Curious Characters: Sir Samuel Morland

Sir Samuel Morland by Sir Peter Lely, 1845

Sir Samuel Morland, 1st Baronet (1625-1695), or Moreland, was an English academic, diplomat, spy, inventor and mathematician of the 17th century, a polymath credited with early developments in relation to computing, hydraulics and steam power.

The son of Thomas Morland, the rector of Sulhamstead Bannister parish church in Berkshire, he was educated at Winchester College and Magdalene College, Cambridge, where he became a Fellow in 1649. Devoting much time to the study of mathematics, Morland also became an accomplished Latinist and was proficient in Greek, Hebrew and French—then the language of culture and diplomacy. While a tutor at Cambridge, he first encountered Samuel Pepys who became a lifelong acquaintance.

While serving as secretary to John Thurloe, a Commonwealth official in charge of espionage, however, Morland became disillusioned with the Government of the Commonwealth, allegedly after learning of a plot by Sir Richard Willis, Thurloe and Richard Cromwell to assassinate the future King Charles II. As a double agent, Morland began to work towards the Restoration, engaging in espionage and cryptography—activities that later helped him enter the King’s service.

Morland’s multiplying machine

On 18 July 1660 he was created a baronet and given a minor role at court, but his principal source of income came from applying his knowledge of mathematics and hydraulics to construct and maintain various machines. These included:

  • “water-engines”, an early kind of water pump. He was, for example, engaged on projects to improve the water supply to Windsor Castle, during which time he patented a ‘plunger pump’ capable of “raising great quantities of water with far less proportion of strength than can be performed by a Chain or other Pump.”
  • a vacuum that would suck in water (in effect the first internal combustion engine)
  • ideas for the future development of a working steam engine. Morland’s pumps were developed for numerous domestic, marine and industrial applications, such as wells, draining ponds or mines, and fire fighting. His calculation of the volume of steam (approximately two thousand times that of water) was not improved upon until the later part of the next century.
  • a non-decimal adding machine (working with English pounds, shillings and pence)
  • a machine that made trigonometric calculations
  • a “Multiplying Instrument”
  • an ‘arithmetical machine’ by which the four fundamental rules of arithmetic were readily worked (regarded by some as the world’s first multiplying machine, an example is in the Science Museum in South Kensington).
  • a design for making metal fire-hearths
  • the speaking trumpet, an early form of megaphone.

He also corresponded with Pepys about naval gun-carriages, designed a machine to weigh ship’s anchors, developed new forms of barometers, and designed a cryptographic machine.

From The Vauxhall Papers:

Sir Samuel being a great mechanic, every part of his house shewed the invention of the owner: the side-table in the dining-room was supplied with a large fountain, and the glasses stood under little streams of water. His coach had a moveable kitchen, with clock-work machinery, with which he could make soup, broil steaks, or roast a joint of meat. From the this description of Sir Samuel’s character, an impression prevailed… that his house was the identical spot of the present Vauxhall Gardens; and a history of Lambeth, published in 1827, thus summarily disposes of the affair:—“The matter is put beyond the question of doubt from the information of one of the late proprietors, that the present dwelling belonging to the garden was built by Sir Samuel Moreland. The house is large, and from the back kitchen a lead pump was removed about 1794, bearing Sir Samuel Moreland’s mark, viz:—

HOWEVER, the editor of The Vauxhall Papers, Mr. A. Bunn, proves that the two were not the same property, using public documents from the Duchy of Cornwall.

VAUXHALL HOUSE, of which Sir Samuel was… the tenant, was leased to Mr. Kent, a distiller, for 28 years, in the year 1725, and the site thereof subsequently leased to Mr. Snaith: while the Spring Garden, Vauxhall, was leased by Mr. Jonathan Tyers in the year 1730, which fact may also be proved by a reference to the office of the Duchy of Cornwall. Here is proof positive, and utterly undeniable: but we can bring down the present property in direct descent, without any reference whatever to Sir Samuel Moreland, whose estate (VAUXHALL HOUSE), was a total distinct property.

 

Georgian Era Artisans: the Gardenesque vs. the Picturesque

Beaudesert, Staffordshire, from Fragments on the Theory and Practice of Landscape Gardening, pub. 1816. Humphry Repton

The Gardenesque: Humphry Repton, John Claudius Loudon

Humphry Repton

The Picturesque aesthetic was a literary reaction to both the landscape legacy of Capability Brown and Humphry Repton’s ‘Gardenesque‘ of the close of the eighteenth century. First defined by John Claudius Loudon (1783-1843) in 1832, the Gardenesque was a style characteristic of the small-scale turn of the century garden, which emphasised formal features and botanical variety. Repton (1752-1818), a consummate snob, came to garden design relatively late in life, setting himself up as Brown’s successor in 1788. This precarious position brought him nothing but persecution from the Picturesque writers, and he was thrust headlong into their savage debates. Attacks rained down [from William Gilpin, Richard Payne Knight, and Uvedale Price]. There was no unanimous stylistic agreement among these, and yet all three expressed a preference for the diverse terrain of the Rococo garden and a violent dislike of Brown’s manicured landscapes… the Picturesque ideal was deemed an instinctual reaction to ‘rough’, ‘intricate’, or ‘broken’ Nature. It paved the way for a more Romantic appreciation of Gothic architecture and rough-hewn topography.

The Picturesque: William Gilpin, Richard Payne Knight, Uvedale Price

William Gilpin

Gilpin himself never owned or designed an actual landscape… Nevertheless, his ideas concerning the beauties of natural scenery underpinned the more complex theoretical arguments of Payne Knight and Price twenty years later. His influential reception was also aided by an established craze for domestic tourism. From the 1780’s, as a result of increasing outbreaks of war in Europe, Continental travel was deemed overly dangerous. Classically orientated tours were therefore abandoned in favour of the safer thrills offered by Britain’s mountains, cascades and cliffs, championed by the promulgators of the Picturesque. By the end of the eighteeneth century, Hoare had been forced to build a hotel at Stourton to accommodate his garden tourists.

