Frank Lloyd Wright's MANY women

Frank Lloyd Wright (1867) was born in Wisconsin. His Welsh preacher grandfather, Richard Lloyd Jones, crossed the Atlantic in 1844 with his wife and children, settling in a fertile part of the Midwest near Chicago, a landscape with a lasting influence on Wright's work. Wright's apprenticeship with prominent Chicago architects served him well. In 1889 at 22 he married, designed and built a house for himself and wife Catherine Kitty Tobin in Oak Park, a new outer suburb. It was fine example of the Arts and Crafts style, but soon key signs of Wright's taste showed through. In 1893, he was sacked and set up his own practice; he extended the house to serve his growing family and office. His additions included a studio and a large barrel-vaulted playroom.

 

 

FLW with cape, cane and hat

Architecture Here and There

Wright's designs became more experimental eg elongated, open-plan Prairie Houses of this period. And he began to wear broad-brimmed hats, red-lined cape and cane daily. Meantime Wright and Kitty  had 6 children, but Wright left the children to Kitty's care.

In 1903, Wright designed an Oak Park house for Edwin Cheney, and soon fancied Edwin’s wife, Mamah Cheney, a modern feminist with Wright’s intellectual standards. They fell in love, although Wright had been married for c20 years. Often they drove through Oak Park, so perhaps the gossip meant Wright's wife refused him a divorce, and Edwin Cheney refused one to Mamah.

Frank and Olga driving around Oak Park together

Instagram

Academics argued that Wright worked with the Prairie Style, esp re single-family houses. Alas Wright was not getting large commissions for commercial or public buildings. In 1909 Wright & Mamah Cheney travelled to Europe, leaving their spouses & children. What drew Wright at 42 to Europe was the chance to publish his work portfolio with Ernst Wasmuth so they went to Wasmuth Berlin’s offices. Wright remained in Europe for a year and then Cheney granted Mamah a divorce. Kitty still refused to grant one to Frank! 

Taliesin, Wisconsin

Wiki

Wright returned home in Oct 1910 and persuaded mum to buy him land in Spring Green WI, near mum's Welsh Lloyd-Jones family. Then in 1911 the couple returned and began to build a flowing bungalow in Helena Valley WI, the Taliesin theme coming from his mum's side: Taliesin in Welsh mythology was a poet, magician & priest.

But tragedy struck in 1914. Wright was working in Chicago when Cheney lunched with her 2 children and some estate workers. Domestic servant Julian Carlton poured acid around Taliesin’s livingrooms, locked the doors, set the house afire and axed 7 of the 9 diners: Cheney, her children and 4 workers. Carlton survived the acid but died in gaol. Wright was devastated. Plus they were shunned by neigh-bours outraged by sinful lives and “Slow Pay Frank's” constant refusal to pay his debts.

In 1922, Wright's wife Kitty gave a divorce, although Wright had to wait a year until he married his 2nd wife, Maude Miriam Noel, sculptor-architect-Bohemian clairvoyant. They wed in Nov 1923, but her addiction to morphine soon saw their marriage failing. In 1923 Mrs Anna Lloyd Wright, Frank's mother, also died. Meanwhile they travel led together to Japan, where Wright was commissioned to build the Imperial Hotel Tokyo by 1923. He threw spent years building the elegant hotel where work-ers were surprised to see the US architect arrive in velvet suits. Wright visited Japan often, and assimilated many ideas there.

In 1924, separate from Miriam but not divorced, Wright met a mystic dancer from Monte-negro Olga Hinzenburg at a Russian Ballet in Chicago. This new exotica joined the Tal-iesin household, a place where Wright's workers lived in a hippy community, growing their own vegetables & making music together. Olga and her child had followed her husband to Chicago seeking a divorce.

The couple moved to Taliesin in 1925 with Olga pregnant. Wife #2 Miriam was deranged & jealous, with drug-fuelled explosions, and misfortune restruck. In Ap 1925, an electrical fault from crossed wires caused a fire and destroyed the house. It was insured for  rebuilding but not to cover the loss of Wright's c$1 mill art collection. His home was ruined and he was broke, yet he rebuilt the living quarters Taliesin III.

After his daughter’s birth in Dec 1926, another scandal broke: when Miriam heard about the birth and tracked Olga to the hospital, demanding to see HER HUSBAND'S BABY. Later she had Wright arrested. Olga's ex-husband sought custody of his daughter. Also in 1926, Wright and Olga were accused of violating the Mann Act which prevented immigrant prostitutes arriving, and were arrested in MN. Miriam competed with Mamah's ghost AND with Wright's tough mother. And she created a serious fight when the next woman came along. In a rush of litigation, she hurled accusation at Wright, accusing Olga of being an Undesirable Alien. Miriam tried to own Taliesin, pursued the couple to Calif, had them arrested, harassed them by phone and smashed their house. She finally agreed to the divorce IF Wright paid her! The charges were dropped.

Wright designed summer estate Graycliff, Wright & Miriam Noel's divorce was finalised (1927) & Wright staged a come back in architectural history. The International Style a la Le Corbusier had arrived in America and middle-aged Wright seemed tired! For a while he tried working in LA where his son Lloyd had a successful practice. There he designed a Mayan-looking Ennis House, and Hollyhock House, a huge site for an oil heiress. But Wright disliked cities. 

                                   

L-R: Kitty, Mamah, Miriam, Olga

booksaremyfavouriteandbest

In 1928 Wright and Olga married, inviting paying students to Taliesin to study Wright's holistic designs. By 1932 a small group enrolled & created Taliesian Fellowship. In this alternative education, the architect expected his men to work in fields, cook and listen to Bach & Beethoven. Apprentice Austrian Rudolph Schindler described Wright in a letter to architect Richard Neutra: He's devoid of consideration but energetic.

The Taliesin project helped support the family in the Depression. It also led to some of Wright's most important commissions, including Fallingwater (1937) the exquisite house he built over a Pennsylvania waterfall for Edgar Kaufmann, father of a Taliesin Fellow. Fallingwater revived Wright's career, and during the last 25 years of his life he designed as many buildings as his early busy period. He was Guggenheim Museum N.Y’s architect, the most memorable, organically round building in a city of straight lines. 

