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[restylepaintinganddecorating]

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[avelera]

Sir Robert Gadlen of Shere, Surrey?

So at one point for Giving Sanctuary and writing Hob in fics in general, I was looking for historical towns where he could have lived at various points in his life. Mostly (and to my increasing regret in Come live with me) I just eschew names entirely BUT there was one research rabbit hole I went down that was rather fun and made a good case for where Hob could have lived in 1589-roughly 1629.

In particular, I was looking for towns that were a workable distance from London, that is, close enough that one could reach the city for special occasions in a day or two using pre-modern travel but was far enough outside where one could have a sprawling estate. I wanted a town that was known for having Tudor mansions and, critically, I wanted it to be a town that had a river running through it for Hob's infamous drowning as a witch. Since I'm US not UK, all of this was educated guesses and I'm sure a native would find something laughable about my choice, but I eventually happened upon the town of Shere, in Surrey.

I had several reasons for why Shere in particular seemed a good fit for Hob's late 1500-early 1600s estate location:

The town is 25 mi/40 km outside London. Given the average cart speed was 4 mph/6 kmh especially when taking into account pre-modern roads. With a good horse you could do it in about a day's ride, with slower a more comfortable pace and breaks for water, half a day if you were in a hurry. It seemed the proper distance for a man on the rise in society like Hob would want to be, able to make frequent trips while still being landed with a country estate.

In the Medieval era the area was noted as being "one of the wildest in Surrey: sheep-stealers, smugglers, and poachers found a refuge in these remote hills. Some of the cottages have, still existing, very large cellars (excavated easily in the sandy hill), stated by H.E. Malden to have been "far too large for any honest purpose, and were no doubt made for storing smuggled goods till they could be conveniently taken on to London" (Source) - I was charmed by the idea that Hob would have known the area from his banditry days and that he in turn would be tickled by the idea of coming back to the site of his former ne'er-do-well stomping grounds, now with a purchased knighthood. Also couldn't hurt to know the area like the back of your hand (especially when on the run from witch hunters).

Shere is noted in the Domesday Book of 1086 which makes it old enough for Hob to have lived there then AND to this day it is known for its Tudor manors to this day which make it a popular filming location, with several Tudor estates and manor houses, one of which I like to imagine was Hob's during the days of his knighthood.

Here's a fun detail! "Shere has often been called one of the most beautiful villages in England; certainly few can surpass it in Surrey for a combination of those qualities that go to make up the ideal village… Shere is, therefore, the haunt of painters, many of them residents in and around, and samples of their handiwork may be inspected in the ancient Black Horse Inn." (Source) You can't tell me Hob wouldn't consider the town just because it has a Black Horse Inn, he would be giggle himself sick over that.

The River Tillingbourne runs through the center of the village. Particularly in Giving Sanctuary this was important to me because I imagined Hob being dragged from his estate into the center of town for his trial and drowning, for maximum dramatic effect, so I needed one close by that was deep enough to drown a man and sweep him away.

Now, there's one problem with Shere, which is that no witch trials happened there during James I's reign, which is when Hob would have been drowned...

... EXCEPT ONE:

"Despite James I's interest in witchcraft, just one case was brought before the Surrey Assizes in his reign, the outcome of which is unknown. There were probably others brought before the lesser court of Quarter Sessions, but the records for this period have not survived." (Source)

Perhaps since Surrey had no other witch trials, it was all the more reason for Hob to be "overconfident" that he had nothing to worry about? After all, what were the odds? And an unknown outcome, hmm, sure sounds like an excellent opportunity to fictionalize this as because Hob went back later and destroyed the records.

Anyway, this is the one town that fit all my requirements but in the end, I never ended up using the name (at least, not yet) in any of my fics. But I thought others might enjoy the outcome of my search!

[dickens-daily]

CHAPTER XIII—PRIVATE THEATRES

‘Richard the Third.—Duke of Glo’ster 2l.; Earl of Richmond, 1l; Duke of Buckingham, 15s.; Catesby, 12s.; Tressel, 10s. 6d.; Lord Stanley, 5s.; Lord Mayor of London, 2s. 6d.’

Such are the written placards wafered up in the gentlemen’s dressing-room, or the green-room (where there is any), at a private theatre; and such are the sums extracted from the shop-till, or overcharged in the office expenditure, by the donkeys who are prevailed upon to pay for permission to exhibit their lamentable ignorance and boobyism on the stage of a private theatre. This they do, in proportion to the scope afforded by the character for the display of their imbecility. For instance, the Duke of Glo’ster is well worth two pounds, because he has it all to himself; he must wear a real sword, and what is better still, he must draw it, several times in the course of the piece. The soliloquies alone are well worth fifteen shillings; then there is the stabbing King Henry—decidedly cheap at three-and-sixpence, that’s eighteen-and-sixpence; bullying the coffin-bearers—say eighteen-pence, though it’s worth much more—that’s a pound. Then the love scene with Lady Ann, and the bustle of the fourth act can��t be dear at ten shillings more—that’s only one pound ten, including the ‘off with his head!’—which is sure to bring down the applause, and it is very easy to do—‘Orf with his ed’ (very quick and loud;—then slow and sneeringly)—‘So much for Bu-u-u-uckingham!’ Lay the emphasis on the ’uck;’ get yourself gradually into a corner, and work with your right hand, while you’re saying it, as if you were feeling your way, and it’s sure to do. The tent scene is confessedly worth half-a-sovereign, and so you have the fight in, gratis, and everybody knows what an effect may be produced by a good combat. One—two—three—four—over; then, one—two—three—four—under; then thrust; then dodge and slide about; then fall down on one knee; then fight upon it, and then get up again and stagger. You may keep on doing this, as long as it seems to take—say ten minutes—and then fall down (backwards, if you can manage it without hurting yourself), and die game: nothing like it for producing an effect. They always do it at Astley’s and Sadler’s Wells, and if they don’t know how to do this sort of thing, who in the world does? A small child, or a female in white, increases the interest of a combat materially—indeed, we are not aware that a regular legitimate terrific broadsword combat could be done without; but it would be rather difficult, and somewhat unusual, to introduce this effect in the last scene of Richard the Third, so the only thing to be done, is, just to make the best of a bad bargain, and be as long as possible fighting it out.

The principal patrons of private theatres are dirty boys, low copying-clerks, in attorneys’ offices, capacious-headed youths from city counting-houses, Jews whose business, as lenders of fancy dresses, is a sure passport to the amateur stage, shop-boys who now and then mistake their masters’ money for their own; and a choice miscellany of idle vagabonds. The proprietor of a private theatre may be an ex-scene-painter, a low coffee-house-keeper, a disappointed eighth-rate actor, a retired smuggler, or uncertificated bankrupt. The theatre itself may be in Catherine-street, Strand, the purlieus of the city, the neighbourhood of Gray’s-inn-lane, or the vicinity of Sadler’s Wells; or it may, perhaps, form the chief nuisance of some shabby street, on the Surrey side of Waterloo-bridge.

The lady performers pay nothing for their characters, and it is needless to add, are usually selected from one class of society; the audiences are necessarily of much the same character as the performers, who receive, in return for their contributions to the management, tickets to the amount of the money they pay.

All the minor theatres in London, especially the lowest, constitute the centre of a little stage-struck neighbourhood. Each of them has an audience exclusively its own; and at any you will see dropping into the pit at half-price, or swaggering into the back of a box, if the price of admission be a reduced one, divers boys of from fifteen to twenty-one years of age, who throw back their coat and turn up their wristbands, after the portraits of Count D’Orsay, hum tunes and whistle when the curtain is down, by way of persuading the people near them, that they are not at all anxious to have it up again, and speak familiarly of the inferior performers as Bill Such-a-one, and Ned So-and-so, or tell each other how a new piece called The Unknown Bandit of the Invisible Cavern, is in rehearsal; how Mister Palmer is to play The Unknown Bandit; how Charley Scarton is to take the part of an English sailor, and fight a broadsword combat with six unknown bandits, at one and the same time (one theatrical sailor is always equal to half a dozen men at least); how Mister Palmer and Charley Scarton are to go through a double hornpipe in fetters in the second act; how the interior of the invisible cavern is to occupy the whole extent of the stage; and other town-surprising theatrical announcements. These gentlemen are the amateurs—the Richards, Shylocks, Beverleys, and Othellos—the Young Dorntons, Rovers, Captain Absolutes, and Charles Surfaces—a private theatre.

See them at the neighbouring public-house or the theatrical coffee-shop! They are the kings of the place, supposing no real performers to be present; and roll about, hats on one side, and arms a-kimbo, as if they had actually come into possession of eighteen shillings a-week, and a share of a ticket night. If one of them does but know an Astley’s supernumerary he is a happy fellow. The mingled air of envy and admiration with which his companions will regard him, as he converses familiarly with some mouldy-looking man in a fancy neckerchief, whose partially corked eyebrows, and half-rouged face, testify to the fact of his having just left the stage or the circle, sufficiently shows in what high admiration these public characters are held.

With the double view of guarding against the discovery of friends or employers, and enhancing the interest of an assumed character, by attaching a high-sounding name to its representative, these geniuses assume fictitious names, which are not the least amusing part of the play-bill of a private theatre. Belville, Melville, Treville, Berkeley, Randolph, Byron, St. Clair, and so forth, are among the humblest; and the less imposing titles of Jenkins, Walker, Thomson, Barker, Solomons, &c., are completely laid aside. There is something imposing in this, and it is an excellent apology for shabbiness into the bargain. A shrunken, faded coat, a decayed hat, a patched and soiled pair of trousers—nay, even a very dirty shirt (and none of these appearances are very uncommon among the members of the corps dramatique), may be worn for the purpose of disguise, and to prevent the remotest chance of recognition. Then it prevents any troublesome inquiries or explanations about employment and pursuits; everybody is a gentleman at large, for the occasion, and there are none of those unpleasant and unnecessary distinctions to which even genius must occasionally succumb elsewhere. As to the ladies (God bless them), they are quite above any formal absurdities; the mere circumstance of your being behind the scenes is a sufficient introduction to their society—for of course they know that none but strictly respectable persons would be admitted into that close fellowship with them, which acting engenders. They place implicit reliance on the manager, no doubt; and as to the manager, he is all affability when he knows you well,—or, in other words, when he has pocketed your money once, and entertains confident hopes of doing so again.

A quarter before eight—there will be a full house to-night—six parties in the boxes, already; four little boys and a woman in the pit; and two fiddles and a flute in the orchestra, who have got through five overtures since seven o’clock (the hour fixed for the commencement of the performances), and have just begun the sixth. There will be plenty of it, though, when it does begin, for there is enough in the bill to last six hours at least.

