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"Washington Square West is a neighborhood Center City Philadelphia, Pennsylvania. The neighborhood roughly corresponds to the area between 7th and Broad Streets and between Chestnut and South Streets, bordering on the Independence Mall tourist area directly northeast, Market East to the north, Old City and Society Hill to the East, Bella Vista directly south, Hawthorne to the southwest, and mid-town Philadelphia and Rittenhouse Square to the west. In addition to being a desirable residential community, it is considered a hip, trendy neighborhood that offers a diverse array of shops, restaurants, and coffee houses. Washington Square West contains many gay-friendly establishments and hosts annual events celebrating LGBT culture in Philadelphia including OutFest. The area takes its name from Washington Square, a historic urban park in the northeastern corner of the neighborhood.
Philadelphia's Antique Row lies in the area, as does the nation's oldest hospital, Pennsylvania Hospital, and Philadelphia's oldest Jewish burial ground, Mikveh Israel Cemetery. Educational and medical facilities associated with Thomas Jefferson University, a leading regional medical university and health care center, are located within the neighborhood. The one-time headquarters of the former Curtis Publishing Company and the University of the Arts lie at the edges of the neighborhood.
Washington Square West's real estate is mixed commercial, residential and service industries, characterized by two, three, and four-story rowhouses interspersed with condominiums, mid-rise apartments, hospitals and offices with ground-floor retail. The neighborhood follows William Penn's original grid layout for the city, with many one-lane and pedestrian side streets added later as the population became denser. In addition to the block-sized Washington Square Park to the East, the neighborhood contains the smaller Kahn Park, named after the Philadelphia architect Louis Kahn who resided in the neighborhood.
Philadelphia, often called Philly, is the largest city in the Commonwealth of Pennsylvania, the sixth-largest city in the U.S., the second-largest city in both the Northeast megalopolis and Mid-Atlantic regions after New York City, and the 68th-largest city in the world. Since 1854, the city has been coextensive with Philadelphia County, the most populous county in Pennsylvania and the urban core of the Delaware Valley, the nation's seventh-largest and world's 68th-largest metropolitan region, with 6.245 million residents as of 2020. The city's population as of the 2020 census was 1,603,797, and over 56 million people live within 250 mi (400 km) of Philadelphia.
Philadelphia was founded in 1682 by William Penn, an English Quaker. The city served as capital of the Pennsylvania Colony during the British colonial era and went on to play a historic and vital role as the central meeting place for the nation's founding fathers whose plans and actions in Philadelphia ultimately inspired the American Revolution and the nation's independence. Philadelphia hosted the First Continental Congress in 1774 following the Boston Tea Party, preserved the Liberty Bell, and hosted the Second Continental Congress during which the founders signed the Declaration of Independence, which historian Joseph Ellis has described as "the most potent and consequential words in American history". Once the Revolutionary War commenced, both the Battle of Germantown and the Siege of Fort Mifflin were fought within Philadelphia's city limits. The U.S. Constitution was later ratified in Philadelphia at the Philadelphia Convention of 1787. Philadelphia remained the nation's largest city until 1790, when it was surpassed by New York City, and served as the nation's first capital from May 10, 1775, until December 12, 1776, and on four subsequent occasions during and following the American Revolution, including from 1790 to 1800 while the new national capital of Washington, D.C. was under construction.
During the 19th and 20th centuries, Philadelphia emerged as a major national industrial center and railroad hub. The city’s blossoming industrial sector attracted European immigrants, predominantly from Germany and Ireland, the two largest reported ancestry groups in the city as of 2015. In the 20th century, immigrant waves from Italy and elsewhere in Southern Europe arrived. Following the end of the Civil War in 1865, Philadelphia became a leading destination for African Americans in the Great Migration. In the 20th century, Puerto Rican Americans moved to the city in large numbers. Between 1890 and 1950, Philadelphia's population doubled to 2.07 million. Philadelphia has since attracted immigrants from East and South Asia, Eastern Europe, and Latin America.
With 18 four-year universities and colleges, Philadelphia is one of the nation's leading centers for higher education and academic research. As of 2021, the Philadelphia metropolitan area was the nation's ninth-largest metropolitan economy with a gross metropolitan product (GMP) of US$479 billion. Philadelphia is the largest center of economic activity in Pennsylvania and the broader multi-state Delaware Valley region; the city is home to five Fortune 500 corporate headquarters as of 2022. The Philadelphia skyline, which includes several globally renowned commercial skyscrapers, is expanding, primarily with new residential high-rise condominiums. The city and the Delaware Valley are a biotechnology and venture capital hub; and the Philadelphia Stock Exchange, owned by NASDAQ, is the nation's oldest stock exchange and a global leader in options trading. 30th Street Station, the city's primary rail station, is the third-busiest Amtrak hub in the nation, and the city's multimodal transport and logistics infrastructure, including Philadelphia International Airport, the PhilaPort seaport, freight rail infrastructure, roadway traffic capacity, and warehouse storage space, are all expanding.
Philadelphia is a national cultural hub, hosting more outdoor sculptures and murals than any other American city. Fairmount Park, when combined with adjacent Wissahickon Valley Park in the same watershed, is 2,052 acres (830 ha), representing one of the nation's largest contiguous urban parks and the 45th largest urban park in the world. The city is known for its arts, culture, cuisine, and colonial and Revolution-era history; in 2016, it attracted 42 million domestic tourists who spent $6.8 billion, representing $11 billion in total economic impact to the city and surrounding Pennsylvania counties.
With five professional sports teams and a hugely loyal fan base, the city is often ranked as the nation's best city for professional sports fans. The city has a culturally and philanthropically active LGBTQ+ community. Philadelphia also has played an immensely influential historic and ongoing role in the development and evolution of American music, especially R&B, soul, and rock.
Philadelphia is a city of many firsts, including the nation's first library (1731), hospital (1751), medical school (1765), national capital (1774), university (by some accounts) (1779), stock exchange (1790), zoo (1874), and business school (1881). Philadelphia contains 67 National Historic Landmarks, including Independence Hall. From the city's 17th century founding through the present, Philadelphia has been the birthplace or home to an extensive number of prominent and influential Americans. In 2021, Time magazine named Philadelphia one of the world's greatest 100 places." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
The sun setting over the jagged shoreline of #FortWilliamsPark and the #PortlandHeadLighthouse in Maine. Make sure to experience all the natural beauty and Treasures Of Traveling this park has to offer!
treasuresoftraveling.com/portland-head-light/
#TreasuresOfTraveling #Portland #Maine #NewEngland #TravelBlog #WorldTravel #WorldTraveler #TravelBlogger #TravelPics #TravelPhotos #LukeKeelerTravels #TravelUSA #GlobeTrotter #PassportStamps #TravelTheWorld #TourThePlanet #TheGlobeWanderer #Wanderlust #DiscoverEarth #AwesomeGlobe #FantasticEarth #TravelGram #OptOutside #NaturalBeauty #GayTraveler #Coastline #Sunset #GuysWhoTravel
Editor’s Review from Natures Best Photography Blog naturesbestblog.com/:
“Proving that great images can feature common animals in familiar places, this squirrel photo is fun, crisp, and offers a close-up perspective of this curious mammal. I like the intensity of the eyes and the soft pink color of the mouth, though it does remind me of my ongoing battle at the bird feeder!” — Steve Freligh
Golden Gate Park
November 2008
This is a scene inside a Kentucky Buddhist temple. Under a colorful halo, a statue of Buddha sits in back of Guanyin.
Guanyin is known among Mahayana Buddhists as the savior of souls. She is the merciful missionary god that has forsaken her own Buddhahood in order to stay and bring humanity to heaven, nirvana.
As far as the artwork, the bright colors of this scene, for example, the yellow halo or deep green, seem of Vietnamese origin to me.
The halo around the head and chiton garment worn by the Buddha statue in the background are likely modern remnants from when Greece's Alexander the Great came through Afghanistan into India. Some of the early statues of Buddha from Afghanistan that spread into China can be seen with Greek garment.
In the foreground, Guanyin appears to be sitting on a Chinese dragon. The artistic style of her carving is Chinese. The tail of the dragon can be seen on her left hand side. It should be noted that the dragon in China can be something of what a halo was to the ancient Greeks. Both are meant to signal that this is an outstanding hero or god.
A real necklace of wooden prayer beads is draped over the tail of the dragon. Likewise, the carved goddess of mercy clutches a necklace of prayer beads in her right hand. In her left Guanyin offers a divine drink to mankind.
In other words, in Guanyin's right hand there is symbolism of the journey through the pain of life and in her left hand is the destination, nirvana. One is an offer of comfort from the pain of life through prayer and reflection while the other is a complete release from the cycle of pain. I suspect that is what the artist is saying.
Baker Beach offers one of San Francisco's most iconic views of the Golden Gate Bridge, where natural beauty meets architectural marvel in perfect harmony. This mile-long stretch of coastline, situated within the Presidio, provides photographers and visitors with a stunning perspective of the bridge's southern span against the backdrop of the Marin Headlands.
The beach, which was historically part of the Presidio military base, now serves as a popular recreational destination within the Golden Gate National Recreation Area. The image captures the classic postcard view, featuring the rust-colored suspension bridge rising majestically above the San Francisco Bay's steel-blue waters.
In the foreground, a rustic fence line traces the coastal trail, while native cypress trees frame the scene, providing a characteristic touch of Northern California's coastal landscape. The sandy beach shows evidence of the typical wave action that shapes this dynamic shoreline, with white surf creating a natural leading line toward the bridge.
The Marin Headlands rise dramatically across the Golden Gate strait, their slopes showcasing the natural topography that makes the Bay Area's geography so distinctive. The weather conditions captured in the image display the characteristic marine layer, with high clouds creating depth in the sky while maintaining excellent visibility of the landmark bridge.
The path visible in the image is part of the California Coastal Trail, which offers hikers and nature enthusiasts access to this spectacular viewpoint. The beach's position, facing north, makes it particularly popular for photography during golden hour and sunset, though this daytime shot demonstrates how the location maintains its grandeur throughout the day.
The sun setting over the jagged shoreline of #FortWilliamsPark and the #PortlandHeadLighthouse in Maine. Make sure to experience all the natural beauty and Treasures Of Traveling this park has to offer!
treasuresoftraveling.com/portland-head-light/
#TreasuresOfTraveling #Portland #Maine #NewEngland #TravelBlog #WorldTravel #WorldTraveler #TravelBlogger #TravelPics #TravelPhotos #LukeKeelerTravels #TravelUSA #GlobeTrotter #PassportStamps #TravelTheWorld #TourThePlanet #TheGlobeWanderer #Wanderlust #DiscoverEarth #AwesomeGlobe #FantasticEarth #TravelGram #OptOutside #NaturalBeauty #GayTraveler #Coastline #Sunset #GuysWhoTravel
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Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however, we are beneath the streets, pavements and private squares of Mayfair in the brightly lit London Underground railway station of Down Street*, with its white and green tiled walls, decorated with advertisements and maps of the London Underground. It is here on a wooden bench that they share with a rather dowdy and overweight matron that Edith, Lettice’s maid, and her best friend and fellow maid, Hilda, await the next train to take them down the Piccadilly line to Leicester Square along with a smattering of other passengers milling around the railway station with their luggage. Hilda works as a live-in maid just around the corner from Cavendish Mews in Hill Street for Lettice’s married friends, Margot and Dickie Channon. However, Edith and Hilda met one another at their previous employer, Mrs. Plaistow’s, Pimlico townhouse where the two shared a cold and uncomfortable attic bedroom. In spite of the fact that they are both working for different people now, the girls remain the very best of friends, and catch up frequently.
It is Wednesday, and both Edith and Hilda have Wednesday afternoons off. They usually do something together on their midweek afternoons off, like go shopping for haberdashery, take refreshments in a respectable and reasonably priced tea room, or on warm spring days like today, visit a public park and just chat, enjoying one another’s company. Yet today, although they are both destined for Leicester Square Railway Station, they are going in separate directions. Edith has been invited by her beau, Frank Leadbetter, local delivery boy for Mr. Willison’s Grocery in Binney Street, Mayfair, to join him for a special surprise of some kind at Clapham Junction where she has agreed to meet him.
“So where do you think you’re going, then, Edith?” Hilda asks with keen and inquisitive eyes as she sits on the wooden bench next to her best friend. She nudges her lightly with her elbow and smiles conspiratorially. “What’s the surprise?”
“At first I thought we might be going to Clapham Common** for a picnic.” Edith replies a little uncertainly.
“But now you’re unsure.” Hilda remarks, completing Edith’s unspoken thought.
“I am, Hilda.”
“Why? What makes you think otherwise?”
“Well, for a start, what do I have with me to carry?” Edith asks.
Hilda glances down at Edith’s lap where her usual green leather handbag nestles comfortably across her neat black skirt, whilst in Edith’s net lace gloved left hand she holds her usual, battered black umbrella that has probably seen one too many London winter rainstorms. Her face crumples.
“Exactly!” Edith opines. “No picnic basket, no ribbon sandwiches and no thermos*** of tea.”
“Frank could be providing them, Edith.” Hilda ventures.
Edith snorts derisively. “I doubt that very much! Frank’s a good man, but he certainly doesn’t know how to cook, and from everything he tells me about his landlady and her daughter, I doubt either of them would be charitable enough to make him a picnic lunch.” She screws up her nose at the thought. “And even if they did, I somehow don’t think I’d fancy whatever they would have as their picnic fare.”
“Remember when we came back from our overnight visit to Manchester, and he brought us some tea and oranges?”
“Oh, I know Frank can make tea, but a couple of discarded oranges from Mr. Willison’s is hardly a picnic lunch.”
“Ahem!” The older woman on the bench next to them clears her throat noisily causing both maid to glance at her.
Taking up more than her fair share of the wooden railway bench, the portly woman with a rather disapproving jowly face is squeezed into a dark coat that is firstly too small for her, judging by the gapes in the fabric between the buttons, and secondly is unseasonal for the warm May weather, as is her matching black cloche hat. Her knitting needles clack noisily as she makes something in mustard yellow. At her feet rests her beaded handbag and a basket full of groceries. The girls glance at one another and wonder whether she is a customer of Mr. Willison’s Grocery in Binney Street where Frank works and where their mistress’ both have accounts. Hilda nods shallowly at Edith who returns her nod: their silent agreement not to mention Mr. Willison’s establishment in earshot of this woman again, who may well be the cook or maid of one of his customers. The last thing either girl wants is for Frank to get into trouble, or worse yet lose his position as delivery boy and sometimes window dresser. Whilst the oranges that they ate that day were sweet and juicy, Edith cannot guarantee that Frank actually bought them for she and Hilda. He may have taken a few that were not suitable for sale in the shop and sat in the back room. That might make them fair game for Frank, but Mr. Willison would doubtless have other ideas.
“And anyway,” Edith goes on. “Frank asked me to wear my good white blouse with the Peter Pan collar*** and the mother-of-pearl buttons. It’s not exactly picnic wear, Hilda.”
“There’s nothing wrong with dressing up for a picnic, Edith.”
“I know there isn’t, but the fact that Frank asked me to wear it specifically, and he knows it is a blouse I reserve for more special occasions, suggests that we’re not going on a picnic.”
