J.S. Bach, the most famous dorm parent of all time?

Johann_Sebastian_Bach
A prosperous J.S. Bach in late middle age

Aside from the fact that I am (at least partly) of German stock, I never thought I had that much in common with renowned composer Johann Sebastian Bach. At least not until I visited the Bach Haus in Leipzig several months ago, where I discovered that we had one  surprising thing in common: Bach, like myself, was a dorm parent at a boarding school.

For the benefit of those unfamiliar with American boarding-school terminology:

‘Dorm parents are adults who live in the dorms with students, taking on a parent-like role, or “in loco parentis”‘. [source]

I suppose the nearest equivalent in British English would be ‘boarding house master’.

This doesn’t sound like it has much to do with Bach, you may be thinking; usually we just associate him with fugues, cantatas, concertos and the like. Yet it turns out that as part of his duties as Music Director at the St Thomas Church in Leipzig, Bach had to spend one week in four acting as a dorm parent to the boys in the boarding school attached to the church, the aptly-named St Thomas School, which dates back to 1212.

It was literally part of Bach’s employment contract that, in addition to providing musical training for the boys and composing weekly cantatas for church services, he had to sleep in the school building, supervise the boys, and make sure that they were in bed when they were supposed to be, for one week a month. Not so unlike the duties of many a dorm parent at an American-style boarding school (including, until recently, myself)!

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St Thomas’s Church Leipzig, pictured at the time Bach served there as Director of Music

Further reading
The only reference to Bach’s pastoral duties at the school which I could find, other than that in the Bach Haus itself, is on the German-language page bach.de.

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Harris’s List, or, a catalogue of London prostitutes from 1789

Prostitution was endemic in Georgian London, with thousands of prostitutes plying their trade from private lodgings, brothels, theatres, taverns and street corners. As such, there was a wide choice for Londoners who went in search of the pleasures of the flesh. However, with so many ladies of the night, how was the discerning man supposed to know which of them was worth favouring with his custom? In 1759, a man named Samuel Derrick came to the rescue by publishing the first of many editions of Harris’s List of Covent Garden Ladies, a pocket-sized book that listed and reviewed a selection of London prostitutes.

Entries for the 1789 edition which I found online follow a clear structure. They begin with each woman’s name and address, followed by a short piece of original verse, a description of the woman’s character and appearance, any sexual specialities, and the price which an interested gentleman might expect to pay. Some entries also contain potted histories of the prostitute, which tend to explain her profession as the result of either a) tragic seduction and abandonment; or b) a lustful nature which could be satisfied by no other career.

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The language in Harris’s List is a curious mixture of the poetic and the prosaic. Sometimes the descriptions are florid: ‘…[her] fountain of delight is elegantly shaded by a light-coloured thicket, the half pouting lips lovingly embrace the ruby tip that through the pleasing grove invites his coral headed friend; her thighs are of the most tempting softness, and white as Alpian snow…’. At other times the author is curiously fond of nautical metaphors; of Miss Devonshire, the author writes that ‘many a man of war hath been her willing prisoner, and paid a proper ransom…she is so brave, that she is ever ready for an engagement, cares not how soon she comes to close quarters, and loves to fight yard arm and yard arm, and be briskly boarded’.

Both Derrick and later editors of the publication take care to mention prostitutes with specialities or particular abilities. So the reader is informed that a Mrs Salter, who hailed from the West Country, ‘tho’ little in every respect…possesses a mouth that will swallow the largest morsel’. Miss M-k-y had a talent for copulating on any available surface: ‘tables, chairs, carpets, standing, sitting, any how, so the end is immediately accomplished, which on her side is performed with unparalleled dexterity’. For those who savoured the taste of the exotic, Miss T-m-s (Thomas?) of Soho was a ‘lewd’ woman of the ‘mule [mulatto] breed’; hence the customer ‘that love[s] a true copper bottomed frigate, and can spare a few guineas, will think himself happy on board’. Miss Charlotte Collins of Oxford Street was burdened with ‘indifferent teeth’ and small breasts, but thanks to her previous employment as a milkmaid, ‘is said to have…a delicate hand at stroaking’. Meanwhile, one woman in Drury Lane, though ‘very impudent and very ugly’, was apparently a favourite with old men and used ‘more birch rods in a week than Westminster School in a twelvemonth’. The description of another prostitute’s particular abilities is worth quoting in full:

‘Known in this quarter for her immense sized breasts, which she alternately makes use of with the rest of her parts, to indulge those who are particularly fond of a certain amusement. She is what you may call, at all; backwards and forwards, all are equal to her, posteriors not excepted, nay indeed, by her own account she has most pleasure in the latter. Very fit for a foreign Macaroni – entrance at the front door tolerably reasonable, but nothing less than two pound for the back way’.