That gentleman in the white hat and checked shirt, brown coat and brass buttons, lounging behind the stage-box on the O. P. side, is Mr. Horatio St. Julien, alias Jem Larkins. His line is genteel comedy—his father’s, coal and potato. He does Alfred Highflier in the last piece, and very well he’ll do it—at the price. The party of gentlemen in the opposite box, to whom he has just nodded, are friends and supporters of Mr. Beverley (otherwise Loggins), the Macbeth of the night. You observe their attempts to appear easy and gentlemanly, each member of the party, with his feet cocked upon the cushion in front of the box! They let them do these things here, upon the same humane principle which permits poor people’s children to knock double knocks at the door of an empty house—because they can’t do it anywhere else. The two stout men in the centre box, with an opera-glass ostentatiously placed before them, are friends of the proprietor—opulent country managers, as he confidentially informs every individual among the crew behind the curtain—opulent country managers looking out for recruits; a representation which Mr. Nathan, the dresser, who is in the manager’s interest, and has just arrived with the costumes, offers to confirm upon oath if required—corroborative evidence, however, is quite unnecessary, for the gulls believe it at once.

The stout Jewess who has just entered, is the mother of the pale, bony little girl, with the necklace of blue glass beads, sitting by her; she is being brought up to ‘the profession.’ Pantomime is to be her line, and she is coming out to-night, in a hornpipe after the tragedy. The short thin man beside Mr. St. Julien, whose white face is so deeply seared with the small-pox, and whose dirty shirt-front is inlaid with open-work, and embossed with coral studs like ladybirds, is the low comedian and comic singer of the establishment. The remainder of the audience—a tolerably numerous one by this time—are a motley group of dupes and blackguards.

The foot-lights have just made their appearance: the wicks of the six little oil lamps round the only tier of boxes, are being turned up, and the additional light thus afforded serves to show the presence of dirt, and absence of paint, which forms a prominent feature in the audience part of the house. As these preparations, however, announce the speedy commencement of the play, let us take a peep ‘behind,’ previous to the ringing-up.

The little narrow passages beneath the stage are neither especially clean nor too brilliantly lighted; and the absence of any flooring, together with the damp mildewy smell which pervades the place, does not conduce in any great degree to their comfortable appearance. Don’t fall over this plate basket—it’s one of the ‘properties’—the caldron for the witches’ cave; and the three uncouth-looking figures, with broken clothes-props in their hands, who are drinking gin-and-water out of a pint pot, are the weird sisters. This miserable room, lighted by candles in sconces placed at lengthened intervals round the wall, is the dressing-room, common to the gentlemen performers, and the square hole in the ceiling is the trap-door of the stage above. You will observe that the ceiling is ornamented with the beams that support the boards, and tastefully hung with cobwebs.

The characters in the tragedy are all dressed, and their own clothes are scattered in hurried confusion over the wooden dresser which surrounds the room. That snuff-shop-looking figure, in front of the glass, is Banquo: and the young lady with the liberal display of legs, who is kindly painting his face with a hare’s foot, is dressed for Fleance. The large woman, who is consulting the stage directions in Cumberland’s edition of Macbeth, is the Lady Macbeth of the night; she is always selected to play the part, because she is tall and stout, and looks a little like Mrs. Siddons—at a considerable distance. That stupid-looking milksop, with light hair and bow legs—a kind of man whom you can warrant town-made—is fresh caught; he plays Malcolm to-night, just to accustom himself to an audience. He will get on better by degrees; he will play Othello in a month, and in a month more, will very probably be apprehended on a charge of embezzlement. The black-eyed female with whom he is talking so earnestly, is dressed for the ‘gentlewoman.’ It is her first appearance, too—in that character. The boy of fourteen who is having his eyebrows smeared with soap and whitening, is Duncan, King of Scotland; and the two dirty men with the corked countenances, in very old green tunics, and dirty drab boots, are the ‘army.’

‘Look sharp below there, gents,’ exclaims the dresser, a red-headed and red-whiskered Jew, calling through the trap, ‘they’re a-going to ring up. The flute says he’ll be blowed if he plays any more, and they’re getting precious noisy in front.’ A general rush immediately takes place to the half-dozen little steep steps leading to the stage, and the heterogeneous group are soon assembled at the side scenes, in breathless anxiety and motley confusion.

‘Now,’ cries the manager, consulting the written list which hangs behind the first P. S, wing, ‘Scene 1, open country—lamps down—thunder and lightning—all ready, White?’ [This is addressed to one of the army.] ‘All ready.’—‘Very well. Scene 2, front chamber. Is the front chamber down?’—‘Yes.’—‘Very well.’—‘Jones’ [to the other army who is up in the flies]. ‘Hallo!’—‘Wind up the open country when we ring up.’—‘I’ll take care.’—‘Scene 3, back perspective with practical bridge. Bridge ready, White? Got the tressels there?’—‘All right.’

‘Very well. Clear the stage,’ cries the manager, hastily packing every member of the company into the little space there is between the wings and the wall, and one wing and another. ‘Places, places. Now then, Witches—Duncan—Malcolm—bleeding officer—where’s the bleeding officer?’—‘Here!’ replies the officer, who has been rose-pinking for the character. ‘Get ready, then; now, White, ring the second music-bell.’ The actors who are to be discovered, are hastily arranged, and the actors who are not to be discovered place themselves, in their anxiety to peep at the house, just where the audience can see them. The bell rings, and the orchestra, in acknowledgment of the call, play three distinct chords. The bell rings—the tragedy (!) opens—and our description closes.

_____

Title | Previous Chapter | Next Chapter |

[bernardcribbins]

When he joined the Oldham Rep, Cribbins met Gillian McBarnet, an aspiring actress. They were married from 1955 until her death on 11 October 2021.[29][30] They lived in Weybridge, Surrey,[31] and had no children, with Cribbins revealing in 2018 that they "lost one quite early on and that was the only time [they] got near it".[1] He was diagnosed with prostate cancer in 2009, but said in 2018 that he was "in good health" at the age of 90 with the exception of a "nagging back condition".[1]

In 2018 his autobiography, Bernard Who? 75 Years Of Doing Just About Anything, was published by Constable.[32]

In February 2022, a successful social media campaign secured the rights for Cribbins' autobiography to be recorded as an audiobook, in his own voice.[33]

Filmography

Edit

Source:[34]

Film

Edit

Year Title Role Notes

1957 Yangtse Incident: The Story of H.M.S. Amethyst Sonar Operator/1st Cribbage Player

1958 Davy Stage Hand, Collins Music Hall Uncredited

Dunkirk Thirsty Sailor Uncredited

1959 Make Mine a Million Jack

Tommy the Toreador Paco

1960 Two-Way Stretch Lennie Price

The World of Suzie Wong Otis

1961 Passport to China Pereira

Nothing Barred Newspaperman

The Best of Enemies Col. Brownlow

1962 The Girl on the Boat Peters

The Fast Lady Man on Stretcher Uncredited

1963 The Wrong Arm of the Law Nervous O'Toole

The Mouse on the Moon Vincent Mountjoy

Carry On Jack Midshipman Albert Poop-Decker

1964 A Home of Your Own The Stonemason

Carry On Spying Harold Crump

Crooks in Cloisters Squirts

The Counterfeit Constable Bob, l'agent 202

1965 She Job

Cup Fever Policeman

You Must Be Joking Sgt. Clegg

1966 The Sandwich Man Harold – Photographer

Daleks' Invasion Earth 2150 A.D. Tom Campbell

1967 Casino Royale Carlton Towers, Taxi Driver

1968 A Ghost of a Chance Ron

Don't Raise the Bridge, Lower the River Fred Davies

1970 The Railway Children Albert Perks

1972 Frenzy Felix Forsythe

1976 Night Ferry Pyramid

1978 The Water Babies Mr. Masterman/Voice of Eel

The Adventures of Picasso Gertrude Stein/Narrator

1981 Dangerous Davies – The Last Detective Dangerous Davies

1992 Carry On Columbus Mordecai Mendoza

2003 Blackball Mutley

2012 Run for Your Wife Hospital patient

A Fantastic Fear of Everything The Voice

2016 The Bed-Sitting Room Mate [35]

2018 Patrick Albert

Woodland Narrator Short film

Television

Edit

Year Title Role Notes

1956 David Copperfield

1960 Interpol Calling Episode: "Slow Boat to Amsterdam"

1961 Winning Widows

1965 Comedy Playhouse Ambrose Twomby Episode: "Here I Come Whoever I Am"

1973–1975 The Wombles Narrator and Voices All 60 episodes

1975 Fawlty Towers Mr. Hutchinson Episode: "The Hotel Inspectors"

1976 Space: 1999 Captain Michael Episode: "Brian the Brain"

1977 Play of the Month Pinchwife Episode: "The Country Wife"

Once Upon a Classic Pyramid Episode: "Night Ferry"

1979 The Plank House Painter TV film

1981 Shillingbury Tales Cuffy 2 episodes

Worzel Gummidge Jolly Jack Episode: "The Golden Hind"

1982 It's Your Move Neighbour TV film

1983 Tales of the Unexpected Charlie Krebs Episode: "The Memory Man"

Cuffy Cuffy Follett 6 episodes

1986 Langley Bottom Seth Raven 7 episodes

1987 High & Dry Ron Archer 7 episodes

Super Gran Officer P. Brain Episode: "Supergran and the Birthday Dambuster"

When We Are Married Herbert Soppitt TV film

1990 Bertie the Bat Narrator 10 episodes

1991 Tonight at 8.30 Mr. Wadhurst Episode: "Hands Across the Sea"

1996 Dennis and Gnasher Clint Katzenberger Voice; Episode: "Oil Strike"

1999 Dalziel and Pascoe Uncle Henry Episode: "Time to Go"

2000 The Canterbury Tales Carpenter Voice; Episode: "The Journey Back"

2003 Last of the Summer Wine Gavin Hinchcliffe Episode: "In Which Gavin Hinchcliffe Loses the Gulf Stream"

Barbara Frank "Guy Fawkes"

Coronation Street Wally Bannister 11 episodes

2005 Down to Earth Frank Cosgrove 3 episodes

2007–2010, 2023 Doctor Who Wilfred Mott 10 episodes

2013–2015 Old Jack's Boat Old Jack All 47 episodes

2014 Midsomer Murders Duggie Wingate Episode: "The Flying Club"

2015 New Tricks DCI Ronald Sainsbury 2 episodes

2016 A Midsummer Night's Dream Tom Snout TV film

The Wombles Great Uncle Bulgaria

[bigwizzgoldfinger-blog]

St Enoch Presbyterian Church W.W.1 war memorial and roll of honour. Duncairn, Belfast

All information is provided in good faith but, on occasions errors may occur. Should this be the case, if new information can be verified please supply it to the author and corrections will then be made.

Erected by this congregation in honour of those who Volunteered in the Great War 1914-1918

These all died.

Thomas Rainey AGNEW.  Stoker 1st Class SS/113435, Royal Navy on HMS Vangard. Born 1892 to Samuel and Dorothy Agnew, of 138, Spamount Street., Belfast.  Commemorated on the Chatham Naval Memorial, Kent.  

Robert BOYD.  Rifleman 582, 10th Royal Irish Rifles.  Born 1879 to Mrs. Jeannie Boyd of 17 India Street, Belfast.  Killed in action 1 July 1916 aged 37 years.  Commemorated on the Thiepval Memorial, Somme, France.

William Hatchell BOYD.  2nd Lieutenant, 9th Royal Dublin Fusiliers.  Born 1887 to the Rev. Samuel T. Boyd, B.A., and Mrs. Boyd, of Dublin.  Killed in action 9 September 1916 aged 29 years.  Commemorated on the Thiepval Memorial, Somme, France.