“Well, perhaps it’s another kind of special occasion.” Hilda offers. “Hasn’t he told us before that he has a friend who runs a restaurant?” She ponders for a moment, ruminating. “Yes, an Italian restaurant as I recall!”
“Yes, that’s his friend Giuseppe,” Edith concurs. “But he has a restaurant up the Islington*****, not in Clapham Junction.”
“And you don’t think his landlady would host a lunch for you in her front parlour, Edith? Some landladies do, you know.”
“Not Mrs. Chapman!” Edith scoffs dismissively. “From everything Frank has told me about her, she’s a real tartar******, and she wouldn’t countenance any female guests of her lodgers in her front room.”
“Ahem!” the old woman next to Hilda clears her throat again, this time glancing up from her gnashing stitches, looking critically at Hilda and Edith over the tops of her horn-rimmed spectacles before returning her attentions to her knitting with a tight and disapproving pout.
Edith and Hilda roll their eyes at one another.
“Well maybe it’s another restaurant he wants to take you to, then, Edith.” Hilda suggests. “Clapham Junction has some lovely shops, like Arding and Hobbs*******, so there are bound to be some nice restaurants and tea rooms up Lavender Hill********.”
“Maybe.” Edith muses. “I can’t think what else we could be doing. However liberated Frank might be in his thinking, I can’t see he and I walking through Arding and Hobbs together whilst I buy thread and trims.” She giggles.
Hilda joins her friend, chuckling lightly as well at the thought of Frank going around the drapery store. “Perhaps not, Edith.” She laughs a little more before adding, “Maybe he’s going to take you shopping for a wedding ring, finally. There are lots of jewellers along Lavender Hill too.”
Edith pulls a face. “Oh, I very much doubt that! The last time we looked at jewellery in the window of Schwar’s********* up the Elephant********** we had the fiercest row over wedding rings.”
“Well, didn’t your…” Hilda pauses mid-sentence and quickly glances at the disapproving matron with her deeply set frown as she knits intensely, before lowering her voice slightly. “Your Madam Fortune…”
“Madame Fortuna.” Edith corrects her friend politely.
“Madame Fortuna. Well, didn’t she tell you that Frank was going to pop the question soon?”
“Hilda Clerkenwell!” Edith gasps in a mixture of surprise and incredulity, her eyes widening as she does. “You told me that you don’t believe in all that ‘mumbo-jumbo fortune telling’!”
“Well, I don’t.” Hilda defends. “I believe in cold hard facts, but you obviously do believe all that mumbo-jumbo if you went to see her.” She shakes her head at her friend in mild disapproval. “Didn’t you tell me that she’d said he would propose soon.”
“Before the year was out, was what she said.”
“Humph!” Hilda snorts. “Suitably vague for a charlatan.”
“Madame Fortuna was not a charlatan!” Edith hotly defends Mrs. Fenchurch, the ‘discreet clairvoyant’ in Swiss Cottage*********** with whom she corresponded via Box Z 1245, The Times, E.C.4., and finally went to see a few weeks ago.
“So you say.” Hilda mumbles self-righteously.
“Anyway, we’re only in May. Why should it be today?”
“Why shouldn’t it be?” Hilda eyes her friend suspiciously before adding, “You’ve changed your tune, Edith. Whatever is the matter?”
“Oh nothing.” Edith flaps her hand dismissively at Hilda. “I just…” She sighs heavily. “I just don’t want to get my hopes up.” She glances guiltily into her friend’s pudgy, concerned face. “I was for a while. After Frank and I spoke about getting married, I kept hoping he’d ask me whenever we went to the Premier in East Ham************ to watch a moving picture, or when we would go dancing at the Hammersmith Palais*************, but I’ve been waiting in vain. It’s disappointing.”
“Oh, I’m sure it is, Edith!”
“So, I just try to temper my wishes and stop getting my hopes up. I only get hurt when he doesn’t.”
“But he will, Edith.” Hilda assures her friend, reaching out her hands and squeezing Edith’s comfortingly. “I know he will!”
“How do you know, Hilda.”
“I told you, Edith. I’m a firm believer in cold, hard facts. And one thing I know for certain fact is that Frank is every bit as mad for you as you are for him. He’ll propose soon enough, and that’s a fact too.” Hilda nods seriously. “You mark my words, rather than Madame Fortuna’s.”
“Do you know what’s going on?” Edith gasps. “Has Frank said anything to you about today when he was delivering groceries to you?”
“Goodness me, no!” Hilda retorts quickly. “If I knew what you were doing today, why on earth would I ask you?”
“It could be part of some elaborate ruse.” Edith cannot help but betray the hope that today might be the day that Frank proposes as it causes her bright blue eyes to sparkle a little more and for a smile to tease the corners of her mouth as a flush fills her cheeks.
Hilda shakes her head again. “You’ve been reading too many of those Madeline St John romance novels, Edith! The world isn’t made up of sweeping, grandiose admissions of love: especially not now, with a dearth of young men after the war took so many of them away.”
“No. No, of course not! How foolish of me.” Edith replies, guilt filling her face as she remembers how her friend has no young man at all to step out with in her life. “Forgive me Hilda. I’m so thoughtless.”
“No you aren’t, Edith.” Hilda replies kindly with a dismissive wave of her own. “You’re just anxious, and wound up with the idea of getting married is all. Who wouldn’t be? I’d be the same if I were in your shoes.”
“No, I should be more considerate of your situation, Hilda.”
“Oh, you don’t have to tread around on eggshells************** on my account, Edith. I’m fine.”
“I don’t suppose you’ve met a nice young man, have you?”
“Pshaw!” Hilda mutters dismissively. “I haven’t even met a not-so-nice young man.”
Hilda gives her friend a doubtful look, and they both laugh good-naturedly, but their laughter is tinged with a little sadness. Edith still hopes that her best friend will one day meet a young man, or even an older one, who will meet her desires for an intelligent match, and form a loving relationship with him.
“Hasn’t Mrs. Minkin tried to match you up with a young man of her acquaintance?” Edith asks, referring to the old Jewess whom both she and Hilda visit when they shop of haberdashery in Whitechapel, and whose knitting circle Hilda has joined.
“It’s a bit hard when you aren’t Jewish.” Hilda remarks with a tone of despondence. “I’m one of the few women there who isn’t. Rachel Katz has a rather serious and studious elder brother who is unmarried, but their mother would never consider someone who wasn’t of their faith for him.”
“Oh, what a pity, Hilda.” Edith consoles her friend.
“It’s not a pity at all.” Hilda giggles in reply, surprising Edith.
“It isn’t?” Edith queries with a perplexed look.
“I’ve never met him, so he could be ugly, or beastly, or both, or simply not to my liking!” Hilda says matter-of-factly. “I’d rather be a spinster than marry a man I don’t love. I don’t understand how some women can do that.”
“Oh, I agree, Hilda!” Edith replies eagerly. “Don’t get married until you find the one, and yes, marry for love and nothing less.”
“Like you are with Frank.”
Edith smiles at her friend. “Don’t worry Hilda. Your Frank is out there somewhere.”
“Well, I just wish he’d bloody well hurry up and find me!” Hilda replies with a cheeky smile.
Both girls take a sideways glance at the matron on the bench next to them.
“Ahem!” she clears her throat loudly, pointedly expressing her disapproval of Hilda’s choice to swear, and her knitting becomes more fervent as she refuses to look at either Hilda or Edith, the furrows in her brow growing deeper and the scowl on her face becoming more pronounced.
“So where are you going to go then, whilst, I am going to my as of yet unknown destination with Frank in Clapham Junction, Hilda?” Edith asks. “The sales perhaps?”
“Good heavens no! I only just tolerate the department stores when I’m with you, Edith.” Hilda retorts. “No, I have a far more enticing assignation.”
“Assignation!” Edith gasps. “With whom? You just said you weren’t stepping out with anyone!”
“I’m not!” Hilda laughs. “I’m going to the British Museum*************** to see the Rosetta Stone**************** since it seems the whole of London has been gripped by Tutmania****************. I’ve never seen it, and now, I want to.”
Just at that moment with the thunder and rattle of its engine and the squeal of breaks, the Piccadilly line train with its brown painted carriages noisily enters Down Street railway station before coming to a juddering halt.
Edith, Hilda and the plump, grumpy matron in the undersized coat and cloche join the small number of other passengers boarding the train.
“I hope she isn’t going to the British Museum too.” Hilda remarks, nodding at the elderly lady as she waddles away from the two maids with her heavy basket of groceries in one hand and her blue beaded handbag with her knitting needles sticking out of it in the other, determined to sit in a different carriage to them.
“She looks more like she’ll come to Clapham Junction with me!” Edith giggles. “Let’s hope not. Come on.”
The two girls nimbly step aboard the carriage directly in front of them as the engine gently idles beneath them, making it thrum with a soothing vibration. Closing the door behind them, the guard at the end of the train blows his whistle shrilly, and as Edith and Hilda take two seats, the train jerks and commences the journey on to Dover Street railway station, Piccadilly Circus and Leicester Square as the pair head off on their Wednesday afternoon adventures.
*Down Street, is a disused station on the London Underground, located in Mayfair. The Great Northern, Piccadilly and Brompton Railway opened it in 1907. It was latterly served by the Piccadilly line and was situated between Dover Street (now named Green Park) and Hyde Park Corner stations. The station was little used; many trains passed through without stopping. Lack of patronage and proximity to other stations led to its closure in 1932. During the Second World War it was used as a bunker by the Prime Minister, Winston Churchill, and the war cabinet. The station building survives and is close to Down Street's junction with Piccadilly.
**At over eighty-five hectares in size, Clapham Common is one of London’s largest, and oldest, public open spaces, situated between Clapham, Battersea and Balham. Clapham Common is mentioned as far back as 1086 in the famous Domesday Book, and was originally ‘common land’ for the Manors of Battersea and Clapham. Tenants of the Lords of the Manors, could graze their livestock, collect firewood or dig for clay and other minerals found on site. However, as a result of increasing threats from encroaching roads and housing developments, it was acquired in 1877 by the Metropolitan Board of Works, and designated a “Metropolitan Common”, which gives it protection from loss to development and preserves its open character.
***When we think of thermos flasks these days we are often reminded of the plaid and gawdy floral varieties that existed in the 1950s, 60s and 70s. Invented in 1892 by Sir James Dewar, a scientist at Oxford University, the "vacuum flask" was not manufactured for commercial use until 1904, when two German glass blowers formed Thermos GmbH. They held a contest to name the "vacuum flask" and a resident of Munich submitted "Thermos", which came from the Greek word "Therme" meaning "hot". In 1907, Thermos GmbH sold the Thermos trademark rights to three independent companies: The American Thermos Bottle Company of Brooklyn, New York; Thermos Limited of Tottenham, England; Canadian Thermos Bottle Co. Ltd. of Montreal, Canada. The three Thermos companies operated independently of each other, yet developed the Thermos vacuum flask into a widely sought after product that was taken on many famous expeditions, including: Schackelton\'s trip to the South Pole; Lieutenant Robert E. Peary\'s trip to the Arctic; Colonel Roosevelt\'s expedition to Mombassa and into the heart of the African Congo with Richard Harding Davis. It even became airborne when the Wright Brothers took it up in their airplane and Count Zepplin carried it up in his air balloon.
****A Peter Pan collar is a style of clothing collar, flat in design with rounded corners. It is named after the collar of Maude Adams's costume in her 1905 role as Peter Pan, although similar styles had been worn before this date. Peter Pan collars were particularly fashionable during the 1920s and 1930s.
*****The Italian quarter of London, known commonly today as “Little Italy” is an Italian ethnic enclave in London. Little Italy’s core historical borders are usually placed at Clerkenwell Road, Farringdon Road and Rosebery Avenue - the Saffron Hill area of Clerkenwell. Clerkenwell spans Camden Borough and Islington Borough. Saffron Hill and St. Peter’s Italian Catholic Church fall within the Camden side. However, even though this was the traditional enclave for Italians, immigrants moved elsewhere in London, bleeding into areas like Islington and Soho where they established bars, cafes and restaurants which sold Italian cuisine and wines.
******A tartar is a bad-tempered or aggressively assertive person, typically a woman, and is based upon the hard crust of calcium salts and food particles on the teeth which is known as tartar.
*******Arding and Hobbs was established in 1876. A second store was established on the corner of Falcon Road, Battersea, known as the Falcon Road Drapery Store, but this was sold to former employees Mr. Hunt & Mr. Cole in 1894. The original building was destroyed by a fire on 20 December 1909. The present building at the junction of Lavender Hill and St John's Road in Battersea was constructed in 1910 in an Edwardian Baroque style, and the architect was James Gibson. The department store was sold to the John Anstiss Group in 1938, however, John Anstiss was purchased by United Drapery Stores in 1948. The store was added to the Allders group in the 1970s and continued to operate until Allders went into administration in 2005. The building was subsequently broken up and sold, with the building split between a branch of Debenhams department store and TK Maxx retail.
********Lavender Hill is a bustling high street serving residents of Clapham Junction, Battersea and beyond. Until the mid Nineteenth Century, Battersea was predominantly a rural area with lavender and asparagus crops cultivated in local market gardens. Hence, it’s widely thought that Lavender Hill was named after Lavender Hall, built in the late Eighteenth Century, where lavender grew on the north side of the hill.
*********Established in 1838 by Andreas Schwar who was a clock and watch maker from Baden in Germany, Schwar and Company on Walworth Road in Elephant and Castle was a watchmaker and jewellers that is still a stalwart of the area today. The shop still retains its original Victorian shopfront with its rounded plate glass windows.
**********The London suburb of Elephant and Castle, south of the Thames, past Lambeth was known as "the Piccadilly Circus of South London" because it was such a busy shopping precinct. When you went shopping there, it was commonly referred to by Londoners, but South Londoners in particular, as “going up the Elephant”.
***********According to the Dictionary of London Place Names, the district of Swiss Cottage is named after an inn called The Swiss Tavern that was built in 1804 in the style of a Swiss chalet on the site of a former tollgate keeper's cottage, and later renamed Swiss Inn and in the early 20th century Swiss Cottage.
************The Premier Super Cinema in East Ham was opened on the 12th of March, 1921, replacing the 800 seat capacity 1912 Premier Electric Theatre. The new cinema could seat 2,408 patrons. The Premier Super Cinema was taken over by Provincial Cinematograph Theatres who were taken over by Gaumont British in February 1929. It was renamed the Gaumont from 21st April 1952. The Gaumont was closed by the Rank Organisation on 6th April 1963. After that it became a bingo hall and remained so until 2005. Despite attempts to have it listed as a historic building due to its relatively intact 1921 interior, the Gaumont was demolished in 2009.
*************The Hammersmith Palais de Danse, in its last years simply named Hammersmith Palais, was a dance hall and entertainment venue in Hammersmith, London, England that operated from 1919 until 2007. It was the first palais de danse to be built in Britain.
**************The idiom "walk on eggshells" meaning to be extremely cautious or careful, likely originated from the imagery of eggshells being fragile and easily broken when stepped on. The original, Eighteenth Century version was to “tread on eggs,” which the Oxford English Dictionary defines as “to walk warily, as on delicate ground.” The only two citations for the whole-egg version in the Oxford English Dictionary are from the same author, Roger North, and appear in biographical works he published around 1734.
