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Almost Fairyland

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A couple of times I've mentioned here a classic and very scarce Isle of Wight book, the privately-circulated 1914 Almost Fairyland: personal notes concerning the Isle of Wight, written by John Morgan Richards, the American ex-pat businessman who retired to Steephill, near Ventnor. I'm pleased to say that I finally got to read it.

And you can too. It's finally been digitised by the Google Books Library Project, from the Bodleian Library's copy, and is available online with a Creative Commons "CC BY -NC -SA 2.0" license, which basically means you can do more or less what you like with it, as long as you credit the source, indicate any changes made, and make no commercial use of it. There are times when I'm in awe of what's available online, especially now that major libraries are embracing non-traditional CC models for controlled free distribution, as opposed to expensive print-on-demand models.

Almost Fairyland - dedicated "to past, present, and future visitors and residents of the Isle of Wight" -  is a compilation of pieces originally written by Richards for the Isle of Wight Advertiser, Ventnor. It's not, unlike many Isle of Wight accounts, a me-too collection of well-known topography and history, but personal recollections of his 40 years visiting, and later living on, the Island.

Three generations of the Richards family
Crop of Bodleian Library 014642324 e-text.
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He says "I am aware that the ego is present on every page". It sure is. It starts off innocently enough with a Victorian TripAdvisor-type account of his first visit with his wife Laura and their young family in 1872 ...
seeing the hill-sides of the four G's, viz. the 'Glorious Glory of the Golden Gorse'
... and being amazed by the practice at their Belinda House lodgings of ...
the heating of the water in the tea urn after it was brought to the table by dropping
into the water a red-hot iron block
... and goes on via some pleasant personal detail, such as his experiments in growing maize, his pride at his son Norris's canoe expedition circumnavigating the Island, and his exasperation at regularly getting a circular letter objecting to his right to vote (which he neither had nor desired, choosing not to naturalize). But as the book proceeds, it goes into an accelerating gush of name-dropping, ending in a frenzy of self-adulation in the account of the Richards' Golden Anniversary: the whole transcript of the events: the junket in Ventnor, the congratulatory address; the half-page description of the illuminated text; the message from the Queen; the full attendance list for the London junket; the speeches there; "Mrs Richards' Happy Speech"; and the final presentation. It's quite exhausting.

Once you filter out all that, Almost Fairyland is an often interesting account of the personal, social and political events among the Ventnor elite in the late 19th century. Richards was a close friend of another incomer, the chemical magnate William Spindler, and both had a lot of ideas for Ventnor, which Ventnor collectively was largely tardy to carry out. Spindler got a lot of useful stuff enacted: developing a water supply for Whitwell, improving St Rhadagund's Church, building a new road off the escarpment avoiding the dangerous Whitwell Shute, and laying out Ventnor Park and Gardens. But he got fed up, writing a vehement A few remarks about Ventnor and the Isle of Wight aimed at the reluctant Ventnorians, and took his ball home to work on (unsuccessful) plans to develop St Lawrence. Richards writes:
He held the most uncompromising views as to controlling the sea
Spindler died before doing much more, and his attempts to establish a sea wall and esplanade rapidly collapsed into ruins as 'Spindler's Folly'.

William Spindler
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Richards' own concepts for Ventnor and the Wight, expounded in the book, included an ObservationTower with passenger lifts and staircase, improvement of the golf course, a Lift or Funicular Railway to the top of the Downs, plans for an Undercliff Cottage Hospital, and the still-extant concept of an Isle of Wight Tunnel to the mainland. The unfeasibility of the tower, built on the Undercliff landslip geology known to be majorly unstable even in Richards' day, is mind-boggling.

Proposed observation tower, Ventnor, I.W.
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Other points of interest include a good deal of detail on the history of Steephill Castle; Richards' reaction to national and international events such as the Boer War, the sinking of the Titanic, and the 1912 coal strike (when Mrs Richards - who believed she had a hotline to high places - sent daffodils to the Prime Minister); and Richards' meetings with celebrities such as the Island hymn writers Albert Midlane and Mrs Jemima Luke, Mark Norman (the lugubrious fishmonger geologist), the painter Herbert Schmalz, Harry De Vere Stacpoole, the novelist Helen Mathers, Spindler's artist son Walter (who unsuccessfully courted Richards' novelist daughter Pearl), and of course Pearl Craigie herself ("John Oliver Hobbes").

Mrs Craigie
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At the level  of personal impression, I can't say I like Richards' narrative voice. It's generally very impersonal, and - though I'm probably not one to criticise this - he's an information bore with a complete lack of affect. For instance, his reaction to the Titanic disaster is largely to go into a litany of statistics about other liners: tonnage, coal burned per day, etc etc. And he airbrushes out any personal complexities; he goes on about his daughter's writing career and her marriage to "Mr Craigie", but there's no hint of her acrimonious divorce. 

Almost Fairyland is illustrated with 53 monochrome plates. I rapidly spotted - compare and contrast ...

Ventnor, looking west
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Ventnor, looking west
Pictures in Colour of the Isle of Wight, 1910
Ventnor, looking east
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Ventnor, looking west
Pictures in Colour of the Isle of Wight, 1910
... that the majority of general topographic scenes are ripped from, or from the same source as, the 1910 Jarrold & Sons Pictures in Colour of the Isle of Wight (Project Gutenberg #17296), so you can see those there. Here's a further sampler of the remainder:

Mrs John Morgan Richards
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Spencer and Sons, Ventnor
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Blake and Sons, Ventnor
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Rock Cottage, Ventnor, and coaching party
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The Richards' and Fulfords' Island coach drive
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Old Park, St. Lawrence, I.W.
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Governor Hans Stanley's Cottage, Steephill
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Craigie Lodge
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Almost Fairyland, personal notes concerning the Isle of Wight (Richards, John Morgan, London: John Hogg, 1914, 53 plates, 184 pages). Licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0: England & Wales (CC BY-NC-SA 2.0) licence.

You can access it through the Bodleian's catalogue - Aleph System Number: 014642324 - or through this slightly more convenient Europeana portal: Almost Fairyland, personal notes concerning the Isle of Wight.

- Ray

Spindler's list

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Sorry, more DWM - but I just found out more about the career of William Spindler, the German industrialist who figures large in the Isle of Wight Undercliff's 19th century social circuit. Ventnor was the final destination of a far darker story of the dangerous political climate of Bismarck's Germany.

Spindler (c.1838-1889) was a German industrialist who the sake of his health retired to southern England, and ultimately to the Ventnor area. As incomers often do - more zealous than the locals in making plans for the places where they settle - he then proceeded to make waves, by warning Ventnor that it was inferior to a list of other resorts, and if it didn't pull its collective socks up, it would be overtaken by a new town, 'Undercliff'. His obituary in the Isle of Wight County Press tells the story:
So grateful was he to our climate ... that he resolved to spend £100 for the benefit of the town, and after deep consideration decided that it should take the form of a book, This appeared in 1877, under the title "A few remarks about Ventnor and the Isle of Wight, Bournemouth, Torquay, Brighton, Weymouth, Jersey, and Guernsey," and a thousand copies were printed and circulated broadcast amongst the inhabitants of Ventnor. In language kindly severe, he dwelt on the natural beauties and advantages of the Undercliff as compared with the other places before mentioned, and then lashed the local authorities and ratepayers for not developing them. Here is his own language in the closing chapter:

"Ventnor, indeed, would be perfection, if it had more trees, and if the other deficiencies I have spoken of were remedied. If the inhabitants resolved on mutual efforts to develop the natural capabilities of their place, it could not fail to rise beyond the reach of successful rivalry. Nor must they think that they can be allowed to indulge any longer in the carelessness that they have hitherto shown. The 'good old time,' when at a seaside place the sea along sufficed, when people submitted to temporary inconveniences, and even enjoyed them on account of their novelty, is gone for ever. Greater fastidiousness. enlarged wants, and better taste are the characteristics of the present generation. If the inhabitants of Ventnor refuse to satisfy these modern requirements, there is no doubt that another town, 'Undercliff,' will spring up between St Lawrence and Niton. This neighbourhood, and especially the Old Park estate, presents a magnificent field for the enterprises of a capitalist. Although the land near the shore at this spot partakes of the treacherous nature of the whole Undercliff, it may easily be rendered safe by erecting groynes. Taking Bournemouth as a pattern, it might then become the site of a first-rate watering place, uniting Torquay and the green foliage of Bournemouth with the shelter, the climate, and the open sea of Ventnor. Ventnor at present claims the privilege of being the capital of the Undercliff, but if it continues to neglect its duties, another leaseholder will step in, for the natural advantages of the Undercliff are so great, and in our northern latitude confer such as boon on mankind, that Ventnor cannot be allowed to prevent either the invalid or the pleasure seeker from enjoying them."

Naturally the publication of this work caused a great sensation.
- Death of Mr. William Spindler, page 3, IWCP, 7th December 1889 (reproduced as fair usage, Isle of Wight County Press Archive archive.iwcp.co.uk).
John Morgan Richards'Almost Fairyland quotes the dedication to the work: "To the inhabitants of Ventnor I dedicate this little pamphlet with my most hearty wishes for the prosperity of their town, to which I owe the recovery of my health". But the 130-page tract, listing in comparison the benefits of rival resorts, unsurprisingly didn't go down well. The reaction of the Local Board (the historical equivalent of town council) reads between the lines as "Don't let the door hit you on the way out", though he didn't actually leave the Island permanently, and returned to buy the Old Park Estate in nearby St Lawrence.
Ventnor. Oct. 27
LOCAL BOARD
A vote of thanks was then unanimously passed to Mr. W. Spindler for the pamphlet he had printed respecting the town and liberally circulated, and this was accompanied by an expression of regret at his leaving the Island.
The Hampshire Advertiser (Southampton, England), Saturday, October 27, 1877; pg. 8; Issue 3273. 19th Century British Library Newspapers: Part II
Spindler did have a valid point. The Victorian seaside experience was pretty horrible, with regular complaints of damp, verminous lodgings ...
There is an insect that people avoid
(Whence is derived the verb ' to flee');
Where have you been by it most annoyed ?
In lodgings by the Sea.
- Lewis Carroll, A Sea Dirge
... and there was a growing expectation of improved customer service. Ventnor in particular was fairly shabby, having outgrown its infrastructure during its rapid expansion as an invalid resort. Nevertheless, it was bound to ruffle feathers for an incomer, especially a foreign one, to wade in and tell the town how to conduct its business.

However, there's a lot more to Spindler's story than a small-town spat in his retirement.

William Spindler - from Allerlei-Gereimtes und Ungereimtes, 1873

William Spindler is not to be confused with his father, Wilhelm Spindler. I very nearly made this mistake, as do a number of accounts, including the IWCP obituary. Wilhelm Spindler (Johann Julius Wilhelm Spindler, 1810-1873) was the founder of the Berlin-based dyeing, laundry, and - from 1854 - dry cleaning, company W. Spindler, whose massive main factory was in what's now the borough of Köpenick. It was also Wilhelm who established a model town for the 2000 factory workers; called Spindlersfeld after his death in 1873, the district still exists as Berlin-Spindlersfeld, where Spindler's original housing, the Spindlerbauten, has protected status. Wilhelm Spindler is commemorated in several locations, including a bridge, the Wilhelm-Spindler-Brücke.

Wilhelm Spindler had two sons: Theodor Julius William (born c.1838), and Carl Wilhelm Martin (born 1841) - the full names come from Königlich Preußischer Staats-Anzeiger, No 3, 5th Jan 1869 - and the former is the Isle of Wight Spindler. William became a shareholder around 1870; ran the Spindler firm jointly with his brother from 1873; and resigned for health reasons in 1881, leaving Carl in sole charge (source: Chemie-Geschichte / Familie Spindler / ChemiFreunde Erkner e.V.) and furthermore leaving Germany entirely. It seems that the reasons for William's departure from Germany were not just medical. The IWCP obituary says:
In politics, he did not agree with Bismarck, and as proprietor of a powerful newspaper, in which he ventilated his views, he was subjected to much annoyance and the espionage of the Iron Chancellor. Indeed this was ultimately the cause of his leaving the Fatherland, and through overexertion, feeling that his health was failing, he sought a more genial climate.
- Death of Mr. William Spindler, page 3, IWCP, 7th December 1889 (reproduced as fair usage, Isle of Wight County Press Archive archive.iwcp.co.uk).
This part of the obit checks out. William Spindler was a member of a middle-class left-wing group called the Jakobites (named in honour of the left-wing politician Johann Jacoby), which maintained a democratic weekly journal, Zukunft (Future) at a time when Bismarck's government was increasingly attempting to suppress the growing social-democratic movement (source: page 242My Life, the 1913 autobiography of the Marxist politican August Bebel).