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A punter carrying ‘Harris’s List’ visits a brothel

The 1789 list contains a number of rather amusing anecdotes. A story is related about the lover of one Miss Gr-t, who had an unusual sexual predilection:

‘A certain merchant, near Leadenhall street, visits her constantly every Saturday forenoon…No sooner does Miss G. see Mr. B–– enter, than she orders the necessary implements for the washing of foul linen, such as a kettle of hot water, soap dish, wash-tub and the like. These being produced, with the maid’s dirty bed gown, which he puts on, having first stript off his coat, and tuck’d up his shirt sleeves, he sets to work, and in a few seconds, gets up to the elbows in suds. After thus amusing himself till he is nearly out of breath, he wipes his hands, changes his cloaths, presents her with two guineas, makes his obeisance, and retires. Half the ladies of pleasure, would be ladies of pleasure, indeed, if they could meet with such handy culls, who not only pay them well for doing nothing, but save them the expence of a washer woman.’

The author then mocks the pious efforts of a Methodist preacher who made regular visits to a Bond Street prostitute:

‘[The prostitute] has, however, lately met with a very good friend in a methodist preacher, who admires her for the sentimental part of her character, and he often reads to her pious discourses, upon the torments of hell, for a whole evening, and leaves her a guinea that, they may have some weight with her. The guinea, doubtless has considerable weight with her, he being too pious to give her light money, but as to his pious discourses, they fly off with the inflammable matter they consist of, like an air balloon, and leave not a wreck behind’.

Gillray, ‘Launching a frigate’: a brothel madam promotes her newest and youngest employee

But alas, a few women were unfortunate enough to be the victims of full-blown character assassinations by the publication’s editor. The 19-year-old Miss Montague is condemned as ‘too fat to be genteel, too short to be elegant, too brown to be handsome, and the tout ensemble, too plain for any gentleman to risk more than a guinea for a nocturnal exhibition’. Pol Forestor had ‘breath worse than a Welsh bagpipe’ and Miss Young was the unfortunate possessor of a ‘contaminated carcass’. Of one Mrs E, the author says scathingly, ‘[it] must be allowed she is very fair, and tout ensemble, a very good piece, at a proper distance from the fireside; but, like wax work, which she resembles, it is dangerous to place her too near it, she is of such a melting disposition’. In other words, she concealed her ugliness with the poisonous makeup so popular with 18th-century ladies.

For all its entertainment value today, Harris’s List is a problematic document. There is little mention of the dark side of 18th-century prostitution – poverty, shame, venereal disease, criminality – although it is clear from the text that most prostitutes had a serious alcohol problem. Moreover, did the author truly believe that most prostitutes plied their trade out of a pure love of sex? The author describes cheerful, lusty women who were only too eager to participate in a mutual feast of sensual delight. This myth was of course a palliative to men’s consciences; how much easier to justify their forbidden trysts if the prostitutes were to thought to enjoy their job! I suspect that the eponymous narrator of Defoe’s Moll Flanders (1722) had a better handle on the situation when she said that a prostitute ‘thinks of no pleasure but the money’.

by James Gillray, published by William Humphrey, hand-coloured etching, published 9 February 1779
Gillray captures the real misery of a prostitute’s existence in “The Whore’s Last Shift”

Further reading

Anon., Harris’s List of Covent Garden Ladies (1789 edn)

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Sir Thomas Lawrence and the Romantic portrait

By the time of his death in 1830, Thomas Lawrence was the most sought-after and celebrated English portraitist of his age. He had painted everyone who was anyone, establishing his own distinct artistic style, and has been labelled in retrospect the visual chronicler of the Regency.

For such a supremely successful artist, however, Lawrence came from humble beginnings, being the son of a West Country innkeeper. Fortunately as it turned out, he grew up learning most of the accomplishments necessary to fit in with English nobility; namely, boxing, dancing, fencing, billiards, and a little Latin and French. When Lawrence’s father went bankrupt in 1779, the family moved to Bath, where Lawrence found a congenial atmosphere for developing his artistic talents. He was soon supporting his parents by producing small pastel portraits, such as the one below, of local notables. Lawrence’s affability, charm and talent endeared him to Bath’s residents and visitors alike, and he received commissions from the aristocracy and encouragement from other artists.

