with the green sickness.

(A green goose is one which is killed when under four months old, and eaten without any stuffing, and hypochromic anaemia was, historically, referred to as ‘the green sickness’.)

The Little Green Man or the Bath Bugabo, or the Widows Terror, 1802. Yale Center for British Art, Paul Mellon Collection
The Little Green Man or the Bath Bugabo, or the Widows Terror, 1802.
Yale Center for British Art, Paul Mellon Collection

Henry Cope’s death is often said to have taken place in 1806 as a result of either committing suicide or accidentally falling off a cliff in Brighton. The newspapers of the day suggest that such an event occurred, but he did not die as a result of it.

Staffordshire Advertiser, 01 November 1806

Last Saturday morning, a little after six o’clock, the gentleman and other eccentricities (exhibited on the Steine, at Brighton, for several weeks past) had obtained the appellation of The Green Man, leaped from the window of his lodgings on the South Parade, into the street, ran from thence to the verge of the Cliff nearly opposite, and threw himself over the precipice to the beach below. Several persons immediately ran to his assistance, and carried him, bleeding at the mouth and ears back to his lodging. The height of the Cliff from whence he precipitated himself is about 20 feet perpendicular; but whether his fall has proved dangerous we have not yet heard. From the general demeanour of the above gentleman it is supposed he is deranged. His name, we understand is Henry Cope, and that he is related to some highly-distinguished family.

The Pavilion & Steyne at Brighton, 1806. Yale Center for British Art, Paul Mellon Collection
The Pavilion & Steyne at Brighton, 1806.
Yale Center for British Art, Paul Mellon Collection

Morning Post, 24 October 1806

The Green Man of Brighton has received no serious injury from his late accident, though it has effected some change in his colour – for he has ever since looked rather blue.

Several newspapers related that The Green Man had fancied that there was a serious riot in progress and that his presence was needed to quell the disturbance. The person in whose house he was living travelled to London, to contact Cope’s friends and ensure his future safety (Morning Post, 22 October 1806). It would seem, therefore, that the unfortunate Henry Cope lived primarily in London, and his friends did indeed take measures to prevent him from harming himself again for he found himself in St Luke’s Hospital for Lunatics in London.

st-lukes-hospital-london

Almost a year later, according to the Morning Advertiser of 5th September 1807, he was still alive but presumably in dire straits.

This day an auction at Fisher’s Rooms, St James’s Street, excited much attention. It consisted of the wearing apparel, gold watch, chain and seals, and other effects belonging to the well-known character, Mr. Henry Cope, commonly called The Green Man, taken in execution for board, lodgings etc. Most of the articles of dress were sold far below their original value and real worth. They were purchased by some of the most respected people, more for curiosities than for use. A full green suit, not much the worse for wear, and consisting of coat, pantaloons, and waistcoat were knocked down at 1l 6s; another green coat and pantaloons, of somewhat a darker hue, went off at 6s 6d; and a green great coat, of exactly the same tinge, at 1l, 12s.  The chapeau de bras, which had been so often and anxiously gazed at by all the fashionable fair upon the Steyne, and public promenades during last season, was disposed of at the moderate rate of one guinea; and for the same amount also went off the miniature set in gold of the beautiful Dulcinea, for whom it is said this unfortunate gentleman has gone mad. It is reported that he is at present in that unhappy state in St. Luke’s hospital, London. The most valuable article, however, disposed of upon this occasion, was a gold repeater, with its chain and seal, which originally cost Mr. Cope 188 guineas. Upon the seal was beautifully engraven the arms and supporters of Earl Vernor, the title this insane Gentleman thought to assume. In the inside of the watch were also engraven ‘the Right Hon. H. Cope, Earl Vernor’ but not withstanding these claims to rank and high estimation, it was sold at the reduced price of 39l 7s 6d. Such are the bargains to be got at Brighton. If sold in London these articles would, no doubt, from the eccentricity of the character to whom they once belonged have brought double the sum.

We have searched as many places as we can think of to locate his death and burial, but all in vain. If anyone out there has any luck please do let us know.

Prince of Wales, the Duke of Orleans, and Friendship

We are delighted to once again welcome to our blog the lovely Geri Walton, blogger and now author. Geri, like us, has long been interested in history and fascinated by the stories of people from the 1700 and 1800s. This led her to achieve a degree in History and resulted in her website which offers unique history stories from the 18th- and 19th-centuries.

Her first book, Marie Antoinette’s Confidante: The Rise and Fall of the Princesse de Lamballe, has just been released. It looks at the relationship between Marie Antoinette and the Princess de Lamballe, and among the people mentioned in the book are the Duke of Orleans, the Prince of Wales, and Grace Dalrymple Elliott, of which more later.

Marie Antoinette has always fascinated readers worldwide. Yet perhaps no one knew her better than one of her closest confidantes, Marie Thérèse, the Princess de Lamballe. The Princess became superintendent of the Queen’s household in 1774, and through her relationship with Marie Antoinette, a unique perspective of the lavishness and daily intrigue at Versailles is exposed.

Born into the famous House of Savoy in Turin, Italy, Marie Thérèse was married at the age of seventeen to the Prince de Lamballe; heir to one of the richest fortunes in France. He transported her to the gold-leafed and glittering chandeliered halls of the Château de Versailles, where she soon found herself immersed in the political and sexual scandals that surrounded the royal court. As the plotters and planners of Versailles sought, at all costs, to gain the favour of Louis XVI and his Queen, the Princess de Lamballe was there to witness it all.

This book reveals the Princess de Lamballe’s version of these events and is based on a wide variety of historical sources, helping to capture the waning days and grisly demise of the French monarchy. The story immerses you in a world of titillating sexual rumours, blood-thirsty revolutionaries, and hair-raising escape attempts and is a must read for anyone interested in Marie Antoinette, the origins of the French Revolution, or life in the late 18th Century.

The Prince of Wales and the Duke of Orleans first met when the Duke visited England in 1783. The two men hit off because both men were wealthy and enjoyed idling away time. They were known to regularly “drink, bet at races, and gamble with dice and cards.” A second visit by the Duke made in the spring of 1784 had them visiting a variety of race tracks where they bet on the horses, and a third visit by the Duke, in the autumn, cemented the men’s relationship further when they went to Brighton, which was little more than a fishing village at the time.

Louis Philippe d’Orléans, as Duke of Chartres, by Sir Joshua Reynolds, ca.1779, Courtesy of the Château de Chantilly

Despite the Duke (b. 1747) being 15 years older than the Prince (b. 1762), the two men had other commonalities that encouraged their friendship. Both men enjoyed all sorts of vices, such as wasting time and constantly spending money. This caused the Prince’s father, George III, to view the Duke as a bad example for his son. In addition, reports about the Duke’s orgies did not help his standing with the King nor did the fact that George III had already issued a “royal proclamation against vice and immorality, and all kinds of swearing, drunkenness, and licentiousness.”

Despite the King’s proclamation, the Prince continued to live a wanton lifestyle. Similar to the Duke, the Prince also had a number of mistresses. In fact, one mistress the Prince and the Duke had in common was the divorcee Grace Dalrymple Elliott. The Prince first met Elliott when he was eighteen. They eventually had an affair, which resulted in Elliott giving birth to his daughter on 30 March 1782 and caused the Prince to supposedly remark, “To convince me that this is my girl they must first prove that black is white.”

George IV when Prince of Wales, miniature by Richard Cosway, 1792.
George IV when Prince of Wales, miniature by Richard Cosway, 1792. National Portrait Gallery

The Prince did eventually admit the girl was his although even before her birth, the Prince and Elliott’s relationship had fizzled. With the Prince tired of Elliott, he introduced her to his friend the Duke of Orleans. Despite being married, the Duke was interested in Elliott. (He had married on 6 June 1796 Louise Marie Adélaïde de Bourbon, who was sister-in-law to the ill-fated Princesse de Lamballe.) The Duke pursued Elliott, made her his mistress, and, by 1786, she moved to Paris to be closer to him.

