The Scope and Influence of The Ancient Celts

A great empire once stretched from the Black Sea to the British Isles. So powerful, the Celts leveled Rome, as well as conquering the Carthaginians in Spain. Unfortunately, the Celts left no written account of their society – most of what we know of them comes from the histories of their enemies and their allies. Other than a few coins and bronze weapons, we possess little proof of their existence.

We have what is known as the “Celtic fringe,” which means the Celts retreated to the “edges” of many of the lands they once occupied. For example, in Britain, an unmixed Celtic population is evident in Wales, as well as in Scotland’s Highlands, and in Ireland. Roman legionaries never entered Ireland, and so that area retained much of its early Celtic influences. Likewise, we find a short Celtic tradition in Brittany.

The Celts were known as a warlike race, one which fought many battles. The art of war was part of the heritage passed on to their descendants. In general, the Celts were tall, fair complected, and red of head. They were known to be fond of gossip and of their own opinions.  They were also very intelligent and shrewd. The created stories rich in the beauty of nature and life and love. Their stories have influenced much of the literature which followed.

The Celtic languages form a branch of the larger Indo-European family. By the time speakers of Celtic languages enter history around 400 BC, they were already split into several language groups, and spread over much of Western continental Europe, the Iberian Peninsula, Ireland and Britain.

Some scholars think that the Urnfield culture of Western Middle Europe represents an origin for the Celts as a distinct cultural branch of the Indo-European family. This culture was preeminent in central Europe during the late Bronze Age, from c. 1200 BC until 700 BC, itself following the Unetice and Tumulus cultures. The Urnfield period saw a dramatic increase in population in the region, probably due to innovations in technology and agricultural practices. The Greek historian Ephoros of Cyme in Asia Minor, writing in the 4th century BC, believed that the Celts came from the islands off the mouth of the Rhine and were “driven from their homes by the frequency of wars and the violent rising of the sea.”

The spread of iron-working led to the development of the Hallstatt culture directly from the Urnfield (c. 700 to 500 BC). Proto-Celtic, the latest common ancestor of all known Celtic languages, is considered by this school of thought to have been spoken at the time of the late Urnfield or early Hallstatt cultures, in the early 1st millennium BC. The spread of the Celtic languages to Iberia, Ireland and Britain would have occurred during the first half of the 1st millennium BC, the earliest chariot burials in Britain dating to c. 500 BC.

Other scholars see Celtic languages as covering Britain and Ireland, and parts of the Continent, long before any evidence of “Celtic” culture is found in archaeology. Over the centuries the language(s) developed into the separate Celtiberian, Goidelic and Brythonic languages. cel

The Hallstatt culture was succeeded by the La Tène culture of central Europe, which was overrun by the Roman Empire, though traces of La Tène style are still to be seen in Gallo-Roman artefacts. In Britain and Ireland La Tène style in art survived precariously to re-emerge in Insular art. Early Irish literature casts light on the flavour and tradition of the heroic warrior elites who dominated Celtic societies. Celtic river-names are found in great numbers around the upper reaches of the Danube and Rhine, which led many Celtic scholars to place the ethnogenesis of the Celts in this area.

Diodorus Siculus and Strabo both suggest that the heartland of the people they called Celts was in southern France. The former says that the Gauls were to the north of the Celts, but that the Romans referred to both as Gauls (in linguistic terms the Gauls were certainly Celts). Before the discoveries at Hallstatt and La Tene, it was generally considered that the Celtic heartland was southern France, see Encyclopædia Britannica for 1813.

Celtic remains of Tintagel Castle

Celtic remains of Tintagel Castle

Linguistic Evidence
The Proto-Celtic language is usually dated to the Late Bronze Age. The earliest records of a Celtic language are the Lepontic inscriptions of Cisalpine Gaul, the oldest of which still predate the La Tène period. Other early inscriptions are Gaulish, appearing from the early La Tène period in inscriptions in the area of Massilia, in the Greek alphabet.

Celtiberian inscriptions appear comparatively late, after about 200 BC. Evidence of Insular Celtic is available only from about 400 AD, in the form of Primitive Irish Ogham inscriptions. Besides epigraphical evidence, an important source of information on early Celtic is toponymy.

In 2010, Koch tentatively proposed that the language of the Tartessian inscriptions of south Portugal and southwest Spain (dating from the 7th–5th centuries BC) was Celtic.

Archaeological Evidence
Before the 19th century, scholars assumed that the original land of the Celts was west of the Rhine, more precisely in Gaul, because it was where Greek and Roman ancient sources, namely Caesar, located the Celts. This view was challenged by the 19th-century historian Marie Henri d’Arbois de Jubainville, who placed the land of origin of the Celts east of the Rhine.

Ireland_Celtic_Head_Wearing_HelmetJubainville based his arguments on a phrase of Herodotus’ that placed the Celts at the source of the Danube, and argued that Herodotus had meant to place the Celtic homeland in southern Germany. The finding of the prehistoric cemetery of Hallstat in 1846 by Johan Ramsauer and the finding of the archaeological site of La Tène by Hansli Kopp in 1857 drew attention to this area. The concept that the Hallstatt and La Tene cultures could be seen not just as chronological periods but as “Culture Groups”, entities composed of people of the same ethnicity and language, started to grow by the end of the 19th century. In the beginning of the 20th century the belief that those “Culture Groups” could be thought in racial or ethnic terms was strongly held by Gordon Childe whose theory was influenced by the writings of Gustaf Kossinna. Along the 20th century the racial ethnic interpretation of La Tene culture rooted much stronger, and any findings of “La Tene culture” and “flat inhumation cemeteries” were directly associated with the celts and the Celtic language. The Iron Age Hallstatt (c. 800–475 BC) and La Tène (c. 500–50 BC) cultures are typically associated with Proto-Celtic and Celtic culture.

In various academic disciplines the Celts were considered a Central European Iron Age phenomenon, through the cultures of Hallstatt and La Tène. However, archaeological finds from the Halstatt and La Tène culture were rare in the Iberian Peninsula, in southwestern France, northern and western Britain, southern Ireland and Galatia and did not provide enough evidence for a cultural scenario comparable to that of Central Europe. It is considered equally difficult to maintain that the origin of the Peninsular Celts can be linked to the preceding Urnfield culture, leading to a more recent approach that introduces a ‘proto-Celtic’ substratum and a process of Celticisation having its initial roots in the Bronze Age Bell Beaker culture.

The La Tène culture developed and flourished during the late Iron Age (from 450 BC to the Roman conquest in the 1st century BC) in eastern France, Switzerland, Austria, southwest Germany, the Czech Republic, Slovakia and Hungary. It developed out of the Hallstatt culture without any definite cultural break, under the impetus of considerable Mediterranean influence from Greek, and later Etruscan civilisations. A shift of settlement centres took place in the 4th century.

The western La Tène culture corresponds to historical Celtic Gaul. Whether this means that the whole of La Tène culture can be attributed to a unified Celtic people is difficult to assess; archaeologists have repeatedly concluded that language, material culture, and political affiliation do not necessarily run parallel. Frey notes that in the 5th century, “burial customs in the Celtic world were not uniform; rather, localised groups had their own beliefs, which, in consequence, also gave rise to distinct artistic expressions.” Thus, while the La Tène culture is certainly associated with the Gauls, the presence of La Tène artefacts may be due to cultural contact and does not imply the permanent presence of Celtic speakers.

Historical Evidence
Polybius published a history of Rome about 150 BC in which he describes the Gauls of Italy and their conflict with Rome. Pausanias in the 2nd century AD says that the Gauls “originally called Celts,” “live on the remotest region of Europe on the coast of an enormous tidal sea.” Posidonius described the southern Gauls about 100 BC. Though his original work is lost it was used by later writers such as Strabo. The latter, writing in the early 1st century AD, deals with Britain and Gaul as well as Hispania, Italy and Galatia. Caesar wrote extensively about his Gallic Wars in 58–51 BC. Diodorus Siculus wrote about the Celts of Gaul and Britain in his 1st-century history.

Minority Views
Myles Dillon and Nora Kershaw Chadwick accepted that “the Celtic settlement of the British Isles” might have to be dated to the Beaker period concluding that “There is no reason why so early a date for the coming of the Celts should be impossible.”

Martín Almagro Gorbea proposed the origins of the Celts could be traced back to the 3rd millennium BC, seeking the initial roots in the Bell Beaker culture, thus offering the wide dispersion of the Celts throughout western Europe, as well as the variability of the different Celtic peoples, and the existence of ancestral traditions an ancient perspective. Using a multidisciplinary approach Alberto J. Lorrio and Gonzalo Ruiz Zapatero reviewed and built on Almagro Gorbea’s work to present a model for the origin of the Celtic archaeological groups in the Iberian Peninsula (Celtiberian, Vetton, Vaccean, the Castro Culture of the northwest, Asturian-Cantabrian and Celtic of the southwest) and proposing a rethinking the meaning of “Celtic” from a European perspective. More recently, John Koch and Barry Cunliffe have suggested that Celtic origins lie with the Atlantic Bronze Age, roughly contemporaneous with the Hallstatt culture but positioned considerably to the West, extending along the Atlantic coast of Europe.

Stephen Oppenheimer points out that Herodotus seemed to believe the Danube rose near the Pyrenees.

Distribution
Continental Celts: Gaul

The Romans knew the Celts then living in what became present-day France as Gauls. The territory of these peoples probably included the Low Countries, the Alps and present-day northern Italy. Julius Caesar in his Gallic Wars described the 1st-century BC descendants of those Gauls.

Eastern Gaul became the centre of the western La Tène culture. In later Iron Age Gaul, the social organisation resembled that of the Romans, with large towns. From the 3rd century BC the Gauls adopted coinage, and texts with Greek characters from southern Gaul have survived from the 2nd century BC.

Greek traders founded Massalia about 600 BC, with some objects (mostly drinking ceramics) being traded up the Rhone valley. But trade became disrupted soon after 500 BC and re-oriented over the Alps to the Po valley in the Italian peninsula. The Romans arrived in the Rhone valley in the 2nd century BC and encountered a mostly Celtic-speaking Gaul. Rome wanted land communications with its Iberian provinces and fought a major battle with the Saluvii at Entremont in 124–123 BC. Gradually Roman control extended, and the Roman Province of Gallia Transalpina developed along the Mediterranean coast.

The Romans knew the remainder of Gaul as Gallia Comata – “Hairy Gaul.”

In 58 BC the Helvetii planned to migrate westward but Julius Caesar forced them back. He then became involved in fighting the various tribes in Gaul, and by 55 BC had overrun most of Gaul. In 52 BC Vercingetorix led a revolt against the Roman occupation but was defeated at the siege of Alesia and surrendered.

Following the Gallic Wars of 58–51 BC, Caesar’s Celtica formed the main part of Roman Gaul, becoming the province of Gallia Lugdunensis. This territory of the Celtic tribes was bounded on the south by the Garonne and on the north by the Seine and the Marne. The Romans attached large swathes of this region to neighboring provinces Belgica and Aquitania, particularly under Augustus.

Place- and personal-name analysis and inscriptions suggest that the Gaulish Celtic language was spoken over most of what is now France.

Iberia
Until the end of the 19th century, traditional scholarship dealing with the Celts did acknowledge their presence in the Iberian Peninsula as a material culture relatable to the Hallstatt and La Tène cultures. However, since according to the definition of the Iron Age in the 19th century Celtic populations were supposedly rare in Iberia and did not provide a cultural scenario that could easily be linked to that of Central Europe, the presence of Celtic culture in that region was generally not fully recognised. Three divisions of the Celts of the Iberian Peninsula were assumed to have existed: the Celtiberians in the mountains near the centre of the peninsula, the Celtici in the southwest, and the celts in the northwest (in Gallaecia and Asturias).

Modern scholarship, however, has clearly proven that Celtic presence and influences were most substantial in what is today Spain and Portugal (with perhaps the highest settlement saturation in Western Europe), particularly in the central, western and northern regions. The Celts in Iberia were divided into two main archaeological and cultural groups, even though that division is not very clear:

One group was spread out along Galicia and the Iberian Atlantic shores. They were made up of the Proto / Para-Celtic Lusitanians (in Portugal) and the Celtic region that Strabo called Celtica in the southwestern Iberian peninsula, including the Algarve, which was inhabited by the Celtici, the Vettones and Vacceani peoples (of central-western Spain and Portugal), and the Gallaecian, Astures and Cantabrian peoples of the Castro culture of northern and northwestern Spain and Portugal.

The Celtiberian group of central Spain and the upper Ebro valley. This group originated when Celts (mainly Gauls and some Celtic-Germanic groups) migrated from what is now France and integrated with the local Iberian people.

The origins of the Celtiberians might provide a key to understanding the Celticisation process in the rest of the Peninsula. The process of Celticisation of the southwestern area of the peninsula by the Keltoi and of the northwestern area is, however, not a simple Celtiberian question. Recent investigations about the Callaici and Bracari in northwestern Portugal are providing new approaches to understanding Celtic culture (language, art and religion) in western Iberia.

John T. Koch of the University of Wales-Aberystwyth suggested that Tartessian inscriptions of the 8th century BC might already be classified as Celtic. This would mean that Tartessian is the earliest attested trace of Celtic by margin of more than a century.

Alps and Po Valley
It had been known for some time that there was an early, although apparently somewhat limited, Celtic (Lepontic, sometimes called Cisalpine Celtic) presence in Northern Italy since inscriptions dated to the 6th century BC have been found there.

The site of Golasecca, where the Ticino exits from Lake Maggiore, was particularly suitable for long-distance exchanges, in which Golaseccans acted as intermediaries between Etruscans and the Halstatt culture of Austria, supported on the all-important trade in salt.

In 391 BC Celts “who had their homes beyond the Alps streamed through the passes in great strength and seized the territory that lay between the Appennine mountains and the Alps” according to Diodorus Siculus. The Po Valley and the rest of northern Italy (known to the Romans as Cisalpine Gaul) was inhabited by Celtic-speakers who founded cities such as Milan.

Later the Roman army was routed at the battle of Allia and Rome was sacked in 390 BC by the Senones.

At the battle of Telamon in 225 BC a large Celtic army was trapped between two Roman forces and crushed.

The defeat of the combined Samnite, Celtic and Etruscan alliance by the Romans in the Third Samnite War sounded the beginning of the end of the Celtic domination in mainland Europe, but it was not until 192 BC that the Roman armies conquered the last remaining independent Celtic kingdoms in Italy.

Eastward Expansion
The Celts also expanded down the Danube river and its tributaries. One of the most influential tribes, the Scordisci, had established their capital at Singidunum in 3rd century BC, which is present-day Belgrade, Serbia. The concentration of hill-forts and cemeteries shows a density of population in the Tisza valley of modern-day Vojvodina, Serbia, Hungary and into Ukraine. Expansion into Romania was however blocked by the Dacians.

