Olympia's Destination Wedding Locale

Greenwood Map of Kensington 1830. Red line is Olympia’s and Ripley’s route from Newland House (Campden House)

A previous post about A Duke in Shining Armor described my husband and my tracking Olympia’s escape route.

This time I thought it would be fun to take a closer look at the house she ran from, Newland House.

Seeking a wedding locale near but not in 1830s London, I discovered Campden House on a map of Kensington. It belongs to one of many areas that are now part of London but were rural retreats then. An online search turned up black and white engravings of a Jacobean mansion built more or less in the style of Holland House (more on that here, here, and here). That is to say, it had towers and turrets and lots of windows, and sprawled with a pleasing untidiness over a large estate. Because I intended to send my characters southwestward, its location was ideal: between Holland Park and Kensington Gardens, and a short distance from the Kensington High Street, where Olympia and Ripley would find a hackney stand.

Like other great houses, Campden House went through a series of transformations. These are described in Chapter IV of Kensington Picturesque and Historical, and explains my mentioning Queen Anne in my story. The chapter, which includes a rather poignant account of the queen’s one surviving son, describes the house’s interior, the 1862 fire*, and the rebuilding some years later. The second incarnation was demolished at the turn of the 20th century.

Campden House c. 1860, south-east view from the garden. Coloured litho by Edwin Smith.

But once again, though the book was completed, I still wanted to know more. Shortly after tracing Olympia’s route, my husband and I went to the Kensington Central Library, where Dave Walker, archivist/librarian/blogger, generously supplied mountains of material from the archives, and helped us—my husband, actually—scan and photograph dozens of images, including one describing the house’s location: “Old Campden House and its ground stood approximately within the square formed by the Sheffield Terrace (on the north) + Campden House Road (on the west) Gloucester Walk (on the south) and Church Street (on the east).” This helped us get our bearings.

“This photograph from the early 1900s shows the remains of tower that stood in the grounds of Campden House.“— Library Time Machine.

As many of you know, I have as much fun doing historical research as creating the story. One feeds the other. A Duke in Shining Armor inspired other investigations, as did my visit with Dave Walker. These in turn have inspired scenes in my work-in-slow-progress. You can expect more nerdy history material in the months to come.

Following are some of my sources, in case you’d like to delve more deeply into the history.

More about Campden House , with a detailed description of the Pitt estate, at British History online.

Description from The Old Court Suburbs: Kensington, in Old Kensington, in Old and New London: Volume 5.

Campden House after the fire.

Interiors are scarce. This is the schoolroom at Campden House, coloured lithograph by Charles Richardson.

You can find the house on this 1841 map of Kensington & Chelsea.

Here at Mapco is a Victorian era (some 30 years later) map segment you can enlarge considerably. By this time the area is considerably more populated.

*A better account of the fire begins here on page 773 of Chambers’s Journal, Sixth Series, Vol X December 1906 to November 1907.

The photographs, including those of materials from the Kensington Central Library, are the work of Walter M. Henritze III. Our thanks to Dave Walker and Isabel Hernandez for giving so generously of their time, for sharing so much fascinating material, and for their patience.

Following Olympia's Great Escape Route

My historical romances feature quite a few duke heroes, all rich, young, and good-looking. This was not the reality in early 19th century Great Britain and it isn’t the reality today. What is real though, is their belonging to the highest rank of the peerage, and their possessing, in the time of our stories, power, privilege, and wealth we can scarcely imagine. The duke is the mightiest of the noblemen—but in the idealized world of romance fiction, he meets his match in the strong heroine, who may have nothing but her brains to depend on.

So, I’m OK with the jillion fictional dukes.

The clothes, however, need to be correct (see my post on 1830s clothing). The streets need to be correct. And the houses. And other stuff. This is to make the story feel real. The characters are make-believe, but I place them in a world as close to historical reality as I can make it. Which isn’t to say I don’t take artistic liberties from time to time, or avoid many of the less appealing aspects of the time. It’s a historical romance, not a biography or history.

