Friday, October 21, 2022

‘Cheek by jowl’—the Royal Academy’s Exhibition, 1776

by Philippa Jane Keyworth 

When one thinks of an art exhibition these days, one might imagine an enormous white space, interspersed here and there with paintings. Carefully crafted. Minimalist. 

Not so in the 18th century. 

The Royal Academy of Arts annual exhibition
 
For my recent novel, I decided to set a scene at the Royal Academy of Art’s annual exhibition. The Royal Academy of Arts (often known in the present day as the RA), was founded in 1768. Sir William Chambers, an architect, brought a petition signed by 36 artists before King George III to seek permission to ‘establish a society for promoting the Arts of Design’. When the sovereign granted it, the RA and its annual exhibition was born, the latter known today as the Summer Exhibition. 

William Hunter's Life Class
for the Royal Academy of Art

Who could submit work? 

"[an] Annual Exhibition of Paintings, Sculptures and Designs, which shall be open to all Artists of distinguished merit."  


The Summer Exhibition remains one of the oldest open submission exhibitions in the world. This means you need no artistic pedigree in order to submit a piece for exhibit. It was a great egalitarian experiment in the vein of 18th century Enlightenment thinking that carries on to this day. 

‘...it’s a democracy of a sort, a very arbitrary one, I’m in charge!’ - Grayson Perry jokes in a Google culture and arts article 

Who could attend? 

And the visitors to the annual exhibition in the late 18th century were not all aristocracy either. Anyone could pay the shilling admission fee and admire the latest creations from the leading artists of the day. 

The academicians had to charge something, or—according to them—they might have to suffer the, 

‘noxious effluvia of the vulgar herd’ 

Perhaps now you can see why I might think this a fascinating setting? One in which I could base a scene filled with drama and intrigue in 1776? Just imagine it, the plethora of paintings staring down at the great swathes of artists, nobility and the middling orders gazing up. The sound and the buzz… 

What did it look like? 

So, back to the task at hand, I had decided to set a scene at the exhibition. Now I had to find out where it was held, what it looked like, which paintings were there in 1776. As any modern-dayer worth their salt would do, I began searching for contemporary images of the exhibition. Visual sources can be one of the most accessible ways to explore the past. I’m such a fan of it that I based my undergraduate dissertation on such sources, pouring over prints, paintings and etchings for many hours. And now I needed to find images of the exhibition. 

You read that right—by the way—I wanted to find ‘artwork of artwork’. And when I did, well, that was when I realised that the RA’s exhibition in 1776 was the furthest thing from a minimalist affair.

 Richard Earlom
The Exhibition at the Royal Academy
in Pall Mall in 1771, 20 May 1772. Mezzotint. 

Check out the RA’s reading of this print as each figure/painting/decoration has meaning. 

Paintings at the exhibition were hung cheek-by-jowl from dado rail to ceiling. It would have been an overwhelming sight upon first entry, and one which would have taken visitors some time to absorb.

To save wall space, pictures were hung frame-by-frame from chair rail to ceiling. The higher canvases, sometimes more than five tiers overhead, were tilted forward to enhance visibility and reduce glare. The huge, sky-lit galleries reverberated with the noise of the thronging crowds who, as usual at social occasions in Georgian England, brought their hunting hounds and lap dogs. - ‘Britain's Royal Academy of Art in the Late 1700s and Early 1800s’

 If you were an artist whose work was accepted for display, it would then have been arranged by the academicians (members who ran the RA), meaning you could be a new artist displayed alongside established names. That’s still the case today. 

Artists coveted the ‘on-the-line’ spots, where you would have your work seen to advantage at around or just above eye level. Anything higher than that was… not great. 

I mean, it’s just a case of logistics. 

Who would be able to see it? So undesirable was the happenstance, that a term was coined especially for it: ‘skied’. No artist wished to be ‘skied’. That was not only an insult, it was bad for business. For the exhibition could make an artist, as it wasn’t just to display work, it was to sell it! 

So here we are, standing in a room with walls mounted to the ceiling with paintings, and it wasn’t just the one room. The first location of the Royal Academy’s annual exhibition was a set of auctioneer’s rooms in Pall Mall. The visitor would have progressed through them, within a great swell of people, pouring into the main chamber where the principle works were hung.

Two Hunters, 'Prophet' and 'Surprise'
John Boultbee


How would you know who had created what? 

