Walking Through Mayfairby guest blogger Diane Farr

I began writing Regencies long before the advent of Google Earth. It seems almost quaint, now, to think of relying on paper maps to get a sense of setting, but that’s what we used to do. I was thrilled to discover Darton's New Plan Of The Cities Of London, & Westminster, & Borough Of Southwark, 1817 online when I began writing my first book, The Nobody, and spent countless hours poring over it. The Nobody was set in the spring of 1818 so this, of all maps, was pure gold.

Of course, one of the reasons why it took countless hours to study the map was that I had a dial-up connection to the internet. Each view of http://archivemaps.com/darton1817/darton.htm took between six and ten minutes to load. But it was well worth it, and I waited patiently as each fragment of street slowly materialized on my screen, spellbound as Regency London spread itself before my fascinated gaze.

Based on the meticulous drawings I perused, I set my country-bred heroine’s aunt in Half Moon Street (easy walk to Green Park!); sent her, while visiting said aunt, to a party in Audley Square; tempted her to ignore the conventions, bolt out of the party and walk home down Curzon Street; and taught her a lesson by having her rudely accosted somewhere near the corner of Curzon and Queen Streets.

Curzon Street

I visited Mayfair in my imagination so frequently that I knew it by heart—or thought I did. But I was unprepared for the emotions that hit me in London, after The Nobody was published, when I sought out Curzon Street and viewed the, er, scene of the crime. I imagine I felt very much like C.S. Lewis would have felt, strolling through Cair Paravel. Or L. Frank Baum, vacationing in Oz. Here I stood, in a place I had invented – a place inhabited by my own fictional characters – and its pavement was just as firm beneath my feet as the sidewalks of Sacramento. With stars in my eyes and a camera in my hand, I dragged my unfortunate family (on foot) all over Mayfair. The sensation was indescribable. I was exploring a place every bit as fictional, to me, as Narnia or Neverland. And every bit as beloved.

Boodle's

Which turned out to be a good thing, because nothing was labeled. I eagerly sought out the gentlemen’s clubs I had visited in so many books, and was astonished—and then delighted—when they proved difficult to pin down. My American eyes expected to see signs above the doors or hanging from posts saying, for example, WHITE’S or BOODLE’S. But apparently, if you are White’s or Boodle’s, you feel that signage would be superfluous. The haughty attitude was obvious, and really quite perfect: “If you are a member, you know where we are. If you aren’t a member, our location is not your concern.”

White's

I feel very fortunate to have had a chance to tramp through Mayfair. Much has changed, naturally, but the bones of the Regency are still visible beneath its 21st century skin.

Diane Farr is an award-winning author of traditional Regency romances and Regency-set historicals. Her latest venture is something different: Wicked Cool, a fast, fun read suitable for teens--and everyone else, she hopes. You can join her on Facebook at www.facebook.com/dianefarrpage or follow her on Twitter at @DianeFarr.

The Summer Art Exhibitions of 1811from The Literary Panorama & Annual Register

In July of 1811, as during the other summers of the Regency, was notable for art exhibitions. The Royal Academy, the British Institution, the Society of Painters in Water Colours, and the Associated Painters in Water Colours all held their individual shows. And the critics were out in force.

Posterity and the intervening two hundred years have determined which of the painters of the Regency are now considered great artists. But the opinions of the time are fascinating, and no less pointed than are today's critical remarks.

The Summer View - Royal Academy - 1800

The Royal Academy's exhibition is notable, according to The Literary Panorama, for having removed 'for sale' notations from the catalogue of the exhibit. It is feared the artists will suffer because of it. Chief among the artists discussed by The Literary Panorama is Benajamin West. He exhibited at least four pictures in the exhibition, and was too well known and admired to be seriously criticized. Nevertheless the reviewer does comment acidly:

- on West's Christ Healing the Sick in the Temple "Why must he [West] adopt the nonsensical, traditionary colours of Christ's dress; always red and blue?"

- on West's Death of Lord Nelson "We should also have recommended a more careful portrait of his Lordship's person. He will now be thought by posterity a taller man than he really was."

Benjamin West 'Death of Lord Nelson'

Of another famous artist, the reviewer tartly states "Mr. Fuseli continues to amuse himself with Ghosts and Spectres."

Henry Fuseli - Allegory of Vanity

Of the landscapes exhibited, the writers comments "...they may be very correct as to resemblance; but not all of them are excellent as pictures." The Portraits he dismisses with "...we have seen a better shew[sic] of heads..."

The British Institution 

The critic views the exhibition at the British Institution more favourably, and he wonders if the pictures are more select because of the absence of portraits. Nevertheless, his comments are stringent.

- "Hilton's Entombing of Christ, has the fault of resembling the compositions of the old Italian masters: his Christ also, is rather fifty than thirty years of age..."

- "Hall's Haemon and Antigone, is a good attempt...but why dabble the lights about, like scattered grapes..."

The Society of Painters in Water Colours held their exhibition at Spring Gardens in 1811, and our critic was there also. He says "we passed our time so pleasant in this assemblage, as to forget the hour of the day and the calls of appetite". Nevertheless he is trenchant when necessary:

- "Mr. Heaphy might chuse[sic]better subjects."

Left is Lord Palmerston (1802) by Thomas Heaphy
One of his better subjects?

The Associated Painters in Water Colours exhibited in Bond Street that year, and though our critic enjoyed the landscapes presented, he was less than complimentary about the other works presented.

"If any proof were necessary of the difficulty of managing figures, especially naked, and classical or poetical figures, in water colours, we should appeal to the judgment of any practised eye on performances in this exhibition..."

The art critic from The Literary Panorama had, it seems, a wonderful July in 1811. He left a fascinating legacy in his column in the journal; I wish we knew his name...

Next week, Diane Farr will be visiting to talk about her walk through Mayfair, and her love of Regency London. Diane is an award-winning author of traditional Regency romances and Regency-set historicals. You can join her on Facebook at www.facebook.com/dianefarrpage or follow her on Twitter at @DianeFarr.


'Til next time,

Lesley-Anne