As time passed, the Duke and Prince’s relationship continued to strengthen. At one point the Prince commissioned a portrait of the Duke, and the Duke ending up buying a house in Brighton because of his frequent visits to England. Moreover, during one of the Duke’s stays in Brighton, the Duke “had 28 fallow deer brought from France as a present to the Prince, who had recently formed a kennel of staghounds in Brighton.” Unfortunately, on the way to deliver them to the Prince’s kennels, a revenue officer seized the deer, and it was only after much wrangling that the deer were released and sent on their way to the Prince.

The two men also forged closeness in other ways. First, the Duke of Orleans invested large sums of money in England, and, second, he embraced everything “English” to the point the Duke made anglomania fashionable in France. Another reason for the men’s closeness was their common dislike for Louis XVI and the French monarchy. The English were “bitterly exasperated against the court of Louis XVI for aiding in the emancipation of America,” and, so, the Prince saw little wrong with the Duke supporting French revolutionaries, who were pitted against Louis XVI and the monarchy.

Despite the Duke and Prince’s similarities and common dislike for the French monarchy and Louis XVI, their friendship eventually began to wane. It completely ruptured after the Duke voted for the death of his own cousin, Louis XVI. Before the infamous vote, Elliott asked the Duke of Orleans, how, in good conscience could he allow his King and his cousin to be condemned by “blackguards.” He reassured her nothing would ever induce him to vote for the King’s death. However, he also noted “he thought the King had been guilty by forfeiting his word to the nation.”

Grace Dalrymple Elliott. Portrait by Thomas Gainsborough, 1778. Courtesy of the Metropolitan Museum of Art.

When the vote was taken, the Duke did not keep his word to Elliott. Later, after the vote, Elliott would say there was no one she detested more than the Duke. The Duke’s vote also caused many people to believe the Duke was attempting to undermine the monarchy and seize power for himself. This belief resulted in him becoming “a hated figure among the exiled aristocrats. He was [also] soon a figure of contempt for fellow republicans, who whatever their political principles, retained a belief that blood was thicker than water.”

Although the Prince of Wales disliked the French monarchy and Louis XVI, he also believed blood was thicker than water. After he heard the news that the Duke had voted for the death of his cousin, Louis XVI, the Prince of Wales became livid. “He leapt up from his chair, dragged down from the wall the portrait of Philippe that he had commissioned from Joshua Reynolds decades earlier and smashed it to pieces in the fireplace.” Thus, the friendship of the Prince of Wales and the Duke of Orleans ended forever.

References:

Ambrose, Tom, Godfather of the Revolution, 2014

Bishop, John George, The Brighton Pavilion and Its Royal and Municipal Associations, 1900

Craik, George Lillie and Charles MacFarlane, The Pictorial History of England During the Reign of George the Third, 1849

“London, (Thursday) March 24,” in Derby Mercury, 24 March 1785

Major, Joanne, and Sarah Murden, An Infamous Mistress, 2016

The Living Age, Vol. 74, 1862

 

 

You can find Geri on Facebook, Twitter (@18thCand19thC), Google PlusInstagram and Pinterest and her book is available from:

Pen and Sword Books

Amazon.co.uk

and to pre-order on Amazon.com and other good bookshops

 

Viscount Deerhurst’s hunting accident

George Coventry, Viscount Deerhurst and the future 7th Earl of Coventry, suffered a catastrophic hunting accident in 1780 when still a young man in his early twenties, resulting in the loss of his sight.  He is mentioned frequently in our latest book An Infamous Mistress: The Life, Loves and Family of the celebrated Grace Dalrymple Elliott, and we thought our readers might be interested in this contemporary newspaper account of his tragic accident, given in full, as a little extra information.

Hunting Scene by George Morland Victoria and Albert Museum
Hunting Scene by George Morland
Victoria and Albert Museum

Lord Viscount Deerhurst was alive when the last express arrived from his surgeons, but lay in such a dreadful state, that his dissolution might almost be wished for by his friends. The following is the real state of the fatal accident. – His Lordship was hunting on Monday last, with his Grace the Duke of Beaufort, near Wooton in Oxfordshire; while the hounds were running, he and Sir Clement Cotterell came up to a very aukward [sic] five barr’d gate at the same time. – “Come, Cotterell,” says his Lordship, “don’t stand here, let’s get over!” – Sir Clement replied, “I would not take it for all the money in Europe.” – “No!” replied his Lordship, “then I do for twenty pounds!” – and at this instant he pushed his horse at it, who entangled his feet between the upper bar, on which Lord Deerhurst clapped his spurs to his side, which only served to irritate the horse, without disengaging him, so that they both fell over the gate and the horse upon him, by which Lord D’s right eye was beat into his head, his nose broke and laid flat to his face and his Lordship so much mangled in other respects, that he was taken up the most terrible spectacle that ever was beheld. As soon as he came to his senses, he requested of his friends that they would put him to death; there was but little probability of his surviving it when the last accounts came away. Lord Coventry, his father, went down yesterday to him; they had not seen each other since Lord Deerhurst’s marriage with the younger sister of Earl Northington.

© The Trustees of the British Museum
© The Trustees of the British Museum

 

Source:

Morning Herald and Daily Advertiser, 23rd November 1780.

John Wesley as The Pious Preacher – but who is Miss D___ple?

Today we offer a little exclusive snippet of extra information to our biography, An Infamous Mistress: The Life, Loves and Family of the Celebrated Grace Dalrymple Elliott. It concerns something we looked at in the course of our research, but which proved too vague to be included. And so we present it here instead, for our readers to make up their minds on. Does it relate to Grace’s family, or not?

At the very end of 1774, The Town and Country Magazine included another of their infamous Histories of the Téte-à-Téte annexed, this one titled ‘Memoirs of the Pious Preacher and Miss D___mple’. The Pious Preacher is easily discernible as John Wesley, the Methodist preacher, who had been attacked in the same magazine before. But Miss D___ple?

At the very end of 1774, The Town and Country Magazine included another of their infamous Histories of the Téte-à-Téte annexed, this one titled ‘Memoirs of the Pious Preacher and Miss D___mple’.  The Pious Preacher is easily discernible as John Wesley, the Methodist preacher, who had been attacked in the same magazine before.  But Miss D___ple?  The most likely surname for this lady is Dalrymple and this would be a name well known to the readers of the magazine with Grace herself having appeared in her own ‘Téte-à-Téte’ following her indiscretion with Lord Valentia.  The description of Miss D___ple does seem to fit with a daughter of Hugh Dalrymple, Grace’s father.

This young lady is the daughter of an eminent attorney, who made a capital fortune by usury and the rapine of the law.  He gave her a polite education and imagined, with the portion he could bestow on her, that she was entitled to a husband in a man of fashion and family.  Upon the death of his wife he sent for Miss D___ from the boarding-school to superintend his domestic affairs.  She was not about eighteen and though not a regular beauty was a very genteel, agreeable girl.

We know Hugh practised as an attorney, we know Grace at least had attended a convent school and returned home after the death of her mother.  If this is a daughter of Hugh’s, perhaps the mysterious third daughter sometimes alluded to, she would be born c.1750 if she was just under eighteen at her mother’s death in 1767, placing her as a middle sister between Grace and her elder sister Jacintha.

(c) Dr Johnson's House; Supplied by The Public Catalogue Foundation
John Wesley preaching in Old Cripplegate Church. (c) Dr Johnson’s House; Supplied by The Public Catalogue Foundation

The magazine tells us that this girl fell in love with her father’s clerk and he with her, but her father, when approached to ask if they may marry, ‘would not listen to it, having far more elevated views for his daughter’.  The clerk, having finished his service, went abroad and settled in America.  The bereft Miss D___ple, whilst her father was seeking a match for her, met an army officer.  He, ‘finding he had no chance of succeeding in an honourable way, he used all the artillery of stratagem to succeed upon other terms.  He was too fortunate and the event was very natural.  Upon her being visibly pregnant, her father banished her, his house and the only asylum she could find was at a kinswoman’s, who prefessed midwifry’.

Grace’s sister Jacintha married an army officer, but he at least was in line for inheritance to a fine estate.  If this is indeed a daughter of Hugh Dalrymple, this affair took place before he left for Grenada in the spring of 1772 and presumably before Grace’s marriage in October 1771.  Was this the reason he was so happy to marry his youngest daughter off to Dr. Eliot, not wanting to see her follow in the footsteps of a sister?