John BOYLAN.  Private 12558, 15th Royal Irish Rifles.  Born 1898 to John and Annie Boylan, of 166, Alexandra Park Avenue, Belfast later of 23 Annadale Street, Belfast.  Killed in action  1 July 1916 aged 20 years.   Commemorated on the Thiepval Memorial, Somme, France.

Hugh BROWN. 2nd Lieutenant, 6th attached 1st  Royal Irish Rifles.  Killed in action 31 July 1917.  Commemorated on the Menin Gate Memorial, Ypres, Belgium.

John Brown.  Royal Irish Rifles.  Unable to find the correct record for this person recorded with the CWGC

James CAMERON (Military Medal).  Sergeant 160496,  50th Canadian Infantry.  Born 1892 to James and Sarah Cameron, of 52, Brookhill Avenue, Antrim Road, Belfast, Ireland.  Formerly of Ballymena, Co. Antrim.  Died 5 June 1917 aged 25 years.  At rest in Barlin Communal Cemetery Extension, France.  

William CARLISLE.  Rifleman 11211, 1st Royal Irish Rifles.   Husband of Elizabeth Carlisle, of 14, Court Street, Belfast, Ireland.  Killed in action 23 October 1916, aged 24 years.  Commemorated on the Thiepval Memorial, Somme, France

John CARSON Rifleman 24/991 2.3rd  New Zealand Rifles.  Killed in action 15 October 1917.  At rest in Lijssenthoek Military Cemetery, Belgium.  

Jack CRICHTON  Lance Corporal, (Private) 642640, 4th Canadian Infantry.  Died of wounds 5 July 1917  Downview Avenue, Belfast.  At rest in La Targette Britisg Cemetery, Neuville-Sain- Vaast, France

William CLARKE.  Private 18818,  2nd Royal Inniskilling Fusiliers.  Only son of Robert And Agnes Clarke of  40 Christopher Street, Belfast.  Killed in action 3 July 1916 aged 22 years.  Commemorated on the Thiepval Memorial, Somme, France.  

James Wilson CORDNER. (Military Cross) Lieutenant 2nd Royal Irish Rifles. The Manse, Drumbo.  Killed in action 16 April 1918.  At rest in Minty Farm, Cemetery, Belgium.  He was onetime assistant minister at St. Enoch’s Presbyterian Church, Belfast and became a minister in the United Free Church in Lisburn.  London Gazette dated 3 August 1915. Royal  Irish Rifles. The undermentioned to be temporary Second Lieutenants James Cordner. Dated 7th June, 1915. Edinburgh Gazette dated 22 July 1918.  Military Cross Citation. T./Lt. James Wilson Cordner. Royal Irish Rifles. For conspicuous gallantry and devotion to duty while in charge of a wiring party. He wired 500 yards of newly captured trenches in daylight in full view of the enemy and under heavy fire. His coolness and determination were an inspiration to his men. At rest in Minty Farm Cemetery, Belgium.

Hampton CRAWFORD. Corporal, (Private) 25239, 9th Royal Inniskilling Fusiliers.  Son of Samuel and Mary Ann Crawford of 3 Trinity Street, Belfast.  Commemorated on the Thiepval Memorial, Somme, France.   CWGC have his rank as Private

David FERGUSON. 14599, 9th Royal Irish Rifles.  Killed in action at the battle of the Somme, 1 July 1916.  At rest in Serre Road Cemetery No 2, Somme, France.

Frederick George FRENCH.  Private 874792,  27th Canadians.  Son of Thomas and Anne Jane French of 26 Cumberland Street, Belfast.  Killed in action 10 April 1917 aged 31 years.  At rest in Nine Elms Military Cemetery, Thelus, France.

Stewart FULTON.  U S National Guards ?. Residing with his parents at 11 Rosewood Street, Belfast.  Killed in action.  (No further information available).

Frederick William GIRVAN. Captain, 8th Devonshire Regiment.  Son of Robert and Isabella Girvan of 115 Cavehill Road, Belfast.  Later of 24 Easton Gardens.  Killed in action 26 October 1917 aged 24 years.  Commemorated on the Tyne Cot memorial, Belgium.

R GRIBBEN. The CWGC have only two R Cribben’s (no varients)

Robert GRIBBEN.  Stoker 1879T, Royal Naval Reserve of HMS  Queen Mary. Son of William and Eliza Gribben, of Larne; husband of Maggie Gribben, of Larne, Co. Antrim.  Killed at sea 31 May 1916 aged 39 years.  Commemorated on the Portsmouth Naval Memorial, Hampshire.

or

Robert GRIBBEN.  Rifleman 23/1393, 1/3rd New Zealand Rifle Brigade.  Son of James Gribben, of The Race Course, Lower Broughshane, Ballymena, Co. Antrim.  Died 17 June 1917 aged 28 years.  At rest in Bailleul Communal Cemetery Extension, Nord France.

Archibald McMillan HANNA.  15th Royal Irish Rifles.  Residing at 27 Court Street, Belfast.  Killed in action 1 July 1916.  Commemorated on the Thiepval Memorial, Somme, France.

Charles HANNA.  Private 745394 2nd Canadian Infantry.  Son of William and Catherine Hannah.  Killed in action 6 November 1917.  At rest in Oosttaverne Wood Cemetery, Belgium.

Arthur HEENAN.  Private 8966,  1st Royal Irish Rifles. Son of John and Mary Jane of 8 Suir Street, Belfast.  Killed in action 9 May 1915 aged 26 years.  Commemorated on the Ploegsteert Memorial, Belgium.

John KELLY.  Lance Corporal, (Private) 10489 6th Royal Irish Rifles.  Residing at 278 Crumlin Road, Belfast.  Killed in action 10 August 1915.   Commemorated on the Helles Memorial, Turkey including Gallipoli.

William John LAVERTY.  Rifleman 949, 1st Garrison Battalion, Royal Irish Rifles.  Born at Drumagh, Omagh, County Tyrone, Ireland. Husband of Minnie Ann Laverty, of 36, Willow Bank Gardens, Antrim Rd., Belfast, Northern Ireland.  Died in India 10 November 1916 aged 47 years.  At rest in Cawnpore Cantonment New Cemetery, India.  

Thomas Edwin LOWRY.  Lance Corporal, 10/15177, 10th Royal Irish Rifles.  Husband of Minnie Lowry, of 33, Matlock Street, Belfast, Ireland.  Died 12 June 1918 aged 23 years. Laid to rest as Thomas Edward Lowry 15 June 1918  Plot P Grave 300 at the  Belfast City Cemetery.  His wife is also interred in the grave and she is named as Mary Ann.

James MURPHY.  Sergeant 5/12045, 5th Royal Irish Fusiliers.  Son of Mrs. Elizabeth Murphy, of 23, Jennymount Terrace, York Road, Belfast.  Later of 96 Henry Street, Belfast.  Killed in action 10 March 1918 aged 23 years.  At rest in Jerusalem War Cemetery, Palestine including Gaza.

Alfred McCLELLAND.  2nd Lieutenant, 5th Royal Irish Rifles. Son of James and Charlotte Miriam McClelland of 34 Shore Road, Duncairn, Belfast.  1911 his occupation was an office apprentice.  At the time of his death his parents were residing at 105 Cavehill Road, Belfast.   Died of wounds 13 October 1917 aged 24 years.  At rest in trois Arbres Cemetery, Steenerck, Nord France.  

Hugh Beggs McCLURE. Sapper 64264 150th Field Coy, Royal Engineers.  Born 17 February 1885 at Mead street, Larne to Thomas Beggs and Margaret Jane Gleghorn McClure, nee Meekin the residence of his parents. They later resided at 8 Newington Street, Belfast, Ireland   Husband of Maud, nee McClure of 63 Everton Street, Belfast. He was married on the 13 April 1911 at Magheramore Presbyterian Church, County Antrim.  His wife died at Maternity Hospital in Belfast 9 October 1915 of heart failure and septicaemia after child birth.  His son Lorrimer Drummond Mclure died aged 5 weeks at his grandparents Robert and Ellen McClure residence 197 Crumlin Road, Belfast on the 28 October 1915.   On the 11 February 1915 aged 29 years he joined the Royal Engineers and then was posted to the R.E. Depot, Chatham, civilian occupation painter.  On the 30 November 1915 he was posted to France.  He was killed in action 6 October 1916 aged 30 years. His effects went to his father in law Robert McClure, retired compositor.  At rest in Pond Farm Cemetery, Belgium.

Two of his brothers were also serving in the war.

James McClure, married, was serving as Sapper 89976, 145 Army Troops Coy, Royal Engineers Some notes from James’s army record. Born 19 October 1880 at Inver, Larne to Thomas and Margaret Jane Gleghorn McClure, nee McMeekin.  He enlisted at into the Royal Engineers at Larne and joined at Londonderry as Sapper 7156 on the 24 November 1900 aged 20 years, occupation painter.  He married Elizabeth Jane McClean at St Michael the Archangel, Aldershot, Surrey on the 23 April 1904. He was aged 24 years and stationed at Stanhope Lines, Aldershot.  His wife was aged 29 and she resided at Alexander Road, Aldershot.  At some time, his wife died and he remarried in 1913 to Tabitha Hunt.  On the 23 November 1912 he was discharged from the army on the termination of the 1st period of engagement.  No other records to show when he was called to the colours.  His birth certificate show he was registered as James.  When he remarried he used the name of Jams McMeekin McClure

Robert was Born 8 December 1890 to Thomas Beggs McClure and Margaret Jane Gleghorn McClure nee McMeekin of Back Road, Larne.  His father was a house painter.  Serving as Private 18229 12th Central Antrim Regiment, Royal Irish Rifles, Ulster Division at Masters Stores, Base Depot, Le Havre, France.  Both demobilized to Class Z Army Reserve Some notes from Robert’s army record. He joined up at Larne, County Antrim 15 September 1914 aged 24 years and 9 months, occupation, painter.  He was posted the same day to Clandeboye Estate Army Training Camp, near Bangor, County Down.  His parents Thomas Beggs and Margaret McClure of 8 Newington Street, Belfast were his next of kin.  He embarked to join the BEF in France 15 September 1914 and left 18 January 1919, having one period of leave.  On the 16 February 1919 he was demobilized at Dublin to his residence at 5 Newington Avenue, Belfast after serving 4 years and 155 days.  On the 24 October 1927 he wrote to the army requesting a character reference for employment purposes.  His residence at that time was 21 Frampton Street, Strandtown, Belfast, Northern Ireland

Robert Harper McELRATH.  Private 25459, 1st Royal Dublin Fusiliers.  Born 1886 to James and Mary McElrath, of "Mill Farm", County, Antrim.  Died 21 October 1918 aged 32 years.  At rest in Dadizeele New British Cemetery, Belgium.

William McGOOKIN.  Private 17806, 9th Royal Inniskilling Fusiliers.  Son of William and Rachel McGookin, of Black Hill, Cookstown, County Tyrone.  Killed in action 1 July 1916 aged 19 years.  Commemorated on the Thiepval Memorial, Somme, France.