Visitors would have been given a catalogue of the works on display—gratis—to carry around with them. I was delighted to find the original catalogue of the 1776 exhibition digitised here.

 
Queen Eleanor Sucking the Blood 
from King Edward's Arm
Coloured stipple etching by Wynne Ryland, 1780
after A. Kauffman



It was a glorious find for a historian like me. I was able to read about the pieces of art on display, and then look them up on Google. This led me to featuring several in my book including works by Boultbee, Cosway and Kauffman. The latter is a particular favourite of mine. Angelica Kauffman was one of the founding members of the Royal Academy and a celebrated painter of the day. It’s always pleasing to read about an independently successful woman from the past.

Madonna and Child
Richard Cosway

What does it have to do with my novel? 

So there it is, a wonderful historical backdrop in which to set a scene. The great cross-section of Society, oozing through the rooms, jostling one another, speaking, pointing, exclaiming. Oh yes, a very good backdrop, one in which the heroine of a Georgian romance might set about uncovering Societal secrets. And a backdrop where the hero might just wish to find out what she’s up to… 

 References: 

  1. William Hunter's life class for the Royal Academy of Art at old Somerset House. Mezzotint, 1783, after J. Zoffany
  2. 250 Years of the Summer Exhibition, Arts and Culture, Google
  3. Richard Earlom, The Exhibition at the Royal Academy in Pall Mall in 1771, 20 May 1772. Mezzotint
  4. How to read it: The Exhibition of the Royal Academy in Pall Mall, 1771
  5. Britain's Royal Academy of Art in the Late 1700s and Early 1800s
  6. Two Hunters: 'Prophet' and 'Surprise', John Boultbee (1753–1812)
  7. The exhibition of the Royal Academy, MDCCLXXVI. (1776). The eighth., 1776
  8. Queen Eleanor sucking the poison from King Edward's arm. Coloured stipple etching by Wynne Ryland, 1780, after A. Kauffman.
  9. Madonna and Child, Richard Cosway (1742-1821)
  10. Difficult Beginning ? The Early Years of the RoyalAcademy of Arts in London, Isabelle Baudino
  11. Wellcome Collection
  12. About the Exhibition, Royal Academy


~~~~~

Philippa Jane Keyworth

Philippa Jane Keyworth, also known as P. J. Keyworth, writes historical romance and fantasy novels you'll want to escape into. Keyworth's historical romance novels include Regency and Georgian romances that trace the steps of indomitable heroes and heroines through historic British streets. From London's glittering ballrooms to its dark gaming hells, characters experience the hopes and joys of love while avoiding a coil or too! Travel with them through London, Bath, Cornwall and beyond and you'll find yourself falling in love.

 


Wednesday, September 28, 2022

Treasures of Guildhall Library – the library of London History

 by Isabelle Chevallot

In the six hundred years since it was first established there have been several incarnations of Guildhall Library. The first library at Guildhall was founded around 1425, under the terms of the will of Richard Whittington ‘a rich and pious merchant’ who served as Lord Mayor of London. In English folklore, Richard or ‘Dick’ Whittington became a legend, reportedly rising from poverty by making his fortune through the sale of his cat to a rat-infested country and for centuries he has been immortalised in pantomime. However, Whittington did not come from a poor background. He made his fortune as a mercer and then from making loans, including to the king, which provided financial profits, together with access to the royal ear and a position of influence.

Richard Whittington pictured with a skull

When Richard Whittington died in March 1423, he left his entire fortune to charity and the City. Some of this money was used to found a library to serve the college of priests at Guildhall. There is no surviving catalogue of the contents of this collection, but it is logical to conclude that it was a library of theological books.

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In his ‘A Survey of London Written in the Year 1598’ pictured above, John Stow describes a "fair and large library, furnished with books, pertaining to the Guildhall and college". He tells us that during the reign of Edward VI (around 1549) the whole collection was 'sent for' by the Lord Protector, the Duke of Somerset. The books were loaded on to carts and taken away but were not returned. It is probable that the Duke 'borrowed' the books to furnish Somerset House, his new palace on the Strand.

The Duke of Somerset

Only one book from the original collection has found its way back to Guildhall Library, a 13th century copy of Petrus de Riga's Aurora, a metrical Latin version of the Bible pictured below.

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The Corporation does not appear to have attempted to recover the library from the acquisitive Duke and there was a gap of around 300 years until another library was formed.

