Hunting the Pre-Raphaelites at Lanhydrock

NT; (c) Lanhydrock; Supplied by The Public Catalogue FoundationI am a fairly regular visitor to Lanhydrock, an impressive Jacobean house near Truro, owned by the National Trust. However, while the house is 17th century originally, much of the house was rebuilt and redesigned, with new furniture, after a serious fire in 1881. Lord Robartes instructed architects to reconstruct the house along its original lines, keeping the traditional features of the house as well as imposing a segregation by gender, age and class on its inhabitants. The architects instructed were James MacLaren and Richard Coad; the latter was a Cornishman who had worked on Lanhydrock previously, and was supervised by George Gilbert Scott. He went into partnership with his previous apprentice, MacLaren, whose work was closely associated with the Arts and Crafts movement and whose work was to influence Rennie Mackintosh. There is much of Lanhydrock that manifests the influence of the pair; a Pugin wallpaper, Morris-inspired papers (and a spectacular green gilt ‘Sunflower’ paper which is modern but perfectly in keeping with Skilbeck, Clement Oswald, 1865-1954; Saint Luke Writing His Gospel at the Dictation of the Virgin Marythe tone of the house). The Smoking Room has a wonderful Arts and Crafts chimney piece, dated 1883, and other small details such as Minton tiles demonstrate the incorporation of and enthusiasm for this late-Victorian aesthetic. As the guidebook notes, much of the house’s interior was influenced by Charles Eastlake, an architect trained by Philip Hardwick and a strong advocate for Morris’s medieval style. Eastlake’s book A History of the Gothic Revival (1872) has clear implications for Lanhydrock’s furnishings, and it is fascinating to see how such manuals of style influenced the creation of rooms such as those found here.

Smoking room

The paintings found throughout the house are often family portraits, many by outstanding painters of their day, such as Gainsborough and Joseph Wright of Derby. What particularly caught my eye, though, were works which were often less prominently displayed, but which suggest to me that someone in the house, perhaps StrudwickLord Robartes or his wife, had a particular interest in the style of painting produced by the Pre-Raphaelites. On the whole the paintings don’t include the big names of the PRB; there are no Rossettis or Burne-Joneses here, but the aesthetic is unmistakeable. There are a number of works which are untitled and for whom the artist and date are unknown, which in their colour and subject matter suggest a Pre-Raphaelite influence, and others where it is clearer. The Madonna with Attendant Angels (1901) by John Melhuish Strudwick is one of the best examples of this; Strudwick had worked as an assistant to Burne-Jones and Spencer Stanhope, and the influence of this is very clear. The painting is striking if somewhat overblown, known also as Virgin and Child, with glowing gold leaf halo; it was bought for the house by Michael Trinick, the Trust’s regional director, who perhaps had himself a penchant for Pre-Raphaelitism. Another, more obscure example, is A Girl with a Violin (1884-1896) by Henry Harewood Robinson, a St Ives based artist whose other interest was music. A young woman with long red hair in a green medieval style dress contemplatively plays a violin, surrounded by lilies; though little seems to be known of the artist the clearly implies an emulation of Pre-Raphaelite subject matter and use of Lawrance, C. E.; Pancolour; the painting was given to the family by the artist’s widow. Similarly, a head of Pan (1889) by the unknown C E Lawrance recalls Simeon Solomon’s poised and beautiful heads of young men; this appears to have been in the Robartes collection.

The house has a print of Millais’s infamous Bubbles, as well as two of Holman Hunt’s The Light of the World, though I don’t think either are on display, and many of the works do have a religious themes, which is unsurprising for a devout family. A painting entitled The Nativity (date unknown) is unassumingly monogrammed EP, for Evelyn Pickering, later Evelyn de Morgan, whose work, along with her husband William’s, is well-known for its Pre-Raphaelite style. This work is a beautiful, subtle monochrome work in chalk and charcoal, with the angels’ faces clearly recalling the work of Burne-Jones. Another religious painting is St Luke writing his Gospel at the Dictation of the Virgin Mary (1892by Clement Oswald Skilbeck (1865-1954), whose name I didn’t know The Nativitybut whose work again appears influenced by the PRB; he was a friend of Morris and Burne-Jones, it seems, and the jewel colours of his painting, the hyper-real style coupled with the medievalised aesthetic demonstrate their influence. This, however, is one of the paintings which was bought by the National Trust in the 1970s rather than originating with the family.