The kinswoman attended discourses held by the Pious Preacher and, after helping her to abort the baby, began to remonstrate with Miss D___ple on ‘the heinous sins she had been guilty of… she persuaded Miss D___ to follow her footsteps and be regenerated’.  The Pious Preacher, the magazine states, ‘made a great impression upon our heroine.  He now frequently visited mother Midnight [the kinswoman] and seemed to take particular pains and pleasure to make Miss D___ a convert.  He at length successed to the utmost extent of his wishes and gave her the appellation of his fair Proselyte’.

The article ends with the suggestion that Miss D___ple has borne twins to the Pious Preacher.  No evidence can be found to back up any of the assertions in the article, but it would suggest a reason why, if there were a third Dalrymple sister, she may have been airbrushed from their family history.

Grace, as Mrs E__t in her own Téte-à-Téte alongside Miss D___mple. It's a shame that Grace is in profile or else we might be able to guess at a resemblance between the two women. Images via Lewis Walpole Library.
Grace, as Mrs E__t in her own Téte-à-Téte alongside Miss D___ple. It’s a shame that Grace is in profile or else we might be able to guess at a resemblance between the two women. Images via Lewis Walpole Library.

NB: In an earlier blog post for Laurie Benson, we recounted a night at a Ridotto in 1777, and speculated that a ‘Mother M’ who was mentioned was ‘Mother Mordaunt’, aka Grace’s aunt, Robinaiana Mordaunt, Countess of Peterborough. Here we have another ‘Mother M’ mentioned, seemingly in connection with a close relative of Grace’s, ‘Mother Midnight’, an eighteenth-century term for a midwife or, sometimes, for a bawd.

Joseph Edge, the Macclesfield Pedestrian of 1806

Joseph Edge was aged either 61 or 62 years of age when he set off to walk from Macclesfield in Cheshire to London (a journey of 172 miles) in fifty hours or less in the summer of 1806. Several large bets had been placed on his progress, amounting to upwards of 2,000 guineas.

Joseph Edge: The Macclesfield Pedestrian by R Bradbury; Silk Heritage Trust; http://www.artuk.org/artworks/joseph-edge-the-macclesfield-pedestrian-103349
Joseph Edge: The Macclesfield Pedestrian by R Bradbury; Silk Heritage Trust

His first attempt ended in disaster – he set off from the Angel Inn in Macclesfield’s Market Place (it’s now the site of the NatWest Bank) at midnight on Monday 28th July and, eleven hours later, he arrived at Kegworth in Leicestershire (a distance of 51 miles). There he took some refreshment and drank a pint of beer, a bad mistake! The beer disagreed with him and after walking just a short distance further he became very ill and fell to the ground. His expedition was abandoned.

Two days later he was sufficiently recovered to attempt the feat again. At midnight on Wednesday 30th July he once more set off from the Angel Inn, accompanied by two gentlemen in a gig (one of whom may have been Mr Jones, Postmaster of Macclesfield, their purpose being to verify his attempt for the gentlemen who had placed money on Edge being able to complete his mammoth journey in only 50 hours, or not).

© The Trustees of the British Museum
© The Trustees of the British Museum

He just made it! After walking for 49 hours and 20 minutes Joseph Edge arrived at the designated finishing line, the Swan with Two Necks coaching inn on Lad Lane (now Gresham Street) in London, at 20 minutes past 1 o’clock in the early hours of Saturday 2nd August. A convenient destination, the Swan with Two Necks was where the coach heading out of London to Macclesfield departed from, giving Edge an easy journey home.

Several mail coaches gathered in the courtyard of The Swan with Two Necks, 1831. © The Trustees of the British Museum
Several mail coaches gathered in the courtyard of The Swan with Two Necks, 1831.
© The Trustees of the British Museum

Sources:

Kentish Weekly Post or Canterbury Journal – 29th July and 8th August 1806

Sporting Magazine, volume 28, 1806

Wicked William – Principal Departures for London Coaches (1819)

Header image:

Macclesfield Park, Cheshire by George Stewart, 1866 (via Art UK)

A View of Chiswick House Gardens with the Bagnio and Domed Building Alleys; Pieter Andreas Rysbrack; English Heritage, Chiswick House

How to mock 18th century nobility – The Gardener’s Calendar

83981001
The Caricaturers Stock in Trade Courtesy of the British Museum

‘A garden is a world and every tree and flower are men and women’

The Georgian newspapers loved nothing more than mocking the aristocracy, never more so than in this article we stumbled across in The Morning Herald, January 1781, entitled ‘Vegetable Kit-Cats’, otherwise known as ‘The Gardener’s Calendar’ which attributed trees and flowers to some of the great and the not so good of the day so we thought it would be fun to follow suit.

Firstly of course we have His Majesty, King George III  – The Royal Oak

studio of Allan Ramsay, oil on canvas, (1761-1762)
King George III, studio of Allan Ramsay, oil on canvas, (1761-1762) Courtesy of NPG
Tate; (c) Tate; Supplied by The Public Catalogue Foundation
The Oak tree, by Joseph Farrington Courtesy of Tate; (c) Tate; Supplied by The Public Catalogue Foundation

 

 

 

 

 

 

 

 

 

 

Closely followed by The Queena Crown Imperial

studio of Allan Ramsay, oil on canvas, (1762)
studio of Allan Ramsay, oil on canvas, (1762) Courtesy of NPG
(c) National Trust, Dudmaston; Supplied by The Public Catalogue Foundation
Roses, Tulips and Crown Imperial in a Vase with a Bird’s Nest by Jan van Os c1770 (c) National Trust, Dudmaston; Supplied by The Public Catalogue Foundation

 

 

 

 

 

 

 

 

 

 

 

The Prince of Wales, now we’re sure that there must be any number of flowers that spring to mind, but the Morning Herald has chosen Hearts Ease, otherwise known as ‘leap up and kiss me‘. We can’t imagine why!

by Richard Cosway, watercolour on ivory, circa 1780-1782
by Richard Cosway, watercolour on ivory, circa 1780-1782, courtesy of the National Portrait Gallery

 

Heart's ease

 

 

 

 

 

 

 

 

 

The Princess Royal,  passion flower

Princess Royal, Charlotte
Charlotte, Princess Royal

passion flower

 

 

 

 

 

 

 

 

Prince William Henry, Sweet William

sweet william

by Sir Martin Archer Shee, oil on canvas, circa 1800
by Sir Martin Archer Shee, oil on canvas, circa 1800 Courtesy of the National Portrait Gallery

 

 

 

 

 

 

 

 

 

 

Duke of Richmond, Fleur de Lis

240px-3rd_Duke_of_Richmond

Fleur de Lis or Iris

 

 

 

 

 

 

 

 

Lord Coleraine, Coxcomb

George Hanger, 4th Lord Coleraine (1751-1824) c.1782-92 Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014
George Hanger, 4th Lord Coleraine (1751-1824) c.1782-92
Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

john-edwards-1795-folio-hand-col-botanical-print.-coxcomb-51490-p[ekm]416x554[ekm]

 

 

 

 

 

 

 

 

 

 

 

Lord Egremont, Bachelor’s Button

by John Samuel Agar, published by T. Cadell & W. Davies, after John Wright, after Thomas Phillips, stipple engraving, published 16 April 1810
by John Samuel Agar, published by T. Cadell & W. Davies, after John Wright, after Thomas Phillips, stipple engraving, published 16 April 1810 Courtesy of the National Portrait Gallery

Bachelors Buttons

 

 

 

 

 

 

 

 

 

 

 

Duchess of Devonshire, London’s Pride

200px-Joshua_Reynolds_-_Georgiana,_Duchess_of_Devonshire c1775
Georgiana, Duchess of Devonshire c1775 Joshua Reynolds

WSY0041742_14562

 

 

 

 

 

 

 

 

 

 

 

Hon. Thomas Onslow, Dwarf Stock. His nickname at the time being ‘Tom Tit’ or dwarf

Hon Thomas Onslow Courtesy of the British Museum
Hon Thomas Onslow Courtesy of the British Museum

