Painting the Picture – Art of Feminism

 

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Just over a week ago, I was invited to take part in a panel discussion at one of the Tate Britain’s ‘Tate Lates’ evenings.  Tate Publishing have recently brought out in the UK a new title surveying feminist art called, ‘Art of Feminism’ of which I had been one of the contributing writers, putting together the first section covering women’s art broadly from the mid-19th to the mid-20th century.  About a third of the images for the section came from our archives here at the library.  The discussion at this particular Friday late, focused on women artists, past, present and future, and I spoke alongside Sofia Karamani, curator of the Tate Britain’s ‘Sixty Years’ annual exhibition which this year focused on work by women artists in the Tate’s collection.  Also involved were researcher and curator, Helena Reckitt who teaches at Goldsmith’s.  Helena had been consultant editor on the book and chaired the panel, which also included artists, Michelle Williams Gamaker and Tamara Al-Mashouk.  It proved a thought-provoking discussion on the past challenges and present issues still facing women artists in the 21st century.  My job, as the writer of the first part of ‘Art of Feminism’ was to look at the past, set the scene, and map out the obstacles facing women artists a century before a defined feminist movement emerged.  Packing a century of art into 25,000 words and around 75 pages proved difficult, and inevitably it was impossible to include everything I wanted to, but I hope my section presents a balanced and thoughtful overview on the female experience of the art world during this time.

A life class at the Slade Date: 1881
A life class at the Slade Date: 1881

Over four chapters, I cover women artists and photographers during world conflicts, who overcame marginalisation and prejudice to record their, often unique, view of war.  I wrote about the inter-war period with its explosion of experimental art movements and the rise of the modern woman, some of whom achieved economic agency and independence through their art.  And of course, there is a chapter devoted to the art of the suffrage campaign, a political movement which harnessed art and design – mainly by women – to create a distinctive brand and visual identity, still exuding a powerful pull a century since it was conceived.  Forming the foundations of the section, I try to convey the struggle women artists faced in the nineteenth century, and the obstacles they had to overcome to achieve parity with men.  It is not only about WHAT they painted, but also how they managed to become artists at all.

Engraving after the painting by Emily Mary Osborn, which was exhibited at the Royal Academy in 1857 and subsequently at the 1862 International Exhibition. A young woman, recently bereaved, visits an art dealer in order to sell a painting. The picture conveyed the isolation felt by women artists at the time in the male-dominated world of art. Date: 1862
Engraving after the painting by Emily Mary Osborn, which was exhibited at the Royal Academy in 1857 and subsequently at the 1862 International Exhibition. A young woman, recently bereaved, visits an art dealer in order to sell a painting. The picture conveyed the isolation felt by women artists at the time in the male-dominated world of art. Date: 1862

As part of the discussion, I chose to show, ‘Nameless & Friendless’ by Emily Mary Osborn, a painting exhibited at the Royal Academy in 1857, and on display at the Tate Britain (in the 1840 room if you’d like to go and see it  https://www.tate.org.uk/art/artists/emily-mary-osborn-12441), which speaks very eloquently about the isolation of women artists in a male-dominated world.  Our version shows  an engraving of the painting which appeared in The Illustrated London News in July 1862, at the time the picture was on display at the International Exhibition.  In many ways, the painting follows a traditional Victorian narrative tradition, and mines the rather bleak but popular themes of poverty and destitution.  The central figure of the painting is a young woman who brings in a painting to sell to an art dealer.  Her black dress suggests she has been recently bereaved, and the little boy at her side is most likely a younger brother, for whom she is now responsible.  Consequently, the painting she brings to be assessed, is a device that seems to embody her future, making for a nerve-wracking scene.  What Emily Mary Osborn is very good at is making us, the viewer, feel as uncomfortable as the subject herself.  Here she is, entering a male domain, one in which she, inexperienced, nervous, grieving, has to attempt an economic transaction.  As well as the disdainful look of the art dealer, who isn’t going to give her nearly as much as she’d hope for the picture, there is the pity of his assistant looking down on them from the vantage point of a ladder.  Worse still, a couple of wolfish city swells, lounge around looking at prints of dancers with their shapely legs; they appraise the modest looking young women and we can imagine what they are thinking.  Her only potential ally, another woman, accompanied by her son, is already bustling out of the shop, making her isolated position seem even more acute.   It shows us that the art world is not a kind or encouraging place for a woman to be.  It’s somewhere where she must find her own way.