The house, and its contents, are a late Victorian gem. Though much was lost in the fire, the beautiful restoration of the house and its contents captures the late Victorian aesthetic and its preoccupation with beauty, colour, morality and faith in a remarkable way. And, although this is beyond the remit of this post, it also tells us a lot about a Victorian and Edwardian way of life, in the remarkably well preserved servants quarters, the artefacts of everyday life in an enormous house, and the effective way in which the house is set up so you might believe the family could come back at any moment.

lanhydrock

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William Morris and Kelmscott Manor

20170518_142652It is surprising that I’ve never been to Kelmscott Manor before, but this week I went with a group from the Birmingham Midland Institute. I gave a lecture about William Morris while we were travelling, so I spent the preceding week deeply immersed in Morris’s life and work, and it has increased my passion for him. Visiting Kelmscott consequently felt like something of a pilgrimage. The Manor has an interesting history anyway, dating from 1600, and Morris felt that it was “the loveliest haunt of ancient peace”, which seemed to be rooted in the soil and the people who had lived there. The image of Kelmscott is particularly famous for its appearance as the frontispiece for Morris’s utopian novel News from Nowhere, and it was wonderful to see it in the stone, as it were, and to feel the deep peace which the place exudes.'Kelmscott Manor' 1893  (Frontispiece from 'News from Nowhere')

Morris was fascinated by the medieval period, ideas and ideals as well as aesthetics, since his childhood when he rode around on a pony in his suit of miniature armour and made up stories in the woods about knights, ladies and fairies. As he grew up, rejecting the Church as a profession in favour of architecture while he was at Oxford, his thoughts and ideas all seem to stem from this childhood interest. Books influenced him deeply; he’d apparently read all of Walter Scott’s novels by the age of nine, and at University he discovered Thomas Carlyle’s Past and Present, John Ruskin’s The Stones of Venice and Charlotte Yonge’s The Heir of Redclyffe. What these books all share, I think, is dissatisfaction with the industrial, self-seeking present, and a desire to revisit the past which is more than nostalgia, but a genuine desire to put right what they felt was wrong with the world. Like the modern-day knight of Yonge’s novel, Guy Morville, Morris’s life demonstrates how he lived out the ideals he developed as a young man.

Morris is mostly remembered as a designer, now, and of course there are many of his designs at Kelmscott Manor, which is perhaps more simply furnished than one might 20170518_144830expect, but in a distinctive style (I’ve now discovered why my parents painted all their furniture dark green) with natural, clear colours. Many of the fabrics and objects there were brought there after his death, but it’s wonderful to see his bed, with the poem he wrote for it embroidered by Jane around it, which begins:

The wind’s on the wold
And the night is a-cold,
And Thames runs chill
‘Twixt mead and hill.

Morris’s poetry, his Norse tales, his Socialist work and his designs all demonstrate a remarkable sense of unity. Though his Socialism developed after he encountered Marx’s Das Kapital, he was always anxious for opportunities for all, and for a fairer system to be achieved in Britain, for which he was quite prepared for violent anarchy – indeed, he felt it was probably the only way, and in News from Nowhere it is apparent that such a revolution had occurred. His desire was 20170518_144819not only for equality but for dignity and respect for all, and that comes in a very Marxist form in News from Nowhere, where all receive the same pay and love their work. The guiding principal of ‘The Firm’ which Morris set up to produce useful and beautiful household objects was that art should be handmade, using the skill of the craftspeople, and that all should have access to it. Of course these things may seem improbable or even impossible, and Morris is nothing if not an idealist, but there is something incredibly appealing about his beautiful, medievalized utopia in which all can share in the beauty of life through art, nature and love. The environment was an important part of this, too: how we connect to what is around us – buildings, places, the natural world – indicates who were are, and it is very clear what he thought of the pollution and destruction of the natural environment in the nineteenth century:

