Thursday 21 July 2011

Duke Of Cambridge Assaulted By Dancing Master

With the disproportionate attention devoted to the red top press in the news, despite famine and financial crisis, I thought I might indulge in my breakfast pastime of inventing headlines for historic events.

The Duke of Cambridge in this instance is not William Windsor but Prince George Duke of Cambridge (1819-1904), grandson of George III. His Uncle, William IV, and his consort Queen Adelaide made the Royal Pavilion at Brighton an autumn and winter residence and inherited Madame Michau as Mistress of Ceremonies.

Prince George, Duke of Cambridge
Wikimedia

During the occupation of the Royal abode by "William and Adelaide,—when it received the name of The Palace,—it was a continued scene of regal festivities, juvenile parties being very frequent. The present Duke, then Prince George of Cambridge, was a great favourite with Their Majesties, who specially humoured his fancies and frolics. Royalty, however, is very tenacious of its dignity; whereof the following is a proof: Upon occasions when the youthful aristocracy were invited to the Palace, it was invariably usual for the arrangements of the evening to be under the immediate superintendence of the celebrated maitresse de dause, Madame Michau, who, not unfrequently, was assisted in her duties by her son, now well-known as Mons. James Michau, and the arrangement graciously received the Royal sanction. With the Prince and his youthful associates the son of the dancing mistress was considered fair game for their sporting humour; they therefore resorted to practical joking upon him, well-knowing that difference in position forbad his making a retort. But it happened upon one occasion that either the Prince exceeded his usual indignities, or that young Michau was not in a philosophic placid temper, as he offered a remonstrance, which excited a blow from His Royal Highness, resulting in a bout of fisticuffs, from which the Prince came off second best. The indignity, thus justly administered, was forthwith resented, the Royal communication, through Mr. Gee, Her Majesty's page, being that Madame Michau's services would not again be required. A retributive incident shortly after occurred that entirely put an end to the Palace youthful gatherings. Prince George, for a diversion, had purchased a mechanical mouse, and, having wound it up, he placed it upon the floor, when it chanced to travel in the direction of the Queen. Her Majesty had not observed the toy until it closely approached her, when, feeling a sudden alarm, she rose hurriedly, uttering an ejaculation of fear, a procedure so undignifying to her exalted position that she immediately retired, and no other juvenile party at the Palace ever after took place.

History of Brighthelmstone or Brighton as I view it and others knew it
John Ackerson Erredge
Brighton: E. Lewis 1862

Wednesday 20 July 2011

Society Dancing

Society Dancing
Fashionable Bodies in England, 1870-1920

Theresa Jill Buckland is Professor of Performing Arts in the Department of Performance and Digital Arts at De Montfort University. Last week she launched her book, Society Dancing: Fashionable Bodies in England, 1870-1920.

Theresa says, "There are two pictures of Louis D'Egville junior in the book taken from the Tatler 1911, a couple of pages on Louis (father and son) plus a little background. It should help I hope to provide a wider context for their dancing activities and where they stood in terms of status."

No one is better qualified to write this book than Theresa. I found her paper "Edward Scott: The Last of the English Dancing Masters" (Theresa Jill Buckland Dance Research: The Journal of the Society for Dance Research Vol. 21, No. 2) an incisive and valuable source of information on the professional and social world of Louis (father and son).

Louis (father and son) in this instance refers to Louis Hervey d'Egville (1819-1892) and Louis Hervey d'Egville (1855-1927). Louis (son) was grandfather to Alan d'Egville Stott of the South African Air Force who was killed at the age of 24 on the Warsaw supply missions of August 1944. Which ties neatly with yesterday's posting. Any semblance of order or structure on this blog is entirely illusory.

Society Dancing
Fashionable Bodies in England, 1870-1920
Theresa Jill Buckland
Palgrave Macmillan
13 Jun 2011
9780230277144
Hardback
264 pages
Price £50.00

Tuesday 19 July 2011

A Sad Assemblage


Alan Hervey d'Egville (1891-1951) had an older sister, Evelyn Marguerite (1883-?), known a Madge. She married Dr. William Harold Stott and they made their home together in South Africa. They had at least two sons, Michael and Alan.

Alan was born in 1920 and was perhaps named after his uncle. By the age of 24 Alan was a Lieutenant in the South African Air Force and was flying on operations as a Navigator with 178 Squadron Royal Air Force.

In the summer of 1944 Warsaw was still occupied by the Nazis; but on the 1 August the Polish resistance Home Army rose up against the occupying forces. Stalin's Red Army sat on the opposite bank of the River Vistula within a few hundred metres of the Polish lines yet made no attempt to support them.

Churchill's requests to both Roosevelt and Stalin for support were unsuccessful. Under British command the Royal Air Force, the South African Air Force and the Polish Air Force began over 200 low level missions to supply the Polish Home Army.

To avoid the heavily defended areas of the Reich an alternative route was chosen over northern Italy with a round trip of 3200 km. The cost in human lives to supply the Polish allies was high - 69 South Africans never returned. 17 aircraft were shot down on the weekend of 13-16 August alone. On the 15 August Alan d'Egville Stott was one the men who did not make it home.

Alan is buried in Krackow Rakowicki Cemetery but some of his effects were returned to his family. These have now come to light on a South African auction site, bid or buy.co.za. The small collection includes a cap badge that has been turned into a brooch, some buttons from his tunic, his "pips," a cigarette lighter and an identity tag.

The starting bid was R150.00 but the collection does not appear to have been sold. It seeems particularly sad to me that these personal items might become buried in somebody's personal collection of militaria.

Friday 15 July 2011

Speaking From Beyond The Grave

Sir Arthur Conan Doyle

Lot 193 in an auction held at the Radisson Edwardian Hotel, Heathrow on 16 May 2009 was a series of four letters from Sir Arthur Conan Doyle. They are undated but refer to a séance held on Wednesday 14 December. The letter below was sent in advance of the séance and has a pencil annotation "nov." We know that it occurred in 1921 because the journalist Filson Young was invited to take part.

Young described the proceedings in an article "Hymns and Humbug" published in the Saturday Review on the 21 January 1922. A zinc trumpet had been placed in the centre of the participants and when the lights were extinguished spirit voices were heard from around the group. The trumpet was about four feet long and when Young placed the trumpet out of reach of the other participants no more voices ceased.

After Young wrote personally to Conan Doyle explaining that the participants had been duped and the article appear Conan Doyle waged a war of words against Young. This is consistent with Conan Doyle's behaviour on other occasions when his beliefs were challenged (see The Secret Life of Harry Houdini: The Making of America's First Super Hero William Kalush and Larry Ratso Sloman, Pocket Books, 2007) .

The fouth person listed in the planned company is one d'Egville, "said to be a rising man." I'm uncertain to whom this refers. Young's biography (Filson Young: The first media man (1876-1938),  Silvester Mazzarella, date unknown) quotes that a ‘public singer’ was present. It will be interesting to try and discover whether d'Egville attended and who he was. I won't be organising a séance to garner evidence from primary sources.

