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My husband and I just got back from a wonderful trip abroad. One of the fabulous places we visited was the city of Worcester, where we were able to spend time at the Cathedral
It was a rather overcast, misty morning as we approached the cathedral. Once inside, however, it was truly awe-inspiring.
They were preparing for a wedding later in the day, and there was singing. It was unbelievably beautiful.
As we proceeded, the incredible architecture and the beautiful windows were almost overpowering.
We also saw the tomb of King John, best known for signing the Magna Carta on June 15, 1215, who died October 19, 1216. Amazing to think that he has remained here all these centuries.
Worcester Cathedral is also the burial place of Arthur, Prince of Wales, son of Henry VII, who died at age 15 shortly after his marriage to Catherine of Aragon. (Note there is no effigy or likeness on his tomb.)
The present building was built under Saint Wulfstan, with building beginning in 1084. (There had been cathedrals since since Anglo-Saxon times, which the current structure replaced.) There was also a monastery which continued until it was dissolved under Henry VIII. During the Civil Wars, the Cathedral was badly damaged (the Battle of Worcester, which took place on September 3, 1651 was the last battle, where Oliver Cromwell’s Parliamentarian army defeated the Royalists). After the Restoration of Charles II and the monarchy, a great deal of rebuilding was undertaken. The largest campaign of renovation occurred during the Victorian era between 1854-1875. The Cathedral as it stands today is a magnificent structure, well worth a visit.
(All photographs are perstonal, taken by the author, after purchasing a permit at the Cathedra.)
A discussion on Facebook regarding cover illustrations caught my attention. The subject was clothing style depicted in cover art that was not compatible with the timeframe of the novel on which the art was displayed. Most of those who commented found such incompatibility to be disturbing. As a reader, I enjoy fashion details in historical novels. Such details bring the characters to life in my mind’s eye. Fashion, food, furniture, and other matters set the scene so that a reader can place the story in the time. A common point mentioned regarding Jane Austen’s novels addresses the fact that she does not describe her characters’ persons or their clothing in any detail, which is sometimes cause for lament and sometimes cause for curiosity. Why this lack of detail?
Jane Austen did not write historical novels. She wrote of her time for readers in her time. Some details would not have needed a great deal of stress or attention as her contemporaries would have known what she was talking about. However, one still wonders why so little attention was paid to appearances. We know Jane Austen was interested in clothes; her surviving letters to Cassandra frequently discuss clothing in detail. One example of this is the letter from Sloane Street written April 18th-20th, 1811. In this letter, Jane Austen discussed her shopping expedition, in which she purchased muslins for herself and Cassandra, bugle trimming and other items, including a new bonnet, and confessed a desire for a new straw hat.
We also know that Jane Austen had ideas about her characters’ appearances. In another letter from Sloane Street, this time dated May 24th, 1813, she told Cassandra of her and brother Henry’s visit to the Exhibition in Sloane Street, where she saw a portrait of Mrs. Bingley in which “Mrs. Bingley is exactly herself…dressed in a white gown, with green ornaments….” (1) She lamented not finding Mrs. Darcy’s portrait, and speculated that Mrs. Darcy would wear yellow.
Jane Austen’s earliest novels that were published during her lifetime were written before she was age 30: Elinor and Marianne (which became Sense and Sensibility) was written approximately 1795, when Austen was 20. First Impressions (which became Pride and Prejudice) was written in 1796, and Susan (which became Northanger Abbey) was written in 1798. Some examples of fashion during this time period are:
Portrait of Susannah Wales by her father James Wales, c 1747-1795
Man’s Fashion Plate c 1795
It is important to remember that none of these books were published until much later. In 1801, the family left Stephenton and moved to Bath upon her father’s retirement. After his death in 1805, Jane Austen, her mother and sister moved periodically until finally, in early 1809, her brother Edward made a cottage in Chawton available for the Austen women. Although Jane Austen had revised Elinor and Marianne heavily in 1798, and had sold the copyright for Susan in 1803 (the publisher did not actually produce the novel, and Austen finally bought the copyright back in 1810), none of her books had yet been published. The years between 1801 and 1809 had not been nearly as productive as her earlier years, although she had done some revisions on Susan and started The Watkins (which was never finished). Once settled in Chawton, Jane Austen resumed her work. Revisions on Elinor and Marianne, First Impressions and Susan continued.