In 1937 he bought acres in Paradise Valley AZ near Phoenix and built a desert camp for winter school. And Wright's winter home near Phoenix that was particularly beautiful; he called the open-plan house in Scottsdale AZ Taliesin West. The winter home & desert laboratory is now headquarters of The Frank Lloyd Wright Foundation and a major attraction for fans. Olga served as president of the Foundation for 25+ years and protected her husband's architectural work. But his buildings preserved as historic monuments, not living architecture. Only with increasing interest in low-energy, low-impact buildings were the two schemes relevant again: both his homes were designed to be cool in summer & warm in winter without mechanical ventilation.

As interesting as Wright's women may have been, they were exciting largely BECAUSE they were involved with Wright. Yet while Wright designed charming C20th buildings, do fans know about the axe murders, madness, drugs, endless women and fires? Since his death at 91 in 1959, there have been writings examining the cultish community Wright built. To preserve the work the School of Architecture Wright now runs accredited BA, MA courses and summer school. And the Wright From Within Outward Exhibition at N.Y’s Guggenheim Museum explored how buildings could fit into the landscape.

Falling Water, 1937

fallingwater.org

The Taliesin arrangement helped support the family in the Depression. It also led to some of Wright's key commissions, including Fallingwater (1937) the exquisite house he built over a water fall in Pennsylvania for Edgar Kaufmann. Fallingwater revived Wright's career, and during the last 25 years of his life he designed as many buildings as he had in the busy period from 1893-1911. He was architect of the Guggenheim Museum N.Y, the memorable organically round building in a city of straight lines. But it is Wright's winter home near Phoenix that was the most beautiful. In 1937, he bought hundreds of acres in Paradise Valley and built a desert camp where his school could relocate for the cold months of the year. Called Taliesin West, its open-plan living quarters were furnished like a tent.

Wright and Olga ran Taliesin West as a community based on the Armenian guru with whom Olga had lived and studied before meeting Wright. The guru’s teachings called for daily forms of dancing, making Taliesin laughable. His belief in the value of creative work continued under Olga's supervision after Wright's death but for decades, Wright's reputation suffered, with the teaching at Taliesin regarded as eccentric and his buildings preserved as historic monuments, not living architecture. But with increasing interest in low-energy, low-impact buildings, schemes like Taliesin and Taliesin West are relevant again: both Wright's homes were built using local materials and were designed as cool in summer & warm in winter without mechanical ventilation.

The private life of a public man is always fascinating, incl the story of Wright's women. He needed challenging, attractive women by his side and his relationships were essential to his work. In any case, the architect's genius always won through! Like other self-styled great men, Wright raised selfishness to a fine art. He was prepared to sacrifice others as well, except for those he currently deemed essential.  Even Wright's 1st wife and mother of 6 of his 7 children, got short shrift in life. 

However interesting & decisive Wright's women may have been, the unavoidable fact remains that they were interesting largely as far as they were involved with Wright. Yet architecture remained in the margins of these books, something Wright was off doing while his women desired. While Wright de-signed some of the most beautiful C20th buildings, his personal life was problematic. Now read Marcus Field who told of axe murders, madness, drugs, endless wives and redemption. Since his death at 91 in 1959, there were biographies, memoires and exposés examining the cultish community Wright built.

To preserve Wright's work, the School of Architecture Wright now runs accredited BA and MA courses and a popular summer school. And a major exhibition at N.Y’s Guggenheim Museum in 2009 explored how buildings could fit into the landscape: Wright, From Within Outward.

Edinburgh's 17th century Tron Kirk

Tron Kirk/Church was commissioned in Edinburgh by King Charles I from Scot­t­ish architect John Myle, as part of the plan to upgrade Edinburgh to city status. And it seems that the timing was critical. King Charles was try­ing to impose an Episcopal structure onto the reluctant Scottish Church. This was just after the bishopric designation of Edinburgh’s High Kirk St Giles in the royal charter of 1633.

Looking along the Royal Mile to Tron Kirk.

Furthermore the location was also significant. The North-West parish congreg­at­ion had been displaced by St Giles’ changing status, and they required a new home. So the new church was built on the Edinburgh's gorgeous Royal Mile.

As the building went up in the 1630s and 1640s, the architectural taste was mixed, reflecting both the cultural tastes and the politics of that period. The side of the Kirk facing Hunter Square looks like a Dutch church or town hall of the same era. Other parts of the building look Palladian, with strong Gothic elements.

Scottish Historic Buildings Trust

 

Change over the centuries was inevitable. For example, the Great Fire of Edinburgh in Nov 1824 ravaged Scotland’s capital. Ten lives were lost and hundreds of families made homeless due to the inferno. £200,000+ worth of damage was inflicted on the south side of Edinburgh’s Royal Mile which included the toppling of the Tron Kirk’s famous Dutch-influenced steeple. The current Tron Kirk steeple, which was a totally new design, was not created until 1828.

The church has been largely closed to the public since soon after WW2 and it was very fortunate to escape destruction. Plans to remove the church were regularly floated in order to improve traffic flow around the busy junction of the Bridges and the Royal Mile. Luckily for Tron Kirk, it became a key part of a large plan to restore the historic heart of the city. The goal was to bring unused heritage buildings back to life as cultural and arts venues.

A restoration programme commenced in 1974 and even then there was a surprise: work on the floor and foundations of the church uncovered the remnants of 16th century shops and dwellings on historic Marlin’s Close. Naturally the site soon became interesting to historians and archaeologists. The excavated remains of the medieval Marlin’s Close have now been glassed over, creating a unique and fascinating window into Edinburgh’s past.

The Kirk’s connections with Hogmanay were interesting. While the winter solstice was celebrated among the Norse in ancient times, the link to the Vikings’ celebration of Yule (then the Twelve Days of Christmas) might also have played a role. Perhaps these pagan winter festivities were not always popular with the stout Scottish clerics of the Protestant Reformation, but this changed. By the late C17th, various areas of Scotland were developing their own Hogmanay rituals including, or perhaps especially Edinburgh.   