 

stock

 

 

 

 

 

 

 

 

 

Lord Kellie, Scarlet Lychnis

Thomas Erskine 6th Earl of Kellie 1780 Courtesy of the British Museum

 

curtis-1794-hand-col-botanical-print.-scarlet-lychnis-257-90139-p[ekm]416x554[ekm]

 

 

 

 

 

 

 

 

 

 

 

 

Miss Far__n, Sensitive plant

Sensitive plant - mimosa

Miss Farren in the Character of Hermione. Winter's Tale Act V and A
Miss Farren in the Character of Hermione. Winter’s Tale Act. Courtesy of Victoria & Albert Museum, London

 

 

 

 

 

 

 

 

 

 

 

Mrs Robinson, Princes Feather

110172075
Prince’s Feather or Kiss me over the garden gate (Polygonum orientale), Polygonaceae by Giovanni Antonio Bottione, watercolor, 1770-1781
Mary Darby (1758–1800), Mrs Thomas Robinson ('Perdita') by Thomas Gainsborough c.1781 (c) National Trust, Waddesdon Manor; Supplied by The Public Catalogue Foundation
Mary Darby (1758–1800), Mrs Thomas Robinson (‘Perdita’) by Thomas Gainsborough c.1781
(c) National Trust, Waddesdon Manor; Supplied by The Public Catalogue Foundation

 

 

 

 

 

 

 

 

 

 

 

 

Mrs Mahon, Drooping Lilly of the Valley

Gertrude Mahon, 1781 Courtesy of Lewis Walpole Library
Gertrude Mahon, 1781 Courtesy of Lewis Walpole Library

Lily of the Valley

 

 

 

 

 

 

 

 

 

 

Vestris, The Caper Tree

Vestris and Cholmondeley 1781
‘Regardez Moi’. Lord Cholmondeley and Vestris, 1781. Courtesy of Lewis Walpole Library

220px-Illustration_Capparis_spinosa0

 

 

 

 

 

 

 

 

 

We wonder whether you agree with their choice or perhaps had some others you feel could be added to that list. If you do please let us know the person and a suitable plant to match their personality. The list of possible candidates from that period must be endless!

 

Header image: A View of Chiswick House Gardens with the Bagnio and Domed Building Alleys; Pieter Andreas Rysbrack; English Heritage, Chiswick House

 

The Persevering Lover and the False Wife, 1786

The recent trial for crim. con. upon an action brought by Mr. F[awkener] against the honourable John Townshend, for criminal conversation with the plaintiff’s wife, is, at present, the topic of conversation in all the polite circles; but great pains having been taken to suppress the publication of the trial, the incidents of this illicit amour are not generally known. We have, however, come at a knowledge of the whole transaction, and will lay it candidly and fairly before our readers.

So began the article entitled ‘Histories of the téte-à-téte annexed; or Memoirs of the PERSEVERING LOVER, and the FALSE WIFE’ in the July 1786 edition of The Town and Country Magazine.

Portrait of Georgiana Anne, Lady Townshend nee Poyntz, daughter of William Poyntz of Midgham, Berkshire by George Romney
Portrait of Georgiana Anne, Lady Townshend née Poyntz, daughter of William Poyntz of Midgham, Berkshire by George Romney (via Christie’s)

William Augustus Fawkener was the brother of Mrs Bouverie about whom we have written before. His wife was formerly Georgiana Anne Poyntz, daughter of William Poyntz of Midgham House in Berkshire and cousin to Georgiana, Duchess of Devonshire. Beautiful and clever, but with no great fortune, at the age of only twenty years she had been persuaded into marriage by her family to Fawkener, a man she did not particularly like. The marriage, at St George’s in Hanover Square, was conducted by her uncle, the Reverend Charles Poyntz. Sylvester Douglas, Lord Glenbervie later wrote of her, saying that Georgiana Anne had been “in a manner educated in Devonshire House, and continued to live principally in that society of easy manners after her marriage”. After only a year of marriage, while staying at Lord Melbourne’s house, Brocket Hall, the young Mrs Fawkener fell head over heels in love with the handsome Honourable John Townshend, second son to Field Marshal George Townshend, 1st Marquess Townshend.

Brocket Hall, 1795 (© British Museum)
Brocket Hall, 1795
(© British Museum)

Jack Townshend was an intimate friend of Charles James Fox and known as a man of wit and pleasure with elegant tastes; he was also a wicked mimic and could pen excellent verses. He was a regular guest at Devonshire House and the Duchess said of him in 1777 that “Jack Townshend is really a very amiable young man. He has great parts, though not such brilliant ones as Charles Fox’s, and I dare say he will make a very good figure hereafter – he is just twenty now, though he has the appearance of being older”. Georgiana, Duchess of Devonshire, was later accused of covering up the intrigues developing between her young cousin and her friend, Jack Townshend. Everyone but Mr Fawkener could see that Mr Townshend was taking ‘liberties’ with the young wife, and when William was roused to action, Georgiana Anne stoutly and boldly denied any wrongdoing, but in doing so she evinced so much partiality to Townshend and contempt for her husband that the pair separated, and Georgiana left her marital home. She must have run to her lover, for her husband had her watched and then when satisfied as to how the thing stood, challenged his rival to a duel. Meeting in Hyde Park, Fawkener fired first and missed; Townshend, conscious of having done wrong, refused to return his rival’s fire, instead, he discharged his pistol into the air.

Monday a duel was fought in Hyde Park between the Hon. John Townshend and William Faulkener, Esq; Clerk to the Privy Council. The gentlemen had some dispute at Ranelagh on Friday night, and they met with their seconds on Monday morning. Faulkener fired first, and missed, the bullet passing only thro’ the hat of Mr. Townshend; the latter then discharged his pistol in the air, and the affair terminated to the mutual satisfaction of the parties.

Public Advertiser, 24th May 1786

Georgiana Anne had first run to Twickenham and then she stopped in St Alban’s at the house of her aunt, the Dowager Lady Spencer. John Townshend joined her there and they left Lady’s Spencer’s house to live, to all intents and purposes, as man and wife. The couple kept on the move, to an inn at Staines, then Godalming, Richmond and back to Staines, thence to Lymington before moving to Hampstead and then Chelsea before finally settling at Hereford. At the ensuing trial which began on the 12th July 1786 and at which the Duke of Devonshire was called as a witness by Mr Townshend, it was established that Mrs Fawkener often met with John Townshend when she rode out and the gentleman took ‘several liberties both in action and conversation, which a modest woman could only allow to her husband’; he had been seen leaving Georgiana Anne’s bedchamber in the morning after her separation from her husband. Fawkener was awarded £500 damages for the loss of his wife.

Lord John Townshend by Joshua Reynolds (via Wikimedia Commons)
Lord John Townshend by Joshua Reynolds
(Wikimedia Commons)

The Town and Country Magazine speculated that, should a full divorce be granted, John Townshend would make haste to marry his lady, and that is exactly what happened despite objections from his father who wrote:

I forgive your conduct towards the woman, I approve of your behaviour towards her husband in the field; but should you marry her, I can never more consider you as one of my family.

The couple married on the 10th April 1787 at Sunbury on Thames. Townshend, known as Lord John Townshend from 1787, stood as M.P. for Westminster and then for Knaresborough for many years. The couple had three children (their daughter Elizabeth married Captain Augustus Clifford, the illegitimate son of the 5th Duke of Devonshire and his mistress Lady Elizabeth Foster, Georgiana Duchess of Devonshire’s rival) and seem to have lived out their long lives happily enough together.  Lord John died in 1833 aged 76, and Lady Georgiana Anne Townshend lived to the great age of 94 years, dying in 1851.

Georgiana Anne, Lady Townshend, pencil drawing c.1790 (Wikimedia Commons)
Georgiana Anne, Lady Townshend, pencil drawing c.1790
(Wikimedia Commons)

As for William Augustus Fawkener, he too remarried and had two daughters by his second wife.