Further south, Celts settled in Thrace (Bulgaria), which they ruled for over a century, and Anatolia, where they settled as the Galatians. Despite their geographical isolation from the rest of the Celtic world, the Galatians maintained their Celtic language for at least 700 years. St Jerome, who visited Ancyra (modern-day Ankara) in 373 AD, likened their language to that of the Treveri of northern Gaul.

For Venceslas Kruta, Galatia in central Turkey was an area of dense Celtic settlement.

The Boii tribe gave their name to Bohemia, Bologna and possibly Bavaria, and Celtic artefacts and cemeteries have been discovered further east in what is now Poland and Slovakia. A Celtic coin (Biatec) from Bratislava’s mint was displayed on the old Slovak 5-crown coin.

As there is no archaeological evidence for large-scale invasions in some of the other areas, one current school of thought holds that Celtic language and culture spread to those areas by contact rather than invasion. However, the Celtic invasions of Italy and the expedition in Greece and western Anatolia, are well documented in Greek and Latin history.

There are records of Celtic mercenaries in Egypt serving the Ptolemies. Thousands were employed in 283–246 BC and they were also in service around 186 BC. They attempted to overthrow Ptolemy II.

Insular Celts
All Celtic languages extant today belong to the Insular Celtic languages, derived from the Celtic languages spoken in Iron Age Britain and Ireland. They were separated into a Goidelic and a Brythonic branch from an early period.

Linguists have been arguing for many years whether a Celtic language came to Britain and Ireland and then split or whether there were two separate “invasions.” The older view of prehistorians was that the Celtic influence in the British Isles was the result of successive invasions from the European continent by diverse Celtic-speaking peoples over the course of several centuries, accounting for the P-Celtic vs. Q-Celtic isogloss. This view has fallen into disfavour,  to be replaced by the model of a phylogenetic Insular Celtic dialect group.

In the 19th and 20th centuries, scholars commonly dated the “arrival” of Celtic culture in Britain to the 6th century BC, corresponding to archaeological evidence of Hallstatt influence and the appearance of chariot burials in what is now England. Some Iron Age migration does seem to have occurred but the nature of the interactions with the indigenous populations of the isles is unknown. In the late Iron Age.

According to this model, by about the 6th century (Sub-Roman Britain), most of the inhabitants of the Isles were speaking Celtic languages of either the Goidelic or the Brythonic branch. Since the late 20th century, a new model has emerged (championed by archaeologists such as Barry Cunliffe and Celtic historians such as John T. Koch) which places the emergence of Celtic culture in Britain much earlier, in the Bronze Age, and credits its spread not to invasion, but due to a gradual emergence in situ out of Proto-Indo-European culture, perhaps introduced to the region by the Bell Beaker People, and enabled by an extensive network of contacts that existed between the peoples of Britain and Ireland and those of the Atlantic seaboard.

Romanisation
Under Caesar the Romans conquered Celtic Gaul, and from Claudius onward the Roman empire absorbed parts of Britain. Roman local government of these regions closely mirrored pre-Roman tribal boundaries, and archaeological finds suggest native involvement in local government.

The native peoples under Roman rule became Romanised and keen to adopt Roman ways. Celtic art had already incorporated classical influences, and surviving Gallo-Roman pieces interpret classical subjects or keep faith with old traditions despite a Roman overlay.

The Roman occupation of Gaul, and to a lesser extent of Britain, led to Roman-Celtic syncretism. In the case of the continental Celts, this eventually resulted in a language shift to Vulgar Latin, while the Insular Celts retained their language.

There was also considerable cultural influence exerted by Gaul on Rome, particularly in military matters and horsemanship, as the Gauls often served in the Roman cavalry. The Romans adopted the Celtic cavalry sword, the spatha, and Epona, the Celtic horse goddess.

Society
To the extent that sources are available, they depict a pre-Christian Iron Age Celtic social structure based formally on class and kingship, although this may only have been a particular late phase of organization in Celtic societies.

Patron-client relationships similar to those of Roman society are also described by Caesar and others in the Gaul of the 1st century BC.

In the main, the evidence is of tribes being led by kings, although some argue that there is also evidence of oligarchical republican forms of government eventually emerging in areas which had close contact with Rome. Most descriptions of Celtic societies portray them as being divided into three groups: a warrior aristocracy; an intellectual class including professions such as druid, poet, and jurist; and everyone else. In historical times, the offices of high and low kings in Ireland and Scotland were filled by election under the system of tanistry, which eventually came into conflict with the feudal principle of primogeniture in which succession goes to the first-born son.

Little is known of family structure among the Celts. Patterns of settlement varied from decentralised to urban. The popular stereotype of non-urbanised societies settled in hillforts and duns, drawn from Britain and Ireland (there are about 3,000 hill forts known in Britain) contrasts with the urban settlements present in the core Hallstatt and La Tene areas, with the many significant oppida of Gaul late in the first millennium BC, and with the towns of Gallia Cisalpina.

Slavery, as practised by the Celts, was very likely similar to the better documented practice in ancient Greece and Rome.

Slaves were acquired from war, raids, and penal and debt servitude. Slavery was hereditary, though manumission was possible. The Old Irish word for slave, cacht, and the Welsh term caeth are likely derived from the Latin captus, captive, suggesting that slave trade was an early venue of contact between Latin and Celtic societies. In the Middle Ages, slavery was especially prevalent in the Celtic countries. Manumissions were discouraged by law and the word for “female slave,” cumal, was used as a general unit of value in Ireland.

Archaeological evidence suggests that the pre-Roman Celtic societies were linked to the network of overland trade routes that spanned Eurasia. Archaeologists have discovered large prehistoric trackways crossing bogs in Ireland and Germany. Due to their substantial nature, these are believed to have been created for wheeled transport as part of an extensive roadway system that facilitated trade. The territory held by the Celts contained tin, lead, iron, silver and gold. Celtic smiths and metalworkers created weapons and jewellery for international trade, particularly with the Romans.

The myth that the Celtic monetary system consisted of wholly barter is a common one, but is in part false. The monetary system was complex and is still not understood (much like the late Roman coinages), and due to the absence of large numbers of coin items, it is assumed that “proto-money” was used. This included bronze items made from the early La Tene period and onwards, which were often in the shape of axeheads, rings, or bells. Due to the large number of these present in some burials, it is thought they had a relatively high monetary value, and could be used for “day to day” purchases. Low-value coinages of potin, a bronze alloy with high tin content, were minted in most Celtic areas of the continent and in South-East Britain prior to the Roman conquest of these lands. Higher-value coinages, suitable for use in trade, were minted in gold, silver, and high-quality bronze. Gold coinage was much more common than silver coinage, despite being worth substantially more, as while there were around 100 mines in Southern Britain and Central France, silver was more rarely mined. This was due partly to the relative sparcity of mines and the amount of effort needed for extraction compared to the profit gained. As the Roman civilisation grew in importance and expanded its trade with the Celtic world, silver and bronze coinage became more common. This coincided with a major increase in gold production in Celtic areas to meet the Roman demand, due to the high value Romans put on the metal. The large number of gold mines in France is thought to be a major reason why Caesar invaded.

There are only very limited records from pre-Christian times written in Celtic languages. These are mostly inscriptions in the Roman and sometimes Greek alphabets. The Ogham script, an Early Medieval alphabet, was mostly used in early Christian times in Ireland and Scotland (but also in Wales and England), and was only used for ceremonial purposes such as inscriptions on gravestones. The available evidence is of a strong oral tradition, such as that preserved by bards in Ireland, and eventually recorded by monasteries. Celtic art also produced a great deal of intricate and beautiful metalwork, examples of which have been preserved by their distinctive burial rites.

In some regards the Atlantic Celts were conservative: for example, they still used chariots in combat long after they had been reduced to ceremonial roles by the Greeks and Romans. However, despite being outdated, Celtic chariot tactics were able to repel the invasion of Britain attempted by Julius Caesar.

According to Diodorus Siculus:
The Gauls are tall of body with rippling muscles and white of skin and their hair is blond, and not only naturally so for they also make it their practice by artificial means to increase the distinguishing colour which nature has given it. For they are always washing their hair in limewater and they pull it back from the forehead to the nape of the neck, with the result that their appearance is like that of Satyrs and Pans since the treatment of their hair makes it so heavy and coarse that it differs in no respect from the mane of horses. Some of them shave the beard but others let it grow a little; and the nobles shave their cheeks but they let the moustache grow until it covers the mouth.
—Diodorus Siculus

Clothing
During the later Iron Age the Gauls generally wore long-sleeved shirts or tunics and long trousers (called braccae by the Romans). Clothes were made of wool or linen, with some silk being used by the rich. Cloaks were worn in the winter.

Brooches and armlets were used, but the most famous item of jewellery was the torc, a neck collar of metal, sometimes gold. The horned Waterloo Helmet in the British Museum, which long set the standard for modern images of Celtic warriors, is in fact a unique survival, and may have been a piece for ceremonial rather than military wear.

Gender and Sexual Norms
According to Aristotle, most “belligerent nations” were strongly influenced by their women, but the Celts were unusual because their men openly preferred male lovers (Politics II 1269b). H. D. Rankin in Celts and the Classical World notes that “Athenaeus echoes this comment (603a) and so does Ammianus (30.9). It seems to be the general opinion of antiquity.” In book XIII of his Deipnosophists, the Roman Greek rhetorician and grammarian Athenaeus, repeating assertions made by Diodorus Siculus in the 1st century BC (Bibliotheca historica 5:32), wrote that Celtic women were beautiful but that the men preferred to sleep together. Diodorus went further, stating that “the young men will offer themselves to strangers and are insulted if the offer is refused.” Rankin argues that the ultimate source of these assertions is likely to be Poseidonius and speculates that these authors may be recording male “bonding rituals.”

The sexual freedom of women in Britain was noted by Cassius Dio:
… a very witty remark is reported to have been made by the wife of Argentocoxus, a Caledonian, to Julia Augusta. When the empress was jesting with her, after the treaty, about the free intercourse of her sex with men in Britain, she replied: “We fulfill the demands of nature in a much better way than do you Roman women; for we consort openly with the best men, whereas you let yourselves be debauched in secret by the vilest.” Such was the retort of the British woman. —Cassius Dio

There are instances recorded where women participated both in warfare and in kingship, although they were in the minority in these areas. Plutarch reports that Celtic women acted as ambassadors to avoid a war among Celts chiefdoms in the Po valley during the 4th century BC.

Very few reliable sources exist regarding Celtic views towards gender divisions and societal status, though some archaeological evidence does suggest that their views towards gender roles may differ from contemporary and less egalitarian classical counterparts of the Roman era.

There are some general indications from Iron Age burial sites in the Champagne and Bourgogne regions of Northeastern France suggesting that women may have had roles in combat during the earlier La Tène period. However, the evidence is far from conclusive. Examples of individuals buried with both female jewellery and weaponry have been identified, such as the Vix Grave, and there are questions about the gender of some skeletons that were buried with warrior assemblages. However, it has been suggested that “the weapons may indicate rank instead of masculinity.”

Among the insular Celts, there is a greater amount of historic documentation to suggest warrior roles for women. In addition to commentary by Tacitus about Boudica, there are indications from later period histories that also suggest a more substantial role for “women as warriors,” in symbolic if not actual roles. Posidonius and Strabo described an island of women where men could not venture for fear of death, and where the women ripped each other apart. Other writers, such as Ammianus Marcellinus and Tacitus, mentioned Celtic women inciting, participating in, and leading battles. Poseidonius’ anthropological comments on the Celts had common themes, primarily primitivism, extreme ferocity, cruel sacrificial practices, and the strength and courage of their women.

Under Brehon Law, which was written down in early Medieval Ireland after conversion to Christianity, a woman had the right to divorce her husband and gain his property if he was unable to perform his marital duties due to impotence, obesity, homosexual inclination or preference for other women.

Celtic Art
Celtic art is generally used by art historians to refer to art of the La Tène period across Europe, while the Early Medieval art of Britain and Ireland, that is what “Celtic art” evokes for much of the general public, is called Insular art in art history. Both styles absorbed considerable influences from non-Celtic sources, but retained a preference for geometrical decoration over figurative subjects, which are often extremely stylised when they do appear; narrative scenes only appear under outside influence. Energetic circular forms, triskeles and spirals are characteristic. Much of the surviving material is in precious metal, which no doubt gives a very unrepresentative picture, but apart from Pictish stones and the Insular high crosses, large monumental sculpture, even with decorative carving, is very rare; possibly it was originally common in wood.

The interlace patterns that are often regarded as typical of “Celtic art” were in fact introduced to Insular art from the animal Style II of Germanic Migration Period art, though taken up with great skill and enthusiasm by Celtic artists in metalwork and illuminated manuscripts. Equally, the forms used for the finest Insular art were all adopted from the Roman world: Gospel books like the Book of Kells and Book of Lindisfarne, chalices like the Ardagh Chalice and Derrynaflan Chalice, and penannular brooches like the Tara Brooch. These works are from the period of peak achievement of Insular art, which lasted from the 7th to the 9th centuries, before the Viking attacks sharply set back cultural life.

In contrast the less well known but often spectacular art of the richest earlier Continental Celts, before they were conquered by the Romans, often adopted elements of Roman, Greek and other “foreign” styles (and possibly used imported craftsmen) to decorate objects that were distinctively Celtic. After the Roman conquests, some Celtic elements remained in popular art, especially Ancient Roman pottery, of which Gaul was actually the largest producer, mostly in Italian styles, but also producing work in local taste, including figurines of deities and wares painted with animals and other subjects in highly formalised styles. Roman Britain also took more interest in enamel than most of the Empire, and its development of champlevé technique was probably important to the later Medieval art of the whole of Europe, of which the energy and freedom of Insular decoration was an important element.

Warfare and Weapons
Tribal warfare appears to have been a regular feature of Celtic societies. While epic literature depicts this as more of a sport focused on raids and hunting rather than organised territorial conquest, the historical record is more of tribes using warfare to exert political control and harass rivals, for economic advantage, and in some instances to conquer territory.

The Celts were described by classical writers such as Strabo, Livy, Pausanias, and Florus as fighting like “wild beasts,” and as hordes. Dionysius said that their “manner of fighting, being in large measure that of wild beasts and frenzied, was an erratic procedure, quite lacking in military science. Thus, at one moment they would raise their swords aloft and smite after the manner of wild boars, throwing the whole weight of their bodies into the blow like hewers of wood or men digging with mattocks, and again they would deliver crosswise blows aimed at no target, as if they intended to cut to pieces the entire bodies of their adversaries, protective armour and all.” Such descriptions have been challenged by contemporary historians.