Is money to be gathered? cut down the pleasant trees among the houses, pull down ancient and venerable buildings for the money that a few square yards of London dirt will fetch; blacken rivers, hide the sun and poison the air with smoke and worse, and it’s nobody’s business to see to it or mend it: that is all that modern commerce, the counting-house forgetful of the workshop, will do for us herein.

He is remarkably prescient, I believe: I’ve been reading Naomi Klein’s This Changes Everything: Capitalism vs. the Climate recently, and Morris’s views that we have lost connection with the environment, that we are wreaking havoc on the wo20170518_144014rld and there will be ecological payback, and that capitalism in the form of industrialised society is the main driver of climate destruction are echoed vividly in Klein’s arguments. Wandering the beautiful gardens at Kelmscott, and walking beside the Thames where Rossetti and Morris wandered, one can see why he felt so strongly about this, leaving behind the polluted rivers and skies of London.

Morris said that ‘History has remembered the kings and warriors, because they destroyed; art has remembered the people, because they created.’ To be creative was the source of life for Morris, and Kelmscott Manor provided the peace that he needed for this. He wrote in the late 1870s of sitting in the tapestry room one evening, watching the sun set over the fields and hearing the cows lowing in the pasture; there are still cows there, and it is possible to feel very close to the past here.

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Visiting Kilpeck

img_3593Over the last year I keep coming across references to the Church of St Mary and St David at Kilpeck in Herefordshire, so I felt I was meant to visit it. It’s a fascinating place: built on an ancient site (and who knows what lies beneath the current building?), the church as it now stands is thought to have been built about 1140. It’s in an egg-shaped graveyard, because an old superstition indicates that this prevents the Devil from hiding in corners, and the area is likely to have been considered sacred due to its pure springs as well as other more obscure phenomena. You can read more about the church on its excellent and informative website, which also has an app (the app is basically an audio guide, which is a good idea but as we had children with us we didn’t get to use it!)

The church is Romanesque, the 10th century precursor to Gothic style, which as I understand means that churches described as Romanesque have a lot of arches and circular parts (apologies here to the more knowledgeable)! It’s also wonderfully carved, by craftsmen of the Hereford School, whose work appears all over the county and is remarkable for its vivid detail. The south door is wonderfully carved, with designs which look vaguely Celtic to me, including a (disputed) Green Man at the top of the right hand pillar, along with birds and foliage. The church is particularly famous for its 85 corbels (these are what I would have called gargoyles, but the technical difference, the guidebook tells me, is that gargoyles have a purely decorative purpose, while corbels actually support some part of the building). These include a famously rude sheela-na-gig, a female figure who may be intended to ward off evil spirits, or might be a Celtic fertility symbol, or indeed a warning to the lustful – but no doubt she is the most frequently photographed part of the building!

The church is also situated on in the ley lines identified by Alfred Watkins in his book The Old Straight Track, so Kilpeck has become a site for the curious, be they Christian, pagan or somewhere in between, because of the church’s reputation for being a site where differing approaches to the spiritual merge – in the building itself, at least.

There is a castle behind the church, somewhat earlier (though by less than a century) than the church, which was probably once the administrative centre for the area. There is little of it left, but with the spectacular views of Herefordshire one can see that it was a perfect spot to defend an area. It was captured by the Parliamentarians during the Civil War and demolished, hence the very few remaining walls.

