Showing posts with label Macbeth. Show all posts
Showing posts with label Macbeth. Show all posts

Friday, September 8, 2017

Inchcolm: Medieval Jewel in the Firth of Forth

by Annie Whitehead

Happenstance found me in a boat heading out from South Queensferry to the Island of Inchcolm, the pilot announcing that passengers may disembark to explore, to be collected on the boat's return some two hours later. Two hours? That's a long time. Turns out, it wasn't really long enough to explore.

Inchcolm, an island in the Firth of Forth in south-east Scotland, means Island of Colm, (possibly Saint Columba, although Columba had no known links to the island) and its medieval abbey can be seen from miles around.


It's likely, though, that before the abbey was built, the island was first settled by religious hermits. Tradition has it that the Danes defeated by King Macbeth in the eleventh century at the Battle of Kinghorn paid large sums of gold to have their dead buried on the holy isle. There is a hogback gravestone on display, which was once thought to be a monument to the Danish leader, but has now been dated to the tenth century.


There is also a tenth century stone cross shaft, further evidence of the island's being inhabited in early medieval times,


although we have to jump forward a couple of centuries before the history of the island begins to take recognisable shape.

The story goes that in 1123, King Alexander I was attempting to cross the Firth of Forth and was blown off course by a gale. For three days he was forced to take shelter on Inchcolm, looked after by a hermit. Safely back on the mainland, the king vowed to build a monastery on the island to give thanks for his deliverance. However, it was Alexander's brother, David I, who invited Augustinian canons to settle on the island. The earliest surviving charter dates from around 1165, with Bishop Gregory of Dunkeld gifting the property to the Prior and canons of Inchcolm.

Thus the first church was built in the twelfth-century, with the bell-tower being added around the year 1200, and the choir was extended in the 1260s. A remnant from the original choir can still be seen in the abbey ruins: a wall-painting which depicts a gathering of clergy. When the new choir was completed, Bishop John de Leycestre, who died in 1214, was re-interred and it is thought that this painting depicts his entombment.


The bishop's body would have been embalmed, wrapped in waxed cloth and dressed before being carried to the burial site. John de Leycestre was bishop of Dunkeld Cathedral in the early 1200s. Inchcolm was in the diocese of Dunkeld; both institutions were dedicated to St. Columba and had close ties. 

The bishops of Dunkeld were not the only wealthy patrons of Inchcolm; the Mortimers, who were lords of nearby Aberdour, were generous benefactors. The water between the island and the mainland is known as 'Mortimer's Deep'.

In May 1235, permission was sought from the pope, and granted, for the priory to become an abbey. Prior Henry became the first abbot, and Inchcolm's wealth and status increased. In 1265 the chancel was doubled in size. But the good times were not to last.

In the 1300s, the abbey was repeatedly attacked by English forces, during the years of the wars of Scottish independence. The first recorded attack was in 1315, when a naval force was beaten back by the bishop (Sinclair of Dunkeld) and his men. In a further attack of 1335, the monastery was plundered.


Walter Bower was the abbot of Inchcolm from 1418-1449, but is perhaps better known as the compiler of the Scotichronicon, a history of Scotland from the reign of  Malcolm III (Canmore) to the beginning of the reign of James II (1437-60). Walter recorded that the invaders, frightened by a sudden storm at sea, sent the plunder back. But fear of storms evidently did not deter the raiders.

In 1385, a barge carrying 140 English soldiers plundered the monastery and set fire to an outhouse. Fortunately the wind changed and the church was saved. The story goes that the flames were blown back towards the English, who retreated to South Queensferry.

It was but a temporary respite, for the abbey fell victim to the Reformation. In August 1560, the Reformation Parliament ended Catholic worship at the monastery. The last document to bear signatures of the canons of Inchcolm is dated 1578, and is signed by 'Dominus John Brounhill' and 'Dominus Andro Anguss.'

This was not the end of the island's history however, nor of its role in repelling invaders. In the sixteenth and early seventeenth centuries the island was a quarantine station for any plague-stricken ships entering the Forth. In the Napoleonic era it was used as a hospital for the Russian fleet, and a gun battery was built in response to the threat of a French invasion.

When WWII broke out, the island was equipped with guns with searchlights, and a large camp was built for the garrison. The guns were manned around the clock, until the threat of invasion passed. Some of the twentieth century buildings remain, sitting a little incongruously beside the ruins of the abbey.


Nowadays, the only inhabitants of the island are the seabirds, and it is advisable, especially during nesting time, to walk through the WWII tunnel (pictured below) than around the coastal path, because the birds are very protective of their young and will attack.