Here is one other work which may be a survivor of the original library, a fourteenth century copy of the Chronicles of France pictured below.


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We think this may have been held in the original collection because there is a record in the City Archives of a manuscript copy of the Chronicles having been returned to Guildhall in 1516 after having been a ‘long tyme in the keping of’ Robert Fabyan. 

There is no record of Guildhall Library acquiring a copy of the Chronicles, so it is fair to assume that this copy is one and the same. It also seems likely that some marginalia in this volume is in the hand of Robert Fabyan. 

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In 1828 a small library was opened for use initially only by members of the Corporation.  There were only 1700 volumes in the library at this time but as the library grew so did its membership, with tickets being granted to literary men as well as Members.

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This small library increased in size and importance and eventually outgrew its accommodation, and a new building was planned to the East of Guildhall and into Basinghall Street.  The Corporation and Common Council decided that from now on access to its books should be made available to the public free of charge.

The new library building was designed by Horace Jones (the City architect) and opened to the general public in 1873.  

By then the library contained about 60,000 volumes of works covering the history of London, its architecture, topography, its suburbs and a large collection of early printed plays connected with the city.  

It is this building which is now called ‘The Old Library’ and the office of the Guildhall Librarian is now the Chief Commoner’s parlour.

Around 25 000 volumes were lost in the Second World War, on 29th-30th December 1940, through the destruction of some of the library’s storerooms, but the damage to the library building itself was not extensive. However, the area around Guildhall was devastated by the bombing and for the second time in its 600-year history the hall itself had lost its roof - the first time had been during the Great Fire of 1666.  

After the war, the library continued to grow and flourish, expanding into the Guildhall crypt for some much-needed extra stack space. 



The image above shows the ‘Old Library’, as it is now called, depicted shortly before its closure and the layout had changed little in the 100 years of its existence.

As part of the post-war Guildhall reconstruction scheme, the Corporation decided to develop the West Wing and incorporate a new modern library.  The present Guildhall Library, in the West Wing of Guildhall, opened on 21 October 1974. It was designed by the architects Sir Giles Scott, Son and Partners, it ranged over five floors, two of which were purpose built for the storage of the now vast printed books and manuscript collections. 


Guildhall Library today

Guildhall Library is the Library of London History.  Our core collection covers London and its history and is the largest collection in the world devoted to the history of a single city. We hold over 200,000 titles dating from the 15th to the 21st centuries including books, pamphlets, periodicals, trade directories and poll books. The collection covers all aspects of life in London, past and present, its trade, people and buildings and the whole of London, in addition to the City. 

The library holds internationally renowned collections of books on family and local history, wine and food, Samuel Pepys, John Wilkes and Thomas More, business and parliamentary history, poll books plus the libraries of the Clock Makers', Gardeners' and Fletchers' Companies, the Antiquarian Horological Society, Gresham College and the Charles Lamb Society.

Archive collections include the archives of 80 City livery companies, the Lloyd's Marine Collection and the London Stock Exchange.

While it is impossible to do justice to Guildhall Library’s collections in a single blog post, I shall highlight some of our more iconic treasures.

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The jewel in our crown pictured above is our copy of Shakespeare’s 1st folio: Mr. William Shakespeares Comedies, Histories, & Tragedies which was published in November 1623 around seven years after his death. It is the first collected edition of Shakespeare's plays – containing 36 plays. By the year of his death, only 18 of his 37 plays had been published.  Eighteen plays appeared for the first time in the First Folio, and these included - As You Like It, Julius Caesar, Macbeth, The Tempest and Twelfth Night. Without the First Folio these would likely have been lost. No substantial manuscripts of Shakespeare’s work survive.

