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Showing posts with label Guest Blogs. Show all posts
Showing posts with label Guest Blogs. Show all posts

Thursday, 10 November 2016

The rewards of research, guest blog from Dawn Harris

Welcome to Regency mystery writer, Dawn Harris, who is my guest today.  Needless to say, her books are on my wishlist!  








                            THE REWARDS OF RESEARCH.

My favourite period in history is from 1789-1820, inspired by the works of Georgette Heyer, Jane Austen, Baroness Orczy (Scarlet Pimpernel), and Winston Graham (Poldark). So, naturally, that was the era in which I set my first book, a mystery thriller, and when I discovered the joys of research.
I started with newspapers published in 1793, eager to see how people lived through the French Revolution and the war with France. And what I read took my breath away.
It brought to life the very real fears of a French invasion, and that some émigrés fleeing from the revolution in France, were in fact spies. There was turmoil over the Corresponding Societies, who were campaigning for all working men to be given the vote, as the Government feared these societies were using this as a cover for starting a French style revolution in Britain.
Smuggling was a huge problem then too, and as this was going to play a big part in my story, I concentrated on researching that first. On the Isle of Wight, (where I set my book), there were so many inlets and beaches where contraband could be taken ashore, that the men whose job it was to catch the smugglers must have had a tough time of it. One of the first things I came across in my search for facts was a memorial tablet in Whippingham church, which read,

 'Sacred to the memory of Wm Arnold, Esq, late Collector of HM Customs in the Port of Cowes, Isle of Wight. A man who by his amiable as well as faithful discharge, justly entitled him to the warmest esteem and affection of all who were permanently or occasionally associated with him in business, society or domestic ties. The public, his friends and his family feel and deplore the loss sustained by his death on March 5, 1801, aged 55.'

I was aware that some officials took bribes from smugglers, but this memorial, and other details I discovered about William Arnold, suggested he had not done so. That made me eager to find out more about him, and his efforts to curb the activities of the large number of smugglers on the Island. And I finally struck gold in a second-hand book shop on the Island. I found a book on his life. Another breathtaking moment.
It told me how he came to be the Collector of Customs at Cowes in 1777, and in the following year was made deputy Postmaster for the Island too. Appointments that meant he was often the first to hear news from the outside world.  Some of the letters he wrote are included in the book, and help to show the kind of caring man he was.
I learnt too that he was the father of Thomas Arnold, the famous headmaster of Rugby school, and grandfather of Matthew Arnold, the poet.
The book made clear that William Arnold was a highly respected, well-liked, honest official, who believed in doing his duty. He had a number of men to assist him, including  Riding Officers and Boatmen, but what he didn’t have at Cowes was a Revenue cutter to help him and his men catch smugglers. The Commissioners of Customs in London repeatedly turned down his appeals for such a boat, and in the end he, and one of his brothers-in-law, used their own money to purchase a cutter.
 Sadly, disaster struck within a month, when the boat, the ’Swan,’ was lost in a terrible gale, when chasing smugglers. Worse still, it had not yet been insured. That was a dreadful blow for him, but it persuaded the Commissioners of Customs to replace the boat. The letters he wrote to his wife’s brother in New York, eloquently showed his feelings at the time.
In those days much of the population either helped the smugglers, or were happy for a keg of brandy to be left by a rear door. A labourer working on the land could earn more in one night’s smuggling than in a week on a farm.
Smugglers needed to be good seamen too, especially if they planned to land their contraband on the Back of the Island. This was one of the quietest areas, but the underwater ledges here caused many a ship to come to grief over the centuries. As they still can.
The wily ways smugglers used to avoid being caught said much for their ingenuity! Some  sunk their illegal goods off-shore and collected them later when the coast was clear. Others hauled the stuff up cliffs with ropes. Or hid goods in ditches, under barn floors, in hayricks, or buried them in sand on the beach. Getting contraband off the beaches to a safe spot could be difficult, but some used ponies, covering their hooves with sacking so that they wouldn’t leave a trail. While a false trail was left in the opposite direction by using a horseshoe stuck on the end of a stick. Smugglers also made excellent spies, for they knew how to keep their mouths shut.
      Finding that book was a great piece of luck and was definitely one of the rewards of research. 