A still life class at the Slade School of Fine Art, University College, London Date: 1881
A still life class at the Slade School of Fine Art, University College, London Date: 1881

In the nineteenth century, there was a dichotomy when it came to women and art.  It’s not that women didn’t paint.  In fact, middle and upper class women were positively encouraged to do so.  Art was an accomplishment that a young lady should take pains to develop.  Godey’s Lady’s Book, with a circulation of 150,000 in the United States during the 1860s and 1870s, featured “A Course of Lessons on Drawing,” though more pages focused on needlework and decorative art for the household.  British writer, Sarah Stickney Ellis addressed the subject of art and its benefits to young women in Daughters of England, (a copy of which we have in the library alongside Godey’s), one of four popular advice manuals she authored. “Amongst these advantages” she wrote of drawing “I will begin with the least – it is quiet.  It disturbs no one; for however defective the performance may be, it does not necessarily, like music, jar upon the sense.  It is true, it may when seen offend the practised eye; but we can always draw in private, and keep our productions to ourselves.”  Stickney’s suggestion that art could be carried out by women quietly, and without disturbing anyone, speaks volumes about the idea that any learning or cultivation of talents should be exercised purely within the framework of family obligations.  But, to turn a benign hobby into a successful career?  To exhibit and sell pictures?  To BE a professional artist?  That’s where the encouragement stopped and the barriers went up.  There was an implicit & collective belief that woman’s designated role was to be the ‘angel of the home’.  An unmarried woman’s ambition was to marry, and then, once married, her prime focus was to raise a family in a good & Christian way.

A life class for female art students, Paris. Date: 1894
A life class for female art students, Paris. Date: 1894

If women wanted an art education in the 1800s, they had to fight for it.  Some were lucky, like Emily Mary Osborn, who had a progressive family who encouraged her to become an artist. She had a strong support network, not only familial, but she was a central figure in female networks including the Society for Women Artists, which formed in 1857.  She was also involved in the early suffrage movement (it is notable, though perhaps unsurprising, that a number of women artists were also suffrage supporters), but other women would not have the same advantages.

The Art Class. Sullivan, Edmund Joseph 1869 - 1933. Date:
The Art Class. Sullivan, Edmund Joseph 1869 – 1933. Date:

Two art schools opened for women in London in the 1840s – the Female School of Art, and the National Art Training School.  Both emphasised training in the applied arts for manufacturing and industry.  While this suited many women, for those who wished to become ‘fine’ artists, opportunities were scarce.  Central to an art education was the study of the human form in life classes.  And in most cases, women were denied access to a life class with a nude model in the interests of propriety.  The Royal Academy, the hub of the art establishment, would not admit women to their school, despite two women, Mary Moser and Angelica Kaufmann being among its founding members in the eighteenth century.  In 1860, artist Laura Herford submitted a picture signed only with her initials, which was judged of sufficient standard to gain admittance for its artist.  When her identity was revealed, the Academy could find no rules to prevent her entering the school.  To say Herford opened the floodgates for women at the Royal Academy would be to exaggerate.  The RA remained reluctant for several decades and did little to encourage women students, some years putting a stop to their entry altogether.  Not until 1922, did they admit a female associate member (Laura Swynnerton) and finally, in 1936, Laura Knight became its first woman Academician since the institution’s founding.  The opening of the Slade School of art in 1871 was to mark a watershed moment, in that men and women both attended. It offered a serious alternative to the Royal Academy school as part of a liberal arts university, and could count Kate Greenaway, Evelyn de Morgan, Gwen John and Winifred Knights among its female alumni.  Life classes however, remained segregated and for women attending the nude model was not actually nude but draped.  Some women art students, in both Paris and London, felt so frustrated at the obstructions to this, they paid for their own anatomy classes, or life classes where the model was undraped.  It goes without saying that privilege also played a part in women gaining access to an art education.  In the latter part of the 19th century, hoards of American women art students travelled to Paris to seek training in artists’ ateliers, or at the Academie Julian, or Academie Colorossi, both of which opened up their studios to female students.  Clearly an art education was impossible for any woman without the means to fund it.