Spindler had been a politically active writer for some years. A look at Google Books finds some of his polemical tracts: the 1866 Millionen-Billionen, Staaten-Soldaten, Zahlen beweisen! ("Millions-Billions, States-Soldiers, Prove your figures!"), a call for economy in private and state spending; the 1866 Die Schule-die Schule, und nochmals die Schule! (The School-the School, and once again the School!), a tract in support of the progressive and secular educational ideas of Adolph Diesterweg; the 1870 Das Asyl für Obdachlose zu Berlin - herausgegeben zum Besten des Asyl-Vereins (The Berlin Asylum for Homeless Women - issued for the benefit of the Asylum Association); and the 1870 Auf dem Schlachtfelde von Custozza (About the Battlefields of Custozza).

He also wrote a book, the 1873 Allerlei Gereimtes und Ungereimtes (Assorted Rhymes and Non-Rhymes) which is online in full at Google Books MNhbAAAAcAAJ, a mix of poems and prose pieces. I've just skimmed - although my German is adequate, I find Fraktur excessively hard work - but it's quite a varied collection including conventional romantic poetry; what look like very competent German translations of Poe's The Raven ...
Mitternacht war's, stürmisch, schaurig /
als ich müd' und matt und traurig
Ueber manch' ein früh'res Streben /
hatt' gegrübelt hin und her
... (the raven says "Nimmermehr") and of Die Andalusierin (The Andalusian), Alfred de Musset's L'Andalouse (see English version); various topographical/nature poetry such as Am Strand (On the beach); and poems dedicated to friends, such as An Edouard Claparède (To Edouard Claparède - the physician and zoologist René-Édouard Claparède, who'd studied in Berlin). There's a large proportion of politics too; the book is dedicated to Johann Jacoby, and reprints texts such as Die Schule-die Schule, und nochmals die Schule! and an anti-Bismarck piece, Der Stein des Grafen Bismarck (The Stone of Baron Bismarck) from the Zukunft journal.

These writings certainly got him noticed, and not in a good way. There was an extended hostile review of the book, with a lot of snipes at Spindler and his Zukunft articles, in the National Liberal newspaper Die Grenzboten (Nationalliberalismus was a political stance that generally favoured more authoritarian government, and was Bismarck's chief ally in the Reichstag). It concluded that Spindler had turned out his old drawers and wastepaper bin, and collected all the trash that fell out, in honour of Johann Jacoby:
Herr William Spindler klopft seine alten Schubfächer aus und wendet seinen Papierkorb um, und sammelt all die Sächelchen, die da herausfallen, zu Ehren von Johann Jacoby. Armer Johann Jacoby, Gott schütze ihn vor seinen Freunden.
- Demokratisches Allerlei von Herrn William Spindler, Die Grenzboten: Zeitschrift für Politik, Literatur und Kunst (pp 304-313, Volume 2; Volume 32, 1873).
The personal and political situation for Spindler became increasingly tense in the 1870s, as he came under official surveillance for his politics. The Brandenburgisches Landeshauptarchiv (The Brandenburg Main State Archive) has records of "Überwachung des sozialdemokratischen Färbers William Spindler" (monitoring of the social-democrat dyer William Spindler) from 1870-1889 - see p.59. Lorenz Friedrich Beck, 1999.

There's an interesting anecdote in Hugo Friedlaender's 1913 book Interessante Kriminal-Prozesse von kulturhistorischer (Interestingcriminalprocessesofcultural-historical significance) which tells of Spindler's brush with the Berlin police. You can read the full text here - William Spindler: backdated footnote - but to summarise, Spindler gave financial help to the relatives of those expelled from the Berlin-Potsdam area under the draconian Anti-Socialist Laws enacted in 1878, which designated Berlin as being under "minor state of siege" and allowed instant expulsion, without appeal, of anyone who called themself a Social Democrat or Democrat. Spindler's aid came to the attention of the police, making him a target for expulsion himself. But according to Friendlander's account, he escaped this by saying that if he were expelled, he'd move to Italy and shut down the factory, making several thousand workers redundant at a time of high unemployment.

In December 1879, the same laws put his book Allerlei Gereimtes und Ungereimtes on the forbidden list, as reported in Amtsblatt der Regierung in Potsdam (Potsdam Government Gazette) in 1880:
Berlin, den 31. Dezember 1879.
Königl. Polizei-Präsidium.
Verbotene Druckschrift.
Auf Grund des § 12 des Reichsgesetzes gegen die gemeingefährlichen Bestrebungen der Sozialdemokratie vom 21. Oktober 1878 wirb hierdurch zur öffentlichen Kenntniß gebracht, daß die im Jahre 1873 im Vertagt von Elwin Staude hierselbft erschienene nichtperiodische Druckschrift: „Allerlei Gereimtes und Ungereimtes" von William Spindler nach 8 11 des gedachten Gesetzes durch die unterzeichnete Landespolizeibehörde verboten ist. Berlin, den 31. Dezember 1879. Königl. Polizei-Präsidium. Bekanntmachungen der Kaiserlichen OberPost-Direktion zu Potsdam.
- Amtsblatt der Königlichen Regierung zu Potsdam und der Stadt Berlin, Stück 2, 9 Jan, 1880, page 13
I don't know the precise timeline of Spindler's eventual departure from Germany, but it seems possible that he jumped before he was pushed. He and his wife had been resort-shopping several years before his formal retirement from the Spindler firm - the Hampshire Advertiser mentions a Mr and Mrs Spindler staying at the Royal Hotel in 1874 and 1875. They also visited the other southern English resorts mentioned in his Ventnor pamphlet: Bournemouth, Torquay, Brighton, Weymouth, Jersey, and Guernsey. He was particularly taken with Bournemouth, and Horace Dobell's 1885 The Medical Aspects of Bournemouth and its Surroundings carries Spindler's enthusiastic testimonial from A Few Remarks:
Mr Spindler, after asking, "Now, what was it that forced me to love the place (Bournemouth) at first sight?" says "Its natural attractions have been developed by man to the utmost. And by what means? Well, by the simplest and in the result the most wonderful:By planting trees, trees, trees, everywhere and everywhere."
Nevertheless, the Spindlers' location of choice was finally Ventnor, where they lived at Medina Cottage, Marine Parade West (source: Almost Fairyland). And that brings us up to 1877, Spindler's pamphlet to the Ventnorians, and his departure to Old Park, St Lawrence.

The town of 'Undercliff' turned out to be another "road not taken". Spindler did, however, plant trees, trees, trees, evidently to lasting effect. There's a very good fuller account of his botanical and landscape contributions to the Old Park locale in this paper by Philippa Lambert - The Landscape of Old Park (PDF) - at the site for Haddon Lake House. He naturalized in September 1887 (ref: London Gazette Naturalization List, October 1887), two years before his death.

- Ray
PS: I did German at school, and added to it with technical German from a few years abstracting science papers. But it isn't great; I'm open to any corrections.

Addendum:YouTube has some interesting videos of the area where Spindler planned to build 'Undercliff', all posted by Isle of Wight Archive.
- Ray

DWWW: part 2

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Further to largely forgotten DWWWs (Dead White Women Writers) - late-Victorian writers whose portraits appeared in The Picture Magazine, Vol 3, 1894.

Click any image to enlarge



Carmen Sylva ("from a photograph by Mandy, Bucharest. Author of Pilgrim Sorrow, etc").
"Carmen Sylva" was the pen name of Elisabeth of Wied (Pauline Elisabeth Ottilie Luise zu Wied),who became Queen Consort of Romania as the wife of King Carol I of Romania. She had a profuse and acclaimed multi-lingual literary output - see Wikipedia - as well as an interesting life in general: she almost married the future Edward VII of England (probably a lucky escape considering his dissolute life); was exiled for encouraging a forbidden romance between Carol I's nephew and a lady-in-waiting (the Văcărescu Affair); and, unusually, for a royal, held strongly republican views. She wrote in her diary:
I must sympathize with the Social Democrats, especially in view of the inaction and corruption of the nobles. These "little people", after all, want only what nature confers: equality. The Republican form of government is the only rational one. I can never understand the foolish people, the fact that they continue to tolerate us.
See  Carmen Sylva – Regina Elisabeta of Romania for a good compilation of 19th century works by and about her; and also the Internet Archive (creator:"Sylva, Carmen").




Mrs Hungerford ("from a photograph by Gay & Co., Cork. Author of Molly Bawn, etc").
This is the Irish novelist Margaret Wolfe Hungerford, née Hamilton, a writer of popular light romantic fiction, who initially began writing to support her family after the death of her first husband.

See the Internet Archive for her many works, which in the USA were chiefly published under the pseudonym "Duchess" (see creator:"Duchess"). Helen C Black's 1906 Notable Women Authors of the Day has a chapter - pages 107-119 - on Mrs Hungerford.



Ouida ("from a photograph. Author of Moths, etc").
This is the Maria Louise Ramé, an English novelist from Bury St Edmunds. A hugely well-known figure in late 19th century literature, she was notorious in her time for the heated romanticism of her works. While ridiculed for this, and for her florid style, she was no worse than many other authors of the era - but probably attracted more attention through her precious and highly public lifestyle.
She moved into the Langham Hotel, London in 1867. There she wrote in bed, by candlelight, with the curtains drawn and surrounded by purple flowers. She ran up huge hotel and florists bills, and commanded soirees that included soldiers, politicians, literary lights (including Oscar Wilde, Algernon Swinburne, Robert Browning and Wilkie Collins), and artists (including John Millais)
- Wikipedia
Her writing was at times over-the-top; see The Toast - Victorian Hot Messes: The Torture Porn of Ouida - for an account of the melodramatics in Ouida's The Moth. But nevertheless, ome stories about her writing are simply hostile myth, such as the "None so fast as stroke" anecdote, which falsely attributes to her a solecism about the Boat Race (actually from a satire by someone else).

See the Internet Archive (creator:"Ouida, 1839-1908") for works. Elizabeth Lee's 1914 Ouida: A Memoir (Internet Archive cu31924013470319) is a good contemporary biography that attempts to dispel the apocrypha surrounding her life.



Mrs Humphry Ward ("from a photo by Barraud. Author of Robert Elsmere, etc")
This is Mary Augusta Wardnée Arnold. Born in Tasmania, she moved to England with her family as a young child, so is generally viewed as a British author. She was right at the heart of English literary circles of the time: daughter of Tom Arnold, niece of Matthew Arnold, grand-daughter of Thomas Arnold - and her sister married into the Huxleys.

She wrote some 30 novels, many with religious themes such as crisis of faith, and did a deal of very worthy work in connection with the 19th century settlement movement for improving the lot of the urban poor, as well as aiding efforts to encourage America to join the Allies in World War One. Nevertheless - and I always find it extraordinary that intelligent women could take this stance - she was a vigorous campaigner against suffrage for women, and one of the leading lights in the anti-suffrage movement. As this Victorian Secrets article says - Mrs Humphry Ward (1851-1920) - in later life her views became increasingly reactionary ("anti-Boer, anti-Home Rule and anti-female suffrage") and Somerville College, in whose founding she was instrumental, eventually disowned her for views incompatible with its aims of seeking the advancement of women.

See Internet Archive (creator:"Ward, Humphry, Mrs., 1851-1920") for works. The University of Glasgow has a strong research collection - Mrs Humphry Ward - and the Victorian Web has a good microsite: Mrs. Humphry [Mary Augusta] Ward, 1851-1920.



Mrs. Alexander ("from a photograph. Author of For His Sake, etc")
This is the Irish-born novelist Annie French Hector. She largely wrote romances; John Sutherland's The Longman Companion to Victorian Fiction summarises the general flavour as "Typically her fiction revolves around a young girl torn between money, family, and love, complicated by a legacy" (see Ricorso - Annie French Hector).

Her pseudonym is the first name of her late husband, the explorer Alexander Hector. She didn't publish in his lifetime, but after his death in 1875 published around 40 novels. The last, Kitty Costello, was strongly autobiographical.

See Internet Archive ("creator:"Alexander, Mrs., 1825-1902") for works. Helen C Black's 1906 Notable Women Authors of the Day has a chapter on her - pages 58-67.



Miss Mabel Robinson ("from a photo by Thompson, Grosvenor Street. Author of Disenchantment, etc").
This is the novelist and critic Frances Mabel Robinson (1858-1956), younger sister of the poet Agnes Mary Frances Robinson. Originally from Leamington Spa, she and her sister were among the earliest women students to enrol at the University of London.

She studied initially at the Slade School of Art, but abandoned this for literature. She published a series of novels, largely on Irish themes, in the 1880s and 1890s - she had a strong political interest in Irish independence - and moved to Paris to live near her widowed sister in 1897, living there (except for a break during WW2) for the rest of her life. Refs: ODNB., The Times obituary ("Miss Mabel Robinson."Times [London, England] 22 June 1954: 10. The Times Digital Archive. Web. 27 Apr. 2014).

Works include:
Mr Butler's Ward, 1885
The Plan of Campaign; a Story of the Fortune of War, 1888 ("an Irish story written under the influence of the Home Rule movement" - Times obit)).
A Woman of the World: An Everyday Story, 1890 (as "WS Gregg")
Disenchantment: an every-day story, 1890 ("a study of the demoralization of a character by drink" - Times obit).
Hovenden, V.C., the Destiny of a Man of Action: A Novel, 1891 (as "WS Gregg")
Chimâera. A Novel, 1895



Mrs. Campbell Praed ("from a photograph. Author of December Roses, etc")
This is the Australian novelist Rosa Campbell Praed, who wrote prolifically in varied genres, and was probably the first Australian novelist to achieve a significant international reputation.