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A tour of Glasgow School of Art

20170318_114646_resizedRecently I had a weekend in Glasgow, and visited the School of Art for a Rennie Mackintosh tour and talk. In 2014, the wonderful building caught fire, and consequently the building is under restoration; I was impressed by how the student who led the tour (who did an amazing job) explained both how tragic the fire was, given that many original pieces designed by Mackintosh were lost, but also how GSA is seeing this as an opportunity to move on, to create something new which continues the spirit of Mackintosh’s work (you can read about the new works of art being created here). Consequently the tour took place in the Reid building opposite the original School; the Reid building was completed shortly before the fire, and like the original building was designed by an architect who won a competition to design the building, Stephen Hall, which is very much in the spirit of the original building, echoing and complementing Mackintosh with its “language of light”. Like Mackintosh’s building, it has three columns of light, and the building plays with light in reflections, use of shadow on white paint, and strategically placed windows and light wells.

MackintoshThe tour begins with a detailed model of the Mackintosh building, correct down to the smallest detail, which gives a sense of the features: obviously it’s not the same as being inside the building, but perhaps I know more about the outside of it because I’ve seen the model, and I’ll remember that when I go back in 2019 when the restored School building opens. The model allows us to see the blossoming Mackintosh roses on the outside of the building, a metaphor for art and especially for the blossoming of the creative minds of the students who enter the School, closer than would be possible on the original. The tour guide discussed the famous Mackintosh rose, as ‘nature in the service of art’, both a beautiful design and one which has creative significance in its transformation of the fragile flower into enduring art. The Mackintosh building was unusual for its time, begun in 1897: it was not symmetrical, was quite plain in its design, especially on the side which faced Sauchiehall Street, yet with Scottish baronial influences which add an “element of poetry”, the guide suggested.Margaret_MacDonald_-_The_Heart_Of_The_Rose

The Reid building contains a room of Mackintosh furniture, which is a delight: it also indicates the extent to which he controlled every aspect of the design of GSA, from clocks to easels, cupboards to drainpipes. It was also a pleasure to see his wife, Margaret MacDonald’s The Heart of the Rose (read more about this and its restoration here). This golden, glowing panel which was criticised by contemporaries (though apparently Klimt liked it) indicates fertility, female sexuality and the cycles of life and birth; it’s wonderful to see it in person.

There is also some furniture on display from Glasgow’s Willow Tea Rooms, one of which we visited later that day. The stylised furniture was designed by Mackintosh and MacDonald along with the waitresses’ uniforms and every other detail; the manager’s chair is on display at GSA, and our guide pointed out the significance of the tea rooms not only for their aesthetic appeal but because they offered a respectable alternative to the pub for women, as well as providing employment for women, making them a significant part of female history in Glasgow.

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Book review: Weatherland

9780500292655I like English weather, on the whole. I’m not one for too much sun, and providing it isn’t catastrophic (and I don’t have to drive in it), I enjoy the drama of mist, heavy rain, snow, and the occasional sunny day. I like seeing the effects the changeable weather has on the garden and on my moods. But for me as for most people, the weather is a backdrop to our daily lives, and one which, travelling by car, living in centrally-heated homes and working in air-conditioned, often windowless offices, we can increasingly ignore. This, as Alexandra Harris’s book suggests, is a shame.
Weather is important. The landscape is shaped by it, and many writers and artists believe that national character and temperament are shaped by the climate. Harris’s book, subtitled ‘Writers and Artists under English Skies’, explores how the English weather has been depicted from Beowulf onwards. Along the way, she considers how the weather affects people, and how and crucially why it is included in literature and art. Is it just a backdrop, or used for pathetic fallacy? It’s often much more significant than we think, it seems: human insistence on relating the weather to ourselves (writers who write better in Spring weather, for example), or anthropomorphising it, trying to make sense, find patterns, using faith, science, myth or art to explain it: we can’t ignore the weather. This determination to make something which is impervious to us make sense on our terms is fascinating, because it tells us more about the human condition than it does about the weather, even if it is simply in the recording of daily weather.
large_15_GarstinNormanTheRainitRainethEveryDay