International Autograph Auctions Ltd.

Wednesday 13 July 2011

A Footnote In A Sectarian Rant

The subject of The Pope's Cabinet Unlocked by the author of "Gerald, A Tale of Conscience," "Catholicism" etc.(Gorges Lowther, London: Hall and Co., Bath: S. Hayvvard, 1849) is described by the author as,
"The Cabinet of a Pope, who lived in the days of Martin Luther, discovered, in which among other interesting documents were found several articles relating to the doctrine of indulgences, all of which will be faithfully and dispassionately transcribed, and impartially explained for the instruction of his readers, whether Protestants or Romanists, by the writer of the following Book."
The extent to which Lowther's words are dispassionate is revealed succinctly when he refers to,
"all those speculating, selfish, and politically religious members of the legislature, who tendered their votes to the Queen's present ministers and advisers, in aid of their efforts to unchristianize the Protestant Parliament, by admitting Jews to become members of it—those scoffers, scorners, and despisers of Him who is God as well as man..."
So the slight presence of Mr. d'Egville on these pages is confusing and it seems he is an entirely innocent bystander. The footnote appears to be supplementary to the author's comment on those parliamentarians who seek to convince the protestant British that the Roman Catholic Church are, "completely harmless, and governed by an humble, tolerant, and enlightened priesthood, among whom, were no longer to be found either Dominicks, Loyolas, or Xaviers..."

The footnote is a quote from the Hereford Journal and contributes to our knowledge of the d'Egvilles involvement in ceremonial music. As the notice does not provide a forename the identity of Mr. d'Egville can only be guessed but you can choose from Louis d'Egville (1786-1857) and his sons James and Louis. It should be noted, because of the context of this footnote, that these men were all Freemasons and as such would have been excommunicated had they been Roman Catholics. As far as can be determined from church records they were Anglicans in the observance of the rituals that define our passage through life.
From the Hereford Journal, Wednesday, July 31, 1839.—The Catholic Church of St. Francis Xavier, Hereford, will be solemnly opened for Divine Service, on Wednesday and Thursday, August 7 and 8, 1839. On Wednesday morning, High Mass will be celebrated, and a Sermon preached by the Rev. Dr. Brown, Prior of Downside College, Somersetshire. On Wednesday evening, Vespers will be sung, and a Sermon preached by the Rev. T. M. M'Donnell, of Birmingham; which will be followed by a Solemn Benediction of the blessed Sacrament; the Right Rev. Dr. Baines, Vicar-Apostolic of the Western District, will officiate as High Priest. On Thursday Morning, High Mass will be celebrated, after which the Sacrament of Confirmation will be administered, and a Sermon preached by the Right Rev. Dr. Baines, V.A. Principal Vocal Performers:—Mrs. Alban Croft, Miss Davis, Maidemoiselle Parigiani, Mr. Alban Croft, and Sig. Brizzi. Leader of the Band, Mr. D. Egville; Conductor, Mr. Sefton. Mr. Beresford (of Worcester) will preside at the Organ. The Two Grand High Masses will be Mozart's No. 12, and Haydn's Imperial Mass, No. 2. Service will commence at 11 o'Clock each Morning, and at 7 o'Clock in the Evening. Tickets of Admission for Morning or Evening—Stalls, 5s.; Open Seats, 3s: to be had at Mr. T. N. Webb's and the other Booksellers in Hereford.

Monday 11 July 2011

Alan d'Egville's Silver Screen Career

In 1936 two films in which Alan d'Egville had a part were released. He collaborated in the screenplay of Highland Fling with Ralph Stock. According to the British Film Institute Library Synopsis, the plot of this film can be condensed to, "Private detectives are asked to find a will mislaid in a haunted Scottish castle."

Ralph Stock wrote at least seven screenplays either alone or in collaboration with other authors. His scripts were given life by actors such as Sir John Mills, Gordon Harker and Patrick Macnee.

Alan seems to have worked on just the one production but unlike Ralph Stock he also appeared in a film which was released in the same year. Fox British Pictures produced a comedy short starring the great comedian Robb Wilton, Servants All. The British Film Institute describe this movie as, a "Comedy in which servants change places with aristocrats."

This cast are an interesting little company in themselves, including Viola Compton - the sister of the writer Compton MacKenzie - and an early performance by Cyril Cusack. Alan played the character of Mr. Horton-Pratt.

Alan had experience of acting and appeared in Berlin - whether before or after these movies I do not yet know - although from the dates I suspect that it was before 1936. I'm eager to read his autobiography, Adventures in Safety (London: Sampson Low, 1937).


Sunday 10 July 2011

d'Aigueville Volunteers His Services

This morning when Jean Martellière and I exchanged emails he reminded me about the Spanish Escolano d'Aigueville family. I've always been unsure if this family are connected but they are on my extensive list of questions.

They have certainly been in Spain for a while because we know that on 16 January 1779 d'Aigueville wrote to Benjamin Franklin and offered his services as American Consul-General in Alicante. d'Aigueville's letter was written in the French language but we might expect that as it was the language of diplomacy.

The spelling used is the same as that used by Pierre d'Aigueville (although Pierre also signed himself d'Agueville) but the name Hervé never seems to have been associated with the individual in Alicante. The usual combination of questions about the name apply as much in this case as they do to Pierre.

If any descendants of the Escolano d'Aigueville family know why d'Aigueville established himself in Spain and who he was we will be delighted to hear from you.


Friday 8 July 2011

Alan's Ski-ing Holiday In Canada

Among the collections of the Canadian Ski Museum is Alan Hervey d'Egville's memoir of a ski-ing holiday. I too have excused myself for drinking an entire bottle of spirits on the grounds that it had "gone off." Which just demonstrates that there is nothing new under the sun - particularly where excuses are concerned. I should probably state that nighttime ski-ing under the influence of alcohol should not be emulated at home.
The Admiral had provided me with the world's largest flask in case of accidents, and I had a couple of big accidents the moment I arrived. Besides in the inn was a certain Major, with bottles and bottles of De Kuyper's gin. God rest his soul - the Major's I mean, not so much De Kuyper, though I helped the Major out of a great difficulty by drinking nearly a whole bottle to prevent it going mildewed. After dinner we played charades. I was rotten. I must take a course in "How to become a 100 per cent charader and earn big dough on the side. Be popular! Be the life and soul of the party. Send no money! Merely pay the postman three hundred dollars and a few cents postage. The College of Charades. Olikaboof. Wash."

That night we sallied forth to try a bit of road ski-ing by moonlight. Unfortunately there was no moon, but that made no difference till you hit an electric light post or a wandering cow.
The Canadian Ski Annual, Season 1931

The entire article can be downloaded in pdf format.

Thursday 7 July 2011

Darts With The Lid Off

A splendid defensive uniform made in the home

I've never given too much thought to darts unlike Alan and Geoffrey d'Egville or Dr. Patrick Chaplin. I found Patrick's site while tangled in the World Wide Web and discovered a 1983 review of Darts With The Lid Off (Alan and Geoffrey d'Egville, Cassell, 1938) by Mat Coward.