Although she moved to England at 25, the majority of her novels reflected her early life in Australia, but often with off-the-wall themes including the occult, spiritualism, and abnormal psychology. One of her last works, The Soul of Nyria (purporting to be medium Nancy Harward's channelled experience of the life of slave girl in ancient Rome) was written in Torquay, where she lived with Harward, and spent her final years after the latter's death.

See Internet Archive ("creator:"Campbell Praed") for works. Also: Praed, Rosa Caroline (1851–1935), Australian Dictionary of Biography; and Rosa Praed, Victorian Secrets.



Mrs. Flora Annie Steel ("from a photograph. Author of Miss Stuart's Legacy, etc")
This tweedy-looking lady is the English writer Flora Annie Steel; she wrote short stories, novels and non-fiction works, most reflecting her two decades in the Punjab as the wife of Henry William Steel, a colonial civil servant. She helped him as a school inspector and dispute mediator, and so a took deal more interest in Indian culture than many mem-sahibs of the era. The Encyclopedia Britannia lists the story collections From the Rive Rivers (1893) and Tales of the Punjab (1893) as among her best works.

She also co-wrote with Grace Gardiner a classic book on Anglo-Indian household management, the 1888 The Complete Indian Housekeeper and Cook (giving the duties of mistress and servants, the general management of the house and practical recipes for cooking in all its branches). This looks fascinating, but isn't online.

See Project Gutenberg (Steel, Flora Annie Webster, 1847-1929) and Internet Archive (creator:"Flora Annie") for works.



Miss Clara Savile Clarke ("from a photo by Russell & Sons. Author of The World's Pleasures, etc").
This is Clara Savile Clarke, born in 1869, one of the daughters of the dramatist and critic Henry Savile Clarke and his wife Helen néeWeatherill.

In her teens, she and her sisters were known as society beauties, but where her sisters focused on the amateur dance genre known as skirt dancing, she moved to writing. Her work first attracted attention with the 1890 The Poet's Audience: and Delilah, a small anthology of two stories on the theme of romantic and sexual obsession, and she developed a good reputation for short fiction in the early 1890s with the 1893 collection The World’s Pleasures, and Savoy Magazine stories such as A Mere Man (which includes a harrowing portrait of an alcoholic young society wife) and Elsa. However, this early promise had no chance to develop further, as within a few years she was seriously ill with "polyneuritis" of causes unknown, and died in 1898.

The best source I could find about her is Alice Barrigan's excellent article Helen Savile Clarke and her daughters at her North Yorkshire History blog.



- Ray

Ouida - misattributed photo?

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Further to the previous post about late-Victorian female authors, I've run into a slight puzzle concerning Ouida (Maria Louise Ramé) and image attribution.

There aren't many photographs of her, but a handful are well-verified likenesses. This is a classic 1874 photo by Adolphe Beau, much-reprinted in Victorian books and magazines, here sourced from Elizabeth Lee's 1914 biography Ouida: a memoir (Internet Archive cu31924013470319).


This is a second, by Elliott and Fry, sourced from the 1906 Views of Men and Women of Note on the Vivisection Question (Internet Archive viewsofmenwomeno00brit). It's the same photo that featured in somewhat aribrushed form on Ogden's cigarette cards, as in the National Portrait Gallery collection (link).



A third, also by Elliott and Fry, and by the look of it taken at the same session as the previous, also appears in various publications (this one sourced from the August 3 1907 article "Romantic Ouida", page 170, The Literary Digest, v. 35 (July-Dec. 1907 - see Hathi Trust). All of these are consistent with her appearance as a plainish but striking woman (William Allingham described her in his diary as having a "sinister, clever face").

What's puzzling me is this image, the one used by the English Wikipedia, and consequently by any number of blogs and similar sites. It's clearly someone else:


The attribution for this photo tracks back via Wikimedia Commons to this image: ID th-07897 in the New York Public Library collection, source cited as "Billy Rose Theatre Collection photograph file / Personalities / D / Louise [Ouida] De La Ramee". But the woman in the photo looks nothing like Ouida, either in appearance or general style. Given the context, it's far more likely to be an American actress.

Any thoughts?

- Ray

Lanoe Falconer photo found

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This is a really nice photo of the writer Lanoe Falconer (Mary Elizabeth Hawker), who I mentioned inDWWW1: part 1.

I can't resist a puzzle. After finding the small woodcut image (right) of Lanoe Falconer in the Picture Magazine, 1894 (credited - rather uselessly, as "from a photograph") I spotted that it seemed to be an unknown image, and contacted her biographer Peter Rowland. It was - and we concluded that it, and another very obfuscated one, must come from the same origin. I said I'd keep an eye open, as I read a lot of Victorian periodicals. But once the puzzle was there, it was more than just keeping an eye open.

It took it around 20 minutes. I don't say this to be smug, but I can understand what William Gibson had in mind with the character Colin Laney in his novel Idoru: the intuition for finding stuff in vast amounts of mundane data. There were obvious things to look for - ["Lanoe Falconer""portrait"] / ["Lanoe Falconer""photograph"] and so on - but these ran off into hundreds of irrelevant hits (because her stories contain references to photographs and portraits).

I had a vibe instead to go to a proxy server (which gets post-1865 Google Books hits not normally accessible outside the USA) and try ["Lanoe Falconer""severe"]. I have a theory that if a photo has some characteristic, an article relating to it will contain that concept, even if not directly commenting on the photo. This may be garbage - but it worked. Third hit down the list was 1892 issue of the Boston-based magazine The Writer. The proxy server linked through sufficiently to find the photo, and the excellent Hathi Trust site had a good-quality scan.

The photo comes from page 25, The Writer v.6 January 1892 - December 1893, Boston: The Writing Publishing Company (Hathi Trust link); it heads a short biographical sketch by TGL Hawker. Whoever prepared the above Picture Magazine image exaggerated the severity, making her look absolutely scary, rather than the reality: just pleasantly formal. It might be a pose; she did rather go for hiding her identity.

- Ray

Bayan time (21)

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I haven't mentioned the progress on the bayan for a while. It's not through lack of interest, but because it's quietly become a fixture of my life.

Today I played at an outdoor charity event at Passage House Inn. I did a few well-rehearsed pieces: Autumn Leaves, Strange (the Grace Jones cover of Libertango), and the St James Infirmary Blues (with the intro and outro heavily influenced by Hugh Laurie's brilliant piano-led arrangement). It went very smoothly. About a month ago I was invited to play (among some seriously better musicians) at a leaving party also at the Passage House: a half-hour slot. I regularly play at the Jam Sessions at the Lighter Inn at Topsham, and I think I've overcome the performance anxiety that was such a bugbear not much more than a year ago. Plus I'm getting comfortable with singing while playing.

It's all gone in unexpected directions. I tackle very little conventional accordion repertoire, and have focused in finding pieces from other genres that work (I'm currently working on a couple of Cole Porter songs). Although I practise most days, I doubt that I'll ever develop major-league finger dexterity for very rapid pieces. But the beauty of the bayan is that its compressed scale lends itself to rich chromatic chord work - it pays not to be scared of very dissonant intervals and wide intervals (two-octave chords are easy). There's strong resonance and overtones, so even fourths and open fifths have a great deal of complexity. I'm working at using those possibilities to the full: making up in atmosphere what I can't do in speed. I'm finding a lot of inspiration from players such as Maria Kalaniemi (check out Niityt ja vainiot) - while I can't match the virtuosity, it gives me an idea of the textures possible.

I don't know how far it'll go; I feel a little regret at having found the instrumental love of my life so late, and under such fraught circumstances. But the 'leap of faith' at having taken up such an uncommon instrument (at least in the UK) has over and over proved itself a risk worth taking. It has taken me to a happy, productive, and now even respected, place.

- Ray

Ropes of sand: a Teignmouth penance

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One of those historical snippets that will probably never be elucidated. I just found this anecdote about Sir Warwick Hele Tonkin, a Teignmouth worthy who, for some unknown reason, acquired a ghostly penance in the late 1800s.

Sir Warwick Tonkin of Teignmouth, died about 1860. Connected with the shipping business, a magistrate, friend of Louis Napoleon and built a theatre for the town "before 1823". Within thirty years of his death he was said to be making ropes of sand on the beach (Parry: History of Teignmouth, 1910). 
- Devon & Cornwall Notes & Queries - Volumes 24-25 - Page 214, 1951 
This doesn't track back very easily; the specific Parry reference isn't findable, and Hubert Parry's 1914 Notes on Old Teignmouth doesn't mention this story. It does, however, appear in a 1901 source:
The beach is also haunted by Sir Warwick Tonkin, who, the old people will tell you, frequents the shore making ropes of sand. Why this poor gentleman is thus employed I cannot say. He was a resident in the town during the "forties and fifties," a gentleman of fashion, a friend of Louis Napoleon, who interested himself in many schemes for the benefit of the place; and if he suffered from a good deal of unnecessary vanity, did not deserve the fate that is meted out for Tregeagle on the Cornish coast.
- Teignmouth, Its Past History and Present Interests, Beatrix F. Cresswell - 1901
As Ms Cresswell says, there's no indication in the story what exactly Tonkin did to attract this story about his penance / purgatory. His obituary doesn't suggest anything controversial:
Death of Sir Warwick Hele Tonkin
This gentleman died on Friday evening at the advanced age of 86. The deceased was the son of the late Mr. Warwick Hele Tonkin, of Exeter, and married the only daughter of the late Mr. Thomas Mitchell, M.D., formerly of Chudleigh, who died about five years ago without issue. Sir Warwick was a major in the army, but never, we believe, saw much active service. Subsequently, he was a barrack-master at Exeter for a number of years. In 1826 he received a gold medal of the 1st class, from Charles X. of France, for aid in a case of shipwreck, and for similar services in 181 he was in 1838 nominated Chevalier of the Legion of Honour. He was a magistrate and deputy-lieutenant of the county of Devon. In politics the deceased was a Whig, and a warm supporter of the late lord-lieutenant of the county. He was also Lieutenant-Colonel of the 1st Devon Brigade of Volunteer Artillery, and took a very warm interest in the volunteer movement. The flags of the vessels in the harbour and at different parts of the town were hung at half-mast, out of respect for the deceased knight, who was of a kind and genial disposition, which had endeared him to a large circle of friends. He had lived at Teignmouth for about 40 years.
- Western Morning News
- The Morning Post (London, England), Tuesday, September 15, 1863; pg. 5; Issue 28001. 19th Century British Library Newspapers: Part II.
There's a much more detailed obituary in Robert Bigsby's 1869 Memoir of the Order of St. John of Jerusalem (pages 198-200) - perhaps his crime was being too much of a polymath. He appears to have been an accomplished linguist and musician; and his "Warwick Clavichord" looks an interesting invention. Published in 1830 as Invented by Sir Warwick Hele Tonkin : the Warwick Clavichord, Or Musical Chart, it was what we'd now call a multimedia music learning aid; it mapped notes of the scale to colours of the spectrum in aid of "impressing them more sensibly on the scholar's memory" (there's a review in an 1830 issue of Belle Assemblée magazine, page 128).

There are a few rather more explicable examples of sand-weaving penances: for instance, Tregeagle is the legendary magistrate Jan Tregeagle, who has been called a Cornish Faust, sentenced to various posthumous activities including weaving ropes of sand at Gwennor Cove (see The Demon Tregeagle in Robert Hunt's Popular Romances of the West of England, Volume 1). The 1951 Notes & Queries mentions ...
William de Tracey, one of the murderers of St. Thomas a Becket in 1170. After the crime, he fled to his manor at Woolacombe Tracy. Now he rides furiously up and down the beach at Woolacombe, wailing, or he wanders there and around Braunton Burrows, making a rope of sand. “But whenever the rope is nearly woven, there comes a black dog, with a ball of fire in his mouth, and breaks it; so the penance is never at an end.” (Devon… , Lady Rosalind Northcote, p. 222).
... as well as  the North Devon ghost of a sinister beach man ...
Whit-Hat: A real man who lived in the last century; as a ghost he haunts the sand dunes of Braunton Burrows, wearing a great white hat, and spins ropes of sand. (Mr Vernon C. Boyle, Transactions, Devonshire Association, Vol. LXXXIV, p. 296
The full Boyle citation is this:
White-hat. Written by Vernon C. Boyle, in 1949 : — " My father, Vernon Boyle, b. 1859, used to speak of a mythical character, Old White-hat, who ranged the beach along the Northside, calling for a passage to Appledore. He wore a great white hat. This was always at night. He seemed to have been doomed to make ropes of sand in among the dunes. Capt. J. R. Pile, aged 61 in 1949, has the following version: ' Jack the Whit-hat was about the Crow by night. He wore a white hat with a lantern lashed to it. He seemed to be looking for something. When he hailed an Appledore boat, “Hoy!”, people would never wait, but hurry away, for they believed that anyone who went ashore to Whit-hat would never get away alive. There is a woman in Bideford today who is the grand-daughter of Jack the Whit-hat, and possibly she can throw light on the story.’
- LEGENDS AND TRADITIONS, page 296, Report and Transactions of the Devonshire Association for the Advancement of Science, Literature and Art, Volumes 84-86, 1952
As an exercise in futility, weaving a rope of sand is a regular folklore motif (it's not always a punishment, and in some stories it's used to outwit the Devil by setting him an impossible task). William F. Hansen's Ariadne's Thread: A Guide to International Tales Found in Classical Literature (Cornell University Press, 2002) tracks it as a metaphor right back to classical antiquity (see pp 256-257).