***************The British Museum is a public museum dedicated to human history, art and culture located in the Bloomsbury area of London. Its permanent collection of eight million works is the largest in the world. It documents the story of human culture from its beginnings to the present. Established in 1753, the British Museum was the first public national museum.
****************The Rosetta Stone is a stele of granodiorite inscribed with three versions of a decree issued in 196 BC during the Ptolemaic dynasty of Egypt, on behalf of King Ptolemy V Epiphanes. The top and middle texts are in Ancient Egyptian using hieroglyphic and Demotic scripts, respectively, while the bottom is in Ancient Greek. The decree has only minor differences across the three versions, making the Rosetta Stone key to deciphering the Egyptian scripts.
*****************"Tutmania" refers to the widespread global fascination and cultural impact that followed the discovery of King Tutankhamun's tomb in 1922, sparking a surge in interest in ancient Egypt and its artifacts over the next few years.
This London Underground scene may look like one you could just walk into and sit down in, but it is not all that it seems, for it is in fact made up entirely with pieces from my 1:12 miniatures collection.
Fun thing to look for in this tableau include:
The travel advertisement, sale advert and London Underground map along the tiled wall are all 1:12 size posters made by the British miniature artisan Ken Blythe. Ken is known mostly for the 1:12 miniature books he created. I have quite a large representation of Ken Blythe’s work in my collection, but he also produced other items, including posters. All of these are genuine copies of real inter-war Art Deco travel posters put out by the different British railways to promote travelling on them. To create something so authentic to the original in such detail and so clearly, really does make these items miniature artisan pieces. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
Edith’s green handbag and Hilda’s brown one are handmade from soft leather is part of a larger collection of hats and bags that I bought from an American miniature collector Marilyn Bickel.
The black umbrella came from an online stockist of 1:12 miniatures on E-Bay.
The basket I acquired from beautifully Handmade Miniatures in Kettering. In the basket are some very lifelike looking fruit and vegetables. The apples are made of polymer clay are made by a 1:12 miniature specialist in Germany. The leaves of lettuce are artisan made of very thin sheets of clay and are beautifully detailed. I acquired them from an auction house some twenty years ago as part of a lot made up of miniature artisan food. There are also several jars, one of Silver Shred Marmalade and one of P.C. Flett & Co Plum Jam, and a box of Hudson’s Soap, all made by Little Things Dollhouse Miniatures in Lancashire, with great attention to detail paid to their labels and the shapes of their jars.
Silver Shred lime marmalade still exists today and is a common household brand both in Britain and Australia. They are produced by Robertson’s. Robertson’s Golden Shred recipe perfected since 1874 is a clear and tangy orange marmalade, which according to their modern day jars is “perfect for Paddington’s marmalade sandwiches”. Robertson’s Silver Shred is a clear, tangy, lemon flavoured shredded marmalade. Robertson’s marmalade dates back to 1874 when Mrs. Robertson started making marmalade in the family grocery shop in Paisley, Scotland.
P.C. Flett and Company was established in Kirkwall in the Orkney Islands by Peter Copeland Flett. He had inherited a small family owned ironmongers in Albert Street Kirkwall, which he inherited from his maternal family. He had a shed in the back of the shop where he made ginger ale, lemonade, jams and preserves from local produce. By the 1920s they had an office in Liverpool, and travelling representatives selling jams and preserves around Great Britain. I am not sure when the business ceased trading.
Robert Spear Hudson invented the first dry soap powder, "Hudson's Dry Soap" in 1837 in his small pharmacy in West Bromwich, England, moving to Liverpool in the 1880s. He advertised extensively, first locally and then nationally, as his business and use of his products grew. The firm was taken over by Lever Brothers Ltd. (now part of Unilever) in 1908. The soap's use for cleaning the nursery floor (leaving the room "sweetened and purified"), baths, feeding bottles and on linen is boasted about on some small boxes on the reverse.
The beaded handbag is also a 1:12 artisan miniature. Hand crocheted, it is interwoven with antique blue glass beads that are two millimetres in diameter. The beads of the handle are three millimetres in length.
All the luggage you see on the platform are artisan pieces made by different unknown artists. All of them I acquired from Kathleen Knight’s Doll’s House Shop in the United kingdom. The fawn coloured parasol and Mary Poppins style parrot head umbrella are also artisan miniatures and were acquired from Kathleen Knight’s Doll’s House Shop as was the knitting which sits on the bench. The silver knobbed walking stick is also a 1:12 artisan miniature. The top is sterling silver. It was made by the Little Green Workshop in England who specialise in high end, high quality miniatures.
The bench is made by Town Hall Miniatures, and acquired through E-Bay.
French postcard by Editions P.I., Paris, no. 1041, offered by Les Carbones Korès 'Carboplane'. Photo: Studio Vallois.
Beautiful blonde Anny Nelsen (1942) was best known in France as Miss Angora. She also appeared in a dozen French film, including the Nouvelle Vague classic Jules et Jim (1962).
Anny or Annie Nelsen was born in 1942. She made her first film appearance with an uncredited bit part in the German-French romantic comedy Ein Engel auf Erden/An Angel on Wheels (1959, Géza von Radványi ) starring Romy Schneider. She also appeared in the action thriller Ça va être ta fête/ It's Your Birthday (1960, Pierre Montazel) starring hard boiled Eddie Constantine, and in the short film Rupture/ (1962, Jean-Claude Carrière, Pierre Étaix) starring the 'forgotten' French comic Pierre Étaix. This 11 minutes-long-film won an award at the Mannheim-Heidelberg International Filmfestival, and the First Prize at the International Short Film Festival, Oberhausen. Her next film would turn out to be her most successful one. She played the supporting part of Lucie in the classic love triangle Jules et Jim/Jules and Jim (1962, François Truffaut) with Jeanne Moreau and Oskar Werner. James Travers at Films de France: “Jules et Jim, François Truffaut’s undisputed masterpiece, was one of the high points of the French New Wave, a film which, with its uninhibited portrayal of free love and male friendship, instantly caught the Zeitgeist and became a worldwide success.”
Anny Nelsen was better known as a glamour model and sexy dancer than as an actress . Her main claim to fame was her election as Miss Angora, which was mentioned on the backside of the pictured postcard. After Jules et Jim, Nelsen did not appear in films for five years. In 1967 she returned to the screen with a small part in the comedy Le grand bidule/The large contraption (1967, Raoul André). The following year she appeared in three films, Les jeunes loups/Young Wolves (1968, Marcel Carné) with Yves Beneyton, the historical drama Mayerling (1968, Terence Young) starring Omar Sharif and Catherine Deneuve, and the thriller La main noire/The Black Hand (1968, Max Pécas). Five years later she made her final film, Lo Païs (1973, Gérard Guérin), the first feature film in Breton.
Sources: James Travers (Films de France), Mario Gauci (IMDb), Wikipedia, and IMDb.
This attractive young lady offers some perspective to the size of this radio controlled hydroplane. It measures 50 inches in length, 24 inches in width, 10 inches high at the engine, and 17 inches from the bottom of the rudder to the top of the tail fin. It is powered by a custom gas-burning air-cooled V8 engine designed and built by Mr. Storoz in the mid 1950’s. The engine measures about 11 inches long, 8 inches wide, and six inches high, has a bore of about 1-1/8 inch and a stroke of about 7/8 inch making the total capacity 7.2 cubic inches. It is equipped with a radio controlled throttle and spark advance and sports a chain drive to the prop shaft.
John was a tool and die maker for the auto industry in the Detroit area and began this project in 1954. First he fabricated the patterns and molds and cast the crankcase in his home shop; he spent about three years designing and machining the parts necessary to finish the engine. We believe he started to design and build the hydro in 1958 and he completed the entire project in 1961. Mr. Storoz fabricated everything except the spark plugs, fasteners, sprockets and chain, and the radio control unit.
See More Model Boat Engines at: www.flickr.com/photos/15794235@N06/sets/72157641089388694/
See More V8 engines at: www.flickr.com/photos/15794235@N06/albums/72157663468409191
See Our Model Engine Collection at: www.flickr.com/photos/15794235@N06/sets/72157602933346098/
Visit Our Photo Sets at: www.flickr.com/photos/15794235@N06/sets
Courtesy of Paul and Paula Knapp
Miniature Engineering Museum
The Sally May site on Fossil Creek Wild and Scenic River offers some of the best swimming along the entire creek. There are two parking areas on either side of the bridge, which crosses Sally May Wash, on FR 502 (the Childs Power Road). Each lot has a path leading to separate pools along the creek.
On the east (upstream) side of the bridge, the path leads to a large, deep pool at the base of a steep water feature. Rock shelves and cliff walls provide a lot of great spots for sunbathing and enjoying the canyon views. A smooth rock outcrop makes a great jumping-in spot. A small sandy beach at the far end of the pool offers shallow water entry and a good spot for smaller children to play.
On the west (downstream) side of the bridge, there's a large open area above the parking lot that makes a great spot for a family picnic. The path to the creek leads to another swimming hole at the base of beautiful water feature. There are rocky banks to relax on, and a shallow sandy entry point not far downstream near a gravel-bottomed section of creek that is a great place to wade and splash. A bit of the creek's history remains along the banks here, structures from the days the Childs-Irving hydroelectric power plants used the creek to generate power for nearby mining communities like Jerome, Arizona.
Increasing popularity has led to the Coconino and Tonto National Forests to implement a parking permit reservation system in 2016. As of 2017, permits are required April 1 to October 1. Visit Fossil Creek Wild and Scenic River for current information and to reserve a permit.
Photo taken by Deborah Lee Soltesz, April 10, 2017. Credit USFS Coconino National Forest. Learn more about visiting Fossil Creek Wild and Scenic River managed by the Coconino National Forest.
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All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
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© Elke Vogelsang
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I revisited this magnificent nature reserve today 10th August 2018, many visitors to our city miss its glorious offerings, thinking all we have to offer is the beach front at the main boulevard , its a pity as this reserve is a short drive from the main tourist area and has its own charm, attraction and wealth of nature on offer, I love it .
Donmouth Local Nature Reserve is a beach site in the historic Old Aberdeen part of the City where the River Don meets the sea.
A great place to see seals and a range of interesting birds. The beach area has changed over time as the river has changed its course. There are lots of interesting plants in the dunes and beach area. Bird hide is an excellent shelter from which to watch the wildlife. The paths run across King Street to the Brig 'o Balgownie., the original bridge in to the City from the North, then down the other side of the river to the sea.
The site was designated a Local Nature Reserve in 1992
Paths are good although wheelchair access to the beach would be difficult as the boardwalk can get covered with sand.
There is plenty of free car parking on the Beach Esplanade and at the car park in Donmouth Road. There are cycle racks on Beach Esplanade
Bridge Of Don has five spans of dressed granite, and rounded cutwaters that carry up to road level to form pedestrian refuges. The spans are 75 feet (23 m), with a rise of 25 feet (7.6 m).
It was widened in 1958-59, from 24 feet (7.3 m), to 66 feet (20 m) by the construction of a new concrete bridge adjacent to the old one.
It now carries four lanes of the A956 road, and is the last bridge on the River Don before it meets the sea. The bridge is just downstream from a substantial island in the river. Around the area of the bridge is the Donmouth Local Nature Reserve, designated as a LNR in 1992.
Near to the bridge are a number of World War II era coastal defences, including a pill box.
Mudflats
Mudflats are formed when fine particles carried downstream by the river are deposited as it slows down before entering the sea, and to a lesser extent by fine particles washed in by the tide. The sand spit at the mouth of the Don provides shelter from the wind and waves allowing this material to build up. The mud flats are a very rich and fertile environment. Despite their rather barren appearance they support a surprisingly diverse invertebrate fauna which includes; worms, molluscs and crustacea. These invertebrates are vitally important to wildfowl and wading birds within the estuary.
Salt marsh
Along the upper shore of the south bank saltmarsh has developed. This habitat would once have been much more extensive prior to the tipping of domestic and other refuse in the area and the formation in 1727 of an artificial embankment to prevent flooding of the river into the Links. This habitat is now reduced to a narrow strip of vegetation along the river margins upstream from the Powis Burn.
The species composition of the salt marsh varies according to the salinity of the water i.e. the proximity to the sea. Close to the Powis Burn this habitat is dominated by reed sweet-grass (Glyceria maxima) with reed canary-grass (Phalaris arundinacea), sea club-rush (Scirpus maritimus), spike-rush (Eleocharis palustris), hemlock water-dropwort (Oenanthe crocata) and common scurvygrass (Chochlearia officinalis).
Further inland reed sweet-grass continues to dominate but hemlock water-dropwort is more abundant with meadowsweet (Filipendula ulmaria) and valarian (Valariana officinalis),
Sand dunes
Sand dunes are found in the more exposed parts of the estuary at the river mouth. Again, this habitat was once much more extensive in this locality with dune grasslands stretching from Aberdeen Beach inland as far as King Street, southwards from the estuary of the Dee, northwards to the Sands of Forvie and beyond. Many of the dunes formed part of Seaton Tip, and following tipping the area was grassed over. Other areas have been formally landscaped to form golf courses or planted with native trees in 2010 to create a new woodland area.
Some remnants of the natural dune flora can be seen in the 'roughs' on the Kings Links golf course and near the mouth of the river.
Above the high water mark, fore dunes with thick clumps of the pioneer grass species including sea lyme grass (Elymus arenarius) and marram grass (Ammophila arenaria) occur. Few other species are able to cope with the shifting sand. The largest area of these young dunes is to the north and west of the headland. Further inland where the dunes are sheltered from the actions of the wind and waves, and soils are more developed, more stable dunes are present supporting a more diverse grassland habitat.
Strand line plants which are able to tolerate occasional coverage by sea water include sea rocket (Cakile maritima), frosted orache (Atriplex laciniata), sea sandwort (Honkenya peploides) and knotgrass (Polygonum aviculare). Bur-reed (Sparganium sp.) has been recorded; presumably washed down by the river.
Marram grass (Ammophila arenaria) and sea lyme grass (Elymus arenarius) dominate the fore dunes. The latter species is not native to this area but appeared in 1802. It is thought to have been unintentionally introduced into the area by fishing boats. For a number of years it remained uncommon but from 1870 onwards it spread rapidly along the coastline (Marren, 1982).
In the more stable dunes red fescue (Festuca rubra), sand sedge (Carex arenaria), yellow rattle (Rhinanthus minor), wild pansy (Viola tricolour), harebell (Campanula rotundifolia), bird's-foot-trefoil (Lotus corniculatus) and lesser meadow-rue (Thalictrum minus) are abundant. Small amounts of kidney vetch (Anthyllis vulneraria), valerian (Valeriana officinalis) and spring vetch (Vicia lathyroides) are present.
Scattered willows (Salix sp.) and sycamore (Acer pseudoplantanus) have seeded into this area. Gorse (Ulex europaeus) scrub has colonised the dunes in some areas and appears to be spreading.
Scrub
This habitat is almost entirely artificial with only the gorse scrub on the inner dunes being a semi-natural habitat. Alder and willow were planted along the south bank of the river in about 1970 and these shrubs are now generally well established. Further shrub planting on the south bank was carried out in 1990.