Sources used not mentioned above:

The Devonshire House Circle by Hugh Stokes, 1917

Lewis Walpole Library

The Stolen Kiss, Jean-Honore Fragonard

The Elopement of Lady Elizabeth Howard

Elopement - Lady Elizabeth Bingham, born 1795 - via Bonhams
Lady Elizabeth Bingham, daughter of Lord Richard and Lady Elizabeth Bingham, born c.1795.

Lady Elizabeth Hamilton was the daughter of Henry Belasyse, the 2nd Earl Fauconberg, and the wife of Bernard Howard, heir to the Dukedom of Norfolk, who she had married on the 23rd April, 1789. The couple had one son, Henry Charles Howard born on the 12th August, 1791. But in 1793 she eloped with the man who had been her first love, whom she had wanted to marry originally but had been stopped from doing so by her family.

That man was Richard Bingham, son and heir to the 1st Earl of Lucan.

Elopement - Richard Bingham, 2nd Earl of Lucan - via Christies

Lady Elizabeth was a minor when she married The Right Honourable Bernard Edward Howard, Esquire, in her father’s house in George Street, Hanover Square, the marriage witnessed by her father, her new father-in-law and a man who merely signed Petre (probably Robert Edward Petre the future 10th Baron Petre who had married Bernard Howard’s sister Lady Mary Bridget Howard three years earlier).

Elopement - Bernard Howard, 12th Duke of Norfolk - via wiki

Lady Elizabeth had told her unsuspecting husband that she was going to travel to visit her father, who was in the north of England, and Howard agreed to visit his sister rather than travel with her.  He accordingly left for his sister’s house, his wife telling him she planned to leave for her own visit the next day.  On the evening of her husband’s departure, 24th July, 1793, Lady Elizabeth took her carriage to a jeweller’s shop near Piccadilly where she bought some trinkets before sending the carriage home with her infant son, his nurse and a letter to her husband which the nurse was to leave on her master’s table.

But the nurse was suspicious and sent a footman back to the jeweller’s to enquire for Lady Elizabeth.  When the footman arrived back to say that the jeweller had reported that Lady Elizabeth left his shop around half an hour earlier with Mr Bingham, hasty despatches were sent to both her husband and father, but to no avail for the runaway couple had gone to ground.

The criminal conversation case was heard before the House of Lords on 7th April, 1794; Lady Elizabeth was represented by Mr Garrow and Mr Erskine. With all parties wanting a divorce the sticking points were the 12,000l. which Lady Elizabeth had brought to her marriage (Mr Garrow argued that some provision should be made for her) and a proposed clause which would bastardize any child born to her.  Lady Elizabeth was heavily pregnant, about to lie in, and Mr Garrow argued on her behalf that “it was not in the nature of evidence to prove that the infant was not Mr Howard’s”.

Elopement - Six Weeks after Marriage - LWL

Mr Erskine observed that the marriage contract between the lady and Bernard Howard was made in opposition to her desires and that she was involuntarily taken to the altar.

A divorce was granted and she married her first love on 26th May, 1794, becoming the Countess of Lucan when her husband ascended to his Earldom, but this second marriage didn’t last either, the couple separating ten years later.

Elopment - Before and after Marriage

Lady Elizabeth Bingham, Countess of Lucan, died on the 24th March, 1819, aged 49 years.

Sources used:

Caledonian Mercury, 8th August, 1793

Caledonian Mercury, 12th April, 1794

Header image: The Stolen Kiss, Jean-Honore Fragonard

Fanny Williams and the Amherst family of Kent

FASHIONABLE ANECDOTE, at present only whispered in the POLITE CIRCLES.

Some years ago, the Lady of a noble Lord, who once held a high military post, and greatly distinguished himself in a former war, received a small basket by an unknown hand, which, on being opened, was found to contain a female child, with a letter addressed to the lady, written in a female hand, expressing the high opinion the writer entertained of her Ladyship’s liberality, and particularly from personal knowledge of her humanity. Appealing to it, for protection of the unknown infant, whose existence, with that of the mother’s, depended on her Ladyship.  A bank-note was inclosed for a considerable amount. The child was ordered to be taken all possible care of, and has been from that time attended and educated in no other manner than if she had been the daughter of the noble Lord and his Lady.

The young lady has been introduced at court, and is highly esteemed by all whom she is known to, and possesses, in the highest degree, the affections of her friends and protectress: she is now about eighteen years of age, and till within a few days, the history of her birth and parents were unknown to all but the parents themselves, and a confidential servant.

It however now appears, her father is a peer of Ireland, her mother the sister to a peer; they managed their tendresse with so much dexterity, that the circumstance of this beautiful gage de l’amour would ever have remained unknown; but the noble Lord her father, who was soon after married to another lady, and that lady being dead, his Lordship, perhaps, feeling remorse for his former unkind treatment of this young lady, who has remained unmarried; which event is about to take place. The have claimed their daughter from Lady ______, to whom the whole circumstance has been related, and whom, we hear, is nearly inconsolable for the loss she is about to sustain, in parting from her amiable and charming favourite.

[We insert this article with the greater confidence, as the first part of this story is a fact well known to have happened to Lady Am___st.]


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Portrait of Elizabeth, Lady Amherst (1740-1830) (nee Elizabeth Cary) by Joshua Reynolds via Wikimedia

Lady Amherst, or Baroness Amherst of Holmesdale, formerly Miss Elizabeth Cary, was the second wife of Jeffrey Amherst, Baron Amherst, who was, at the time this article was written, Captain and Colonel of The Queen’s Troop of Horse Guards. She was born around 1740 to Lt-General the Honourable George Cary (son of the 6th Viscount Falkland) and his wife Isabella (nee Ingram).

The little foundling was given the name Fanny Williams and, as the Amherst’s had no children of their own, was brought up by them and treated in every way as their own daughter.  Fanny Burney recounted meeting the girl in 1791:

I was pleased in seeing Miss Fanny Williams, as she is called, the young person who was left an infant at the door of Lady Amherst, and who is reputed to be the daughter of every woman of rank whose character, at that date, was susceptible of suspicion. She looks a modest and pretty young creature, and Lady Amherst brings her up with great kindness and propriety.

NPG 150,Jeffrey Amherst, 1st Baron Amherst,by Thomas Gainsborough
Jeffrey Amherst, 1st Baron Amherst by Thomas Gainsborough
© National Portrait Gallery, London

Jeffrey Amherst, a ruthless and cruel man, was behind the attempt to introduce smallpox amongst the native Indians in America with infected blankets during the Anglo-Indian war.

In two sources Jeffrey Amherst is noted as having a natural son, the ODNB saying he was given the same name as his father and rose to become a Major General in the army, born around 1752 and dying in 1815. Jane Dalison had married Baron Amherst in 1753 (a year or so after the birth of his illegitimate son) but reportedly went insane whilst her husband travelled overseas with the army. She died in 1765 and two years later he married Elizabeth Cary.

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William Amherst (1732-1791)

Young Jeffrey was brought up by his aunt, Elizabeth Thomas. There is, however, another Amherst floating around, William Kerrill Amherst, whose unusual second name ties him in to the same family as Jeffrey Amherst but for whom no parentage is given.

Kerrill was the maiden name of Jeffrey Amherst’s mother, Elizabeth, and, by her husband who was yet another Jeffrey, she had four surviving sons:

Sackville Amherst (1715-1763) – a lawyer who ran up debts and caused his relatives much consternation by his scandalous behaviour

Jeffrey Amherst (1717-1797)

John Amherst (1718-1778) – Vice Admiral of the White

William Amherst (1732-1791)

William Kerrill Amherst (c.1761-1792) was sent out to Bengal in India as a writer for the East India Company in 1778. As if his middle name wasn’t clue enough to his ancestry, he wrote to the artist Ozias Humphry in 1785, when the latter arrived in India, saying he was anxious that they should correspond as they shared acquaintances in Sevenoaks, Kent (where Jeffrey Amherst had his estate, Montreal) and a love of the area. Certainly he was the son of one of the four brothers.

Montreal Park, the seat of Jeffrey Amherst, from a 1777 engraving
Montreal Park, the seat of Jeffrey Amherst, from a 1777 engraving

John and Sackville died without any legitimate heirs; William married Elizabeth Paterson and had three children, Elizabeth Frances, Harriet and William Pitt Amherst.  When both William and Elizabeth died young their children were taken into the household of Baron Amherst and brought up with young Fanny Williams, William Pitt Amherst becoming the heir to his uncle and the baronetcy.