- Ray

Ouida - not!

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A temporary pointer back to Ouida - misattributed photo: I just had a very nice e-mail from the photo librarian at New York Public Library agreeing with my view that a widely-copied image from the NYPL theatre collection (right) is not the late-Victorian novelist "Ouida" (left). If you have any ideas - the lady might be an American actress - do get in touch.

The Dread Wrecker Featherstone

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Further to Ropes of sand: a Teignmouth penance, Angela Williams of Literary Places kindly sent me another local-ish example of someone condemned to posthumous torment weaving sand ropes on the beach, this time commemorated through a poem.

Angela, who has extensively researched the Plymouth-born priest-poet Robert Stephen Hawker (1803-1875), sent me a link to one of Hawker's Cornish-themed poems, Featherstone's Doom.

FEATHERSTONE'S DOOM

TWIST thou and twine! in light and gloom
A spell is on thine hand;
The wind shall be thy changeful loom,
Thy web the shifting sand.

Twine from this hour, in ceaseless toil,
On Blackrock's sullen shore;
Till cordage of the sand shall coil
Where crested surges roar.

'Tis for that hour, when, from the wave.
Near voices wildly cried;
When thy stern hand no succour gave,
The cable at thy side.

Twist thou and twine! in light and gloom
The spell is on thine hand;
The wind shall be thy changeful loom,
Thy web the shifting sand.

1831.
* The Blackrock is a bold, dark, pillared mass of schist, which rises midway on the shore of Widemouth Bay, near Bude, and is held to be the lair of the troubled spirit of Featherstone the wrecker, imprisoned therein until he shall have accomplished his doom.
[First printed in Records of the Western Shore, 1832.]
- page 15, Cornish Ballads & Other Poems (Robert Stephen Hawker, pub. London : J. Lane, 1908, Internet Archive cornishballads00hawk).
"Featherstone the wrecker" is elusive. There's a detailed word picture of him, author uncredited, in the 1871 compilation of Baily's Magazine of Sports and Pastimes, Volume 20, which tells us of one of his acts of villainy - cutting the hand off a living wreck victim to get her jewelled rings - as well as his full name, John Maria Featherstone, his dog's breed (a lurcher), and his religion, his psychology, and the decor of his hovel (he suffers from a major case of 'splitting' - he's a good Catholic but a bad man, who prays to the Madonna and Child before and after committing his crimes).
Once more at the Black Rock of Widemouth Bay. It has its legend, which shall be gossiped forth by way of epilogue. In a hovel, above the footbridge over the brook that comes brawling down the hollow of Wansome Combe, dwelt, long years ago, a lone man — Featherstone — a stranger in the land — sluggard by day, poacher by night, and a wrecker at all times. Not a creature lived with him save a mute lurcher, that possessed alike the illegitimacy, the ferocity, and the taciturnity of its master. Both were savage, solitary, and fearless. It is false to say that sin, in loneliness of being, is wont to be terror-stricken — that a throb of penitence at once mollifies and terrifies the adamantine obduracy that steels the nerve of determined guilt. Saint and sinner possess the same attribute of valour that, diverging into different channels, flows yet from the same source. Brute courage is absolute, and personal bravery is an accessory of the perfectibility of mightiness in good and evil. One great man — and a great man too, is an exceptional case — Cromwell: he proved this deficiency, personally, at Edge Hill and Marston Moor, and morally at Whitehall, when he was frightened unto the very death, and beheld an imaginary hell as he memoried the reproaches of a dying daughter. John Maria Featherstone was harder, not of heart, but of nerve. He did not say in the whining tones of hypocrisy with the Puritan Malignant, ' Let us seek the Lord,' although above his pallet was suspended a terra cotta image of the 'Madre di Dio,' with the 'Bambino.' The spirit of transcendentalism that was blasphemously dishonest in the Malignant Regicide was superstitiously honest in the Roman wrecker, demon though he was. The blenching Malignant, not equal to the moment, used the mask of sanctity as the means to a present end of this world; the braver wrecker, in his iniquity rising superior to the moment, invoked superstition as a preservative in the unknown future of another world. Each appeal to the transcendental, however, comprised the principle of a permission to do wrong. 'Let us seek the Lord '— Ave Maria ! — and then to business.

A piercing nor'-wester swept the line of coast from Hartland to Pentyre Point, blowing dead on the land. The spray, lashed up by the storm wind from the seething sea, darkened, and became as a mist over the blanched waters. Through this blight of gloom was seen looming the indistinct hull of a vessel with sails flickering and masts overboard, rolling more and more heavily now on the crest of surges, and again in the trough of waters, as she was propelled onwards by the rising tide. The disabled ship had run down the coast past Morwenstow and Bude Haven, driven on by the irresistible current that set in towards the precipice of Melluach. Lurching round the point of the rocks at the Salt House, she got into the sea of warring breakers in Widemouth Bay. Coming broadside on, the vessel drifted steadily— on, on — until at last, upborne by a gigantic swell, she rushed forwards with the breaking crest, and quivering in every timber, as if conscious of her fate, was dashed by the broken surf upon the jagged ridges of the Black Rock. There she struck. Then the leaping seas deluged over the parting ship; masses of water curling up poured in and over, and a huge wave at last sweeping the decks from stem to stern, she crashed as it were with a shriek, and no longer like a thing of life,' her shivered timbers were wrenched and cast about in the caldron of raging waters.

True to his calling, John Maria, with his dog, was at hand. The keen eye of the wrecker scanned the line of breakers, and wandered minutely over the huge masses of timber that were tossed and grinding amongst the many crags. Human beings were seen for a moment and as suddenly disappeared, but not a voice was heard save the din of the tempest, clanging in a hurricane of sound over earth and ocean. One person— one alone, a woman — was clinging to a broken spar. The piece of wreck came nearer and nearer ; it struck and was fastened in a fissure of the rock; a hand still clutched convulsively, and on that hand rings of jewels gleamed brightly. Brightly, also, gleamed the hatchet of John Maria. A smart chop, the hand was severed, and with a piteous cry the woman fell back into the yawning chasm of waters. The wave was scarcely coloured by a faint tinge of blood: another surged over, and one unit more was withdrawn for ever from the sum of human existence. So — it was done. The bloody fingers were wrapped in a handkerchief; the lurcher carried it in his mouth to the hovel, and John Maria Featherstone knelt before the idol of terra cotta. 'Ave Maria! Judica me Domine.' Tradition has it that he was judged verily and indeed; that his spirit, by the decree of an avenging Nemesis, is imprisoned by day within the Black Rock, and that at night it comes forth to coil a rope of sand wearily and eternally on the very spot of his crime. But it would be unbecoming to trench upon the metrical province of the Minnesinger of the western shore.

Twist thou and twine! in light and gloom
[RS Hawker poem snipped]
- ROBA DI MARE, Baily's Magazine of Sports and Pastimes, July 1871, pages 220-227, Vol. XX (Internet Archive bailysmagazines18unkngoog).
It rapidly becomes clear that this prose account is complete fiction fleshing out the bare bones of the Featherstone story. Nobody called "Robert Maria Featherstone" checks out, and furthermore there are no accounts I can find of a wrecker called Featherstone prior to Hawker's poem. The story seems to interweave with that of another semi-mythical Cornish brigand, "Cruel Coppinger", who Hawker also wrote about, in his Footprints of Former Men in Far Cornwall (Internet Archive footprintsforme00hawkgoog - see p.123 onward). An account of the latter in the Western Antiquary in 1882 opines that Coppinger's reputation was inherited from Featherstone:
The date of the death of "Cruel Coppinger" is not known. The stories of Coppinger given by Mr. Hawker were not the product of his imagination, but were genuine traditions, though wide of the truth. Probably, earlier stories of Featherstone the smuggler, attached to Coppinger who inherited his terrible renown.
page 157, Banckes Family of Exeter and Heavitree, JS Atwood, The Western Antiquary, May-June 1892
This is starting to sound like the Dread Pirate Roberts. The Featherstone myth was undoubtedly consolidated by Sabine Baring-Gould's 1887 novel The Gaverocks; a tale of the Cornish coast (Internet Archive gaverockstaleofc01bari) which is set in the same general area and features "Red Featherstone", a pirate and smuggler.

I strongly suspect - given the lack of prior references - that Hawker just made Featherstone up, as a bit of invented tradition, though perhaps with reference to various regional traditions connecting different figures with Widemouth Bay. The reality, if any, again looks unknowable, because no discussions of such traditions are findable until nearly a century later, in replies to the 1951 Devon & Cornwall Notes & Queries"Spinners of Sand" article I mentioned previously.
80. Spinners of Sand (XXV, p. 213, par. 178 ; XXVI, p. 28, par. 26). — Another "Spinner of Sand" to that mentioned in the January issue, was a certain "Black" Petherbridge, who is said to haunt Petherbridge Rock, a high, solitary pile of rock on Widemouth beach, a few miles west of Bude. For his sins on this earth, his spirit is condemned to continually make ropes of sand each night, which each returning tide obliterates. This legend was told to me some thirty or more years ago, when I was staying at Widemouth, and remained in my mind as I happen to have been given the same name from a paternal grandmother, who by a coincidence used to speak of a wicked ancestor who she called "Black" Petherbridge. R. Petherbridge Mugford.
- page 89, Devon & Cornwall Notes & Queries, Volumes 25-26, 1953

119. Spinners of Sand (XXV, p.213, par. 178, XXVI, pp. 28, 89, pars. 26, 80). In the note No. 80 which refers to the solitary rock at Widemouth near Bude, I was very interested in the name given by the writer to this rock “Petherbridge Rock” for by such name it is quite unknown to me. My forebears and myself have had close association with the district over many years and I never heard the rock given any other name but "Black Rock" and the name of the man, whose spirit was doomed to haunt the rock and to “spin ropes of sand and bind them with beams of the same,” was Shepherd (or Shepheard) who once lived at Howard Barton near Stratton. Tradition said he had led a very wicked life in which smuggling was only one of his villainies. [author unfindable]
- page 236, Devon & Cornwall Notes & Queries, Volume 28, 1961 
The phonetic similarity between "Featherstone" and "Petherbridge" does suggest kind of connection, but neither "Black" Petherbridge nor Shepherd/Shepheard check out any better than Featherstone. Black Rock at Widemouth Bay at least is verifiable!

Black Rock, Widemouth Beach
© by High View, licenced under the Creative Commons
Attribution-Share Alike 2.0 Generic licence (CC BY-SA 2.0).


One of the works of the late Cornish poet Jack Clemo reprises the Featherstone story:
The Legend of Blackrock

"Still at your labours, Featherstone?
Your prison of schist, so mournfully jutting
On Widemouth shore looks grim, as if shutting
Its secret safe where its clefts are entwined.
Is your spirit that here is still confined
Restless still as the grey waves plunging,
Working vainly as winds' fierce lunging,
To weave a web of the stubborn sand?"

"When the hot sun blisters must I weave them,
'Mid foulest storms I cannot leave them:
The baffling sands
    Slips as my hands
        Receive them!"

"Why do this penance, Featherstone?
What crime thus chains you to doom so tragic?
Were you a dabbler in Black Magic?
Did you sell your soul, as a Cornish Faust,
To the Evil One, that your peace is lost?
Was it thirst for knowledge, dark, unlawful,
That laid you under a curse so awful?
Or were you merely a common wrecker?"

"A wrecker I was! For my lights ensnaring,
For my gain obtained thro' a course unsparing,
I writhe in stress -
    Now of success
        Despairing!"

"Your torture must surely end, sometime, Featherstone!
This labour, though vain, must certainly hasten
The hour of release - 'tis meant but to chasten ....
What! At your last wreck, close to this shore,
You stood with a cable, while thro' the roar
Of wind and sea, the drowning, in anguish,
Called for your aid, and you let them languish?
Ah! 'Tis for this that you are now plagued?"

"Yes! And not till my stained dark soul I cover
With sand-robe made where their cries still hover,
Will my ghastly doom,
    In sun or gloom,
        Be over!"

- pages 70-71, The Awakening: Poems Newly Found, Jack R Clemo, 2003
 - Ray

DWWW: part 3

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Further to largely forgotten DWWWs (Dead White Women Writers) - late-Victorian writers whose portraits appeared in The Picture Magazine, Vol 3, 1894.