The Gothic arch on top of Grotto Hill

The painterly qualities of Sir Rowland and Sir Richard Hill’s Shropshire estate, Hawkstone, and Valentine Morris’s Piercefield in Monmouthshire attracted Picturesque tourists in their hundreds. Hawkstone’s conventional landscape park was laid out in 1784-90 by William Emes. The separate pleasure grounds were arranged around a dramatic ravine of sandstone, complete with a ruinous Red Castle. Dr. Johnson surmised that Hawkstone’s Grotto Hill, with its panoramic views, forced upon the mind: ‘The sublime, the dreadful, and the vast. Above is inaccessible altitude, below, is horrible profundity.’ Piercefield, likewise, commands sandstone cliffs of 300 feet in height. Gilpin, Price and Repton all visited the estate, to marvel at its perilously winding river and steeply wooded bluffs. It was, after all, an established part of the Wye Tour.

View from Piercefield

Sir Uvedale Price

Sir Uvedale Price (1747-1829) accused [Capability] Brown of mechanically ‘smoothing and levelling the ground,’ where ‘in a few hours the rash hand of false taste completely demolishes what time only, and a thousand lucky accidents, can mature’. Price criticised the clump, ‘whose name, if the first letter was taken away, would most accurately describe its form and effect’. Picturesque taste equated ‘verdure and smoothness’ with monotony, instead of pronouncing ‘accident and neglect the sources of variety in unimproved parks and forests’. Brown and his followers had taken great care to conceal any roughness prevailing in their landscape parks. As a result, Gilpin railed, ‘How flat, and insipid is often the garden scene, how puerile, how absurd!’

River gorge at Knight’s home Downton. Drawing by Thomas Hearne

Payne Knight by Thomas Lawrence

[Knight] argued that the Picturesque defined a journey of aesthetic and emotional discovery, which united all the arts. [Richard] Payne Knight was a wealthy connoisseur and member of the Society of Dilettanti… At Downton, the half-Roman, half-Gothic estate Knight inherited in 1764, he believed he was ‘collecting and cherishing the accidental beauties of wild nature’. The sinister landscape included a hermitage and isolated cold bath. When Repton visited in 1789, he took in the ‘roaring in the dark abyss below’ of the River Teme, which was ‘enriched by caves and cells, hovels, and covered seats, or other buildings, in perfect harmony with the wild but pleasing horrors of the scene’.

Lacking both Brown’s personable, working-class nature and practical grounding in gardening, Repton nevertheless hit upon a winning strategy: the Red Book.

Pages from Repton’s Red Book

The triumph of these gimmicks, which were printed and found for each individual client between red Moroccan leather covers, was to give posterity an impression of wider landscape improvements than were ever achieved. Essentially, the Red Book was a detailed and persuasive contract for improvements, illustrated with seductive ‘before and after’ snapshots of the estate in question. An overlay allowed the prospective client to picture immediately the possibilities lying dormant within his grounds, should he choose to employ the services of Repton… [W]hen business was slow, Repton reproduced them in albums… Perhaps his most successfully realised Red Book design was for the Blaise Castle estate on the outskirts of Henbury in Bristol for the quaker banker, John Scandrett Harford, in 1795. The result trod a fine line between the ideal parkscape and the wilderness craved by the Picturesque tourist.

Payne Knight had promoted the reinstating of terraced gardens and other landscape features dismantled by Brown and his followers. Although ultimately Repton rejected the notions of the Picturesque, his cluttered compositions of pedestals, pergolas and fountains also drew on the formal gardens of the previous century for inspiration… The shift in emphasis from the park back to the designed garden anticipated the ‘Gardenesque’, as defined by Loudon. Repton’s designs triumphed because of their usefulness and attention to ‘the genius of the place.’ After all most English landscapes did not lend themselves to the Picturesque ideal of mountainous scenery half as easily as they did to the Reptonian concept of an adaptable space on a human scale… The truth was that the average landowner at the turn of the century wanted ‘bowling-greens, flowering shrubs, horse-ponds’, and hankered after the ‘shell-grottoes, & Chinée-rails’ of the Rococo Arcadias.

By 1816, Repton had seemingly turned against the ideal parkscape completely. ‘The Pleasures of a Garden have of late been very much neglected’, he wrote, because of ‘the prevailing custom of placing a House in the middle of a Park, detached from all objects, whether of convenience or magnificence’.

Collette Cameron: Passion and Plunder

Scottish Heather Honey

I never know what random thing my latest story will have me poking around the Internet in search of. For my Highland Heather Romancing a Scot Series, I’ve mentioned the use of heather in several of the books, hence the title. In books five and six, I ventured into the healing qualities of honey. I’d heard of the skin and medicinal benefits of honey before, and I was curious if honey from heather might have unusual properties. I was delighted at what I uncovered.

By Vicky Brock from Glasgow, UK – Honey Show 2, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=35024402

As you no doubt already know, all honey provides many benefits:

  • Reduce throat irritation and cough
  • Heals wounds and burns
  • Reduce ulcers and other gastrointestinal disorders
  • Cancer and heart disease prevention
  • Anti-bacterial and anti-fungal

Made by bees brought to the Highlands in August for the express purpose of collecting nectar from heather blossoms, Scottish heather honey is touted as having “magical healing powers” and is referred to by the Scots as the “Champagne of all honeys.” Dubbed the “Rolls Royce” of honey in Britain, many claim it’s a cheaper alternative to New Zealand’s much praised Manuka honey. A recent study found heather honey to be more effective in treating topical infections than Manuka honey.

Scottish heather honey possesses an extraordinary antiseptic property, which makes it a favored natural remedy for treating cuts and wounds. I used that tidbit in book number six in the series. It has exceptional anti-bacteria fighting abilities and is known to treat MRSA as well as three other bacteria. It’s also a powerful anti-oxidant and contains high amount of minerals and proteins. An unusual feature of the dark amber honey is its texture, characterized by high thixotropy (extremely viscous). When at rest, it’s jelly-like, but when stirred or agitated, it becomes syrupy like other honeys until it settles into a gel again. It also has a high water content.