The last time I can remember playing darts I think I had probably already spent too much time and money in a pub and my opponent and I picked craters in the plaster on the kitchen wall in a rented basement flat. My opinion of darts as a sport would have been influenced by the Not The Nine O'Clock News sketch which is now as much a part of the history of darts as Alan and Geoffrey's book.  

According to his website, Patrick's "unique thesis focuses mainly on the period 1918 to 1939 and reveals the forces that transformed the humble traditional English pub game of darts into a social phenomenon during the interwar years, forces that laid the foundations for the international sport that we all recognise today." (http://www.patrickchaplin.com/Doctorofdarts.htm 2006, Gerald O’Lapane and Patrick Chaplin). The dust jacket of Darts With The Lid Off has wonderful cartoons of stereotypes we recognise today and probably still associate with that sport.

Darts With The Lid Off (Cassell, 1938)

Patrick also has an article on the Language of Darts which quotes extensively from Darts With The Lid Off. So if you want to know the meaning and origins of the phrase "Euston Road" you must visit his site. This is entirely consistent with a certain discreet ribaldry that is present in Alan's writing.

I'm compiling a bibliography of Alan's work and until I began the task was unaware of how prolific he was as a writer and the esteem with which he is held by sporting enthusiasts even sixty years after his death. Alan's significant contribution to the development of modern winter sports is apparent from the number of skiing guides he published as much as his reputation in Murren.

Wednesday 29 June 2011

Sophia And Pierre In The Electoral Palatinate

Jean-George Noverre (1727-1810)
by Jean-Baptiste Perronneau. Source: Wikimedia Commons
In 1760 Jean-George Noverre moved from Lyon to Stuttgart to take up an engagement with Charles Eugene, Duke of Württemberg. It was here that Noverre's career achieved its apogee following the publication of his Lettres sur la danse et les ballets (Lyon, 1760). Many of his ideas on the ballet d'action in this treatise were influenced by David Garrick (1717-1779), with whom he had spent two years in London from 1755. 

We know from the 1768 correspondence between Jean Monnet, former director of the Opéra Comique, and David Garrick that Mademoiselle Auselin had danced (circa 1765) at the opera in London. In 1766 she moved to Stuttgart to work with Noverre. After a brief engagement in Paris in April 1768 it is recorded in the same correspondence that she intended to travel to the Electoral Palatinate and the court of Charles Theodore, Prince-Elector and Count Palatine.

There is a confusing note on Pierre d'Aigueville's presence in the Electoral Palatinate. In La culture française à Francfort au XVIIIe siècle (1914), Bettina Strauss refers to the ballet master Pitrot, whose real name is Pierre d'Aigueville of Verseilles. It is possible that Pierre adopted this name but it provokes many questions. Jean Baptiste Pitrot (1729-1809) was active in Brussels, Lille, Ghent, Liège and became ballet master in the Hague in 1762. His elder brother, Antoine-Bonaventure (1727-after 1792), pursued his career throughout Europe and even worked in Russia. So, either this ballet master was Pierre or was perhaps Antoine-Bonaventure Pitrot.

The latter seems more likely, but in Festschrift zu Goethes 150. Geburtstagsfeier (Frankfurter Verein für Geschichte und Landeskunde, 1882) states that Pierre was usually called on playbills, "the famous Monsieur Pitrot." But, confusion aside, Pierre and Mademoiselle Auselin may have both performed in this region of Europe. Mademoiselle Auselin's engagement at the court theatre may have been somewhat briefer than her time in Stuttgart. Pierre was performing in London, partnered by Mrs. King, on the 1 November 1768 and both he and his wife were discharged by Garrick in the middle of the 1773-1774 season. Somewhere in between Madame d'Aigueville found time to give birth to James. His year of birth is given between 1770-1773.

I've often wondered whether Pierre was the price that Garrick paid to get Sophia who would "make much impact" on his theatre and if Garrick's theatre was the price that Sophia paid for Pierre.

Tuesday 28 June 2011

The Humour Of Alan d'Egville

I feel that Internet shopping should never be allowed to replace the experience of visiting a bookstore. Blackwell's Online Bookshop is convenient but cannot compete with the otherworldly experience of descending into the Norrington Room. The elegant entrance to the shop in Broad Street hides more secrets than the Leaky Cauldron. 10,000 Square feet were excavated beneath Trinity College Gardens where three miles of shelving form the nexus to many magical worlds.

Buying books on the Internet evokes a similar sense of guilt to microwaving a supermarket ready meal. But as there are - maybe surprisingly - some good ready curries to be had there are independent used book dealers who sell the work of authors which would be rarely found in a local store. This allows both the work and the bookseller to exist in a world where high sales volumes and small percentages are survival.

eBay not only provide a market place for those wishing to auction their unwanted gifts and clutter but is a window for traders selling at a fixed price. It was here that I found the Batting Bunny... In anticipation of your question, no, I don't know. Maybe the owner lives in a world of cricketing rabbits.

The reason why this dealer was listed by Google is because the Bunny is selling a first edition of Money for Jam or How to be a Magnate by Alan D'Egville - published by Cassell in 1947. This posting isn't intended as an advertisement for either eBay or the Bunny and there are other dealers who presently stock this title.

I will devote a future posting to the life of Alan Hervey d'Egville (1891-1951). Amongst his works are other humourous books on sporting subjects and contemporary issues, a screenplay and his cartoons.

Photo by the Batting Bunny
In Money for Jam, Alan describes himself as the author of, among other titles,
"Business English as she is spake."
"Commercial Correspondence as she is wrote
"Book-keeping for pleasure and profit - and loss."
There are some other imaginary titles subtly aimed at the private secretary which no longer seem appropriate but would certainly appeal in 1947. And on that note, "Miss Jones, come in and take down everything I say..."

Monday 27 June 2011

News Of James' Libel Action Spreads

The Sydney Gazette And New South Wales Advertiser,
Wednesday 7 November 1827.

COURT OF COMMON PLEAS, JUNE 8.
LIBEL.
D'EGVILLE  V. RICHARDS.

  This was an action brought by Mr. D'Egville, the ballet-master of the Italian Opera-house, against the defendant, Mr. Richards, the ostensible proprietor of the Age Sunday Newspaper, to recover a compensation in damages for a libel inserted in that Paper.