Polybius indicates that the principal Celtic weapon was a long bladed sword which was used for hacking edgewise rather than stabbing. Celtic warriors are described by Polybius and Plutarch as frequently having to cease fighting in order to straighten their sword blades. This claim has been questioned by some archaeologists, who note that Noric steel, steel produced in Celtic Noricum, was famous in the Roman Empire period and was used to equip the Roman military.

However, Radomir Pleiner, in The Celtic Sword (1993) argues that “the metallographic evidence shows that Polybius was right up to a point,” as around one third of surviving swords from the period might well have behaved as he describes.

Polybius also asserts that certain of the Celts fought naked, “The appearance of these naked warriors was a terrifying spectacle, for they were all men of splendid physique and in the prime of life.” According to Livy this was also true of the Celts of Asia Minor.

Head Hunting
Celts had a reputation as head hunters. According to Paul Jacobsthal, “Amongst the Celts the human head was venerated above all else, since the head was to the Celt the soul, centre of the emotions as well as of life itself, a symbol of divinity and of the powers of the other-world.” Arguments for a Celtic cult of the severed head include the many sculptured representations of severed heads in La Tène carvings, and the surviving Celtic mythology, which is full of stories of the severed heads of heroes and the saints who carry their own severed heads, right down to Sir Gawain and the Green Knight, where the Green Knight picks up his own severed head after Gawain has struck it off, just as St. Denis carried his head to the top of Montmartre.

A further example of this regeneration after beheading lies in the tales of Connemara’s St. Feichin, who after being beheaded by Viking pirates carried his head to the Holy Well on Omey Island and on dipping the head into the well placed it back upon his neck and was restored to full health.

Diodorus Siculus, in his 1st-century History had this to say about Celtic head-hunting:

They cut off the heads of enemies slain in battle and attach them to the necks of their horses. The blood-stained spoils they hand over to their attendants and striking up a paean and singing a song of victory; and they nail up these first fruits upon their houses, just as do those who lay low wild animals in certain kinds of hunting. They embalm in cedar oil the heads of the most distinguished enemies, and preserve them carefully in a chest, and display them with pride to strangers, saying that for this head one of their ancestors, or his father, or the man himself, refused the offer of a large sum of money. They say that some of them boast that they refused the weight of the head in gold.

In Gods and Fighting Men, Lady Gregory’s Celtic Revival translation of Irish mythology, heads of men killed in battle are described in the beginning of the story The Fight with the Fir Bolgs as pleasing to Macha, one aspect of the war goddess Morrigu.
Religion

Polytheism
Like other European Iron Age tribal societies, the Celts practised a polytheistic religion. Many Celtic gods are known from texts and inscriptions from the Roman period. Rites and sacrifices were carried out by priests known as druids. The Celts did not see their gods as having human shapes until late in the Iron Age. Celtic shrines were situated in remote areas such as hilltops, groves, and lakes.

Celtic religious patterns were regionally variable; however, some patterns of deity forms, and ways of worshipping these deities, appeared over a wide geographical and temporal range. The Celts worshipped both gods and goddesses. In general, Celtic gods were deities of particular skills, such as the many-skilled Lugh and Dagda, while goddesses were associated with natural features, particularly rivers (such as Boann, goddess of the River Boyne). This was not universal, however, as goddesses such as Brighid and The Morrígan were associated with both natural features (holy wells and the River Unius) and skills such as blacksmithing and healing.

Triplicity is a common theme in Celtic cosmology, and a number of deities were seen as threefold. This trait is exhibited by The Three Mothers, a group of goddesses worshipped by many Celtic tribes (with regional variations). three-mothers-for-oe

The Celts had literally hundreds of deities, some of which were unknown outside a single family or tribe, while others were popular enough to have a following that crossed lingual and cultural barriers. For instance, the Irish god Lugh, associated with storms, lightning, and culture, is seen in similar forms as Lugos in Gaul and Lleu in Wales. Similar patterns are also seen with the continental Celtic horse goddess Epona and what may well be her Irish and Welsh counterparts, Macha and Rhiannon, respectively.

Roman reports of the druids mention ceremonies being held in sacred groves. La Tène Celts built temples of varying size and shape, though they also maintained shrines at sacred trees and votive pools.

Druids fulfilled a variety of roles in Celtic religion, serving as priests and religious officiants, but also as judges, sacrificers, teachers, and lore-keepers. Druids organised and ran religious ceremonies, and they memorised and taught the calendar. Other classes of druids performed ceremonial sacrifices of crops and animals for the perceived benefit of the community.

Gallic Calendar
The Coligny calendar, which was found in 1897 in Coligny, Ain, was engraved on a bronze tablet, preserved in 73 fragments, that originally was 1.48 m wide and 0.9 m high (Lambert p. 111). Based on the style of lettering and the accompanying objects, it probably dates to the end of the 2nd century. It is written in Latin inscriptional capitals, and is in the Gallic language. The restored tablet contains 16 vertical columns, with 62 months distributed over 5 years.

Overview of the reassembled tablet (This work is in public domain.)

Overview of the reassembled tablet (This work is in public domain.)

The French archaeologist J. Monard speculated that it was recorded by druids wishing to preserve their tradition of timekeeping in a time when the Julian calendar was imposed throughout the Roman Empire. However, the general form of the calendar suggests the public peg calendars (or parapegmata) found throughout the Greek and Roman world.

Roman Influence
The Roman invasion of Gaul brought a great deal of Celtic peoples into the Roman Empire. Roman culture had a profound effect on the Celtic tribes which came under the empire’s control. Roman influence led to many changes in Celtic religion, the most noticeable of which was the weakening of the druid class, especially religiously; the druids were to eventually disappear altogether. Romano-Celtic deities also began to appear: these deities often had both Roman and Celtic attributes and combined the names of Roman and Celtic deities. Other changes included the adaptation of the Jupiter Pole, a sacred pole which was used throughout Celtic regions of the empire, primarily in the north. Another major change in religious practice was the use of stone monuments to represent gods and goddesses. The Celts had only created wooden idols (including monuments carved into trees, which were known as sacred poles) previously to Roman conquest.

Celtic Christianityceltic-cross

While the regions under Roman rule adopted Christianity along with the rest of the Roman empire, unconquered areas of Ireland and Scotland moved from Celtic polytheism to Christianity in the 5th century. Ireland was converted under missionaries from Britain, such as Patrick. Later missionaries from Ireland were a major source of missionary work in Scotland, Saxon parts of Britain, and central Europe. Celtic Christianity, the forms of Christianity that took hold in Britain and Ireland at this time, have carried traditions distinct from the rest of Western Christianity. The development of Christianity in Ireland and Britain brought an early medieval renaissance of Celtic art between 390 and 1200 AD.  Many of the styles now thought of as typically “Celtic” developed in this period, and are found throughout much of Ireland and Britain, including the northeast and far north of Scotland, Orkney and Shetland. Notable works produced during this period include the Book of Kells and the Ardagh Chalice. Antiquarian interest from the 17th century led to the term Celt being extended, and rising nationalism brought Celtic revivals from the 19th century.

Posted in British history, customs and tradiitons, Ireland, Scotland, Uncategorized, Wales | Tagged | 1 Comment

The Evolution of Wigs and Hair Pieces

In one of my two Works in Progress (WIP), my main character chooses to wear a disguise. However, as I write in the Regency Period, the use of wigs, as were common in the 18th Century, had gone by the way side. Below, one will discover an interesting sampling of the “evolution of wigs.” A wig is a head covering made from human hair, animal hair, or synthetic fiber that is worn for fashion or other reasons, including cultural tradition and religious observance. The word wig is short for periwig and first appeared in the English language around 1675. Some people wear wigs to disguise baldness; a wig may be used as a less intrusive and less expensive alternative to medical therapies for restoring hair. Wigs may also be used as an article of apparel, or to fulfill a religious obligation. Actors often wear costume wigs in order to portray characters.

History

Ancient Use

The ancient Egyptians wore wigs to shield their shaved, hairless heads from the sun. They also wore the wigs on top of their hair using beeswax and resin to keep the wigs in place. Other ancient cultures, including the Assyrians, Phoenicians, Greeks and Romans, also used wigs as an everyday fashion. 267px-Egypte_louvre_286_couple In Korea, gache were popular among women until it was banned in the late 18th century, while wigs were rarely used in China and Japan except in the traditional theatre.

16th and 17th Centuries

After the fall of the Roman Empire, the use of wigs fell into disuse in the West for a thousand years until they were revived in the 16th century as a means of compensating for hair loss or improving one’s personal appearance. They also served a practical purpose: the unhygienic conditions of the time meant that hair attracted head lice, a problem that could be much reduced if natural hair were shaved and replaced with a more easily de-loused artificial hairpiece. Fur hoods were also used in a similar preventative fashion. Royal patronage was crucial to the revival of the wig. Queen Elizabeth I of England famously wore a red wig, tightly and elaborately curled in a “Roman” style, while among men King Louis XIII of France (1601–1643) started to pioneer wig-wearing in 1624 when he had prematurely begun to bald. This fashion was largely promoted by his son and successor Louis XIV of France (1638–1715) that contributed to its spread in European and European-influenced countries.

Perukes or periwigs for men were introduced into the English-speaking world with other French styles when Charles II was restored to the throne in 1660, following a lengthy exile in France. These wigs were shoulder-length or longer, imitating the long hair that had become fashionable among men since the 1620s. Their use soon became popular in the English court.

The London diarist Samuel Pepys recorded the day in 1665 that a barber had shaved his head and that he tried on his new periwig for the first time, but in a year of plague he was uneasy about wearing it:

“3rd September 1665: Up, and put on my coloured silk suit, very fine, and my new periwig, bought a good while since, but darst not wear it because the plague was in Westminster when I bought it. And it is a wonder what will be the fashion after the plague is done as to periwigs, for nobody will dare to buy any haire for fear of the infection? That it had been cut off the heads of people dead of the plague.”

Wigs were not without other drawbacks, as Pepys noted on March 27, 1663:

“I did go to the Swan; and there sent for Jervas my old periwig-maker and he did bring me a periwig; but it was full of nits, so as I was troubled to see it (it being his old fault) and did send him to make it clean.”

With wigs virtually obligatory garb for men with social rank, wigmakers gained considerable prestige. A wigmakers’ guild was established in France in 1665, a development soon copied elsewhere in Europe. Their job was a skilled one as 17th century wigs were extraordinarily elaborate, covering the back and shoulders and flowing down the chest; not surprisingly, they were also extremely heavy and often uncomfortable to wear. Such wigs were expensive to produce. The best examples were made from natural human hair. The hair of horses and goats was often used as a cheaper alternative.

Nicolas de Vermont

Nicolas de Vermont

18th Century

In the 18th century, men’s wigs were powdered in order to give them their distinctive white or off-white color. Women in the 18th century did not wear wigs, but wore a coiffure supplemented by artificial hair or hair from other sources. Women mainly powdered their hair grey, or blue-ish grey, and from the 1770s onwards never bright white like men. Wig powder was made from finely ground starch that was scented with orange flower, lavender, or orris root. Wig powder was occasionally colored violet, blue, pink or yellow, but was most often used as off-white.

Powdered wigs (men) and powdered natural hair with supplemental hairpieces (women) became essential for full dress occasions and continued in use until almost the end of the 18th century.

The elaborate form of wigs worn at the coronation of George III in 1761 was lampooned by William Hogarth in his engraving Five Orders of Periwigs. 220px-William_Hogarth_-_The_Five_Orders_of_Perriwigs

Powdering wigs and extensions were messy and inconvenient, and the development of the naturally white or off-white powderless wig (made of horsehair) for men made the retention of wigs in everyday court dress a practical possibility. By the 1780s, young men were setting a fashion trend by lightly powdering their natural hair, as women had already done from the 1770s onwards.

After 1790, both wigs and powder were reserved for older, more conservative men, and were in use by ladies being presented at court. After 1790 English women seldom powdered their hair.

In 1795, the British government levied a tax on hair powder of one guinea per year. This tax effectively caused the demise of both the fashion for wigs and powder. Granville Leveson-Gower, in Paris during the winter of 1796, noted “The word citoyen seemed but very little in use, and hair powder being very common, the appearance of the people was less democratic than in England.” Among women in the French court of Versailles in the mid-to-late 18th century, large, elaborate and often themed wigs (such as the stereotypical “boat poufs”) were in vogue for women.

These combed-up hair extensions were often very heavy, weighted down with pomades, powders, and other ornamentation. In the late 18th century these coiffures (along with many other indulgences in court life) became symbolic of the decadence of the French nobility, and for that reason quickly became out of fashion from the beginning of the French Revolution in 1789.

During the 18th century, men’s wigs became smaller and more formal with several professions adopting them as part of their official costumes. This tradition survives in a few legal systems. They are routinely worn in various countries of the Commonwealth. Until 1823, bishops of the Church of England and Church of Ireland wore ceremonial wigs. The wigs worn by barristers are in the style favoured in the late eighteenth century. Judges’ wigs, in everyday use as court dress, are short like barristers’ wigs (although in a slightly different style), but for ceremonial occasions judges and also senior barristers (QCs) wear full-bottomed wigs.

Charles-Alexandre de Calonne by Élisabeth-Louise Vigée-Le Brun (1784), London, Royal Collection. The Vicomte de Calonne is shown wearing a powdered wig; the powder that has fallen from the wig is visible on his shoulders.

Charles-Alexandre de Calonne by Élisabeth-Louise Vigée-Le Brun (1784), London, Royal Collection. The Vicomte de Calonne is shown wearing a powdered wig; the powder that has fallen from the wig is visible on his shoulders.

19th and 20th Centuries

The wearing of wigs as a symbol of social status was largely abandoned in the newly created United States and France by the start of the 19th century. In the United States, only the first five Presidents, from George Washington to James Monroe, wore powdered wigs according to the old-fashioned style of the 18th century. The latest-born notable person to be portrayed wearing a powdered wig tied in a queue according to this old fashion was Grand Duke Constantine Pavlovich of Russia (born in 1779, portrayed in 1795).

Women’s wigs developed in a somewhat different way. They were worn from the 18th century onwards, although at first only surreptitiously. Full wigs in the 19th and early 20th century were not fashionable. They were often worn by old ladies who had lost their hair. In the film Mr. Skeffington (1944), when Bette Davis has to wear a wig after a bout of diphtheria, it is a moment of pathos and a symbol of her frailty.

During the late nineteenth and early twentieth century hairdressers in England and France did a brisk business supplying postiches, or pre-made small wiglets, curls, and false buns to be incorporated into the hairstyle.