James Bailie McQUOID.  Corporal 9681, 1st Royal Inniskilling Fusiliers.  Son of William and Elizabeth McQuoid, of 94, Chief Street, Belfast.  At rest in Shrapnel Valley Cemetery, Turkey including Gallipoli.

David NELSON.  Private 420210, 43rd Canadian Infantry.  Born in Belfast on the 30 July 1880 to Samuel and Annie McDowell Nelson of 32, Marsden Gardens, Cavehill Road, Belfast, Ireland, husband of Margaret who later re-married to Mr Kelly.  Commemorated on the Menin Gate Memorial, Ypres, Belfast.

Samuel PATTON. Private 3422, 2nd Royal Inniskilling Fusiliers.  Born in the Shankill area of Belfast. Killed in action 16 May 1915.  His grandmother Anne M was granted a war gratuity 17 September 1917, revised 1 October 1919.  Commemorated on the Le Touret Memorial, France.

William PATTON.  Private 17460 Durham Light Infantry.  Son of John Patton of 53 Cambrai Street, Belfast.  Killed in action 7 July 1917 aged 38 years.  At rest in Belgian Battery Corner Cemetery, Belgium.

Paul Gilchrist POLLOCK.  Lance Corporal 15780, 14th Royal Irish Rifles.  Son of John and Marion J.F. Pollock, of Duncairn, Antrim.  Killed in action on the first day of the Battle of the Somme, 1 July 1916 aged 20 years.  Commemorated on the Thiepval Memorial, France.

John Singleton Henry ROBINSON.  Captain, 13th attached to 12th  Welsh Regiment  Born in Newtown Ards, County Down, Ireland.  Killed in action 24 September 1918.  At rest in Marteville Communal Cemetery, Attilly, France

Joseph ROY.  Private 13457, 15th Royal Irish Rifles.  Son of John.  1901 residing with his father and siblings at 27 Christopher Street, Belfast.  1911 residing at the home of his married sister Mary and her husband George French ay 34 Ballycastle Street, Belfast. Died 25 June 1918.  His brother Robert and sister Mary French were both granted a war gratuity 13 September 1919.   At rest in Sarralbe Military Cemetery, Moselle France.

Thomas SILLARS.  Lance Corporal 17/1301, 8th Royal Irish Rifles.  Born 27 November 1888 to John and Anne Jane Sillars, nee Smith at 158 Argyle Street, Belfast.  Husband of Annie Victoria Sillars, nee Black of 3, Ballyclare Street, Belfast.  Died 2 July 1916.  His widow was granted a war gratuity 1 August 1917 revised 15 November 1919.  At rest in Grandcourt Road Cemetery, Grandcourt, Somme, France.    

Thomas Arnold STEAD.  Driver 785526, A Battery, 312th Brigade, Royal Field Artillery.  Son of Sidney and Edith Alice Stead, of 30, Jarrow Road, Sharrow, Sheffield.  Died 29 September 1918 aged 20 years.  At rest in Flesquieres Hill British Cemetery, Nord, France.

Robert James THOMPSON.  Rifleman 3408, 15th Royal Irish Rifles.  Son of James and Mary Ann of 35 Hanover Street, Belfast.  Killed in action 22 November 1917 aged 21 years.  Commemorated on the Cambrai Memorial, Louverval, Nord France.  

John Arthur TREW. Rifleman 689, 12th Royal Irish Rifles.  Born 17 April 1895 to Arthur and Annie Trew, nee Young  of 15, Clovelly Street, Belfast.  Died 25 July 1918 aged 23 years.   Commemorated on the Ploegsteert Memorial, Belgium.   Birth registered as John Trew, residing at 57 Willow Street, Belfast .

Frederick Ramsey WALKER. Military Cross.  2nd Lieutenant 2nd Argyll and Sutherland Highlanders. formerly Sergeant Major.  Husband of Josephine Margaret Walker, of 107, Donegall Street., Belfast. Awarded Medaille Militaire (France).  Fought in the Boer War 1899 -1902   Died in Scotland 6 January 1917.  At rest in Dalry Cemetery, Edinburgh, Scotland.

The following extract is credited to Dukie News Issue 8.  June 2017 Frederick was born in the military barracks in Tipperary on 27 July 1882. His father Tom was a staff sergeant in the 25th (the King’s Own Borderers) Regiment of Foot at the time and his mother was recorded as Mary Susanna (nee Lawson). He was orphaned sometime after between 1891 and 1893; and coming from a military background he was duly admitted to the Duke of York’s Royal Military School in Chelsea on 26 May 1893. On leaving the school on 8 August 1896 aged just 14 he joined the Argyll and Sutherland Highlanders (Princess Louise’s).

https://doyrms.alumni-online.com/StaticFiles/DoyrmsITW_0000000957.pdf

Extract credited to the newspaper The Scotsman Lt Walker who was born in Tipperary in Ireland and joined the army as a boy soldier when he was 13 years old. He died suddenly at Dreghorn camp, in Colinton, Edinburgh, on 6 January, 1917, aged 34. When he died, The Evening Despatch of 10 January, 1917 reported that a large number of people accompanied the cortege from camp to the cemetery, preceded by pipe and brass bands of his battalion and followed by six hundred men from different battalions. There was a graveside service, and shots were fired.

[shmosnet2]

The Curse of the Crying Boy Painting

The Curse of the Crying Boy Painting

A writer from the north of England, Ann enjoys writing about the unexplained and the paranormal, as well as historical crimes and mysteries.

Image supplied by Wikipedia When I was a young child in the seventies, I became fascinated by a painting in my grandmother’s house. The painting was a cheap print of a well-known piece, and was hung on the living room wall of her small terraced house. The reason I was so fascinated was that the picture depicted a child. The boy was a similar age to me and for some reason looked sad and downcast, tears brimming from his troubled eyes. I was so attached to the painting I even gave the sad child a name. A few years after the painting went up on the wall, there was a devastating kitchen fire in the house. While the kitchen was destroyed, the rest of the house was undamaged. Despite this, the painting of the boy was removed and thrown into a skip along with the contents of the kitchen. For years it puzzled me why my grandmother did this until I read a series of articles about a cursed painting. That painting was ‘The Crying Boy’.

Image supplied by Massimo Polidoro Giovanni Bragolin "The Crying Boy" was one of a series of paintings by artist Giovanni Bragolin completed in the 1950s. The series depicted young, teary-eyed children. While it may seem strange to want an image of a weeping child on your wall, the pictures proved popular all over the world. In the UK alone over 50,000 copies sold. The children represented were often poor and very beautiful. One boy's image particularly tugs on the heartstrings, his eyes a sad reflection of his soul. He became known as "The Crying Boy." In total, Bragolin painted over sixty paintings, and up until the early eighties, prints and reprints of his images continued to be mass produced. The Blazing Curse Is Born In 1985, the most popular tabloid newspaper in the United Kingdom printed a story that caused panic and ended the popularity of Bragolin’s work. The Sun published an article entitled "Blazing Curse of the Crying Boy." The story described the terrible experience of May and Ron Hall after their Rotherham home was destroyed by fire. The cause of the fire, much like my grandmother’s, was a chip pan that overheated and burst into flames. The fire spread rapidly and destroyed everything on the ground floor. Only one item remained intact—a print of "The Crying Boy" on their living room wall. Distraught at their loss, the devastated couple made the bizarre claim that the painting was cursed and it, not the chip pan, was the cause of the fire. A Child Is Blamed The tale would have disappeared into the archives of the strange and mysterious stories that peppered The Sun, except for one thing. A firefighter claimed that he had attended at least fifteen house fires where everything was destroyed. The only thing left complete in each home was the picture of "The Crying Boy." Before long, the story gathered momentum, and a rash of fires all over the United Kingdom were blamed on the cursed child. In subsequent articles The Sun went onto claim: • A woman in Surrey lost her house to fire 6 months after buying the painting. • Two sisters in Kilburn had fires in their homes after buying a copy of the painting. One sister even claimed to have seen her painting sway backwards and forwards on the wall. • A concerned woman on the Isle of Wight attempted to burn her painting without success and then went on to suffer a run of bad luck. • A gentleman in Nottingham who possessed a print of the painting lost his home and his family were injured. • A pizza parlor in Norfolk was destroyed including every painting on its walls except for "The Crying Boy." When 'The Sun' reported that even rational firefighters refused to have a copy of "The Crying Boy" in their homes, the reputation of the painting was damned forever.

A Halloween Bonfire In all these cases, and many more that were reported, the painting of ‘The Crying Boy’ remained unharmed. Eventually, if there was an image of a crying child by any artist in a house that went on fire, the painting was blamed. Some claimed that they experienced bad luck if they attempted to destroy or get rid of their paintings. Others were convinced that it was only a matter of time before disaster struck them. After printing more articles and scare stories, ‘The Sun’ offered a frightened public a solution. On Halloween 1985, hundreds of the paintings were collected together by the newspaper and burnt under the supervision of the Fire Brigade. The Curse So why would this seemingly innocent series of paintings be cursed? Before long speculation was rife. Theories ranged from the little boy being a gypsy child whose family placed a curse on the artist. Some claimed that the child had died in a fire and his spirit was trapped in the painting. The most enduring story claimed the crying boy accidentally set fire to the studio of the artist who had painted him. The child’s parents had also been killed in a blaze. Wherever the little orphan went fires mysteriously followed, earning him the nickname Diablo or Devil. The boy supposedly survived to early adulthood but was tragically killed when his car crashed and burst into flames. From then onwards it was his image that carried on his cursed fascination with fire. Debunked In a bid to debunk the stories that grew up around the painting of ‘The Crying Boy’ various experts offered their own theories. A frustrated Fire Brigade pointed out that in all cases where there had been fires, there was a rational explanation. The fires in almost all cases could be traced back to human carelessness or electrical faults. What they couldn’t explain was the evidence that the paintings often remained intact when everything around them was destroyed. In a 2010 video made by Steve Punt and available on YouTube, a painting of ‘The Crying Boy’ is set alight in a bid to decide the matter once and for all. By the time the fire burns out, the corner of the painting is scorched but it remains largely intact and the face remains untouched. Yet ‘The Sun’ who first published the story of ‘The Crying Boy’ had no trouble incinerating hundreds of copies. Possibly the simplest of explanations is that the picture is printed onto fire retardant materials. Quite simply, the manufacturer of the print created a fire-resistant product that became a victim of its own success. The debate continues. Punt PI tries to burn cursed Crying Boy Painting My grandmother was not a superstitious woman. Indeed, she went on to have another much worse fire some years later when her refrigerator overheated. Was she right then, to throw away her painting of my little friend because of unsubstantiated rumours? I think so. While there is probably a very rational explanation for the phenomenon of ‘The Crying Boy’ painting, where curses are concerned I believe it is better to be safe than sorry. Or is it? You decide. You May Enjoy Reading Sweet Fanny Adams: The Tragic Death of an Innocent Child Sweet Fanny Adams is used by the British to describe anything worthless. It is also the name of a pretty young girl murdered in Victorian England. This is how Fanny's name became slang for worthless. The Curse of the Delhi Purple Sapphire In 1857, an insignificant gemstone was stolen from an Indian temple. The story that followed the theft is a fascinating tale of misfortune and tragedy. Was this stolen jewel haunted by its true owner. Would you hang a painting of 'The Crying Boy' in your home? Questions & Answers Question: I recently received a "crying boy" framed print. Since I have put it up in my house, a deep depression came upon me. I tried to take my life. My mental state of mind has not been the same. I do not believe in old wives' tales, but this is very weird. Could this print have something to do with it all? Answer: I am very concerned for you. The painting has not caused your depression, but it does show a sad child. Take the painting down, give it to charity, then forget about it. Replace the painting with a beautiful, happy image, something that makes you feel good. Please make sure that you see a doctor or at least phone a friend. We all have dark times, but there is always a light at the end of the tunnel. I am sending you my very best wishes and hope and pray you feel better very soon. Question: Is the curse of The Crying Boy painting real? My Nanna had an exact painting like this, I too was always was drawn to it. Answer: Opinions are divided. There was a lot of hysteria over the painting in the UK in the seventies and eighties but people continue to seek a logical explanation for the phenomenon. Question: I have put a picture of the crying boy in my book at school. What do I do? Answer: Don't worry it will be fine. Most people think that the paintings were made of a material that wouldn't burn and the fires were coincidence. You are not in any danger at all. Please don't worry. I'm sure your book looks great. Question: I had the Curse of the Crying Boy Painting twice with no problem. It seems people are just trying to make it sound spooky. I wonder how many are left? Answer: I think you are probably correct. It seems to be a UK phenomenon, I doubt there are many left here. Question: Is there a story to The Crying Boy, or did the artist just think to paint it? Answer: The picture is one of a series of paintings, all of young children. It has been suggested that a lot of the children are orphans or poor children who the painter used as models. There is a story that the little boy depicted perished in a fire when he was older, but this may just be a tall tale.