Willow (Salix sp.) and alder (Alnus glutinosa) were planted in the 1970's along the south bank of the River Don eastwards of the Bridge of Don. The trees to the west of this strip are doing considerably better than those to the east. More recent planting was carried out in 1990 with hawthorn (Crataegus monogyna), blackthorn (Prunus spinosa) elder (Sambucus nigra), goat willow (Salix caprea) and alder.
Underneath the scrub neutral grassland is present with cocksfoot (Dactylis glomerata), false oat-grass (Arrhenatherum elatius), cow parsley (Anthriscus sylvestris), sweet cicely (Myrrhis odorata), hedge woundwort (Stachys sylvatica) and hedge bindweed (Calystegia sepium).
Grassland
Much of the grassland within the reserve is formed on imported soil and is intensively managed. This includes grassland on the north and south sides of the Esplanade. Daffodils are present in the grassland on the north side of the road. On the north bank to the east of the Bridge of Don is rank grassland on a steep south-facing slope. This is unmanaged and contains some patches of scrub.
Rough grassland is present on the headland. This area has been modified by tipping, with rubble to the east and with grass cuttings to the west. The grassland contains a mixture of neutral grassland, dune grassland, ruderal, and introduced garden species. This area attracts flocks of seed eating birds in late summer and autumn.
Improved grassland is present on the headland and along the south bank of the estuary downstream from the bridge of Don. Much of this vegetation has developed on imported soil and contains a high proportion of ruderal species and garden escapes. On the headland, broadleaved dock (Rumex obtusifolius), nettle (Urtica dioica), coltsfoot (Tussilago farfara), spear thistle (Cirsium vulgare), cow parsley (Anthriscus sylvestris), hemlock (Conium maculatum) and hogweed (Heracleum sphondylium) are abundant. Sweet cicely (Chaerophyllum bulbosum) is widespread and in late summer fills the air with the scent of aniseed.
To the south of the Esplanade the grassland is managed with an annual cut.. The grassland does flood to form pools. Early in the year cuckoo flower (Cardamine pratensis) is common, meadow foxtail (Alopecuris pratensis)is known to occur around the margins of these pools.
Woodland
Semi-mature woodland is present on the steep sided south bank of the river upstream from the Bridge of Don. Most of this woodland has been planted in the mid 1930's though some older oak and elm trees are present. These may be relicts of former woodland cover. The woodland in the reserve is part of a strip of woodland along the River Don corridor which continues upstream from the Brig 'o' Balgownie.
Woodland is present on the south bank upstream from the Bridge of Don.
Much of the woodland consists of even aged stands with willow (Salix sp.), sycamore (Acer pseudoplatanus), ash (Fraxinus excelsior), beech (Fagus sylvatica) and alder (AInus glutinosa). At the top of the slope mature oak (Quercus sp.) and elm (Ulmus glabra) are present. The ground flora contains tufted hair-grass (Deschampsia caespitosa), red campion (Silene dioica), ramsons (Allium ursinum) and lady fern (Athyrium felix-femina) .In a few areas dense shading is caused by the trees and in these areas the ground flora is poor.
On the north bank scattered trees are present, mainly willow and sycamore with some scrub.
French postcard by Editions P.I., offered by Les Carbones Korès 'Carboplane', no. 877. Photo: Paramount Pictures.
Eva Marie Saint, born 4 July 1924, is an American actress with a career spanning 70 years. She is best known for starring in Elia Kazan's On the Waterfront (1954), for which she won an Oscar for Best Supporting Actress, and Alfred Hitchcock's North by Northwest (1959). She received Golden Globe and BAFTA Award nominations for A Hatful of Rain (1957) and won a Primetime Emmy Award for the television miniseries People Like Us (1990).
Eva Marie Saint was born in Newark, New Jersey, in 1924. Her parents were Quakers: Eva Marie née Rice and John Merle Saint. She had one older sister, Adelaide Louise Saint. Eva Marie attended Bethlehem Central High School in Delmar, New York, near Albany, graduating in 1942. According to her yearbook, Eva Marie's nickname was "Bubbles" and her ambition was to be a teacher. She was also a cheerleader as well as senior class secretary. Saint studied acting at Bowling Green State University. Her introduction to television began as an NBC page. She appeared in the very early live NBC TV show Campus Hoopla in 1946–47. She also appeared in the Bonnie Maid's Versa-Tile Varieties on NBC in 1949 as one of the original singing 'Bonnie Maid'" used in the live commercials. She appeared in a 1947 Life Magazine special about television, and also in a 1949 feature Life article about her as a struggling actress earning minimum amounts from early TV while trying to make ends meet in New York City. In the late 1940s, Saint continued to make her living by extensive work in radio and television. In 1953, she won the Drama Critics Award for her Broadway stage role in the Horton Foote play, 'The Trip to Bountiful' (1953), in which she co-starred with Lillian Gish and Jo Van Fleet. In 1955, Saint was nominated for her first Emmy for "Best Actress In A Single Performance" on The Philco Television Playhouse, for playing the young mistress of middle-aged E. G. Marshall in Middle of the Night by Paddy Chayefsky. She won another Emmy nomination for the 1955 television musical version of Our Town, adapted from the Thornton Wilder play of the same name. Co-stars were Paul Newman and Frank Sinatra. A TV critic dubbed her 'the Helen Hayes of television.'"
Eva Marie Saint made her feature film debut in On the Waterfront (Elia Kazan, 1954), starring Marlon Brando. She played Edie Doyle whose brother's death sets the film's drama in motion. Although the role of Edie properly is a lead, producer Sam Spiegel listed her as a Supporting Actress in the hopes of getting her a nomination for the Academy Award. The ploy worked and she won the Oscar. Her performance also earned her a BAFTA (British Academy of Film and Television Award) nomination for 'Most Promising Newcomer.' In his review for The New York Times, film critic A. H. Weiler wrote, "In casting Eva Marie Saint—a newcomer to movies from TV and Broadway—Mr. Kazan has come up with a pretty and blond artisan who does not have to depend on these attributes. Her parochial school training is no bar to love with the proper stranger. Amid scenes of carnage, she gives tenderness and sensitivity to genuine romance." The film was a major success and launched Saint's movie career. She received $7,500 for the role. She next appeared alongside Bob Hope in That Certain Feeling for which she received $50,000. She was then offered $100,000 to star in the lavish Civil War epic Raintree County (Edward Dmytryk, 1957) with Elizabeth Taylor and Montgomery Clift. After that, she next starred with Don Murray in A Hatful of Rain (Fred Zinnemann, 1957), the pioneering drug-addiction drama, which although made later than Raintree Country was released earlier in 1957. She received a BAFTA nomination for the 'Best Foreign Actress' for her performance. Alfred Hitchcock surprised many by choosing Saint over dozens of other candidates for the femme fatale role in the suspense classic North by Northwest (1959) with Cary Grant and James Mason. Pedro Borges at IMDb: "Written by Ernest Lehman, the film updated and expanded upon the director's early "wrong man" spy adventures of the 1930s, 1940s, and 1950s, including The 39 Steps (1935), Young and Innocent (1937), and Saboteur (1942)". North by Northwest became a box-office hit. In his review in The New York Times, critic Abe H. Weiler wrote, "In casting Eva Marie Saint as [Cary Grant's] romantic vis-a-vis, Mr. Hitchcock has plumbed some talents not shown by the actress heretofore. Although she is seemingly a hard, designing type, she also emerges both the sweet heroine and a glamorous charmer."
Although North by Northwest might have propelled her to the top ranks of stardom, Eva Marie Saint chose to limit her film work in order to spend time with her husband since 1951, director Jeffrey Hayden, and their two children. In the 1960s, Saint continued to distinguish herself in both high-profile and offbeat pictures. She co-starred with Paul Newman in Exodus (Ottoi Preminger, 1960), a historical drama about the founding of the state of Israel adapted from the novel of the same name by Leon Uris. She also co-starred with Warren Beatty, Karl Malden, and Angela Lansbury as a tragic beauty in the drama All Fall Down (John Frankendheimer, 1962), based upon a novel by James Leo Herlihy and a screenplay by William Inge. She appeared with Elizabeth Taylor and Richard Burton in the melodrama The Sandpiper (Vincente Minnelli, 1965) and with James Garner in the World War II thriller 36 Hours (George Seaton, 1965). Saint joined an all-star cast in the comedic satire, The Russians Are Coming, the Russians Are Coming, (Norman Jewison, 1966), and the international racing drama, Grand Prix (John Frankenheimer, 1966), presented in Cinerama.
Saint received some of her best reviews for co-starring as the wife of George Segal in Loving (Irvin Kershner, 1970), about a commercial artist's relationship with his wife and other women. It was critically acclaimed but did not have wide viewership. Because of the mostly second-rate film roles that came her way in the 1970s, Saint returned to television and the stage in the 1980s. She appeared in a number of made-for-television films. She played the mother of Cybill Shepherd on the television series, Moonlighting (1986-1988), which lasted three years. She received an Emmy nomination for the TV series, How The West Was Won (Vincent McEveety, Bernard McEveety, 1976-1977), and an Emmy nomination for Taxi!!! (1978). She was reunited with On the Waterfront co-star Karl Malden in the TV Mini-Series Fatal Vision (David Greene, 1984), this time as the wife of his character, as he investigated the murder of his daughter and granddaughters. Saint returned to the big screen for the first time in over a decade in Nothing in Common (Garry Marshall, 1986), in which she played the mother of Tom Hanks's character. Critics applauded her return to features. Saint was soon back on the small screen in numerous projects. After receiving five nominations, she won her first Emmy Award for the TV movie People Like Us (William Hale, 1990). She appeared in a number of television productions in the 1990s and was cast as the mother of radio producer, Roz Doyle, in a 1999 episode of the comedy series Frasier. Saint returned to feature films in I Dreamed of Africa (Hugh Hudson, 2000) with Kim Basinger. In 2005 she co-starred with Jessica Lange and Sam Shepard in Don't Come Knocking (Wim Wenders, 2005), and appeared in the family film Because of Winn-Dixie (Wayne Wang, 2005). Saint appeared as Martha Kent, the adoptive mother of Superman, in Superman Returns (Bryan Singer, 2006) alongside Brandon Routh. In 2009, she made a rare public appearance at the 81st Academy Awards ceremony as a Best Supporting Actress presenter. Saint has lent her voice to the 2012 Nickelodeon animated series The Legend of Korra, a sequel to the hit TV show Avatar: The Last Airbender, playing the now-elderly Katara, a main character from the original series. She played the adult version of Willa in the film adaptation of the novel Winter's Tale (Mark Helprin, 2014). Most recently, Saint appeared at the 2018 Academy Award ceremonies and played in the drama Mariette in Ecstasy (John Bailey, 2019), set in a turn-of-the-century religious community about a nun who has recently taken her vows. She has two stars on the Hollywood Walk of Fame, one for motion pictures at 6624 Hollywood Boulevard, and one for television at 6730 Hollywood Boulevard. Eva Marie Saint was married to producer and director Jeffrey Hayden from 1951 till his death in 2016. They had two children together: son Darrell Hayden (1955) and daughter Laurette Hayden (1958). Eva Marie Saint lives in Santa Monica, California.
Sources: Pedro Borges (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Two wells.
When the Two Wells station pastoral lease land was surveyed and offered for sale in 1856 a major land buyer was Mr Drew who bought up 145 acres where the town now stands. Drew Street commemorates Mr Drew. Then in 1856 John Cowan came to the area, built a house and opened the Two Wells Hotel. It was licensed in 1860. No town but a small settlement began to emerge. The local Aboriginal wells were used as a local water supply. The town emerged in 1869 when the private town was subdivided but several buildings emerged before then. In 1865 the Port Gawler School opened but the next year it was renamed Two Wells School. A later government school which still exists was built in 1879. The government established a Post Office in 1865 and the Court House opened in 1869. The Primitive Methodists built a chapel in Drew Street in 1866 which was enlarged in 1882 and still stands. A local committee was formed in 1866 to erect an Institute but this did not happen until 1878. In 1868 John Cowan built a second hotel, which still stands, on the corner of the road to Gawler. A flour mill also opened in 1867 marking the growing existence of Two Wells. From 1869 flour could be shipped from nearby Port Gawler. The only other major building activity in the 19th century was the general stores, bakers, butchers, farrier and other commercial premises. Two Wells remained a purely Protestant town until 1963 when the first Catholic Church opened. The beautiful Anglican Church opened in 1909 to end the domination of the Methodists. The foundation stone was laid by T Browne Esquire of Buckland Park in 1908. The 1913 railway act for a line from Salisbury to Redhill (and eventually Port Pirie) saw the arrival of train services from 1915. It was not until the emigrants from war torn Europe arrived in the district around 1950 that the population grew in any significant way. Most immigrants then came from Italy and Greece.
The government gave approval for the Two Wells Liberty development in August 2013. The developer is Hickinbotham Homes, a SA company who is investing $1.2 billion in the development. Over 20 years the development will add 7,000 to 9,000 people to the population of Two Wells with about 3,000 homes. The development will include a new shopping centre and a private Catholic Xavier College Two Wells, a Reception to year 12 college as the nearest high schools are in Gawler or Balaklava. Currently Xavier College offers reception to year 10 studies for 160 students. The area is to the north of old Two Wells and a second development will extend across the railway line towards Gawler. It is relatively modest and construction began in 2018 with a current population of 400 people. The biggest issue is flood mitigation from the Light River. The local council is Mallala Regional Council. Probably because of this big growth (1,400 people) in the population of Two Wells a major new shopping centre is planned for the old town. Drakes in 2025 announced the development of a $150 million supermarket and shopping centre in injunction with Adelaide Plains Council which has headquarters in Mallala. The new shopping centre will be opposite the Two Wells Hotel and the current old oval area. Average houses cost in Two Wells Liberty range from $850,000 to $950,000. Street names include libertarians like Adam Smith (natural liberty), Frederic Bastiat ( French liberal), Emmeline Pankhurst, Mary Lee ( SA suffragette), Catherine Helen Spence, Benjamin Franklin, Thomas Jefferson, John Locke (philosopher), Wilberforce ( anti-slavery), Buchanan and Washington( American Presidents), George Mason ( American revolutionary), John Lilburne ( 1640s religious liberty) etc.
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on the back of the postcard:
NEW YORK CITY
A view of this world-famous skyline was dominated by the twin towers of the World Trade Center, wich reached 1,350 feet into the sky. New York, New York
Being an apprentice at GMP offers you the opportunity to work alongside officers and staff from a range of department.
Former apprentice Hassan Yousaf started his career with GMP when he became a Police Cadet, now aged 19 he is working full time as a PCSO in Bury.
The 19-year old said: “As a cadet I learnt about the apprenticeship scheme and wanted an opportunity to join the organisation. My apprenticeship journey saw me working in the Witness Care Unit where I was able to provide administrative support, including monitoring the group email boxes; reviewing and disseminating messages, processing documents and information.
“At the end of the scheme I gained qualifications and was even able to secure my full time position as a Police Community Support Officer. The initiative is something I would recommend to everyone, it provides you with experience unlike any other.”
#NAW2018.