                

Edinburgh Hogmanay, New Year's Eve

DanFlyingSolo

As a result, Edinburgh Hogmanay celebrations these days are probably some of the best attended in the world. And in Dec 2012 the Tron Kirk was open, for three hectic days and nights, to people welcoming in the New Year. The title, A Festival of the Extraordinary: The Drambuie Surreal Sessions, might suggest that some alcohol was involved. However the goal was always to help secure the future of the Tron Kirk as a central arts and culture venue in Edinburgh.

Today Tron Kirk Market is run by the Scottish Design Exchange, the company who support local artists and designers. The market provides space for 21 local artists and designers, selling a range of handmade products eg pottery, jewellery, woodwork, original art and prints

Tron Kirk Market

The original stained glass windows are still protected.

The Conservation organisation, Edinburgh World Heritage, submit­ted the plans to the Edinburgh City Council to open a visitor centre in the church. Now approved, this visitor centre will explain the history of the capital's Old and New Towns from inside the 17th century site. Perfect.

Remember hopscotch from 1950s & 1960s?

Although I assumed my post-WW2 generation invented hopscotch, that seems highly unlikely. The earliest confirmed mention of the game actually comes from Britain in C17th; in fact a manuscript book of games from 1635-72 by Francis Willughby and an entry in Poor Robin's Almanack for 1677 contain the earliest references.

Hopscotch players on side of road

The grid was added in chalk

Te Ara New Zealand

Children all over the world play Hopscotch in much the same way, but the patterns they draw can be very different. Children in Scotland have a game where the pattern is like bananas lying next to each other. In Japan there is a pattern that looks like an old telephone with a rotary dial, and in France there is Escargot, a pattern that looks like a snail. In Vietnam there is a game called Build A House, which has floods, fires and the Mekong River, and in China there is a game with an animal’s head at the top of the pattern. There are clearly many different versions of the game.

In Australian schoolyards, the most common pattern was Aeroplane Hoppy with 8 squares. It was usually painted on the ground although some schools had/have chalk for children to use at lunch time, so they can draw their own patterns. This means that Hopscotch can be changing.

As I discovered in my Melbourne primary school, the boys had a full size football field while the girls were given a smaller area of paved ground for games. So small that only a small number of friends could play girls’ games. To play hoppy as we called it, the squares were marked out in chalk and therefore used primarily in summer (to avoid the winter rain). It was shaped as a grid of lined-up squares dispersed with blocks of 2 lateral squares, ending in a home base shaped as a semicircle. The squares are then numbered in the sequence in which they are to be hopped.

A game of hopscotch

Dept of Education, Sth Australia

Each player tossed a small flat marker called a taw in post-WW2 Melbourne (eg coin, large button, horizontal stone) into a numbered square, hopping through the court without stepping on lines or the marker, and picking it up on the way back. The player stopped in the square before the marker, reached down to retrieve the marker and continued the course as stated. This had to be without touching a line or stepping into a square with another player's marker.

I know that hopscotch is said to still be popular but I haven’t seen it played for decades. Then this week outside my coffee shop, I saw the chalk grid laid out on the concrete and some young girls playing as if 1958 was still here ! There have been different versions of this game recorded over the years and in different countries, but hopscotch was and still is an effective form of play that teaches children important skills: hand-eye coordination; balance; body control; social development; arithmetic skills; and leadership. Played in most outdoor places it encouraged physical activity because there were no competing activities: no tv, no mobile phones and no computer games back then. So are these skills still crucial in the modern world because they limit screen time?

Playing jacks, 1954

Facebook

Hula hoops, 

Coleham Primary

skippy on London streets in the 50s

Facebook

There were other memorable games in the 1950s and 60s eg yo-yos, jacks, hula hoops, Oranges and Lemons and Cat’s Cradle string game and skippy. But some of these games were played by children sitting on their bottoms and didn't encourage any physical activity. And there were some games that required the children to buy and bring their own games pieces to school. Unlike hopscotch which only required the teacher to lend a piece of chalk.

If you played hopscotch at school in the 1950s and 1960s, I would be delighted to hear from you. If you played hopscotch since then, let me know if your game differed from how I described it.

Canadian history, Hudson’s Bay Co and furs

The C17th fur trade became a major commercial growth in Nth Am­erica, due to Eur­ope’s dem­and for beaver hats. Two French trad­ers pl­an­ned a trad­ing com­pany to reach the inland via Hudson Bay and to gain access to the int­er­ior fur resources. Af­ter not win­n­ing French sup­­port, they went to Prince Rupert in Britain in 1665 where Rup­ert sw­ay­ed cousin King Charles II, mer­ch­­ants and noble men to back the ve­n­ture. Two ships were sent mid 1668 and the royal charter for Rup­ert’s Land. Hudson’s Bay Co./HBC was pr­o­claimed May 1670. The Gov­ernor and Co. of Advent­ur­ers of England received ex­clusive trading rights in Hud­son Bay Terr­it­ory.

Original charter of the HBC, declared in 1670

HBC shareholders at Annual General Court Meeting elected a Governor and comm­ittee to organ­ise fur auctions, order trade goods, hire workers and arr­ange shipping. The London-based Governor set all the basic polic­ies implem­ented in Rup­ert’s Land, using annual reports, journals & accounts supplied by the Bay of­f­icials. 

Prince of Wales and Eddystone, Hudson's Bay Co. Ships

Canadian Encyclopaedia

After trapping beaver pelts when they reached their best quality (win­t­er), Indigenous Peoples trav­elled to the trading posts in sum­m­er. These traders were middlemen, bringing furs from inland communities and trad­ing furs for manufactured goods eg tools, guns, text­il­es, food.

In 1713 France agreed to England’s claim to Hudson Bay with Treaty of Utr­echt. For 60 years, the HBC erected posts largely at major rivers flowing into the bay. This hesit­ance to establish posts in Rupert’s Land all­owed comp­et­itors to out­do the HBC by travel­l­ing into the in­ter­ior to trade with Indigenous peoples. In return, ind­igenous trad­ers extracted greater ret­urns for their furs. 