At the age of 17, Lawrence moved to London where he became acquainted with Sir Joshua Reynolds, one of the premier portraitists of the day. Although Lawrence soon dropped out of the school at the Royal Academy of Arts, he managed to exhibit several works at the Academy, earning him his first royal commission, a portrait of Queen Charlotte. Although the finished portrait was not favoured by its subject, it found critical success at a public exhibition. Also shown at the 1790 exhibition was Lawrence’s portrait of the actress Elizabeth Farren, which was declared by the press to be ‘completely Elizabeth Farren: arch, spirited, elegant and engaging’.

One of Lawrence’s early pastel portraits. Done as a boy, it obviously lacks the sophistication of his later works.
Lawrence’s celebrated early portrait of Elizabeth Farren

Over the ensuing years, Lawrence went from success to success. In 1791, Lawrence was named ‘painter-in-ordinary to his majesty’ by George III, and he found in the Prince Regent a longstanding and generous patron. Lawrence was knighted in 1815 and commissioned to travel Europe in order to paint the allied leaders for what would become the Waterloo Chamber series, housed in Windsor Castle. His illustrious sitters included Emperor Francis I of Austria, Tsar Alexander, the King of Prussia, and a young Napoleon II.

Back in London, Lawrence was appointed President of the Royal Academy in 1820. This was the highest formal academic honour an artist could receive at the time. Yet for reasons which still elude Lawrence’s biographers, Lawrence spent his whole life deeply in debt. This despite the fact that he worked hard, earned the best commissions, and does not seem to have been an extravagant man. He despaired of his situation, complaining that ‘I have never been extravagant nor profligate in the use of money. Neither gaming, horses, curricles, expensive entertainments, nor secret sources of ruin from vulgar licentiousness have swept it from me’. It seems likely that Lawrence’s money went on generous presents to family and his extensive collection of Old Masters, along with his apparent inability to keep accounts.

Like most portraitists of his age, Lawrence strove to flatter his patrons. He made the aristocracy of late Georgian Britain appear uniformly beautiful, elegant and fascinating. He even managed to mould the corpulent Prince Regent into a sort of byronic hero in his sketch for a bust portrait.

George, the Prince Regent

Yet even if Lawrence idealised his sitters, I love his portraits for their bold colours and outstanding vividness. His sitters’ gazes are often direct and piercing, and their whole figure radiates energy. I am especially drawn to Lawrence’s portraits of women, as their strong gazes, sparkling eyes and confident poise are quite different from the serene countenances of earlier 18th-century portraits, or from the dull sweetness of early Victorian female portraits. In this respect, Lawrence had the advantage of his time. Fashionable patrons, strongly influenced by Romanticism, wanted to be painted as windswept romantic figures full of life and passion. Lawrence’s genius came both from his technical talent and his ability to mould his sitters into figures which truly captured the Romantic spirit of the age.

Emily Mary Lamb
Sir John Moore
Lady Selina Meade
Sir Graham Moore
Lady Caroline Lamb
Mrs John Allnutt
Pope Pius VII
Marguerite, Countess of Blessington
Charles Grey, 2nd Earl Grey
Lady Maria Conyngham
2nd Earl of Liverpool
Arthur Atherley

 

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An Oxford exam from 1884

Coming across a compilation of University of Oxford women’s exam papers from the 1870s and 80s was something of a treat for me. Having studied History and German at Oxford from 2011-2015, I was eager to find out how the exam papers from 130 years ago differed from those now. Imagine, then, my horror when I realised how many details of the examinations remained unchanged. Exams are still of the same duration (3 hours), they take place at the exact same time of year, and even at the exact same time of day (9:30-12:30, 14:30-17:30).

Worse still, some of the questions were eerily similar to those I answered on my own Finals papers. For instance, ‘Summarise Milton’s arguments against the censorship of the press. Which do you consider the most convincing, which the most rhetorically effective?’, and ‘Explain, by reference to this or any other of his prose writings, Milton’s idea of Liberty’ (funnily enough, I didn’t do especially well on that paper). However, I have to admit that the English to German translations in the 1884 paper are more difficult than those now, though there was no speaking exam as there is today.