To find out more about Greater Manchester Police please visit
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however, we are following Edith, Lettice’s maid, along with her best friend and fellow maid-of-all-work, Hilda Clerkenwell, who works around the corner from Cavendish Mews in Hill Street as a live-in maid for Lettice’s married friends Margot and Dickie Channon. It is Wednesday, and both maids have Wednesdays as a half-day off work and are free until four o’clock. The pair of maids head east of Mayfair, to a place far removed from the elegance and gentility of Lettice’s flat, in London’s East End. As a young woman, Edith is very interested in fashion. This interest has intensified, particularly since she started stepping out with Mayfair grocer Mr. Willison’s delivery boy, Frank Leadbetter. She is hoping that after several years of serious courting, that he will soon ask for her hand in marriage and they will become officially engaged. This idea is more predominant in her mind these days, especially now that Lettice is engaged to Sir John Nettleford-Huges and talk at Cavendish Mews often revolves around their forthcoming nuptials*, even if they do seem a little fraught. Edith’s own desire to make their engagement official has gotten the better of her in recent times, and after a fierce row over when Frank would propose to her whilst they were window shopping together up the Elephant** one Sunday afternoon, Edith resorted to visiting a “discreet clairvoyant” named Madame Fortuna, in Swiss Cottage***. Luckily, Madame Fortuna told Edith that Frank would propose within the year, which has allayed her concerns. Like most young girls of her class, Edith’s mother has taught her how to sew her own clothes and she has become an accomplished dressmaker, having successfully made frocks from scratch for herself, or altered cheaper existing second-hand pieces to make them more fashionable by letting out waistlines and taking up hems. Thanks to Lettice’s Cockney charwoman****, Mrs. Boothby, who lives in nearby Poplar, Edith now has her own hand treadle Singer***** sewing machine, and frequents a wonderful haberdasher in Whitechapel, Mrs. Minkin, whom she goes to frequently on her days off when she needs something for one of her many sewing projects as she slowly adds to and updates her wardrobe. Edith’s interest in fashion is greater than that Hilda, who is more bookish, isn’t walking out with a young man like Edith is, and with a fondness for sweet cakes and pastries, has a fuller figure than her best friend. Hilda is also the exception to the rule, and she cannot sew a stitch to save her life. However, Mrs. Minkin has managed to get Hilda involved in her knitting circle, which Hilda joins on some of her own Sundays off, whilst Edith and Frank spend time in one another’s company. Mrs. Minkin’s Haberdashery is just a short walk from Petticoat Lane******, where Edith often picks up bargains from one of the many second-hand clothes stalls.
The pair of maids now stand in Mrs. Minkin’s cluttered, yet cosy and well organised haberdashery. The long and narrow old Victorian shop is illuminated by the early summer light filtering through the plate glass front window and several old fashioned Art Nouveau gas lights suspended from the high ceiling which Mrs. Minkin turns on and off and adjusts with a long stick with a hook on the end. The shelves stretching three quarters of the way up the walls of the haberdashers, full of bolts of colourful textiles and dazzling white pressed linens help to dull the noise of the foot traffic outside and cocoon Edith and Hilda in a snug comfort, as do the piles of cloth and lace and the tables of materials artfully arranged to show off all that Mrs. Minkin has to sell. The shop’s smell is always comforting for Edith, as the familiar scent of a mixture of soap, starch, cloves and lavender remind her of her parent’s home, where Edith’s mother, Ada, takes in laundry to supplement the family’s income.
Edith spies a holly sprigged tablecloth and six matching napkins on a table and walks over to it. “Perfect!” she breathes, smiling with delight. “I’ll buy them for Mum for Christmas. She’s always wanted a Christmas tablecloth!”
“Cor, you are so lucky Edith,” Hilda remarks to Edith as she joins her friend in front of the table which is covered in fabrics laid out expertly in layered rows, carefully showing off enough of the pattern for each one to attract the eye.
“Me?” Edith ask. “Why?” she drops her green leather handbag on the textile covered surface of the table and places a hand lovingly on some fabric covered in a bold floral pattern in lupin blue and scarlet that has caught her eye.
“Your Miss Lettice seems never to be home. Weekend parties and all that.” Hilda elucidates.
“She’s gone home for a few days is all, Hilda,” Edith says dismissively as she runs her hand over the bold, almost pansy like flowers of the fabric. “She’s gone to talk about organising and buying her trousseau******* with her mother, the Viscountess. She’ll be back tonight.”
“Yes,” Hilda answers. “I know.”
“Oh of course!” Edith exclaims. “She’s going to a dinner party at the Channons tonight, isn’t she.”
“As is that American Mr. Carter and his wife.” Hilda adds with a morose sigh. “And you know what that means.” She eyes her best friend with a knowing look.
“The hard graft of grinding coffee beans to make fresh coffee for Mr. Carter.” Edith replies with a nod of understanding.
“That’s right!” Hilda opines, raising her chin and looking down her nose at Edith before continues, “No Camp Coffee******** for His Majesty the King of the American Department Store!” She sighs again and runs her own pudgy, worn fingers across a bolt of exotic floral fabric in bright pink and blue, embroidered with gold thread. “Still, I mustn’t complain. At least with Mr. Cater and his bottomless American dollar pockets and largess with wine and champagne, I won’t have to worry about telling bare-faced lies********* to the wine merchant, who just like the butcher, the baker and your Frank’s Mr. Willison the grocer, all know about the Channon’s precarious financial situation.”
“That’s so awful for you, Hilda.” Edith looks at her friend and smiles sadly. “Being a maid-of-all-work is hard enough graft as it is, without having to try and put off shopkeepers whom Mr. and Mrs. Channon are indebted to.”
“I know. I don’t think Mrs. Channon will ever learn how to balance a household account. I’m only relieved that Mrs. Channon’s father Lord de Virre pays my wages.”
“We must be grateful for small mercies, Hilda.” Edith says sagely.
“Oh, I am, Edith!” Hilda breathes. “Believe me I am!”
“Thinking of things to be grateful for, I believe Mr. Bruton will be attending the Channon’s dinner party tonight as Miss Lettice’s escort, and he’s always polite and not dismissive of servants, like Mr. and Mrs. Carter.”
“That’s true, Edith. He and Miss Lettice always smile and acknowledge me, and say ‘thank you’, and that does make things a little bit nicer for me when I wait at table for the Channons. And of course Mrs. Channon always tells me at the end of a dinner party, how grateful she is to have me.”
“I should think she should!” Edith opines. “There are fewer and fewer servants like us, now, what with working class women like us becoming shop girls and secretaries. I hope she appreciates everything you do for her.”
“Oh, she does, Edith. It’s just the chaotic nature of the Channon’s household and their financial precariousness and foolishness that wears me down, sometimes. Mrs. Channon would rather spend eighty-five guineas********** on a new frock from Mr. Bruton to parade around the Crystal Palace Horse Show*********** in, than pay off the sixty pound debt she and Mr. Channon have accrued with the wine merchant, who has flatly refused to extend their credit any further until at least half the amount is paid.”
“Imagine spending eighty-five guineas on a frock, Hilda!” Edith gasps. She moves her hand to a green patterned material further down the table, rubbing it between the thumb and forefinger of her right hand before letting it drop in distaste, deciding that it too thick, and therefore not suitable for her purposes. “And here I am, looking at material so I can cut a pattern from Weldon’s************ and make myself a new summer frock for a few shillings.” Her eyes stray back to the brightly patterned pansy fabric.
“Do you suppose Mr. Bruton will make Miss Lettice’s wedding frock, Edith?”
“I would imagine so, Hilda. I can’t imagine anyone else making it. Then again, that all depends upon Miss Lettice’s mum, the Viscountess, Lady Sadie.”
“Why?”
“It would be the same for us. Our mums will get involved in our weddings when we get married.”
Hilda snorts derisively. “I don’t think I’m ever going to meet a man who wants to marry me, Edith.”
“It’s more like the other way around, Hilda.” Edith retorts. “With your exacting standards.”
“Well, why shouldn’t I want to step out with a young man who respects me for my mind, and allows me my independence, Edith?”
“Oh, you should, Hilda!” Edith assures her. “It’s just that young eligible men are sometimes intimidated by women who are smart and independent.”
“No, not all men are like your Frank, that’s for certain, Edith.”
“I’m hardly smart or independent,” Edith replies, her hand drifting back to the pansy fabric which she caresses softly. “Well, not like… well, like you, Hilda.”
“What rot!” Hilda retorts. “Of course you are, Edith! Frank wouldn’t want to marry a girl who had no brains or ideas of her own.”
“Well, I think in that area, you’re probably more of a match for him than I am.” Edith says with a little bit of discomfort. She has always felt that Hilda is far smarter and more forward thinking than she is, and she feels inadequate sometimes when Frank and Hilda talk about politics or the state of working conditions for the everyday man. She decides to try and guide the conversation back to something she does feel more comfortable discussing. “Anyway, just like your mum or mine, Miss Lettice’s mum will want to have her say about Miss Lettice’s trousseau. It’s her right, as Miss Lettice’s mum, to help with it, which is why she has gone down to Wiltshire to see her.” She pauses. “Mind you I don’t think Miss Lettice wants her mum to help her with it.”
“Whyever not, Edith? I’m sure being a Viscountess, she can afford more than one eighty-five guinea frock.”
“I’m quite sure she can!” Edith chuckles. “I know Miss Lettice certainly can! From what I can gather from snippets I have overheard around Cavendish Mews, I think, Miss Lettice thinks the Viscountess is too old and stuffy and staid in her tastes.”
“Well, your Miss Lettice is very fashionable.” Hilda opines.
“And she gets help from Mr. Bruton, who is forever making her something new to wear. Her ‘muse’ is what he calls her, whatever that is.”
“A ‘muse’ is a person who inspires an artist, Edith.” Hilda elucidates. “So I suppose he must like designing frocks for her.”
“See Hilda! You’re as smart as a whip*************.” Edith opines, making Hilda blush. She then goes on, “Miss Lettice’s head has also been turned by her fiancée, Sir Nettleford-Hughes’ sister, who is apparently ever so smartly turned out.”
“Have you seen her, Edith?”
“No. Not yet anyway, Hilda. But I’m sure it will only be a matter of time before she comes to Cavendish Mews and I can see her for myself. Miss Lettice tells me that Mrs. Pontefract is much older than she is, but that she had been living in Paris for many prior to returning to live in London after her husband died. Miss Lettice is always talking about how much Mrs. Pontefract knows about the latest styles, and how much she admires her style and taste.”
“Her mum will have her nose out of joint over that, I’d imagine, Edith, if that’s what Miss Lettice gone down to talk to her about.” Hilda’s thick and dark eyebrows arch over her eyes in apprehension.
“I think you’re right, Hilda.” Edith nods in agreement.
“That would make a lovely autumn frock, Edit.” eagle eyed Mrs. Minkin calls from behind the shop counter where she is sorting through a box of miscellaneous sewing notions**************, her pudgy finger decorated with a few sparkling gold rings moving with dexterity as she sorts. “The colours would suit your complexion and colourings.”
“Thank you, Mrs. Minkin.” Edith calls cheerfully in reply. “I’ll keep that in mind.”
“I have some lovely buttons in this box that would go perfectly with it, Edit my dear.” Mrs. Minkin goes on, holding up half a card of glass buttons in a pretty shade of cobalt blue. “I will give them to you as a gift if you buy the fabric.” she says as she tries to tempt Edith.
A refugee from Odessa as a result of a pogrom*************** in 1905, Mrs. Minkin’s Russian accent, still thick after nearly twenty years of living in London’s East End, muffles the h at the end of Edith’s name, never ceasing to make the young girl smile, for it is an endearing quality. Edith likes the Jewess proprietor with her old fashioned upswept hairdo and frilly Edwardian lace jabot running down the front of her blouse, held in place by a beautiful cameo – a gift from her equally beloved and at the same time irritating Mr. Minkin. She always has a smile and a kind word for Edith and Hilda, and her generosity towards her has found Edith discover extra spools of coloured cottons or curls of pretty ribbons and other notions in the lining of her parcel when she unpacks it at Cavendish Mews. Mrs. Minkin always insists when Edith mentions it, that she wished all her life that she had had a daughter, but all she ever had were sons, so Edith is like a surrogate daughter to her, and as a result she gets to reap the small benefits of her largess.
“That’s far to kind of you, Mrs. Minkin. You are too generous.” Edith replies, blushing as she does.
“Nonsense Edit my dear!” Mrs. Minkin scoffs with a wave of her hand. “For me, it is a pleasure. Besides, they are just sitting idly in this box. Better they go home with someone who will use them!”
“She’s right about the colours, Edith.” Hilda remarks. “They would suit you.”
“Hilda Clerkenwell!” Edith exclaims, here eyes widening in surprise as she looks in amused startlement at her best friend. “Since when do you have an opinion about colours and how they’d suit someone’s complexion!”
“Let’s put it down to Mrs. Minkin’s knitting circle.” Hilda replies with a smirk, her doughy face brightening as a blush runs up her neck and floods her face.
“Well! That is a turn up for the books****************, I must say!” Shew turns to Mrs. Minkin behind her shop counter. “It seems as if you are having a good influence on Hilda, Mrs. Minkin.”
Mrs. Minkin bows her head a little bit and smiles indulgently at the two maids. “I do my best to be a good influence on Hilde, and anyone else, wherever I go, Edit my dear, except perhaps upon my Mr. Minkin.” She rolls her eyes to the stained white painted ceiling above. “Oy vey*****************! No-one can be a good influence upon my tsedoodelt******************Mr. Minkin!”
Just as she speaks, the door to Mrs. Minkin’s storeroom opens and her husband in his grey flat cap with his dark beard that is starting to slowly grey steps out. He wears a beautiful silk cravat of jade green and gold at his throat – an expensive, showy and stylish piece that looks like it should belong to an outfit that Beau Brummell******************* had worn in the Eighteenth Century, rather than Mr. Minkin’s outfit of a thick apron over a collarless shirt, dark woollen vest and worn work trousers. He has thick bushy eyebrows arch over soft, dark brown eyes, and a gentle and friendly smile graces his aging face.
“What are you saying about me now, Rachel?” he asks in a good natured way, his heavily accented voice soft, rumbling and deep.
“Well Soloman,” Mrs. Minkin replies, spinning to her right, away from Edith and Hilda to face her husband, placing her hands firmly on her hips in a stance she is obviously well versed in striking after thirty-five years of marriage and raising three sons. “I was just saying what a tsemisht mentsh******************** you are!”
“No wonder I am a tsemisht mentsh, being married to a yenta froy********************* like you Rachel!” A booming laugh bursts from his chest full of teasing joviality. He turns his attentions to Edith and Hilda. “Good afternoon, ladies.” he says politely, bowing towards them in acknowledgement. “Watch out for Mrs. Minkin,” His brown eyes twinkle with mischief. “She’s schlau**********************, my dears innocent ones. She’ll have you buy something you don’t want before you can say… err… say… ay cleaver!”
“It’s knife, Soloman, you schlemiel**********************!” Mrs. Minkin says with an air of mock offence. “How many years must we live in London before you learn to speak English properly, or keep your hoykh moyl*********************** shut!”