Elizabeth Frances thought of Fanny as her sister, and indeed she may well have been.  It was known that the forename of the father could be bestowed on the child as a surname, in a similar way to that which Charlotte Williams, a subject of one of our former blogs, took the forename of her father William Cavendish, the 5th Duke of Devonshire, as her surname. Was Fanny then the natural daughter of William Amherst, brought up by her aunt Lady Amherst in much the same way that Baron Amherst’s natural son had been brought up by his own aunt, Elizabeth Thomas?

William Kerrill Amherst died on the 20th April, 1792, in India.

When Lord Amherst wrote his will in 1794 he did not omit to mention Fanny and left her a sizeable legacy; he provided for her by a thousand pounds in stock and asked his wife to supply proper mourning for her on his decease. No son, illegitimate or otherwise, was named in his will. He died three years later.

On the 23rd May, 1799, Fanny married Charles Pinfold, Esquire, at St. Marylebone Church, by licence, only to sadly die in childbirth just over a year and a half later (her son, Charles, did survive).

 

Sources used:

Stamford Mercury, 19th May 1786

The rising country: the Hale-Amherst correspondence, 1799-1825, Champlain Society, 2002

Diary and Letters of Madame d’Arblay, edited by her niece, Charlotte Barrett, vol. iii – 1788 to 1796

Royal Academy of Arts Collection, Letters of William K Amherst to Ozias Humphry

Header image: Montreal, near Sevenoaks, Kent, the seat of Lord Amherst of Holmsdale, McCord Museum

 

View of Chatsworth Looking across the Lake; British School; Government Art Collection

What became of Charlotte Williams, illegitimate daughter of the 5th Duke of Devonshire?

NPG D1752; William Cavendish, 5th Duke of Devonshire by John Raphael Smith, after Sir Joshua Reynolds
Courtesy of the National Portrait Gallery

You may be aware that just before William Cavendish, the 5th Duke of Devonshire married Georgiana Spencer in 1774 he had had a relationship with a Charlotte Spencer (no relation to Georgiana) and that as a result of this liaison a child was born. This child was named Charlotte, after her mother and Williams after her father, but not until her mother had died in 1781.

During the early part of her life, she was provided for by the Duke but raised by her mother, a milliner, until she died. At this point, Charlotte was taken into the Cavendish household and lived with him and his wife Georgiana as an ‘orphaned member of the Spencer family’. Georgiana always treated Charlotte as if she were her own child.

NPG D35170; Georgiana Cavendish (nÈe Spencer), Duchess of Devonshire published by Excelsior Fine Art Association, with permission of Henry Graves & Co, after Robert Graves, after Thomas Gainsborough
Courtesy of the National Portrait Gallery

Everything went well until Charlotte acquired a new governess, Elizabeth Foster, who later became the Duke’s mistress. Soon after this Elizabeth took Charlotte to France, partly for her own health and partly for Charlotte’s education. Elizabeth was fond of socializing and preferred to party rather than spend time with Charlotte and so at this point Charlotte was sent to Paris until the start of the French Revolution when she returned to England.

Elizabeth Christiana Cavendish (née Hervey), Duchess of Devonshire when Lady Elizabeth Foster. Image from The Two Duchesses by Vere Foster, 1898.
Elizabeth Christiana Cavendish (née Hervey), Duchess of Devonshire when Lady Elizabeth Foster. Image from The Two Duchesses by Vere Foster, 1898.

So, what became of Charlotte?

This question has been asked numerous times and the answer has always been that she was married off, then simply vanished. Given our love of solving mysteries we simply had to investigate. We had read in Amanda Foreman’s book, The Duchess, that Charlotte married – if that were true, who was her husband? Did she have her own family? What happened to her?

Well, on the 28th February 1793 Charlotte did marry. In fact, she married the Duke of Devonshire’s agent, John Heaton’s nephew, Jonathan Kendal, at St James in Piccadilly.  The Morning Post of the 1st March 1793 noted that they were both of Old Burlington Street.

According to his baptism Jonathan was some nine years older than Charlotte and Robert Athol, the Archives and Records Manager at Lincolns Inn Library, says that Jonathan was ‘admitted on 21st February 1784, the nephew of John Heaton, also a member of Lincoln’s Inn. He is not listed in our bar books that list members of the Inn who have been called to the bar, however, nor does he appear in any of the Law lists for the time which suggests to me that although he was admitted to Lincoln’s Inn, he didn’t pursue a career in law’.

Lincoln's Inn Gate. Picturesque Views with an Historical Account of the Inns of Court in London and Westminster, 1800. Yale Center for British Art, Paul Mellon Collection.
Lincoln’s Inn Gate. Picturesque Views with an Historical Account of the Inns of Court in London and Westminster, 1800. Yale Center for British Art, Paul Mellon Collection.

We know from the Land Tax records that the Heaton family were living in a property owned by the Duke of Devonshire on Old Burlington Street so it seems highly likely that Charlotte, shortly after her return from France, moved there and that is where she met her future husband.

If, as assumed, Charlotte was born 1774, then she had not reached adulthood when the couple married, i.e. she was under 21-years. That being the case it is usual to see parent’s permission on the marriage entry but there was no such reference as you can see. Does that mean that she was actually born earlier than previously thought, or did no-one check her age at marriage?

Charlotte Williams marriage

The couple lived at Barrowby in Lincolnshire for the majority of their married life as Jonathan appeared on Polls books and electoral registers in that village for many years.

According to the Clergy of the Church of England Database, on the 10th March 1800 Jonathan became a curate and served in the church for the remainder of his life; the living of Barrowby was in the gift of the Duke of Devonshire who was Lord of the Manor. One interesting entry against his name is that he was also appointed as Domestic Chaplain to the 6th Duke of Devonshire.

William Spencer Cavendish c.1806/1807, later the 6th Duke of Devonshire; National Trust, Hardwick Hall
William Spencer Cavendish c.1806/1807, later the 6th Duke of Devonshire; National Trust, Hardwick Hall

The 1841 census shows the couple still married and living at Barrowby at the Rectory House, along with 7 servants. Their son was born 1797 and followed in his father’s footsteps. After graduating from Trinity College, Cambridge he became the Rev Charles Edward Kendal, stipendiary curate of Barrowby in 1821.  Charlotte was to see her son be married by her husband to a Miss Catherine Downing in Barrowby church in 1825.

As the parish vicar and his wife, Jonathan and Charlotte would have led a life typical of any rural cleric, spending time tending to his flock, supported by his wife. According to the parish register at Barrowby Jonathan was buried there on the 11th May 1849.  Charlotte outlived Jonathan by just over 7 years.

It certainly appears that the couple were happy together and Charlotte specified in her will that she wished to be interred in the vault alongside her beloved husband at Barrowby.  However, after Jonathan’s death we find that Charlotte had moved to Leamington in Warwickshire, and on the 1851 census, she was visiting a relative in Dover. The census recorded her as a widow, aged 78 and her place of birth as London, although as yet no baptismal entry has been found, but as to what name she would have been baptized under remains a mystery, if she were baptized at all!

Barrowby_Lincolnshire,All_Saints_Church
All Saints Church Barrowby, Lincolnshire

The next and seemingly final record of Charlotte appeared in The Standard of Saturday 13th December 1856 with the record of her death:

On the 8th Inst. in Newbold Terrace, Leamington Charlotte, the relict of Rev Jonathan Kendal, Rector of Barrowby, in her 84th year.

For some reason her wish to be buried in the same vault as her husband in Barrowby was not carried out and she was buried at Leamington Priors on the 15th December 1856.

Charlotte Burial

Overall, it would appear that Charlotte led a quiet and happy life and the mystery is now solved.

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But, if you are interested in the mysterious life of another Charlotte Williams, one who was a Georgian heroine, then click here to discover the bizarre but true story of an astounding woman persevering in a man’s world.