Elinor and Marianne became Sense and Sensibility and was published in 1811. First Impressions became Pride and Prejudice, which was published in 1813. Here are some examples of fashion during this period:
Fashion Plate Half-Dress November 1, 1810
Five Positions of Dancing 1811
Fashion Plate Morning Dress April 1, 1813
As we can plainly see, fashions changed significantly in the period of time between the first drafts and publication dates of Austen’s first two published novels. It is not known if the first drafts of the novels had contained any fashion descriptions. If they did, all such descriptions would have had to be found and revised or removed (not an easy task in the days before computers). If left unchanged, the details would not have added charming historical colour; they would merely have been dated, outmoded, and would have been a distraction to her readers. Jane Austen was also well aware that there was no guarantee of prompt publication once a work was completed. By removing such descriptions (if they had been included in the original drafts) or not writing them in the first place, Jane Austen allowed her readers to visualize her characters for themselves. Certainly, her later novels, Emma, Mansfield Park, and Persuasion, continued this pattern of leaving such details to the imaginations of her readers. I believe Jane Austen deliberately chose not to include such details in her novels. I also believe that this technique contributes to the longevity and freshness of her novels that readers continue to enjoy today.
And that portrait of Mrs. Bingley? There were multiple possibilities, but a favourite contender was a portrait of Mrs. Harriet Quentin by Francois Huet-Villiers, painted before his death in 1813. See an engraving of that portrait produced by William Blake in 1820 here:
(1) JANE AUSTEN’S LETTERS, P. 221
JANE AUSTEN’S LETTERS, Deirdre Le Faye, ed. Fourth Edition. Oxford : Oxford University Press, 2011.
All images from Wikimedia Commons.
Over on the English Historical Fiction Authors blog, we’re talking about John Dent Esquire.
John Dent Esquire was born August 21, 1761, 2nd son (but 1st surviving son) of Robert Dent (1731-1805) of London and Clapham, who was a banker. Robert Dent became a partner of Child’s Bank in 1763, when Robert Child became senior partner. John’s mother was Jane Bainbridge of St. James, Westminster. An old Westmoreland family with property in Appleby, his father was the son of a younger son of Robert Dent of Trainlands (1651-1702) and may have been a schoolmaster before he was hired as a clerk at Child’s Bank. John was initiated as a Freemason in 1788. As a Freemason, he served as Provincial Grand-Master of Worcestershire from 1792-1826 and as Grand Treasurer of the United Grand Lodge of England from 1813-1826.
To read more, go HERE.
It is my pleasure to welcome author Prue Batten to the blog today. The official release date for Michael, the third book in The Triptych Chronicle, is July 20th. Today, Prue is going to tell us about the journey to this point and a bit about Michael. Enjoy!
As I approach the launch of the last in my historical fiction trilogy, I’m beset with quite a few emotions.
The Triptych Chronicle was a step into a world that I’ve become comfortable with. Like pulling on that favourite sweater – the soft one that cossets on a cold day but which itches if the sun burns too brightly. So this one has itched to be written and then when I sink into the writing, feels as if I’m wrapped in cashmere.
In my own reading experience, and with the exception of Dorothy Dunnett, I had read very few historical fiction books that dealt with the insidious world of trade. Even less were there fictional writings of twelfth century trade which I felt might have been the precursor to vibrant Renaissance trade.
I wanted to read about it, so I wrote it!
Learning about trade has been a journey into gilded danger, excitement and venality as each of the various commodities traded from east to west were sourced. It seems that in writing the trilogy, I was constantly surrounded by fragrance, by glitter or by extremes of colour. It required a far stronger person than I not to be overawed by the beautiful aromas of spices, by the sheer drama of polished and sparkling gems and whispering silks or by the minerals from which the powders and pigments were acquired for great western church art. Nor could I remain unswayed by the mystery of farflung places that were the sources of these breathtaking goods. And then there were the truly fabulous commodities – in the case of my novels, the dye called Tyrian purple and a finely woven silk cloth called byssus.
So, as I approach the release – it’s not like clicking off e-Bay or Facebook. It’s saying farewell to an intrepid group of men and women who dealt in merchandise, and who tried to survive the jealousies and danger that were aroused as they strode through the streets of Constantinople and Lyon.
Which brings me to the greatest emotion of all.
For four years now, the people I write about have been my closest friends and allies. I know every mark on their bodies, every expression, every thought. It will be infinitely sad to say goodbye. The one good thing is that I have only to pick a title off the shelf or open my Kindle to be back amongst them. A relief then, that they’re not gone for good. (Those that survived, that is. Sadly, some of the best did not…)
It’s also a time when I farewell the twelfth century about which I will have written six novels and a number of short stories. Sometimes I wonder if it will be a permanent goodbye or just a gentle ‘see you later’. Whatever the case, it’s a kind of tectonic culture shift. For me, writing about the age was like writing about an early-onset Renaissance. Never let it be said that the Middle Ages weren’t filled with their own beauty and inventiveness.