Art Studio - Queen's College, Harley Street. Ladies sketching a model, with the teacher alongside. Various classical busts surround the studio as inspiration and examples of the finest classical form and structure... Some of the women have chosen these to draw instead! Date: circa 1910s
Art Studio – Queen’s College, Harley Street. Ladies sketching a model, with the teacher alongside. Various classical busts surround the studio as inspiration and examples of the finest classical form and structure… Some of the women have chosen these to draw instead! Date: circa 1910s

As I picked my way through this century of women artists, what became very clear is that, in many ways, there was no such defining feature of ‘women’s art’.  The images I chose had to be as much about the experience of being a woman in the nineteenth and early twentieth century, as the feminist signals within their work.  On one of the first pages, an impressionist portrait of two sisters by Berthe Morisot, sits alongside the muscular dynamism of The Horse Fair by Rosa Bonheur.  Two women working at a similar time but with vastly differing styles.  After all, why should women artists be lumped together into a homogeonous mass, and produce only one ‘type’ or style of painting? Their work was as individual (and as good or bad) as male artists.    But if women wanted the freedom to paint what they wished but be taken seriously and perhaps forge a career, they had to have that training.

Six girls in art a high school art class drawing plaster casts of classical sculpture. 19th century art training immersed students in classical aesthetics. 1899.
Six girls in art a high school art class drawing plaster casts of classical sculpture. 19th century art training immersed students in classical aesthetics. 1899.

By the turn of the century, schools such as the Slade, and, in Paris, Academie Julian had far more female students than men, and the idea of the art student as female had become much more accepted.  Magazines in our archive such as The Sketch and Lady’s Realm (with a largely female readership) ran regular in-depth articles on various art schools and their specialities.   Women continued to fight to gain equality in the art world.  For instance, women students were charged 30 per cent more in fees than their male counterparts in some schools.  One of the reasons for this argued the Academie Colorossi was because women insisted the place was clean and the floors were swept!  At the Academie Julian however, the weekly art competition, where paintings were submitted anonymously, were frequently won by woman.  Interviewed in The Sketch in 1893, Rodolphe Julian, founder of the school, praised his female students as hard working and diligent.  He added, in a comment that would have been considered radical a few decades earlier, “People often say that, with only one or two exceptions, no woman has made a great name in art; but they were given none of the opportunities which each artist claimed as his right.”

The women's class in an art school in Schwabing while Nude drawing, probably in the women's academy in Barer Street 21.
The women’s class in an art school in Schwabing while Nude drawing, probably in the women’s academy in Barer Street 21.

By the Second World War, a quarter of artists commissioned by the War Artists’ Advisory Committee were women.  This was some sort of progress, but nowhere near equality, especially as most were paid less and given fewer commissions.  Only one woman – Evelyn Dunbar – was salaried.

A class of female students at the London County School of Sculpture modelling clay busts based on live models. Date: 1930s
A class of female students at the London County School of Sculpture modelling clay busts based on live models. Date: 1930s

So where are we now?  The evening’s discussion was rounded off listening to the experiences of Tamara and Michelle, both of whom still encountered issues when creating their work, whether related to funding, or finding that, as women artists of colour, they were often limited by perceptions of identity, and offered fewer opportunities to exhibit.  Afterwards, I wondered what the women artists of a century and a half ago would have thought about those of today.  Would they view them as lucky with opportunities and freedoms they could only have dreamt of?  Would they be in awe that in the last decade, women Turner Prize winners have outnumbered men.  Or would they still feel frustration that male artists still vastly outnumber female artists in almost every gallery around the world?  The women who broke convention to seek an art education, and who painted pictures that proved they were the equal of male artists, were an integral part of the history of the women’s rights movement, and laid strong foundations for future generations of female artists.  It was a fascinating and illuminating experience to be able to tell their story.