 

Header image

View of Chatsworth Looking across the Lake; British School; Government Art Collection

Women in 18th Century Politics – 1784 Election

A Borough secur'd or Reynards resource: a caricature featuring the Duchess of Devonshire and Charles James Fox
Courtesy of Lewis Walpole Library

As we all know the ‘well to do’ women of the Georgian era were regarded as objects of beauty that simply swooned and fainted at the sight of a gallant gentleman. They wore stunningly beautiful clothes and shoes and spent hours on their hair and beauty regime. They paraded around Georgian London, Bath, Brighton etc. in their finery and partied into the early hours, but on the whole, they were regarded as fairly vacuous creatures.

STOP RIGHT THERE!

OK, so we’ve done the whole film thing, now let’s move on and dispense with that image. If we’re being totally honest that is, to a certain extent, the stereotypical image held of women from that period as, let’s face it, they had very few, if any ‘rights’ during that time. Only those in what was regarded as the lower class, worked, the remainder were kept in comfort by their spouses or parents if not married, they had no voting rights, rarely any disposable income of their own unless they had inherited money that was solely for their use and their husband could divorce them with minimal discomfort on their part.

The Duchess of Devonshire and Charles James Fox
Courtesy of Lewis Walpole Library

Whilst women were maybe not able to publicly ‘have a voice’ in the world around them and how it worked it, appears from reading the newspapers of the day that actually they took more than a passing interest in the arts, science and politics. Many of the names we have become familiar with over the years did, in fact, take a more active role in politics than we had at first assumed with many of them engaged in gathering support for their chosen politician during elections using whatever methods were at their disposal.

One of the most famous election campaigns that took place was that of the 1784 Westminster election.   If you thought politics and political campaigning today was vicious then take a look back to the Georgian era when things were far worse!  We came across a book written October 1784 that provides a detailed account of all the events during the campaign – History of the Westminster Election from 1st  April to the 17th May.  

A meeting of the female canvassers in Covent Garden
Courtesy of Lewis Walpole Library

The Westminster election was of paramount importance as this was one of the key boroughs for two reasons – firstly every male homeowner could vote and secondly due to the number of voters it was equally important to both the Whig and Tory parties. There were two seats to be had and three candidates, so the battle was between Cecil Wray and Lord Hood, both Tory’s, and Charles Fox, Whig, therefore the candidates needed to use every weapon in their armoury to achieve success; none more so than Charles Fox. The battle then commenced.

The Duchess of Devonshire by Joshua Reynolds.
The Duchess of Devonshire by Joshua Reynolds.

The Duchess of Devonshire led the female canvassers accompanied by her sister Lady Harriet Duncannon, as she was titled at that point, later to become Lady Bessborough. The list of women involved in the election included Albinia, The Countess of Buckinghamshire, the Duchess of Portland, Richard Brinsley Sheridan’s wife, Elizabeth née Linley, Lady Jersey, the Honourable Mrs Bouverie and the Scandalous Lady Worsley.

Lady Worsley by Joshua Reynolds
Lady Worsley, Joshua Reynolds

Others including Perdita aka Mrs Robinson, The White Crow, aka Maria Corbyn,  The Bird of Paradise aka Gertrude Mahon, Lady Archer, Lady Carlisle, Mrs Crewe, Mrs Damer and the Miss Waldengraves,  Lady Grosvenor and Mrs Armistead, the future Mrs Fox,  so quite a little collection.

Mrs Bouverie and Mrs Crewe. Print after Sir Joshua Reynolds. Yale Center for British Art, Paul Mellon Fund.
Mrs Bouverie and Mrs Crewe. Print after Sir Joshua Reynolds. Yale Center for British Art, Paul Mellon Fund.

The Morning Post and Daily Advertiser of 6th April 1784 confirmed that the

Duchess of Devonshire along with Lord Derby & Lord Keppel are the firm of Mr Fox’s responsible committee.

This seems to imply that her role was a little more than just to ‘look pretty’; presumably, she was there to help to obtain votes however she could. It is reported that she canvassed every day and that she arranged for a thousand coalition medals to be struck, one of which she gave to every voter who agreed to support Fox.

NPG D9540; 'A coalition medal struck in brass' (Frederick North, 2nd Earl of Guilford; Charles James Fox) by James Sayers, published by Edward Hedges
Courtesy of the National Portrait Gallery

Just over a week later The Bath Chronicle reported that

‘ It was observed of the Duchess of Devonshire and Lady Duncannon, while they were soliciting votes in favour of Mr Fox, on Saturday last, they were the most lovely portraits that ever appeared upon a canvas’.

Like most people we had heard the story that the Duchess secured votes for Charles Fox by offering kisses in exchange for their vote, but until now we had assumed this was simply a myth that has evolved over time due to the astounding number of caricatures of such a scene, but it does seem from this letter written by a certain Duchess to Fox that there was some truth in it*.

‘Dear Charles

Yesterday I sent you three votes but went through much fatigue to procure them. It cost me ten kisses for every plumper.  I’m afraid we are done up – I will see you at the porter shop and we will discuss ways and means’.

Yours

D_____e House

NB Clare Market is a filthy place – keep up your spirits. I have a borough – you know where.’

The was much printed in the newspapers about her ‘method’ and many derogatory comments made about morals. The reality, however, was that amongst the public she was a very popular figure, not only because of her looks but also because she did actually engage with the public and by all accounts was able to discuss eloquently and put forward information about what Fox stood for.

As a campaigner for Wray we have the much quieter and more demure Duchess of Rutland, needless to say, we don’t have a plethora of caricatures for her!

‘we can assure the public, that the beautiful and accomplished Duchess of Rutland does not drive about the streets and alleys, or otherwise act in a manner unbecoming of a lady of rank and delicacy’.

Procession to the Hustings after a successful canvass.
Courtesy of Lewis Walpole Library Duchess of Devonshire, Lady Duncannon and possibly Mrs Crewe

Despite the mocking and caricatures of these women, predominantly  of the Duchess of Devonshire, and the vile abuse they apparently received from Wray’s supporters and the press, the only person who apparently clearly objected to her participation in the election was her mother who felt that she was being used by Fox, no-one else appeared to have any objection which is quite telling; it appears that even the Queen was a supporter of the Duchess of Devonshire:

Her majesty has all the morning prints at breakfast every day and the Princesses are permitted to read them. Her eye caught the indecency of that one which attacked the Duchess of Devonshire. She gave it to an attendant and said let that paper never more enter the palace doors.  The story got round and the same orders were given everywhere else.’ 

There were even comments made that women’s participation in politics could result in them wanting to vote – shock horror, how times have changed!

Georgiana, Duchess of Devonshire. National Portrait Gallery.
Georgiana, Duchess of Devonshire. National Portrait Gallery.

The Duchess of Devonshire suffered greatly at the hands of the press, but she clearly had a passion for politics and felt that the country would benefit from Fox’s appointment. We are aware from The Cavendish Family by Francis Bickley, that she wrote to her mother advising her of how miserable she was, but that she had begun her involvement and that she would see it through to the end.  Given that the odds were stacked against Fox winning the election from the beginning, it could be argued that a win from Fox was highly unlikely that without the help of these women!

Election te^te-a`-te^te
1784 Election Tete a Tete

15th May of 1784 The Morning Post and Daily Advertiser printed the following letter purporting to be from Lady Worsley to the Duchess of Devonshire, whether it was genuine or not we have no idea, but it is nevertheless interesting

Madam

Before the General Election in the year 1780, the name of Lady W____y stood fair and respectable; the gay world derives no entertainment from her follies. The forms of decency and decorum had not been neglected, and, therefore men of gallantry felt but little encouragement to make approaches.  Sir Richard found not Cassio’s kisses on my lips, for neither Cassio nor Roderigo revelled there. But, Madam   in the general Election of that day I acted like yourself – like a woman of life – a woman of spirit, but how unlike a politician! As you set your face against Sir Cecil Wray, I opposed my influence to that of Jervoise Clerk Jervoise.  I coaxed, I canvassed; I made myself, in the language of Shakespear ‘base, common and popular’. I was charmed with the public attention I received from the men; they talked to me of irresistible graces; the pressed my fingers; they squeezed my hand and my pulse beat quicker; they touched my lips, and my blood ran riot; they pressed me in  their arms and turned my brain. O, the joy! The rapture, the enchanting, thrilling, aching sensations, which beset my soul! They banished in an instant, all ideas of a cold, a formal education; they drove from my mind all decent forms which time and observation had copied there. Your Grace is apprized of the sequel. Before the canvas – Was your Grace strict? So was I. Was your Grace modest? So was I.  And if after the canvas, your Grace should find a violent metamorphosis in your feelings; I am ready to confess – so did I.