And of course, there are the range of personal emotions experienced during the four years of writing. My husband’s battle with cancer (which he won), a child marrying, another child moving to the other end of the island, a favourite dog (one of my muses) passing away and the first grandchild on the cusp of being born. Also joining with like minds in an environmental fight against salmon farms. Then my own personal battle with an obscure vestibular condition. The astonishing thing is how each of these events has imbued itself through the novels in the ranges of emotions my characters feel. They are very empathic, those people from within the trading house of Gisborne-ben Simon – the kind one would always hope to have in one’s circle.
Writing a series of novels is a journey. Not just for the characters but for the writer. One comes out the other side older, wiser and all things being equal, ready to do it all again. But then let’s face it – the simple art of writing is a journey into the cryptic corners of rather a lot of souls.
Never let it be said otherwise…
Prue Batten’s The Triptych Chronicle (Tobias, Guillaume, Michael) has won awards, most recently, a Chaucer Award from Chanticleer for Guillaume. Each book is a standalone but each of the characters after whom the books are titled are known to each other, and each story is linked by a thread of a revenge, and each of the men feature in the other’s stories.
Tomorrow, Prue Batten will be visiting the blog to discuss her writing journey and the release of the third novel in The Triptych Chronicle, Michael. Looking forward to an excellent post by a terrific writer! Don’t miss it…
I’ve posted on the English Historical Fiction Authors blog today on a specialized hospital for women.
Attribution: Wellcome Collection gallery (2018-04-03): https://wellcomecollection.org/works/yhnmeumy CC-BY-4.0
Specialised health care seems such a modern concept. When we read about medicine in the past, many things seem primitive and downright frightening. An especially vulnerable population is that of pregnant women. Midwives are the primary caregivers that come to mind. Generally one imagines a woman during the Georgian era giving birth at home, surrounded by female relatives under the guidance of a midwife. Although childbirth was considered a female issue, women of wealth and position were often under the care of an accoucher (a doctor trained in obstetrics or a male midwife). Princess Charlotte the daughter of the Prince of Wales during the Regency (later George IV) was under the care of society doctor Sir Richard Croft (there was a very sad outcome but that is for another article by Regina Jeffers here). What about women who did not have the money, the female relatives or even the home for her labour? The British Lying-in Hospital for Married Women provided an answer for some. The British Lying-In Hospital for Married Women on Brownlow St. in Long Acre was not the first established but it was the first to come to my attention.
To read more, visit the English Historical Fiction Authors blog HERE.
Illustration: Wikimedia Commons HERE
Great news! The Lost Letter by Mimi Matthews will be on sale from June 4-June 10, 2018 for 99 cents. This historical romance, set in Victorian England, is a delightful read. Mimi is celebrating the release of the audiobook on June 11, so this is a special opportunity to get the printed copy for a great price. Mark your calendars so you won’t miss out!
The buy links are as follows:
Barnes & Noble: HERE
Don’t miss out!
Over on the English Historical Fiction Authors blog, I have a new post up.
Historically, women had limited options for their lives, and Georgian England was no exception. As any reader of Jane Austen’s novels knows, this situation resulted in marriage being a primary career objective. Lack of education and property laws restricted the ability of many women to support themselves respectably, or even adequately. However, there were always exceptions. Margaret Holt Campion, known as the first Lady Banker in northern England, was one of them. Read morehere.
Illustration of Campion Bank House by Mike Kirby herefrom Wikimedia Commons
On the English Historical Fiction Authors, I wrote on a famous, doomed beauty, painted by Thomas Gaineborough and others…
“The Honourable Mrs. Graham” is the name by which a portrait of Mary Cathcart Graham by Thomas Gainsborough is known. It is a beautiful portrait of a lovely woman painted in 1775, which was displayed in the Royal Academy in 1777. Gainsborough painted her more than once. She was also painted by the Scottish painter David Allan, who had been patronized by her father. Her face has appeared on biscuit tins and even in an advertisement for a Maidenform bra in the 1950’s. In her short lifetime, Mrs. Graham was known for her intelligence, her beauty and her kind nature. There was also a touching romance and tragedy in her story….
To read more, visit the English Historical Fiction Authors blog Here
Image: Wikimedia Commons<a HERE