I put William Arnold into my first book. I like to use real people in with my own characters as I think it strengthens the book and makes it more authentic. The fact that he wrote letters to his brother-in-law in New York is also woven into my plot, giving crucial, but (I hope) inconspicuous clues to the identity of the murderer. William Arnold plays a vital role in the story and particularly in the ‘race against time,’ ending.

Sources “At War with the Smugglers,” by Rear-Admiral D. Arnold-Forster C.M.G.
“Smuggling on Wight Island,” by R.F.W. Dowling.


Potted Biography: 
I was born in Gosport, Hampshire, but have lived in North Yorkshire most of my life. I had a lot of short stories published in women’s magazines before I tried books, and still write the occasional one.

My Drusilla Davanish mysteries are:
“Letter From a Dead Man.” available here
“The Fat Badger Society.” available here
And I’m working on a third.

I’ve also written a 1930s thriller, The Ebenezer Papers, and  two volumes of short stories, ,Dinosaur Island and .The Case of the Missing Bridegroom


All books available at Amazon.com as well, and other Amazon outlets. 

Thursday, 10 December 2015

Guest blogging about the Saucy Seventh!

I have been invited to guest blog for Catherine Curzon on her excellent blogsite, 'A Covent Garden Gilflurt's Guide to Life', and you can find it Here


Saturday, 1 August 2015

Guest blog from Melinda de Ross, the Coriola books.

Melinda's work may be set in the modern day, but her research is based in the past, in times of Renaissance superstition, belief in magic and vampires and so on. I have every respect for Melinda, not only for her meticulous research, but because she's writing in a foreign language.  Now I can shop in Romanian, but I couldn't write a book in it, and I raise my hat to her amazing English, which surpasses that of plenty of native speakers.






Melinda De Ross (real name Anca-Melinda Coliolu) is an international author of Romanian origin. She writes in two languages, and her books combine the elegance specific to the European style with the modern appeal of the American culture. Her favorite genre to read and write in is Romance, and anytime she prefers to watch a classic movie instead of going to a noisy club.
She loves to hear from her readers, and you can find her at:




Italian businessman Giovanni Coriola and English target-shooting trainer Sonia Galsworthy have only two things in common—a sizzling chemistry and no desire for commitment. When they meet in London, the world starts spinning faster and they quickly become addicted to each other. The incendiary passion between them skyrockets into smoldering, once-in-a-lifetime love.
Just as they thought they had things settled, a strange discovery triggers a mysterious spiral of events that puts their lives in danger more than once, with no apparent reason.
What connection could there be between an ancient amulet, a secret society and the long-dead poet Dante Alighieri? A sinister, complicated conspiracy that gradually catches up with the characters. And of course, one last twist before the ending.
*Dante’s Amulet is a follow-up of Mirage Beyond Flames.




 

 

 

Saturday, 31 January 2015

More from Melinda de Ross - Vlad Dracul to the fore in 'Mirage Beyond Flames'

Melinda has written a book featuring heavily the legend of Vlad Dracul, or rather, Vlad Tepes, known as the Impaler, a national hero in Romania for his defence of the country against Hungary.  His habits of impaling criminals ensured his notoriety, but those who were pure in heart had, it was said, nothing to fear from him.  A story is told in which a merchant was robbed, and he took his woes to the Impaler, who recovered the man's money and secretly added more coins.  He asked the merchant to count them. 
"There is more here than I lost," said the merchant.
"Because you have told me that, you may keep it," said The Impaler.  "Had you not told me, I should have impaled you beside the robber."
A rather pointed lesson in avoiding fraud, but I suspect Romania was a very peaceful place under his reign.... Over to Melinda! 