The use of postiches did not diminish even as women’s hair grew shorter in the decade between 1910 and 1920, but they seem to have gone out of fashion during the 1920s. In the 1960s a new type of synthetic wig was developed using a modacrylic fiber which made wigs more affordable. Reid-Meredith was a pioneer in the sales of these types of wigs.

Military Wigs

From the late 17th to early 19th centuries, European armies wore uniforms more or less imitating the civilian fashions of the time, but with militarized additions. As part of that uniform, officers wore wigs more suited to the drawing rooms of Europe than its battlefields. The late 17th century saw officers wearing full-bottomed natural-coloured wigs, but the civilian change to shorter, powdered styles with pigtails in the early 18th century saw officers adopting similar styles. The elaborate, over-sized court-styles of the late 18th century were not followed by armies in the field however, as they were impractical to withstand the rigours of military life and simpler wigs were worn.

Whilst officers normally wore their own hair short under a powdered wig, the rank and file of the infantry was not afforded such luxury. Instead of wigs, the men grew their hair long and according to the prevailing fashion in a nation’s army, hair was either allowed to grow long with simple modeling, as in the French army of the 1740s, or else was elaborately coiffured as in Prussian and British armies. In the case of British soldiers of the 1740s, contemporary artwork suggests that they cut their hair short, which was not the case. Instead, the men used tallow or other fat to grease the hair, which was then fashioned into pigtails and tied back into the scalp hair to give the impression of short hair. It was then liberally dusted with powdered chalk to give the impression of a powdered wig. Later in the century, hair was likewise tied back, greased and powdered, but false hair pigtails were adopted, kept in a tubular queue and tied back with ribbons to the soldier’s own hair. The overall effect was that of a wig with a long tail and bow. The Prussian army took personal hairstyles to an extreme during the time of Frederick The Great, each soldier commonly having a long pigtail hanging down the back nearly to waist level.

By contrast, in the 1780s Russian General Potemkin abhorred the tight uniforms and uncomfortable wigs and powdered coiffures worn by his soldiers and instigated a complete revision of both. As well as comfortable, practical, well-fitting uniforms, his reforms introduced neat, natural hairstyles for all, with no wigs, powder and grease or hair-tying evident.

Formal military hairstyles lasted until beyond the end of the 18th century and it was the French Revolution which spelled the end of wigs and powdered, greased hairstyles in modern, Western armies. Powdered hair and pigtails made a brief return during Napoleon’s reign, being worn by infantry of his Foot Grenadiers and Foot Chasseurs of the Old Guard and the Horse Grenadiers of the Guard.

Merkin

A merkin is a pubic wig often worn as a decorative item or for theatrical and fashion purposes. They are sometimes viewed as erotic and some designs are meant for entertainment or as a form of comedy.

Current Usage

In Britain, most Commonwealth nations, and the Republic of Ireland special wigs are also worn by barristers, judges, and certain parliamentary and municipal or civic officials as a symbol of the office. Hong Kong barristers and judges continue to wear wigs as part of court dress as an influence from their former jurisdiction of the Commonwealth of Nations. In July 2007, judges in New South Wales, Australia voted to discontinue the wearing of wigs in the NSW Court of Appeal. New Zealand lawyers and judges have ceased to wear wigs except for special ceremonial occasions such as openings of Parliament or the calling of newly qualified barristers to the bar.

A number of celebrities, including Nicki Minaj, Dolly Parton, Lady Gaga, Diana Ross & The Supremes, Tina Turner and Raquel Welch have popularized wigs. Cher has worn all kinds of wigs in the last 40 years- from blonde to black, and curly to straight. They may also be worn for fun as part of fancy dress (costume wearing), when they can be of outlandish colour or made from tinsel. They are quite common at Halloween, when “rubber wigs” (solid bald cap-like hats, shaped like hair), are sold at some stores.

Jewish law requires married women to cover their hair for reasons of modesty (tznius). Some women wear wigs, known as sheitels, for this purpose. Haredi, Orthodox and Modern Orthodox Jewish women will often wear human-hair wigs.

Wigs are used in film, theater, and television. In the Japanese film and television genre Jidaigeki, wigs are used extensively to alter appearance to reflect the Edo Period when most stories take place. Only a few actors starring in big-budgeted films and television series will grow their hair so that it may be cut to the appropriate hair style, and forgo using a wig.

Wigs are worn by some people on a daily or occasional basis in everyday life. This is sometimes done for reasons of convenience, since wigs can be styled ahead of time. They are also worn by individuals who are experiencing hair loss due to medical reasons (most commonly cancer patients who are undergoing chemotherapy, or those who are suffering from alopecia areata).

Manufacture

There are two methods of attaching hair to wigs. The first and oldest is to weave the root ends of the hair onto a warp of three silk threads to form a sort of fringe called a “weft.” The wefts are then sewn to a foundation made of net or other material. In modern times, the wefts can also be made with a specially adapted sewing machine, reducing the amount of hand labour involved. In the 19th century another method came into use. A small hook called a “ventilating needle,” similar to the tambour hooks used for decorating fabric with chain-stitch embroidery at that period, is used to knot a few strands of hair at a time directly to a suitable foundation material. This newer method produces a lighter and more natural looking wig. High quality custom wigs, and those used for film and theatrical productions are usually done this way. It is also possible to combine the two techniques, using weft for the main part of the wig and ventilating hair at the edges and partings to give a fine finish.

Measurement

Making custom wigs starts with measuring the subject’s head. The natural hair is arranged in flat curls against the head as the various measurements are taken. It is often helpful to make a pattern from layers of transparent adhesive tape applied over a piece of plastic wrap, on which the natural hairline can be traced accurately. These measurements are then transferred to the “block,” a wooden or cork-stuffed canvas form the same size and shape as the client’s head.

Foundation

Depending on the style of the wig, a foundation is made of net or other material, different sizes and textures of mesh being used for different parts of the wig. The edges and other places might be trimmed and reinforced with a narrow ribbon called “galloon.” Sometimes flesh colored silk or synthetic material is applied where it will show through the hair at crown and partings, and small bones or elastic are inserted to make the wig fit securely. Theatrical, and some fine custom wigs have a fine, flesh colored net called “hair lace” at the front which is very inconspicuous in wear and allows the hair to look as if it is coming directly from the skin underneath. These are usually referred to as “lace front wigs.”

Hair Preparation

Natural hair, either human or from an animal such as a goat or yak, must be carefully sorted so that the direction of growth is maintained, root to root, and point to point. Because of the scale-like structure of the cortex of a hair shaft, if some hairs get turned the wrong way, they will ride backwards against their neighbors and cause tangles and matting. The highest quality of hair has never been bleached or colored, and has been carefully sorted to ensure the direction is correct. For less expensive wigs, this labour-intensive sorting process is substituted for by “processing” the hair. It is treated with a strongly base solution which partially dissolves the cortex leaving the strands smooth, It is then bleached and dyed to the required shade and given a synthetic resin finish which partially restores the strength and luster of the now damaged hair. Synthetic fiber, of course, is simply manufactured in the required colors, and has no direction.

The wigmaker will choose the type, length and colors of hair required by the design of the wig and blend them by pulling the hair through the upright teeth of a brush-like tool called a “hackle” which also removes tangles and any short or broken strands. The hair is placed on one of a pair of short-bristled brushes called “drawing brushes” with the root ends extending over one edge, and the second brush is pressed down on top of it so that a few strands can be withdrawn at a time, leaving the rest undisturbed.

Adding the Hair

Weft structured wigs can have the wefts sewn to the foundation by hand, while it is on the block or, as is common with mass-produced wigs, sewn to a ready-made base by skilled sewing machine operators. Ventilated (hand knotted) wigs have the hair knotted directly to the foundation, a few strands at a time while the foundation is fastened to the block. With the hair folded over the finger, the wigmaker pulls a loop of hair under the mesh, and then moves the hook forward to catch both sides of the loop. The ends are pulled through the loop and the knot is tightened for a “single knot”, or a second loop is pulled though the first before finishing for a “double knot.” Typically, the bulkier but more secure double knot is used over the majority of the wig and the less obvious single knot at the edges and parting areas. A skilled wigmaker will consider the number of strands of hair used and the direction of each knot to give the most natural effect possible.

It takes generally six heads of hair to make a full human hair wig. Styling At this point, the hair on the wig is all the same length. The wig must be styled into the desired form in much the same manner as a regular stylist.

Fitting

The subject’s natural hair is again knotted tightly against the head and the wig is applied. Any remaining superfluous wiglace is trimmed away. Hairpins can be used to secure the lace to the hair and occasionally, skin-safe adhesives are used to adhere the wig against bald skin and to better hide any exposed lace. Finishing touches are done to the hair styling to achieve the desired effect.

Types of Human Hair Wigs

There are two basic kinds of human hair wigs: lace wigs and non-lace wigs (lace front or full lace.) Lace wigs are made partially (lace front) or entirely (full lace) of various forms of lace. Regular human hair wigs are similar to synthetic wigs in their design. Human hair wigs can also be “hand tied”, where a full lace cap is used and each hair is attached one at a time. Hair type is the distinguishing factor in human hair wigs.

Four main types of hair are used in manufacturing : Chinese or “Malaysian”, Indian, Indonesian or “Brazilian”, and Caucasian or “European.” The majority of human hair wigs are made of Chinese or Indian hair, while European hair is considered the most expensive and rare, as most donors are from Russia or Northern Europe, where there is a smaller portion of hair donors to the market.

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Forerunners of Elizabethan Tragedy: Thomas Kyd

Today, I am taking a step away from my beloved Regency England to visit a time period, which also fascinates me. With a minor in theatre, I have studied the development of the drama of the period. With Kyd and Marlowe the Elizabethan tragedy took flight.

5784358_f260Thomas Kyd (baptised 6 November 1558; buried 15 August 1594) was an English dramatist, the author of The Spanish Tragedy, and one of the most important figures in the development of Elizabethan drama.

Although well known in his own time, Kyd fell into obscurity until 1773 when Thomas Hawkins (an early editor of The Spanish Tragedy) discovered that Kyd was named as its author by Thomas Heywood in his Apologie for Actors (1612). A hundred years later, scholars in Germany and England began to shed light on his life and work, including the controversial finding that he may have been the author of a Hamlet play pre-dating Shakespeare’s.

Kyd was the son of a London scrivener. He attended Merchant Taylors’ school, and although there is no evidence of Kyd having a university education, he was well versed in the classics. He was also known to possess an affinity for French and Italian. When The Spanish Tragedy was published (likely in 1586), the play did not carry Kyd’s name. The only other play known to be associated with Kyd is a translation of Garnier’s CornélieThere are, however, other plays thought to be part of Kyd’s writings: Soliman and Perseda (a romantic tragedy involving a murderous Sultan), Arden of Feversham (the oldest and most powerful of the Domestic Tragedies), and Hamlet (upon which Shakespeare’s play is likely founded).

Tragedies had known popularity in England, but they were academic plays of the Senecan school, plays like Gorboduc, or parodies of tragic actions (see Cambises or Horestes). However, true Elizabethan drama began with Kyd and Marlowe.

spanishtragedy2In the last year of Kyd’s life, his papers were seized by the Privy Council, with the PC believing him the author of anti-alien propaganda. One of the documents reportedly denied the divinity of Christ. Under torture, Kyd swore the document was not his, but rather the property of Christopher Marlowe. Marlowe was arrested and later released upon parole, but Thomas Kyd was a ruined man. Kyd wrote a very public letter to the Lord Chancellor, Kyd’s patron, asking the Lord Chancellor to restore his patronage, but no assistance was forthcoming. In poverty, Kyd died the following year.

150px-Spanish-tragedyThe Spanish Tragedy was published before Kyd’s death, coming into print in 1592. The last quarto appeared in 1633. Strange’s company performed the play again and again to packed houses in 1592. The Admiral’s company added it to their repertoire in 1597. Henslowe paid Jonson for additions to the play. The play was known to have a bit of everything: something for the classically taught and something for the general populace. It contains the proud and passionate heroine, Bel-imperia, and the first Machiavellian villain, the lady’s brother, Lorenzo. The most important events of the story are not “reported” and taking place off stage. Instead, Kyd add the action required to entertain those in the audience who lacked an education.

The murder of Horatio is quite graphic, as is the hanging of the tool villain and the murder of a second youth.

 

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Movie Discussion ~ 2005’s Pride and Prejudice

Pride and Prejudice 2005 – Movie Discussion


This is a film where the spectator enjoys a lesson in Voyeurism 101. We follow the story as we view the characters through windows, eavesdrop on them through doors, read over their shoulders, stand behind them while they are conversing, etc. From the opening shot to the closing kiss (in the American version), we are drawn into the Bennet family through the character of Elizabeth, portrayed by Keira Knightley. The opening shot establishes Elizabeth as being both “inside” the action, but also an “outside” observer through which the audience will view the story. Joe Wright, the director, uses camera angles and filmography to tell the story of Darcy and Elizabeth’s love. He gives us a story steeped in Romantic elements, which seems a bit odd to those who have been taught that Jane Austen rejected the concept of “self,” emphasized by Romanticism.

In that opening shot, Elizabeth is walking home reading what is thought to be Austen’s First Impressions. In other words, Elizabeth is reading “her story.” Reaching her home, (through the camera’s lens) we follow her around the house. We see that this is a “working” estate, rather than what we sometimes see in the more traditional “Heritage” films. Elizabeth walks behind the sheets hanging on the line. They obstruct our vision, but this also tells the viewer that Elizabeth’s perceptions are  hampered.
In one of my favorite shots in the film, we see Elizabeth most intimately in the “mirror” sequence. Masterly, Wright summarizes three chapters of Austen’s novel with soft lighting and darkness, using both to show the passage of time. We find various blurred medium long shots and medium close-ups of Elizabeth, of Darcy, and of the letter. They provide the viewer with insights into Elizabeth’s internal turmoil. She turns suddenly when she realizes she has misjudged Darcy, but he is gone. To Charlotte’s question of her health, Elizabeth responds, “I hardly know.” Hardly knows what? Herself? Darcy? the Truth?
Another masterly crafted scene is the Netherfield Ball. The camera steps in to refocus the audience’s attention that this is a turning point in Darcy and Elizabeth’s relationship. The camera leaves the traditional set up and follows them in their movements. We whirl and complete the dance steps along with them. Then the camera “crosses the line” by moving more than 180 degrees. I must tell you when I first saw this, I nearly jumped out of my chair. One rarely sees this film technique used so well. The characters’ positioning from right to left in the frame reverses, telling the viewer everything has changed for both of them. It is a leap from spatial reality to a dream. The characters complete each other. This scene forecasts the film’s resolution: Social isolation will ultimately unite them. They dance alone. Before, they were only going through the motions of social performances.
In the “Accomplished Lady” scene, the dialogue mixes idioms with archaic sounding sentence structure. Simon Woods (Bingley) says, “amazing you young ladies” and “you all paint tables….” The script says, “It’s amazing how young ladies…” and “They all paint tables….” Therefore, Caroline’s use of “She must have …” makes her appear more distant and impersonal. A look at the filmography of this scene shows Elizabeth surrounded by emblems of the ornate femininity she rejects: a decorative vase, a framed portrait of a young woman in white, a bowl of flowers, etc. During this scene, both Darcy and Elizabeth remained seated. This gives them visual authority. The change in shot from character to character is often slightly off sync with the beginning and ending of each speech. This creates movement in an otherwise static scene.  The final shot shows Caroline and Elizabeth separating, crossing behind Darcy, and sitting. They represent different potential mates for Darcy. Of course, any student of Austen knows Wright combined two separate incidents from the novel into this one scene.