People either adore the medium-to-strong, even slightly bitter, woody taste and lingering peaty aftertaste, or dislike the flavor intently. Scottish Heather Honey is delicious in many dishes, but isn’t recommended for tea as the flavor is too strong for the brew. And yes, it’s used in the preparation of many alcoholic spirits such as mead. Those clever Scots.

Unfortunately, honey couldn’t cure my heroine’s father in Passion and Plunder, my fifth book in my Highland Heather Romancing a Scot series, but used in a salve in the sixth book, it helped heal my hero’s scars.

Are you a fan of honey? Any particular kind? Blackberry is mine. I love it in tea and with a special kind of biscuit made from my great-grandmother’s recipe. (You’ll find the recipe in my June 1 newsletter)

About Passion and Plunder (Highland Heather Romancing a Scot Series, #5)

Would you sacrifice everything for the person you love, knowing you can never be together?

A desperate Scottish lady

Lydia Farnsworth—the sole surviving heir to the Laird of Tornbury Fortress—has lost nearly everyone she loves. Now her father lies on his deathbed. And as if this isn’t dire enough, he’s invited men from the surrounding area to a warrior’s contest—the winner to claim Lydia as his bride.

A Scotsman dueling with his past

Alasdair McTavish, son of Craiglocky Keep’s war chief, is a seasoned warrior in his own right. So when he’s sent to Tornbury to train the Farnsworth soldiers, he’s more than equal to the task.

When a dangerous adversary makes a move against Lydia, a dastardly scheme comes to light, and Alasdair realizes only he can protect Lydia.

Don’t miss the 5th installment in this sweeping historical Highland romance series—get your copy of Passion and Plunder for a romantic Scottish adventure you won’t want to put down.

 

Passion and Plunder releases May 24, but you can pre-order it now.

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Excerpt

Mustering her courage, she reluctantly raised her focus from the soft, worn leather encompassing his ridiculously broad chest.

“Dinna look so woebegone, lass.”

“What are we to do?” She stared up at him, refusing to permit her surge of tears to fall. “Da wouldn’t have forced either of my brothers to marry before assuming the lairdship. This stipulation reveals his lack of faith in me. In my gender.”

“Nae, he wouldn’t, but I think he believes he be protectin’ ye.” A throaty quality deepened his voice as he drew her into his arms. One large hand framing a shoulder and the other cupping her waist, he pressed her near.

God help her, his strong, comforting embrace felt splendid, like a long overdue homecoming. So secure and safe.

And a bit terrifying too.

She wanted to wrap her hands around his large frame, bury her head in his shoulder, and stay snuggled there for hours.

Perchance days.

Forever.

Desire blazed in his eyes as he tilted her chin upward at the same moment he dipped his lower. Her woman’s intuition recognized the passion bubbling beneath his composed demeanor.

About the Author

A bestselling, award-winning author, Collette Cameron pens Scottish and Regency historicals featuring rogues, rapscallions, rakes, and the intelligent, intrepid damsels who reform them.

Blessed with three spectacular children, fantastic fans, and a compulsive, over-active, and witty Muse who won’t stop whispering new romantic romps in her ear, she still lives in Oregon with dachshunds, though she dreams of living in Scotland part-time.

Admitting to a quirky sense of humor, Collette enjoys inspiring quotes, adores castles and anything cobalt blue, and is a self-confessed Cadbury chocoholic. You’ll always find dogs, birds, occasionally naughty humor, and a dash of inspiration in her sweet-to-spicy timeless romances.

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An Evening at Vauxhall Gardens, Part V

In our last installment, Susana meets Lady Hertford and her son—and the Prince Regent himself!—and mortifies Lady P when she makes two embarrassing faux-pas in quick succession. 

Lady Pendleton [lips pressed together]: The Dark Walks are dark, Susana, and there is nothing of interest to be seen there.

Susana: But isn’t that where rakes meet loose women to—

Lady P: Indeed. Precisely why the place is of no interest to us.

Susana: But I want to—

Lady P: I know you do. But I refuse to countenance it.

Susana [scowling]: I never knew you were such a stick-in-the-mud, Agatha. As I recall, you were the one who insisted on going to that male strip-joint in Detroit. I was always looking over my shoulder hoping not to be seen by any of my former students.

Lady P [with a snort]: I shouldn’t think there was much likelihood of that, considering that outlandish mask you wore.

Susana: But I had to take it off to drink the piña colada. And that was when one of the dancers winked at me. [visibly sweating] He looked a lot like that kid who sat in the back row—what was his name—Jason something, I think. How humiliating!

Lady P: Poppycock! That-er gentleman bore no resemblance to an adolescent of ten and three. In any case, you are no longer teaching.

Susana [brightening]: That is true. Sometimes I forget that. So there’s no reason I can’t take a walk down the Dark Walk.

Lady P [hands on hips]: There most assuredly is! Do recall that I still must live here, with these people and their social mores. [Frowns at Susana’s snort]. Your conduct reflects on me, and I shan’t have you poking around the bushes gawking at ignominious behavior.

Susana [eyebrows raised]: Ignominius? What a great word! I shall have to use it more frequently.

Lady P [chin high and jaw set]: Susana…

Susana: All right, all right. I did promise to follow your lead. But I have to say I never knew you to be such a fuddy-duddy, Agatha. Especially considering your history with the Devonshire set…

Ignoring my last remark, she turned back toward the Orchestra, and after a longing look down the mysterious, shadowed walks, I followed her. I could hear sounds of tiny raindrops on the roof of the covered walk and wondered if the weather might prevent the fireworks display later in the evening. The sprinkle was accompanied by a light breeze, but it was nothing I hadn’t seen before on the Fourth of July. Still, fireworks were dangerous in general, and I wasn’t sure what safety precautions were taken in the nineteenth century. Not that that would dissuade me from watching them while I had the opportunity to do so; as a historical author, I was just as interested in watching the watchers of the spectacle).