Well, I say that the birds are the only inhabitants, but, on a neighbouring island, Inch Gnome, there are a few residents...


Inchcolm island has an area of only 9 hectares. And yet, two hours was barely long enough to explore, and soak up the atmosphere of this tiny place. It can be seen, as I've said, from many points of the coast around the Firth of Forth, and yet, out there, one feels miles away from the modern world. The history spans the centuries and yet is encapsulated in a small area. As you step off the boat, it seems as if you can already see all there is to see. But two hours later, you will leave feeling that the island has revealed only a fraction of its centuries-old story.

[all photographs by and copyright of the author]

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Annie Whitehead is an author and historian, and a member of the Royal Historical Society. Her first two novels are set in tenth-century Mercia, chronicling the lives of Æthelflæd, Lady of the Mercians, who ruled a country in all but name, and Earl Alvar who served King Edgar and his son Æthelred the Unready who were both embroiled in murderous scandals. Her third novel, also set in Mercia, tells the story of seventh-century King Penda and his feud with the Northumbrian kings. She is currently working on a history of Mercia for Amberley Publishing, to be released in 2018.

Friday, August 29, 2014

Reynolds, Siddons and the Tragic Muse

by Catherine Curzon

Last month, I wrote of the remarkable celebrity of Sarah Siddons, the first lady of the Georgian stage who was so celebrated for her portrayal of Lady Macbeth. Among her fans was Sir Joshua Reynolds, the near legendary Georgian artist, and he memorialised Mrs Siddons forever in his remarkable 1784 work, Mrs Siddons as the Tragic Muse.

This portrait has been an inspiration to me for many years and a print hangs in pride of place in my sitting room, where it often attracts compliments. When I look at this painting I see a remarkable piece of theatre, and one that rightly confirmed the actress's status as a superstar of the tragic stage, preserving Mrs Siddons forever as a figure of graceful authority, the living embodiment of Melpomene, the muse of tragedy.


Mrs Siddons as the Tragic Muse by Joshua Reynolds, 1784

When Mrs Siddons arrived to sit for the portrait, Reynolds told his adored subject, "Ascend upon your undisputed throne, and graciously bestow upon me some great idea of the Tragic Muse". Mrs Siddons accordingly draped herself in a somewhat monarchical fashion on her throne and in doing so appeared to assume the pose adopted by Isaiah on the Sistine Ceiling. However, she claimed that this was nothing but coincidence, having chosen this position when she found the initial pose requested by Reynolds to be too uncomfortable to hold. Whether this is true we cannot know but Mrs Siddons was well aware of the power of celebrity and perhaps was giving her own near-mythical reputation a helping hand!

Regardless of the thought behind it, the pose is unmistakably graceful and in her opulent gown and pearls, the actress's noble bearing is evident in every inch of the canvas. For all of the grace and nobility, though, her expression is troubled, and the painting is one that shows a woman in some conflict. Emerging from the shadows behind her throne are the figures of Aristotle's Pity and Fear. Recalling her role as Lady Macbeth they clutch a dagger and a chalice and Fear's features were modelled on Reynolds' own grimace, which he painted from reflection.

This painting is remarkable in its subtle use of light and shadow. The colours are subdued yet striking, and the arms and face of the sitter draw the eye with their vibrancy. Despite or perhaps because of the simple and muted palette, the painting draws and holds the attention; in fact, the dress was initially intended to be blue but Reynolds repainted it in the brown and gold we see today. This blends the primary figure of the actress into the background even as she is kept apart by the brightness of her features versus the misty figures that flank her, a luminous figure and one that demands attention.

The painting was an utter sensation when it was exhibited at the Royal Academy in 1784 and Reynolds placed a mind-boggling one thousand guinea price tag on the canvas. To this day it is regarded as one of the finest works of 18th century painting and has played a part in the enduring reputation of both actress and artist. It is perhaps fitting, then, that Reynolds signed the portrait across the bottom of Mrs Siddons's dress and told her, "I have resolved to go down to posterity on the hem of your garment." That signature is no longer visible but this magnificent painting remains, as remarkable now as it was then.


Sources

Perry, Gill, Spectacular Flirtations: Viewing the Actress in British Art and Theatre 1768-1820, (Yale University Press, 2007)
Perry, Gill and Roach, Joseph, The First Actresses: Nell Gwynn to Sarah Siddons, (National Portait Gallery, 2011)
Postle, Martin, Joshua Reynolds: The Creation of Celebrity, (Tate Publishing, 2005)

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Glorious Georgian ginbag, gossip and gadabout Catherine Curzon, aka Madame Gilflurt, is the author of A Covent Garden Gilflurt’s Guide to Life. When not setting quill to paper, she can usually be found gadding about the tea shops and gaming rooms of the capital or hosting intimate gatherings at her tottering abode. In addition to her blog and Facebook, Madame G is also quite the charmer on Twitter. Her first book, Life in the Georgian Court, is available now, and she is also working on An Evening with Jane Austen, starring Adrian Lukis and Caroline Langrishe.