The Hon. Mrs Henry Chetwynd ("from a photograph. Author of A Brilliant Woman, etc).
This is the Scottish author Julie Bosville Chetwynd née Davidson. Married to a naval officer, she began writing when her husband was stationed overseas and "felt the solitude of the long evening to be so oppressive after the little ones were gone to bed, that for distraction she took to her pen", and subsequently wrote a dozen or so novels drawing on her life and travels. Helen C Black's 1906 Notable Women Authors of the Day has a rather cosy biographical sketch (pp 247-259), which mentions biographical trivia including the "severe accident at Rugby Station" that affected her health in later life, and her invention of a fire escape (here's the US patent US501455 A - it's a balcony hoist).
See Internet Archive (creator:"Chetwynd, Henry Wayland, Mrs., d. 1901") for her works.



Miss Edna Lyall ("from a photo, by Lewis, Eastbourne. Author of Donovan, etc").
"Edna Lyall" was the pen-name of the Brighton-born Ada Ellen Bayly, author of eighteen novels. The account in the 1906 Notable Women Authors of the Day (pp 133-144) isn't wildly enlightening, but a look at the Oxford Dictionary of National Biography finds she had a generally quiet life, living with her married sisters, and writing novels that reflected her combination of strong religious belief with liberal politics, with interests in causes including Irish Home Rule, the defence of the freethinker Charles Bradlaugh, and opposition to the Boer War. The plots seem to have been frequently melodramatic:
Edna Lyall is partly to blame for having introduced this habit of torturing the poor hero both physically and mentally to such as fearful extent that the reader can only feel relief when the end of the third volume is reached.
- Daily News, 25 July, 1889
In 1886 she was forced to reveal her identity, due to an impostor and rumours that "Edna Lyall" was in a lunatic asylum; this experience informed her 1887 Autobiography of a Slander. There's a contemporary biography, JM Escreet's The life of Edna Lyall (Ada Ellen Bayly) (Internet Archive lifeofednalyalla00escrrich).
See Internet Archive (creator:"Edna Lyall") for her works.



Mrs. Riddell ("from a photo by Barraud. Author of Maxwell Drewitt, etc").
This is Charlotte Riddell aka Mrs J.H. Riddell ("one of the most popular and influential writers of the Victorian period. The author of 56 books, novels and short stories, she was also part owner and editor of the St. James's Magazine, one of the most prestigious literary magazines of the 1860s" - Wikipedia). Her Irish origin influenced themes of many of her works, which included respected novels and stories in the ghost story genre, but she also wrote about London and commerce - an angle that the Dictionary of National Biography considered innovative for the English novel. She's in Notable Women Authors of the Day (pp 11-25), but probably the best source around is Michael Flowers' website charlotteriddell.co.uk.
See Internet Archive (complicated search redacted) for her works.



Miss Hesba Stretton ("from a photograph. Author of The Lord's Purse Bearers, etc").
Hesba Stretton was the pen name of the Shropshire-born Sarah Smith.
Smith was one of the most popular Evangelical writers of the 19th century, who used her "Christian principles as a protest against specific social evils in her children's books".
- Wikipedia
She's one of the those Victorian authors whose works, to modern sentiments, have excruciating religiosity - nevertheless, it was directed to good intent, and she did worthy work for slum children in Manchester, and was a co-founder of the the London Society for the Prevention of Cruelty to Children, later incorporated into the NSPCC.
See Internet Archive ("hesba stretton") for her works. Not all are children's works: The Highway of Sorrow looks interesting, taking as its theme a little-known episode of history: the persecution of the Shtundists - a Ukrainian Protestant sect - in late 19th century Russia.



Miss Florence Marryat ("from a photo, by the London Stereoscopic Company. Author of Peeress and Player, etc").
Florence Marryat was an author and actress, daughter of the sea story writer Captain Marryat. She had a high-achieving career, with a spot of flakiness: 70 books (including sensational novels on heavy themes such as domestic abuse) and many other writings; a comedy double act with George Grossmith; many stage appearances with the D'Oyly Carte; a one-woman show; running a school of journalism; and, in later life, books on spiritualism and seances (which remain, probably unfairly) her best-known works. She's in Notable Women Authors of the Day (pp 81-96) - a publication I'm rapidly grasping to to be the Hello! magazine of late-Victorian women writers - but her life isn't well-documented; the site Florence Marryat (1833-99) - novelist, playwright, actress, singer, spiritualist attempts to draw together the threads.
See Internet Archive (florence marryat) for her works, which include the multi-volume Life and Letters of Captain Marryat. It's disappointing, given the publication date, that her 1897 vampire novel The Blood of the Vampire isn't online.



Miss Rhoda Broughton ("from a photo, by Barraud. Author of Not Wisely, but Too Well, etc").
Rhoda Broughton was a popular and successful novelist and short story writer, Welsh-born with roots in minor aristocracy (and a niece of Sheridan La Fanu). She wrote 20+ novels, unlike many authors shifting successfully from the early Victorian "three-decker" format to single-volume books.
[She] won success and notoriety because of their "fast" heroines, young ladies with a taste for daring and rapturous flirtations in lush pastoral surroundings.
- Victorian Poetry, Volume 15, p79, 1977
 .. and the Oxford Guide to British Women Writers (1993) comments that her later popularity suffered from this early reputation staying attached. Notable Women Authors of the Day (pp 37-43) has the usual biographical sketch.
See Internet Archive (creator:"Rhoda Broughton") for her works. 



Mrs. Sarah Grand ("from a photo, by Birtles, Warrington. Author of The Heavenly Twins, etc").
This is Sarah Grand, "feminist writer active from 1873 to 1922. Her work revolved around the New Woman ideal - Wikipedia). Born Frances Elizabeth Bellenden Clarke and later married to a Mr McFall, she took the pen name Sarah Grand on the publication of her second novel. She had an eventful life, with strong involvement in issues of women's rights, including sexual health. She was expelled from school for organising groups supporting protests against the Contagious Diseases Acts, which focused on persecuting prostitutes as a measure against sexually transmitted diseases; and her novel The Heavenly Twins was notorious for tackling the theme of syphilis. There's a good summary of her life and work at Victorian Secrets: Sarah Grand. and Notable Women Authors of the Day has a chapter on her (pp. 320-328).
See Internet Archive (creator:"Grand, Sarah") for her works; these include not merely novels, but some of her articles on issues of the "New Woman".



Miss Rosa Nouchette Carey ("from a photo by S. Poole & Co. Author of Robert Ord's Atonement, etc").
Rosa Nouchette Carey was an English novelist who largely wrote pious, safe, improving fiction on domestic themes, aimed at middle-class urban young female market. She did, however, tackle heavy topics in some of her works ("her 1869 novel Wee Wifie features vitriol-throwing, opium addiction, and hereditary insanity" - Wikipedia). Apart from 33 novels, her work also included serials for the Girl's Own Paper and non-fiction such as the biographical collection Twelve Notable Good Women of the XIXth Century. See
Notable Women Authors of the Day for a biographical sketch (pp. 145-156); Victorian Secrets also has a good introduction - Rosa Nouchette Carey.
See Internet Archive (creator:"Carey, Rosa Nouchette, 1840-1909") for her works.



Mrs WK Clifford ("from a photo by Van der Weyde. Author of Anyhow Stories: Moral and Otherwise, etc")
This is the novelist and journalist Lucy Clifford. I've mentioned her previously - see Cautionary Tales - but it'll do no harm to recap.

Although she wrote much more, she's particularly remembered for her very scary story The New Mother, a fable in which a brother and sister are incited to naughtiness by a strange girl they meet after the fair has been in town. Their mother threatens that if the naughtiness continues, she will go away and they will get a new mother "with glass eyes and a wooden tail". This comes from Anyhow Stories, Moral and Otherwise (Macmillan, 1882) which included The New Mother.  Other works were, for their time, considerably groundbreaking, such Mrs Keith's Crime, which concerns an ailing young widow who makes the considered decision to kill her also-consumptive daughter; and Aunt Anne, the sympathetic story of a woman of 68 who is taken in by an adventurer of 27 who marries her. Charlotte Moore, writing in the Guardian (Mind the gap, Wednesday May 22 2002) reads another Clifford story, Wooden Tony, as a description of autism, suspecting it to be based on first-hand knowledge. From outside the world, the story of a girl who doesn't relate to human concerns, could also be interpreted in that light.

She was married to the mathematician William Kingdon Clifford for the four years before his death; despite the briefness of their time together, they were one of the fun intellectual couples of the 19th century: see William and Lucy Clifford.
See Internet Archive (creator:"Clifford, W. K., Mrs., d. 1929") for her works.



- Ray

Alma Lee found

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A fascinating development arising from the Isle of Wight County Press feature on A Wren-like Note: a correspondent has sent me a clear identification of the original for the wronged coachman's daughter Alma Lee, a central character in Maxwell Gray's 1886 The Silence of Dean Maitland.


Alma Lee and her baby
Judy Stoneley, of St Lawrence, Isle of Wight, contacted me to tell me that two of the characters in the novel - Alma Lee and her coachman father Ben Lee - were based on members of her family: her great great grandmother on her mother's side, Ellen Leigh, and Ellen's father Samuel, head coachman for Sir Barrington Simeon at Swainston.

The identification came from Judy's mother's research some forty years ago into the Leigh family history. Born c. 1826, Ellen was brought up on the Swainston estate, and in the mid 19th century left to marry a George Rashley. They had children including Edwin Collin Rashley (who went on to found the Rashley Brothers bakery in Cowes) - but, Judy says, "there was a rumour that she had had a child out of wedlock".

The evidence for the identification checks out conclusively, in my view, both in name and in detailed location. The Leighs lived in a cottage behind the Temple, the 18th century folly at Swainston. The Lees in the book live in a "sham Greek Temple" on the "Swaynestone" estate:
They have just passed the entrance-gates of Swaynestone — lonely gates, unfurnished with a lodge — and the waggon stops with interrupted music at some smaller gates on the other side of the road, where the upland still rises, not in bare down, but in rich meadow, to a hanging wood, out of which peeps dimly in the dusk a small white structure, built with a colonnade supporting an architrave, to imitate a Greek temple — Alma's home.
- The Silence of Dean Maitland 
The Temple, Swainston - see To see Swainston
The family details Judy sent me are all confirmed by census and other records. I had a browse of Ancestry.co.uk, and the 1841 census lists the occupants of the Temple as:
Samuel Leigh 45 coachman
Anne (wife) 40
Ellen Leigh (daughter) 15
Ellen Leigh married George Rashley at Whippingham (near Newport) in February 1849. The 1851 census finds the Rashleys living in Whippingham with their first child Samuel (born January 1850, according to the BMD records) but it's a slightly peculiar detail that a decade later the 1861 census finds Samuel, aged 11, living not with his parents, but with his grandparents at the Temple. He grew up to be an agricultural labourer, and the 1881 finds him living at Winkle Street living with his widowed mother - presumably they were thrown out of the Temple after his grandfather died.

Over the next decade, the Rashleys had three other children, who all lived with them. I don't know if this different domestic arrangement for Samuel has any bearing on his paternity; alternatively, maybe they just had domestic problems in early marriage, and couldn't cope with a child. But it's interesting that he has the same given name as his grandfather, which suggests he could have been the model for Alma's son Ben (also named after his coachman grandfather).

Judy asked if I knew how Mary Tuttiett came to use her ancestors as characters. I don't know, except in the broadest sense; that as Maxwell Gray she regularly incorporated her own experiences into her books. By her own account, in her early years she used to accompany her GP father on his rural rounds, which included Calbourne, and at some point she must have picked up these biographical details. She was born in 1846, and The Silence of Dean Maitland was published in 1886, so the relevant part of Ellen's life happened in Mary's early childhood, decades before she incorporated the details into The Silence of Dean Maitland (which is placed at an intermediate date, with Alma's illegitimate son born in 1863).

This story is ongoing; there may be more to say. I have to admit I feel a little stupid for not having spotted the Leigh family during the research for A Wren-like Note; it shows how you can miss major details in even the most exhaustive research.

Grateful thanks to Judy Stoneley for sending me this information, and for her kind permission to cite it.


- Ray

For more background, see maxwellgray.co.uk, the companion site for my biography of Mary Tuttiett, A Wren-like Note.

Devon: its Moorlands, Streams & Coasts

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An out-take from The Dread Wrecker Featherstone: Lady Rosalind Northcote's 1908 Devon: its Moorlands, Streams & Coasts, an illustrated account of the landscape and history of Devon.It has extremely pleasant colour plates, from watercolours by Frederick John Widgery, who specialised in coastal art of Devon and Cornwall. The scenes range over the whole of Devon, but here I've selected a local sample from East Devon round to Torbay.