At Pemberley, Elizabeth sees Darcy’s sensual side. She realizes his true worth through the beauty of his home. There is constant camera movement, which emphasizes the significance of the moment. The camera circles Elizabeth and then Darcy’s statue, showing her emerging feelings for Darcy. Did you notice the right to left tracking shot of (Chatsworth) Pemberley’s facáde? As Elizabeth moves through the house, she touches the various objects, giving her a “true” picture of Darcy. “I hope to afford you more clarity in the future.” Elizabeth peers through the door to see Darcy with Georgiana. His role as a loving brother softens Elizabeth’s opinion of him.
Rosings Park’s murals show men laboring under tyrannical conditions – under the oppressive social order represented by Lady Catherine. The murals at Pemberley depict men and women in a pastoral setting. It is the ideal place for Darcy and Elizabeth’s love to grow.
Wright shows that Elizabeth needs to be in a natural setting. That is where she will bloom. In Derbyshire, Elizabeth stands on the bluff. She is part of the rugged landscape. She belongs in Derbyshire with Darcy. She sits on the roots of a 200+ year old tree (which is really in Nottingham). She must set down roots in this area. The free running deer represent Elizabeth’s new sense of freedom.
Darcy is seen as a social outsider. The film creates him as a Byronic hero. He is a reluctant

social participant. Matthew Macfadyen’s body language and facial expressions suggest discomfort – a true dislike for social practices – an unhappiness rather than hauteur or censure. The film begins in the countryside at dawn. It ends with the second proposal in the same setting. Neither Elizabeth nor Darcy is dressed properly. They will, therefore, live their lives on their own terms.
As one can see, there are many areas of discussion on this film. It is quite different from the more traditional 1995 P&P, but that does not mean that it is not worthy in its own right. Keep in mind, that a 2-hour commercial film should not be compared to a nearly 6-hour “heritage” adaptation. I welcome your comments. I will check in regularly to respond.
Posted in film, Jane Austen, Uncategorized | Tagged , , | 13 Comments

Regency Happenings: The Year Without Summer

tambora_11The Year Without a Summer (also known as the Poverty Year, Year There Was No Summer, and Eighteen Hundred and Froze to Death) was 1816, in which severe summer climate abnormalities resulted in major food shortages. Much of the cause of this anomaly is blamed on the volcanic eruption of Mount Tambora (located on the island of Sumbawa, Indonesia) in April 1815.

Rated a 7 on the Volcanic Explosivity Index, the Tambora eruption had ash falls as far away as Borneo, Sulawesi, Java, and the Maluku islands. Most who died from the eruption came from starvation and disease. 71,000+ people died. Some 12,000 killed from the explosion.

In Europe, people were still recovering from the devastation of the Napoleonic Wars. Food shortages were already prevalent. In the UK and France, food riots were common. Switzerland declared a national emergency because of famine. Abnormal rainfall swelled European rivers. 100,000 Irishmen perished from a combination of a famine and a major typhus epidemic.

In New England, the corn crop failed. Because of supply and demand, the cost of wheat and grains skyrocketed. In Hungary, the population experienced brown snow. Italy had red snow. Volcanic ash is believed to be the cause. The rice crop in China failed due to the summer’s low temperatures. Summer snowfalls occurred in several of China’s provinces. In tropical Taiwan, snow was also reported.

J. M. W. Turner celebrated the spectacular sunsets during this period, likely caused by high levels of ash. People have noted the yellow tinge that is predominant in his paintings, such as Chichester Canal circa 1828.

The crop failures of the “Year without a Summer” may have helped shape the settling of the “American Heartland,” as many thousands of people (particularly farm families who were wiped out by the event) departed New England for what is now western and central New York and the upper Midwest in search of a more profitable land.

Among those who left Vermont were the family of Joseph Smith. This move precipitated a series of events which culminated in the publication of the Book of Mormon and the founding of the Church of Jesus-Christ of Latter-day Saints

In July 1816 “incessant rainfall” during that “wet, ungenial summer” forced Mary Shelley, John William Polidori, Lord Byron and their friends to stay indoors for much of their Swiss holiday.

They decided to have a contest to see who could write the scariest story, leading Shelley to write Frankenstein, the Modern Prometheus and Polidori to write The Vampyre In addition, their host, Lord Byron was inspired to write a poem, “Darkness,” at the same time.

The events of April 1815 play a part in my next novel The Disappearance of Georgiana Darcy (scheduled for release in March 2012), which begins in July 1815, after Wellington vanquishes Napoleon at Waterloo.

Chichester Canal, circa 1828 by J.M.W. Turner

Chichester Canal, circa 1828 by J.M.W. Turner

Among those who left Vermont were the family of Joseph Smith. This move precipitated a series of events which culminated in the publication of the Book of Mormon and the founding of the Church of Jesus-Christ of Latter-day Saints.

In July 1816 “incessant rainfall” during that “wet, ungenial summer” forced Mary Shelley, John William Polidori, Lord Byron and their friends to stay indoors for much of their Swiss holiday.

Shelley

Shelley

Polidori

Polidori

They decided to have a contest to see who could write the scariest story, leading Shelley to write Frankenstein, the Modern Prometheus and Polidori to write The Vampyre In addition, their host, Lord Byron was inspired to write a poem, “Darkness,” at the same time.

The events of April 1815 play a part in my  novel The Disappearance of Georgiana Darcy, which begins in July 1815, after Wellington vanquishes Napoleon at Waterloo. It also plays a role in several other of my works: A Touch of Honor, A Touch of Love, and the upcoming The Prosecution of Mr. Darcy’s Cousin. Those who write in the Regency period (1811-1820) must address the hardships such a disastrous event brought to the wealthy land owners and the tenant farmers.

Information shared on the historical event is tied to Wikipedia.

 

Posted in British history, Great Britain, Living in the Regency, Living in the UK, mystery, Napoleonic Wars, real life tales, Regency era | Tagged | 1 Comment

The Legend Behind Sir Walter Scott’s “The Bonnets o’ Bonnie Dundee”

The Legend Behind Sir Walter Scott’s “The Bonnets o’ Bonnie Dundee”


by Regina Jeffers

I am currently researching anything and everything Scottish. Being of Scottish descent, this is important to me, but I am also looking for those special “gems” one might add to a story line. Recently, I discovered the “legend” of John Graham of Claverhouse, Viscount Dundee, and John Brown, also known as the Christian Carrier, a Protestant Covenanter from Priesthill. Here is what we do know regarding both men.
Between 1638 and 1688, Scotland was in an almost constant state of civil unrest. Many people refused to accept the Royal decree, which stated that the King was the head of the church. When those who refused this decree signed a Covenant, stating that Jesus Christ was the true head of the church, death warrants were issued for the offenders.
  • The Covenanters were flushed out and hunted down. Any Covenanter, regardless of social class or gender or age, was murdered on the spot – often without trial or evidence.
  • John Graham of Claverhouse (1648-1689), 1st Viscount Dundee (a title bestowed upon him by James VII), was a Scottish nobleman and professional soldier. He was best known for leading the first Jacobite uprising in 1689. He was the eldest son of Sir William Graham and Lady Madeline Carnegie and was educated at St. Andrews in the 1660s.
  • Graham’s military career began in the French army of Louis XIV. He distinguished himself at the Battle of Seneff in Belgium (1674), where he reputedly saved the life of the Prince of Orange.
  • When Graham returned to Scotland in 1678, he was commissioned into Charles II’s army and assigned the task of suppressing conventicles, seditious Presbyterian meetings. His zealousness earned him the nickname of “Bluidy Clavers.”
  • Graham had a meteoric rise to fame. After a decisive victory at the Battle of Bothwell Brig, Charles II made him the Provost of Dundee and appointed Graham to the Scottish Privy Council.
  • In 1689, a Scottish convention decided that James VII had abdicated the throne and the Scottish crown should be awarded to William and Mary. Graham objected vehemently. Eventually, he fled to Edinburgh to gather an army at Blair Castle in support of James VII.
  • Graham was buried in a vault underneath St. Bridge’s Kirk on the grounds of Blair Castle.
  • John Brown’s cottage home, a few miles from Muirkirk in Ayrshire, Scotland, was the center for a society of Covenanters.
As a staunch supporter of the House of Stewart, it was Graham’s responsibility to hunt down Scottish Covenanters. In this role, Graham was often called the “Devil’s servant,” for he was ruthless. In 1685, Graham executed John Brown outside the man’s house and in the presence of Brown’s wife, Isabel, and the man’s two children. Brown had refused to swear not to take up arms against the king and to take the Oath of Abjuration. Unnerving Graham’s men, Brown had shown great courage before the firing squad. Their hesitation led Graham to do the job himself.
However, before the Battle of Killiecrankie, the legend says that a grim visitor came to Graham. The bloody apparition pointed to Claverhouse and said, “Remember Brown of Priesthill!” At the battle the next day, Claverhouse’s forces were outnumbered three to one by the governmental troops. The Jacobites won the day, but at the cost of Graham’s life. He is said to have died while sitting against a standing stone in a field near Killiecrankie. That stone has become known as Claverhouse’s Stone. One must imagine how Claverhouse must have felt that day riding into battle against such odds and with a “curse” hanging over his head. Later, Graham’s story became the subject of a song written by Sir Walter Scott.
“The Bonnets o’ Bonnie Dundee”
1.Tae the lairds i’ convention t’was Claverhouse spoke
E’er the Kings crown go down, there’ll be crowd to be broke;
Then let each cavalier who loves honour and rae
Come follow the bonnets o’ bonnie Dundee.
Chorus: Come fill up my cup, come fill up my can,
Saddle my horses and call out my men.
And it’s Ho! for the west port and let us gae free,
And we’ll follow the bonnets o’ bonnie Dundee.
2.Dundee he is mounted, he rides doon the street,
The bells they ring backwards, the drums they are beat,
But the Provost, (douce man!), says; Just e’en let him be
For the toon is well ride of that de’il o’ Dundee.
[Chorus]
3.There are hills beyond Pentland and lands beyond Forth,

Be there lairds i’ the south, there are chiefs i’ the north!
There are brave Duniewassals, three thousand times three
Will cry “Hoy!” for the bonnets o’ bonnie Dundee.
[Chorus]
4.Then awa’ tae the hills, tae the lea, tae the rocks
E’er I own a usurper, I’ll couch wi’ the fox!
Then tremble, false Whigs, in the midst o’ your glee
Ye hae no seen the last o’ my bonnets and me.
[Chorus]
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Do You Remember When? America Entered the Space Race…

There was a time when we Americans clung to our TV sets to watch our first astronauts accomplish what we thought no man could. I recall standing in my yard and staring up into the October (1957) sky to look for a pinpoint of moving light,  the Soviet spacecraft Sputnick I, the first artificial Earth satellite.

It was an event, which quite literally, changed my life. As a ten-year-old with a relatively high IQ, it became my role in school “to beat the Soviets,” such was the unspoken new emphasis on academics in the U.S. public classrooms of the time. The U. S. had suffered several failures, including payloads which had went off course or had caught fire upon the launch pad, leading to the premise that we were falling behind the eight ball in science, mathematics, and technology.

However, less than two years later, we were introduced to our first space pioneers: Scott Carpenter, Gordon Cooper, John Glenn, Gus Grissom, Wally Schirra, Alan Shepard, and Deke Slayton. From a list of 540 candidates, these seven had survived the selection process. Each had to be a college graduate, be under the age of 40, and be less than 5 feet 11 inches in height (to squeeze into the Mercury capsule). They also had to excel at both physical tests and psychological screenings. The chosen seven’s IQs were all above 135. The seven were also all Protestants, avid outdoorsmen, and from small town America.

Al Shepard

Al Shepard

The group spent two years in training, and on 5 May 1961, Al Shepard became the first American to travel into space. His Mercury flight was designed to enter space, but not to achieve orbit. (In 1971, Shepard piloted the Apollo 14 mission. He became the fifth and the oldest person [at age 47] to walk on the moon, the only astronaut of the original Mercury 7 to do so.) With repeated delays during the countdown, Shepard is quoted as saying, “Why don’t you fix your little problems and light this candle?” This first American launch came some three weeks after Soviet cosmonaut Yuri Gagarin had made his flight.

Virgil "Gus" Grissom

Virgil “Gus” Grissom

Some three months later on 21 July 1961, Gus Grissom piloted the second Project Mercury flight. Mercury Redstone 4, popularly known as Liberty Bell 7, was a suborbital flight that lasted 15 minutes and 37 seconds. After splashdown, emergency explosive bolts unexpectedly fired and blew the hatch off, causing water to flood into the spacecraft. Quickly exiting through the open hatch and into the ocean, Grissom nearly drowned, as water filled his spacesuit. A recovery helicopter attempted to lift and recover the spacecraft, but it was too heavy. Sinking to the bottom of the ocean, the craft was not recovered until 1999.220px-Grissom_prepares_to_enter_Liberty_Bell_7_61-MR4-76

John Glenn

John Glenn

John Glenn made three orbits of Earth on 20 February 1962 in Friendship 7, but again the American program had come behind the Soviets’. On 6 August 1961, Gherman Titov had become the second man to orbit Earth aboard Vostok 2. Deke Slayton was next up for flight, but he was replaced by Scott Carpenter because Slayton had an erratic heartbeat in pre-flight medical tests.

Carpenter flew into space on 24 May 1962, atop the Mercury-Atlas 7 rocket for a three-orbit science mission that lasted nearly five hours. His Aurora 7 spacecraft attained a maximum altitude of 164 miles (264 km) and an orbital velocity of 17,532 miles per hour (28,215 km/h). Working through five onboard experiments dictated by the flight plan, Carpenter helped, among other things, to identify the mysterious ‘fireflies’ (which he renamed ‘frostflies’, as they were in reality particles of frozen liquid around the craft), first observed by Glenn during MA-6. Carpenter was the first American astronaut to eat solid food in space.