 Gerard Leon and Linda Coriola fight for the same cause. The attractive, noble, dedicated French doctor and the beautiful, sensitive Italian sculptress both donate their time and money to Hope – a clinic for children’s cancer research and treatment.
From the moment they meet, even the air between them crackles with intense attraction. But her past makes it difficult for Gerard to understand her scars and battle with her demons.
In search of a cure for cancer and armed with an innovative treatment themselves, they leave for Transylvania, that enigmatic land hidden in the heart of the Carpathians.
There they get lost and have a bizarre  experience in the Hoia-Baciu forest, nicknamed The Romanian Bermuda Triangle due to all the inexplicable paranormal phenomena happening in its depths.
But no one believes them, because they don’t have any proof of said experience. Or do they?...
*Mirage Beyond Flames is the sister-story of Dante’s Amulet.
 
Excerpt: 



“You seem tired. Is there something wrong?” Linda asked, feeling her cheeks grow warm, afraid he could read her reactions to his presence.
Gerard sighed, dragging his fingers through his hair.
“I don’t know if you could put it quite like that, but we do have an unpredictable situation. Looks like I have to take some time off as soon as possible and leave for Romania.”
“Romania? Dracula’s land?” she exclaimed, shocked. “What the hell do you want to go there for?”
He laughed indulgently, indicating the mountain of papers spread on his desk.
“Well, I have a friend—actually he was a good friend of my father’s—who lives there now. He’s a doctor too. In the past years, he collaborated with another Romanian doctor and they devised a treatment made from a plant called hellebore. It seems to give good results in certain types of cancer. True, the results differ from case to case and the treatment is not effective on every patient, or in every form of the disease. Like the snake venom treatment, the best results are obtained in incipient stages, if the treatments can be applied locally. Especially in the beginnings of skin cancer.”
“And he wants you to go there to share the treatment formula with you?” she asked.
“Yes. In exchange, I prepared copies of all my notes, observations and research to share with him.”
Linda approached the desk, intrigued, and inspected the scattered papers.
“Chemical formulas, observations, reports…Here is all your work related to the serum made from snake venom?”
“Just about anything that could be put on paper.”
“And do you trust this person?”
“Absolutely.”
She continued studying the notes on the desk, while he sat back in his chair, studying her.
She directed her gaze to him.
“You could make a fortune with this thing. Why give it for free to that guy?”
He gave her a long look, appearing offended by her implication.
“I’m not interested in money and fame, Linda. I became a doctor because the most important thing to me is healing, bringing comfort to my patients, not profiting from their tragedy,” he said, his expression intense and earnest. “Those who do that aren’t true descendants of Hippocrates, they’re just crooks. All my work is measured in the number of people I help, not in stacks of money.”
Something glowed warmly into her entire being. All at once, she felt her heart was lighter, ready to fly toward the nameless fulfillment that she longed for.
“You are a noble man,” she said truthfully, with a trace of admiration. “I respect that very much.”
“I’m a man like any other,” he replied, reclining in his chair. “I have flaws and qualities, nothing special compared to others. Still, I like to think I have a better sense of humor than most,” he added, smiling. “Please, sit down. I feel uncomfortable sitting while you stand. Do you want something to drink?”
“No, thanks.”
She sat in the chair facing his desk.
After a few moments of silence he asked, “Dracula’s land?”
She started laughing, and so did he. When their laughter subsided she said, “That’s all I’ve heard about Romania.”
“That’s about all the rest of the world has heard too. In fact, Jean-Paul tells me it’s a very beautiful country, with extraordinary landscapes and an admirable history. There are numerous predictions and speculations that there, in the heart of the Carpathians, is the physical projection of Shambala—the spiritual center of the Earth. You know, the more or less mythical land of the initiates who hold the balance of the world.”
“Really?” she asked, wide-eyed.
“Yes. I told you, it’s an interesting country, extremely controversial. It intrigued me ever since I listened to Jean’s stories. Speaking of history, do you know how all this Dracula story started?”
“I have no idea. You realize that an intelligent person doesn’t believe in vampires and other such nonsense. But I suppose in every legend there’s a grain of truth.”
Gerard smiled, linking his hands on his desk.
“Actually, there was once in Romania a ruler called Vlad Tepes—which means Vlad the Impaler. He was called so because he literally impaled all thieves, criminals and all those who broke the law, as well as his enemies. They say people were afraid of him to such an extent that, when he put a golden cup on the edge of a fountain, nobody dared to take it. When it was gone, they all knew he was no longer ruling.”
Linda shuddered.
“So much cruelty! I think that man was a monster!”
“Granted, those punishing methods weren’t too gentle, but we have to take into consideration that in those times, around fifteenth century, cruelty wasn’t unusual. Not only at royal courts, but worldwide. Besides, the most horribly punished were the Ottomans—a people who, from the beginnings of history, tried to subjugate the entirety of Europe and beyond, having a personal ambition to conquer Romania.”
“Hmm, what an odd thing. I didn’t know all of this, but it didn’t even occur to me to read about it,” she confessed meditatively. “So, all these atrocious torture methods have created the image of Bram Stocker’s vampire monster?”
“This, along with other bits and pieces of elements gathered from here and there, or invented. For example, Vlad’s father, called Vlad Dracul—which means The Devil—was part of the Dragon’s Order. Their symbol was a creature resembling a dragon from Oriental Mythology, with claws and fangs. This kind of distorted legends created false myths, which mystify history. In reality, Romanians consider Vlad Tepes one of their country’s best rulers and a character they can be proud of. If it weren’t for him and a few other Romanian rulers, all European states would be Turkish colonies now.”
“Talking with you is really fascinating! I always learn new things,” she remarked, impressed by all his knowledge.
He returned her smile and the fatigue shadows on his face seemed to dissipate slowly.
“I could tell you a lot more interesting things tonight, at dinner.”