 

Timber wolf fur sales, Fur Harvesters Auction in North Bay, Ont.

CBC

Until 1763 HBC struggled with the French for control of fur trades in south­ern Rupert’s Land, and naval battles erupted on Hud­son & James Bays. In the Treaty of Paris 1763, the Montreal overland trade network was taken by the British. By 1774 HBC trade had been undercut enough that the Governor designed an aggres­s­ive policy of inland expansion, be­ginning with building facilities on the Saskatch­ewan River.

Intensive competition with the North West Co. spil­l­ed beyond Rup­ert’s Land into the Pac­if­ic slope, combining economic conflict with occasional physical viol­ence. In 1821 the parties merged, and the British Parlia­ment extended the Co.’s monopolies to include the N.W Territories.

Bringing together the different business traditions of the North West Co. and HBC required changes in the new Co’s administrative structure. British North America was divided into trading depart­ments and dist­r­icts. District managers met annual­ly in depart­mental council meetings presided over by the Governor in North Am­erica, Sir George Simpson. Th­ese coun­cils passed reg­ul­ations governing local trade, det­er­mined work­ers’ deployment and established the log­is­tical requirements. The offic­ers also had a vested interest since they shared in the profits, accord­ing to the 1821-71 deed polls. But Sim­pson had considerable power, and the London Governor overruled local decisions. Post-merger, the HBC closed many unprof­itable trading posts, adv­ersely damaging Indigenous groups whose survival relied on fur.

After 1821, independent free Métis traders at the Red River Colony opp­osed the Co’s monopoly rights, which had been renewed in 1838. The issue ended in the famous 1849 Sayer Trial, where Métis man Pierre-Guillaume Sayer was tried and convict­ed of trading with Indigen­ous groups, violating the Co’s legal privileges. The court’s decision to free him effectively opened the trade of Rup­ert’s Land.

To standardise trade between posts, HBC introduced the Made Beav­er as the currency (1857). All furs were valued according to the equivalent of one prime male beaver skin. Hud­s­on's Bay Co. fur trade im­pacted on Indig­en­ous peoples, many of whom ab­andoned th­eir life-styles and economy, and relied on Europ­ean manuf­ac­t­ured goods for survival.

Although the Co.’s primary concern remained the fur trade, it increas­ingly provided government for settlers in Red River Valley and Vanc­ouver Island. Only in 1849 did Britain grant­ the Van­couver Island col­ony to the HBC, to be used as an agricultural sett­lement.

During the Fraser Gold Rush in 1858, the mainland colony of British Co­l­umbia was created out of New Caledonia. Governor James Douglas was requ­ir­ed by the British govern­ment to resign his HBC commission before bec­om­ing Governor of BC. Thus the Co. began to relinquish its colonial res­ponsibilities. It was then Canada’s growing expansionist movement saw the ann­exation and settlement of the NW as essential to Canada’s future.

Expansionists portrayed the HBC as delaying Canada’s growth; they cl­aim­ed that to protect its fur trade interests, the HBC had proclaimed that the NW was a barren waste­land, unsuited to agricultural set­tlement. But this belief was challenged by reports of the Palliser and Hind expedit­ions in 1857-60 which encouraged westward British settlement.

In 1863, International Financial Society bought control in HBC, signal­l­ing a shift in the Co: most new shareholders were less interested in the fur trade than in real estate and economic development in the West. Negotiations held with the Colonial Office and with the Can­adian government DID result in selling Rupert’s Land to Can­ada in 1870. In the agreement the Co retained title to the old trading lands.

Fur trader in Northwest Territories, in the 1890s

Wiki

See the post-1870 growth. By retain­ing large land­holdings on the prair­ies adjacent to its posts, many of which were loc­at­ed in growing ur­ban centres, the HBC became a most im­portant dev­el­opers in western Canada.

As Prairie economic development accelerated post-1870, the Co. expanded retail business with settlers. Initially most of this act­ivity occurred at its trading posts. Since it differed from the trade with Indigenous groups, separate sales shop accounts were kept. Then the HBC’s retail and whole­sale divisions emerged, with outlets separate from fur trade. In 1910 the Co was divided into 1]land, 2]fur & 3]retail. In 1913 HBC helped build new retail shops, recog­nising that this had a greater fut­ure potential than land and fur sales. The first of the 6 stores op­en­ed in Calg­ary and the last in Winnipeg in 1926. From 1965 the shop em­braced the short form of its name, The Bay, and its logo featured the B. And its historic coat of arms nodded to its rich role in Canadian history.

Hudson's Bay Montreal, department store chain acquired by HBC in 1960.

 In 1970, 300th year in HBC history, the Queen formally transferred it from U.K to Canada, with new headquarters in Winnipeg. The Co. owned 239 dep­art­ment stores in Canada and U.S then. But  after failing to secure new financing or buyers, the historic 355-year-old retailer permanently closed its last doors in 2025 and completed liquidation.

Thank you to Canadian Encyclopedia

 

Gertrude Bell's great Middle Eastern legacy

The female scholar behind Iraq's independence

The Librarians

Gertrude Bell (1868-1926) was the grand­daughter of British nobility and the daughter of an monied industrialist. Instead of seeking a life of cocktail part­ies, her brain actually required a high-class education. In 1884 Bell went to Queen’s College and Oxford Univ­ers­ity, gaining 1st Class Honours in Modern History. She spent the next 15 years in cons­tant travel including Persia, Egypt and Algiers.

A “cause” arrived in 1899 when she met arch­aeol­ogist David Hogar­th and his world of Middle East ant­iquity. Already fluent in Persian, Fr­en­ch and German, Bell also studied Arabic and Hebrew, and in 1900 she completed the first of her desert travels through Pal­est­ine, Leb­an­on and Syria. She then began learning desert rul­es and the soc­ial prac­t­­ices of nomadic Bed­ouin, building val­uable friendships among sheiks, warr­iors and Mesopot­amian merchants. From 1900-12 her focus was on developing her skills as an arch­aeol­ogist, map-maker and ethnographer in a tough part of the world. Her 1907 trips with Sir William Ramsay in Anatolia became the basis for her book, The Thousand and One Churches (1909). She was becoming a specialist in Byzantine religious architecture, writ­ing mono­gr­aphs as she went.