The orchestra (musicians) had left the Orchestra (building), and standing on the stage was a single gentleman dressed in a red uniform with gold braids that reminded me of the Duke of Wellington’s portrait at Apsley House. A harmonica of sort was strapped around his neck (I think) so he could blow into it while his hands were free to strum the guitar, strike the triangle attached to the guitar or the Chinese cymbals on a tall stand next to him. A drumstick with a bell cymbal on the opposite end was attached to his knee for either striking the bass drum or the other bell cymbal, and I watched in fascination while he deftly reversed ends with a shake of the knee to switch from one to the other.

When the current piece ended, a boy of twelve or so came out with a wooden chair and deftly helped divest him of his other instruments so that he could accommodate the largish harp standing nearby. His voice as he sang Robin Adair—a song sung by Jane Fairfax in Emma—was clear and strong and and well-received. Members of the audience chimed in at the conclusion, whistling and cheering as he bowed and beamed.

“A pleasing rendition,” said a woman next to us, “but not as splendid as John Braham’s performance at the Lyceum in 1811.”

“No indeed,” I replied, “but I don’t suppose he played so many instruments.”

Robin Adair

After that he played “Sweet Gratitude” on the Pandean pipes while accompanying himself on the guitar. After the enthusiastic applause, there was an intermission of sorts and people began to move around and chat.

“He can do bird calls as well,” confided a lady next to me. “I heard him at the Concert-Room at Newcastle.”

“Signor Rivolta is awesome—er, astonishing,” I agreed, recalling my Regency persona just as Lady P’s elbow connected with my upper arm.

“Dear Agatha! Such a surprise to see you in Town after all!”

The second wife of the 5th Duke of Devonshire

Lady P whirled around and her hands clenched briefly at the appearance of two women approaching them.

“Your Grace,” she said with a brief nod, “and Mrs. Lamb. I am sorry I could not attend your rout the other evening. Indeed, I was out of Town, but returned unexpectedly when my friend here—” she pointed at me with her chin— “insisted on visiting Vauxhall Gardens before she returns to America. Soon.”

The ladies gave me a quizzical look, and Lady P hurried to introduce me.

“Allow me to present to you my friend Susana Ellis, a friend of a friend, who is here on a very brief visit from our former Colonies. Miss Ellis, this is Her Grace the Duchess of Devonshire, and her daughter, Mrs. Caroline Lamb.”

I was stunned for a moment, aware that Georgiana Cavendish, the Duchess of Devonshire, had been deceased more than ten years and had no daughter Caroline, besides. But then I recalled that the Duke had married his mistress, the third of their scandalous ménage à trois, after Georgiana’s death, and that prior to becoming the second duchess, Lady Elizabeth Foster had born him two illegitimate children, one of which was a daughter called Caroline. Who apparently had married one of the Melbourne miscellany. Something I had not known.

Lady P cleared her throat, and I became aware that something was expected of me.

I bobbed rather inelegantly. “A pleasure to meet you, Your Grace. And Mrs. Lamb too.” I craned my neck to survey the crowd. “Is the Duke around? I would love to meet him.”

There was silence until I remembered that the 5th Duke had died as well, and the 6th Duke, Georgiana’s son, disapproved of the Foster clan and wasn’t likely to have accompanied them on a pleasure outing.

“She’s American, you say?” said the Duchess at last, staring at me from beneath her eyelashes. “Peculiar, is she not?”

“Mama,” said the younger woman, whose cheeks were flushed, “You have met Americans before, you know.”

“Yes, but there is something very singular about this one,” replied the Dowager Duchess, as she studied my gown (Butterick pattern B6630 and not the most authentic of the bunch). “I’ve never seen trim quite like that on your pelisse, Miss Ellis.”

Of course not, because it was from the 21st century. Lady P was glaring at me, and I knew I was in trouble again. But she would not convince me to leave before the fireworks. Even if it started to rain cats and dogs.

“An American innovation,” I said sweetly. “Perhaps it will reach your own modistes in a year or two.”

Jude Knight: A Raging Madness (Giveaway)

Our improbable marriages

We Regency writers and readers do make sure our couples marry for love (or at least are in love by the end of the book); after all, ‘romance’ is the name on the box. One of the challenges we face is making a concept so unlikely for the times into something probable, even inevitable. Add the complication of marriage between the classes, as I have several times, and we raise the stakes considerably.

To be fair, people have always married for love, just not so much in the aristocracy or in other families where wealth and inheritance made marriage a matter of uniting families rather than joining husband and wife. With the growth of individualism in Northern Europe and Great Britain, this changed. By Regency times, arranged marriages were largely confined to royalty. However, this didn’t mean people selected their own marriage partners. Families had a huge say, at least in the upper and middle class. For both daughters and sons (particularly daughters), parents were likely to recommend suitors, and to exercise the power of veto.

But even if a young person’s family found the newly fashionable ideal of romantic love desirable, conventions around courtship made choosing a partner a bit of a crapshoot. While marrying for mutual affection was the ideal, the reality for many was a luke-warm attachment where one or both partners sought love elsewhere, however hot their initial attraction.

Marry in haste, repent at leisure

Several factors made a true love much less likely.

First, the available pool was limited: some 300 families in the aristocracy, and perhaps 27,000 in the broader class of gentry. This was further constrained by geography and social stratification. If you were wealthy, or the head of your family was titled, or both, you might attend the Season in London where you would mix exclusively with those like you. If you were from an untitled family or of modest means, your Season would probably consist of local Assemblies, where you would meet local people of your own class.

Second, courtship was constrained by the inability to get to know someone before proposing. The most important asset a gentlewoman had was her reputation, which families protected to the point that a would-be suitor would never be allowed a moment alone the object of his affection. Before he could even begin to court her, he would need to declare his desire to marry to the lady’s father and lady herself. Once the declaration was made, he could not, in all honour, cry off, but must hope that the lady would be kind enough to reject him, if the couple proved to be incompatible.