And there's a link to the book HERE


Tuesday, 23 December 2014

Guest Post: Countess Bathory – Between legend and fact

My guest post today is from the lovely Melinda De Ross, a new author.  Whilst her romance is in a contemporary setting, she has needed to get under the skin of the Renaissance character, Madame Erzebet Bathory. She has been kind enough to share that research for my blog page! 

Handing over to Melinda and a bit about her story first!  


 


In the legendary Transylvania, a castle belonging to Countess Erzsébet Báthory is discovered. Cameraman Hunter Cole and broadcast journalist Serena Scott arrive to make a documentary about the discovery, and the sinister Hungarian noblewoman, known as the most prolific female serial killer in history. 

The two Americans could cope with roughing it in a fifteenth-century castle, with no modern amenities. They can even cope with each other, despite their initial mutual dislike for one another, which gradually turns into a smoldering attraction. 

But when two girls are tortured and killed in Báthory copycat style, the nearby village is shaken to the core. In terror, they wonder who will be next...

the only known portrait of the notorious countess...


Ever since I’ve heard about Erzsébet Báthory, I was fascinated by this sinister character who, even in times when cruelty was far from unusual, still managed to stand out. I did a lot of research on what was fact and what was legend about The Blood Countess, and decided to weave a romance which has as a starting point The Countess and a fictional castle belonging to her. This is what I have gathered from my research.