‘The Rain it Raineth Every Day’, Norman Garstin (1889, Penlee House)

Harris explores an enormous and impressive range of works, drawing on social thought, history, science and the arts to explore how our relationship with the weather has changed over the centuries. Swift’s hatred of hot weather, Shelley’s desire to be a cloud, Ruskin’s concern that the skies were being spoiled for us by science: these are things I’d not really considered before. Harris’s gift is for writing in a manner both erudite and entertaining, which I thoroughly enjoyed in her last book, Romantic Moderns, and this is no less fascinating, making obvious things which are all too easily overlooked.

Harris’s deepest interest seems to be in Virginia Woolf, whose work is constantly preoccupied with weather conditions, and the book returns frequently to Orlando, in which the action takes place over four centuries, and the weather is observed (satirically): the Victorians are dark and damp, for example, while the twentieth century is bright and dry. Apparently Wyndham Lewis disliked English weather, suggesting in his Vorticist manifesto that it should be ‘Blasted’, because it was inappropriately dull and changeable for a modern machine age.
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Reading Weatherland has made me want to return to books I know well, including several of Woolf’s, both to consider the ways in which the weather is important in them, and because ‘the weather in which we read affects our understanding of a book’ (p.349). The recent spell of hot weather prompted me to think that the English do become a little mad in our brief spells of sunshine, and this is borne out by Harris’s reading of The Go-Between, for example, but, of course, ‘significant weather is suspect when it gets into fiction’, as she notes when discussing Julian Barnes’s work: weather in books can be made to produce certain effects, to resonate with the characters’ feelings, to cause certain events to happen, and though these things might happen in real life, they seem improbable in fiction. But weather does do surprising things in real life, of course, because our lives are still, in so many ways, bound up in the climate, as the powerful and disturbing conclusion of Weatherland emphasises.

Ravilious, Dulwich Picture GalleryFOR REVIEW USE ONLY

‘Wet Afternoon’ by Eric Ravilious (1928)

As our changing planet forces us to consider a future of increasingly extreme weather conditions, in an anthropocene age where humankind has, finally and disastrously, affected the weather, this is a book which explores the literary and artistic memorialising of the weather of the past, and invites us to consider our own experiences of weather. As Richard Mabey says, we all experience weather differently, and it affects us in diverse ways, which is, of course, the essence of why it has proved such a significant aspect of literary and artistic inspiration, but after finishing this book, I feel that our experience of the weather is part of being human, of living on this planet. It is a cliche to say that the cycle of the seasons reflects the cycle of our lives – one more way in which we try to tame nature, perhaps – but the elemental experience of Lear’s battle with the storm on the heath, for example, reduces humankind to its most vulnerable, and asks us to consider life in a very different way:
Lear.  Blow, winds, and crack your cheeks! rage! blow!
You cataracts and hurricanoes, spout
Till you have drench’d our steeples, drown’d the cocks!         runciman_lear_heath_ngs
You sulphurous and thought-executing fires,
Vaunt-couriers to oak-cleaving thunderbolts,
Singe my white head! And thou, all-shaking thunder,
Strike flat the thick rotundity o’ the world!
Crack nature’s moulds, all germens spill at once
That make ingrateful man!
[…]
Rumble thy bellyful! Spit, fire! spout, rain!
Nor rain, wind, thunder, fire, are my daughters:
I tax not you, you elements, with unkindness;
I never gave you kingdom, call’d you children,
You owe me no subscription: then, let fall
Your horrible pleasure; here I stand, your slave,
A poor, infirm, weak, and despis’d old man.
But yet I call you servile ministers,
That have with two pernicious daughters join’d
Your high-engender’d battles ’gainst a head
So old and white as this. O! O! ’tis foul.

 

There’s a great review here by A S Byatt (someone whose work I admire and whose judgement I trust!)