In terms of difficulty of questions, they are something of a mixed bag. For the arts subjects there are rather a lot of factual questions alongside the argumentative essays which would be standard now. Questions such as the following are not uncommon: ‘Give the origin of the following suffixes’; ‘Write a short life of Pope Paul III; ‘What acquisitions of territory were made by France in 1643-1678?’ There are some very old-fashioned judgemental questions which particularly amused me, including the following from the English exam: ‘Are there (1) any signs of the immaturity of Shakespeare’s genius in Richard II; (2) any parts of Macbeth which seem so unworthy of Shakespeare as to justify a doubt as to their being genuine; (3) any traces of a failure of dramatic power in the Tempest?’.

Notwithstanding the shallowness of some of the questions, female students were expected to have a good grounding in all subjects, particularly for the First Examination (Prelims). For the first examination female candidates were expected to pass in English Composition, Arithmetic, Euclid, and any two of Latin, Greek, French, Italian or German. In the Second (Final) Examination for Honours candidates, women had more opportunity to specialise. They were required to sit exams in languages, as well as one of the following: ancient history; modern history; mathematics; physical science; logic and political economy (clearly the forerunner of PPE). Students could also offer themselves for examination in ‘Rudiments of Faith and Religion’, which basically meant comprehension questions on the Bible and the Book of Common Prayer – no aethistic or methodistical material could be allowed to pollute the firmly C of E university precincts!

The introduction in the 1880s of the ability to specialise in subjects such as physics, chemistry, biology and geology reflects a wider trend in English universities. By the latter half of the 19th century, German universities had moved far ahead of their English counterparts in scientific research. Britain, as a Great Power, could not of course be left behind, so the traditional focus on theology, Classics, languages and history was widened to include the sciences. For a long time, however, sciences were not considered quite the thing; most upper-class students still read a traditional subject such as Classics.

The beautiful Radcliffe Camera, part of the University of Oxford’s central library

I must reiterate that this was a set of exam papers for women; sadly, I haven’t been able to find a men’s examination paper from the period to compare. I do wonder whether the questions would have been more challenging. However, the prologue to the 1884 women’s paper claims that ‘the standard of attainment both for Pass and Honours is the same as that required in the corresponding [male] Public Examinations of the University’. It was even promised that the women’s results would be published in the University Gazette, alongside the men. It is perhaps unlikely that Oxford would wish to dilute its academic prestige by offering exams which were seen as easy, even if they were only for women.

Students at Lady Margaret Hall, one of the first women's colleges in Oxford (late 19th century)
Students at Lady Margaret Hall, one of the first women’s colleges in Oxford (photo 1880s)

Further reading

University of Cambridge Women’s Examination Paper for 1871

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On being over-fond of animals

I was recently rather amused by a chapter in an 18th-century advice manual for women, entitled ‘On being over-fond of animals’. This anti-pet diatribe comes from a 1756 publication called The Wife, which also features charmingly-named chapters such as ‘The danger of living in the same house with any Relation of the Husband’s’, ‘Sleeping in different Beds’, and ‘The great indiscretion of taking too much notice of the unmeaning, or transient gallantries of a Husband’.

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‘On being over-fond of animals’ rails against what the author sees as the excessive fondness of well-to-do women for their pets.

‘Among all the various foibles of which the softer sex are but too justly accus’d, I know of none more preposterous than the immoderate fondness shewn to monkeys, dogs, and other animals; – creatures which were not made to be caress’d, and have no higher claim from nature than barely not to be abus’d or mercilessly treated.

‘Yet the privileges, the immunities, the indulgences which they enjoy under some mistresses, are such as are far from being granted to servants of the human species – a monkey may tear to pieces a fine brussels [lace] head-dress, and be prais’d for his wit, while the poor chamber-maid has a slap on the face, is call’d oaf, awkward monster, and a thousand such like names, if not turn’d out of door [fired], only for having stuck a pin awry, or misplacing a curl’.

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‘Henrietta Child’ – Francis Cotes (1726-70)

Not least among the pet-owning woman’s enormities is the fact that her pet will prevent her from fulfilling the wifely duty of listening to her husband:

‘But in how odd a light must the husband of that woman appear, who, while he is entertaining her perhaps on some important affairs, instead of answering him, is all the time playing with her lap-dog, and after he has been talking for half an hour altogether, cries out, ‘What did you say, my dear – I protest I did not hear you’ – on which he is oblig’d to repeat all he has been speaking, and ’tis very likely with as little success as before’.

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‘Portrait of a lady with her dog’ – Francois Hubert Drouais (1727-75)

Worst of all, the author disapproves of a pet sharing the marital bed, recounting an anecdote which implies that a wife’s insistence on co-sleeping with a beloved pet will inevitably lead to adultery on the part of the husband.