Erzsébet Báthory (1560-1614) is a known historical figure and was a Hungarian countess, also known as Elizabeth Báthory, The Blood Countess or Countess Dracula. She has been labeled the most prolific serial killer in history, being responsible for the torture and murder of hundreds of young girls. The exact number of her victims is unknown, but is estimated at six hundred and fifty. It is speculated that she kept a diary with the names of all her victims, but if such a document exists, it has never been made public.
She was born on the 7th of August 1560 into a very powerful family of nobility in the Kingdom of Hungary. When she was very young, she learned Latin, German and Greek. When she became a teenager, she already was one of the most educated women of her time. At fifteen she married Ferenc Nádasdy, the son of a baron, in what was a political arrangement within the circles of the aristocracy. Nádasdy's wedding gift to Báthory was his home, Csejte Castle, situated in the Little Carpathians.
In 1578, Nádasdy became the chief commander of several Hungarian troops, leading them to war against the Ottomans. Since then, Erzsébet’s husband was mostly away from home, leaving the management of business affairs and the estates to his wife. That role usually included responsibility for the Hungarian and Slovak people, even providing medical care. For the duration of the Long War, Erzsébet was charged with the defense of her husband's estates, which lay on the route to Vienna. The threat was significant, for the village of Csejte had previously been plundered by the Ottomans.
Báthory and Nádasdy didn’t have any children for the first ten years of their marriage. In 1585, Erzsébet gave birth to a daughter, Anna, who died some time after 1605. After that, she had another two daughters and two sons. There were rumors that she had her first daughter when she was only thirteen and became impregnated by a servant. It is said she was sent away to have the child. Her fiancé—for Nádasdy wasn’t yet her husband— had the boy castrated, then thrown to a pack of dogs.
Between 1602 and 1604, after rumors of Báthory's atrocities had spread throughout the kingdom, Lutheran minister István Magyari made complaints against her, both publicly and at the court in Vienna. The Hungarian authorities took some time to respond to Magyari's complaints. Finally, in 1610, King Mathias II assigned György Thurzó, the Palatine of Hungary, to investigate. Thurzó ordered two notaries to collect evidence in March 1610. In 1610 and 1611, the notaries collected testimonies from more than three hundred witnesses. The trial records include the testimonies of the four defendants—Báthory and three of her servants—as well as thirteen witnesses. Priests, noblemen and commoners were questioned. Witnesses included the castellan and other personnel of Sárvár castle.
According to all testimonies, Báthory's initial victims were the adolescent daughters of local peasants, many of whom were lured to Csejte by offers of well-paid work as maidservants in the castle. Later, she is said to have begun to kill daughters of the lesser gentry, who were sent to her gynaeceum by their parents to learn courtly etiquette. Abductions were said to have occurred as well. The atrocities described most consistently included severe beatings, burning or mutilation of hands, biting the flesh off the faces, arms and other body parts, freezing or starving to death. The collaborators in court also mentioned the use of needles. Some witnesses named relatives who died while at the gynaeceum. Others reported having seen traces of torture on dead bodies, some of which were buried in graveyards, and others in unmarked locations. Two witnesses actually saw The Countess torture and kill young servant girls. According to the testimony of the defendants, Erzsébet Báthory tortured and killed her victims not only at Csejte, but also on her other properties.
If Báthory hadn’t come from such an important family, she would have most certainly been tortured and burned alive. There was no doubt about her guilt, because at the time of her arrest several dead and dying girls were found in the castle. Because of her family’s influence, there was a closed-door trial, where over three hundred witnesses testified. The exact number of her victims remains unknown, but even though the official count based upon evidence of the tortured bodies is around eighty, in a second part of the trial, a newly discovered register was entered as evidence, suggesting there could have been as many as six hundred and fifty victims. Báthory was imprisoned in Čachtice Castle. She was kept bricked in a set of rooms, with only small slits left open for ventilation and the passing through of food. She remained there for four years, until her death. On August 24th 1614, a guard looked through one of the slots and observed Erzsébet Báthory lying dead face-down on the floor. Since there were several plates of food untouched, the actual date of death is unknown. She was buried in the church of Csejte, but due to the villagers' uproar over having ‘The Tigress of Csejte’ buried in their cemetery, her body was moved to her birth home at Ecsed, where it was interred at the Báthory family crypt.
 

Find Melinda's book HERE


A horribly fascinating woman, thanks Melinda!  those of you who are familiar with my FanFiction writing might recall a certain Erzebet Cerny at Durmstrang, and now you know why I chose her first name, as I rarely use names without a lot of thought! 

Thursday, 27 March 2014

Writing by dice...I've been guest blogging!

Anna Thane, an accomplished Regency historian and writer, kindly asked me to write a blog for her on using random chance to encourage plot bunnies:  please find it HERE

Friday, 10 January 2014

Guest Blog: Astley's Circus, by Mike Rendell

My regulars know I'm a great fan of Mike Rendell, who first brought to us his 'Diary of a Georgian Gentleman' using the two trunks of ephemera left by his 4xGreat Grandfather, Richard Hall; and that ephemera has sent Mike researching in other directions.  I have to confess I rather bullied him into publishing the booklet about Richard's exquisite paper cut-outs; which he followed up with one on Bristol Blue glass.  
Richard Hall also kept a selection of handbills and programmes for entertainments, including Astley's Amphitheatre.  Anyone who has read Georgette Heyer will have some passing knowledge of the Equestrian feats of this famous amusement; but has anyone given a thought to how it began?  In Mike's new book 'Astley's Circus - the story of an English hussar' he explores its origins, its highs and lows [mostly highs] as the origin of Circus as we know it today.  A must-have book for any serious student of, or writer in the period, the only comprehensive work on the subject available.  You can get it at amazon.com or amazon.co.UK

enough of me maudering on, over to Mike.