The text is worth a skim, though I can't say it's wildly enlightening; it's definitely a "me too" book, largely built around scraps of learned but well-recycled material. For instance, the section on Topsham consists of little more than a retelling of Robert Lyde's 1693 A True and Exact Account of the Retaking a Ship Called the Friend's Adventure of Topsham from the French (see also Sabine Baring-Gould'sDevonshire Characters and Strange Events). Anyhow, enjoy the pictures:

Exeter Guildhall

Exeter from Exwick

Exeter Cathedral

Topsham

Exmouth from Cockwood

Sidmouth

Branscombe

Beer Beach

Seaton Headland

Teignmouth and Shaldon

Torquay from the Bay

Berry Head

Brixham Trawlers

Devon: its Moorlands, Streams & Coasts (Lady Rosalind Northcote, with illustrations in colour after Frederick J Widgery: London, Chatto & Windus; James G Commin, 1908, Internet Archive devonitsmoorland00nort).

Lady Northcote (1873-1950) published only one other work, the 1903 The Book of Herbs (Internet Archive cu31924073899373) although Devon had a 1919 reprint. She was a member of one of the aristocratic families of the Exeter area, as described in her obituary:
Northcote (Lady Rosalind Lucy Stafford Northcote), eldest daughter of the second Earl of Iddesleigh, died on 31st December, 1950, at her home at Upton Pyne. Greatly sympathetic towards the cause of kindness to animals, Lady Rosalind was a former vice-president of the Exeter and West Devon Branch of the R.S.P.C.A., chairman of Exeter Auxiliary branch and a group representative on the National Council of the Society. A film made on her estate was shown to the annual meeting of the Society in 1936. Part of the Society's propaganda, it was designed to help teach children a proper attitude towards animals. Her book on Devonshire was her best known literary work.
- page 12, Report and Transactions - The Devonshire Association for the Advancement of Science, Literature and Art, Volumes 82-83, 1950
- Ray

Weston Plats revisited: part 1

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I briefly visited Weston Plats - a pleasant coastal 'undercliff' near Sidmouth - on a walk a year ago (see Dunscombe: Spring is in the air). But I took myself out yesterday for a better look: a half-day excursion taking in some of the nicer woodland and coastal scenery of East Devon.

Weston Plats are a remnant of an obsolete farming system in East Devon; 'plats' were sloping south-facing plots, used to raise early vegetables and flowers, in the moist and sheltered microclimate of the 'bench' of Triassic rocks below Cretaceous crags above. Most of the plats have become overgrown, and in one case occupied by a mobile home park, but Weston Plats - where farming ceased in the 1960s - were cleared and restored a few years ago, in a joint project between the National Trust and the East Devon Area of Outstanding Natural Beauty.

It's mildly hard work to get there - it's part-way up the 500-foot ascent on the western side of Weston Combe, on the South West Coast Path. But it's worth it: a secluded and relaxing place, sheltered below the crags of Rempstone Rocks. I think it must be the most westerly example of an undercliff on the south coast. For further background, see the National Trust page - The past rediscovered: The Weston Plats. The South West Coast Path site has a page - Weston Plats - giving detailed instructions on visiting.

On Wednesday I visited Weston Plats as part of a walk from Weston Donkey Sanctuary to Sidmouth, a 'lite' version tracking inland to avoid most of the major descent and ascent at Salcombe Mouth: still a respectable afternoon's walk of about 5.5 miles, with one stiff climb. I started by taking the 157 Coasthopper bus from Exmouth to Sidmouth, which goes via Budleigh, East Budleigh (birthplace of Sir Walter Raleigh) and the Otter valley; then taking a local bus from Sidmouth Triangle up to the Donkey Sanctuary.

Walter Raleigh statue, East Budleigh
Buckton Hill, north of Sidmouth


The Donkey Sanctuary (entry is free) itself has some signposted walks, and one of these links in handily to a visit to Weston Plats: route E, which descends Weston Combe a little way before tracking in a loop up the wooded hillside to take in a hermitage and quarry. The woods looked and smelt beautiful; at this time of year, the chief ground cover is some variety of allium (ramsons, I think).





Where path E returns to the hilltop, head south between the donkey fields, then west; this takes you on to a southward road to Dunscombe Manor holiday park, where a concreted track skirts the side of the valley further southward to a signposted link to the coast path. Follow that, a steep descent of the western side of Weston Combe through woods, then pasture, until you see the information board for Weston Plats.




The access track leads, via a reconstructed linhay (a storage shed) ...



... to the plats, an NT-maintained plat nature reserve, cleared as a meadow surrounded by mature woodland. Despite the scary description ...
Exploring the Weston Plats
Care is needed at all times as the site contains old machinery and is bordered by steep cliffs. Please keep to the waymarked path around the site. There is no through access along the coast.
... there are one or two well-trodden side paths leading through characteristic undercliff woods - ash and hawthorn trees, ivy, brambles, ferns - with fine views along the coast and upward to Rempstone Rocks. Apparently you need to watch out for adders.













To be continued

- Ray

Weston Plats revisited: part 2

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Further to Weston Plats revisited: part 1, some photos of the remaining section of Wednesday's walk, from Weston Plats to Sidmouth, taking in the odd landscape of 'Dunscombe Humps'.


From the Weston Plats information board, you follow the South West Coast Path up the western side of Weston Combe (a climb of around 75 metres). Near the top there's a detour to a viewpoint a little below the summit.

The path - steeper than it looks - lined by ramsons



Upper Dunscombe Cliffs, near Sidmouth
The continuity of scenery and landscape on the English south coast is very satisfying. All of these undercliff areas are formed when you have softer rocks capped by harder ones. Here, the underlying rock is the Triassic Mercia Mudstone); along the Lyme Undercliff it's Jurassic clays; and at the Isle of Wight Undercliff it's Cretaceous Gault clay. But in all cases, the capping is of Cretaceous Greensand; and the combination gives a near-indistinguishable, and for me powerfully evocative, terrain. Compare:

Crags above Lyme Regis Undercliff

Crags above Isle of Wight Undercliff, near Ventnor
From the viewpoint, a further short climb takes you to the summit, and the odd landscape of Dunscombe Humps. Its terrain of mounds and wooded hollows, with heaps of flints, derives from former quarrying of the overlying Chalk for lime burning.




Lincombe
The South West Coast Path skirts Lincombe, another coastal combe; you can continue by the Coast Path to Sidmouth, via another 500-foot descent and ascent at Salcombe Mouth. But alternatively (as I did) you can take a route that loses less height: track inland from the head of Lincombe, and join the road through the hamlet of Salcombe Regis. Head downhill a little from the church, and another track leads up through the woods of Salcombe Hill. From there, you get striking (and much photographed) views of Sidmouth and the coastline near Ladram Bay, before descending through woods into Sidmouth. Due to cliff falls, the coast path no longer descends to the Alma Bridge crossing of the River Sid, but is diverted via residential roads to higher in the town.






- Ray

A Tour of the Isle of Wight, 1790

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There are any number of "me too" 19th century travelogues of the Isle of Wight, but I just ran into two late 18th century ones that give a slightly different perspective: John Hassell's 1790 Tour of the Isle of Wight, and Charles Tomkins' 1796 A Tour to the Isle of Wight.

The books are superficially similar in format - the authors of both were artists and who went on a tour starting from London, and begin with accounts of how they got to the Island - but they differ in style. John Hassell focuses strongly on his personal impressions of the places he visited; in contrast, Charles Tomkins is rather impersonal, and devotes a lot of space to recycled historical anecdote. As artists, their topic interest differs too: Hassell favours landscapes, and Tomkins favours churches and other buildings. Consequently, I found Hassell's account far more engaging in both treatment and topic. Nevertheless, both books are worth a look, and the many plates will be of interest to fans of historical topography.

Hassell was 23, and comes across as young and enthusiastic. He comments on the prettiness of Newport women, and on what attracted him about the light and scenery to draw particular scenes. He's generally interested in seeing things going on: for instance, he observes the sand and clay mining in Alum Bay, and visits stately homes and admires the paintings. He not only explores the land, but also takes a two-day sailing tour to look at the scenery from offshore. His pictures are a little naive in style, and the colouring of the prints is pretty strange: if they seem obtrusive in the 200-year-old copy scanned by Google, they must have been outright garish when the book was new, and the contemporary review in Tobias Smollett's The Critical Review, Or, Annals of Literature says as much:
The tinted etchings, though these before us are, on the whole, well executed, are deformed by the tint: a glaring glaring purple, a green glow,, or a deep yellow hue, disguises instead of illustrating nature.
Smollett criticises the parts of the book where Hassell tries to get learned outside his specialism, considering him unequipped ...
In the houses, he describes the paintings with much feeling and enthusiasm, and sometimes condescends to instruct us as an antiquarian and a naturalist; but in these departments, particularly the last, his success is not very considerable. He is evidently unacquainted with the subject, and he ought to have avoided such disquisitions.
... but is overall favourable about the work:
On the whole, however, though little errors occasionally appear, the work is very entertaining. Indeed, natural objects described with fidelity and elegance will always interest and attract the reader, not rendered fastidious by fashion or affected refinement.
- The Critical Review, Or, Annals of Literature, Tobias Smollett, pub.W. Simpkin and R. Marshall, 1791, pages 184-189.
I wouldn't disagree; A Tour of the Isle of Wight is a fresh and very personal account, not cluttered by retreads of antiquarian erudition.

Click any image to enlarge.

View inland from Yarmouth

View inland to downs from Freshwater Gate

Coastal arch at Freshwater
The Needles
The cliffs of Alum Bay
Scenery near Afton Down
Blackgang Chine
The Undercliff
Scenery near Shanklin
Foot of Luccombe Chine
Luccombe
Shanklin Chine
Cascade at Shanklin Chine
"Queen Bower", near Newchurch
vertical scale of the hill considerably exaggerated
Carisbrooke Castle
Carisbrooke Castle gate

Shore at Osborne
Shalfleet Lake - Hassell admits to exaggerating the proportions
"Gurnet Bay" (Gurnard)
Unidentified scene
Hassell visits Stonehenge on the way home
  • Tour of the Isle of Wight, John Hassell, printed by John Jarvis ; for Thomas Hookham, London, 1790: Volume 1 Internet Archive tourislewightdr00hassgoog, Volume 2 Google Books SYUuAAAAMAAJ).
I'll look at the Tomkins book shortly.

- Ray

A Tour to the Isle Wight, 1796

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The second of the two 18th century Isle of Wight travelogues I mentioned recently: Charles Tomkins' 1796 A Tour to the Isle of Wight.

As I said, it has much the same format as John Hassell's 1790 Tour of the Isle of Wight: an artist author takes a trip from London to the Island, and writes a two-volume illustrated travelogue. But Tomkins has a lot more pictures (80 views), a much great focus on architecture than Hassell (particularly churches), and he's a slightly better artist. But compared to Hassell, his style tends to the impersonal - very straight descriptions of places - and he also devotes large tracts of the book to quoting historical primary and secondary sources, such as the deed on conveyance for Newport grammar school, the Latin charter of Newport, and the entire costing sheet for the repairs of Carisbrooke Castle during the reign of Queen Elizabeth I. I'm sure this may well be of value to researchers somewhere, but it makes a deal of the book highly skimmable. Nevertheless, once he gets on to personal description, it livens up. He started the tour with a boat trip around the south of the Wight, where he seems to have fun, although in rather macho company.
We stood round the Needles, and lay to in Scratchel's Bay, which is the western end of the island. Here part of our company landed on the rocks, to take the diversion of shooting at their feathered inhabitants, which, in the months of May, June, and July, it is said, are incredibly numerous. Whilst my fellow travellers were thus engaged, I rowed out to catch a sight of the Lighthouse ... When I had got out to a sufficient distance, I made a sketch of the West end of the Island.

Scratchel's Bay ... Here we made a hearty meal, and enlivened the dreary scene with mirth and a bottle. We could not help observing that this is a spot by no means favourable to the talents of our London sportsmen, who were much decieved as to distance on the water. The birds, indeed, seemed aware of this error, and remained quietly on the rocks after being repeatedly fired at.
 What jolly fun ...

For me, the pictures are by far the most interesting aspect of the book. Alongside the descriptions, these images track a few 'old friends' back a few decades before I've previously known them.

Click to enlarge any image.

"Allum Bay and the Needles"
"West end of the Isle of Wight"
"Blackgang Chine"
Entrance into Newport
Medina River
Medina River
Newport, from Fairlee
Part of the land excursion Tomkins calls the Western Tour, which leaves Newport westward, and particularly takes in the cliff scenery at Freshwater.

"Keep of Carisbrook Castle"
"Carisbrook Castle"
"Carisbrook Castle"
Yarmouth Castle
"Cave at Freshwater"
"Distant view of St. Catherine's"
"Freshwater"
"Freshwater Gate and Main Bench"
He then moves on to an Eastern Tour, taking in places such as Sandown, Ryde, Brading, and Culver Cliff. This book contains so far the only image I've found of the previously mentioned "Hermit's Hole" (see Swinburne, Culver climber), a clifftop ravine and cave which seems to have been lost to erosion perhaps some time in the early 20th century.

"Path to Hermit's Hole"
"Culver Cliffs"
"Brading"
"Ride"
Tomkins' Southern Tour takes in places such as Chale, Blackgang, the Undercliff and Ventnor. I particularly like the Undercliff views, which include the scary "Devil's Bridge" at Steephill, and a scene of pre-development Bonchurch showing Undermount Rock with "Hadfield's Lookout" still extant.