1911 was when met the young archaeologist T.E Lawrence (1888–1935) aka Lawrence of Arabia. They shared a passion for Arab­ic cul­ture and antiquit­ies, becoming powerful forces in the next dec­ade prom­oting Arabic independence from the Otto­mans and from Eur­ope.

After a long trip along the Euph­rates River, Bell discovered and surveyed an C8th Abbas­id fortress at Ukhaidir. She wrote the account in her 1909/10 journal, and an arch­itectural mono­gr­aph, The Palace and Mosque at Ukhaidir (1913).

In 1913 Bell travelled by camel through modern Saudi Arabia and Iraq, hoping to reach the famed White City of Hay­yil. She negotiat­ed her way thr­ough cont­ested territories, critical water short­ages, hostile tribes and the shift­ing sands. Then she went home with maps and knowledge of Arabia that were invaluable as Europe faced WW1.

With Turkey and Germany allied in WW1, the Middle East suddenly be­came an area of military importance remote from British intell­igen­ce. Who were the relevant powers there? Who did they support? So in 1915 Ger­trude Bell trav­el­led to Cairo, to work with Brit­ish Intell­ig­­­en­ce, com­pile inform­ation and form a strategy for org­anising Arab­ic res­is­tance to Turk­ish rule. However she did not participate in the Sykes-Picot Agree­ment in 1916 that eventually divided Turkish-held Syria, Iraq, Lebanon and Palestine.

                                     

Bell, Cox and Ibn Saud in Mesopotamia in 1916.

Feisal's two staunchest supporters re holding the new Mandate of Iraq together
Imperial War Museum

After the war, the Ottoman Empire was being dismantled and Bell sought to help the Arabs. She was asked to make her recommendations for Mesopotamia, as her 1920 report “Self-Determination in Mesopot­amia” made very clear. Bell was in the middle of the region’s politics, acting as mediator between the local Sunni, Shiite and Kurd leaders, the British government, and Winston Churchill.

Self-Determination in Mesopotamia was the paper that earned her a seat at the Paris Peace Conf­er­ences (1919-20), to honour the Al­l­ied promise of Arabic independence. She opp­osed French del­egates who were cr­eating their mandate in Syria. And she opposed the Brit­ish delegates who were creating a British mandate in Iraq and Palestine.
                                 

participants of the 1921 Cairo Conference. 
L to R: Winston Churchill, Gertrude Bell and TE Lawrence.

Under the Sphinx of Giza.

Winston Churchill, Secretary of State for the Colonies, called the 1921 Cairo Conference. While other British offic­ials argued for Iraq’s continued sub­servience to Brit­ain, Bell arg­ued hard for their indep­end­­­ence, and for the pro­m­ot­ion of a larg­er Arabic state from France. For a newly un­ified Iraqi state, Bell and Lawrence highly recommended Faisal bin Hussein, former command­er of the Arab forces that helped the Brit­ish in the war. And through his charis­matic leadership, a nation was forged! Bell became one of King Faisal’s most trusted advisors, beloved in Baghdad.

Yet Bell and her boss British high commissioner, Sir Percy Cox, laid down state policies in Iraq that were taken up by Sadd­am’s Arab Ba’ath socialist party. Iraq retained the Kurdish mount­ains as a buffer against Turkey and Russia, and promoted Sunni Mus­lims over the Shia majority. They expelled the Shia clergy to Iran, and depl­oyed air power as a form of political control. Why did the U.K care? Iraq enjoyed valuable oil resources AND acted as a buffer zone in the region to protect against Turkey, Iran and Syria.

Bell believed passionately in Arab independence and persuaded Lon­d­on that Iraq had enough able men at least to provide an administ­r­at­ive façade; and she contr­ib­uted importantly to the construction of the Iraqi state in 1921. But she had two difficulties. Firstly she always ov­er­estimated the popularity of Cox and herself. And secondly she underest­im­ated the force of religion in Iraqi affairs.

Bell and Sir Herbert Samuel, British High Commissioner in Palestine,
meets Jordanian pilot 1921. Highbrow.

Bell was never loved in London. And when Cox left Bag­h­dad in 1923, she lost her bureaucratic protector. Yet Bell still wanted help in preserving Baghdad’s heritage in a new Archaeological Museum and she was named as the Director of Antiquities by King Faisal. Later she helped draw up the borders of the new nation of Iraq.

She died in 1926 in Baghdad at 57, from ?lung can­cer. The citizens and British officials lined the streets to pay respect to this weal­thy British scholar who’d dedicated her life to Arab culture; the King of Iraq stood in a place of honour.

Bell’s greatest legacy was indeed the recovery and preservat­ion of an­cient artefacts and archaeological sites all over the Mid­dle East, as at the Gert­rude Bell Archive at Newcastle Uni. But in 1921, Churchill agreed that Mesopotamia should be a self-ruling state, and Bell was a central figure at the Cairo Conference. Her influence was essential to the establishment of modern-day Iraq.

Eastbourne UK bandstand and pleasure pier

entertainment facilities on Eastbourne Pier

Like other coastal towns, Eastbourne began to grow rapidly as the medicinal and leisure benefits of sea air and sea bathing became well known. Locals scrambled to provide a wide variety of facilities and amusements for the thousands who flocked to Eastbourne each summer. My favourite would have been Devonshire Park which was first designed in 1874 with terraces, walks and a cricket ground. As the money flowed in, the owners added tennis courts and a roller skating rink. Very sensibly they located Devonshire Park next to the baths, the Winter Gardens and the Theatre. 

In this post, I am interested in publicly funded facilities. There were many pleasure piers built around the coastal resort towns of Britain, and then in other countries. The earliest was probably Ryde’s on the Isle of Wight (1813) although the majority did not start until the late C19th. Early pleasure piers were made of wood; iron structures only became more popular with the construction in 1855 of Margate Jetty. The National Piers Society suggests that only 55 seaside piers survive today in England and Wales, the oldest extant iron pier being in Southport (1860).