Mrs. Minkin snatches up a half used roll of pink grosgrain*********************** ribbon from her box and throws it across the shop at her husband. As it tumbles through the air, the ribbon uncoils, cascading like a pretty celebratory streamer. Mr. Minkin ducks as, with very good aim from his wife, the spool and streamer of ribbon hits the doorjamb behind where he had been before ricocheting off the wood and tumbling to the floor.
“I’ll let you clean that up, Rachel, my beloved schlemiel.” Mr. Minkin says to his wife before slipping back into the safety of storeroom with a final cheeky and loving smile towards her, before closing the door.
Mrs. Minkin laughs as she walks the short distance along the aisle behind the counter and bends to pick up the spool of mostly unwound ribbon. “Oy vey!” she laughs.
“I wonder what schlemiel means?” Hilda asks Edith.
Edith smiles as she chuckles softly. “I think I can guess.”
“Thinking of trousseaus and wedding frocks, we should ask Mrs. Minkin to unpack some of her special lace for you.” Hilda says to her friend as Edith runs her hands lightly over a piece of quilted fabric with a pattern of flowers on it.
“Hhhmmm?” Edith murmurs distractedly.
“Lace Edith.” Hilda insists. “For your wedding frock.”
“Has your young man finally proposed, Edit my dear?” Mrs. Minkin pipes up, her figure appearing suddenly from behind the notion filled counter, her middle-aged face a mixture of excitement, joy and expectation as her own dark eyes sparkle with anticipation.
“Nothing escapes you, does it, Mrs. Minkin?” Edith laughs. Not expecting an answer to her rhetorical question she goes on. “No, not yet.”
“But it’s going to happen soon, Mrs. Minkin.” Hilda pipes up.
“How do you know, Hilde?” Mrs. Minkin asks, depositing the roll of ribbon, still only half wound back onto the spool, onto the glass surface of the counter. She quickly steps away from behind the counter and walks over to the two girls.
“Well, I thought he was going to ask me on Easter Sunday, Mrs. Minkin.” Edith explains. “He was acting like he wanted to say something… something important, but then at the last minute he didn’t.”
“And Edith says he’s been like that a few times since, hasn’t he, Edith?”
Edith nods shallowly in acquiescence.
“Well then, Edit my dear! There is no harm in looking is there?” Mrs. Minkin purrs. “I have just received some beautiful Huguenot lace************************ from my suppliers in Spitalfields************************.” She carefully guides Edith around with her hands firmly on the young girl’s shoulders and indicates to the counter opposite, which is draped with a collection of crisp white and soft creamy lace.
Edith and Hilda both smile with delight as they observe the beautiful and intricate patterns in the lace. Dainty daisies, large asters, bobbles wound around curlicues of white and ecru, each piece seems more ornate and exquisite than the last.
“There is no harm in looking, Edit my dear.” Mrs. Minkin says cheerfully. “You don’t have to buy anything today, but let your creative mind imagine what you could do with this lace.” She holds up a length of creamy off-white lace made up of large, stylised chrysanthemum flowers. “Or this.” She carefully withdraws some lace covered with different sized asters from beneath it. “There is no harm in looking, is there?”
As Edith looks, her imagination is sparked as she imagines herself arrayed in a blouson style************************** wedding frock of creamy white crêpe de chiné*************************** with ruffles and a braided waistline, embroidered with tiny glass beads, wearing a bridal coronet made of lace, decorated with wax orange blossoms with a cascade of cream lace falling in romantic cascades down her back.
“What dreams are made of.” Edith murmurs softly as she feels the delicate lace as Mrs. Minkin runs it lightly across her careworn palm like a whisper of spiderwebs.
*Nuptials is a alternative word for marriage. The term “nuptials” emphasizes the ceremonial and legal aspects of a marriage, lending a more formal tone to wedding communications and documentation.
**The London suburb of Elephant and Castle, south of the Thames, past Lambeth was known as "the Piccadilly Circus of South London" because it was such a busy shopping precinct. When you went shopping there, it was commonly referred to by Londoners, but South Londoners in particular, as “going up the Elephant”.
***According to the Dictionary of London Place Names, the district of Swiss Cottage is named after an inn called The Swiss Tavern that was built in 1804 in the style of a Swiss chalet on the site of a former tollgate keeper's cottage, and later renamed Swiss Inn and in the early 20th century Swiss Cottage.
****A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. In the 1920s, chars usually did all the hard graft work that paid live-in domestics would no longer do as they looked for excuses to leave domestic service for better paying work in offices and factories.
*****The Singer Corporation is an American manufacturer of consumer sewing machines, first established as I. M. Singer & Co. in 1851 by Isaac M. Singer with New York lawyer Edward C. Clark. Best known for its sewing machines, it was renamed Singer Manufacturing Company in 1865, then the Singer Company in 1963. In 1867, the Singer Company decided that the demand for their sewing machines in the United Kingdom was sufficiently high to open a local factory in Glasgow on John Street. The Vice President of Singer, George Ross McKenzie selected Glasgow because of its iron making industries, cheap labour, and shipping capabilities. Demand for sewing machines outstripped production at the new plant and by 1873, a new larger factory was completed on James Street, Bridgeton. By that point, Singer employed over two thousand people in Scotland, but they still could not produce enough machines. In 1882 the company purchased forty-six acres of farmland in Clydebank and built an even bigger factory. With nearly a million square feet of space and almost seven thousand employees, it was possible to produce on average 13,000 machines a week, making it the largest sewing machine factory in the world. The Clydebank factory was so productive that in 1905, the U.S. Singer Company set up and registered the Singer Manufacturing Company Ltd. in the United Kingdom.
******Petticoat Lane Market is a fashion and clothing market in Spitalfields, London. It consists of two adjacent street markets. Wentworth Street Market and Middlesex Street Market. Originally populated by Huguenots fleeing persecution in France, Spitalfields became a center for weaving, embroidery and dying. From 1882, a wave of Jewish immigrants fleeing persecution in eastern Europe settled in the area and Spitalfields then became the true heart of the clothing manufacturing district of London. 'The Lane' was always renowned for the 'patter' and showmanship of the market traders. It was also known for being a haven for the unsavoury characters of London’s underworld and was rife with prostitutes during the late Victorian era. Unpopular with the authorities, as it was largely unregulated and in some sense illegal, as recently as the 1930s, police cars and fire engines were driven down ‘The Lane’, with alarm bells ringing, to disrupt the market.
*******A trousseau refers to the wardrobe and belongings of a bride, including her wedding dress or similar clothing such as day and evening dresses.
********Camp Coffee is a concentrated syrup which is flavoured with coffee and chicory, first produced in 1876 by Paterson & Sons Ltd, in Glasgow. In 1974, Dennis Jenks merged his business with Paterson to form Paterson Jenks plc. In 1984, Paterson Jenks plc was bought by McCormick & Company. Legend has it (mainly due to the picture on the label) that Camp Coffee was originally developed as an instant coffee for military use. The label is classical in tone, drawing on the romance of the British Raj. It includes a drawing of a seated Gordon Highlander (supposedly Major General Sir Hector MacDonald) being served by a Sikh soldier holding a tray with a bottle of essence and jug of hot water. They are in front of a tent, at the apex of which flies a flag bearing the drink's slogan, "Ready Aye Ready". A later version of the label, introduced in the mid-20th century, removed the tray from the picture, thus removing the infinite bottles element and was seen as an attempt to avoid the connotation that the Sikh was a servant, although he was still shown waiting while the kilted Scottish soldier sipped his coffee. The current version, introduced in 2006, depicts the Sikh as a soldier, now sitting beside the Scottish soldier, and with a cup and saucer of his own. Camp Coffee is an item of British nostalgia, because many remember it from their childhood. It is still a popular ingredient for home bakers making coffee-flavoured cake and coffee-flavoured buttercream. In late 1975, Camp Coffee temporarily became a popular alternative to instant coffee in the UK, after the price of coffee doubled due to shortages caused by heavy frosts in Brazil.
*********A bare-faced lie is a blatant, obvious lie told without any attempt to conceal it. It's a lie that is told with complete confidence and without any shame or remorse. The term "bare-faced" itself implies being without disguise or concealment, like a bald head is without hair.
**********The guinea was a coin, minted in Great Britain between 1663 and 1814, that contained approximately one-quarter of an ounce of gold. The name came from the Guinea region in West Africa, from where much of the gold used to make the coins was sourced. It was the first English machine-struck gold coin, originally representing a value of twenty shillings in sterling specie, equal to one pound, but rises in the price of gold relative to silver caused the value of the guinea to increase, at times to as high as thirty shillings. From 1717 to 1816, its value was officially fixed at twenty-one shillings. After the guinea coin ceased to circulate, the guinea continued in use as a unit of account worth twenty-one shillings (£1.05 in decimalised currency). The guinea had an aristocratic overtone, so professional fees, and prices of land, horses, art, bespoke tailoring, furniture, white goods and other "luxury" items were often quoted in guineas until a couple of years after decimalisation in 1971. The guinea was used in a similar way in Australia until that country converted to decimal currency in 1966, after which it became worth $2.10.
***********The Crystal Palace Horse Show was not a single event but rather a recurring fixture of the Crystal Palace, a large glass and iron structure built for the Great Exhibition of 1851 in Hyde Park, London. Initially housed in Hyde Park, the structure was later moved and reconstructed in Sydenham Hill, south London, becoming a popular attraction and the namesake of the area, Crystal Palace. The horse show was a regular event within the larger Crystal Palace complex, which was designed for public entertainment and events. While the Crystal Palace did host horse racing, the horse show itself likely involved other equestrian events and displays beyond just racing and became a popular destination for Londoners and visitors alike, offering a variety of entertainment and attractions. Held after the Fourth of June at Eaton, the Crystal Palace Horse Show became a fixture of the London Season and thereby the social calendar for the upper-classes: a place to see the latest fashions and be seen in them in a prelude to Ascot Week later in the month.
************Created by British industrial chemist and journalist Walter Weldon Weldon’s Ladies’ Journal was the first ‘home weeklies’ magazine which supplied dressmaking patterns. Weldon’s Ladies’ Journal was first published in 1875 and continued until 1954 when it ceased publication.
*************Meaning very quick-witted and intelligent, the idiom "smart as a whip" originates from the quick, snapping movement of a whip when it's used to urge on a horse. The rapid action and effectiveness of the whip led to its association with sharp, quick thinking and intelligence.
**************In sewing and haberdashery, notions are small objects or accessories, including items that are sewn or otherwise attached to a finished article, such as buttons, snaps, and collar stays. Notions also include the small tools used in sewing, such as needles, thread, pins, marking pens, elastic, and seam rippers.
***************Pogroms in the Russian Empire were large-scale, targeted, and repeated anti-Jewish rioting that began in the Nineteenth Century. Pogroms began to occur after Imperial Russia, which previously had very few Jews, acquired territories with large Jewish populations from the Polish–Lithuanian Commonwealth and the Ottoman Empire from 1772 to 1815. The 1905 pogrom against Jews in Odessa was the most serious pogrom of the period, with reports of up to 2,500 Jews killed. Jews fled Russia, some ending up in London’s east end, which had a reasonably large Jewish community, particularly associated with clothing manufacturing.
****************“A turn-up for the books” is a British idiom that means a surprising or unexpected event, typically one that is pleasing. The phrase was originally “a turn up for the book”. At Eighteenth and Nineteenth Century English race meetings, when bets were placed the punter’s name and wager were written down in a notebook. Not unreasonably, this process was called “making a book”. If a race was won by a horse that the bookmaker had no record of in his book, he had a “turn up” and kept all the wagered money. By the 1820s, the reference was to cards or dice, which are “turned up” by chance. Specifically, the “turn up” was referred to in the game of cribbage. At the start of a game of cribbage a member of one team cuts the pack and a member of the other turns up the top card. If this is a knave, the second team gets extra points – called “two for his heels”. Holding the knave of the suit that is turned up also merits a point – “one for his nibs”, the knave being one of the “Royal” cards and “nibs” being slang for “a person of importance”.
*****************Oy vey is a commonly used Jewish exclamation indicating dismay or grief.
******************Tsedoodelt is Yiddish for befuddled or confused.
*******************George Bryan "Beau" Brummell was an important figure in Regency England, and for many years he was the arbiter of British men's fashion. At one time, he was a close friend of the Prince Regent, the future King George IV, but after the two quarrelled and Brummell got into debt, he had to take refuge in France.
*******************Tsemisht mentsh is Yiddish for a confused man.
*********************Both the forms yenta and yente are used in Yinglish (Jewish varieties of English) to refer to someone who is a gossip or a busybody. The use of yenta as a word for “busybody” originated in the age of Yiddish theatre. There is a mistaken belief that the word for a Jewish matchmaker is yenta or yente. In reality a Jewish matchmaker is called a “shadchan”. The origin of this error is the 1964 musical “Fiddler on the Roof”, in which a character named Yente serves as the matchmaker for the village of Anatevka.
**********************Whilst there isn't one single word in Yiddish that perfectly translates to “wily” as it is used in English, there are several Yiddish words can convey similar meanings depending on the specific nuance. "Schlaum” or "schlau" mean sly, clever, or cunning, which can fit the context of “wily.”
***********************Schlemiel is a Yiddish term meaning "inept/incompetent person" or "fool". It is a common archetype in Jewish humour, and so-called "schlemiel jokes" depict the schlemiel falling into unfortunate situations.
**********************Hoykh moyl is Yiddish for “loud mouth”.
***********************Grosgrain is a type of fabric characterized by prominent transverse ribs created by a heavier weft than warp in a plain weave. It's a firm, close-woven fabric with a distinct texture, making it suitable for various applications like ribbon, millinery, and crafting.
************************Huguenot lace is a type of imitation lace where floral cut-out designs are sewn onto a muslin net ground. This style of lace was popular in England, particularly in the counties of Bedfordshire, Buckinghamshire, and Northamptonshire.
*************************After the Massacre of St Bartholomew's Day in Paris in 1572, when over ten thousand Huguenot Protestants were murdered, many fled to England. A second, larger, wave of Huguenots fled from France in the 1680s when King Louis XIV revoked a previous royal edict protecting Protestants from religious persecution and they were again attacked. Many Huguenots had difficult and dangerous journeys, escaping France and crossing to England by sea. Many Huguenot Protestants upon arriving in England after their dangerous journey, set up in London, in Spitalfields, the City, Clerkenwell, Soho, Greenwich, Marylebone and Wandsworth. Here they established weaving and lace making businesses, some of which are still in existence today, albeit not in quite the same form as when they were first established.
**************************A blouson dress is characterised by its loose, flowing silhouette, often with a gathered or cinched waistline, creating a blouson effect (a billowing or puffy appearance) over the bust and upper body. The waistline is typically undefined or slightly gathered, creating a comfortable, relaxed fit. This more relaxed style of dress became popular with the abandonment of tightly laced corsets after the Great War in the 1920s, which revolutionised women’s fashions, creating a look that is more characteristic of what we see today.
***************************Crêpe de chiné is a lightweight, luxurious fabric known for its smooth, silky feel and fluid drape. It's often associated with silk, although by the mid 1920s, when this story is set, cheaper crêpe de chiné made from other materials like rayon and man-made silks were readily available for women whose budgets couldn’t extend to real silk crêpe de chiné. The name "Crêpe de Chiné" translates to "crêpe from China," reflecting its origins.