https://ift.tt/34mqNwc . Foreign Articles November 01, 2019 at 01:34PM

[cynthialennon-daily]

Beatles Sgt. Pepper at 50: Remembering The Real Lucy in The Sky With Diamonds 

"I swear to God, or swear to Mao, or to anybody you like, I had no idea it spelt LSD," John Lennon insisted to Rolling Stone in 1970 of the title of "Lucy in the Sky With Diamonds." In interview after interview, Lennon begged listeners to accept that the Sgt. Pepper's Lonely Hearts Club Band standout was "not an acid song." The public, for their part, merely rolled their eyes.

Until the end of his life, Lennon maintained that the song was actually inspired by a painting that his three-year-old son Julian had made of Lucy O'Donnell, his classmate at Heath House nursery school. "This is the truth: My son came home with a drawing and showed me this strange-looking woman flying around," he explained during an appearance on The Dick Cavett Show in 1971. "I said, 'What is it?' and he said, 'It's Lucy in the sky with diamonds,' and I thought, 'That's beautiful.' I immediately wrote a song about it. After the album had come out and the album had been published, someone noticed that the letters spelt out LSD and I had no idea about it. ... But nobody believes me."

Besides, the number of witnesses is truly astounding. "I was actually with John when Julian came in with this little kid's painting," Ringo Starr recalled in the Beatles Anthology documentary. Lennon's wife Cynthia also related a similar story in later years. "I remember him coming home from school with it and showing it to his dad, who was sitting down. At the time he didn't say, 'Oh, my God! What a great title for a song,' but it obviously stuck." Even Lennon's boyhood friend Pete Shotton was present for the song's genesis. "I happened to be there the day Julian came home from school with a pastel drawing of his classmate Lucy's face against a backdrop of exploding, multi-colored stars," he wrote in 1983's The Beatles, Lennon and Me. "Unusually impressed with his son's handiwork, John asked what the drawing was called. 'It's Lucy in the sky with diamonds, Daddy,' Julian replied. 'Fantastic,' John said, and promptly incorporated that memorable phrase into a new song."

The five-by-seven-inch piece of paper had a marked effect on all who saw it back in 1967. "I showed up at John's house one day, and he said to me, 'Look at this great drawing Julian's just done,'" Paul McCartney recalled in a 1992 episode of The South Bank Show. "And I remember it very well. It was a kid's drawing, and kids always have people floating around like [painter Marc] Chagall does in all his things. I think it's something to do with kids not realizing that people have to be put on the ground." He and Lennon began swapping surreal suggestions for lyrics, drawing on a shared love of Lewis Carroll and Kenneth Grahame's The Wind in the Willows.

Julian himself remains bemused by the pop-cultural debate he inadvertently triggered as a little boy. "I don't know why I called it that or why it stood out from all my other drawings but I obviously had an affection for Lucy at that age," he says in Steve Turner's book, A Hard Day's Write: The Stories Behind Every Beatles Song. "I used to show dad everything I'd built or painted at school and this one sparked off the idea for a song."

For all the fuss about what the song is or isn't about, perhaps the least-discussed aspect is the identity of its namesake. As a child, O'Donnell lived near the Lennons' Kenwood estate in Weybridge, Surrey. "I can remember Julian at school," she told Turner. "I can remember him very well. I can see his face clearly. We used to sit alongside each other in proper old-fashioned desks." O'Donnell held fond memories of Julian, telling the Daily Mail in 2009, "He was the bravest boy in school whom I recall jumping into a freezing swimming pool."

Like most children, the pair shared a love for mischief. "Julian and I were a couple of little menaces from what I've been told," she admitted. Apparently they were up to no good on the day Julian painted the famous picture. "I remember Julian and I both doing pictures on a double-sided easel, throwing paint at each other, much to the horror of the classroom attendant," she said in a 2007 BBC radio documentary. "Julian had painted a picture and on that particular day his father turned up with the chauffeur to pick him up from school."

Nearly a decade would go by before O'Donnell learned of her role in the song's creation, by which point she had heard the popular rumor that it glorified LSD. "I don't relate to that type of song," she told the Associated Press in 2009. "As a teenager, I made the mistake of telling a couple of friends at school that I was the Lucy in the song and they said, 'No, it's not you, my parents said it's about drugs.' And I didn't know what LSD was at the time, so I just kept it quiet, to myself."

The friends lost touch once Julian left school following his parents' split in 1968. Over the decades they saw each other just once, briefly, at one of Julian's concerts in the mid-Eighties. They eventually reconnected in April 2009 under tragic circumstances, after Julian learned that O'Donnell (then known as Lucy Vodden) was battling an advanced case of Lupus. "Julian got in touch with me out of the blue, when he heard how ill I was, and he said he wanted to do something for me," she told The Guardian soon after they rekindled their friendship.

"I wasn't sure at first how to approach her," Julian said at the time. "I wanted at least to get a note to her. Then I heard she had a great love of gardening, and I thought I'd help with something she's passionate about, and I love gardening too. I wanted to do something to put a smile on her face." He began sending her garden-center gift cards and texting her regularly.

Lucy O'Donnell Vodden died on September 22nd, 2009, after a five-year battle with the disease. The following month, Julian released "Lucy," a duet with James Scott Cook, in her memory, with all proceeds going to Lupus charities. 

(x) Photos 

[markwatkinsconsumerguide]

Consumer Guide / No.84 / Derbyshire-based artist Gina Marsh with Mark Watkins. 

MW : You are a self-employed artist. How did you start out and how have you developed your style?

GM : I’ve always enjoyed drawing and my grandma was friends with a local watercolour artist, Margaret Hurd, who - despite being deaf - used to give me a few pointers when she dropped in for a cup of tea. I must have only been about seven years old but I remember her teaching me how to draw eyes. 

My style is very versatile, has to be for murals really and adaptable to whatever look the client wants to achieve. If I'm painting for myself it's a different matter. Then I can be more messy, creative and hands-on using an oil and acrylic mix.

MW : Where do your pictures "hang"?

GM : I've done murals for private houses, a climbing wall in Sheffield, in bars and restaurants, hotels, shops, schools, hairdressers, beauty salons, Chatsworth House and for Mars at a convention in Barcelona, Spain. 

MW : Where do you get your inspiration from?

GM : I draw inspiration for my own work from the local moorland and the idea of tempestuous relationships, passion and the darker side of human emotions.  

MW : Do you work from a brief?

GM : If I'm doing a mural for someone I usually work from a commission or idea the client has of which I have some input and suggestion regarding composition, colour and detail etc.

MW : Tell me about your book collection... 

GM : I've over 100,  though I keep trying to be ruthless and pass them on after reading unless they are of sentimental value or useful for reference. As for genres : - novels, crime, drama, thriller, health & wellbeing, mental health, psychology, philosophy... OOH! and cook books - Diana Henry and Claudia Roden being amongst my most used. By the way, I love browsing in Waterstones!

https://www.waterstones.com/

MW :  What are your Top 10 books?

GM : There are so many good books, it's so hard to choose just ten!

10) Paulo Coelho ~ Eleven Minutes (2005) 

9) George Melly ~ Slowing Down (2005) 

8) Andrea Levy ~ Small Island (2004)

7) Paul Kalanithi ~ When Breath Becomes Air (2016)

6) Henry Marsh ~ Do No Harm : Stories Of Life, Death And Brain Surgery (2014) 

5) Gail Honeyman ~ Eleanor Oliphant Is Completely Fine (2017)

4) Emily Bronte ~ Wuthering Heights (1847)

I'm such a cliché! one of my grandma’s influences. She bought me a lovely red leather bound edition of Wuthering Heights when I was way too young to read it but when I finally did, long after she had departed, it made a huge impact on me. 

3) Adam Kay ~ This Is Going To Hurt : Secret Diaries Of A Junior Doctor (2017)

2)  Albert Ellis ~ Overcoming Destructive Beliefs, Feelings And Behaviours (2001)

1) Albert Ellis ~ How To Stubbornly Refuse To Make Yourself Miserable About Anything. Yes Anything! (1996)

I've chosen this as I was introduced to Albert Ellis and rational emotive behaviour therapy by my Dad (who worked in this field) and it's a great practical realist guide to dealing with our emotions. Ellis teaches that we irrationally disturb ourselves with our thinking and how we can learn to unconditionally accept ourselves rather than criticising our actions and thoughts. He teaches cognitive reframing and conscious choice. Best of all, he does it with humour and encourages us not to take ourselves too seriously.

I must also add .. although I've yet to buy any of his books... just listen to his lectures on You Tube...Alan Watts - amazing! 

Alan Watts was a philosopher who interpreted Eastern philosophy for Western audiences, whom I've just discovered. I want to marry that man! Shame he died the same year I was born! He wrote loads of interesting books on public ethics, the meaning of life and our relationship with the universe. 

MW : What music do you enjoy?

GM : Depends what I'm in the mood for but I always love a bit of Kate Bush! 

MW :  What was the first record you bought? 

GM :  UB40's Red Red Wine (1983) although the 1967 version by Neil Diamond is much more emotive but I didn't know that when I was 10! In fact, if I'm totally truthful - though loathe to admit it, as it is not cool in any conceivable way - perhaps my first record might have been a Mini Pops album. Shameful.

MW : Tell me about the last movie you saw...