All the same, if the opportunity arises, I check my work, even after the book’s been published. Because of my brain. This happened with the Venice I described in Your Scandalous Ways. Though I traveled there well after the book was released, I visited the story’s various locations, to make sure I’d imagined correctly. I had. But that was Venice.

If Lord Byron came back from the dead and visited, he’d recognize the place. But London? He’d feel the way I did when I visited Tirana, Albania, after several decades: Where am I? More to the point, Where did all these buildings and cars and things come from? Help! What is this place?

As you’d expect, then, when I was in London—after A Duke in Shining Armor had gone into production and it was too late to change anything—I had to make sure I’d got things right. Thus, Olympia and Ripley’s great escape from her uncle’s house in Kensington? That run down Horton Street to the cab stand? Yes, I followed their route, to make sure it made sense and the timing worked.

The house she ran from, Newland House, was based on Campden House. It’s long gone (more about that on another post). But I knew approximately where it had stood—or sprawled, rather, over a large property. And, this being London (Kensington, to be precise), I found equivalents of the various landmarks I’d pictured. There was, as described, a tall wall around a large property. There was, as described, a locked gate in the wall. And I found these features in the general area where the garden of the house would have been.

And there was Horton Street. As the map shows, Kensington was much more rural in 1833. A great many more buildings line Horton Street now than in the time of my story. But the street, unlike some others, remains, as do other landmarks. And lo and behold, when we reached the Kensington High Street, we came upon a cab stand, about where there had been one at the time of my story. Maybe exactly where it had been, because that is one of the marvelous things about London: If you look, you find the past, maybe where you least expect it. And some things don’t change all that much.

Image of Campden House courtesy Kensington Central Library, with special thanks to Dave Walker and Isabel Hernandez for their patience and help.

Queen Victoria's Stormy Wedding Day as Inspiration

Sometimes inspiration comes from weather.

Henry Thomas Alken, "Some Do and Some Don't: It is All a Notion:" Getting Home (between 1820 and 1821), courtesy Yale Center for British Art, Paul Mellon Collection

On 10 February 1840, Queen Victoria married Prince Albert of Saxe-Coburg and Gotha. The rotten weather on the previous day stuck in my mind. I pictured a soaking wet, deeply angry (and hurt) nobleman, banging on the door of a house. And so began “The Jilting of Lord Rothwick,” one of two short stories in my Royally Ever After collection. Among other things, the contemporary descriptions taught me that royal wedding frenzy, and the media’s eagerness to report all minutiae relating thereto, is by no means a modern development.

From The Mirror of Literature, Amusement, and Instruction, Volume 35, 1840 (the magazine’s detailed account of the wedding begins here on page 113):

“The weather during the preceding night was more boisterous than any we have experienced during the winter. It ‘blew great guns’ from ten o’clock until sunrise when—

The dawn was overcast, the morning lower’d,

And heavily in clouds brought on the day,

The great, th’important day,

on which were to be celebrated the nuptials of our maiden Sovereign and Prince Albert of Saxe Coburg.

It continued to rain almost without intermission until noon, when the weather partially cleared up and continued fine, but threatening during the remainder of the day.”all

Yes, multitudes turned out for the big day.

“All ranks of the people in the metropolis, and for many miles around, began to rise before the appearance of the dawn, some to prepare to take their stations in the progress of the approaching great ceremony ... Notwithstanding the discouraging weather, the streets were crowded at an early hour with thousands, coming from every point of the compass, and making the best of their way, with emulous and unceremonious haste, to St. James's Park, as one common centre. ... About ten o'clock St. James's Park was completely filled with a vast, miscellaneous, curious multitude, not a tithe of whom, unfortunately, could see even the carriage of the Queen when it did at length pass.”