Malcolm Scott Carpenter

Malcolm Scott Carpenter

Carpenter was highly criticized for an “over expenditure of fuel,” which turned out to be an intermittently malfunctioning pitch horizon scanner (PHS). Upon reentry, Carpenter was forced to control his flight manually, and he overshot his splashdown point by 250 miles (400 km).

Wally Schirra became the fifth American to travel into space. On 3 October 1962, Shirra made a six-orbit, nine-hour, 13 minutes, and 11 seconds Mercury-Atlas 8 (Sigma 7) flight. His would said to have been a “textbook” flight, one without incident. The capsule attained a velocity of 17,557 miles per hour (28,255 km/h) and an altitude of 175 statute miles (282 km) and landed within 4 miles (6.4 km) of the main Pacific Ocean recovery ship.

On December 15, 1965, Schirra flew into space a second time as command pilot of Gemini 6A, with pilot Tom Stafford. Gemini 6, originally scheduled to launch on October 25, was planned to perform the first space rendezvous and docking with an unmanned Agena target vehicle launched separately, but the Agena was destroyed in a launch failure. It was decided to defer launch of the alternate mission 6A to after the December launch of Gemini 7, during which Schirra would perform rendezvous, but without docking. During the first rescheduled launch attempt, the booster rocket unexpectedly shut down seconds after ignition and did not launch. Although mission rules called for the crew to eject from the spacecraft in that situation, Schirra used his pilot’s judgement and did not eject, as he had not detected any upwards motion. This turned out to be the correct call for their personal safety. The flight was launched successfully three days later, and Schirra successfully performed the first rendezvous with Gemini 7 containing astronauts Frank Borman and James Lovell, Jr., station-keeping his craft to distances as close as 1 foot (30 cm). Gemini 6 landed in the Atlantic Ocean the next day, while Gemini 7 continued on to set a 14-day manned space record.

Wally Schirra

Wally Schirra

While on the Gemini mission, Schirra played a Christmas practical joke on the flight controllers by first reporting a mock UFO (implying Santa Claus) sighting, then playing “Jingle Bells” on a four-hole Hohner harmonica he had smuggled on board, accompanied by Stafford on sleigh bells. Hohner subsequently produced a “Wally Schirra” commemorative model.

Gordon Cooper

Gordon Cooper

L. Gordon Cooper piloted the longest and final Mercury spaceflight in 1963. He was the first American to sleep in space during that 34-hour mission and was the last American to be launched alone to conduct an entirely solo orbital mission. In 1965, Cooper flew as command pilot of Gemini 5. Cooper was launched into space on 15 May 1963, aboard the Mercury-Atlas 9 (Faith 7) spacecraft, the last Mercury mission. He orbited the Earth 22 times and logged more time in space than all five previous Mercury astronauts combined—34 hours, 19 minutes and 49 seconds—traveling 546,167 miles (878,971 km) at 17,547 mph (28,239 km/h), pulling a maximum of 7.6 g (74.48 m/s²). Cooper achieved an altitude of 165.9 statute miles (267 km) at apogee. He was the first American astronaut to sleep not only in orbit but on the launch pad during a countdown.

Deke Slayton

Deke Slayton

After joining NASA, Donald Kent “Deke” Slayton was selected to pilot the second U.S. manned orbital spaceflight, but was grounded in 1962 by a heart murmur. He then served as NASA’s director of flight crew operations, making him responsible for crew assignments at NASA from November 1963 until March 1972. At that time he was granted medical clearance to fly, and was assigned as the docking module pilot of the 1975 Apollo–Soyuz Test Project, becoming the oldest person to fly in space at age 51. This record was surpassed in 1983 by 53 year old John Young and in 1998 by his fellow Project Mercury astronaut John Glenn, who at the age of 77 flew on Space Shuttle mission STS-95.

After leaving NASA,Slayton retired from NASA in 1982. After retirement, he served as president of Space Services Inc., a Houston-based company earlier founded to develop rockets for small commercial payloads. He served as mission director for a rocket called the Conestoga, which was successfully launched on 9 September 1982, and was the world’s first privately funded rocket to reach space. Slayton also became interested in aviation racing. Shortly after he moved to League City, Texas, in 1992, Slayton was diagnosed with a malignant brain tumor. He died from the illness, at the age of 69, on 13 June 1993.

Wally Schirra later served as a consultant to CBS News during the Apollo missions, joining Walter Cronkite to co-anchor the network’s coverage of the seven Moon landing missions, starting with Apollo 11 (joined by Arthur C. Clarke), including the ill-fated Apollo 13. Schirra died on 3 May 2007 of a heart attack due to malignant mesothelioma at Scripps Green Hospital (currently The Heart Center at Scripps) in La Jolla, California. A memorial service for Schirra was held on 22 May at Fort Rosecrans National Cemetery in California. The ceremony concluded with a three-volley salute and a flyover by three F/A-18s. Schirra was cremated and his ashes were committed to the sea on 11 February 2008. The burial at sea ceremony was held aboard the Nimitz-class aircraft carrier USS Ronald Reagan (CVN-76) and his ashes were released by Commander Lee Axtell, CHC, USN, the command chaplain aboard.

In July 1964 in Bermuda, Scott Carpenter sustained a grounding injury from a motorbike accident while on leave from NASA to train for the Navy’s SEALAB project. In 1965, for SEALAB II, he spent 28 days living on the ocean floor off the coast of California. During the SEALAB II mission, Carpenter’s right index finger was wounded by the toxic spines of a scorpion fish. He returned to work at NASA as Executive Assistant to the Director of the Manned Spacecraft Center, then returned to the Navy’s Deep Submergence Systems Project in 1967, based in Bethesda, Maryland, as a Director of Aquanaut Operations for SEALAB III. In the aftermath of aquanaut Berry L. Cannon’s death while attempting to repair a leak in SEALAB III, Carpenter volunteered to dive down to SEALAB and help return it to the surface, although SEALAB was ultimately salvaged in a less hazardous way. Carpenter retired from the Navy in 1969, after which he founded Sea Sciences, Inc., a corporation for developing programs for utilizing ocean resources and improving environmental health.Carpenter had a stroke and entered The Denver Hospice Inpatient Care Center at Lowry, where he died on 10 October 2013; he was 88.

John Glenn likely achieved the most “public” fame of the original seven Mercury astronauts. Glenn became a U. S. senator from Ohio (1974-1999), a 1976 Vice-Presidential nominee, and a 1984 Democratic Presidential nominee. Glenn helped found the John Glenn Institute for Public Service and Public Policy at the The Ohio State University in 1998 to encourage public service. On 22 July 2006, the institute merged with OSU’s School of Public Policy and Management to become the John Glenn School of Public Affairs. Today he holds an adjunct professorship at both the Glenn School and OSU’s Department of Political Science.

Gus Grissom was killed along with fellow astronauts Ed White and Roger Chaffee during a pre-launch test for the Apollo 1 mission at Cape Canaveral Air Force Station (then known as Cape Kennedy), Florida. He was the first of the Mercury Seven to die. He was also a recipient of the Distinguished Flying Cross and, posthumously, the Congressional Space Medal of Honor.

After leaving NASA, Gordon Cooper served on several corporate boards and as technical consultant for more than a dozen companies in fields ranging from high performance boat design to energy, construction, and aircraft design. During the 1970s, he worked for The Walt Disney Company as a vice-president of research and development for Epcot. Cooper developed Parkinson’s disease late in life. At age 77, he died from heart failure at his home in Ventura, California, on 4 October 2004. His death occurred on the 47th anniversary of the Sputnik 1 launch and the same day that SpaceShipOne made its second official qualifying flight, winning the Ansari X-Prize.

After Alan Shepard left NASA, he served on the boards of many corporations. He also served as president of his umbrella company for several business enterprises, Seven Fourteen Enterprises, Inc. (named for his two flights, Freedom 7 and Apollo 14).

In 1994, he published a book with two journalists, Jay Barbree and Howard Benedict, called Moon Shot: The Inside Story of America’s Race to the Moon. Fellow Mercury astronaut Deke Slayton is also named as an author. The book generated some controversy for use of a staged photo purportedly showing Shepard hitting a golf ball on the Moon. The book was also turned into a TV miniseries in 1994.

Shepard died of leukemia near his home in Pebble Beach, California, on 21 July 1998, two years after being diagnosed with that disease. He was the second person to die who had walked on the Moon (Jim Irwin was the first in 1991). His wife of 53 years, Louise Brewer, died five weeks afterward. Both were cremated, and their ashes were scattered together by a Navy helicopter over Stillwater Cove, in front of their Pebble Beach home.744726main_mercury7

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During the Reign of George IV: The Red Barn Murders

The scene of the murder, the Red Barn, so called because of its half red clay-tiled roof, which can be seen to the left of the main door in this sketch. The rest of the roof was thatched.

The scene of the murder, the Red Barn, so called because of its half red clay-tiled roof, which can be seen to the left of the main door in this sketch. The rest of the roof was thatched.

The Red Barn Murder was a notorious murder committed in Polstead, Suffolk, England, in 1827. A young woman, Maria Marten, was shot dead by her lover, William Corder. The two had arranged to meet at the Red Barn, a local landmark, before eloping to Ipswich. Maria was never heard from again. Corder fled the scene and, although he sent Marten’s family letters claiming she was in good health, her body was later discovered buried in the barn after her stepmother spoke of having dreamt about the murder.

Corder was tracked down in London, where he had married and started a new life. He was brought back to Suffolk, and after a well-publicised trial, found guilty of murder. He was hanged in Bury St Edmunds in 1828; a huge crowd witnessed Corder’s execution. The story provoked numerous articles in the newspapers, and songs and plays. The village where the crime had taken place became a tourist attraction, and the barn was stripped by souvenir hunters. The plays and ballads remained popular throughout the next century and continue to be performed today.

Murder

Maria Marten. Her sister Ann, who was said to be very similar to Maria, was the model for this sketch which appeared in Curtis' account of the case.

Maria Marten. Her sister Ann, who was said to be very similar to Maria, was the model for this sketch which appeared in Curtis’ account of the case.

Maria Marten (born 24 July 1801) was the daughter of Thomas Marten, a molecatcher from Polstead, Suffolk. In March 1826, when she was 24, she formed a relationship with the 22-year-old William Corder (born 1803). Marten was an attractive woman, and relationships with men from the neighbourhood had already resulted in two children. One, the child of William’s older brother Thomas, died as an infant, but the other, Thomas Henry, was still alive at the time Marten met Corder. Although Thomas Henry’s father wanted nothing more to do with Marten after the birth, he occasionally sent money to provide for the child.

William Corder was the son of a local farmer and had a reputation as something of a fraudster and a ladies’ man. He was known as “Foxey” at school because of his sly manner. He had fraudulently sold his father’s pigs, and, although his father had settled the matter without involving the law, Corder had not changed his behaviour. He later obtained money by passing a forged cheque for £93, and he had helped a local thief, Samuel “Beauty” Smith, steal a pig from a neighbouring village. When Smith was questioned by the local constable over the theft, he made a prophetic statement concerning Corder: “I’ll be damned if he will not be hung some of these days.” Corder had been sent to London in disgrace after his fraudulent sale of the pigs, but he was recalled to Polstead when his brother Thomas drowned attempting to cross a frozen pond. His father and three brothers all died within 18 months of each other, and only William remained to run the farm with his mother.

Although Corder wished to keep his relationship with Marten secret, she gave birth to their child in 1827, at the age of 25, and was apparently keen that she and Corder should marry. The child died (later reports suggested that it may have been murdered), but Corder apparently still intended to marry Marten. That summer, in the presence of her stepmother, Ann Marten, he suggested she meet him at the Red Barn, from where he proposed they elope to Ipswich. Corder claimed he had heard rumours that the parish officers were going to prosecute Maria for having bastard children. He initially suggested they elope on the Wednesday evening, but later decided to delay until Thursday evening. On Thursday he was again delayed: his brother falling ill is mentioned as the reason in some sources, although most claim all his brothers were dead by this time. The next day, Friday, 18 May 1827, he appeared at the Martens’ cottage during the day, and according to Ann Marten, told Maria they must leave at once, as he had heard the local constable had obtained a warrant to prosecute her (no warrant had been obtained, but it is not known if Corder was lying or was mistaken). Maria was worried that she could not leave in broad daylight, but Corder told her she should dress in men’s clothing so as to avert suspicion, and he would carry her things to the barn where she could meet him and change before they continued on to Ipswich.

Shortly after Corder left the house, Maria set out to meet him at the Red Barn, which was situated on Barnfield Hill, about half a mile from the Martens’ cottage. This was the last time she was seen alive. Corder also disappeared, but later turned up and claimed Marten was in Ipswich, Great Yarmouth, or some other place nearby, and he could not yet bring her back as his wife for fear of provoking the anger of his friends and relatives. The pressure on Corder to produce his wife eventually forced him to leave the area. He wrote letters to Marten’s family claiming they were married and living on the Isle of Wight and gave various excuses for her lack of communication: she was unwell, had hurt her hand, or the letter must have been lost.

Suspicion continued to grow, and Maria’s stepmother began talking of dreams that Maria had been murdered and buried in the Red Barn. On 19 April 1828, she persuaded her husband to go to the Red Barn and dig in one of the grain storage bins. He quickly uncovered the remains of his daughter buried in a sack. She was badly decomposed, but still identifiable. An inquest was carried out at the Cock Inn, which still stands today, at Polstead, where Maria was formally identified by her sister Ann from some physical characteristics: her hair and some clothing were recognizable and a tooth she was known to be missing was also missing from the jawbone of the corpse. Evidence was uncovered to implicate Corder in the crime: his green handkerchief was discovered around the body’s neck.

Capture

This "penny dreadful" from 1833 shows Maria's burial and Ayres and Lea arresting Corder.

This “penny dreadful” from 1833 shows Maria’s burial and Ayres and Lea arresting Corder.

Corder was easily discovered; Mr Ayres, the constable in Polstead, was able to obtain his old address from a friend, and with the assistance of James Lea, an officer of the London police force, who would later lead the investigation into Spring Heeled Jack, he tracked Corder to a ladies’ boarding house, Everley Grove House, in Brentford.

Corder was running the boarding house with his new wife, Mary Moore, whom he had met through a newspaper advertisement that he had placed in The Times, which had received more than 100 replies. Lea managed to gain entry under the pretext that he wished to board his daughter there and surprised Corder in the parlour. Thomas Hardy noted the Dorset County Chronicle‘s report of his capture:

…in parlour with 4 ladies at breakfast, in dressing gown & had a watch before him by which he was ‘minuting’ the boiling of some eggs.