GM : It was Eaten By Lions - I watched it in Sheffield. Although there are two independent cinemas close by in Derbyshire (where I Live) which are much nicer! The Ritz in Belper, and The Northern Light in Wirksworth.

http://www.ritz-belper.co.uk/

https://www.thenorthernlightcinema.co.uk/

MW : What’s your favourite pub? 

GM : Locally, there's a great pub up the road in Bonsall called the Barley Mow. They have an annual Hen Racing competition and it's said to be a hotspot for UFO sightings - though they brew their own beer so it could be something to do with that!  Live music, acoustic nights, good pub food and a feisty landlady with a lot of charisma. It's tiny but has a lot of character. 

https://www.barleymowbonsall.co.uk/

MW : What’s your favourite restaurant?

GM :  Stones in Matlock if I'm keeping it local. 

http://www.stones-restaurant.co.uk/

MW : What’s your favourite nightclub?

GM : Nightclub???? Well that definitely wouldn't be in Matlock ...aren't I too old now? I don't know ... Chinawhite daaaahling... never been. 

https://www.chinawhite.com/

MW : What’s your favourite supermarket?

GM : Do people have favourite supermarkets? Depends on how affluent I'm feeling, Marks and Sparks? Waitrose? They have different nice things in. Realistically Aldi.

MW : What’s your favourite newspaper?

GM : BBC Radio 4 - for interesting debates and panel shows ; when I'm not being ancient - BBC Radio 1 for the charts on Fridays. 

MW : What’s your favourite magazine?

GM :  Used to be Dazed & Confused, Grazia, Woman & Home ... Damn! These questions are an eye opener for me just what a geriatric I've become, ha ha. I'm going to have to start telling fibs - Vanity Fair.

MW : Have you ever been in a hot air balloon?

GM : Yes, over The Clifton Suspension Bridge (spanning the Avon Gorge and Avon River) for my Dad’s 70th birthday. Very peaceful - all you could hear were barking dogs. I noticed lots of people in Bristol had outdoor swimming pools. We landed in a field of llamas which was entertaining. 

MW : What’s the best advice you've received?

GM : To love one another. To remember everyone has their own agenda. Oh, and to be more selfish and stop running around so much - both of which I would love to be and do - but I’m not managing it thus far! 

MW : Which famous people have you met? 

GM : George Melly. Thora Hird and the cast from Last Of The Summer Wine when I was doing make-up at Shepperton Studios, in Surrey -  and Peter Andre ... oh dear. 

MW : ...who would you like to have met / meet? 

GM : Much easier to answer! Charlie Chaplin - a genius and funny. Russell Howard, Billy Connolly, Dave Allen, Dawn French (all comedians), symbolist painter Gustav Klimt, philosopher Alan Watts, Alan Watts, psychologist Albert Ellis plus TV presenter (and political commentator) Andrew Marr. 

They'd be fun and have a lot to talk about! 

https://www.facebook.com/Gina-marsh-Artist-1197910996966231/

© Mark Watkins / April 2019

[restylepaintinganddecorating]

House painting in Kensington Gardens-Quality painters in Rose Parkroof and fence resurfacing in wattle Park

https://restylepaintinganddecorating.com.au/services/epoxy-designer-garage-floors/ Restyle Painting and Decorating is the perfect place if you are in search of professional painting & decorating services.We take pride in offering an educated and professional approach to all projects.Visit us:https://restylepaintinganddecorating.com.au/

[wallpaperpainting]

The Miracle Of Painting And Decorating | Painting And Decorating

CLEVELAND, Ohio — Maybe you spent the coronavirus abeyance bingeing Netflix and bistro way too abounding carbs. It’s not too backward to accouterment some abeyance tasks and actualize Instagram-worthy rooms, area and accessories.

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Here are some suggestions for home projects that you can accouterment while blockage home this summer:

Paint kitchen cabinets

People are annoyed of the bare oak cabinets that were accepted in the 1990s. Painting cabinets a aristocratic or fleet dejected with white accents gives a beginning look.

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“This can absolutely transform your kitchen,” said Allison Urbanek, apartment and centralized operations administrator for LakewoodAlive, a apartment advancement and apprenticeship nonprofit organization. “It will accomplish a huge appulse for a low cost.”

Another abstraction that brightens a kitchen is replacing autogenous copse chiffonier panels with bargain plexigl sheets. It’s a abundant way to appearance off best ceramics and appealing plates.

Paint a room

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“Painting a allowance is an accessible way to accomplish a change after a ton of investment,” Urbanek said.

Gray charcoal a hot blush in home décor, abnormally back commutual with white trim, she said. Gray ability complete arid and cold, but it can be a warm, avant-garde and aloof accomplishments to patterns and colors abroad in the room.

Here are links to websites alms account about how to adorn with gray from House Beautiful, Architectural Digest and Better Homes and Gardens.

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[the-paintrist]

John Linnell - Selfportrait - ca. 1860

oil on canvas, Height: 91.1 cm (35.8 in) Edit this at Wikidata; Width: 70.2 cm (27.6 in) 

The National Portrait Gallery (NPG) is an art gallery in London, UK

John Linnell (16 June 1792 – 20 January 1882) was an English engraver, and portrait and landscape painter. He was a naturalist and a rival to the artist John Constable. He had a taste for Northern European art of the Renaissance, particularly Albrecht Dürer. He also associated with the amateur artist Edward Thomas Daniell, and with William Blake, to whom he introduced the painter and writer Samuel Palmer and others of the Ancients.

John Linnell was born in Bloomsbury, London on 16 June 1792. where his father was a carver and gilder. He was in contact with artists from an early age, and by the age of ten was drawing and selling portraits in chalk and pencil. His first art teacher was the American-born artist Benjamin West, and he spent a year in the house of the painter John Varley, where William Hunt and William Mulready were also pupils, and made the acquaintance of Shelley, Godwin and others. In 1805 he was admitted to study at the Royal Academy, where he obtained medals for drawing, modelling and sculpture. He was trained as an engraver, and executed a transcript of Varley's "Burial of Saul."

In 1808, the 16-year-old Linnell moved into Mulready's house, whose wife had accused him of infidelity with both other women and boys. Linnell's association with Mulready may have caused the breakup of Mulready's marriage.

In later life Linnell occupied himself with the burin, publishing, in 1833, a series of outlines from Michelangelo's frescoes in the Sistine Chapel, and, in 1840, superintending the issue of a selection of plates from the pictures in Buckingham Palace, one of them, a Titian landscape, which he engraved in mezzotint. At first he supported himself mainly by miniature painting and execution of larger portraits, such as the likenesses of Mulready, Richard Whately, Peel and Thomas Carlyle. Several of his portraits he engraved in line and mezzotint.

He painted many subjects like the "St John Preaching," the "Covenant of Abraham," and the "Journey to Emmaus," in which, while the landscape is usually prominent the figures are of sufficient importance to supply the title of the work. But it is mainly in connexion with paintings of pure landscapes that his name is known. His works commonly deal with some scene of typical uneventful English landscape, which is made impressive by a gorgeous effect of sunrise or sunset. They are full of true poetic feeling, and are rich and glowing in colour.

Linnell commanded large prices for his pictures, and about 1850 he purchased a property at Redhill, Surrey, where he lived till his death on 20 January 1882, painting with unabated powers until within the last few years of his life. He devoted himself to painting landscapes notably of the North Downs and Kentish Weald. His leisure was occupied with a study of the Bible in the original, and he published several pamphlets and treatises of Biblical criticism. Linnell was one of the best friends and kindest patrons of William Blake. He gave him the two largest commissions he received for single series of designs—£150 for drawings and engravings of The Inventions to the Book of Job, and a like sum for those illustrative of Dante Aligheri.

He was a friend of the painter Edward Thomas Daniell. A blue plaque commemorates Linnell at Old Wyldes' at North End, Hampstead. The plaque mentions that William Blake stayed with Linnell as his guest.

[paulinedorchester]

Faviell, Frances. A Chelsea Concerto. London: Cassell, 1959. Reprint, with a new foreword by Virginia Nicholson, [United Kingdom]: Dean Street Press, 2016.

The author of this memoir did so many different things over the course of a short life (1905-1959) that it’s hard to know where to begin. Born Olivia Faviell Lucas, apparently in or near Plymouth, she studied at the Slade School of Art during the 1920s. In 1929 she married a man whom Virginia Nicholson describes as “a Hungarian painter named Karoy Fabri,” but my own digging suggests that he was actually Károly Fábri (1899-1968), who was an Indologist and/or art historian. Over the course of the next several years Faviell lived in India, Japan, China (leaving just ahead of the Japanese invasion, we learn), and for a couple of years in the Netherlands; at some point during this time she and Fábri went their separate ways, and he doesn’t figure at all in her memoirs.

It’s unclear at what point Faviell returned to England, but by the time this book begins in 1939 she was a fully-trained VAD attached to a first-aid post, well established in Chelsea with what appears to have been a thriving practice as a society portrait painter under the name Olivia Fabri. (Either that, or she had a private income: she seems to have been able to afford the rent on a duplex apartment complete with painting studio, as well as the salary for a full-time, though not live-in, housekeeper, the indomitable Mrs. Freeth.) She depicts Chelsea as a truly thrilling place, full of self-assured nonconformists who didn’t care one blessed whit about how much they did or didn’t have in common with their neighbors and were ready, willing and able to work together whenever the situation demanded.

Which it certainly did. The memoir begins on June 19th, 1939, during a large-scale Civil Defense exercise in which Faviell played the role of a casualty, and culminates — spoiler alert — with the air-raid of April 16th and 17th, 1941, during which her home took a direct hit. In between these events Faviell assumed a vast range of duties. During her time in the Netherlands she had gained enough command of Dutch to allow her to serve as “godmother” to a group of Flemish-speaking Belgian refugees, teaching them English and trying to help them accustom themselves to their new lives. She also, among other things, assumed responsibility for the teen-age daughter of a German-Jewish refugee friend who suffered a massive nervous breakdown early in 1940 (never to recover, from what we’re told here); looked into becoming a state registered nurse (only to be turned down on “medical grounds” that are never explained); married Richard Parker, a civil servant; and learned that she was pregnant. (She eventually gave birth in Claygate, Surrey — during another air raid.)

A Chelsea Concerto — the title apparently comes from Faviell being inspired to write it during a concert in the neighborhood, and the book is divided into two parts, “Rehearsal” and “Performance” — isn’t always easy to read. This is partly because Faviell doesn’t shrink from describing in detail the carnage that she witnessed, but also because her recollections often come in a jumble, one on top of the next. Occasionally her memory seems to play her false: she mentions historical events out of order, tells us that poultry was unrationed (which, if it’s true, is something I hadn’t come across before), and recalls going to an Assistance Office to get new clothing coupons after losing everything that she had in that raid, despite the fact that clothes rationing wasn’t announced for another six weeks and was put into effect on such short notice that at first  people had to use their margarine coupons to buy clothing. Still, this book is a vivid evocation of time and place, and I recommend it. (Faviell was a person of her time, and occasionally uses language that now sounds derogatory, although she very clearly didn’t intend it that way.)