Eastbourne's pier was designed by Eugenius Birch in 1865 and built by the Eastbourne Pier Company for £15,000. Originally a landing stage for steamers, it soon became a "pleasure pier" because it enabled the gentry to walk over the water and to participate in the social life there.

Spouse and I loved the pier when we first lived in Britain. But decades later it was starting to look just a little bit old fashioned. The only innovation that I remember was The Victorian Tea Rooms which  specialised in Sussex Cream Tea and attractive table settings.

Agatha Christie's story, The Jewel Robbery at the Grand Metropolitan, was set in Brighton but partially filmed in Eastbourne. Just as well the film was finished in 1993. Firstly the owners put Eastbourne Pier up for sale in 2009; included were Victorian tea rooms, an amusement arcade, bars and a nightclub. Secondly Eastbourne Pier experienced a fire in July 2014 that burned through a large amount of the central domed building. The two-thirds of the 305-metre pier that were not destroyed ...were quickly reopened.

Even more popular than pleasure piers, re leisure time activities, were the bandstands built in the UK, Australia and other countries in the world. Presumably they too resulted from changing social life in late Victorian & Edwardian years.

Normally bandstands were built in the centre of a public park, surrounded by lawns & gardens where families strolled or sat on portable chairs. The old practice of military bands marching through built up areas in town, surrounded by scruffy children and hangers-on, was no longer acceptable.

Each coastal town sought to unify the pleasure activities in the centre of the town’s beach area. Many towns liked to choose from amusement arcades, theatres, restaurants, tea rooms, striped deck chairs, slot machines, lunar park rides, fishing sites, fairground stalls and walking areas. What was less common was a bandstand being located right next to a beach, very close to that coastal town’s pleasure pier.

Eastbourne bandstand, pleasure pier and beach

This East Sussex town had its bandstand by 1893, standing on cast iron stilts right on the seafront. Decades later, as a part of the town’s plan to improve its resort facilities, a newer Eastbourne Band stand went up. The 2nd bandstand, built in 1935, had a rather special semi-circular design, Orientalist blue domed roof and silver finial. Still today, see its main arena with middle and upper balconies seating 3,500 people.

Ten thousand people attended the three concerts given in that special summer of 1935.

For many years Eastbourne bandstand ran a daily programme of military bands, at least until the end of each summer season. But new audiences don’t necessarily love what their grandparents loved. So in 2010, the 75th anniversary of the new bandstand, big band nights, rock 'n' roll and Last Night of the Proms were added to the programme. The concert music ended triumphantly with Tchaikovsky’s 1812 overture, accompanied by a spectacular firework display.

Clearly the organisers are making the programme more relevant for modern audiences and the bandstand is having a new lease on life. Some 150 concerts are now held per year in Eastbourne (pop 90,000).

Eastbourne bandstand and concert

One last thought that I have raised before - a connection between bandstands and the Titanic. See a commemorative plaque at the rear of the original Eastbourne bandstand, in memory of a local  bands-man who was playing on the Titanic when it sank in April 1912. That plaque was transferred to the newer, 1935 bandstand.

Grand Hotel, Eastbourne

I hope you enjoy Eastbourne History Tour by Kevin Gordon, Amberley Publishing, 2019.

Captain Eric Ravilious, WW2 art

London-born Eric Ravilious (1903-42) spent his early years in Eastbourne E. Sussex and won a scholarship to attend the Eastbourne School of Art in 1919. Later he enrolled at Royal College of Art London where he studied under Paul Nash, a War Artist in WW1. Later Ravilious worked as a painter, book illustrator and Wedgwood pottery designer.

With war starting in 1939, he joined the Royal Observer Corps based in Castle Hedingham Essex. Ravilious was one of the first official War Artists to be appointed by War Artists Advisory Committee-WAAC in Dec 1939, and in 1940 as a Captain. Established by the Ministry of Information, WAAC was a government body commissioning artists to record WW2 events. From 1940-2, Ravilious produced dramatic water colours & drawings of ships, aircraft and coastal defences, 50 of them now in the Imperial War Museums/IWM. 

A warship in dock, 1940

In Feb 1940, Ravilious was posted to Chatham Dockyard Kent to document the naval barracks’ factories & buildings. In A Warship in Dock 1940, Ravilious showed the bow of a destroyer in a flooded dry dock, tied down with many ropes. A man on deck holds one of the ropes while three other men board the ship via a gang-way on the port side. Shown from ground level, the warship looks menacing with angular marine camouflage and intimidating colossal scale. In the background there were many structures eg a ship crane and a factory with a smoking chimney. Despite the scene’s calming water in the flooded dock and vivid blue of the sky overhead, they were preparing for a country at war.

After Germany invaded Norway in Ap 1940, seizing Oslo and the main ports, the Allied forces tried to counter-attack on land but were under-equipped and out-numbered. In May troop evacuation from the Narvik port, Operation Alphabet, was authorised. Aircraft carriers HMS Glorious and HMS Ark Royal left Scapa Flow in Scotland in late May to assist with the withdrawal, escorted by 5 destroyers.

Ravilious was aboard HMS Highlander where the carrier’s dazzling camouflage was mimicked in the sea under the Arctic light. RAF Hurricanes from 2 squadrons flew around, riskily preparing to land on the deck of HMS Glorious, evacuated from the Norwegian Air Station. Next day HMS Glorious returned to Scapa Flow but was attacked by German battleships and sunk. 1,500+ souls tragically died.

Coastal Defences, 1940

The artist travelled to E.Newhaven Sussex in late 1940, to paint coastal defences. The port was targeted in Operation Sea Lion, a planned invasion of Britain by German forces, and needed heavy fortific-ation. In this scene, he depicted the semi-circular curve of the Coastline Defences 1940 in dark greens and blues, colours repeated in the sea and sky. In contrast, the searchlight was stark white, cutting through the night sky looking for enemy aircraft. See a row of boats speeding out to sea at the centre of the scene, leaving a stream of white as they moved in the water. The constant threat to Newhaven from above and below was clear.