"Blackgang, looking to Sea"
"Chale Bay"
"St Catherine's"
"Knowles, looking West"
"Mirables, from Cripple Path"
"Steep Hill"
"Bonchurch Viillage"
"Luccombe Chine"
"Shanklin Chine"
A Tour to the Isle of Wight: Illustrated with Eighty Views, Drawn and Engraved in Aqua Tinta, Charles Tomkins, pub, G Kearsley, London, 1796 (Volume 1 Internet Archive atourtoislewigh00tomkgoog, Volume 2 Internet Archive atourtoislewigh01tomkgoog).

The Devil's Bridge, Steephill

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Further to the previous post about Charles Tomkins' 1796 A Tour to the Isle of Wight: a handful of topographic accounts mention an interesting landform at Steephill, Isle of Wight, called the Devil's Bridge.

The first reference I can find is in the 1823 edition of John Albin's A Companion to the Isle of Wight, whose author describes it as being in the grounds of the cottage of the late Earl of Dysart (Wilbraham Tollemache):
Steephill is seated on a terrace near the foot of the great cliff. Some wood and much rich shrubbery grow round the house, and adorn the masses of rock, which everywhere start from the uneven surface. One of these, called the Devil's bridge, is in form, colour, and position, as romantic as can be conceived. It lies projecting nearly horizontally from a bank, is of a very great size, and the strata being of different hardness, the lower parts are so worn away, that the upper part overhangs like a vast cornice, and in this there is an excavation deep enough to afford room for a bench quite covered over head, and accessible by a rude staircase built against its flank. Ivy winds over its surface, and shrubs clothe its sides.
- A Companion to the Isle of Wight, John Albin, Longman & Co, 1823 (Internet Archive companiontoisleo00albi)
It's mentioned again, this time with a print, in volume 2 of Charles Tomkins'A Tour to the Isle of Wight:


In the view of Steephill, is introduced a curious rock, called the Devil's Bridge. In a chasm of the rock, is placed a seat, the approach to which, is by a rude flight of sleps. From this situation, you overlook the house and grounds, and have a full sea view. The house is perfectly in unison with the grounds, and does great credit to the taste of its owner.
- A Tour to the Isle of Wight, Volume 2, Charles Tomkins, pub. G Kearsley, London, 1796 (Internet Archive atourtoislewigh01tomkgoog).
It looks ready to fall down at any time, but it was still being described at the beginning of the 20th century, getting a mention (though unfortunately not a photo) in John B Marsh's account of Steephill Castle (built on the site of the Tollemache cottage), written for private publication for its tycoon owner John Morgan Richards ...
As though to omit no feature of natural beauty, nature has provided a freak of strata in the cliff north of the Castle, which has been christened by the unromantic name of "the Devil's Bridge." This projects horizontally from the cliff like a natural cornice, and being of a harder strata than that immediately below, there exists a cavern beneath large enough to allow of the construction within of a sheltered bench for the curious in search of the picturesque. Ivy winds about the sides of the cavern, and shrubs clothe the cliff above and around. There is a rude staircase by which the place is reached; and from this point the view of the rolling cliffs, and valleys, with the sea beyond, is remarkably fine. 
- Steephill Castle, Ventnor, Isle of Wight, the residence of John Morgan Richards, Esq.; a handbook and a history (John B Marsh, 1907, Internet Archive steephillcastlev00mars)
... though the phraseology is so obviously ripped off from Albin that you wonder if Marsh or Richards had ever actually seen the thing. Nevertheless, Richards endorsed the detail in his 1914 memoir Almost Fairyland.
A distinguished journalist visiting her after the completion recently wrote for the Lady's Pictorial a description of Steephill which is quite comprehensive and explains its attractions and points of interest
...
"Part of the grounds are wild, and a fine effect is secured in one by a freak of the strata of the cliff projecting horizontally and known as the Devil's Bridge"
- Almost Fairyland, personal notes concerning the Isle of Wight, John Morgan Richards, pub. John Hogg, London, 1914
Old Ordnance Survey maps - see 1898 and 1909 below - give no indication of its location in the Steephill grounds (despite identifying other features such as "sun dial"). But if the John Morgan Richards accounts are accurate, it survived the 1900 cutting of the now-defunct railway serving the Ventnor West station.

Historic map data is (© and database right
Crown copyright and Landmark Information Group Ltd. (All rights reserved
2009). Low-resolution image reproduced for small-scale non-profit
use under the terms described in the Old Maps FAQ.
Historic map data is (© and database right
Crown copyright and Landmark Information Group Ltd. (All rights reserved
2009). Low-resolution image reproduced for small-scale non-profit
use under the terms described in the Old Maps FAQ.
So, is there any trace of Devil's Bridge remaining? Steephill Castle was demolished in 1963 (see The forgotten castle, David Paul, Wight Life) and the grounds divided up and sold for residential use. The Devil's Bridge itself looks a Health & Safety nightmare, and likely to have long since collapsed or been pulled down. But is the rock of which it formed a part still lurking in the undergrowth somewhere, like Undermount Rock in Bonchurch? Tracing its fate could be an interesting project. It would have been somewhere in this vicinity:


View Larger Map

- Ray

The Chines They Are a-Changin'

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Another spinoff from the recent posts on 18th century Isle of Wight travelogues: the clues you can follow about landscape changes over two centuries, particularly in the chines of the 'Back of the Wight'.

One particular passage in Charles Tomkins' 1796 A Tour to the Isle of Wight appears in the section about his Western Tour, where lists the chines (coastal ravines) in the parish of "Brixton":
On the shore of this parish, are Jackman's Chine, Water-Gate Chine, Shrimp-Ledge Chine, Barns-Hole, Cowleaze Chine, Common Chine, and Kings-Gate Chine.
"Brixton" is the old name of the present-day Brighstone. Both names, as well as "Brightstone" were in the picture in the mid 19th century - for instance, William Henry Davenport Adams' 1856 The History, Topography, and Antiquities of the Isle of Wight mentions "The parish of Brixton, Brightstone or Brighstone" - but the changeover seems to have happened toward the end of the 19th century. The village is Brixton on the 1866 Ordnance Survey Map, and Brighstone on the 1898. I can't fathom the reason for sure; this seems to be one of those places where spelling interacts with pronunciation. According to Room's 2007 The Pronunciation of Placenames: A Worldwide Dictionary, "The name of the Isle of Wight village has a local pronunciation Brik stun, corresponding to the historic spelling Brixton, recorded in 1399". But if I had to guess, I'd go for the theory that the print spelling "Brighstone" got a particular boost through George Moberly's 1869 Brighstone Sermons, whose popularity shows up as a major blip in print use of the name (graph from Google Books Ngram Viewer).


As to the chines: this is an area of rapidly-eroding coastline, with chines a geologically ephemeral feature. Tomkins' list makes an interesting mix of chines that have merely changed names, chines that have demonstrably disappeared, and chines where it's a mystery what Tomkins was referring to.

Jackman's Chine seems to be simply another name for Grange Chine. Multiple accounts identify it as the chine that leads down from Brighstone to the sea, now called Grange Chine:
Grange Chine, sometimes called Jackman's
- Black's Picturesque Guide to the Isle of Wight, 1871
Below the village of Brighston is Grange or Jackman's Chine, a broad gorsy ravine, offering no very marked features
A handbook for travellers in Surrey, Hampshire, and the Isle of Wight, Richard John King, 1865
There is one called Jackman's Chine, which may be said to lead from the village to the bay.
- Nelson's Handbook, 1859
A stream passes through this place [Brixton] which takes its rise near Mottiston, and empties itself into the bay at Jackman's Chine
A General Collection of the Best and Most Interesting Voyages and Travels in All Parts of the World, John Pinkerton, 1808
Water-Gate Chine seems to have been an insignificant chine eastward of Grange Chine. Apart from Tomkins, it's mentioned in Robert Mudie's 1840 The Isle of Wight: its past and present condition, and future prospects:
They [chines] are six in number, — Jackman's, Water-gate, Ship-ledge, Barnes, Cowleaze, Grange, and Chilton
I can find no sign of it now. 

Shrimp-Ledge Chine is one of many variant names:
Ship Ledge (H 7 97 NE) corresponds to Shriptege Chine 1775 M, Strip Ledge Chine 1851 M; Tomkins (2.76) mentions Shrimp- Ledge Chine (1796) and Englefield (8) calls the chine Shriptedge. The preponderance of spellings containing an r seems to indicate that Shriptedge is the least corrupt form and that the name is a compound of the dialectal word shrip 'to clip a hedge' (also 'to cut or whittle away a piece of wood, to make chips'
- The place-names of the Isle of Wight, Helge Kökeritz, 1940
Ship Ledge is a still-hazardous reef. There are signs of a chine (at right) on the 1862 OS map ...


Historic map data is (© and database right
Crown copyright and Landmark Information Group Ltd. (All rights reserved
2009). Low-resolution image reproduced for small-scale non-profit
use under the terms described in the Old Maps FAQ.
 .. but it no longer exists (see Google Maps and Peter Bruce's Wight Hazards).

Barns-Hole appears in a number of accounts, described as a spectacular feature:
Cowleaze Chine, Barnes' Hole (well worth the walk to see) and Grange Chine
- The New Portsmouth, Southsea, Anglesey, and Hayling Island Guide, 1859
Barnes Hole, between Cowleaze and Shripledge, is a vast chasm in the earth, with black gloomy sides, four hundred feet in height
- The History, Topography, and Antiquities of the Isle of Wight, William Henry Davenport Adams, 1856 
Barnes Hole is a remarkable cavern, of extraordinary height, and most gloomy aspect.
- Picturesque Illustrations of the Isle of Wight, Thomas Barber, 1834
The location, and The place-names of the Isle of Wight, identify it as Barnes Chine, now not particularly notable in appearance (see Google Maps); presumably it's been eroded over a century.

Cowleaze Chine still exists, and has an interesting back-story. Cowleaze Chine (upper left) is an almost dry watercourse that lies adjacent to the larger and more active Shepherd's Chine (lower right), which probably didn't reach the coast at the time Tomkins was writing.


View Larger Map 

You wouldn't suspect that Cowleaze Chine was the original dominant watercourse prior to the early 1800s: you can see from the 1810 Ordnance Survey First Series. that the stream of what's now Shepherd's Chine ran coastward, then turned parallel to the coast to feed Cowleaze Chine. However, at some point in the early 1800s, a new connection formed direct from Shepherd's Chine to the sea, leaving the feeder watercourse high and dry. The 1862 OS map shows the appearance afterward:




The original stream course parallel to the coast has since been obliterated by coastal erosion; now the only evidence is old maps. How the stream capture happened is debatable; a number of sources repeat this anecdote:
The stream that flows through Shepherd's chine is said to have formerly entered the sea by Cowlease chine, but a shepherd desiring to secure the eels which were to be found in the mud at the bottom, cut through the soft and narrow barrier which divides the ravines and diverted the water, with the full intention of restoring the stream to its old bed wnen he had filled his creels, but heavy rains coming on, the brook soon deepened its new channel beyond the possibility of restoration, and has, by degrees, formed a new chine, named from its unintentional creator, leaving its former course deserted and dry.
- Jenkinson's Practical Guide to the Isle of Wight (1876, Internet Archive jenkinsonspract00jenkgoog)
... but it could have happened spontaneously, due to coastal erosion cutting into the stream path to allow a new outlet. See pages 116ff in Chapter 4 of Chris Hackney's 2013 PhD thesis Modelling the Effects of Climate Change and Sea Level Rise on the Evolution of Incised Coastal Gullies. Nice story, though.

A similar situation happened further eastward, where a meandering stream more or less parallel to the cliff originally reached the sea at Ladder Chine, but successive erosion created a new path to the sea first at Walpan Chine, which in turn was left dry as another new outlet formed at New Chine.

Common Chine isn't findable; Tomkins appears to be sole source. Perhaps he means Compton Chine, but the location doesn't match the west-east sequence of Tomkins' list. 

Kings-Gate Chine isn't findable outside the Tomkins book either.

Another well-documented and spectacular coastal feature, not mentioned by Tomkins, was Dutchman's Hole, which was somewhere near the outlet of Grange (aka Jackman's) Chine:
Near Grange Chine is a cavern of considerable height, called Dutchman's Hole, from a Dutch galliot having been hurled into it
- Nelson's Handbook to the Isle of Wight, 1862 
Grange Chine Point, to the West of Jackmans, is also remarkable for a cave called the Dutchman's Hole, so named from a large ship of that nation running into it.
- A topographical and historical guide to the Isle of Wight, WCFG Sheridan, 1833 
Dutchman's Hole, near Grange Chine, so called from a large Dutch ship which ran into it 
- A New, Correct, and Much-improved History of the Isle of Wight, John Albin, 1795
This too no longer exists.