Lea took him to one side and informed him of the charges; Corder denied all knowledge of both Maria and the crime. A search of the house uncovered a pair of pistols supposedly bought on the day of the murder; some letters from a Mr. Gardener, which may have contained warnings about the discovery of the crime; and a passport from the French ambassador, evidence which suggested Corder may have been preparing to flee.

Trial

Corder awaiting trial

Corder awaiting trial

Corder was taken back to Suffolk, where he was tried at Shire Hall, Bury St. Edmunds. The trial started on 7 August 1828, having been put back several days because of the interest the case had generated. The hotels in Bury St. Edmunds began to fill up from as early as 21 July and, because of the large numbers that wanted to view the trial, admittance to the court was by ticket only. Despite this the judge and court officials still had to push their way bodily through the crowds that had gathered around the door to gain entry to the court room.

The judge, Chief Baron Alexander, was unhappy with the coverage given to the case by the press “to the manifest detriment of the prisoner at the bar.” The Times, nevertheless, congratulated the public for showing good sense in aligning themselves against Corder.

Corder entered a plea of not guilty. The exact cause of death could not be established. It was thought that a sharp instrument, possibly Corder’s short sword, had been plunged into Marten’s eye socket, but this wound could also have been caused by her father’s spade when he was exhuming the body. Strangulation could not be ruled out as Corder’s handkerchief had been discovered around her neck, and, to add to the confusion, the wounds to her body suggested she had been shot. The indictment charged Corder with “…murdering Maria Marten, by feloniously and wilfully shooting her with a pistol through the body, and likewise stabbing her with a dagger.” To avoid any chance of a mistrial, he was indicted on nine charges, including one of forgery.

Ann Marten was called to give evidence of the events of the day of Maria’s disappearance and her later dreams. Thomas Marten then told the court how he had dug up his daughter, and George Marten, Maria’s 10-year-old brother, revealed he had seen Corder with a loaded pistol before the alleged murder and later had seen him walking from the barn with a pick axe. Lea gave evidence concerning Corder’s arrest and the objects found during the search of his house. The prosecution suggested that Corder had never wanted to marry Maria, but that her knowledge of some of his criminal dealings had given her a hold over him, and that his theft previously of the money sent by her child’s father had been a source of tension between them.

Corder then gave his own version of the events. He admitted to being in the barn with Maria, but said he had left after they argued. He claimed that, while he was walking away, he heard a pistol shot and, running back to the barn, found Maria dead with one of his pistols beside her. He pleaded with the jury to give him the benefit of the doubt, but after they retired, it took them only 35 minutes to return with a guilty verdict. Baron Alexander sentenced him to hang and afterwards be dissected:

That you be taken back to the prison from whence you came, and that you be taken from thence, on Monday next, to a place of Execution, and that you there be hanged by the Neck until you are Dead; and that your body shall afterwards be dissected and anatomized; and may the Lord God Almighty, of his infinite goodness, have mercy on your soul!

Corder spent the next three days in prison agonising over whether to confess to the crime and make a clean breast of his sins before God. After several meetings with the prison chaplain, entreaties from his wife, and pleas from both his warder and John Orridge, the governor of the prison, he finally confessed. He strongly denied stabbing Maria, claiming instead he had accidentally shot her in the eye after they argued while she was changing out of her disguise.

Execution and Dissection
On 11 August 1828, Corder was taken to the gallows in Bury St. Edmunds, apparently too weak to stand without support. He was hanged shortly before noon in front of a huge crowd; one newspaper claimed there were 7,000 spectators, another as many as 20,000. At the prompting of the prison governor, just before the hood was drawn over his head, he weakly asserted:

I am guilty; my sentence is just; I deserve my fate; and, may God have mercy on my soul.

After an hour, his body was cut down by John Foxton, the hangman, who, according to his rights, claimed Corder’s trousers and stockings. The body was taken back to the courtroom at Shire Hall, where it was slit open along the abdomen to expose the muscles. The crowds were allowed to file past until six o’clock when the doors were shut. According to the Norwich and Bury Post, over 5,000 people queued to see the body.

The following day, the dissection and post-mortem were carried out in front of an audience of students from Cambridge University and physicians. A battery was attached to Corder’s limbs to demonstrate the contraction of the muscles, the sternum was opened and the internal organs examined. There was some discussion as to whether the cause of death was suffocation; but, since it was reported that Corder’s chest was seen to rise and fall for several minutes after he had dropped, it was thought probable that pressure on the spinal cord had killed him. Since the skeleton was to be reassembled after the dissection, it was not possible to examine the brain, so instead the surgeons contented themselves with a phrenological examination of the skull. Corder’s skull was asserted to be profoundly developed in the areas of “secretiveness, acquisitiveness, destructiveness, philoprogenitiveness, and imitativeness” with little evidence of “benevolence or veneration”. The bust of Corder held by Moyse’s Hall Museum in Bury St. Edmunds is an original made by Child of Bungay, Suffolk, as a tool for the study of Corder’s phrenology. The skeleton was reassembled, exhibited, and used as a teaching aid in the West Suffolk Hospital. Several copies of his death mask were made, a replica of one is held at Moyse’s Hall Museum. Artifacts from the trial and some which were in Corder’s possession are also held at the museum. Another replica death mask is kept in the dungeons of Norwich Castle. Corder’s skin was tanned by the surgeon George Creed, and used to bind an account of the murder.

Corder’s skeleton was put on display in the Hunterian Museum in the Royal College of Surgeons of England, where it hung beside that of Jonathan Wild. In 2004, Corder’s bones were removed from display and cremated.

Rumours
After the trial, doubts were raised about both the story of the stepmother’s dreams and the fate of Maria and William’s child. The stepmother was only a year older than Maria, and it was suggested that she and Corder had been having an affair, and the two had planned the murder to dispose of Maria so their relationship could continue without hindrance. Since her dreams had started only a few days after Corder married Moore, it was suggested that jealousy was the motive for revealing the body’s resting place and that the dreams were a simple subterfuge.

Further rumours circulated about the death of Corder and Marten’s child. Both claimed that they had taken their dead child to be buried in Sudbury, but no records of this could be discovered and no trace of the burial site of the child was ever found. In his written confession, Corder admitted on the day of the murder, he and Marten had argued over the possibility of the burial site being discovered.

In the 20th century, a new set of rumours appeared when the writer and researcher Donald McCormick wrote The Red Barn Mystery. He brought out some interesting points, including a hitherto unknown connection between Corder and the forger and poisoner Thomas Griffiths Wainewright when Corder was in London, and that an actress Caroline Palmer, who was appearing frequently in the melodrama based on the case and researching the murder, concluded Corder may have not killed Maria, and a local gypsy woman might have been the killer. However, McCormick’s research on other police related and crime related stories has been brought into question, and this information has not been generally accepted.

Popular Interest
The case had all the elements to ignite a fervent popular interest: the wicked squire and the poor girl, the iconic murder scene, the supernatural element of the stepmother’s prophetic dreams, the detective work by Ayres and Lea (who later became the detective Pharos Lee in stage versions of the events) and Corder’s new life which was the result of a lonely hearts advertisement. As a consequence, the case created its own small industry.

Plays were being performed while Corder was still awaiting trial and, after the execution, an anonymous author published a melodramatic version of the murder—a precursor of the Newgate novels—which quickly became a best-seller. Along with the story of Jack Sheppard and other highwaymen, thieves and murderers, the Red Barn Murder was a popular subject for penny gaffs, cheap plays performed for the entertainment of the lower classes in the gin-soaked atmosphere of the back rooms of public houses. After the execution, James Catnach managed to sell over a million broadsides (sensationalist single sheet newspapers).

Catnach’s sheets gave details of Corder’s confession and the execution, and included a sentimental ballad supposedly penned by Corder himself, but more likely to have been the work of Catnach or somebody in his employ. It was one of at least five ballads about the crime that appeared directly following the execution.

Owing to the excitement around the trial and the public demand for entertainments based on the murder, many different versions of the events were set down and distributed, making it hard for modern readers to discern fact from melodramatic embellishment. Good records of the trial exist from the official records, and the best record of the events surrounding the case is generally considered to be that of James Curtis, a journalist who spent time with Corder and two weeks in Polstead interviewing those concerned. Curtis was apparently so connected with the case that, when asked to produce a picture of the accused man, an artist for one of the newspapers drew a likeness of him rather than Corder.

Pieces of the rope which was used to hang Corder sold for a guinea each. Part of Corder’s scalp with an ear still attached was displayed in a shop in Oxford Street. A lock of Maria’s hair sold for two guineas. Polstead became a tourist venue with visitors travelling from as far afield as Ireland; Curtis estimated that 200,000 people visited Polstead in 1828 alone. The Red Barn and the Martens’ cottage excited particular interest. The barn was stripped for souvenirs, down to the planks being removed from the sides, broken up and sold as toothpicks. It was planned to be demolished after the trial, but it was left standing and eventually burnt down in 1842. Even Maria’s gravestone in St Mary’s Church churchyard, Polstead, was eventually chipped away to nothing by souvenir hunters. Pottery models and sketches were sold and songs composed, including one quoted in the Vaughan Williams opera Hugh the Drover and Five Variants of Dives and Lazarus.

Corder’s skeleton was put on display in a glass case in the West Suffolk Hospital, and apparently rigged with a mechanism that made its arm point to the collection box when approached. Eventually, the skull was replaced by a Dr. Kilner, who wanted to add Corder’s skull to his extensive collection of Red Barn memorabilia. After a series of unfortunate events, Kilner became convinced the skull was cursed and handed it on to his friend Hopkins. Further disasters plagued both men, and they finally paid for the skull to be given a Christian burial in an attempt to lift the supposed curse.

Interest in the case did not quickly fade. Maria Marten; or The Murder in the Red Barn, which existed in various anonymous versions, was a sensational hit throughout the mid 19th century and may have been the most performed play of this time; Victorian fairground peepshows were forced to add extra apertures to their viewers when exhibiting their shows of the murder to cope with the demand. The plays of the Victorian era tended to portray Corder as a cold-blooded monster and Maria as the innocent he preyed upon; her reputation and her children by other fathers were airbrushed out, and Corder was made into an older man. Charles Dickens published an account of the murder in his magazine All The Year Round after initially rejecting it because he felt the story to be too well known and the account of the stepmother’s dreams rather far-fetched.

Although diminished, the fascination continued into the 20th century with five film versions, including the 1935 Maria Marten or Murder in the Red Barn, starring Tod Slaughter, which was only released in the US after some scenes were cut, and a 1980 BBC drama, Maria Marten, with Pippa Guard in the title role. A fictionalized account of the murder was produced in 1953 for the CBS radio series Crime Classics. In 1991, a melodramatic stage version, with some political and folk-tale elements, was written by Christopher Bond.

Original dialogue as scripted, was taken from an early Victorian melodramatic retelling of “The Murder in the Red Barn” and used in the first episode of The Wireless Theatre Company’s The Legend Of Springheel’d Jack, and was performed by Matthew Woodcock and Neil Frost. It was released in late 2013.

The crime has inspired a number of contemporary musicians: No Roses by the Albion Country Band, released in 1971, included the traditional song “Murder of Maria Martin”; more recently, “Murder in the Red Barn”, a song by Tom Waits (co-written with his wife Kathleen Brennan) from his 1992 album Bone Machine, and Kathryn Roberts and Sean Lakeman’s “The Red Barn” on the 2004 album 2 have referred to the murder. The song “Maria Martin” included on the folk album White Swans Black Ravens was recorded live in Moyse’s Hall Museum and, in December 2011, the song “Red Barn” was released by Essex folk group The Owl Service.

Posted in British history, buildings and structures, George IV, Great Britain, mystery | Tagged | 2 Comments

UK Real Estate: Brentford, Childhood Residence of Pocahontas, Pamunkey princess, and Much More

220px-Pocahontas_by_Simon_van_de_Passe_1616Brentford is a town in west London, England and part of the London Borough of Hounslow, at the confluence of the River Brent and the Thames, 8 miles (13 km) west-by-southwest of Charing Cross. It was historically part of the ancient parishes of Ealing and Hanwell in the county of Middlesex. After being administratively united with Chiswick in 1927 at a lower level than the overarching county body, it was incorporated as a municipal borough in 1932. It has formed part of Greater London since 1965.

Its economy has diverse company headquarters buildings which mark the start of the M4 corridor; in transport it also has two railway stations and the Boston Manor tube station on its north-east border with Little Ealing. Brentford has a convenience shopping and dining venue grid of streets at its centre. Brentford at the start of its 21st century attracted regeneration of its little-used warehouse premises and docks including the re-modelling of the waterfront to provide more economically active shops, townhouses and apartments, some of which comprises Brentford Dock. A 19th and 20th centuries mixed social and private housing locality: New Brentford is contiguous with the Osterley neighbourhood of Isleworth and Syon Park and the Great West Road which has most of the largest business premises.

History
Toponymy

The name is recorded as Breguntford in 705 in an Anglo-Saxon charter and means ‘ford over the River Brent.’ The name of the river is Celtic and means ‘holy one’ and the ‘-ford’ suffix is Old English. The ford was most likely located where the main road crossed the river. New Brentford is recorded as Newe Braynford in 1521 and was previously known as Westbraynford. Old Brentford is recorded as Old Braynford in 1476 and was previously known as Estbraynford.

Urban Development
The settlement pre-dates the Roman occupation of Britain, and thus pre-dates the founding of London itself. Many pre-Roman artifacts have been excavated in and around the area in Brentford known as ‘Old England.’ Bronze Age pottery and burnt flints have been found in separate sites in Brentford. The quality and quantity of the artefacts suggests that Brentford was a meeting point for pre-Romanic tribes. One well known Iron Age piece from about 100 BC – AD 50 is the Brentford horn-cap – a ceremonial chariot fitting that formed part of local antiquarian Thomas Layton’s collection, now held by the Museum of London. The Celtic knot pattern (the ‘Brentford Knot’) on this item has been copied for use on modern jewelery.