Faviell did this book’s cover illustration, but she appears to have left very few traces as a visual artist. She eventually received a permit to sketch bomb sites but apparently took no steps towards becoming an official war artist, and the name Olivia Fabri doesn’t appear in the Art UK database. This is puzzling: her neighbors in Chelsea included the painters Eliot Hodgkin, Leon Underwood, and Rex Whistler, all of whom seem to have had high opinions of her work (thus dissenting from that of another neighbor, Dame Ethel Walker, ARA, who comes across here as an unmitigated pain in the ass). It’s likely that she lost a good deal of work in the air raid that destroyed her home, and if she was in fact primarily a portraitist then it may be that her all of her surviving output is in private hands. (This sounds like a case for Antiques Roadshow!)

During the last several years of her life, however, she wrote five books, beginning with another memoir, The Dancing Bear, about time spent in Germany just after the war (Richard was posted there). This was followed by three novels — A House on the Rhine, Thalia, and The Fledgling — and finally A Chelsea Concerto, published just months before she lost what was apparently a long-running battle with cancer. As is common, all of her books went out of print after she died — and they stayed that way until the mid-2010s, when Furrowed Middlebrow, a wonderful (and wonderfully-named!) blog apparently brought them to the attention of Dean Street Press, which now has a whole imprint with the same title. Never say that writing a blog can’t accomplish something.

[bbrushfirepainting-blog]

An insight on Wood Stains from Professional Surrey Painters: Oil Stains versus Water-Based Stains

The phrase “Wood Stain” is commonly used by professional painters to differentiate between giving wood projects a slight difference in colour but leaving the main substrate visible to keep its natural beauty and texture, versus completely covering up the substrate with a colour such as a full coat of paint. Wood stains are very common for restoring old wooden projects, both indoor and outdoor such as updating old fences, roofs, house siding, sprucing up patio furniture for the coming summer season, making your deck pop again and so on! 

Wood stains offer beautiful finishes to your home projects, whether it be interior or exterior but it is important to choose the right product for you. Brushfire Painting Co. prides itself on being experts in all things Paint & Stain, which is why as professional painters we want to help educate our clients on the differences between oil stains and water-based stains. Did you know that pigments and dyes are both used in wood stains? But the difference between the two comes down to the type of solubility and size of particles within the product - generally they are identified based on whether they are suspended within the stain (also known as the “vehicle”) or dissolved within. Can you guess which one is which? As you are likely not a professional painter, allow us to explain further! Pigments are the larger molecules within paint stains that do not dissolve into the vehicle (remember earlier, this refers to the applicant product - the stain). Contrary to pigments are the dyes which are smaller molecules and dissolve into the vehicle - but what does this mean for application and finishing of wood stains? 

Dye versus pigment concentration with stains usually determine the finish of the stain, whereas stains with a heavy dye content will dry to a more transparent finish, stains with heavy pigment concentration will finish with a more solid, or opaque look. Both can be beautiful finishes if applied correctly, and as professional painters ourselves we highly recommend using Brushfire Painting Co. to get that storybook finish you are visualizing as our team has the technical knowhow and experience to apply wood stains correctly the first time. 

As professional Surrey Painters, Brushfire Painting Co. has all the necessary knowledge and expertise to help you choose the best type of stain for your project. If you are interested in learning more about the types of stains available and their uses, have a read below: 

Oil Stain: 

The most commonly used stains are oil stains, due to their hard finish and protection from the elements that can otherwise break down the substrate coatings. Binders within oil stains also give professional painters more time to work with the coating, because the linseed oils within the stain allow for painters to remove any excess stain during application before the project has time to dry, which would otherwise leave long rain-drop like streaks. Oil stains are very potent, and as professional Surrey Painters, we would always recommend to wear a mask to prevent yourself from breathing in the harsh volatile compounds that are commonly found in this type of stain when applying it for a job. Not only can oil stains be potent when open, the solvents used to clean it up are also quite harsh - such as turpentine or acetone. 

Water-Based Stain: 

A lot less harmful than oil stains, water-based stains are now a very popular choice among professional painters as they pollute less, have a much easier cleanup process and are less harmful/irritating to be around as they do not have the strong pungent smell that is common with oil stains due to the compounds used. Water-based stains replace most of the organic thinner from oil based stains with water, which is why they are less polluting and easier to work with. As professional Surrey Painters we highly recommend using a water-based stain because in case of any mistakes you may make during your project, you only need to use water to clean them up unlike oil based stains where you would be required to purchase extra products like turpentine. However, using water-based stains may come at a cost depending on your skill level in application. This is because water is known to raise the grains of wood and unlike oil stains, water based stains tend to dry much quicker - which is why we always recommend hiring professional painters, such as Brushfire Painting Co. who can apply wood stains that will meet your expectations. If you choose to tackle projects yourself though, keep in mind that there are products available that help you extend the lifetime of the water-based stain you’re working with. As professional painters, we recommend using a product such as Lacquer Retarder to help increase the working time of your water-based stain but unfortunately this product adds solvent to the product and defeats the idea of working with/reducing exposure to harmful solvents. One tip that we as professional painters like to offer is this: when working with water-based stains on large projects, have a person trail you who can wipe of the excess stain to reduce the amount of rain-drop streaks left on the substrate. This will leave you with more time to focus on properly covering the project and you will not have to do both parts of the job yourself! 

Of course, there are many other types of lesser known wood stains out there for specialty projects such as: varnish stain, gel stain, lacquer stain and metalized dye stain but they are much less commonly used and likely not applicable for larger projects. However, if you have a project that you think would require one of these other types of stains please consult a local professional painting company such as Brushfire Painting Co. to ensure you select the correct one for the job. 

[superblognetwork]

The Paint Deco Company deliver a level of superior painting and interior decoration solutions that Melbourne residents have been waiting for. Our attentive and precise team will make sure your home looks the best it ever has by the time we have put our brushes down.

[maryroxburghetrust]

'The Fair Geraldine' by June Davey

Elizabeth Fitzgerald

  Over the coming months historian June Davey will explore some of the fascinating figures and events associated with West Horsley Place. She starts with Elizabeth Fitzgerald ‘The Fair Geraldine’.

During the second half of the sixteenth century, a famous court beauty became chatelaine of both Hatchlands  and  West Horsley Place. She lived a long life and was married twice to rich and powerful men.  

Lady Elizabeth FitzGerald was born in Maynooth, County Kildare, Leinster, Ireland in 1527.  She was the daughter of the 9th Earl of Kildare, Gerald FitzGerald, Lord Deputy of Ireland and scion of an immensely powerful family in Ireland, with lands also in England and Wales.  The FitzGeralds traced their origins to the Florentine Gherardini, with later Norman lineage.  The dynasty – often referred to as ‘The Geraldines’  – gained large swathes of Irish land over several generations: a process of conquest begun by Gerald FitzWalter of Windsor (c.1075-1135.) He was already established in Wales before arriving in Ireland, and was married to a Welsh wife, Nesta ferch Rhys; they were the progenitors of the FitzGerald dynasty: ‘fitz’ derives from the Anglo-Norman ‘fils’ meaning ‘sons  of Gerald.’  The Welsh connection through Nesta links the FitzGeralds with the Tudors.  Elizabeth’s great -grandmother was Elizabeth Woodville, wife of Edward IV, and the Princesses Mary and Elizabeth were second cousins. 

FITZGERALD’S FALL FROM GRACE 

In fact, the Geraldine family comprised two powerful branches. The Kildare was the most powerful: the other branch was ruled by the Earl of Desmond, and the two branches were often at loggerheads with each other. Kildare, being powerful and wealthy had enemies at court, who were constantly plotting his overthrow, and on many occasions he had to go to England to defend himself against such charges.  He was usually able to vindicate himself, and remained on good terms with Henry VIII, but Wolsey was suspicious of him, and Henry, very aware of the earl’s influence, was forever watchful of events in Ireland.  In 1533, Kildare’s   wife, Lady Elizabeth Grey brought daughter Elizabeth and other children to London to attend at court. But in that same year the earl was finally accused of treason, and imprisoned in the Tower of London.  A complicated web of events unfolded: as the young Elizabeth’s  half-brother, Thomas FitzGerald, known as ‘Silken Thomas’ on account of his magnificent attire, and the silken banners carried by his retinue, immediately took over from his father as acting Lord Deputy of Ireland. He was a larger than life character, generous but impetuous, and in 1533 was only just twenty-one. He received forged letters, probably emanating from Kildare enemies at court, describing details of the execution of his father in the Tower. Silken Thomas  sought vengeance, declaring: ‘I am no longer Henry Tudor’s Deputy.  I am his foe.’1 There was a disastrous rebellion in Ireland, culminating in the murder of an Archbishop, which resulted in the excommunication of Silken Thomas and his five uncles. They were hunted down and arrested, brought to London and hanged, drawn and quartered at Tyburn, on 3rd January, 1537. When news of all this, reached the 9th Earl in the Tower, he is said to have died of a broken heart.  Elizabeth’s oldest brother, another Gerald, aged twelve, now became 11th Earl of Kildare (later known as the Wizard Earl.) He went on the run in Ireland, and protected by friends and relations spend the next years on the continent: at one time he was Master of Horse to Cosimo de’ Medici, in Florence.  

  FAIR GERALDINE AT COURT 

This was the extraordinary background to Elizabeth FitzGerald’s introduction to the court: she was sent to the household of Princess Mary at Hunsdon.  Her younger brothers were raised in the court of Prince Edward.  It was perhaps her family connections with the English ruling family that gave her some security.  

In 1537, aged ten, Elizabeth’s childish beauty was immortalised by the poet, Henry Howard, Earl of Surrey, where she appears as ‘The Fair Geraldine.’ (Howard actually wrote the sonnet when he was in prison for beating up a ‘courtier;’ actually a courtesan.)  Biographers now argue that such a sonnet was a stylised fashion, not evidence of a romance: in any case Surrey was already married to Frances Vere.2  It is thought he was trying to enhance the young girl’s chances of a good marriage when she was of age, praising her virtue, beauty and noble ancestry.  She surely needed such help after the affair of her half-brother Silken Thomas and her five uncles.  

MARRIAGE AND PROPERTY 

In 1543, aged sixteen, Elizabeth married Sir Anthony Browne (c.1500-1548,) after the death of Alys Gage his first wife.  She became step-mother to his eight children, including Mabel Browne, who later married her brother, Gerald, ‘The Wizard Earl.’ Gerald was eventually welcomed to the court of Edward VI, who restored all the Kildare lands to him. Sir Anthony was – and managed to remain – a favourite of Henry VIII, despite being a Catholic.    He was a significant figure and court, and was knighted in 1523, and granted Battle Abbey in 1538. In 1539, he was made Master of the Horse for life, becoming a Knight of the Garter in 1540. In 1544, Henry gave him Hatchlands and the Manor of East Clandon. This was followed, in 1547, by the gift of West Horsley Place.  One of the legacies of the Browne ownership of West Horsley Place is an intriguing Tudor room, adjacent to the drawing room, on the first floor of the house.  It has a striking ceiling embellished with low reliefs which carry the initials ‘AB’ (Anthony Browne) and ‘EB’ (Elizabeth Browne.)  This evocative and impressive ceiling decoration once extended to the far end of the Great Hall. 