And that was the third problem. Men might be limited in their choices, but at least they could choose. A woman had to wait to be chosen. Her power was only to accept or reject, not to make a selection of her own.

Fourth, money came into it. A gentleman had few options for making ends meet, if he wanted to keep his social status. Landless younger sons could enter the clergy, the army or navy, or a limited number of other professions, or they could subsist on whatever allowance the head of the family allowed. Lack of money constrained their marital opportunities, and the eighteenth century saw a huge rise in the number of untitled men who never married.

The death toll in the Napoleonic wars further constrained the pool, leaving many woman spinsters.

You cannot marry beneath you!

People were strongly discouraged from ‘marrying down’. A son or daughter who married a middle-class or (heaven forbid) working class person risked being disinherited and even cut off entirely. Even if the family accepted the social descent, the rest of their acquaintances were unlikely to do so.

An aristocratic son taking a merchant wife might survive the social censure and even be received back into social favour, if her wealth was large and her manners good. A wife took her husband’s class, after all. She would need to learn to ignore the sneers and the none-too-subtle remarks about the smell of the shop, but her children would be accepted on the merits of their father.

But a wife took her husband’s class, so a gentlewoman who married a tradesman descended beneath the notice of her friends, family, and the rest of Society. Her children would be middle class, and only great wealth would redeem them and allow them to rise again (by marriage back into their maternal grandparents’ social status).

But all things are possible

For all of that, such marriages happened. Dukes did marry actresses, earls married courtesans, and younger sons married the daughters of carriage makers and mill owners. Indeed, by the Regency period, enterprising people had already begun schools and were writing books to teach the requisite manners to those who wished to rise in Society, and not to have their origins disclosed by using the wrong fork or the wrong form of address.

In my Golden Redepenning series, this generation of Redepennings are the grandchildren of the 6th Earl of Chirbury. Two of the grandsons fall in love with commoners, one in the novella Gingerbread Bride, and one in A Raging Madness, my latest novel. In both cases, the commoners refuse to believe it, and argue against the possibility. They have the support of their father, and the rest of the family is not at all ‘high in the instep’. But they still face challenges.

In each story, I show a little of the reaction of the ton, and this exchange between the two brothers more or less sums it up.

The next day was Monday, and Alex planned to visit Tattersalls to buy at least one carriage and team and keep his eyes open for decent bloodstock.

Rick declared himself keen to join the expedition, and the two set out to walk the couple of miles to the auction premises.

“Should we not take a carriage, Alex? To save your leg?” Rick asked.

“The leg is fine. Walking is good for it, though if I never had to have another carriage ride, I’d be happy. “I’d go everywhere by canal if possible, and when I get to Renwater Grange, there shall I stay for a good long while. If you want to see me, you’ll have to anchor off the Lincolnshire coast and hire an equipage to bring you up into the woods. Unless you want to row miles up the river I’m told the Grange is named for.”

“And will your lady wife be content marooned in the country?”

“Happier even than I, I suspect. She has not much taken to London, Rick.”

Rick snorted. “Nor did mine. But fashionable events and gossip are not the whole of London, Alex. Mary likes the bookshops, the art galleries, and the museums. And visiting friends. And even the balls and soirées can be fun with a husband or a wife to fend off the worst of the wolves and harpies.”

Undoubtedly true. Ella had seen only the least pleasant side of a London visit, and he’d like to show her some of the rest. “We might come up to Town from time to time. But for the moment, we have an estate to examine and to try and put on its feet.”

And here’s my hero arguing the point with my heroine.

“Don’t you see, Alex? I don’t belong in that company. I am still just little Eleanor Brownlie. Granddaughter of a tenant farmer and a country schoolteacher. My father was a charity scholar and only sat at the officers’ table out of courtesy. I reached well above my station to marry a baronet, Alex. I cannot mix comfortably with earls and countesses and goodness alone knows who else.”

“And I dare say Gervase, God rot him, reminded you of that every day of your life. Yes and those pernicious in-laws of yours, too. Ella, you are a most uncommon woman. The most uncommon woman I know and every inch a lady. You can hold your head high in any company. I will not make your choices for you—at least, I will try not to, and you shall correct me if I overstep—but I will not hear any disparagement of you, either. Not even from you.”

For a moment, Alex feared his vehemence would distress Ella still further, but she smiled.

“You have ever been my champion, Alex.”

Have I made it difficult for my heroes? Yes, but not harder than living without the woman they love.

So no apologies. Marrying for love? Of course. A commoner and an aristocrat? Why not.

A Raging Madness

Their marriage is a fiction. Their enemies are all too real.

Ella survived an abusive and philandering husband, in-laws who hate her, and public scorn. But she’s not sure she will survive love. It is too late to guard her heart from the man forced to pretend he has married such a disreputable widow, but at least she will not burden him with feelings he can never return.

Alex understands his supposed wife never wishes to remarry. And if she had chosen to wed, it would not have been to him. He should have wooed her when he was whole, when he could have had her love, not her pity. But it is too late now. She looks at him and sees a broken man. Perhaps she will learn to bear him.

In their masquerade of a marriage, Ella and Alex soon discover they are more well-matched than they expected. But then the couple’s blossoming trust is ripped apart by a malicious enemy. Two lost souls must together face the demons of their past to save their lives and give their love a future.

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Excerpt

Fear pierced the fog, and drove Ella across the carriage way and into the shrubbery beyond. The soft rain of the past few days had left branches laden with moisture, and puddles and mud underfoot. Every part of her not covered by the woollen blanket was soon drenched, but the chill kept her awake, kept her from falling back into the false happiness of the dream.

Every stone and twig bruised her feet. Her soft slippers were not made for outside walking, and would be in shreds before she reached the village. At least it was not still raining.

The carriage way turned onto the village road. She kept to the side, ready to hide in the ditch if anyone came. Alone, in her shift, and still dazed from the drug? Being returned to the Braxtons would be the best she could expect from a casual passer-by, and the worst… She shuddered. She had travelled with the army, worked as her father’s assistant, been Gervase Melville’s wife. She knew the worst that could happen to a woman at the mercy of the merciless.