  Mr. Patteson opened the pleadings and Mr. C. Philips stated the case. The Learned Counsel said, that he did not appear so much the professional advocate, as the friend of the plaintiff, who had chosen him to conduct his cause rather from having known him, than from any doubt of the talents of the learned Gentlemen sitting around him. When the Jury were acquainted with the nature of the libel, they would have no doubt it was calculated to injure the character of the plaintiff. The libel was obviously written and published with an intention of wounding his feelings, and throwing a stigma on his reputation. Mr. D'Egville was not more admired by the public for his talents as an artiste, than he was esteemed by his private friends for his amiable qualities. He (Mr. D'Egville), as ballet-master of the Opera-louse, composed a ballet in three acts, called Le Siege de Cythere, which became exceedingly popular. The third act was acknowledged to have been taken from a piece which had been composed by M. Dubervalle. Had the libel in question only attacked the professional character of the plaintiff, in all probability the present action would not have been brought; but the defendant had thought fit to publish in his Paper, what he must have known was a false and calumnious attack on the private character of the plaintiff, who was compelled, in vindication of his reputation, to appeal to the laws of his country.-The defendant had an opportunity of justifying what he had published, the plaintiff haying proceeded by civil action, instead of having prosecuted him criminally.-This course gave the defendant an opportunity of pleading the truth of what he had published, if there were any truth in his assertions; but he had not thought proper to put such a plea on the record, nor had he condescended to answer the action by Counsel. The friends of the true liberty of the press would not desire to see it supported, if it exceeded the bounds of fair criticism, or reflected on the private character of individuals. If such a system were encouraged, the press, instead of being a blessing to the country, would become a curse. The plaintiff, as Ballet Master of the Opera House, received a salary of £1,500 per annum; in addition to which he derived considerable sums from different noblemen and gentlemen, whose families he taught dancing. It was of the utmost importance that his character should be above suspicion: and, being so grossly attacked by the defendant, he was compelled to resort to an action, to prove to the world that the attack was founded only in malice. The libel in question arose out of a pretended criticism of Mr. D'Egville's Ballet, Le Siege de Cythere, and the defendant thought to shelter himself by making it appear that the libellous observations were written by a Correspondent. Mr. D'Egville had repeatedly offered to drop this action if the defendant would give up the author of the libel, but he had refused; and he (the Learned Counsel) was warranted in asserting that the libel was the production of the defendant's own pen. The Learned Gentleman read the libel, which was inserted in the Age, of the 11th of March last, under the head of " Notice to Correspondents,"-as follows:- " A reference to the ballet at the King's Theatre is inserted, in justice to all parties. I do not presume to write a critique-; but only to give you information you may not possess. The ballet at the Opera on Tuesday last, was impudently asserted in the bills as the composition of D'Egville, ‘Siege de Cythere,’ when it was originally composed and produced by M. Dubervalle. The only credit due to D'Egville is the extraordinary memory to have so closely followed the original in every scene, group, and action, unless he made memoranda at the time, which I presume was ihe case. The writer of this was in Dubervalle's ballet when first produced ut the Old Pantheon, and thinks D'Egville can only copy, not compose. For example, his previous billet of Rose Blanche was originally performed at Oudinot's two-penny theatre on the Boulevards, expressly for the revolutionary gentry of 1792, about the martyrdom of the Princess Lamballe and others, when D'Egville was very conspicuous in Paris, and accused of being the bosom friend of the murderer that carried that unfortunate Princess's head on a Pole." -The Learned Counsel said, that this was the libel for which the plaintiff sought compensation at the hands of the Jury, and he believed that a more atrocious and unprovoked attack never was made on a respectable man.-It was as false, too, as it was calumnious.-The plaintiff so far from being active in promoting the revolution, was conspicuous in the ranks of loyalty, and had hazarded his life in the service of the unfortunate Monarch who then filled the throne of France. He put it to the honour of the Jury, as to what must be the feelings of the plaintiff when he saw himself represented as the bosom friend of the greatest monster and most blood-thirsty wretch that figured at that sanguinary period-a fiend, who was not satisfied with the massacre of the innocent of all ages, and of both sexes, but had become the butcher of a corpse! As soon as the plaintiff became acquainted with the publication of this libel, be applied to the defendant to give up the name of the writer, as the libel purported to have come from a correspondent. This the defendant refused; and having slandered an amiable man, he refused to apologise, or to appear to defend the action, in person or by Counsel. The Jury, under all the circumstances, would say what was a fair compensation the plaintiff ought to receive for the injury attempted lo be done to his character by this atrocious and malignant libel.

  Witnesses was culled to prove the proprietorship and publication of The Age, and a witness proved that Mr. D'Egville was the Ballet Master at the Opera House-and among other successful ballets, he had produced Le Siege de Cythere.

  The Chief Justice summed up the case. To charge the plaintiff with being the intimate friend of a man concerned in one of the most sanguinary murders recorded in the history of modern times, was a gross libel. The defendant having admitted the falsehood of the statement by not pleading the truth of that statement, the Jury would say what was fair compensation to the plaintiff for the injury.

  The Jury gave a verdict for the plaintiff-Damages 150l.










National Library of Australia

Friday 24 June 2011

Auselin or Anselme: A Problem Of Palaeography

Among the problems one encounters when trawling the Internet for information is just how many tasty snippets slip through the mesh of the net. My strategy when searching, particularly when using a proper noun, is to break the word down into as many permutations as possible. This can improve the quantity of the results because some old documents were acquired by the likes of Google as images.

These can be thought of as similar to the photographs produced by a digital camera. So, if you've ever been in a record office and photographed a baptism record you might have taken it home and then typed out all the information but kept the image as a memento.

The out of copyright documents in Google Books usually have an option to display these kind of images as a text that one can cut and paste into a word processor. If you haven't tried this then follow the link to Monnet's letter to Garrick (14 April 1768) and then click on the "Plain text" option. This is done by a process known as Optical Character Recognition (OCR). If you've gone through the laborious process of typing out the text from your photos you will be pleased to know that there are OCR programmes available on the Internet.

It doesn't take long to discover that even when the original is a clearly printed document the process of converting an image to text makes frequent mistakes. When the original is a handwritten document or a cursive font has been used then there are usually many more mistakes to correct.

Human beings encounter similar problems in information processing. I've been working with original documents since a 1975 school history project on the Battle of Worcester and paleography is often just as baffling as that first adventure. I both expect and enjoy this challenge as some people enjoy crosswords. On first reading the naturalization act of James Hervet d'Egville I wasn't disappointed. I found it equally tantalizing when a dance historian told me that he had almost "fallen off his chair" when he had read the maiden name of James' mother.

At that time I'd very little knowledge of dance in the eighteenth century so I had no idea what he could mean other than it must be something very interesting indeed. So when I tried to make out the grey photocopy of a handwritten original I remained firmly in my seat. The legibility was such that I had to give it a second glance and the name that I read, "Ansaume," meant nothing to me.

Even after a quick Google Anseume or Anseaume meant little more and I had to burrow among the Google Books to get an idea of who he was. Rather than explaining I will leave you to explore this yourself if you are unfamiliar with him. It's enough to say that he was a significant figure in the Opéra Comique and might make a person fall off a chair. But it did not add up; for all sorts of reasons he could not be Sophia d'Aigueville's father.

I returned to the copy of the manuscript and to first principles. I looked for analogues of the letters among known words and eventually deciphered the name as "Anselme." The Anselme family of the Hague were even more difficult to find for the theatrical layperson - but I could easily understand that she too might make a person fall from a chair. For as many reasons as Ansaume was wrong she was definitely right - not least because Sophia Baptiste Anselme's collection of names fits with Jame's mother and there is the Hague connection.