Mrs. Minkin’s cluttered haberdashers filled with an assortment of notions, bolts of colourful fabrics and swags of creamy lace is not all it seems to be at first glance, for it is made up of part of my 1:12 size dollhouse miniatures collection.
Fun things to look for in this tableau include:
Edith’s handbag in the foreground handmade from soft leather is part of a larger collection of hats and bags that I bought from an American miniature collector Marilyn Bickel. The black umbrella came from an online stockist of 1:12 miniatures on E-Bay.
The fabrics on the table in the foreground are, aside from the holly print cloth, which is a 1:12 size square tablecloth, all embroidered ribbons from my collection of haberdashery. Each ribbon was given to me by a very drear friend who knows I love and collect beautiful and vintage haberdashery. The ribbons were either manufactured in India or France. The Christmas themed tablecloth and serviettes are 1:12 miniatures from Mick and Marie’s Miniatures in the United Kingdom.
The delicate lace you see on the counter in the midground and the wooden shelves in the background are a mixture of antique hand sewn and embroidered doilies, milk jug covers or rolls of very fine lace. The ecru coloured lace you see draped beneath the folded linen tied with a ribbon to the right of the photograph is in reality an antique French lace collar from the late Nineteenth Century.
The corsetry boxes on the counter are 1:12 size miniatures made by the British miniature artisan Ken Blythe. Known mostly for his books, most designed to opened to reveal authentic printed interiors, he also made other paper and cardboard based miniatures including a selection of beautiful boxes. All of Ken Blythe’s books, magazines and boxes are authentically replicated 1:12 scale miniatures of real volumes and boxes, with meticulous attention paid to the detailing of each one. To create something so authentic to the original in such detail and so clearly, really does make the corsetry boxes miniature artisan pieces. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire a large number of pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The spools of cotton in the box in front of the corsetry boxes, I acquired from Kathleen Knight’s Dolls’ House Shop in the United Kingdom. The concertina wooden sewing box on casters which you can see closed in the background to the left of the photograph, beside the counter, also came from Kathleen Knight’s Dolls’ House Shop, as did the starched sheets tied with ribbon on the counter in the midground to the right of the photograph.
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Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Lettice is nursing a broken heart. Her beau, Selwyn Spencely, son of the Duke of Walmsford, has been sent to Durban for a year by his mother, the Duchess of Walmsford, Lady Zinnia in an effort to destroy their relationship which she wants to end so that she can marry Selwyn off to his cousin, Pamela Fox-Chavers. Lettice returned home to Glynes to lick her wounds, however it only served to make matters worse as she grew even more morose. It was from the most unlikely of candidates, her mother Lady Sadie, with whom Lettice has always had a fraught relationship, that Lettice received the best advice, which was to stop feeling sorry for herself and get on with her life and wait patiently for Selwyn’s eventual return. Since then, Lettice has been trying to follow her mother’s advice and has thrown herself into the merry dance of London’s social round of dinners, dances and balls. However, even she could only keep this up for so long, and on New Year’s Eve, her sister, Lally, suggested that she spend a few extra weeks resting and recuperating with her in Buckinghamshire before returning to London and trying to get on with her life. Lettice happily agreed, however her rest cure ended abruptly with a letter from her Aunt Egg in London, summoned Lettice back to the capital and into society in general. Through her social connections, Aunt Egg has contrived an invitation for Lettice and her married Embassy Club coterie friends Dickie and Margot Channon, to an amusing Friday to Monday long weekend party of Sir John and Lady Caxton, who are very well known amongst the smarter bohemian set of London society for their amusing weekend parties at their Scottish country estate and enjoyable literary evenings in their Belgravia townhouse. Lady Gladys is a successful authoress in her own right and writes under the nom de plume of Madeline St John, so they attract a mixture of witty writers and artists mostly.
Now we find ourselves in the cosy and cluttered, old fashioned Art and Crafts decorated drawing room of Gossington, the Scottish Baronial style English Art and Crafts castle near the hamlet of Kershopefoot in Cumberland belonging to Sir John and Lady Gladys, where Lettice, Margot and Dickie have joined their hosts along with a few stragglers who arrived on a later train to Carlisle who were chauffeured to the house from the railway station there.
Lady Gladys stands by one of the full length windows looking out at the countryside beyond. Her face crumples up as she stares at the roiling and dark clouds in the sky. She pats her finger waved grey hair anxiously, as though trying to protect it from being spoiled by the rain she perceives is coming, “Looks like the weather is on the turn, John.”
“What’s that, Gladys?” her husband pipes up, glancing over the top of his book from his Savonarola chair by the crackling fire.
“I said it’s starting to cloud over.” she replies in a slightly louder voice, turning to face him so he can hear her more clearly. “I do hope that it doesn’t rain on Pheobe and the other ramblers.”
“I’m sure they can all shelter in a barn somewhere.” he replies. “It will be a new and novel experience for some of them.”
Snorts and muffles giggles come from a few of the guests sitting about the room enjoying indoor pursuits.
Sir John looks over at the clusters of heads lowered together and chuckles good-naturedly as he remarks, “Don’t get so self-righteous you lot!” He closes his book. “I bet it would be a new and novel experience for most of you too!”
Lady Gladys wanders across the room, toying with the long string of pearls about her neck and takes a seat, just as Lettice appears at the door of the drawing room.
“Oh, do come in Lettice,” Lady Gladys says warmly from a corner of the Knole sofa* upholstered in William Morris’** ‘Strawberry Thief’ fabric. “Come and sit with me.” She softly pats the cushion next to her, the action emitting a small cloud of dust motes.
“Thank you Lady Caxton.” Lettice replies as she walks across the room, squeezing between the clusters of chairs and occasional tables, some occupied by the late arriving guests, including Dickie and Margot, playing a range of parlour games on offer from the Gossington games cupboard.
“Ah!” the hostess wags her finger admonishing at Lettice. “I might be older than your mother, my dear, but here, we are egalitarian. We are all on a first name basis. I am Gladys and Sir John is just, John. Hmmm?”
“Very well, thank you, Gladys.” Lettice replies awkwardly, a little startled by this revelation, as she sits on the opposite end of the sofa, closest to the fire.
“Gladys is an old Fabian*** from before you were born, Lettice.” Sir John adds with a kindly wink from his seat opposite her.
“Not so much of the old, thank you John!” Gladys remarks, pretending to be offended. “Remember, I’m younger than you.”
“That doesn’t say much when you compare yourself to all these youngsters!” He waves his hand about the room.
“That’s why I like young people,” Gladys smiles indulgently at Lettice, directing her comment to her rather than her husband. “They help keep me young with their talk of nightclubs, the latest shows and the like.”
“More like it gives you fodder for your next novel, Gladys.” He looks lovingly at his wife, a mischievous glint in his sparkling blue eyes and a cheeky smile playing across his lips. “Writing vicariously through others.”
“It pays to keep up to date with the latest trends, John. I don’t want to fall out of fashion.”
“I don’t think your novels will ever fall out of fashion, Lady… err, Gladys.” Lettice remarks magnanimously.
“You’re a flatterer, that’s for certain!” Lady Gladys chuckles. “You’ll get on. I shall graciously accept your compliment.” Her pale, wrinkled face stills for a moment as a far away look glazes over her eyes. “We none of us think we will fall out of fashion, but we do, in one way or another – especially as we get older. Take this room for example. Decorated in what was once the height of fashion. Would you decorate your home in this way, my dear Lettice?”
From her vantage point, Lettice gazes around the room. Looking at the William Morris ‘Strawberry Thief’ pattern on the sofa, woven carpet and the Morris ‘Poppies’ wallpaper, Lettice estimates the room, like most around the grey stone castle, were decorated in the late Nineteenth Century during the heyday of the Arts and Crafts Movement. A hotch-potch of furnishings that jostle comfortably for space suggests a period of prosperity driven acquisition over the ensuing years up until the Great War, yet each piece is of high quality and well made, implying her hosts’ dedication to the arts, as do the ornaments that cover surfaces around the room, all of which are beautiful and handmade. Old paintings of Scottish landscapes remind Lettice of Sir John’s proud heritage, whilst the large number of books tell her of Lady Caxton’s literary pursuits and success.
“Oh, I think it’s charming,” Lettice replies. “You obviously have an eye for fine workmanship and artistry.”
“But?” Lady Gladys picks up Lettice’s unspoken thought.
“But no, I wouldn’t decorate my home like this.”
“That’s the correct answer, Lettice.” Lady Gladys replies kindly. “And, if I were your age, I wouldn’t either. It’s fusty and old fashioned.”
“It is lovely though, and all my modern ideas would look out of place in a room like this. You need to have older things here, not what is fashionable and up-to-date. It would look out of place.”
“Tea, Lettice?” Gladys leans forward towards the low beautifully hand embroidered footstool before her and picks up an empty cup. “Or would you prefer coffee?”
“Oh, tea will be fine Lady Cax… err, I mean, Gladys.” She chuckles awkwardly at such familiarity with people she barely knows. “White and one sugar, please.”
“Good. I’ve never been one for coffee myself.” Lady Gladys pours tea from the silver pot into the cup over the sugar, and adds a slosh of milk, before she passes it to Lettice to stir. “I do hope you found your room to be satisfactory, Lettice.”
“It’s lovely. Thank you. I shall feel like Sleeping Beauty when I retire.”
“Hhmmm,” Gladys smiles understandingly. “Yes. I thought you’d like the décor in there.”
“The Art Nouveau wallpaper is lovely. It is William Morris, like in here, is it not?”
“Yes,” Lady Gladys remarks with a surprised lilt in her voice. “How clever of you to notice. It’s ‘Sweet Briar’, so your reference to Briar Rose is most apt, my dear.”
“My Aunt Eglantine has it in her bedroom in Chelsea. She loves William Morris too.”
“And you, Lettice? Do you like William Morris?” Lady Gladys asks.
“I like a mixture of old and new, Lad… Gladys. I think a well placed antique on a modern table adds elegance, and I think a William Morris cushion,” She pulls the cushion from behind her back and looks at it thoughtfully. “Could look splendid as an accent on a plain coloured settee.”
“How is Eglantine?” Sir John asks, changing the subject as he takes a sip of his own cup of tea.
“I didn’t know you were acquainted with my Aunt, Sir John, until my aunt told me of my invitation to this weekend.”
“Just John, my dear.” he corrects Lettice politely, causing her to blush. “Remember the old Fabian in the room.” He nods at his wife. “And yes, Gladys and I have similar artistic and literary pursuits to her, so we know Eglantyne quite well.”
“I have some of her pieces,” Lady Gladys remarks proudly and indicates firstly to two dainty pots of hand painted petunias on the mantlepiece, which are part of Eglantyne’s pre-war work, and then to a pedestal next to a very full bookcase, where one of Lettice’s aunt’s more modern pottery pieces sits. “She is a wonderful ceramicist and artist. She can create such beautiful sinuous lines in pottery. It really is remarkable.”
“She doesn’t do that so much now,” Lettice remarks.
“That’s a pity.” Lady Gladys replies a little sadly. “It’s a shame to waste such a gift.”
“Her arthritis slows her somewhat when it comes to ceramics, and she is seldom happy with the results. She’s following different pursuits these days.”
“She paints now, doesn’t she?” Sir Caxton asks.
“She does… John. She’s currently painting a piece for the Royal Academy.”
“Excellent! We shall look forward to seeing that, shan’t we Gladys?”
“Oh indeed, John. And of course, she has her embroidery.” Lady Gladys adds.
Lettice laughs softly. “I fear sometimes that if I sit still in her drawing room for long enough, one day she might embroider me.”
A thunderclap breaks outside. It’s noise echoes through the atmosphere inside, sending a collective shiver through the guests in the room.
“I told you, John. Pheobe and the others are sure to get rained upon now.” She glances around the high wing of the Knole sofa to the window. Looking back at Lettice, she picks up her own teacup and tops it up with tea from the pot before continuing, “Pheobe, our niece and ward, has taken all the other young guests for the weekend on a ramble about the estate to help everyone work up an appetite for dinner. I do hope they will be back soon, especially now that it’s going to pour.”
“I bet they all went to the pub in the village for a lark.” Dickie remarks from where he sits. “And they are quite cosy and warm in there. They’ll be back when they are good and ready.”
“You may be right, young Dickie!” Sir John chortles.
“I’m puzzled,” Lettice says, her face crumpling up in thought. “As to why you asked me here for the weekend.”
“Puzzled, my dear?” Lady Gladys asks.
“Yes. I must confess I was very surprised to receive your kind invitation – delighted, but surprised. I mean, we’ve never met as far as I’m aware. Is it because of your connection to my aunt?”
“Well, that does have a little to do with it, Lettice,” Sir John explains. “You are your aunt’s favourite niece…”
“She says that to all of us Si… err, John.”
“Well, be that as it may, she has spoken to us about you and your talents over many years, particularly since you have come of age. However, Gladys and I keep our own eye on the artistic scene in London, so your name has been mentioned to us a number of times on different occasions.”
“Really?” Lettice asks in astonishment.
“Oh yes,” adds Lady Gladys. “Surely you must know that you’re gaining quite a reputation now, for your stylish interior designs.”
“Especially after that article in Country Life, showing the work you did for Margot and Dickie,” Sir John nods in the direction of the couple, ensconced together on an Art Nouveau sofa, happily playing cards. “It looked wonderful! So fresh and elegant with all those clean lines that are so fashionable now.”
“We did so want to finally meet you, dear Lettice.” Lady Gladys adds.
“Well,” Lettice blushes. “I’m very flattered, and honoured to be invited to Gossington. Your weekend parties are famous for being filled with fun and enjoyment.”
“Then I hope we shall not disappoint, dear Lettice.” Sir John beams.
“I’m sure with the return of the others, you won’t be starved for wit and aristocratic intelligentsia.” Lady Gladys adds. “Your aunt tells us that you can be quite witty yourself, and you obviously have intelligence amongst other attributes.”
Lettice notices a look exchanged between her two hosts but can’t read what it means.
“Ahem, Lettice,” Sir John clears his throat awkwardly. “I’m afraid that Gladys and I have a confession to make.”
“A confession?”
“Yes,” Lady Gladys explains. “I’m afraid that we’ve invited you here with an ulterior motive, my dear.”
“Oh?”
“Not that we aren’t delighted to have you here for your charm, beauty and obvious intelligence.” Sir John assures her with hands raised in defence.
“Yes.” Lady Gladys soothes in agreement with her husband. “As I said before, we’ve heard such great things about your interior designs, so you are under no obligation to agree to our request.”
Lettice suddenly looks about the room again, her eyes darting anxiously from surface to cluttered surface as she makes a calculated assumption. Her eyes grow wide and her cheeks pale. “You’re your request, La… Gladys?”
“Gladys my dear, you’ll scare the poor girl! She’ll think we want her to redecorate this old pile of stones from the cellar to the battlements.”
“Oh no!” Lady Gladys assures Lettice. “We don’t want you to redecorate our home! No, I have far too many treasures here to ever think of parting with. Good heavens no!”
“Then what?” Lettice asks cautiously.