He showed the moment a 9.2” naval gun fired from Dover's front port, a portrayal of spectacle and awe. A group of 5 artillerymen were shown as ghost-like figures, compared to the luscious greens of the front landscape. Ravilious spent mid 1941 in Dover before moving to Dundee Scotland.

Ravilious arrived at the Royal Naval Air Station/RNAS in Dundee in autumn 1941 and was quickly interested in the Supermarine Walrus seaplane. In this scene, 3 Walrus aircraft were floating on the river outside the station’s sick bay. The artist showed the interior which was not overly comfortable; just for convalescence. But the blue and white bedding with anchor motif conveyed a sense of homeliness in this stark environment. During his time at the RNAS, the pilots allowed Ravilious to fly in the air craft. After he successfully transferred from the Admiralty to the RAF.

De-Icing Aircraft, 1942

In March 1942 Ravilious was based at RAF Clifton airfield in York. He enjoyed flying over the city, observing York Minster from above and spotting abbeys and ruins. In De-Icing Aircraft 1942, Ravilious showed the airfield under endless snow. Men were scraping the ice layers from the wing of a de Havilland Dragon Rapide, a twin-engine biplane used for training purposes. Each engine had a fitted cover, protecting against harsh temperatures. And see another plane’s tail also covered in ice & snow, waiting to be fixed by the crew.

5 Spitfires at Sawbridgeworth, 1942.

In Mar 1942, Eric Ravilious’ wife and fellow artist Tirzah Garwood developed serious health problems, returning towards home. He went to RAF Sawbridgeworth Airfield Herts which was relatively close to their family home. Despite his terrible living conditions, Ravilious enjoyed painting everyday life on the airfield in early 1942, including aircraft in flight, never using oil paints in the war. Ravilious depicted Five Spitfires at Sawbridgeworth, 1942 at the base, but Spitfires were not at the site then.

Operation Room, 1942

Operations Room 1942 was a key war painting, acquired by IWM decades later. The watercolour depicted the interior of the airfield’s mobile operations room. It is decorated with light yellows and blue-greens, synonymous with functional WW2 buildings. Relaxing colour palettes were selected to be easy for workers inside for long periods. Large windows enabled a panoramic view of the airfield and a sector clock hung on the wall helped track air craft movements. There was no human in The Operations Room but human activity was detected; pinned notices under the clock, writing pen and ink on one table, and a blue reference folder on the other. Interestingly while at Sawbridgeworth, Ravilious wrote to his wife Tirzah in May 1942 stating “the weather gets finer all the time but I’m bored of pictures of planes on the ground and want to go flying.”

Ravilious soon flew to Reykjavik, driving to the RAF Kaldadarnes Airfield in Sept. From there he & 4 airmen flew on a rescue mission in a Lockheed Hudson and were lost off the Icelandic coast. Because his body wasn’t recovered, he had no grave; instead he was honoured at Chatham Navel Memorial Kent (above). Ravilious was one of three War Artists who died when his plane crashed, at 39. 

Thank you to the Imperial War Museum for the artworks and to the BBC for history.

UK's C19th model village: Saltaire

Titus Salt (1803-76) was born near Leeds, educated in Wakefield and served an apprenticeship with a wool-stapler in Wakefield. He moved to Bradford in 1821 with his parents & siblings at 18. In his years in Bradford he worked with William Rouse & Son, learning textile manufacture.

Titus’s father, Daniel, founded a Bradford business as a wool-stapler. In 1824, Titus joined his dad’s business, Daniel Salt and Son, expanding with a spinning business in Thornton Rd in 1834. By then Bradford was a magnet for people seeking work or a business; the city experienced a 78% population growth in 30 years due to the raw-wool-cloth industry. Alas Bradford mills flooded untreated industrial waste. 

Mill, Tripadvisor

In 1835 Titus Salt established his own business. He’d already used Eastern European wool and had secretly experimented with alpaca wool. By 1837 he found that by using alpaca as the weft, and cotton as the warp, he could produce fairly priced, durable lustrous cloth. He was the first maker of the new cloth & greatly expanded his Bradford business.

But to escape the polluted, crowded Bradford slums for greener pastures, he decided to relocate his business and his employees. Local architects Henry Lockwood & Richard Mawson planned a new community where Salt’s work force would be healthier, happier and productive. Work began in 1851 and continued for decades. Salt planned for a wide range of public buildings and amenities, so work soon started on Saltaire’s industrial community. In Aug 1854 Lockwood & Mawson hired contractors in the local press to erect a large dining hall opposite the mill with offices & kitchen. The Dining Hall fed the mill’s workforce, who lived outside.

The vast efficient textile factory was the first building done. Moved by Bradford workers’ poor lives and his religion, Salt created an industrial town in rural surroundings, named from Salt and from the River Aire in the village.

Titus purchased land near Shipley and the Mill opened with fanfare Sept 1853, Salt’s 50th birthday. The mill took in raw materials, to scour, wash, comb, draw, spin and weave, design and finish them into high quality cloth. Its 3,000 workers could produce 30,000 yards of cloth daily.

Workers' cottages, Wiki

 
Then they designed the entire village in a classical style a la Italian Renaissance. The Salts Mill and the decent houses were built from 1851-71 to allow workers to live decently, locating a large textile mill near Leeds-Liverpool Canal & railway; thus his raw materials and finished goods could be easily moved. Salt planned his workers’ village with public buildings that looked impressive and well designed for purpose. Lockwood & Mawson planned a new community where Salt’s workforce would be healthier, happier & productive. Work began 1851, until 1876. A vast and modern textile factory, the Mill, was ready first - Lockwood & Mawson designed it all. The finest work was Congregational Church, set in a spacious landscaped garden. The new church was opened in Ap 1859, a precious Victorian gem. It boasts important architectural and historical features; now the United Reformed Church is set in landscaped gardens.

Congregational Church, and later United Reformed Church 

Real Yorkshire Blog

In 1886 Titus Salt Jr proposed an Arts Exhibition that could raise funds for a new building for Art-Science education & to honour dad. The Exhibition Building was completed in 1887. It housed 14 large class rooms, central hall and gallery:  Institute of Technology and now a site for Shipley College.