Many copies lack this iconic title page, which would have been removed due to its value, to be sold or displayed.


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In 1891 the Parish Clerks deposited the London Bills of Mortality at Guildhall Library. The earliest printed bills in the collection date from the late 16th century, with a virtually complete run from 1664  to the middle of the 19th Century. 

The Bills of Mortality record the number of deaths each week and provide a statistical record of disease in London. They began to be produced after an outbreak of plague in 1592 (although there are a few earlier instances). From 1603, after another outbreak, they were made on a weekly basis, with the view to giving authorities and inhabitants full information as to the increases or decreases in the number of deaths.

 

The Parish Clerks collected and published the information every week. The printed bills were distributed on Thursdays at a subscription charge of a penny a sheet or 4 shillings per annum. They were delivered to the King and the Lord Mayor first by 8 am and then went on sale at 10am.

 The Bills of Mortality allow historians to trace the relentless march of the Great Plague, week by week and parish by parish as it progressed across the City. They show that September 1665 was the worst month for deaths from plague which reached 7165 for the week 12th – 19th September.

 

At this time the bills were edged with a border adorned with skull and crossbones, skeletons and implements of burial. At the top the inscription Memento Mori meaning ‘remember you will die’ sits beneath a winged hourglass representing the flight of time.


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From 1629 The Bills of Mortality included information about the cause of death with a summary count of those killed by named ‘diseases and casualties’. These covered a wide range of illnesses some of which are readily identifiable to us today some which are not. 

For the week shown here in addition to the 4237 individuals who died of plague, other diseases we would recognise include consumption and jaundice. 

For sudden violent deaths more details about the circumstances are often provided - as seen here: Broke her skull by a fall in the street at St Mary Woolchurch.

There are some diseases you may not recognise such as Tissick, which caused nine deaths and probably refers to tuberculosis or consumption and Rising of the Lights, which caused 18 deaths. The lights are likely to be lungs and Rising of the Lights would have referred to croup or pleurisy. Those who died as a result of fright, grief and ‘suddenly’ are also recorded.

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Another important item in our London collection is this first edition copy of 'The city & country purchaser & builder' by Stephen Primatt, printed in 1667, a year after the Fire of London had devastated some 430 acres, destroying over 13,000 houses, 87 churches, and 52 livery company halls in the City.

While the rebuilding programme led by Wren and Hooke would re-establish the public face of London, there was also a massive need for private redevelopment and Primatt’s was the first treatise issued in response to these private efforts. It is the first and also the most important book about the rebuilding of the houses and shops of London. It is also ‘the first work in English on building valuation, measurements and prices’.

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Guildhall Library holds first edition copies of 'Microcosm of London' commissioned by Rudolph Ackermann and published 1808-10. It contains aquatint plates covering all the well-known public buildings of London at the time. From the elegant ladies of Sadler’s Wells to the brawling fish wives at Billingsgate Market, shown in this image, all of London life is captured. Thomas Rowlandson – a caricaturist, watercolourist, draughtsman and engraver – supplied the figures, while Augustus Pugin drew the architect.


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Pictured above, is from a book of hand-coloured engravings depicting the costume worn by the children of each charity school in London taking part in the anniversary service at St Paul’s Cathedral, to draw attention to the plight of the children and raise money. Dating from around 1805, it consists of 5 plates of hand-coloured engravings by John Page. There are 124 children each depicted in the distinctive uniforms which were a feature of the charity schools. 


Guildhall Library is a public library and open to all. For more information about visiting:

https://www.cityoflondon.gov.uk/services/libraries/guildhall-library

The library has a varied programme of events the majority of which are free and can also be accessed online.

Images Copyright of Guildhall Library, City of London.