It is funny how a chance opportunity can lead you off at a tangent. If you had suggested to me six months ago that I might write a book about the origins of the circus in the Eighteenth Century – a subject about which I knew absolutely nothing – I would have assumed you were a trifle unbalanced. Yet I got caught up in a challenge to deliver a paper to academics at Bath Spa University on Georgian Entertainment and chose as my topic the life of Philip Astley, the man credited as being “the Father of the modern circus.” Before I knew it I was totally absorbed in his story, and ended up publishing a book about him. The bi-centenary of the anniversary of his death is on October 20th this year and I thought I would mark the occasion!
It is not as if I have ever been particularly fascinated by the circus – here is one person who never dreamed of running away to try my hand on the high wire, or juggling. But having heard about Astley, and after delving into some of the material about him, his life and achievements quickly became an obsession. He was one of the greatest showmen of his Age - indeed of any Age. His name is now almost forgotten – but why?
Forget Barnum, forget Bailey - a hundred years earlier than these giants of the triple-top Philip Astley laid down the basics of the modern circus.  Most circus stars were (and still are) born into a particular branch of the entertainment world - there are generations of the same family who juggle, or walk the tightrope, or whatever. But Astley had no theatrical or street-entertainment background - his father was a cabinet maker from Newcastle under Lyme. Yet he became a giant of popular entertainment. How? Because of horsemanship.

:   ©Trustees of the British Museum


Astley was the horse whisperer of his Age - and a brilliant showman. He brought out a book about how to train and look after horses. He also realized that if you belted up and down a rectangular pitch the audience could not easily follow the action. So he fixed on a circle – he called it a ring – and found that with a diameter of 42 feet the horse could gallop at full speed without changing its gait, and with the added advantage that centrifugal force would then help keep the rider standing upright. All of the action took place right in front of the audience, all the time. It is still the standard size of circus ring in use today.
When Astley married, his wife joined him in his acts, appearing on horseback with a muff. Not your normal everyday muff, but one made up of a swarm of bees encircling her wrists! Everything had the WOW! factor. Astley diversified from horse riding skills to introduce equestrian clowning; he did juggling and magic tricks involving an early form of a mind-reading act; he brought a spectacle involving fireworks, an orchestra, juggling, acrobatics, rope walking,  and so on and gave the public what they wanted - skills and thrills a-plenty. He created the role of ringmaster, standing in the centre of a circus ring, controlling the horses and performers, with his bellowing voice and "statuesque" physique (he was over six feet tall, and had a girth like a tree trunk).
It turns out that my 4x Great Grandfather went to see one of the earliest Astley performances, in the early 1770’s. At that stage Astley was stressing that it was a riding school – he taught equestrian skills in the morning and ‘put on a bit of a show’ in the afternoon. My ancestor kept the handbill from when he went to see the show – and that day he paid out four shillings to cover the cost of admission to the Gallery, for himself and his wife, and forked out another three-pence on macaroons! How do I know? Because the family still have the handbill, and all the accounts and diary entries from the period.

Ancestor Richard Hall’s handbill for “Astley’s  British Riding School”
 