I'm now interested to read a different interpretation of the name, "Auselin," from some of our contributors. I never wed myself to a particular hypothesis to the extent that I can't get a "quickie" divorce and I will certainly be returning to the manuscript. I will be happy to tear up some of my previous work if necessary. It is probably worth noting that Genlias - the Dutch genealogical database - doesn't return any results for Auselin today. I have used this phrase because it has given me differing results on different days. However, records from the Hague are not included.

The OCR process readily interprets "Anselme" as "Auselin" even in text which is obvious to the human brain. The autograph manuscript of M. Monnet's letter to Garrick has now become an object of desire for me but a visit to the Hague is a necessity.

Thursday 23 June 2011

Mother Sophia In Paris

Jean Monnet (1703-1785) was director of the Opéra comique from 1743 to 1757, although the theatre was closed down by the authorities from 1745 to 1751. During the period of closure Monnet was, in 1745, director of the theatre at Lyon and in 1748 was director of a French troupe in London where he is known to have returned in 1766. As he refers to Mademoiselle Auselin's engagement at the Opera in London two or three years previously in his April 1768 letter to David Garrick it possible that he saw her there.

In 1762 the Opéra comique merged with the Comédie-Italienne and moved from the Foire Saint Germain to the Hôtel de Bourgogne. Performances at the Hôtel de Bourgogne began in February 1762 and it is here that Mademoiselle Auselin would have appeared in April 1768.  By then the direction of the company had passed to the Société d'artistes. Regretably, there are no further references to her performance - or any other - in Gallica or César.

"Miss Auselin, who danced at the Opera in London two or three years ago, arrived here a few days since: she has a strong enough engagement at the court of the Elector Palatine: the Directors of our Opera House have engaged her to dance three times, I saw her again yesterday, I like her better than Miss Allard. She arrived from Stuttgart, where she has worked for two years with Noverre: I think she would make much impact on your theatre, if you need it, I will try to get her for you for next season."

The private correspondence of David Garrick with the most celebrated persons of his time, Volume 2. H. Colburn and R. Bentley, London, 1832

The entire letter appears below:


DE M. MONNET À M. GARRICK.
À Paris, ce 14 Avril, 1768.
Je Vous préviens, mon ami, que vous recevrez dans les premiers jours du mois prochain tout ce que vous et Madame Garrick m'avez fait demander par Antonio Carara. C'est le nommé Roch de sa connoissance qui veut bien se charger du tout; mais qui ne peut partir qu'à la fin de ce mois. A propos de Carara; descendroit-il de cette illustre famille de Padoue dont le chef fut empoisonné en prison par les ordres de la république?
  Vous direz, je vous prie, à Madame Garrick que je lui envoie par cet homme tout ce qu'elle a désiré, a l'exception de l'étui à curedent et des boucles à soulier; attendu que ces sortes de choses se font mieux et plus solidement en Angleterre qu'en France. Madame Sayde tire cette marchandise de Londres, c'est à dire les petites boëtes de chagrin-verd: quant aux boucles on les fait, et je compte qu'elle les aura dans le mois prochain.
J'ai ajouté aux livres que vous m'avez désignés un ouvrage nouveau en deux vol. sur les Sauvages, et un drame intitulé "La Vestale." Les comédiens François avoient reçu cette pièce, mais la police n'a pas voulu en permettre la représentationJe crois que vous pouvez en tirer parti pour vôtre théâtre.
Pourquoi ne souscrivez-vous pas pour les Métamorphoses d'Ovide, représentées en une suite de cent quarante Estampes in 4°.? cet ouvrage est digne de vôtre bibliothèque. Je vous en ferai passer le Prospectus; si vous jugez à propos de souscrire, comme je connois les graveurs de cet ouvrage, vous aurez de belles épreuves. Vous devriez aussi prendre le Dictionnaire de Musique de Jean Jacques Rousseau, qui paroît depuis peu avec succès.
J'ai payé à Mr. de la Combe ce que vous lui deviez pour l'Année Littéraire; je n'ai pas souscrit pour l'avenir, ne sachant pas si vôtre volonté est de continuer pour cette feuille.
Le Kain a été fort malade: il va jouer quatre ou cinq fois; ensuite il ira prendre des eaux à Forges, et pendant son absence on donnera " La Gageuse," comédie nouvelle en un acte de Mr. Sedaine, sujet tiré de la première nouvelle de Scarron. Le même auteur a fait aussi une pièce pour les Italiens, qui a pour titre " Le Déserteur;" quand l'une et l'autre seront imprimées, j'aurai soin de vous les faire tenir.
Mon ami, j'aurois la plus grande envie de vous aller voir cette année, et j'y suis fortement invité par Messieurs Thornhill et Lascelles, mais je ne le peux pas: partie remise à l'année prochaine, sous la condition que vous viendrez celle-ci à Paris passer un mois; ce peu de tems ne vous privera pas du plaisir de jouir de vôtre campagne que je crois charmante à présent par la réparation que vous y avez fait.
Je vous ai déjà parlé des effets que vous m'avez laissés dans un mauvais coffre; que voulez-vous que j'en fasse? je serois d'avis de vous envoyer par la première occasion les deux habits de soie, l'un de lustrine et l'autre verd galonné d'argent; j'y joindrai la veste de cirsaca blanche et or ; ce qui restera sera fort peu de chose.
Je vous enverrai aussi une note des petites avances que j'ai fait pour vous et Madame Garrick: nous ferons nos petits comptes en déduisant ce que vous avez payé pour moi au Sieur Guillaume Webb négociant, &c.; et dans la suite je serai très exact à vous envoyer les prix sur chaque chose dans les commissions dont vous voudrez bien me charger. En voici une que je vous prie de me faire le mieux et le plus promptement possible. Mr. Greuze que vous connoissez, Peintre, voudroit avoir un habile graveur de vôtre manière noire. Si vous pouvez lui trouver un jeune homme sage et très habile qui veuille venir à Paris, il le logera chez-lui, et il lui fera un bon parti. Mr. Greuze vous fait bien des compliments, et il compte toujours vous faire un petit tableau qui vous arrivera au moment que vous y penserez le moins. À propos de tableaux, je vois bien des difficultés pour pouvoir faire graver le vôtre; on me demande fort cher; mais je ne concluerai rien sans vôtre avis. D'ailleurs ce portrait (entre nous soit dit) a beaucoup de défaut dans les mains et les jambes surtout; il n'y a que la tête qui est belle et pleine d'expressions.
Au nom de Dieu, mon ami, ne faites point de grâce à Mr. Mant: je ne veux pas en être la dupe; envoyez y Carara jusqu'à ce qu'il en soit payé.
  Le jeune Barthelemon me doit trois louis: par une lettre qu'il m'a écrit, il me demande à qui je veux qu'il les remette. Je vous prie de vous en charger.
Quant au fromage que vous voulez absolument m'envoyer; adressez le tout naturellement à Mr. de Vimeux négociant, à Calais.
  Mademoiselle Auselin, qui a dansé il y a deux ou trois ans à l'Opéra de Londres, est ici depuis quelques jours: elle a un engagement assez fort pour la cour de l'Electeur Palatin: les Directeurs de nôtre Opéra l'ont engagé pour danser trois fois, je l'ai vu répéter hier, je l'aime mieux que Mademoiselle Allard. Elle arrive de Stutgard, où elle a travaillé deux ans avec Noverre: je pense qu'elle feroit beaucoup d'effet sur vôtre théâtre; si vous en avez besoin, je tâcherai de vous la faire avoir pour la saison prochaine.
Mr. de Voltaire, qui a écrit contre le Vieux et le Nouveau Testament depuis Moïse jusques au dernier des Prophètes, qui a traité ouvertement Jésus Christ comme un charlatan, vient de communier à son château de Ferney, et de faire un sermon à ses habitans sur l'ivrognerie et la friponnerie: il est vrai que quelques jours avant il avoit été volé, et qu'il avoit fait un rêve où le Diable l'emportoit avec tout son monde. Que Mr. Wilks, proscrit, et ayant manqué de respect à son Roi, parvienne à faire trembler vos ministres et à se faire recevoir membre du Parlement! Je ne vois que lui et le Roi de Prusse pour prendre des mesures aussi justes.
Mon ami, présentez mon respect et mes amitiés à Madame Garrick. Répondez à tous les articles de ma lettre; et aimez-moi toujours.
Monnet

