A Life in Miniature

from Britannia & Eve 1st March 1953

A recent email from my friend Twigs Way had the headline “This is just SO quirky . .”  Clicking it open I found  a hyperlink and the message: “thought I would send it to a fellow lover of the ‘strange world of garden history’ ”

The link was to a short piece of newsreel on Pathe News dating from 1952 but neither of us had heard of the subject of the clip  and nor had any of the local county gardens trust researchers that she’d asked,  so, of course, that was a good excuse to  start me off on another of life’s little research byways.

And what’s it all go to do with Cussons Imperial Leather?  Continue reading

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Real Life on a Regency Estate

I bet that like me you have a picture of Regency England as elegant and refined , and think life for its elite was comfortable and easy. I suspect our view of the past is always rose tinted but  perhaps a look at some charming but quirky, almost cartoon-like paintings done by  the daughter of one landowning family in Essex will help challenge some of those  illusions.

Diana Sperling’s sketch books were   drawn between 1816 and 1823 and show a different side of  life  in a country estate. Yes there are servants, yes there are nice possessions  and plenty of time and space to roam – but there’s  also plenty of inconvenience, myriads of flies and lots and lots of mud!

“The Lord of the manner and his family going out to a dinner party at 5 o’clock with a tremendous stile before them”

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Welcome to England

Let’s start February with a question.  Do gardens have to fit into a particular pattern to be “acceptable” or merit  inclusion on the “must-visit” list?  There are quite a few people who think they shouldn’t have to and that we’re too hung up on particular notions of culture, beauty, and good taste.  They argue that gardens, like art generally, should encompass a much wider range of ideas, styles and materials and not be subject to so much analysis or or always be seen through a traditional lens, or subject to “collective” approval to be successful or interesting.

It has led to a flourishing of alternatives  in galleries and gardens across the world.  You might not like the results,  but there’s no denying they are  …lets, for the sake of argument,  say …”different”

Where’s this? And NO its not on top of the White Cliffs of Dover

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Whistler and the last days of Cremorne

In 1863 the American artist James Whistler leased a house in  Chelsea overlooking the Thames. The river, its bridges and boatyards  became one of his principal subjects, and featured in a series of night-time paintings he called Nocturnes.

Whilst most of these are evocative views of the river itself, some of them also captured the ephemeral spirit of the pleasure grounds of Cremorne Gardens in the years just before they closed in 1877. As a result while  the gardens  have disappeared under bricks and mortar,  these paintings,  and others by  Whistler’s  sometime friend and collaborator Walter Greaves, help them live on.

 

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Cremorne Gardens: Drinking, Dancing and Danger!

Chelsea, nowadays largely the playground of the rich, was in the middle of the 19thc the playground of every class of Londoner, with almost every form of popular entertainment on offer on the banks of the Thames at Cremorne. Whether you liked the circus or carousing, ballooning or ballet,  fireworks or freak-shows,  danger or dancing, Cremorne  became THE place to go.  

Last week we looked at the rather shaky early days of the gardens and today’s looks at what happened after  Thomas Simpson the new lessee took over in 1850. He expanded the site to about 20 acres, investing huge amounts of money  remodelling the gardens, adding new attractions and hiring entertainers from all round the world.  

In the end there was  almost too much to do  and all for one shilling admission.

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