Astley’s business empire was frequently hit by fire, but each time his premises burned to the ground, he re-built them. Curiously he always re-built in wood, never stone, despite the obvious risks of using candles - literally thousands of them - with sawdust on the floor, wooden seats, and with a wooden roof and walls.
He trained and inspired a legion of skilled entertainers and impresarios, who spread the circus throughout Europe, to America, Asia and Australia. Forget the sad parade of wild animals being dragged from town to town - they were not HIS circus. Wild animals didn’t really come into the circus story until the mid-1800’s. His circus was based on equestrian skills - although admittedly he also used a monkey called General Jackoo who performed acrobatic tricks, and a "Scientific Pig" able to count cards and do mind-reading tricks!
He enjoyed royal patronage both in England and in France, where Philip and his son were particular favourites of Marie Antoinette.
He led a remarkable life, but died of what was diagnosed as "gout in the stomach" in 1814 in Paris, aged 72. He was succeeded by his son John, another brilliant horseman, but the son only outlived the  father by seven years before liver failure killed him. He died in the same house - and indeed the same room, in the same bed - as his father, and both were buried in the same cemetery


And so it is that for the past few months I have been trawling through some of the amazing on-line newspaper records from the Georgian era identifying advertisements and news reports about Astley. The material available about him is vast - he certainly knew how to blow his own trumpet! And because I am a sucker for pictures I have included loads of images in the book. Many of the museums were kind enough to allow me to use their images without charging a copyright fee, albeit on condition that it is not released as an e-book. Amazon agreed to publish it in full colour, but I am aware that this rather pushes the price up so I am also offering it for sale in black-and-white. It is called "Philip Astley - the English Hussar” (because that was his original stage name).
Meanwhile: I salute the old boy - he was a rough diamond if ever there was one. A man with virtually no formal education, he was a Georgian entrepreneur who should be up there with all the other greats of the Age, from Matthew Boulton to Josiah Wedgwood to Thomas Chippendale - and yet his success is nowadays totally overlooked. Two centuries after his death, it is time he was recognized for his contribution to what was a brand-new form of public entertainment – the circus!




Friday, 6 December 2013

Guest Blog: Paintings on the Wall


find it HERE 
or at Amazon HERE


I did another cover for Giselle Marks, working from a sketch of hers, and, forgetting that the painting the hero was looking at was viewed in splendid isolation when it arrived, so I did a painting in the Regency style of cramming a heap of paintings together on a wall, and each of the others being an allegory of part of his life.  The wall is painted fine dark green which the discerning will realise means that the Marquis is loaded as it cost 3 times more than any other paint.  
Anyway, over to Giselle...