I am, Madam

Dorothea W____y

Did our favourite 18th-century lady, Grace Dalrymple Elliott, interest herself in politics?  Discover more in An Infamous Mistress: The Life, Loves and Family of the Celebrated Grace Dalrymple Elliott which reveals all.

 

* History of the Westminster Election, 1784

Guy's Hospital, London; Wellcome Library

The Scotch Giantess

Whilst researching our earlier article about the Nottinghamshire Giantess we stumbled across the following newspaper report from the London Standard dated the 1st February 1831. Although technically just outside our remit of ‘all things Georgian’, because William IV’s reign is sometimes incorporated into the Georgian era we thought we would include it here.

SCOTCH GIANTESS AND HER HUSBAND

On Sunday morning last, about five o’clock, information was given to a police constable on duty near the Asylum, that heavy groans were heard to proceed from the travelling residence (a large carriage) of the celebrated Scotch giantess, situated in the Mall, an open space of ground between the Westminster-road and the New Bethlem, and that it was feared that murder had been committed. The constable procured further assistance, and repaired immediately to the spot. They found the door of the carriage open, and all in darkness and groans, as if of two persons, were heard to proceed from within. A light having been soon obtained, a man and a woman, of gigantic size, were found lying on the floor, in a state of insensibility.

The man, upon being asked what was the cause of their indisposition, pointed to the table, upon which was an empty cup, with a white sediment adhering to its sides, and on the floor was a piece of paper labelled poison, the contents of which they had both swallowed. The policeman lost no time in conveying them to Guy’s Hospital, where they were immediately attended to by Mr. Collet, the surgeon. The woman was in a very deplorable state, and seemed to be past all recovery, but her husband, although in a state of stupor, was not so powerfully affected by the poison. Reed’s patent pump was applied by Mr. Hills, the cupper to the hospital, by which a quantity of arsenic was taken from the woman’s stomach, as was also from that of her husband’s, and they were put to bed in a very feeble state, and still remain so; but it is expected they will ultimately recover.

It appears that a short time since the giantess, who stands six feet six inches high, was exhibited in St. James’s-street, as “Ann Freeman, the celebrated Scotch giantess,” and whilst there her husband became jealous of her, in consequence of a man, about her own gigantic stature, called the “Spanish giant,” having shown her more attention than was deemed necessary. The husband, who is not more than half the size of his wife, as soon as it was possible, removed his better half from the exhibition, and wheeled her off in his four-wheeled residence to the space of ground near Bethlem Hospital.

A Nincompoop, or Henpecked Husband. © The Trustees of the British Museum
© The Trustees of the British Museum

A few evening after, whilst Freeman and his wife were sitting in the caravan, which is very commodiously constructed, Mr. Freeman, to his astonishment, perceived his rival, the “Spanish Giant,” looking through his carriage window, which, from his immense height, he could do without much trouble. He ran out, but the intruder had disappeared; but from that moment Freeman and his spouse had lived upon the most unhappy terms, and she would frequently seize her husband by the back of the neck, and hold him at arms length till he was nearly choked.

Lewis Walpole Library
Lewis Walpole Library

On Saturday night Freeman went out and did not return till early on Sunday morning, when he found his wife had taken poison (arsenic), and perceiving a portion of it left in the tea-cup, he swallowed it off, and was immediately after seized with violent retchings, and soon became insensible, as discovered by the police constable.

Header image: Guy’s Hospital, London; Wellcome Library

Gipsy Camp; George Morland; The Stanleyand Audrey Burton Gallery, University of Leeds

The Life and Adventures of Bampfylde Moore Carew (1690-1758)

One of our readers last week mentioned the somewhat larger than life Georgian character of Bampfylde Moore Carew via some feedback on our Gypsies of Georgian England article and we decided to see whether we could actually find any new information about him. He was reputed to be ‘King of the Gypsies,’ ‘King of Beggars,’ a rogue and a scoundrel, but was, in all likelihood, simply a very well read travelling storyteller – but we will let you decide!

His is a romantic tale, if questionable in authenticity; after being sent to school at Tiverton in Devon at the age of 12 years he got into trouble for pursuing deer with hounds across the nearby land and, with his fellows, ran away to avoid getting into bother. They met with a tribe of Gypsies and Carew claimed that he travelled with his new companions for a year and a half. Returning home he commenced a career as an imposter and swindler and supposedly took in a journey to Newfoundland before eloping with a respectable girl who became his long-suffering wife.

Carew then took to the road once again and, when a Gypsy King named Clause Patch died, he was crowned as the new King. The authorities caught up with him and, after being convicted of vagrancy, he was sentenced to be transported to Maryland in Virginia. Various escapades and adventures followed in America, but, in short, he managed to escape back home where, once again with his wife and their daughter, he fell into a nomadic way of life, even reputedly having travelled with the Young Pretender, Bonnie Prince Charlie, in 1745.

Prince Charles Edward Stuart by Louis Gabriel Blanchet; National Portrait Gallery
Prince Charles Edward Stuart by Louis Gabriel Blanchet; National Portrait Gallery

Where to begin with such a story! From our perspective as genealogists, we started by checking what sources of information were readily available and immediately came across entries for him on the usual websites such as the Oxford Dictionary of National Biography (ODNB) which is widely acknowledged to contain the most accurate and thoroughly researched information and Wikipedia. Here the confusion began; Wikipedia states his years of birth and death as 1693 and 1759 respectively as does the ODNB but other sources gave his birth as 1690 and his death as late as 1770.

The opening lines of a book written about him, ‘The Life and Adventure of Bampfylde Moore Carew‘ stated that ‘Mr Carew was born in the month of July 1693’ and that he was from ‘the parish of Brickley‘.  The parish is actually Bickley, or Bickleigh as it is known as today, (there never was the letter ‘r’ in its name), a village in mid-Devon. So, right at the beginning, we have a discrepancy with the misspelling of his birthplace suggesting the book had been written by someone other than Bampfylde himself; clearly, we were not off to a good start. One would assume that in the first few lines of the account of his life that the basic facts were correct – not so!

So, without further ado let’s get the basics resolved.

His baptism took place at the parish church in the village of Bickleigh, Devon on 23rd September 1690, he was baptized Banfield Moore Carew, son of Rev. Theodore Carew and his wife Alice née Pearce (whom we found via the couples marriage record); quite possibly the vicar misspelt his name in the register.  According to his ‘Life and Adventure’, he was named in honour of his two Godfather’s, the Honourable Hugh Bampfylde and Major Moore.  Hugh Bampfylde was said to have died after falling from his horse, and this would seem to identify him as Colonel Hugh Bampfylde, eldest son on Sir Coplestone Bampfylde of Poltimore, Devon, who died in a riding accident in 1691, two years before the accepted birth date for Bampfylde.

The Bampfield’s are an old and established gentry family in Devon. Sir Coplestone Bampfylde (1637/8-1692) was the one who changed the spelling of the surname, possibly to distance himself from his direct ancestors who had fought on the side of Parliament rather than on that of the King during the Civil Wars.

Bampfield Carew baptism 1690

Bampfylde’s marriage didn’t take place until he was in his 40’s, when, at Stoke Damerel in Devon on the 29th December 1733, he married a Mary Gray; the name does tally with a Miss Gray named in the book, whether she was the daughter of an apothecary/surgeon from Newcastle-upon-Tyne (as claimed) or not, we simply don’t know. We do however know that the surname Gray was a popular one amongst the gipsy community, so it is feasible that she was actually a gipsy, given his supposed connection with those people.  According to Carew’s story, the couple married at Bath where they spent some time, the implication being that they were only young at the time, but, unless for some strange reason they married twice this account seems improbable as the evidence of their marriage is presented in black and white below!