Wednesday 22 June 2011

Blackbeard's Servant

Frontispiece Black Beard - Courtesy of Paul Douglass
Paul Douglass is Professor of English and American Literature at San Jose State University and includes British Romanticism (Byron Studies) among his research interests.  He and Frederick Burwick of the University of California, Los Angeles maitain the Romantic-Era Songs website. It was here that I found the treasure of Blackbeard; or, The Captive Princess (Longman and Broderip, 1798) composed and adapted for the piano by John Sanderson (1769-1841), scenario and songs by John Cartwright Cross (d.1810?).

This "grand ballet spectacle" was performed at the Royal Circus where Caesar, Blackbeard’s servant is described a pantomime role played by Mr. d’Egville. Given George's later reputation as a pantomimic actor it is perhaps he rather than James or Louis who appeared as Caesar.

In 1972 characters and scenery cutouts from Blackbeard the Pirate; or, The Jolly Buccaneers, was reprinted by Pryor Publications (Whitsable, Enland). It seems that the original was probably published in the 1830s by Pollocks’ Toy Theatres Ltd, of London. According to Douglass, "the imagery is consistent with other depictions of the costumes and sets in the original production." So, the cutout character of Caeser (far right, first row below) may represent Mr. d'Egville.



Back cover of Blackbeard the Pirate; or, The Jolly Buccaneers
Courtesy Paul Douglass
Synopsis of Black Beard downloaded from the Romantic-Era Songs website. 
THE Piece commences with the carousal of Black Beard and his Crew in the Pirate’s Grand Cabin, they descry a Sail bearing the Mogul's Colours, conveying the Princess Ismena and her Lover Abdallah – they are taken. Black Beard becomes enamoured of the Princess, and separates them: – They steer towards the Straits of Madagascar, where he has deposited his Riches in the Care of Orra, his Wife, to whom, on his landing, he introduces the Princess. Orra watches her with a jealous Eye, but dreading her Husband’s ferocious Disposition, with seeming Complacency receives her. In the Interim he gives Orders that Abdallah shall be dispatched – the Commands are received by William and his Sweetheart Nancy, the affectionate Female, who had followed his Fortunes in Disguise, and when taken by Black Beard, both became reluctantly Pirates. William recognizes in Abdallah, a Friend who had redeemed him from Slavery, and gratefully in return, aids his Escape – the jealous Orra seduces lsmena, under a Promise of Freedom, to a sequestered Spot, where she attempts her Murder, but is prevented by Black Beard, who plunges the Dagger, intended for the Princess, in his Wife's Heart – her Lover, wandering near the Spot, is wounded by Caesar (Black Beard's faithful Negro) in endeavouring to rescue his Mistress, who is conveyed once more for Safety on-board the Pirate. Her wounded Lover meets with Lieutenant Maynard, (Commander of the Pearl) who, being in Search of the Pirate, learns the Inlet where he has anchored, and determines to attack him – mean Time BlackBeard endeavours, by every Art, to seduce Ismena – but is interrupted by the Apparition of his murdered Wife – he views her with Horror, but has scarce Time to reflect, when he learns his Ship is about being boarded by the British Captain, he gives lsmena to the Care of Caesar, commanding him to lodge her in the Powder-Magazine, and should the Captain be victorious, set Fire to it, and blow them all up together, which he is on the Point of accomplishing, when his Hand is arrested by Abdallah. The British Captain, after an obstinate Engagement, plunges the piratical Monster into the Sea. Abdallah is restored to his faithful Ismena, and British Valour and Humanity conspicuously triumphant.
From “The Songs, Duets, Glees, Chorusses, [sic] &c. In the popular grand Spectacle of Music, Dance, and Action, called, Black Beard; or, The Captive Princess: As performed upwards of 100 nights, at the Royal Circus, last season; and Revived with new Songs, Scenery, Dresses, &c. On Wednesday, May 15, 1799,” ( London: T. Burton, 1799), 5-6.

Paul Douglass is author of Lady Caroline Lamb: A Biography (Palgrave Macmillan, 2004) and a selection of Lady Caroline Lamb's letters, The Whole Disgraceful Truth (Palgrave Macmillan, 2006).

Friday 17 June 2011

James Bores Mrs Rossetti

William Michael Rossetti (1829-1919)
by Julia Margaret Cameron
Anyone wearing a hat like this probably takes himself too seriously.

William Rossetti was the brother of Dante Gabriel and Christina Rossetti. William attended the founding of the Pre-Raphaelite Brotherhood and although a career civil servant he was a critic, editor and biographer.

In the summer of 1857 Rossetti began organising an exhibition of British art in the United States of America. It appears from his letters that many artists were reluctant to lend their work. This was with some justification because some paintings were damaged by a rainstorm during transit and Rossetti claimed that he had paid at least £1200 in compensation.