Sir Anthony Browne

WIDOWHOOD  

In 1548, Anthony Browne died, leaving Elizabeth a widow, at just twenty-one.  Two sons had been born, but neither boy survived infancy.  Her stepson, Anthony Browne, later 1st Lord Montague, gave her ownership of West Horsley Place for her lifetime, and she retained Hatchlands. Later, in 1589, she appears to have given or bequeathed Hatchlands to her niece, Douglas FitzGerald, who is recorded as residing there in that year. (The Hatchlands connection still remains, as Alex Cobbe is connected with both FitzGerald and Browne families.)  Elizabeth had remained friendly with Princess Elizabeth since childhood, and upon her husband’s death, she joined the household of dowager Queen Catherine Parr, now married to Thomas Seymour and living at Chelsea Manor.  Her friendship with the future queen strengthened, and she also became well acquainted with the young Lady Jane Grey.  

  SECOND MARRIAGE & SURVIVAL 

On 1st October, 1552, she married Edward Fiennes Clinton, Lord High Admiral, and later 1st Earl of Lincoln. She was his third wife and step-mother to his nine children.  In 1553, she and Edward supported the claim of Lady Jane Grey to the throne.  But when the plot failed, perhaps because of ‘Fair Geraldine’s’   long friendship with Mary Tudor, the couple  managed to regain the new queen’s trust. 

Edward Clinton, 1st Earl of Lincoln

Upon Elizabeth Tudor’s succession to the throne, Elizabeth FitzGerald became one of the ‘Unfeed Gentlewomen of the Privy Chamber,’ and was very much part of the Queen’s inner circle.  She was in attendance at meetings with foreign dignitaries such as the Duke of Feria, King Philip of Spain’s ambassador. Her possible involvement in court intrigues brought about a fall from grace in 1561, when she was accused by the Archbishop of Canterbury, Matthew Parker, of weakness and disregard of duty. He even declared that she should be ‘chastised in Bridewell’3 for her failings. David Starkey suggests that the Archbishop had dismissed her as a ‘strumpet.’ 4(An epithet frequently applied to ladies of the court, whether deserved or otherwise. ) 

A ROYAL VISIT TO WEST HORSLEY PLACE 

Elizabeth and Admiral Clinton spent time at West Horsley Place, and on the  17TH August, 1559, Queen Elizabeth visited them there.  The Queen’s Master of Revels and Tents, Thomas Cawarden organised a masque (similar to an opera) called Shipmen and Maids of the Country. It would appear that Clinton built his own theatre for the occasion. 5 Guests of the Queen included Robert Dudley, Earl of Leicester.  Sadly, poor Thomas Cawarden died at West Horsley Place on 29th August, 1559, from complications following a broken leg.  Martin Smith, whose historic construction company built Grange Park Opera in the orchard of West Horsley Place, has done significant research, and discovered documents describing the masque. The account describes thirteen tailors spending a fortnight creating costumes for the masque: ‘in purple cloth of gold barred over with gardes of cloth of green and silver, with sleeves of blue cloth edged with gold and red silk lace.’ 6 A team of court painters led by Richard Bossum, made ‘pictures upon cloth in the front and the gallery.’7 Barges carried set, costumes and props from the stores in Blackfriars to Hampton Court, and thence overland to West Horsley Place. Apparently it took a month to transport everything back to London.  

  In 1569, Elizabeth showed both spirit and acumen when she seized a ship which had been illegally taken by Martin Frobisher.  She was exercising her husband’s rights as Lord High Admiral.  Frobisher was charged with piracy, and Elizabeth was allowed to keep both vessel and cargo.  

SECOND WIDOWHOOD 

Admiral Clinton died in 1585, and Elizabeth spent part of her widowhood in West Horsley Place. Clinton had left her considerable lands and possessions for her lifetime, warning his son Henry to respect this.  Henry reneged on his promise, to his father, but she managed to retain them.   She is credited with planting a beech avenue which ran from St. Marys Church to Hillside Farm, acquiring the saplings from diarist John Evelyn’s nursery at Wotton.  There was a friendship between her and the Mores of Loseley, and in 1588, the year of the Armada, she pleaded with Sir William More to ride over to West Horsley, as she feared a Spanish invasion.  

‘The Fair Geraldine’ died in Lincoln, in March, 1590. She is buried in St. George’s Chapel, Windsor Castle.  The chief mourner at her funeral was her sister, Lady Margaret FitzGerald, who was both deaf and dumb.  West Horsley Place passed to her stepson, Sir Anthony Browne, later 1st Lord Montague, who had also inherited other great houses from his father. Elizabeth Fitzgerald – forever ‘The Fair Geraldine’ – was an incredible survivor in an age of intrigue and danger.  

Elizabeth Fitzgerald

Bibliography: 

Childs, Jessie, Henry VIII’s Last Victim: The Life & Times of Henry Howard, Earl of Surrey. New York: St. Martin’s Press, 2007 

Hatchlands Park, The Cobbe Collection Trust/The National Trust 

Starkey, David, Elizabeth, London: Random House, 2008 

Wickham, Glynne, Plays and Their Makers, Up to 1576, London: Routledge, 2013. Vol 3 

Brigden, Susan, Clinton, Elizabeth Fiennes de. www.oxfordnb.com/view/article.9549 

www.historyofparliamentonline.org/volume.1509.browne-sir-anthony-1500-1548 

http://silkenthomas.com.silken-thomas-history 

Martin Smith, www.contsructionmanagersmagazine.com/heritage-specialist-song-surrey-opera-house 

http://tudordynasty.com.elizabeth-fitzgerald-the fair -Geraldine 

  This article appeared in Around & About Horsley no. 241

‘The Fair Geraldine’ by June Davey was originally published on West Horsley Place

[rembertbenjamin]

The Latest Trend In Painters Dublin.

Property improvement in the type of household decorating can be a really fascinating approach when you are equipped with the know-how of how to obtain a skilled professional nearby painter and decorator and how to make sure the most effective doable finish. The most vital aspect of any decorating job, whether or not internal decoration or external painting is the preparation. For external house painting, security is a crucial aspect. It is vital to use the right access equipment and to avoid more than stretching.

Applying standard papers to walls and ceilings

Smoothing and sealing surfaces

Carry out a higher stress clean

Coving and artexing

Cover the floor of the work region with plastic sheeting and secure with duct tape

Applying foundation to walls

Disposable dust masks (encouraged)

The elements, properties, and possible defects of industrial surface coatings

Installing a attractive exterior most important door to your house is one way to add to the curb appeal of your household. As you know, curb appeal is critical if you ever want to sell your household. A higher good quality main door with attractive hardware pays for itself when you go to sell your property. Appear for a heavier style door that will add to the insulating high quality of your dwelling.

Which suggests they are in a position to get started with the function promptly? As talked about just before decorating a house is just not just an instance of grabbing a paint brush. You will need all manner of tools to make certain you receive the great finish. Getting somebody with all the tools to hand will most most likely save you a lot a lot more time in the extended run. All things deemed you won't will need to consistently be operating to your regional tool shop to make confident that you have every little thing that you need to have. Your house is your pride and to maintain it in fantastic condition is your duty. Cleaning and maintaining your home, workplace or organization establishment desires a lot of work and labour. It is not achievable for you to handle all of it on your personal. You want specialized service for property maintenance central London who will verify all fittings, make repairs, paint, clean and wash your whole home. When you move into a new premise, qualified painters and decorators Surrey can deliver a new and clean dwelling suitable on time. They have a group of seasoned staff devoted for every single category of job and all of them operate in tandem to complete a project inside deadline.

Vacuum the trim after each sanding and thoroughly wipe it down to take away leftover dust. This is maybe one of the most worthwhile interior painting tips on this list. Patience and great approach can only get you so far - if you don’t have the appropriate tools (paints, brushes, rollers) to go along with them, you will end up with disappointing outcomes at finest. So, the subsequent time you drop by your neighborhood hardware retailer, try to tame your urge to buy the least expensive brushes available. Some of the drawbacks of finding dirt-low-priced supplies incorporate brush bristles all more than your painted wall or brushes that refuse to hold a decent amount of paint, forcing you to perform twice as difficult to attain a reasonably very good finish. Effectively, the answer is very easy! They are experts and they have undertaken a lot of decorating services for pretty much 20 years, which means they have a terrific quantity of expertise in this field! This business was established a lot more than 15 years ago and considering the fact that the present day they have provided a wide variety of services to a great number of clientele who were always extremely happy with their function. If you want to see some of the critiques they have received from their preceding clientele, do not hesitate to visit their web page at the address http://www.ianwestdecorators.co.uk/ and verify their Testimonials section! alex trend painters

Soldier Gets Deployed While Painting His House. 40 College Students Finish The Job http://ow.ly/Ovv930gbVEx http://fb.me/2CqXXI0YD — Dr. M. O. Minor (@TrinityWhole) October 31, 2017

In fact, many persons make widespread errors with regards to painting their properties. Nonetheless, house painters are hired to get the job performed correct in as little time as achievable. A single error on your paint job can set you back a day's work. On the other hand, hiring house painters can get rid of the price and time involved in your inexperienced error. The overal purpose of house painters is to work effectively and within a affordable quantity of time. So, if you are hunting for a very simple or complex job, then hiring house painters could be your best selection. Moreover, house painters are qualified workers that can also provide you with info with regards to your space. A single of the advantages of house painters is that you can make specific request, so you do not really feel you are sacrificing something by hiring an individual else to do the job.

As you start finding prepared for your exterior painting, you will first have to wash every thing off. Obtaining any dirt buildup on the house will make the paint not stick that well, and it can peel in a relatively short span of time. Start off by spraying it off with a bit stress washing unit that has a minimum of 2500 PSI. This enables adequate power to get off the difficult grime and dirt that a hose cannot take away on its personal. During this period, you should use a bleach remedy over the exterior that will help to kill mildew and mold that may be forming. These operate ideal in dark locations, and by adding a coat of paint to improve their opportunity to thrive and spoil your house.

Irrespective of whether in private or public properties, properties or buildings, interior or exterior, painters and decorators are required for the completion and beautification. Group perform: Coordination with other professional builders/styles is expected in finishing the project. Specialist are anticipated to operate hand in hand to figure out the priority tasks and minimise disruption. Clever price range: To be on top of the game, painters are decorators should present affordable quotations without having sacrificing the good quality of the operate and the all round output. Outcomes primarily based: No two days are the exact same, as the task progresses, quick final results are observed. Ragging - A paint impact achieved with a crumpled rag that is applied to create a pattern on emulsion or a glaze - alternatively, the rag may possibly be dipped in the paint and then applied to a surface. Size - Thinned adhesive applied to walls to seal the surface before hanging wallpaper. Soaking time - The time which wallpaper is left right after pasting ahead of hanging, this enables the paste to soak in and avert the formation of bubbles - it varies amongst papers and is generally specified on the label. Solvent - A chemical utilised as the base of specific decorating supplies. The solvent evaporates (releasing fumes) for the material to ‘go off’ - great ventilation is commonly required.