Paintings on the Wall

So if you’re looking at my cover for my new Regency Romance “The Marquis’s Mistake,” You are looking at my hero observing a wall of paintings.  The artist’s brief was for the hero to be shown gazing up at a fairly provocative picture of himself as young Hercules, clad only in strategic drapery. I expected such a picture from my publisher’s house artist, but somehow wires got crossed and nothing was done to the very last minute. When they asked my friend Sarah J. Waldock who had produced the cover for my first book, “The Fencing Master’s Daughter” to step in and produce a cover last minute.
My friend who had been itching to do a cover went to town. I explained about the picture and the hero and despite the fact that no other pictures are mentioned in the book, she was determined to set it amongst a wall of other paintings. So I am sorry readers you will have to assume that the picture of our hero looking at the portrait is a few months after the end of the book.  The wall is somewhere is Langsdown Castle, his father’s Ducal seat and Sebastian, Marquis of Farndon is there to give away the bride, “the Incomparable Miranda” to be married to his father.
And I rather liked the wall of pictures, so I let it stand. I was considering what would actually be on the wall for the period, assuming they were all English pictures and had not been purchased while The Duke or his ancestors did the Grand tour of Europe. As we are set 1814, the horse picture could either have been painted George Stubbs who died in 1806, arguably the greatest horse painter of all time, or John Fernley senior.  His dates are 1782 to 1860 and he studied under the Benjamin Marshall in London, who was a follower of Stubbs and a painter of sporting and animal pictures.
Stubbs was fascinated by anatomy, but despite his reputation as a horse painter also painted other animals and humans. His animals and people are more believable because of his study of how muscles work under the skin of a creature. Fernley’s works are excellent polished pieces of workmanship but do not have the underlying understanding of horse’s bodies that Stubbs works illustrate.
So let us move on across the wall. There is a tree showing in what is obviously some kind of a landscape.  Here we have a wider choice or artists, but premier amongst them must be John Constable, 1776-1837 who is so famous for painting the Haywain in 1821 which is now in the National Gallery and other bucolic picturesque representations of the English countryside. For all Constable’s seemingly natural paintings, they are deceptive. If you go looking for the views he painted, you may find that they were substantially incorrect. This is because John Constable happily combined several drawings of different scenic locations to produce an aesthetically pleasing picture which must be considered artistic licence.
The earlier Venetian painter known as Canaletto, 1697 -1768 was also guilty of this particular artistic pastiche. But there is no scene of canals visible on the wall. Although the Marquis obscures a blue paining which might be the Venetian lagoon or then again it might be a seascape, possibly by the leading artist of dramatic weather and stormy seas. Joseph Mallord William Turner, RA, 1775-1851. He also painted a large number of landscapes, so he could also be held responsible for that partially shown landscape.
For the nude study of a lady, posed like an odalisque on a couch, there is only one English artist of the period good enough, William Etty 1787-1849, arguably the best ever English painter of female flesh, but he had one failing as a draftsman, he was not particularly good at hands.  So he got round this by drawing as few as possible, positioning hands out of sight if possible. His lush nudes have frequently been mistaken for the French painter Jean August Dominque Ingres, 1780–1867 who specialised in exotic female nudes, usually in imaginary Turkish harem settings.
The picture I am having greatest difficulty identifying an artist for is the young Hercules. Both the society portraitists Thomas Gainsborough, 1727-92 and Joshua Reynolds, 1723-92, were too early to have painted our Marquis, except in a family picture as a child, possibly with his older brother Peter. It is possible the leading portrait painter of the period, Thomas Lawrence, 1769-1830 painted the picture, but despite a prodigious output of exquisite images of the wealthy and influential of the time, I’ve found not a single nude or classical composition amongst them.
I considered the Scottish painter David Wilkie, 1785-1841 as a possible candidate as painter but although he had a more varied repertoire producing mostly pictures of historical scenes which included some female nudes, I found no classical mythology in his scenes and no male nudes. I moved onto John (Mad) Martin, 1789-1854 who actually died in the Isle of Man and is buried in Old Kirk Braddan churchyard. His scenes of dramatic and apocalyptic landscapes somehow do not fit the concept of painting a lush portrait of an affluent courtesan’s favourite lover. John Martin was certainly a good enough painter to have produced a recognisable portrait of Sebastian Vernon, but somehow his character makes it unlikely that he undertook the commission.
I considered the possibility that it could have been painted by Johann Zoffany, 1733-1810, a German working in London but although there is a least one male semi-nude in his catalogue, I consider his style too dour to have co-operated what is effectively a male pin-up. John Singleton Copley, 1737-1815 also had several nudes of both sexes among his works and certainly was capable of producing a fine portrait and rendering of a classical scene but I have found another possible artist.
So I hope no one will be offended by my suggestion that the best artist resident in London during the period when the picture was supposedly painted to have painted a classical scene with an attractive almost naked male would have been the American Artist, Benjamin West. West produced some beautiful lush paintings of both female classical subjects and luscious male beef cake. So I think “the Incomparable Miranda” would have chosen him to produce the portrait of the young Sebastian Vernon.

Artist’s note: the house and grounds was a Gainsborough and what you can’t see on the right of the picture off the cover is Sebastian’s father as a young man with his dogs and gun! I confess I was thinking a lot of the Ackermann prints of big houses when I did it with a vague thought of the Gainsborough Andrews couple as well.  The Odalisque is indeed Etty.  The blue painting is a castle in the English School and was more visible until Giselle wished to have the figure of Sebastian enlarged. Fair enough! I did that in the computer... The horse was by James Ward because I’m not good enough to do Stubbs. I didn’t really have an artist in mind for young Hercules, I have to say I thought maybe it might have been the masterpiece of an unknown…
 I apologise for the anachronistic frame on the top right.  I ended up painting it in a hurry and letting it happen as it wanted to instead of keeping it firmly in order. 
this is what I had in mind for the house in landscape - Mr and Mrs Andrews by Gainsborough


Horse, by Ward.  Stubbs he ain't but it's competent
 
This is what Giselle found as an exemplar for Benjamin West