~~~~~

For the past twelve years Isabelle Chevallot has worked as a librarian at Guildhall Library where she presents talks, runs workshops, leads discussion groups and even organises Regency Balls to engage people in history. Her debut historical fiction medieval adventure novel The Song and the Sword is due to be published on 29th September 2022 in ebook, paperback and audiobook format. For more information:

The Song and the Sword - Kindle edition by Chevallot, Isabelle . Literature & Fiction Kindle eBooks @ Amazon.com.

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Sunday, September 4, 2022

The Marriage Drama of Frances Vane Stewart, 3rd Marchioness of Londonderry

  By Lauren Gilbert


Lady Frances Anne Emily Vane-Tempest, Marchioness of Londonderry (1800-1865) and her Son George Henry Robert Charles William Vane-Tempest, Viscount Seaham, later 5th Marquess of Londonderry (1821-1884) by Thomas Lawrence, public domain




The Hon. Frances Anne Vane Tempest was born January 17, 1800, in St. James’s Square, London. Frances Anne was admired and respected for her successes as a political and a society hostess, her business acumen, and her position in society. She capably ran estates in England and Ireland, and was known for being strong minded. Her background certainly prepared her to think for herself, to trust her own judgment, and to stand her ground. Her parents were fascinating people in their own rights.

Her father was Sir Henry Vane-Tempest of Long Newton, County Durham, 2nd Bearonet. He was born with the last name of Vane, and added Tempest by royal patent, after he inherited his late maternal uncle John Tempest’s estates in County Durham and Wynyard in 1793. This inheritance made him very wealthy, as the estates included significant coal mines. His uncle’s will required that the name Tempest be adopted. He replaced his uncle as M.P. for the City of Durham 1794-1800 and for County Durham 1807-1813. Also a sportsman, he owned a successful racing stable, including a horse named Hambletonian. (Henry gambled, and won, 3000 pounds on this horse to win at Newmarket in March 1799.) Sir Henry had a bad reputation as womaniser, and was known for having a bad temper. Henry Vane-Tempest’s father died in 1794, and he inherited the title, becoming 2nd Baronet. He had one sibling, his sister Frances, who married Michael Angelo Taylor, M. P. for the City of Durham. Frances’s marriage to Mr. Taylor caused an estrangement, but brother and sister eventually reconciled. Sir Henry also had an illegitimate son, named John, born about 1792, who apparently remained in County Durham. In April 1799, he married Anne Catherine McDonnell, Countess of Antrim.

Anne Catherine MacDonnell was born in 1775 in County Durham to Randal MacDonnell, 6th Earl of Antrim and 1st Marquis of Antrim and Viscount Dunluce, and his wife Letitia Morres. The Marquis and his lady left no sons. When he died in 1791, the Marquisate became extinct. However, the Earldom had a remainder which allowed it to pass on to daughters if there were no sons. As the eldest surviving daughter, Anne Catherine became Countess of Antrim and Viscountess Dunluce in her own right. She also inherited significant property in Northern Ireland. She met Sir Henry when she was about 18 years old, and her family tried to discourage the match, to no avail. Lady Anne and Sir Henry were married at her home in Hanover Square, London.

Although it seemed a good match, both being young, good looking and wealthy, unfortunately, it was not. Sir Henry was bad tempered and neglectful; both were extravagant and fond of partying. Lady Anne and Sir Henry alienated her family, and Lady Anne did not like Sir Henry’s sister, Frances Taylor, who visited frequently. Frances Anne, the only surviving child of the marriage, was born at Sir Henry’s estate of Long Newton, in County Durham. According to her own account, her parents were by turns neglectful and harsh, leaving her to form a close attachment to her aunt Mrs. Taylor, who was kind and paid attention to her. She also became scheming and independent.

Frances Anne was allowed to visit her aunt and formed a friendship with her half-brother. Sir Henry at least showed her affection, gave her money, and wrote his daughter affectionate notes when she was away. She formed a great attachment to him, although she and her mother never seemed to become close. Sir Henry’s death on August 1, 1813, was a serious blow to Frances Anne. She was 13 years old and a significant heiress.

The power structure changed. Frances Anne was now the owner of her father’s estates. Her father’s will left Frances Anne to the joint guardianship of her mother and her aunt. Her mother kept her own fortune and inherited personal property from Sir Henry, as well. Disagreements between Lady Anne and Mrs. Taylor flared up, and the result was that Frances Anne became a Ward in Chancery. Before leaving Wynyard, Mr. and Mrs. Taylor made sure that Frances Anne understood her position fully, and incited Frances Anne to oppose her mother. Frances Anne also had a temper and quarrelled with her mother. After a quarrel, in the heat of her anger, Frances Anne wrote to her aunt appealing for rescue. She was then about 14 years old. Her aunt responded by appealing to the Count of Chancery. The Countess of Antrim and Mrs. Taylor duly pursued the case in London.

In the process of the case, the Countess of Antrim consulted with John Beckett, Under-Secretary of State for the Home Department. Mr. Beckett, a friend of the late Sir Henry, offered her advice and (apparently) a flirtation. During this period, because no one could seem to handle her, Frances Anne was set up, in the care of her governess Mrs. Cade, in her own establishment, a house in Portman Square, London. Frances Anne, who was basically on her own, without effective supervision, made the acquaintance of Mr. Beckett’s younger brother, Edmund, who was about 24 and engaged to be married. Thus, drama began.

Frances Anne and Edmund began a relationship where they spent time together during the days and engaged in a clandestine correspondence. He even gave her a ring. This situation lasted about 4 months until Mrs. Cade came across their correspondence. Unbelievably, neither her mother nor her governess, nor Edmund’s brother (nor apparently Edmund’s betrothed) noticed this very shocking situation until this point. Frances had to give back the ring he had given her and his letters; Edmund returned the letters she had written to him. The whole affair remarkably seemed to have occurred without notice by society, and did not generate a scandal.