Wednesday, July 30, 2014

"Tragedy personified": Sarah Siddons as Lady Macbeth

By Catherine Curzon

The term "showbiz legend" is much bandied about these days when it comes to the world of entertainment, sometimes with less reason than others. Sarah Siddons, the first lady of the Georgian stage, was truly deserving of that lofty title. From humble beginnings she rose to the pinnacle of her craft, leaving her adoring fans gripped with Siddons fever as they flocked to her performances in droves. Famed as a tragedian, she will forever be associated with one particular role, that of Shakespeare's Lady Macbeth.


Sarah Siddons as Lady Macbeth by Henry George Harlow, 1814
Sarah Siddons as Lady Macbeth by Henry George Harlow, 1814

When the celebrated Mrs Siddons played the lady of Dunsinane for the first time on 2nd February 1785, she was just 29 years old. With her tall, commanding figure and strikingly handsome looks Siddons made an instant and lasting impact; she would return to the role multiple times over the four decades that followed, making the part entirely her own. 

The majestic actress was known for the passion and fervour of her performances, bringing a deep understanding to each role as she practised the method of her day. Theatrical legend has it that, so intense was her portrayal and so blazing the look in her eyes, swooning ladies in the audience had to be carried from the theatre in order to recover their composure. The essayist, William Hazlitt, famously wrote that Siddons was "tragedy personified"[1], a sentiment with which her fans certainly agreed. 

In fact, away from the stage her life contained tragedy enough to inspire a thousand such performances. Her marriage to William Siddons ended in separation and five of their seven children predeceased their mother. She channelled her unhappiness into performances of startling intensity, focusing particularly on the famous hand washing scene. Siddons broke with tradition by setting down Lady Macbeth's candle to instead concentrate on repeated, hypnotising motions as she washed the blood from her hands again and again.


Sarah Siddons by Thomas Gainsborough, 1785
Sarah Siddons by Thomas Gainsborough, 1785

In her essay, Remarks on the Character of Lady Macbeth [2], Siddons shares her thoughts on the role and the reasoning behind her own stylistic choices. She displays a rich understanding of Lady Macbeth, whom she considers to be "made by ambition, but not by nature, a perfectly savage creature". The essay makes for fascinating reading, offering deep insight into this most remarkable actress and the way in which she approached her roles. 

Georgian theatre is occasionally depicted as an almost ridiculous place, with overblown performances and overheated thespians but in Remarks on the Character of Lady Macbeth we are privy to share what would appear to be a modern approach to the text, with Siddons examining dialogue, movement and psychology in her efforts to inhabit the role.

After a long and celebrated career, Sarah Siddons gave her farewell performance in the role that she had made her own at the Covent Garden Theatre on 29th June 1812. The reaction of the audience to the sleepwalking scene was so rapturous that they gave an ovation that seemed as though it might never end, forcing the curtain down. After a short delay in which the adoring applause continued, the curtains opened again to show Sarah sitting on stage in her own clothes, no longer in character. Once the crowds finally fell silent she gave a farewell speech of almost ten minutes in length, the actress as overcome with emotion as the audience who adored her.

References and Sources

[1]   Hazlitt, William, Selected Writings. (Oxford, 2009), p. 339
[2]   Siddons, Sarah, "Remarks on the character of Lady Macbeth" as quoted in  Campbell, Thomas, Life of Mrs. Siddons. (New York, 1834). 

Perry, Gill, Spectacular Flirtations: Viewing the Actress in British Art and Theatre 1768-1820, (Yale University Press, 2007)
Perry, Gill and Roach, Joseph, The First Actresses: Nell Gwynn to Sarah Siddons, (National Portait Gallery, 2011)




Glorious Georgian ginbag, gossip and gadabout Catherine Curzon, aka Madame Gilflurt, is the author of A Covent Garden Gilflurt’s Guide to Life. When not setting quill to paper, she can usually be found gadding about the tea shops and gaming rooms of the capital or hosting intimate gatherings at her tottering abode. In addition to her blog and Facebook, Madame G is also quite the charmer on Twitter. Her first book, Life in the Georgian Court, is available now, and she is also working on An Evening with Jane Austen, starring Adrian Lukis and Caroline Langrishe.
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