James Hervé d'Egville exhibited seven watercolours in the exhibition at the Boston. At least one of his paintings was damaged and he evidently doorstepped Mrs Rossetti. If James behaved in anyway like his father William was lucky not to have his hat inserted as an aesthetic suppository.
To Frances Rossiti,
Freshwater Gate
1 September [1858]
Thanks for your little note received this morning. I am sorry you have to endure the bore of visits from d'Egville etc., but am not without fear that, either just before or just after my return to town, such visits will be pretty frequent, as a lot of pictures are now about returning, some of which, as Ruxton learned a little while ago, have been severely damaged by a rainstorm while en route to the vessel. If any such visits are inflicted upon you, of course you can refer the visitor either to me by address or to Ruxton personally, and all I can beg of you is to subject yourself to as little annoyance in the matter as you can.
  Will you tell Christina, in answer to a precedent note, that I did, shortly after leaving town, think of her Common Objects of the Seashore with regret at not having brought it, but that some days ago, finding the book at a shop hereabouts, I purchased a copy for myself. It is sufficiently to the purpose. Also that little Solomon's visit must have been paid under a misapprehension of something I said to him 2 or 3 months ago, as I had nothing of Gabriel's at home to show him, but may rather have offered to take him to Blackfriars. He is an unsightly little Israelite; but a youth of extraordinary genius in art - and perhaps otherwise.
  Here we are still, and here, spite of occasional gleams of projected removal to some other spot in the Island, we are likely in my opinion to remain, at least until Sunday week next, which will be my last holiday day: on Monday I ought to be back at Somerset House, and the position of colleagues there as regards leave will not admit of my outstaying my time. Tennyson has been back since Friday, and took the trouble of looking me up on Saturday - but bent his steps through some mistake to Alu Bay - some six times too far off - where of course he could learn nothing of me. I spent Monday very pleasantly at his very commodious house (not half a mile from here), and shall return there as often as I can spare myself from here. He found the Norway travelling very laborious. He and his wife (a most lovely human creature) like Gabriel's Arthur watched by weeping queens as well as, or better than, any other illustrations in the edition.
  Our sea-anemones - strawberry, red, brown and olive-yellow, and longer-feelered grey and greens, - mingled with an occasional crab or shell-fish, were beginning to get rather a nuisance: we have reduced their number to 9, which have been most flourishing these 3 days.
Your
W.M.R.
I shall post with, or soon after, this one or two Athenaeums. One No, never came; and the next following that not till the week after, or you should have had them in due course.

Selected Letters of William Michael Rossetti
Edited by Roger W. Peattie (1990)




Thursday 26 May 2011

James d'Egville Hams It Up

Costume of Mr d'Egville
Circa 1830 Signed C.H.
Folger Shakespeare Library

In 1827 the sons of two theatrical dynasties set off to tour Italy. Charles James Mathews (son of Charles Mathews) and James d'Egville (son of James Harvey d'Egville) had both been articled to Augustus Pugin who is now chiefly remembered as the architect of the interiors at the Palace of Westminster and its famous clock tower. Mathews later returned to the theatre as both actor and playwright.

Charles James Mathews
(1803-1878)

While in Florence, Mathews designed and built a small theatre for Lord Normanby. He and d'Egville both played in amateur productions during their stay and the costume designs have survived as a series of lithographs which are held by the Folger Shakespeare Library.
...In 1827 he again quitted England for Italy, but on a professional tour that time, accompanied by Mr. James D'Egville, with whom he had been associated in Mr. Pugin's office. They visited Milan, Rome, Venice, &c., examined the ancient monuments of those places, and exhibited their architectural drawings in each of those celebrated academies. At Milan, Venice, and Rome, Mathews was elected a member of the several academies. At the former place, some drawings of his, of the Duomo D'OssoIa, and other sketches, are still exhibited.
In 1829 they visited Florence, where Lord Normanby was then residing, and was entertaining the Florentines with private theatricals. Young Mathews (with his father's permission) appeared, at his lordship's request, in the following characters: Risk, in " Love Laughs at Locksmiths;" Dogberry, in "Much Ado about Nothing;" Tony Lumpkin, in " She Stoops to Conquer;" Adam, in " The Iron Chest;" Buskin, in " Killing no Murder;" Simpson, in "Simpson & Co.;" Falstaff, in "King Henry the Fourth," &c., &c., &c.
At the theatre San Clemente, the actors in the above plays, among others, were Lord and Lady Normanby (really admirable performers), Sir Hedworth and Lady Williamson, Lord Fitzharris, Lord Albert Conyngham, Messrs. Craven, Nightingale, Dundas, Aubry, Phipps, Bligh, Antrobus, Thelluson, Sitwell, St. John, E. Villiers; Mrs. Dalton, Miss Augusta Stephenson, Miss Geraldine de Courcy, Miss Sitwell, La Principessa Belgiojoso, La Marchesa di Pucci.*
He also performed Sir Benjamin Backbite in the " School for Scandal," on the single occasion of the comedy being performed at Lord Burghersh's, then ambassador at the court of Tuscany; on which occasion Lady Teazle was played by Lady Burghersh, Joseph Surface by the Marquis of Douro (the present Duke of Wellington), and Charles Surface by Lord Burghersh.
* Mathews, while at Florence, built Lord Normanby a small theatre, and painted a drop scene for it.
The literary life and correspondence of the Countess of Blessington, Volume 2
Richard Robert Madden, 1855

If the print is any sort of likeness James appears to be a chip off the old block. There is some similarity between the subject and this detail of Tatius from David's Intervention of the Sabine Women (1799) for whom James Harvey d'Egville modelled.

