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.

My Musket Training at Colonial Williamsburg

I’d never fired a weapon in my life. The closest I’d come was holding Baron de Berenger's unloaded musket at the Kensington Central Library.

Yet lately three seemed to be a lot of pistols and such in my stories. I watched many videos and read books. What I learned from the books was how difficult it was, once upon a time, to load a gun and then shoot straight. Actually, the loading part, with practice, could be done quickly and efficiently. Shooting straight was another matter. The pinpoint accuracy in my stories is a case of the author taking liberties.

Given my interest, imagine my excitement last November, at an appearance with author Caroline Linden, when she told me that one could fire a black powder weapon at Colonial Williamsburg. Susan Holloway Scott —aka the other Nerdy History Girl—sent me photos of her family's experience with these weapons not long thereafter. “The next time I’m in CW,” I told myself, “I’m doing this.”

So much of history is available to me only through books. When the opportunity comes to experience it firsthand, I’m taking it. If I’m in a place where historically accurate carriages are being driven up and down the street, by knowledgeable drivers, I’m going to get on the carriage, and pester the driver with questions. If there’s shooting with historically accurate weapons and ammunition on offer, I’m shooting.

So, to the guns. The video here is very short. What I learned is very long. I fired two weapons, a musket and a fowler. What you don’t see in the video is Loretta trying to heft them. The musket weighs ten pounds, the fowler is a little bit lighter, and they're both looong, which makes them unwieldy for someone like me. My arms shook, lifting the gun. Then I had to hold it in my shaking arms, sight along the barrel, and figure out where to aim it. Turns out, the ball isn’t going where you think it’s going. Luckily, I got some good advice as I was aiming.

Another thing you don’t see in the video is how hard it is to draw back the cock. It doesn’t just flip back. You need to pull, and it fights you. I had to use two hands. (I do need to work on my upper body strength.)

Meanwhile, there's the loading process, with which I received a great deal of assistance. Otherwise, I could have been there for half an hour for each shot. Soldiers could load their weapons in 15 seconds, I was told. Well, getting shot at by a line of guys firing muskets is good motivation to load quickly.

These are far from accurate weapons. Even when you know how to aim, you can’t be sure the ball will go where it should. This is why armies created lines or squares of men, all firing at the same time. Standing or kneeling shoulder to shoulder, you were bound to strike the enemy, even if it wasn’t the enemy you were aiming at. But yes, in spite of these difficulties, and much to my amazement, I did badly wound a couple of paper bottles.

Video: Loretta Shoots!!
On my YouTube Channel
Readers who receive this blog via email might see a rectangle, square, or nothing where the video ought to be. To watch the video, please click on the title to this post or the video title.

 

Fifes and Drums of Colonial Williamsburg

This is the "Red Carriage." (Yes, I know. It's a CW thing.) This is an open carriage, with facing seats. It's something like the landau that Ripley and Olympia travel in (in A Duke in Shining Armor) when she takes him back to Camberley Place after he tries to run away to London. But the landau has folding hoods, while this is completely open.

Whenever I'm in Virginia, I try to spend some time in Colonial Williamsburg. This year, our schedule allowed me to have two full days of exploring the site. It's not nearly enough time. For instance, I could have stayed in the Print Shop's Press Room for hours, the presentation was so fascinating. And that's just one shop!

Even though I write books set in England in the before-Victoria part of the 1800s, CW is incredibly helpful. Things changed more slowly a few centuries ago, and British influence is there, whether one is talking about the colonial period or afterward. Until the American Revolution, much of what appeared in the shops was imported from England. The latest fashion ideas traveled across the ocean from Paris and London. Of course, Americans gave things their own distinctive approach, but for a researcher like me, there's always historical gold in CW. All the interpreters have something to teach me.

Among other things, I took a carriage ride and pestered the driver with questions, because, while horse-drawn vehicles changed over time, basic principles remain: the way the harness works, the correct way to hold the reins and whip, etc. And of course, horses are horses. I had studied all this in books—a lot of books—but there's nothing like experiencing the real thing. For someone like me, with no personal experience of horses and driving a carriage, simply watching the coaches at work was educational, and will, I hope, make my stories feel more authentic. I watched and watched. And took pictures.

And then, when I was still hanging around, late in the day, came the Fifes & Drums.  Remember that my thing is Great Britain and its aristocrats some fifty-plus years after the War of Independence began. But the first sound of the fifes and drums had me at attention. People crowded along the sides of Duke of Gloucester Street to watch and listen. And I'm pretty sure I'm not the only one who found the experience deeply moving. You can watch some video clips here.

Next time I will try to have the presence of mind to shoot my own video. Meanwhile, here are my photos. I have to say, it was a terrific, unexpected experience.