King Arthur and Tintagel

One of my abiding interests from childhood is the myths of King Arthur. I dragged my parents round places such as Glastonbury Abbey (the alleged burial site of Arthur – one of several) and Tintagel  Castle (revenge, perhaps, for all the churches and stately homes!) I read and reread the myths, from children’s retellings to Chretien de Troyes, Malory, Spenser, Geoffrey of Monmouth (I was once asked to leave a history class at school for reading this under the desk, ironically) and, latterly, Tennyson. The Pre-Raphaelites, with their love of medievalism (shared by the Victorians more widely), also painted some Arthurian myths, and I’m interested in those, too. I’m less concerned about the ‘real’ King Arthur, if there was such a person (and if there was, he certainly couldn’t have been the medieval king he is depicted as) and more interested in what the myths mean to us, and what we do with them. It seems fair to say that the myths of Arthur and his Round Table have been associated with either those interested in mysticism, or those with an overabundance of misguided patriotism, but there are plenty of serious scholars, too. The constant reinterpretation of the myths, in poetry, fiction, art, films and more, is an indication of the enduring nature of the legends, but the ways in which these stories are used tells us more about the society in which these interpretations were created than it does about Arthur himself.

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The stories are age-old, including chivalry, fighting, power, magic, love, adultery, faith, death and human fallibility. They come from all over the place – the stories we are now familiar with have been pieced together largely from Welsh, Cornish and French tales, and there is no ‘pure’ or ‘true’ version. But the stories of Arthur and his knights, their adventures, their search for the Holy Grail, the doomed love-triangle of Arthur, Guinevere and Lancelot which brings down a kingdom, have resonances throughout history. Arthur, after his mortal wound, is taken to the mysterious Vale of Avalon; he was said to be ready to return when Britain needed him (and, interestingly, during WW1 some people apparently believed he would return). There are echoes of Christianity in this: as a good, pure man and leader, Arthur is figured in the myths as Christ’s representative on earth, whom death cannot kill and will one day return to save those in need. The chivalric code of Arthur’s court is set up as an idealised society in which all are welcome, all are brave, good, mutually supportive, and so on. (Actually the details of the stories indicate something more nuanced than this, though).

Places which are associated with Arthur are extremely popular. We visited Tintagel recently, which is known as the legendary place of Arthur’s birth to Ygraine and Uther; Merlin is said to have smuggled him away to live with another family (Sir Bors, I think). Tintagel Castle and village make much of this connection, and as we climbed up to the castle I told my small son some of the stories of Arthur (bowdlerised for children!) Surrounded by sea, high up on the cliffs, it’s an evocative place, despite the extremely tenuous Arthurian connections. I notice that another castle is being excavated near Tintagel, which is expected to arouse the interest of Arthurians (see here).

I was also curious to visit King Arthur’s Great Halls. In the 1930s, Frederick Thomas Glasscock acquired a Victorian house on the main street in Tintagel, and set about turning into how20160716_153528 he saw King Arthur’s court. This slightly barking idea has led to a fascinating place: the first room contains thrones on which one can sit and listen to a recording of Robert Powell reading the story of King Arthur, which is illustrated by some striking paintings by William Hatherall, which are very much period pieces. Each painting is lit up at the relevant moment in the story – my son loved it. Then one moves down a corridor which contains beautiful stained glass by Veronica Whall, loosely Pre-Raphaelite in style, featuring the coats of arms of the knights of the round table. The real destination, though, is the Great Hall itself: with 52 types of Cornish granite. There is a Round Table, along with thrones and suits of armour. It’s fascinating in a rather surreal way: remarkably kitsch, and indicative of the passion some people have for Arthur himself. You can find out more about the Halls here. There are various other places in the area, all which take equally seriously their position so close to the birthplace of King Arthur; perhaps we will visit those another time. Tintagel was fascinating, but I was happy to return home and read Tennyson’s Idylls of the King.