The Mausoleum built onto the church has Titus' remains. Although a committed Congregationalist, Titus was not restrictive about religious worship in his town. He didn't compel his workforce to attend a church. In Oct 1866, laying a stone for a new Wesleyan Chapel was celebrated. 

Factory School, opened 1868

now Shipley College Salts Building, x.com

The lofty hall gave space for the Factory School, church services, Sunday school, reading room & library. There was space for 500+ to attend social events, concerts, lectures on current issues & celebrations. The Factory Schools opened in 1868 on Victoria Rd, for 750 people. The classrooms had central heating, gas lighting and fitted cupboards.

Playgrounds behind the schools included covered areas for bad weather. Titus and his son Titus Jr were modern thinkers in establishing quality education, but the new school’s capacity was soon insufficient to meet children's needs. Space was made available for art and science education in the Saltaire Club and Institute opposite the schools.

Victoria Hall, Alarmy

Salt Schools on Victoria Rd, Institute and Victoria Hall were built by John Barry, opening 1871. The facilities were huge, containing a lecture hall seating 800, classrooms, 2 art rooms, chess rooms, laboratory, gym, library of 8,500 books, reading room and concert venue; their task was to provide a social club and an educational institute to supply the advantages of a public house without its evils. Its ornamental belltower is seen throughout the village. Titus was keen to see adults self-improving. Building the Factory Schools was followed by a grand project opposite the new school.

Salt Hospital, with hospital marker under top window

later converted to flats

2 storeyed Salt Hospital in Victoria Rd had an Infirmary and Dispensary, 6 beds and a surgery. As demand for its services grew, it began to provide treatment for the local community plus for mill workers, closing in 1979 to become flats.

The residential area covered 25+ acres, eventually consisting of 21 streets, 2 roads, 2 terraces & 4 places. 850 quality houses of varying sizes (2-7 bedrooms) were built in William Henry St, house occupancy dependant on ability to pay the graded rents. The houses ranged widely, all superior to working-class houses in nearby Bradford & Shipley. They had a proper drainage system; water & gas were supplied to each house, and each had a back yard and a private toilet. The streets were open-ended to let in sun and air. The shops included grocers, chemist, post office, butchers, hardware shops and retail facilities. Once complete, the village comprised 800+ high quality homes, two churches, school, park, adult education institute, hospital, baths, washhouse and 45 almshouses for the aged or infirmed, fronted by a peaceful trees and plants. Almhouse residents were selected by Salt in his lifetime and later by a board of trustees: these tenants lived rent free and received a weekly pension. 

Salt later improved conditions eg impressive Victoria Rd School site 1869. Rich outer architecture honoured educ-ation and the classes suited the 750 pupils. This big building was soon outgrown by Saltaire’s booming population. The Salt family lobbied for a new school and by 1878 it had been built. Not as charming, but big enough to cope with demand. This school is now part of Shipley College, Victoria Rd. Its Italianate richly carved architecture has columned loggias, round-topped windows, overhanging eaves, turret & school bell. The centre displays Salt’s coat of arms in a roundel surrounded by laurel leaves, scrolls and relief carvings. The school was for workers’ children, parks, boats and games. Leisure activities included a boys’ drum-&-fife band and brass band for village men. Titus Jr & wife strongly wanted education for the under-5s, leading to a separate pre-school.

With quality housing, employment, recreation, educational facilities and social services, the model town became an example of progressive C19th urban planning. The building was nearly done in 1871 when the census showed Saltaire had 755 houses and 45 alms houses, for 4,389 people.

Titus died in 1876 and was interred in the mausoleum beside the Congregational church. When his son Titus Salt Jr died in 1887, Saltaire was taken over by a partnership including Sir James Roberts from Haworth. Roberts had worked in wool mills since he was 11, had sizable business interests in Russia. Roberts came to own Saltaire, but chose to invest his money heavily in Russia, losing much money in the Russian Revolution. He endowed a chair of Russian at Leeds Uni and bought the Brontës' Haworth Parsonage for the nation. Roberts died in 1935 and was buried at Fairlight Sussex.

Saltaire Park, later Roberts Park

National Lottery Heritage Fund

Saltaire Park across the River Aire opened in C19th, designed and laid out by William Gay. The name changed in 1920 to Roberts Park when the second owner, Sir James Roberts, gifted the park to the local Council to honour his late son. The park, a key element of the model village, offered many leisure activities for the worker eg archery, croquet, cricket and pavilions. The northern portion has windy paths, landscaped gardens, pavilions, East Park lodge, promenade with shelters and Salt’s statue. And the original bandstand.

Saltaire retained ownership of the Mill until it was sold to Bradford Property Trust, 1933. The new owners arranged with Shipley Urban District Council for improvements eg new gas services, mains electricity, sewerage & sanitary services. It included a scheme to eliminate the waste-water toilets and the old type of coal store, and to erect new facilities, requiring the removal of 43 houses to open the village. In 2014 planning officers replaced front doors for historic ones.

Saltaire was selected for the World Heritage List in Dec 2001 and Europe’s Route of Industrial Heritage website as a fine example of a C19th model town demonstrating the social and economic impact of the textile industry. And it was recognised for its global influence on town planning. The model village’s buildings are individually listed with UNESCO, the highest honour going to Congregational church. UNESCO protects natural and cultural sites of global importance.

Salts Mill closed Feb 1986; Jonathan Silver bought it in 1987 to convert into a multi-functional site with an art gallery, cafes & technology company HQs. The art gallery had large rooms for Bradford-born artist David Hockney: paintings, drawings, photos, stagesets. Then book shops, art supplies, jewellery, sportswear, antiques, bicycles and housewares.

The Saltaire Collection in Shipley College has special books, documents, photos & historical objects. Note the research into residents/workers, the Salt & James Roberts families who built and sustained Salts Mill; photos & documents related to working in the mill and living in the village; legal and business documents; personal memoirs; maps; and crockery for Royal visits. The History Club has great lectures.

Saltaire, on the map of England

Credit: Salt & Light

In 2003 Saltaire Festival celebrated the city’s 150th anniversary, now held in Sept; Saltaire Arts Trail is a visual arts festival held in May. Credit to City of Bradford.