A soft whicker caught her attention. Falcon’s Storm. He was a lighter shape above the hedgerow, stretching his neck to reach his mistress.

“Storm, my sweet, my champion.” She stopped to fuss over him for a minute that stretched into a timeless pause, crooning nonsense about having no treats in her pocket for she lacked a pocket. He lipped at her shoulder and her hair, but showed no offence at being denied the expected lump of carrot or apple.

“I missed you, too,” she assured him. “If only you were old enough, dearest, you would carry me away, would you not?”

He was solidly built for a two-year old, but so was she, for a woman. She walked away with a deep sigh. He was the one thing in the world that was solidly, legally, beyond a doubt hers; her only legacy from the swine she had married, born of her mare, Hawk of May, and Gervase’s charger.

But if she took him, how would she feed him? And if they were hunting for a woman and a colt… No, she could not take him with her, and opening the gate to set him loose was also out of consideration. He would follow her, for sure.

She continued on her way, praying that the Braxtons would leave him to the care of old Jake, the groom, or sell him to someone who appreciated him for the future champion he was.

Storm followed her to the corner of his field, and called after her until she was out of sight. She was hobbling by then. Even though the cold numbed them, her feet shot pain at her from a thousand bruises and cuts.

Then the rain began again. She pulled an edge of the blanket over her head, which kept off the worst of it, but it still sluiced down her cheeks and brow, gathered on her eyebrows, dripped over her eyes, and streamed down either side of her nose.

She passed the first house in Henbury village, keeping to the shadows. Then a row of cottages. The smithy, silent in the dark night. Another row, this one with shops on the street face and living spaces above.

The inn was ahead, the only building showing lights. She paused in the shelter of the last of the cottages, hiding in the doorway while deciding what to do next. Despite the lateness of the hour, people still came and went from the public room; not many, but one would be enough to destroy her escape.

Above, lights showed in two rooms on the second floor. Surely Alex would not climb the stairs that high?

The best rooms were at the back. Alex… She had no idea of his circumstances now, but he was a lord’s son. Gervase had often complained to her about the privileges Alex expected as of right, because he was well born and wealthy. Jealous nonsense, of course. It was Gervase who wanted special treatment while all the other officers suffered with their men. But Alex was grandson to an earl; that was true enough.

She would follow her hunch and hope her confidence was not born of the laudanum.

About the Author

Jude Knight’s writing goal is to transport readers to another time, another place, where they can enjoy adventure and romance, thrill to trials and challenges, uncover secrets and solve mysteries, delight in a happy ending, and return from their virtual holiday refreshed and ready for anything.

She writes historical novels, novellas, and short stories, mostly set in the early 19th Century. She writes strong determined heroines, heroes who can appreciate a clever capable woman, villains you’ll love to loathe, and all with a leavening of humour.

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Caroline Warfield: The Reluctant Wife

Map of Calcutta 1842, Government House to the left of the maidan

 

Government Houses

by Caroline Warfield

The Raj Bhavan, or Government House, dominates spacious grounds overlooking Calcutta’s maidan, a vast open park originally set aside for a military parade ground, in the vicinity of Fort William. Now the official residence of the Governor of West Bengal, its roots like deep in the history of English rule.

When Richard Wellesley, 1st Marquess Wellesley and older brother to the Duke of Wellington arrived in India as Governor General of Bengal in 1798 he discovered that his living quarters consisted of rented space on land formerly belonging to the Nawab of Chitpur. He found the situation unsuitable. Wellesley believed Bengal should be ruled from a palace, a visible seat of English power—and his own consequence. He initiated plans for such a structure soon after his arrival. The project would take over four years to complete and cost well over $4.5 million in today’s dollars.

“Palace of the Governor General at Calcutta,” The Illustrated London News, c.1850

The Bengal Presidency employed a civil engineer at the time, an Italian named Edward Tiretta. Wellesley gave responsibility for the design to a captain in the Bengal engineers, Charles Wyatt. Wyatt’s work had been primarily military, but he was, in fact, a member of a well-known family of architects. His uncle, Samuel Wyatt, had been Robert Adams’s clerk of works in the building of Kedleston Hall in Derbyshire, home of he Curzon family, some years before, before going on to a number of major projects on his own.

Wyatt’s design, a central block with pavilions linked to the center by curving corridors, derived directly from the Kedleston plan, but on a grander scale to conform with Wellesley’s notions of imperial power. The expansive wings (four to Kedleston’s two) allowed good ventilation in the tropical climate and views of the twenty-seven acre park surrounding it. By 1802 the palace could be used for entertaining.

The interior of the central block included a throne room with a throne for Wellesley, council rooms, and banqueting halls. Even the drawing rooms were renowned for opulence and beauty. When Clare, heroine of my novel The Reluctant Wife, arrived for a ball in 1835 in what she had been told was one of the smaller salons, her thought was “The rest of this place must stagger visitors.”

That is precisely what Wellesley intended. From the massive facade to the four gates over which bronze lions prowled as if guarding British sovereignty, the place declared the relationship between overlord and subjects more eloquently than any document could.

James Bailie Fraser, Government House ,1824

In 1803, Wellesley took up residence. His educational projects and commercial policies—and likely his unauthorized building project as well—brought him into frequent conflict with the East India Company directors. He resigned in 1805, leaving Calcutta with a magnificent building.

When power in India transferred from the East India Company to the British Crown in 1858, the house became the residence of the Viceroy of India. When the capital of India was moved from Calcutta to Delhi in 1911, the house became the residence of the Lieutenant Governor of Bengal. Since Independence in 1947 it has been the official residence of the Governor of West Bengal. English power is gone; the house remains.