As the above fashion plates make clear, Queen Victoria was not, as many believe, the first bride to wear a white wedding dress. But she was apparently the first royal to wear white, like other brides, instead of silver, and she left off the ceremonial robes befitting a monarch. Still, she did start a fashion for BIG royal weddings. Previously, these had been relatively private affairs. But then, hers was a big deal—the first wedding of a reigning queen since Queen Mary in 1554.

The wedding cake was a big deal, too. This page offers closeups of the details, including the curious Roman attire described below.

“If taste of design only equal what appears to be intended for the actual dimensions, it will beat any bride-cake ever seen.”

5. THE ROYAL WEDDING CAKE. —A select few have been gratified with a sight of the royal wedding cake at the apartments of the confectionary in St. James's palace, but it is described as consisting of the most exquisite compounds of all the rich things with which the most expensive cakes can be composed, mingled and mixed together into delightful harmony by the most elaborate science of the confectioner. This royal cake weighs nearly 300 lb. weight. It is three yards in circumference, and about fourteen inches in depth or thickness. It is covered with sugar of the purest white; on the top is seen the figure of Britannia in the act of blessing the illustrious bride and bridegroom, who are dressed somewhat incongruously in the costume of ancient Rome. These figures are not quite a foot in height; at the feet of his serene highness is the effigy of a dog, said to denote fidelity; and at the feet of the queen is a pair of turtle doves, denoting the felicities of the marriage state. A cupid is writing in a volume expanded on his knees the date of the day of the marriage, and various other cupids are sporting and enjoying themselves as such interesting little individuals generally do. These little figures are well modelled. On the top of the cake are numerous bouquets of white flowers tied with true lovers' knots of white satin riband, intended for presents to the guests at the nuptial breakfast. This elegant emblem of the felicities of marriage will be placed on the breakfast table of the queen at Buckingham palace at the breakfast which is to succeed the ceremonies in the chapel royal.”—Annual Register 1840 (its description of the wedding begins on the following page).

Illustrations: Franz Xaver Winterhalter, Queen Victoria, in her wedding dress and veil from 1840, painted in 1847 as an anniversary gift for her husband, Prince Albert. Original painting owned by the Royal Collection. Source of photograph unknown.

The Marriage of Queen Victoria, 10 February 1840, painted by George Hayter 1840-1842. Royal Collection RCIN 407165, via Wikipedia.

Wedding invitation, from tiaras and trianon. And in case you were wondering: The photographs posted on the tiaras and trianon page were not taken at the wedding, but at a re-creation some years later.

Clicking on the image will enlarge it. Clicking on the caption will take you to the source, where you can learn more and enlarge images as needed.

Endings and Revivals in the Blog Department

Harry Willson Watrous, Just a Couple of Girls circa 1915,

As many of you are now aware, Susan Holloway Scott and I have decided to write “The End” on the Two Nerdy History Girls blog. The blog brought us many delights and benefits. Among other things, we got to meet virtually and in person a great many more history lovers than we ever dreamt was possible, made contact with historians and historical bloggers worldwide—many of whom welcomed us into their libraries, museums, and historic houses—and, of course, discovered tidbits we put to work in our books. But the blog also took time, and as the years passed, the demands of our main job—our novels—were increasing. Clearly, something had to give, if we wanted to give proper attention to our writing careers.

It feels good to get the time back, yet it’s sad, too, to say goodbye to a project that was so much fun for both of us, and whose support from readers was beyond what we’d ever imagined.

The good news is, you will get to see interesting and amusing, (I hope) historical nerdiness here, direct from my website, and more posts in general, though never enough to flood your inbox. As one who spends far too much time hitting the email Delete button, I am sensitive to this.

But while you may get Loretta Chase blog posts a little more often than before, I shall aim to offer more amusement as well as more substance. Along with new stuff, you can expect some enhanced editions of blogs from the 2NHG archives. I’ve done this occasionally in the past, and it gives me a chance to offer more pictures, among other things.

But mainly, one hopes, saying Goodbye to 2NHG means saying Hello to shorter times between my books.