- Ray 

Bayan time (22)

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A pleasant early afternoon today: I just played at the Topsham Music Festival (ongoing until 10pm) outside the Lighter Inn at Topsham Quay, in aid of the Macmillan cancer charity. It originally was to be a Blues Festival, but they widened the brief. Nevertheless, I stuck with the original plan and worked on some blues - a new venture for me - and went with Careless Love, a blues-y instrumental of Gershwin's aria Summertime, and the St James Infirmary Blues.

All great fun * I'll add some photos of other acts later on. The event goes on until 10pm.





- Ray

* Except - OMG - I find from Clare's photos that I'm reaching the age when my formerly somewhat elphin ear-tips are drooping, like those of Matt Frewer as the ageing Moloch the Mystic in the movie version of Watchmen.

Harriet Parr in Shanklin

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I've just been reading about another now-unsung Victorian female novelist, Harriet Parr (1828-1900), who wrote under the pseudonym Holme Lee. Although Yorkshire-born, she spent the latter half of her life in Shanklin, Isle of Wight, which appears in some of her works.

As the Wikipedia entry says, she was very prolific, producing a novel a year from around 1853-1883, as well as some religious and children's works, and writing (as an associate of Charles Dickens - see Dickens Journals Online) for the periodicals Household Words and All the Year Round. Her novels are not really in my spectrum. Writing for the rather anodyne circulating library market, they tended to be romantic family sagas of less intensity of plot and description that Maxwell Gray's (John Sutherland's Stanford companion to Victorian fiction characterises them as concerning "depictions of shy maidens and their decent love problems"). However, some are of distinct regional interest for their descriptions of Shanklin.

I first ran into this regional detail in a New Zealand newspaper:
One book especially ("For Richer for Poorer") brought out some of the most charming traits of the authoress; writing of the village of Shanklin, she delineates her characters with a wonderful delicacy of feeling—e.g., the disappointed curate, Harry Lamplugh (the Rev. C[harles] Hole.), then residing only a few yards from her. Again, she describes Mrs Jenkins, of the Old Library, and the little Jenkinses, the window of the room of the baker's house (Vine cottage) from which the village gossips could see all who came or went through the village street.
- Harriet Parr, Southland Times, Issue 14662, 6 June 1900, page 4
 For Richer, for Poor is findable through the Hathi Trust (cat ref 011405669). It fictionalises Shanklin as "Whitburn", and there's a particularly detailed introductory description in chapter XIX ("Whitburn-on-Sea"). A sample, which gives a detailed description of Shanklin Old Village:

Shanklin Old Village, Pictures in Colour of the Isle of Wight, Jarrold & Sons, 1910
From the same high ground, they had their first glimpse of Whitburn village. It followed the course of the brook, between two slopes of down, where the water had worn a deep chine to the shore. It appeared from the distance a pretty paradise in a hollow, with a church-spire and red-tiled roofs amongst green trees—for there were trees all about the houses, and gardens with hedges of tamarisk down to the sea. The travellers approached it from the north-east, by a long winding road, and came first to the church and the ancient manor-house, now turned into a farmstead; then to the placid parsonage and a cluster of humble straw-thatched cottages, much more than half-buried in ivy-bushes; and, at a double bend of the road, where it began to climb the opposite hill, to the village proper. Here, on an elevated lawn, stood the chief hotel and a lowlier house-of-call nearly facing it, both thatched, like the cottages, as to their roofs, and as to their walls trellised with roses and myrtles, jessamine and virginian creeper. A splendid passion-flower festooned the front of the library and bazaar which had choice apartments to let up-stairs; and a thick-clustered vine was trained over the orthodox baker-and-grocer’s dwelling, the side window of whose parlour looked up the street, past the butcher’s open stall and a long interval of luxuriant hedge, to a few picturesque detached lodging-houses recently built upon the heights. Within view of this window (a rare look-out for village gossips) two roads struck off in opposite directions—one leading to the cliff, the shore, and the garden-gates of the modern lodgings, the other to tangled lanes and woods and fields, and the convenient old house which the curate had chosen for his new home.

Mary’s quick observant eyes made notes of a few gay figures pacing the green lawn of the hotel; of a group of loud-talking, amphibious men in the forecourt of the “Crab and Lobster;” of a quaint old philosopher, taking in the cheap novels and newspapers which garnished a rack outside the library door; of a couple of women with baskets exchanging news on the steps of the baker-and-grocer’s shop, where the errand-boy was putting up the shutters. Then the jaded horses slackened their pace to breast the hill, and quickened it again as the driver turned them off the main road into the rough track across the goose-green, which developed into a shady lane at the further side.
- pp 266-268, Volume 1, For Richer, for Poorer, by Holme Lee [pseud.] v.1.Lee, Holme, 1828-1900, Hathi Trust, Cat. 011405669.
Shanklin Chine is, of course, mentioned, and one character is a Mrs Ducie who lives in the Chine Cottage. There are references to Shanklin in other Harriet Parr works, Against Wind and Tide (1859, Internet Archive againstwindandt00parrgoog) is a romantic saga set in "Chinelyn" - a thinly-disguised Shanklin - and which has its central location a manor house strongly based on Shanklin Manor ...
To the north-east of the church stands the Manor House,familiar to the readers of Holme Lee's "Against "Wind and Tide,"square built, with high peaked roof, heavy cornice, and long easements of the early part of the last century.
- p 47, A guide to the Undercliff of the Isle of Wight, Shanklin and Blackgang, Edmund Venables, 1876
... which still exists, converted into upmarket holiday apartments. 

Her series of autobiographical essays In the Silver Age: Essays, "that Is, Dispersed Meditations" (1864) - which the ODNB entry describes as "depressing" - also has descriptions of the Shanklin area. Parr describes as it as "the philosophy of a working-woman's life", the result of gentle pressure from advisers to write something other than novels. They're less interesting than you'd think; the big problem is she gives (presumably out of concerns for privacy) no specifics of names and places when you want them - for instance, the name of the "great house" she visited in the Undercliff.

Volume 1 leads with three linked essays, Through the Woods (a detailed description of the author's April walk down the lane from her house to the head of Shanklin Chine and up past the Manor House); Through the Landslip—Over the Downs; and By the Sea-Shore (which takes us down Shanklin Chine to the beach). Further sections include Village LifeQuiet Life (musings on her quite life in Shanklin); Old Familiar FacesOld Familiar Places (a return to her native York); From Day to Day (more of her Shanklin Life); and Summer Holidays (a visit to France). Volume 2 is an continuing mix of Continental travelogue and increasingly wistful mid-life musings (she was actually only 36, but according to Lord Ernle's account below, seems to have gone prematurely grey).

See the Hathi Trust (Cat. 011612168) for links to both volumes.

The frontispices have pleasant engravings of Isle of Wight scenes: Volume 1 has "The Lane", which appears to be what's now Manor Road, the route from the author's house across the manor grounds toward St Blasius Old Parish Church (the one whose right of way she disputed); Volume 2 is the view from Nansen Hill across Luccombe to Culver (compare Google Maps).

"The Lane"

image for the essay "A Bit of Sunshine"
You can access many more Harriet Parr works through the Internet Archive (search creator:"Harriet Parr" and creator:"Holme Lee"). A quick Google shows that some of the others mention the Isle of Wight in passing.

There are few descriptions of Harriet Parr herself. The Isle of Wight County Press obituary for February 24, 1900 says she was "of a most retiring nature and shunned publicity for herself in any form" and Allingham wrote of meeting her at a social gathering:
To Mrs. Barnard's, South Eaton Place. Madame Sainton-Dolby, Miss Ingelow. Little Miss Parr, who writes novels as ' Holme Lee,' looked nice in a high dress of lavender silk, like a quiet little old-maidish governess. Miss Thackeray accosted her, and so did I; we spoke of the Isle of Wight, New Forest, etc. 'London fatigues me,' she said: 'going to Dulwich to-morrow.' As we drove home Miss Thackeray exclaimed of one of the guests; 'Horrid woman!' she said to me, "I have been much pleased with some of your efforts," and, "You must have felt leaving that  nice house in Palace Gardens!" but little Holme Lee's a duck.'
- p179, William Allingham, a diary (1907, Internet Archive williamallingham00alli)
Lord Enle (Rowland Edmund Prothero, 1st Baron Ernle) met her in his early teens:
Hurrying home, I rushed out into the garden to tell my mother of my discovery, and found her sitting with Harriet Parr, a well-known novelist, who had come to stay at Whippingham. My mother's excitement exceeded my own. The volume might be Reynolds's own copy and contain manuscript notes! As soon as her horse could be brought round, she explained to her guest the urgency of the occasion, and, committing Miss Parr to my care as host, rode off to Newport. Within the hour she was back, waving the book in triumph. Meanwhile, as soon as I had recovered from my awe of a live authoress, Miss Parr and I had become friends. She had made her pen-name of Holme Lee famous, and was a "best-seller" both in England and America. She was, as I remember her, a frail-looking little woman, with crinkly grey hair, delicate features, and mittened blue-veined hands. Her domestic novels, written in a style as simple and unaffected as herself, were of the sentimental type. The whole incident is dated for me by her gift of her novel, Sylvan Holt's Daughter, with the inscription, “To my kind host of July 1864”.
- Whippingham to Westminster: The Reminiscences of Lord Ernle (Rowland Prothero), John Murray, 1938
According to the ODNB, there is/was an 1848 oil portrait of her painted by George Lance: older editions say it belonged "to her brother, Mr. George Parr, of 31 Canonbury Park" but the current location, assuming it to even by extant, is just described as "formerly priv. coll.".

W Gordon Gorman's 1910 Converts to Rome : a biographical list of the more notable converts to the Catholic Church in the United Kingdom during the last sixty years lists her as a Catholic convert (p 211) - though with no date or source, and the errors of calling her "Mrs Parr" and "Holm Lee".

Accounts variously give her Shanklin address as"Fern Bank" (Venables, A Guide to the Undercliff, 1867), "Whitwell House" (White's gazetteer, 1878), "Whitwell Mead" (various including ...)
Miss Harriet Parr, formerly very well known as a writer of the old-fashioned three-volumed novel type, lived for years at Whitwell Mead, a house on the bridle road from Shanklin to Godshill
-  page 145, Wanderings in the Isle of Wight, Ethel C Hargrove, 1913
... "Whittle Mead" (IWCP obituary, February 24, 1900) and "Whittle Meade" (IWCP, executor's sale, Saturday, May 5, 1900). I haven't yet been able to identify the precise location; it's probably somewhere near the present-day Fernbank hotel, near St Blasius Rectory.

In the 1870s onward, she got into a long-running dispute over a right-of-way issue concerning what's now Manor Road, which confirms this location.
SHANKLIN - FOOTWAY STOPPED
At the last meeting of the Isle of Wight County Commissioners the Clark read some communications with respect to the locking the gate of a private road by the lord of the manor, Mr. F. White-Popham.This road he declared a private  road, and that he should defend it against any who might think proper to dispute it.
...
The Clark also read a letter from a Miss Parr, lessee of a house in the manor of Shanklin, who likewise complained of the road being closed, mention of the road as a short cut to the church having induced her to take the lease of her house.
- County Petty Sessions, Isle of Wight Observer (Ryde, England), Saturday, June 19, 1875; pg. 6; Issue 1179. 19th Century British Library Newspapers: Part II.
It was still ongoing in 1887...
"The lady doth protest too much" must, I should imagine, have been the comment of
many of your readers after perusing the letter of Miss Harriet Parr, in your last week's issue, on the Shanklin footpath question. Zeal in behalf of a supposed public right cannot be accepted as an excuse for misrepresentation. I believe I am correct in stating that the question which this lady has re-opened was fully discussed and settled locally many
years ago, and if Miss Parr is not satisfied with that settlement, the Courts are open to her.
- Occasional Jottings, Isle of Wight County Press, Saturday, November 19, 1887, page 5 (reproduced as fair usage, Isle of Wight County Press Archive archive.iwcp.co.uk).
... and in 1889:
MISS PARR AND THE BOARD
The clerk said he had received some communications from Miss Parr respecting an alleged right of way near the Manor House, Shanklin.---Mr G. Way: Is it the same question that has arisen before?---The Clerk said he believed that it was, but as far as he could understand, the lady said she had got some fresh evidence.---Mr J.O. Brook suggested that the surveyor should report---The Chairman said he did not know what there was to report upon.
...
The Clerk said he could not understand Miss Parr's letter without going on the spot.---Mr G. Way: Are there any complaints from the public generally?---The Clerk: No.---Mr G. Way thought they were not called upon as a Board to enter into the grievance of one individual.---The Clerk was instructed to reply to Miss Parr that no sufficient reason had been shown for reopening the question.
- Isle of Wight Highway Commissioners, Isle of Wight County Press, Saturday, March 23, 1889, page 3 (reproduced as fair usage, Isle of Wight County Press Archive archive.iwcp.co.uk).
Harriet Parr died on 18th February 1900. Her grave (also that of her sister Frances "Fanny" Parr, to whom In the Silver Age is dedicated) is in the churchyard of St Blasius, Shanklin (see the graveyard plan).

- Ray
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