‘…he made many remonstrances to his lady on the inconvenience of lying three in a bed; but all he could urge on that subject was ineffectual, she would not consent to be separated one moment from her dear [dog]; on which he resolved to sleep in another chamber, and accordingly did so, where, ’tis more than whisper’d, he prevail’d on the chamber-maid to supply her lady’s place’.

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‘Lady Mary Fox’ – Pompeo Batoni (1767)

Further reading

Anon., The Wife (1756)

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What did Victorian bachelors think of marriage?

We know from letters, diaries and novels that Victorian bachelors expended much thought and worry on the issue of marriage. When confronted with a potential match, they had to weigh up both the financial and personal aspects of the married state.

Financially, Victorian marriage was an expensive business. Among the very poor, perhaps, neither party expected to get much material benefit out of the union. For the lower middle classes and up, however, it was considered essential that a man was able to offer his wife-to-be an adequate establishment – whether that meant a townhouse in Grosvenor Square with ten servants, a carriage and an account with a Paris dressmaker, or a poky semi-detached on the Holloway Road with one frazzled maid-of-all-work. Men of a certain class were expected to move out of their cheap bachelor lodgings, rent (or more rarely, purchase) a family home, spend money doing it up in a suitable style, and ideally earn enough to make their wives ladies of leisure. Given these expectations, marriage presented a significant drain on male finances and may even have put some men off the idea, at least until they were better situated in life.

Along with the financial considerations came the personal, many of which would resonate today. Questions asked by men in the nineteenth century included: Do I love this woman? Will she make me happy? Can I make her happy? Can I bear to spend every Christmas until death do us part with my parents-in-law? Will I still be able to spend time at my gentleman’s club/favourite tavern, or will I be trapped at home, sucked into domestic drudgery?

Victoria and Albert: the ultimately 'happily married couple'
Victoria and Albert: the ultimate ‘happy couple’

Such concerns about money, love and more are reflected in a note which Charles Darwin penned when he was considering marriage. Like the thoroughly logical chap he was, Darwin drew up a list of pros and cons on the subject, which touchingly reflects the concerns of many of his fellow bachelors:

MARRY [pros]

Children – (if it Please God) – Constant companion, (& friend in old age) who will feel interested in one, – object to be beloved and played with. better than a dog anyhow. – Home, & someone to take care of house – Charms of music & female chit-chat. – These things good for one’s health. – but terrible loss of time. – My God, it is intolerable to Think of spending ones whole life [sic], like a neuter bee, working, working, & nothing after all. – No, no, won’t do. – Imagine living all one’s day solitary in smoky dirty London house. – Only picture to yourself a nice soft wife on a sofa with a good fire, & books and music perhaps – Compare this vision with the dingy reality of Grt. Marlbro’ St.

NOT MARRY [cons]

Freedom to go where one liked – choice of Society & little of it. Conversation of clever men at clubs – Not forced to visit relatives, & to bend in every trifle. – to have the expense & anxiety of children – perhaps quarreling – Loss of time. – cannot read in the Evenings – fatness & idleness – Anxiety & responsibility – less money for books &c – if many children forced to gain one’s bread. – (But then it is very bad for ones health to work too much). Perhaps my wife wont like London [sic]; then the sentence is banishment & degradation into indolent, idle fool.

Charles Darwin, family man (1842)
Charles Darwin, family man (1842)

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Castle Ward, a house divided by marriage

Castle Ward, in Northern Ireland, is a remarkable building, though it is not known for architectural brilliance, opulent interiors, great artworks, or beautiful gardens. Instead, what strikes you when you visit Castle Ward is the overwhelming sense that the architect must have been deranged. This is because one half of the stone mansion is done up entirely in Georgian classical style, while the other half – right down to the furnishings – is constructed in eighteenth-century Gothic Revival style. One might suspect this to be some morbid joke on the part of the architect, or the wild frolic of some mad craftsman. However, the house’s dual aspect was in fact intentional and is, as far as I know, the only example of its kind.

Originally known as Carrick na Sheannagh and owned by the Earls of Kildare, Castle Ward had been the home of the Ward family since around 1570. The Wards were prominent Anglo-Irish gentry, elevated into the aristocracy when Bernard Ward was made 1st Viscount Bangor, in recognition of his political service. In 1747, Bernard married the widow Lady Ann Bligh and started building a new, grander edifice suitable for the dignity of his position.