Me & William Smith, the man whose map changed the world. His work was one of the inspirations for Miss Wonderful.

Oh, and one more thing: Please consider this a fresh opportunity to ask some of those questions that arise when you’re reading my books. Like, What’s a ticket porter? How could an English couple get married in somebody’s house instead of in church? What on earth is a pelerine and why would anybody want to wear one? Why the lurcher? If your enquiring mind wants to know, please use the email form and send me your question.

Putney's White Lion Inn isn't quite the same

White Lion Inn. Photo copyright 2018 Walter M. Henritze

Most of the locations in A Duke in Shining Armor are real—or as real as I can make them. Some once existed but no longer do, some have changed beyond recognition, and some are there, looking more or less the same. None are entirely the same, of course. For one thing, the extant buildings have indoor plumbing. And electricity.

The White Lion Inn, where several important early scenes occur, did and does exist, although my characters wouldn’t recognize it today, and may not have even known it by that name.

On my investigative tour of Putney, last summer, we came upon what seemed to be the right building.  At the time, though, I wasn’t sure this was the place. What I saw was clearly a late Victorian structure, and closer inspection confirmed an 1880s date. Still, the big lion on top was a clue, and I asked Walter to take some photos.

Once home, with various books at hand, I felt more certain of its identity. This did seem to be the White Lion, but extensively renovated and decorated or maybe entirely rebuilt at about the same time the new Putney Bridge went up. 

Reviewing my copy of the Panorama of the Thames, I found a place called the Putney Hotel, which a note in the text referred to as the Red Lion Inn. But this seems to be the same building Ralph Rylance refers to in his 1815 guidebook, The Epicure’s Almanack, as the White Lion.

View of Putney in 1829: Image from Inglis and Sanders, Panorama of the Thames

White Lion.
“Continuing on your way to town you come to the village of Putney, at the bottom of which, close to the Fulham Bridge, is the White Lion.[2] You may have a good dinner drest here to order, in which order you ought not to forget to include stewed eels, or fried flounders. The people here have a live stock of them in the wells of the peter-boats moored off the village.”
 

The footnote explains further:

[2] “The White Lion near Fulham Bridge (now Putney Bridge) dated from the early C17 and was rebuilt in 1887; it is still operating, as the ‘Australian Walkabout Inn,’ at nos. 14-16 Putney High Street.” (p. 203)

I can confirm that it (1) is no longer the Australian Walkabout Inn, (2) was closed, and (3) had been closed for some time. But its location and surroundings did fit what I'd pictured while writing the story. For the interior and stable yard scenes, I used a combination of imagination and research into 18th and 19th century coaching inns.

“Custom had decreed the arrangement of an inn plan.  There was the usual courtyard with its arched or beamed entry.  There was a hall for receiving guests, a main staircase, a coffee room and a dining parlour.  Some inns could boast a special apartment for dining coach passengers only.  In addition there were smaller apartments known respectively by the names Sun, Moon, Star, Crescent or Paragon.  From 1700 to the year 1760 the arched entries were low, for until the latter date outside passengers were not encouraged.  After the accession of George the Third, when outside travelling became more general, the inside passengers were treated as belonging to an inferior order.  Not only did landlords show increased respect to the outside passengers, but a subtle compliment was paid to the coach proprietors by the landlords when alterations to the arched entries were made to their respective inns.”
—Harold Donaldson Eberlein & A.E. Richardson, The English Inn Past & Present (1926)
 

Photograph at top by Walter M. Henritze, III. The image of 1829 Putney is a screen shot from the fabulous website connected with the Panorama of the Thames, a gorgeous book. I strongly recommend your visiting the website, for larger images, and tons of information. You can scroll along for the river view or search by specific locations.

These images of the White Lion at the Victorian Web show you how extremely Victorian the building is now.

Left to right: Putney Bridge & Church 1799; Putney Bridge 1793; the White Lion (my big clue).