Wednesday 25 May 2011

Woman's Right To Labour

Practical Illustration of Woman's Right to Labour.
Edited by Caroline H. Dall. (Boston, U.S., Walker & Co.)
Treatise on Deportment, Dancing, and Physical Education for Young Ladies.
By Madame D'Egville Michau. (Newby.)
Mrs. Caroline H. Dall and Madame D'Egville Michau would both object, with equal dislike, to having their names coupled together, and their respective brochures named in the same day. One, an emancipated woman, with stern contempt for the vanities of dress and adornment, desirous that all women should aim at making themselves as much like men as possible, claiming for them "an equal right to labour" at all masculine occupations, and calling upon women everywhere to cease from the domestic and ornamental frivolities which have hitherto been the badge of all their tribe, and to become the hard-working, self-sustained, independent female branch of the human race, living in an amiable neutrality towards men, and in a close offensive and defensive sisterly alliance amongst each other; Madame D'Egville Michau, professor of dancing and deportment, high priestess of elegance, grace, and the conventionalities of polite society,—what can the two women have in common? We answer, a great deal. Madame Michau, training girls to become elegant women, to be the ornaments of the drawing-room and the ball-room, finds that exactly the same virtues of character are required as Mrs. Caroline Dall invokes for "woman's right to labour"; only that Mrs. Dall takes a pretentious, dogmatic and aggressive tone. In their records of the deficiencies in female education, their testimony is agreed; in their opinions as to the remedy, there is no difference. In the result, we suspect that a pupil brought up after the fashion of Madame D'Egville Michau would be more modest, unpretending, thorough-bred, and altogether more pleasant as a woman and a companion, than a girl educated on the proud and Spartan-like self-assertion of Mrs. Dall. Both ladies agree in their remarks on the defective foundation that is laid in girlhood for the future character of the woman; Madame Michau remarks:—
"What a thousand pities it is that the whims and caprices of children are so much listened to at home! A certain branch of education is commenced; and, after a little time, the pupil finds that it gives more trouble to accomplish than she likes. She writes home, stating some plausible excuse for discontinuing the lessons; and the parent, instead of remonstrating with the child, or writing to the lady under whose care the child is placed, at once allows the lessons to be given up. The reason why so many girls are only half educated is occasioned by so much time having been lost in attempting and giving up different branches of education. With regard to dancing lessons, I know many girls who would join my classes if they could fly about the rooms as they pleased; but they object to exercise as well as to being told of their faults; and, as this appears to be the age for children to govern their parents, of course, the education of a girl who has not much mind and is (what is termed) indulged amounts to a positive absence of any knowledge whatever."
Mrs.Caroline Dull testifies:—
"After the publication of ' Woman's Right to Labour,' generous men came forth to help me carry out my plans. The best printer in Boston said, 'I am willing to take women into my office at once, if you can find women who will submit to an apprenticeship like men.' On the same conditions, a distinguished chemist offered to take a class of women and train them to be first-class apothecaries or scientific observers, as they might choose. To these offers there were no satisfactory responses. 'Yes,' said the would-be printers, 'we will go into an office for six months; but by that time our oldest sisters will be married and our mothers will want us at home.' 'An apprenticeship of six years!' exclaimed the young lady of a chemical turn, 'I should like very much to learn, to that I could be a chemist if I ever had to; but poison myself over those "fumes" for six years—not I!' It is easy to rail against society and men in general; but it is very painful for a woman to confess her heaviest obstacle to success,—viz., the weakness of women. 'Six years out of the very bloom of our lives to be spent in the printing-office or the laboratory!' exclaim the dismayed band ; and they flutter out of reach through the side walks of Beacon Street or through the mazes of ' The Lancers.' * * What does common sense demand, if not that women should make thorough preparation for trades or professions; and, having taken up a resolution, should abide by all its consequences like men!"
Both these extracts show the blossom and the fruit of the evil tree of self-indulgence. Women seem incapable of doing anything they are not inclined to do; they are in general as unteachablc as cats, which therein seem the type of the female character; viz., that they are incapable of being controlled or taught. The fault lies at the very root of their life; they are not trained to work; there is nothing thorough in their education; to seem, to appear, to look like, bo rational beings; but it is made a marvel when a woman shows herself to be one. The reform must, as we have so often said, begin with women themselves. Before they undertake great things, such as taking their places as professional men, and going out into the world to push their way in the active walks of life to fame and fortune, let them, as mothers, sisters, and wives, train the girls, the future women, committed to their charge; in earliest life, let them lay the foundation of industry, perseverance, and, above all, of obedience. The habit of honest obedience "to those who are put in authority over her," goes for a great deal in laying the foundation of a sterling character in woman; for self-will is not firmness of purpose, nor is it an indication of strength of character, but women flatter themselves that it is so, and they "hate to be instructed" or controlled; they are radically indocile and intractable. All the talk that is now going on about "woman's work" and "woman's right to labour" is so much wasted breath; women who have grown up in the desultory, self-willed habits which women allow themselves, never can turn to the steady, heavy drudgery of learning a trade or profession thoroughly; those who wish to improve the condition of women must begin at the other end, and train them from early childhood to look forwards to work as a natural condition, and not as a voluntary or exceptional state of things "for a woman." There is not the least objection to a woman earning her own living, or to her getting as much money as she can; Mrs. Ball testifies that men are quite ready to assist her, to receive her, and to teach her,—if she will only submit to the discipline of being thoroughly taught. The subject of Mrs. Ball's 'Practical Illustration' is a young Polish woman, Maria E. Zakrzewska, M.B., who, from assisting her aunt, who was a professional nurse, imbibed an ardent desire to become a physician, and who, by dint of great energy and firmness of purpose, accomplished her desire. There are many points of interest in the narrative, and the lady's indomitable perseverance is worthy of all esteem; but we must confess that we found the tone of the book disagreeable and repelling. It left us with no wish to become acquainted with Dr. Maria, and not the least desirous that any woman belonging to us should resemble her. The practical illustration is worth reading, as a sign of the increasing disposition in women to seek some useful and permanent employment for their energy; but we recommend the little brochure of Madame D'Egville Michau, with its unpretending common sense, to the perusal of parents and guardians, as well as to the young people for whose benefit it is more especially intended. If they will lay to heart and follow out the suggestions, they will not only walk better, dance better, and be more elegant in "deportment," but they will stand a chance of becoming considerably wiser during the process.

The Athenaeum, 7 September 1861
 In 1861 Madame d'Egville Michau's women cousins, the children of George Harvey d'Egville, were already enjoying the right to labour. They and most other women laboured with little comment in the press. Women broke rocks, hauled coal, made nails, gutted fish etc. with no interference from the patres familias. Perhaps they walked better, danced better and were more elegant in deportment? Their only consolation being that Madame d'Egville Michau was only a bad debt away from being in their circumstances and their clogs.

Monday 23 May 2011

How And What To Dance

Why not use those slack hours until the next series of Strictly Come Dancing (or Dancing With The Stars) by brushing up on your ballroom technique? The Internet Archive have a copy of Geoffrey d'Egville's How and What to Dance (C. Arthur Pearson, Ltd. 1919) which you can read online or download.

This is perhaps the only book on dance that you will ever need; it even includes chapters on Organising A Dance and Etiquette Of The Ball-Room. Be sure that at your dance you have a master of ceremonies, "who will be in supreme control on the day of the dance, settling all questions and disputes which may arise." I must be one of the few people who thinks that Bruce Forsyth doesn't do such a bad job as he usually manages a sour comment for any judge that oversteps the line.

Any readers who would like to write a review can be assured of publication here, providing it doesn't breach any superinjunctions.

The Five Positions
from How And What To Dance

Sunday 22 May 2011

War Memorial

The remains of my great-grandfather, Peter Degville, lie in Brompton Cemetery. He died on 10th April 1915 after being mortally wounded perhaps in the same action in which his comrade Thomas Degville was killed.
CWGC "Debt of Honour Register" Listing
In March 1915 the Second Battalion of the South Staffordshire Regiment were at the front in the area of Givenchy. The Defense of Givenchy in December 1914 seems to have flowed in to the First Action at Givenchy on 25 January 1915 and then the Second Action on the 15 and 16 June.

Trench Map Givenchy June 1916

Peter Degville was born in 1883 so he was about 32 years old at the time of his death. He endured a hard life and probably suffered a hard death. I doubt whether the same pressures that caused him to enlist exist today's society. Yet we still seem to be troubled by our notions of class, sex, nation and race. The connections that exist between people, particularly in Europe and the United States, make such categorisations absurd.

In the line around them would have been troops from other parts of the Commonwealth. The Commonwealth War Graves Commission (CWGC) "Debt of Honour Register" is an online database of the 1.17 men and women of the Commonwealth forces and of the 67,000 Commonwealth civilians who died during the two world wars and the 23,000 cemeteries, memorials and other sites worldwide where they are commemorated and of the 67,000 Commonwealth civilians who died as a result of enemy action during the Second World War.