Marriage was an unavoidable issue for a major heiress of the time, and Frances Anne was no exception, despite her youth. Even though she was a minor and had guardians, she had no hesitation in speaking for herself and turned down more than one proposal. She was looking forward to being presented at court at age 17, but this plan was derailed by a marriage, this time by her mother. The Countess of Antrim remarried on June 27, 1817, to a singer named Edmund Phelps. She had met Mr. Phelps approximately a month or so previously. A wedding after such a brief acquaintance would have been surprising enough, but Mr. Phelps was a singer, a man of no fortune or connections of his own. The fact that he took his wife’s name, MacDonnell, afterwards did little to mask the state of affairs. Frances Anne did not attend, and the marriage was considered undignified, to say the least. Frances Anne’s presentation was postponed until 1818.

The newspapers reported Frances Anne’s presentation at court in February 1818. The Queen held a drawing room for the celebration of her birthday, which was attended by the Prince Regent and other members of the royal family. Frances Anne was presented by her mother, the Countess of Antrim. Following her presentation, she no was longer under her governess’s watch and, at 18, was maturing into a woman of some stature. Her mother and her aunt took her about to different society events. (Not together; they each accompanied her to separate events.) According to her biography, written by Edith, Marchioness of Londonderry, based on Frances Anne’s memoir, she met Lord Charles Stewart at her mother’s home early in February 1818.

Lord Charles Stewart was over 20 years older than she, a widower with a son, and she was not overly impressed, even though he was related to the Foreign Secretary, and was serving as Ambassador to Austria. Despite the slow start, she saw more of him at her mother’s home and at court. Mrs. Taylor did not care for the connection for various reasons, but the Countess of Antrim was completely supportive. As Frances Anne and Lord Charles saw more of each other, they became attached, and, in April of 1818, she accepted his proposal, without discussing the matter with either her mother or aunt. Although the Countess of Antrim approved, her aunt and uncle Mr. and Mrs. Taylor were quite angry. As one of her guardians, with Frances Anne being a ward in Chancery, Mrs. Taylor was not a force to be ignored.

The Countess of Antrim requested that the Lord Chancellor’s Court refer her daughter’s case to a Master to determine an appropriate settlement for daughter in relation to her impending marriage to Lord Stewart. Her mother’s petition was reported in the newspapers, including The Commercial Chronicle (London) of Saturday, April 25, 1818. Mrs. Taylor responded with a request of her own, asking that the Countess of Antrim denied contact with her daughter unless Frances Anne was accompanied by her governess. She accused the countess of promoting the match without the consent of either the Court or the co-guardian. She also included a memo detailing her reasons for opposing the marriage of Frances Anne and Lord Charles Stewart. Mrs. Taylor’s petition was also widely reported in great detail. The fireworks began, especially after the Lord Chancellor granted the injunction requiring that no one see Frances Anne without her governess being present.

Mrs. Taylor’s reasons for disapproving of the marriage included the facts that she considered Lord Stewart to be after Frances for her money, that he was too old for her, that he had a bad reputation, that insanity ran in his family, that his title would descend to his son by his previous marriage and Frances’s children would be disadvantaged, and that the marriage was improper for her. As the case went on, Lord Stewart refuted her charges. Although Frances’s fortune surpassed his, he had a respectable fortune and income of his own; he was willing to make settlements for Frances and any children; in his capacity as a soldier and ambassador, he was not a man of ill repute (although he had acquired a reputation of a ladies’ man and a drinker); the charge of insanity in his family was not proved. (He could not refute the age difference.)

The case went on for some months, and the Master ruled that the marriage would not be improper; it might not be the most advantageous marriage, but Lord Stewart had successfully established his situation, and Mr. and Mrs. Taylor had presented no evidence supporting Mrs. Taylor’s claims. In July 1818, although the Lord Chancellor sympathised with Mrs. Taylor, and had talked to Frances Anne himself, he felt he could not overrule the Master’s report, and found the marriage to be not improper. He commented specifically on Frances Anne’s determination to proceed with the marriage. He did, however stipulate that the couple could not celebrate the marriage until after the appeal to the House of Lords was resolved. (Data indicates that there was nothing preventing the settlement negotiations during the appeal.) Mrs. Taylor expressed her determination to appeal. Interestingly, newspaper reports indicate that a house was taken in Putney for Frances Anne and her governess Mrs. Cade in August. Lord Stewart returned to Vienna, where he indicated he planned to stay until the appeal was finished.