Brentford is the first point which was easily fordable by foot on the tidal portion of the River Thames (this was before dredging took place). Partly for this reason it has been suggested that Julius Cæsar crossed the Thames here during his invasion of Britain in 54 BC. In his own account, he writes that he crossed the river 80 miles (130 km) from the sea and Brentford is also this distance from his supposed landing beach. He further states that the river bank was protected by sharp stakes. During the building of Brentford Dock many such oak stakes were discovered. Dredging the river uncovered so many more that they had to be removed, for they were a hazard to navigation. Although his descriptions are compelling, there is as yet, no archaeological proof that this was indeed the spot where he and his army had to fight to cross. It must also be kept in mind that Julius Cæsar’s own accounts suffered in some part, to his embellishment of the facts. Nevertheless, outside the local County Courts there now stands the Brentford Monument, hewn from solid pink granite, whereupon it is asserted, that a documented battle took place here at this time between Cæsar’s forces and Cassivellaunus. There are, however, two other historically accredited battles of Brentford in 1016 and 1642.

Brentford Dock
The building of Brentford Dock was started in 1855, and it was formally opened in 1859. The dock yard is now a Marina and housing estate.

The Hardwick Family
A notable family from Brentford was the 18th/19th century architectural father and son partnership, the Hardwicks. Thomas Hardwick Senior (1725–1798) and Thomas Hardwick Junior (1752–1829) were both from Brentford and are buried in the old church of St Laurence. Hardwick Senior was the master mason for the Adam Brothers during the construction of Syon House. Hardwick Junior assisted in the building of Somerset House and was known for his designs of churches in the capital. He was also a tutor of J.M.W Turner whom he helped start Turner’s illustrious career in art. Both father and son did a great deal of remodelling and rebuilding on the church of St Laurence.

Timeline
**54 BC Brentford is a likely site of a battle recorded by Julius Cæsar between Julius Cæsar and the local king, Cassivellaunus.
**781 Council of Brentford recording settlement of a dispute between King Offa of Mercia, and the Bishop of Worcester
**1016 Battle of Brentford between the invading Canute and Edmund Ironside
**1431 Relocation of Syon Abbey to Brentford from Twickenham
**1539 Destruction of Syon Abbey by King Henry VIII
**1616 – 1617 Pocahontas (birth name: Matoaka), Pamunkey princess, lived in Brentford.
**1642 Battle of Brentford during the English Civil War
**1682 A very violent storm of rain, accompanied with thunder and lightning, caused a sudden flood, which did great damage to the town of Brentford. The whole place was overflown ; boats rowed up and down the streets, and several houses and other buildings were carried away by the force of the waters.
**1717 Brentford Turnpike Trust founded to maintain the road between Kensington and Hounslow
**1805 Start of operations of the Grand Junction Canal (later the Grand Union Canal)
**1815 – 1817 John Quincy Adams, sixth President of the USA, lived in Brentford.
**1828 William Corder was arrested on Wednesday April 23 at Everley Grove House, Ealing Lane in Brentford, for the notorious Red Barn Murder.
**1841 Brentford was flooded, caused by the Brent Reservoir becoming overfull so that the overflow cut a breach in the earth dam. Several lives lost.
**1849 Start of operations of the Hounslow Loop line, providing service to Kew Bridge, Brentford Central and Syon Lane stations in the Brentford area.
**1859 Start of operations of the Great Western & Brentford Railway company linking Brentford Dock to the Great Western Railway main line at Southall. Additional passenger station named ‘Brentford Town’ later constructed just north of Brentford High Street.
**1884 Start of operations of Boston Manor Underground station (then known as Boston Road).
**1889 Brentford Football Club founded by a rowing club seeking a winter sport.
**30 May 1925 – Great West Road officially opened by King George V. Later the Brentford section became known as the Golden Mile due to the large number of factories that relocated there to take advantage of the good communications. The factories provided high employment and stimulation to the local economy.
**1 January 1929 – Grand Junction Canal bought by the Regent’s Canal and amalgamated with other canals to form the Grand Union Canal.
**1965 Opening of elevated section of M4 motorway

The road which is now Brentford High Street served as the main road to the South West of Britain for many centuries, and even now, the M4 motorway and the Great West Road pass approximately 1 mile (1.6 km) north of the original main road through Brentford.

Local Government
Brentford developed around the ancient boundary between the parishes of Ealing and Hanwell. It was divided between the chapelry of Old Brentford to the east in Ealing and the chapelry of New Brentford in Hanwell to the west. Of the two areas, Old Brentford was significantly larger.

New Brentford was first described as the county town of Middlesex in 1789, on the basis that it was the location of elections of knights for the shire (or Members of Parliament) from 1701. In 1795 New Brentford (as it was then) was “considered as the county-town; but there is no town-hall or other public building” causing confusion that remains to this day.

The borough of Hounslow was formed in 1965, under the London Government Act 1963, by the merger of the area of the former Brentford and Chiswick Urban District, Feltham Urban District and the Heston and Isleworth Urban District (which held borough status as did Brentford and Chiswick) of Middlesex.

The Syon Estate
800px-Syon_House_West_AspectSyon House, the London residence of the Duke of Northumberland is a large mansion and park in Syon ward, described above that has long been shared with Isleworth. Some of its seasonally marshy land is now a public nature reserve. The estate has a hotel, visitor centre and garden centre.

Syon Abbey, razed to the ground, with reworked gatehouses by the newer mansion had the largest abbey church in England in the Middle Ages.

The location of Syon Abbey in the park was unknown until archeological investigations in the grounds in 2003 (by Time Team) and 2004 revealed the foundations of the abbey church. It was larger than Westminster Abbey is now, but no above-ground structure remains. There were complex reasons for its destruction.

The London Butterfly House in Syon Park was an insectarium like a large glasshouse containing a butterfly zoo. Visitors could see butterflies and moths flying about, feeding, and emerging from Chrysalises. There was also a colony of large ants (kept with the butterflies), a small tropical bird aviary, and a small gallery of reptiles, amphibians, insects and spiders. The lease on the current site expired in Oct 07 and the Butterfly House closed on 28 October 2007.

front of Boston Manor

front of Boston Manor

Boston Manor House, built in 1622, is a Jacobean manor house, noted for its fine plasterwork ceilings.

Syon Park House (demolished in 1953), not to be confused with Syon House, housed the ‘Syon Park Academy’ where the poet Shelley was educated between the ages of 10 and 12 before moving on to Eton. A Royal Mail depot stands on the site now. This may also be the site of the dwelling where Pocahontas lived in Brentford End between 1616 and 1617.

On the Periphery
Gunnersbury Park Museum is in Gunnersbury House, narrowly in Gunnersbury (the north-west of Chiswick) containing artifacts and former furnishings of the Rothschild family, who were culturally and financially pre-eminent across France, Germany, the Netherlands, the United Kingdom and North America.

Kew Gardens is visible from the scattering of high rise buildings towering over the town and some of the mid rise ones.

The Weir, public house, formerly ‘The White Horse’ was where the artist J. M. W. Turner lived for one year at the age of ten. He is regarded as having started his interest in painting while living there. Later he lived in Isleworth and Twickenham.

Brentford Dock
Brentford Dock came to single use and engineered enlargement as a freight terminus of the Great Western Railway, built at the confluence of the River Thames and River Brent, designed by Isambard Kingdom Brunel, and built between 1855 and 1859. A spur line from the GWR at Southall was constructed to the Brentford Dock railway station to facilitate easy transferral of freight from lighters and barges on the Thames to GWR-served destinations in the west of the United Kingdom. The dock was redeveloped as residential accommodation from the early 1970s, and little industrial archeology remains. However, Dock Road still retains some of its original fan pattern cobblestone road bed and examples of Brunel’s broad-gauge ‘bridge section’ rail can be seen there.

The Brentford Dock flats (originally named the Tiber Estate) were built alongside formerly important transport infrastructure as Brentford is the terminus of the Grand Union Canal, originally the Grand Junction Canal. This waterway is still in use for leisure traffic as part of the Grand Union Canal.

Others
The 1000 Great West Road Building, of office use in Brentford on the M4 motorway featured in the music video for Hard-Fi’s “Living for the Weekend.”

220px-Carnegie_Library(2),_Brentford,_20050123Brentford Public Library is a Carnegie library, built by the architect Nowell Parr and opened in 1904.

Brentford Baths (1896), also by the architect Nowell Parr, are a listed example of late Victorian architecture, in the starting category of Grade II, thus below two of the town’s churches, for example.

Kew Bridge Steam Museum houses the world’s largest working beam engine and its narrow cuboid tower is an emblem of the town.

The Musical Museum houses a large collection of mechanical musical instruments, such as player pianos and a Wurlitzer organ.

Sports
Griffin Park is home to Brentford Football Club and Chelsea Football Club Reserves (from 2002 until 23 September 2005 it was the home of the London Broncos rugby league club – subsequently they were renamed Harlequins Rugby League and transferred to The Stoop).

Brentford F.C. are a professional English football club based in Brentford in the London Borough of Hounslow. They are currently playing in Football League One. They were founded in 1889 by members of the defunct Brentford Rowing Club and play their home games at Griffin Park, their home stadium since 1904. The club has a long-standing rivalry with near neighbours, Fulham.

Posted in British history, buildings and structures, Great Britain, Victorian era | Tagged , , , | Comments Off on UK Real Estate: Brentford, Childhood Residence of Pocahontas, Pamunkey princess, and Much More

The Wonderful World of the English Language – Inherited Phrases from England

The Wonderful World of the English Language – Part Four

imagesToday we will look at phrases/words we have inherited from England.

Go to the Dickens! (or) What the Dickens!
Believe it or not, neither phrase has anything to do with the Victorian novelist, Charles Dickens. Actually, “dickens” comes to us from William Shakespeare. In The Merry Wives of Windsor (Act III, scene 2), Mrs. Page asks, “Where had you this pretty weathercock?” (in reference to Falstaff’s page, Robin) – to which Robin replies, “I cannot tell what the dickens his name is my husband had him of.” Many experts believe the term was originally “devilkins,” rather than “dickens.”

Chaperon
French nobles of the late Middle Ages wore a hood similar to those worn today in academic gowns for degree programs. This hood resembled the mantle or chape worn by priests of the era. The hood was called a chaperon or little mantle. The chaperon became part the full dress uniform of the Order of the Garter in 1349 (created by Edward III). Men ceased wearing the “hood” (except the Order) after the 15th Century when it became part of a female’s dress, especially ladies of the court. In the 18th Century, the present day meaning came about. Metaphorically, the chaperon shelters her charge much as the hood sheltered the person’s face.

A Drop in the Bucket (or) Sea (or) Water
The phrase first appeared in John Wycliff’s (1382) translation of the Bible. “Lo, Jentiles as a drope of a boket, and as moment of a balaunce ben holden.” (Isaiah, ix, 15) Charles Dickens used the phrase in his 1844’s A Christmas Carol. Marley says to Scrooge, “The dealings of my trade were but a drop of water in the comprehensive ocean of my business.”

To Be Taken Down a Peg
The first written allusion we can find is in Love’s Labor’s Lost (1592) by William Shakespeare. “Master, let me take you a button-hole lower.” (Act V, scene 2) The actual use of the word “peg” appeared in Pappe with an Hatchet (1589) from an uncertain author. The lines read “Now haue at you all my gaffers of the rayling religion, tis I that must take you a peg lower.” Some experts believe the “peg” comes from a reference to “draughts” (checkers) in a game.

To Bell the Cat
This phrase means to undertake an unpleasant or even a hazardous situation. The allusion comes to us from an ancient fable in which the mice mean to hang a brass bell upon the cat that makes their lives miserable. The bell would serve as a warning for the cat’s approach. In Piers Plowman (written ca. 1360-1387), we find “hangen it vp-on the cattes hals (neck) thane here we mowen (we may hear) where he ritt (scratch) or rest.” William Langland, the author, wrote this Middle English allegorical narrative poem in unrhymed alliterative verse divided into sections called “passus” (Latin for step).

Tom and Jerry
In the U. S., a “tom and jerry” is a powerful alcoholic drink. A man named “Jerry Thomas (a nom de plume)” was the first to record the brandy and rum drink. However, its roots are founded in Pierce Egan’s (English journalist and novelist) 1821’s Life in London, or Days and Nights of Jerry Hawthorne and his Elegant Friend Corinthian Tom. The famous George Cruikshank illustrates the book. In the book, there is a “Jerry shop,” another name for a low class beer establishment.

To Trip the Light Fantastic
In John Milton’s “L’Allegro” (1632), we find
Sport that wrinkled Care derides,
And Laughter holding both his sides.
Come, and trip it as ye go
On the light fantastick toe.

To Keep the Wolf from the Door

from cam.ac.uk

from cam.ac.uk

Most of us have the image of a wolf as a symbol of hunger. We have likely said something similar to “He wolfed down his meal.” The phrase “to keep the wolf from the door” comes to us from English chronicler, John Hardyng (1457). In his Chronicle, Hardyng writes, “Endowe hym now, with noble sapience By whiche he maye the wolf were (ward off) frome the gate.”

To Have Bees in One’s Bonnet
Variations of the expression was likely used long John Heywood, best known as a playwright, used the phrase in his 1546’s Dialogue conteining the number in effect of all the prouerbes in the English tongue. Most experts agree Robert Herrick (a poet) added the word “bonnet” to the phrase to replace the word “brain.” In Herrick’s 1648 poem, “Mad Maid’s Song,” we find “Ah! Woe is mee, woe, woe is mee,, Alack and well-a-day! For pitty, sir find out that bee, Which bore my love away. I’le seek him in your bonnet brave, I’le see him in your eyes.”

Junket
Originally this was a rush basket to carry fish. The word came from the Norman-French word “jonket” or “jonquette” from “jone,” which means “rush.” The English had discovered the basket once meant for smelly fish could also be used to prepare cheese. The cheese then came to be called “junket.” In some parts of England, this cheese, which is served with a dressing of scalded cream, is referred to “curds and cream.” Later, “junket” came to mean a lavish meal (carried in the basket). In the U. S., such a basket is used for a picnic.

To Bury the Hatchet
We in the U. S. would claim this phrase to mark the time when hostilities between neighboring tribes of Native Americans would come to an end. However, we must make reference to a similar phrase in English history. “To hang up the hatchet” dates back to the 14th Century. It meant much the same as the Americanism…to take up friendly negotiations. In G. L. Apperson’s English Proverbs and Proverbial Phrases, we find in a 1327’s political song: “Hang up thyn hatchet ant thi knyf.” The word “bury” replaced the word “hang” in about the 18th Century.

Disheveled
I chose this word because it is one of those words I must take time in spelling. When I am writing my books, I must pause to think it out each time. Needless to say, “disheveled” means very untidy. However, in Chaucer’s time, the word meant the state of one’s hair, rather than disorderly clothing. Chaucer used the word to mean bareheaded or baldheaded. He spelled it “discheuel, discheuelee, disshevely” or however he might chose. (It is nice to know I have something in common with Geoffrey Chaucer.) The word comes from the Old French deschevelé, meaning stripped of hair or bald.

from geekdad.com

from geekdad.com

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