However, Bernard ran into a seemingly insurmountable obstacle in his quest to design the perfect house: namely, his wife. While Bernard favoured a cool and masculine classical style, Ann much preferred Georgian Gothic Revival, with its turrets, spires, fan vault ceilings and pseudo-medieval décor. It might be supposed that in the 18th century, the taste of the wife would have to be subservient to that of her husband; the building (along with the wife) was generally his property, after all. Clearly, however, Ann felt so strongly about the architecture and interior of the proposed house that Bernard was obliged to relent and allow her to have half the house built and decorated as she wished. Their subsequent joint efforts were mocked by the Bluestocking artist Mrs Delany, who visited in July 1762 and wrote in a letter that Bernard lacked taste and Ann was ‘so whimsical that I doubt her judgment’.

Bernard Ward, 1st Viscount Bangor
Bernard Ward, 1st Viscount Bangor
Ann, Viscountess Bangor
Ann, Viscountess Bangor

 

 

 

 

 

 

 

 

 

In her excellent book, Behind Closed Doors: At home in Georgian England, Amanda Vickery writes of the Wards and their house:

“…division was unmissable at Castle Ward in County Down in Ireland in the early 1760s, where marital disagreement over style resulted in clashing Gothic and classical wings. The Wards separated shortly after the building was completed – architectural incompatibility was prophetic.”

I suspect that Vickery is being tongue-in-cheek; notwithstanding their different architectural tastes, we don’t know whether Bernard and Ann were unhappy for a long time or whether the separation came on suddenly. Ann did stick around to bear her husband eight children, after all. In fact, some sources claim that Ann and Bernard never actually separated.

The entrance side of the building is done in Bernard’s preferred stern Palladian style, with columns supporting a triangular pediment. Ann was allowed to have the back of the house done up in the way she wanted, built in the Georgian Gothic style with pointed windows, spires, and even battlements.

Palladian exterior Irishdeltaforce

gothic exterior Ardfern

The interior followed a strict division along these lines, with the front half of the house decked out in Palladian/classical style, and the back half in Gothic Revival, covering everything from ceilings to bookcases to stairwells. On the one hand it is noteworthy that Ann was allowed to decorate half of the house entirely in her own style; on the other, it is telling that she was given the back of the house, with its private sitting rooms, while the reception rooms were all done in her husband’s preferred neoclassical style.

The following rooms are from Bernard’s side of the house, and follow a cool neoclassical theme in both decoration and architectural features.

palladian grand hallway Irishdeltaforce
Entrance hallway
palladianArdfern
Note the white and pale green colours, and the austere classical-style door frames

 

palladian sculpture & pillars Ardfern
Antique Greek bust amid classical columns

palladian2 Ardfern

palladian 3 Ardfern
Compare the austere ceiling stucco design with Ann’s ceilings, below

The following rooms, designed according to Ann’s taste, present a strong contrast. They are full of Gothic Revival decoration and furniture, and the overall effect is, in my opinion, much more domestic and warm. She must have found these rooms more comfortable to spend time in than the draughty neoclassical reception rooms favoured by her husband.

gothic room ARdfern
Note the fanciful ceiling, the red chairs and wallpaper, and the use of wall sconces
gothic Ardfern
The window shape seems an odd mixture of the Gothic and the Oriental styles
gothic ceiling 3Ardfern
This fanciful ceiling design seems to combine ‘oriental’ aspects with the fan vaulting found in many Gothic cathedrals
gothic bookcase Ardfern3
Gothic Revival-style cupboard
gothic door ARdfern
The door which leads into the neoclassical half of the house
Gothic1 fireplace & cupboard Irishdeltaforce
Gothic-style fireplace

Interestingly, Ann’s architecture and furnishings somewhat resemble that of Strawberry Hill House, a Gothic Revival villa built from the 1740s-70s by author Horace Walpole. I don’t know for sure whether Ann was influenced by Walpole’s design, or just more generally by the Gothic Revival, but the similarities are striking.

Strawberry_Hill_House_May_2013_22 Jonathan Cardy
Compare the fan vault ceilings and the red wall colour
Strawberry_Hill_House_from_garden Chiswick Chap
Both houses feature battlements, vaguely Gothic-shaped windows, and little spires
Strawberry_Hill_House_May_2013_09 Jonathan Cardy
A door shaped like the one which divided Ann’s side of the house from her husband’s
Strawberry_Hill_House_May_2013_14 Jonathan Cardy
These Gothic Revival bookcases are reminiscent of Ann’s, though these are much lighter and more elegant

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