Newspaper accounts in November 1818 show that Frances Anne and Mrs. Cade were still in Putney. In January 1819, the Countess of Antrim was not yet in London, but Frances Anne had returned to London and was living in Norfolk Street. Although Mrs. Taylor had expressed her intent to appeal, newspaper accounts indicate she had apparently failed to pursue it vigorously, as the court questioned her about her intentions and ultimately dismissed the application in late January 1819. The Countess of Antrim held a dinner where she entertained Lord Stewart, Frances Anne and others at her home in Bruton Street in mid-February. Mrs. Taylor did try again to have the marriage blocked, but was unsuccessful. In late March 1819, the Order of Restraint preventing their marriage was finally discharged.

Lord Charles and Frances Anne were finally married at her mother’s house in Bruton Street, by special licence, on April 3, 1819. In accordance with Sir Henry’s will, Lord Charles Stewart and his wife took the last name of Vane by Royal Warrant. The entire affair was a cause célèbre. The case was covered extensively by newspapers across the United Kingdom and abroad. A romantic poem, called THE COUNTESS OF CARRICK, dedicated to Frances Anne by name, was widely advertised for sale in February 1819. The whole situation effectively destroyed her relationship with her aunt and uncle. The circumstances had to have been intensely uncomfortable and embarrassing for the couple themselves and their extended family, to have so much attention focused on such personal matters.

Charles William Vane, 3rd Marquess of Londonderry (1778-1854) by James Godsell Middleton, photo by BotMultiChill, July 5, 2020-public domain



Fortunately, the couple enjoyed a long and prosperous marriage and had 6 children. She became a noted hostess. They purchased properties, including Holdernesse House (later renamed Londonderry House) in London and Seaham Hall in County Durham. Upon the suicide of Lord Charles’s half-brother in 1822, Charles became the 3rd Marquis of Londonderry. Subsequently, he was also granted the titles Earl Vane and Viscount Seaham, both of which were remaindered to heirs from his marriage to Frances Anne (an answer to Mrs. Taylor’s concern). They expanded the coal industry on their estates and developed a port at Seaham to facilitate shipping. Already quite affluent, they became even wealthier. Frances Anne was quite interested and active in these concerns and, before Charles died, their family was among the wealthiest in the UK. When Charles died in 1854, the title of Marquis of Londonderry went to his oldest son Frederick by his first wife, and the titles of Earl Vane and Viscount Seaham to his son George, his oldest son with Frances Anne. She ran the businesses herself. Sadly, Frederick died without an heir and Frances Anne’s son George became the 5th Marquis of Londonderry. Frances Anne died on January 20, 1865, at Seaham.

Sources include:

FRANCES ANNE The Life and Times of Frances Anne Marchioness of Londonderry and her husband Charles Third Marquess of Londonderry, by Edith, Marchioness of Londonderry, D. B. E. London: Macmillan & Co., Ltd. 1958.

THE LADIES OF LONDONDERRY Women and Political Patronage, by Diane Urquhart. London: Bloomsbury Academic, 2020 (1st published by I. B. Tauris & Co. Ltd. in 2007).

Christening record: City of West Minster Archives, Westminster Baptisms, transcriptions, via FindMyPast showing birthdate January 17, 1800, and baptism date February 14, 1800, in St. James, Piccadilly, Parish.

Marriage Record: Westminster, London, England, Church of England Marriages and Bans, 1754-1935; St. George, Hanover Square, 1798-1802, p. 132 of 616, showing marriage by special license at the home in Bruton Street by special license on the 3rd day of April 1819, via Ancestry .