James Moffat, Southeast View, 1815

For more information:

“Government House, Calcutta.” Projects; The Association of Commonwealth Archivists and Records Managers, posted October 22, 2012. http://www.acarm.org/view.asp?ItemID=3&tname=tblComponent3&oname=Projects&pg=activities&opt=projects

“South East view of the New Government House ,Calcutta,” Online Gallery, The British Library. http://www.bl.uk/onlinegallery/onlineex/apac/other/019pzz000003101u00000000.html

Symons, N.V.H. The Story of Government House, Bengal Government Press, 1935. http://rajbhavankolkata.nic.in/html/storyofgovhouse.htm

About The Reluctant Wife

When all else fails, love succeeds…

Captain Fred Wheatly’s comfortable life on the fringes of Bengal comes crashing down around him when his mistress dies, leaving him with two children he never expected to have to raise. When he chooses justice over army regulations, he’s forced to resign his position, leaving him with no way to support his unexpected family. He’s already had enough failures in his life. The last thing he needs is an attractive, interfering woman bedeviling his steps, reminding him of his duties.

All widowed Clare Armbruster needs is her brother’s signature on a legal document to be free of her past. After a failed marriage, and still mourning the loss of a child, she’s had it up to her ears with the assumptions she doesn’t know how to take care of herself, that what she needs is a husband. She certainly doesn’t need a great lout of a captain who can’t figure out what to do with his daughters. If only the frightened little girls didn’t need her help so badly.

Clare has made mistakes in the past. Can she trust Fred now? Can she trust herself? Captain Wheatly isn’t ashamed of his aristocratic heritage, but he doesn’t need his family and they’ve certainly never needed him. But with no more military career and two half-caste daughters to support, Fred must turn once more—as a failure—to the family he let down so often in the past. Can two hearts rise above past failures to forge a future together?

Find it here

Excerpt

Clare had stopped listening. A prickle of awareness drew her gaze to the entrance where another man entered. He stood well above average height, he radiated coiled strength, and her eyes found his auburn hair unerringly. Captain Wheatly had come. The rapid acceleration of her heart took her off guard. Why should I care that he’s here?

“Clare? The lieutenant asked you a question.”

Lieutenant? Clare blinked to clear her head, only to see Mrs. Davis’s icy glare turned on Captain Wheatly. “Is that your strange captain from the black neighborhood?” she demanded in a faux whisper.

The lieutenant’s avid curiosity added to Clare’s discomfort. “Is that Wheatly in a captain’s uniform? I thought they might demote him after the business with Cornell,” he volunteered.

Clare forced herself to turn to the lieutenant. “Cornell?” she asked to deflect Mrs. Davis’s questions.

“Collector at Dehrapur. Wheatly assaulted the man. Unprovoked, I heard,” the lieutenant answered.

She looked back, unable to stop herself. Merciful angels, he’s seen me. She watched the captain start toward them. At least Gleason could make introductions.

The lieutenant went on as though he had her full attention. “He was in line for promotion, the one that went to your brother instead. Philip posted over there right after it happened.”

Clare found it impossible to look away. The captain gave an ironic smile when he saw her watching. Mrs. Davis gave a sharp intake of breath when she realized Wheatly’s intent. “He’s coming here? Clare, I think I should warn you that a man who has been passed over as this one was—”

Before she could finish, Colonel Davis, who had been coming from the other direction, met the captain and greeted him with a smile. Clare couldn’t hear the words, but Captain Wheatly’s self-deprecating grin seemed to indicate at least a modicum of respect. The two men approached together.

“Captain Frederick Wheatly, may I present my wife, Mrs. Davis.” The captain bowed properly, and the colonel went on, “And our house guest, Miss Armbruster.”

This time the captain’s eyes held a distinct twinkle. “Miss Armbruster and I are acquainted. I met her when she visited her brother in Dehrapur.”

“Of course, of course! I should have remembered,” the colonel said jovially. He leaned toward Clare and winked. “He’s a catch, this one. Doesn’t like to boast of his connections, but earls and dukes lurk in his pedigree. His cousin stepped down from Under-Secretary for War and the Colonies just last year!”

Captain Wheatly looked discomfited by that revelation.

Gleason looked skeptical. “The Duke of Murnane?” he gasped.

Before anyone could answer, the small orchestra hired for the occasion began to play, and the captain cocked an eyebrow as if to ask a question.

“I think the captain wants a dance, Miss Armbruster. It’s your patriotic duty to see to the morale of the troops,” the colonel said coyly.

Captain Wheatly put out a gloved hand, and she put her equally gloved hand in his. Walking away from Gleason and the Davises, she admitted two things to herself. She was glad he came, and she planned to enjoy the dance.

Children of Empire

Three cousins, torn apart by lies and deceit and driven to the far reaches of the empire, struggle to find their way home.

Giveaway

Caroline will give a kindle copy of The Renegade Wife, Book 1 in the series, to one person who comments. She is also sponsoring a grand prize in celebration of her release. You can enter it here: http://www.carolinewarfield.com/2017blogtourpackage/

The prequel to this book, A Dangerous Nativity, is always **FREE**. You can get a copy here: http://www.carolinewarfield.com/bookshelf/a-dangerous-nativity-1815/

About the Author

Caroline Warfield has been many things (even a nun), but above all she is a romantic. Having retired to the urban wilds of eastern Pennsylvania, she lets her characters lead her to adventures while she nudges them to explore the riskiest territory of all, the human heart. She is a regular contributor to History Imagined and to The Teatime Tattler, a blog in the shape of a fictional nineteenth century scandal sheet.

Her current series, Children of Empire, is set in the early Victorian era and focuses on three cousins, driven apart by lies and deceit, who must find their way back from the distant reaches of the empire. The second book in the series, The Reluctant Wife, set in India and England, will be released April 26.

Click here to find out more about her books.

Website • Amazon Author • Good Reads • Facebook • Twitter • Email

Lancelot “Capability” Brown and the Landscape Park

The son of a Northumberland land agent and a chambermaid, Lancelot Brown worked as the head gardener’s apprentice at the estate where his parents worked, Kirkharle Hall, owned by Sir William Loraine. His eldest brother John became the estate surveyor and eventually married Sir William’s daughter. His brother George became a mason-architect.