“Well, it’s Pheobe.” Lady Gladys explains. “She’s moving to London. Now that she’s of age, she has decided to pursue a career in garden design, and she’s been accepted to a school in Regent’s Park associated to the Royal Academy, so she’ll be in London more often than she has been.”
Lettice looks on, puzzled and unsure as to how she can be of service to her hosts’ ward. “You want me to decorate her rooms in your London townhouse?”
“Oh no my dear!” Sir John defends. “Like here, our London house is very much an Arts and Crafts relic.”
“No. Pheobe’s father, my youngest brother Reginald, was part of the civil service in India before the war.” Lady Gladys continues. “He and Pheobe’s mother, Marjorie, died of cholera out there.”
“Oh, I am sorry.” Lettice says sadly, putting her hand to her chest.
“Thank you my dear. My brother bought a pied-à-terre**** in Bloomsbury for when they were in London.”
“Gladys actually lived in it when she worked as my secretary before she married me.” Sir John adds.
“Yes.” Lady Gladys acknowledges. “Anyway, when Reginald died, he bequeathed his pied-à-terre to his only surviving child, Pheobe. It was to be held in trust for her by us until she came of age. Now she is of age, we’re giving her the flat to live in. It will be more efficient, as when we go to London, we take staff from here, and when we aren’t in London, there is only a caretaker looking after the house. Pheobe can manage the flat without the need for any live-in staff, and she can finally have some independence from us, which I suspect she craves.”
“The flat hasn’t been redecorated since Reginal and Marjorie lived there.” Sir John adds.
“It’s so old fashioned.” Lady Gladys agrees. “It isn’t good for Pheobe to live in a flat surrounded by the ghosts of parents she hardly even knew. You’ll be sitting next to her at dinner tonight, and dear Nettie, who has some considerable sway with Pheobe. We’ve suggested that Pheobe talk to you herself. We’ll obviously foot any bills if she likes your ideas, which we’re quite sure she will. Will you consider it, my dear Lettice? It would be such a great favour to us, and to Pheobe of course.”
“Well, I’ll certainly consider it, Gladys.” Lettice replies.
“Splendid! Splendid!” Lady Gladys claps her hands in delight. “I knew you’d be open to the idea!”
*The original Knole Settee (also known as the Knole Sofa) is a couch chair that was made in the 17th century, probably around 1640. It is housed at Knole in Kent, a house owned by the Sackville-West family since 1605 but now in the care of the National Trust. It was originally used not as a comfortable sofa but as a formal throne-like seat on which an aristocrat or monarch would have sat to receive visitors. It was wide enough that a monarch and consort could be seated side by side. As of 2021, it is kept at Knole House in a transparent case.
**William Morris (24th of March 1834 – 3rd of October 1896) was a British textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he helped win acceptance of socialism in fin de siècle Great Britain. In 1861, Morris founded the Morris, Marshall, Faulkner & Co. decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co.
***The Fabian Society is a British socialist organisation whose purpose is to advance the principles of social democracy and democratic socialism via gradualist and reformist effort in democracies, rather than by revolutionary overthrow. The Fabian Society was also historically related to radicalism, a left-wing liberal tradition.
****A pied-à-terre is a small flat, house, or room kept for occasional use.
This very cluttered and overstuffed room may appear like something out of a historical stately country house, but it is in fact part of my 1:12 miniatures collection and includes items from my childhood, as well as those I have collected as an adult.
Fun things to look for in this tableau include:
The Knole Sofa covered in William Morris’ ‘Strawberry Thief’ pattern comes from Mick and Marie’s Miniatures in the United Kingdom. The cushions on it, and on the Savonarola chair opposite also feature the Morris ‘Strawberry Thief’ pattern in 1:12 size, and came from an American seller on E-Bay. The Savonarola chairs are made by high-end miniature furniture manufacturer JBM Miniatures.
The large embroidered footstool in front of the fireplace was made by the high-end miniature furniture maker, Bespaq, but what is particularly special about it is that it has been covered in antique English floral micro petite point by V.H. Miniatures in the United Kingdom, which makes this a one-of-a-kind piece. The artisan who made this says that as one of her hobbies, she enjoys visiting old National Trust Houses in the hope of getting some inspiration to help her create new and exciting miniatures. She saw some beautiful petit point chairs a few years ago in one of the big houses in Derbyshire and then found exquisitely detailed petit point that was fine enough for 1:12 scale projects.
The small round footstool in front of Sir John’s Savonarola chair has been hand embroidered as well, and was acquired from Kathleen Knight’s Dolls House Shop in the united Kingdom.
The silver tea and coffee set on the large embroidered footstool, consisting of milk jug, sugar bowl coffee pot and teapot come from Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces. The silver tray upon which they stand also comes from Warwick Miniatures. The four dainty floral teacups with gilt edging scattered about the room are part of a larger tea set that I acquired from Beautifully Handmade Miniatures in Kettering.
The books on the table to the left of the photograph between the two Savonarola chairs are 1:12 size miniatures made by the British miniature artisan Ken Blythe. They are novels written by Sir Arthur Conan Doyle. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. These books are amongst the rarer exceptions that have been designed not to be opened. Nevertheless, the covers are copies of real Victorian bindings. What might amaze you even more is that all Ken Blythe’s books and magazines are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The wonderfully detailed red and white chess set in the foreground of the photograph came from Kathleen Knight’s Doll’s House Shop in the United Kingdom. The set came in its own hand crafted compartmented wooden box with a working sliding lid which can be seen just in front of the Pig-a-Back and Ludo game boxes. The chess game is set up correctly with a match in progress. I wonder who will win? The table on which the chess game is being played comes from Mick and Marie’s Miniatures in the United Kingdom, whilst the two red velvet seated chairs drawn up to it, I acquired from an auction some years ago. The pieces date from the 1970s and are very well made.
The box of Ludo and Pig-a-Back are both 1:12 artisan pieces, produced authentically to scale with great attention to detail by Little Things Dollhouse Miniatures in Lancashire.
Sir John and Lady Gladys’ family photos on the mantlepiece are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are from various suppliers, but all are metal. Only one, the larger square frame at the back, leaning against the tall blue vase on the left-hand side of the mantle is sterling silver. I t was made in Birmingham in 1908 and is hallmarked on the back of the frame. It has a red leather backing.
The two small vases of primroses on the mantle are delicate 1:12 artisan porcelain miniature ornaments made and painted by hand by ceramicist Ann Dalton.
The two dark blue double handled gilt vases with floral banding at either end of the mantlepiece, I have had since I was a child. I was given them as a birthday gift when I was nine.
The two tall blue glazed jugs featuring irises at either end of the fireplace came from Mick and Marie’s Miniatures in the United Kingdom, as did the brown glazed jug on the tall pedestal in the corner of the room next to the bookcase.
The grey marble French barrel clock on the mantlepiece is a 1:12 artisan miniature made by Hall’s Miniature Clocks, supplied through Doreen Jeffries Small Wonders Miniatures in England.
The Georgian style fireplace with its heavy wooden surround and deep mantle in the background was made by Town Hall Miniatures supplied through Melody Jane’s Dolls’ House Suppliers in the United Kingdom.
The glass fronted bookcase is a replica of a bookcase belonging to Abraham Lincoln and is part of the Lincoln Collection, made and distributed in America.
Lady Gladys’ book collection inside the glass fronted bookcase are 1:12 size miniatures made by the British miniature artisan Ken Blythe. Ken Blythe was famous in miniature collectors’ circles mostly for the miniature books that he made: all being authentically replicated 1:12 scale miniatures of real volumes. I have quite a large representation of Ken Blythe’s work in my collection. Each book is a 1:12 replica of a life sized volume with an authentic cover. To create something so authentic to the original in such detail and so clearly, really does make these miniature artisan pieces. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago and through his estate courtesy of the generosity of his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The paintings hanging on the walls are all 1:12 artisan pieces made by Amber’s Miniatures in the United States. The wallpaper is William Morris’ ‘Poppies’ pattern, featuring stylised Art Nouveau poppies. William Morris papers and fabrics were popular in the late Victorian and early Edwardian period before the Great War.
The miniature Arts and Crafts rug on the floor is made by hand by Mackay and Gerrish in Sydney.
The Manhattan Beach Pier is a pier located in Manhattan Beach, California, on the coast of the Pacific Ocean. The pier is 928 feet (283 m) long and located at the end of Manhattan Beach Boulevard.[4] An octagonal Mediterranean-style building sits at the end of the pier and houses the Roundhouse Marine Studies Lab & Aquarium. Surfers can be seen below the pier and sometimes weave in and out of the mussel-covered pilings. The pier is popular with locals, tourists, photographers, and artists and for fishing. It offers sunsets and vantage points from the shore and hillside.
History
Pre-history
In 1897, the Potencia Company was incorporated to develop land in the area and proposed a seaside resort with wharves and piers.[1] The area was named Potencia, but the city of Manhattan was incorporated in 1912 with the word "Beach" being added in 1927.[1] The name was chosen by land developer John Merrill[disambiguation needed], a native of New York.[1]
A pier is believed to have been one of the first features built when the Manhattan Beach community was developed.[5] Two wooden piers were built in 1901, one at Center Street (later renamed Manhattan Beach Boulevard[6]) and one at Marine Avenue called Peck's Pier and Pavilion.[2]
The Center Street Pier was 900 feet (270 m) long and pylons were made by fastening three railroad rails together and driving them into the ocean floor.[5] It supported a narrow wooden deck and wave motor to generate power for the Strand lighting system, but sources disagree about whether the system worked.[1][2][5] Part of the wave motor may still be buried in the sands at the shore end of the present pier.[2] This "old iron pier", as it was called, was destroyed by a major storm in 1913.[5]
Current pier
The pier from Manhattan Beach Boulevard
Lack of money, lawsuits, storms, World War I and debates about when and where to build another pier delayed Manhattan Beach from having a pier completed until 1920.[1][5] Engineer A.L. Harris developed the concept of the circular end for less exposure and damage to the pilings by the waves.[1] The pier was completed and dedicated on July 5, 1920.[1][2] The next version built was a cement pier with a rounded end and it was 928 feet (283 m) long.[5] Octagonal house that now holds a lunch restaurant was completed in 1922.[5] In 1928, a 200-foot (61 m) wooden extension was added but it was destroyed in a storm in 1940.[5] In 1991 the pier was restored to its 1920s appearance with a dedication ceremony in 1992.[5]
In 1928 the pier was extended out 200 feet (at no cost to the city) when a Captain Larsen of Redondo Beach offered to pay for an extension in exchange for the rights to run a shoreboat between the pier and his barge Georgina.[1] On January 9, 1940, 90 feet (27 m) of the extension were ripped away during a winter storm. The extension was never repaired and the remaining section was swept away in February 1941.[1]
In 1946 the pier and adjoining beach were deeded over from the city of Manhattan Beach to the state.[1] During the next four decades the pier would remain a focus of beachfront activity, but Mother Nature and old age took their toll and by the 1980s the pier was in sad shape and in need of renovation.[1]
Restoration took place in the early 1990s with a focus on retention of the old time appearance, much like Pier 7 in San Francisco.[1] The original pier had to be fixed as old age and decay required extensive repair, and in fact made it unsafe by the late 1980s (when a jogger was injured by falling concrete).[1]
In 1995, the pier was declared a state historic landmark.[3][7] It is the oldest standing concrete pier on the West Coast.[7][8] It is managed by the County of Los Angeles, Department of Beaches and Harbors.[1] Correction: The Pier is managed by the City of Manhattan Beach Public Works
Attractions
Roundhouse Marine Studies Lab & Aquarium
The Roundhouse Marine Studies Lab and Aquarium is located at the end of the pier, and is free to the public. The Aquarium includes a shark tank, tide pool touch tank with animals common to Southern California, tanks with lobsters, and baby sharks as well as brightly colored, non-native fish and invertebrates.[2] The aquarium is open Saturdays & Sundays 10 a.m. to sunset and Monday through Friday 3 p.m. to sunset and group and education tours offered.[2]
The octagonal building includes a Spanish tile roof and large gooseneck reflectors to improve lighting.[1]
Fishing
According to Pierfishing.com the sandy beach area yields the normal surf species; barred surfperch, croakers, small rays and guitarfish (shovelnose shark). The pier is especially known for its magnificent barred surfperch fishing. At times, anglers catch hundreds of them within an hour of time, using mainly small jigs and sandcrabs. The area around the pilings yield pileperch, walleye surfperch, silver surfperch, and other common pier species. Mid-pier, casting away from the pier, yields small tom cod (white croaker) and herring (queenfish), jacksmelt, yellowfin croaker and an occasional halibut. Action at the end of the pier is improved by the surrounding artificial reef which is located about 65 feet (20 m) from the end. Fish at the deepest water end include bonito, Pacific mackerel, jack mackerel, barracuda, an occasional white seabass or even yellowtail, and reef visitors like kelp bass, sand bass and sculpin (scorpionfish).[1] The resident species in Santa Monica Bay may be dangerous to eat, but those that migrate in and out of the bay are considered safe to eat.[1] A variety of baits are utilized.
Surfing
The pier played a significant role in the history of surfing. The pier was a popular spot for Southern California surfers in the 1940s, the early days of modern surfing. Dale Velzy, the first commercial surfboard shaper, started his business building and repairing boards under the pier before renting a nearby storefront in 1949, starting what is considered the first surf shop.[9]
In film
It is used in
Point Break (1991) - Keanu Reeves buys his surfboard from a shop located on the pier.
Starsky & Hutch (2004) - Starsky (Ben Stiller), can be seen stretching under the pier.
Tequila Sunrise (1988) - Mel Gibson's character lives on the beach near the pier.
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Last week, two of my friends offered to take me on a tour of the jewels of Norfolk churches. Despite having lived in either north Suffolk or Norfolk most of my life, back in those days I had no idea about churches, nor half the villages where these jewels can be found, even existed.
First on the list was Salle.
It was a grim, wet and misty morning when Sarah and Richard picked me up at the Catholic Cathedral, and so we made our way against the rush hour traffic whilst Richard tried to keep the windscreen clear as my clothes dried out causing a slight fog in the car.
Ss Peter and Paul seems to be in the middle of nowhere, with just two other buildings keeping it company. Salle was clearly a rich parish back in the day, as it is a huge church, serving the village and the large country house, lost to view behind trees nearby.
It is a church that has something for everyone: font and cover, support arm for font cover, good glass, fine memorials, two hidden chapels, painted screens and carved bosses. And so much more beside.
Here is what my friend Simon has to say. He likes it too.
---------------------------------------------------
During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough to impress. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.
St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.
Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.
As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.
You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower.
The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets as at Great Witchingham).
You can see all these panels below - click on them to enlarge them. The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the actual fabric of the building was complete by this date.
Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.
Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the hideous modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.
Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena. You can see all these above.
Despite the wonders of the font, the screen and the glass, the great glory of the building for me is the set of bosses that line the roof of the chancel. They are easily missed, being very high, and need a good lens; a couple of my photos did not come out as well as I'd hoped, and so I must go back, as if I needed an excuse. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection , and the Ascension into Heaven. You can see these last eight in John Salmon's splendid photographs below.
There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.
Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord! The benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching.
Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.
Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.
There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.
One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?
This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.
Simon Knott, June 2004