Various newspaper articles from multiple cities, via BritishNewspaperArchive , including THE GLOBE, Friday, February 27, 1818, p. 2, London, England, one of many which covered her presentation; COMMERCIAL CHRONICLE, Saturday, April 25, 1818, p. 4, London, England, among those which discussed her mother’s petition regarding a settlement; BELL’S WEEKLY MESSENGER, April 26, 1818, p. 6-7, London, England, one of those which addressed Mrs. Taylor’s counter petition; BALDWIN’S WEEKLY JOURNAL, Saturday, July 18, 1818, p. 3, London, England which discussed the judgement; THE DURHAM COUNTY ADVERTISER, Saturday, August 29, 1818, p. 2, which mentioned her sojourn in Putney; MORNING POST, Saturday, February 6, 1819, p. 2, London, England, which contained the advertisement for THE COUNTESS OF CARRICK; EXETER FLYING POST, Thursday, April 9, 1819, p. 4, Devon, England, one of those which reported that the order of restraint was lifted; and the SUSSEX ADVERTISER, Monday, April 12, 1819, p. 4, Sussex, England, among the many which reported their wedding. THE LONDON GAZETTE, published May 26, 1819, issue: 17480, p. 906, found at TheGazette, reported the name change to Vane (as did other papers).

Images: Wikimedia Commons

Lauren Gilbert is fascinated with English literature and history, particularly the Regency era.  Lauren has a BA degree in liberal arts English and Art History.  A long-time member of JASNA, she delivered a breakout session at the Annual General Meeting in 2001.  She was keynote speaker for Jane Austen Fest in Mt Dora, FL in 2022.  A RATIONAL ATTACHMENT is her second novel.  Her essays appear in both volumes of CASTLES, CUSTOMS AND KINGS: True Tales by English Historical Fiction Authors. Her current project is a non-fiction book for Pen & Sword Books Ltd.  Visit her Amazon Author Page, her Facebook author page or  her website for more information.  



Tuesday, August 30, 2022

Iona, Clan Donald and the Cathedral of the Isles

by Regan Walker

The Isle of Iona is a very special place as anyone who has been there can tell you. A small isle that lies about a mile off the west coast of the larger Isle of Mull in the Scottish Hebrides, Iona has a long and illustrious history. Today is it a tourist destination and the faithful make pilgrimages to its shores and its Abbey Church. I have walked the white sand beaches, felt the constant breeze on my face and experienced the tranquility that characterizes this sacred place.

Iona Beach
Photo by Robert Guthrie, Wiki Commons

Surrounded by turquoise water, the rocky shores of the isle must have called to the early Irish missionary monks, Oran and Columba, who came here in 563 to establish a monastery from which they could evangelize the Picts. It was here the Book of Kells was originally created before it was taken to Ireland for safety.

Oran was the first monk to be buried on the isle and the small stone chapel, “St Oran’s Chapel”, was erected over his grave. Beginning with Somerled in the 12th century, the chapel became the burial chamber of the Lords of the Isles. He was the progenitor of Clan Donald. In my story of his descendant, Angus Og Macdonald, you can experience the ceremony to bury his father, Angus Mor, the Lord of the Isles.

St. Oran's Chapel
Photo by August Schwerdfege

The graveyard, Reilig Odhrain, named in Oran’s honor, that surrounded St Oran’s Chapel, became the burial place of various isle chieftains as well as Norse, Scottish and Irish kings. The tall carved crosses that stand before the chapel and the abbey are each dedicated to a saint. The hereditary master masons on Iona were famous for their stone carving.

St. Martin's Cross
Photo by Regan Walker

The most magnificent structures on the isle are the Abbey and the Abbey Church, hewn out of red stone and restored as you see them today. The pictures are my own.

Iona Abbey Church
Photo by Regan Walker

The church is a medieval masterpiece but today the inside looks nothing like it would have at the time of my story when the stones were painted with brilliant colors and the abbey lined with colorful tiles.

Inside the Abbey Church
Photo by Regan Walker

Ian Ross Macdonnell, author of Clan Donald and Iona Abbey: 1200-1500, with whom I consulted for my story, helped me to understand that Iona Abbey and the Abbey Church (the “Cathedral of the Isles”), are Clan Donald’s legacy. They stand as monuments to the faith of its chiefs who protected and maintained them for centuries. When a chief of Clan Donald, a Lord of the Isles, died, all the clans in the Isles came to Iona to honor him in death and to observe the ceremony that lasted eight days.

The Abbey Church
Photo by Regan Walker


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Regan Walker is an award-winning author of historical fiction set in the Regency, Georgian and Medieval eras. Her newest venture, The Clan Donald Saga, spans several centuries and tells the stories of the great sea lords, the Lords of the Isles, who plied the waters of the Hebrides in their galleys, ruling the western Highlands and the Isles for four hundred years. She has made several trips to Scotland as a part of her research. Regan lives in San Diego with her dog “Cody”, a Wirehaired Pointing Griffon, who walks with her on the beach early every morning.