Oxford Bridge, Stowe

His first landscape commission was for a lake at Kiddington Hall in Oxfordshire. In 1741, he became an under-gardener at Lord Cobham’s estate of Stowe, in Buckinghamshire, where he worked under William Kent (see a previous post), a founder of the new English landscape garden. In 1742 at the age of 26, he was promoted to Head Gardener (at £25 a year), where he remained until 1750, at the same time taking freelance commissions from Lord Cobham’s aristocratic friends. His landscape designs were in great demand from the landed gentry, and by 1761 he was making £500 a commission and around £6000 a year. Being an expert rider, he could scope out a property and rough out a design in about an hour. As his fame increased, he would charge more than £3,000 per commission.

Blenheim Palace

It is estimated that Brown was responsible for over 170 gardens surrounding the finest country houses and estates in Britain. His work still endures at Croome Court (where he also designed the house), Blenheim Palace, Warwick Castle, Harewood House, Appuldurcombe House, Milton Abbey (and nearby Milton Abbas village), in traces at Kew Gardens and many other locations. “This man who refused work in Ireland because he had not finished England” was called “Capability” Brown, because he would characteristically tell his landed clients that their estates had great “capability” for landscape improvement. (Wikipedia)

Brown’s original plans for Croome Court

Brown’s gardening abilities, honed at Kirkharle, were tremendously proficient. His subsequent success depended largely on his position as contractor, both designing improvements and then seeing the work through to its conclusion. He was skilled in all aspects of planting, drainage, dam-building and earth-moving, and possessed a ruthless business sense. This enabled him to manipulate both gentry and under-gardeners alike in order to further his own reputation… Throughout his career, Brown designed purely for the aristocracy. Many of his commissions overlapped with one another, landed as the result of family connections amidst patrons.

In 1751, Brown set himself up as landscaper and architect in Hammersmith. This move to the outskirts of London marked the beginning of a relentlessly demanding thirty years and a spectacularly successful consultancy. It also cemented a fruitful relationship with the Henry Hollands and their family. Holland the Younger (1745-1806) was, like his father, a successful architect and builder. Brown took him on as informal business partner in 1771 and son-in-law in 1773.

Brown’s cascade at Blenheim Palace

The “Park way”

The approach taken by Brown and his followers was to strip an estate back to its basic forms: serpentine lakes, bare lawns and informal planting.

This was a revolutionary break from the artfully contrived landscapes of the gentleman amateurs, and the most ‘natural’ landscaping style the eighteenth century had yet seen… His model for a landscape park superseded anything that had come before it and dominated garden design completely. Arable fields, unsightly outbuildings and walled kitchen gardens were hidden by screens of trees, and any surviving formal features were replaced by great swathes of open pasture. Brown’s landscape minimalism effortlessly accommodated the practical needs of a landowner within an aesthetically pleasing estate.

Croome Court

In creating a landscape park most owners wanted to ‘improve’ on both their estate’s fashionable status and their economic revenue… the initial creation of a landscape park could be expensive, depending on the existing topography and amount of earth-works required. It was, however, remarkably cheaper to maintain. The upkeep of formal parterres or flimsy Rococo buildings required the employment of legions of gardeners, whereas the pastoral appearance of a landscape park could be easily upheld through ranging livestock. This grazing land could even be let out to local farmers to generate further income.

Ha-ha at Croome Court

Just as he had capitalised on his patrons’ desire to consolidate land in order to secure financial and social power, so Brown manipulated their love of hunting, shooting, fishing, and beauty. Brown’s belts and copses provided the perfect cover for game birds. His expansive lakes, such as that at Compton Verney, could be used not just for fishing (as had the formal canal), but rather for boating, other hunting and providing a landscaped site with a measure of visual relief.

Chinese Bridge at Croome Court

Eighteenth-century landscapes were also required to entertain in a less violent manner. To this end, most large estates such as Croome and Blenheim had two circuit drives to choose from. One was suitable for walking and the other for riding around. Ladies would often take a carriage and then the various parties could reconvene at a chosen spot for refreshments… Dainty Rococo layouts were walked around, in order to appreciate fully the changing moods conjured up by exotic temples. But with these garden incidents cleared away, Brown’s carriage-drive was an invitation to explore a landscape park at high speed.

Rotunda at Croome Court

Brown also contrived glimpses of lakes and buildings through planned openings between trees and shrubs. Each view was carefully orchestrated and revealed at a specific point on the route around the landscape… At Croomie, Brown consciously screened Adam’s Island Temple with yews so that it was not visible until the bridge was crossed.

Brown ‘compared his art to literary composition.’

Now there I make a comma, and there, where a more decided turn is proper, I make a colon; at another part, where an interruption is desirable to break the view, a parenthesis; now a full stop, and then I begin another subject. (1782)

Croome Court

Perhaps his best known house was the Palladian Croome Court, where he was employed by George William Coventry, 6th Earl, from 1751. Croome’s unpromising marshland was drained so successfully that the earl commended Brown. ‘Who by the powers of His Indomitable and creative Genius formed this garden Out of a morass.’ However, his first phase of landscaping was virtually Rococo in style. Chinese bridges, a recumbent statue of Sabrina and a crystal-encrusted grotto were arranged around an inward-looking circuit. The original village and church were demolished and Brown’s Gothick Church of St Mary Magdalene with interiors by Robert Adam (1728-92) was reinstated on the eastern marl ridge to act as an eye-catcher. In the 1760’s a second, outer riding circuit was added. This was in accordance with the growing Picturesque fashion for wilder prospects and took in Adam’s Romanesque ruin, Dunstall Castle, as well as views of the Malverns.

Croome Court

He spent the last sixteen years of his life at his own small estate, Fenstanton Manor in Huntingdonshire, which he purchased in 1767. By the time he died in 1783 of exhaustion and old age he had amassed significant wealth. More importantly, he had joined the very landowning classes he had dedicated his life to serving.

St. Mary Magdalene’s Church, Croome

 

Walled garden, Croome

 

Croome Court

 

 

Mayer, Laura, Capability Brown and the English Landscape Garden, 2011, Shire Publications Ltd.