A sculpture student works on a clay model on a tripod, while a nude model poses for her, at the Central School of Art and Design (now Central St Martins College of Art and Design), London. Date: 1957
A sculpture student works on a clay model on a tripod, while a nude model poses for her, at the Central School of Art and Design (now Central St Martins College of Art and Design), London. Date: 1957

© Lucinda Gosling

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‘The Art of Feminism’ is published by Tate Publishing, edited by Helen Reckitt, and written by Lucinda Gosling, Amy Tobin and Hilary Robinson.

Students at the Painting School, Pelham Street, nr. South Kensington Station, London. Principals: A. S. Cope, A.R.A and J. Watson Nicol. Date: 1910
Students at the Painting School, Pelham Street, nr. South Kensington Station, London. Principals: A. S. Cope, A.R.A and J. Watson Nicol. Date: 1910

Land Girls and Lumber Jills

In a year commemorating not only the centenary of women’s enfranchisement, but also the end of the First World War, the achievements of women in wartime deserves recognition, not least the efforts of the women who worked on the land through two world wars. A decade ago, in January 2008, it was announced that former members of the Women’s Land Army (WLA) and Women’s Timber Corps (WTC) were to be awarded a medal commemorating their vital contribution to the war effort during two World Wars. The badge, bearing the Royal Crown and showing a gold wheat sheaf on a white background was surrounded by a circlet of pine branches and pine cones to indicate the work of both the ‘Land Girls’ and the ‘Lumber Jills’. It was long overdue (sixty years overdue, sniffed the Daily Mail at the time), but it was, at last, official recognition for a cohort of women who had thrown their backs, and their hearts into providing the nation with food and timber during World War II.

Land Girl, Pauline Bell, who used to be a Civil Service clerk, working with plough horses on a farm during World War II

By early 1917, and with an estimated three weeks’ food supply left in the country, it was clear that drastic action was needed. Ronald Protheroe, President of the Board of Agriculture engaged the services of (Dame) Meriel Talbot, a leading light of the Women’s Farm and Garden Association, who became director of the first Women’s Land Army. She set about immediately implementing an intensive recruitment drive.

Women's Land Army WW1. Somewhat idealised portrait of a Land Girl in hat and smock. Pitchfork over her shoulder. Captioned, 'National Service' 'Sunshine on the Land'     Date: Circe 1917

Through both World Wars, the WLA struggled with an image problem.  Other, comparatively more glamorous women’s services such as the Women’s Air Force (WAAF) or the Women’s Royal Naval Services (WRNS) were formed around the same time and offered not only more conducive working hours but an elegant uniform in comparison to the smock and breeches ensemble worn by land girls. Munitions workers of course, earned far more. Farm work meant long hours, physical toil and low wages. Furthermore, many land girls who arrived at farms full of optimism and enthusiasm, found their male employers sceptical about their abilities. The recruiters appealed to the patriotism of the nation’s women, and peppered that with promises of a healthy, wholesome rural idyll. Prime Minister David Lloyd George, quoted in The Landswoman (a magazine launched in January 1918 expressly for WLA members), added his voice to the appeal in June 1918; “…the harvest is in danger…once again therefore…I appeal to women to come forward and help. They have never failed this country yet.” A Times article, reporting on a the 130 land girls who visited London and then Buckingham Palace for a recruitment campaign in March of that year commented enthusiastically on, “the health and happiness, clear skins and bright eyes” of the land girls.

A member of the Women's Auxilary Agricultural Service (Land Army) in hat, smock, shirt, tie and sturdy brogues. Her armband bears the emblem of the crown.     Date: circa 1916

The Women’s Land Army of the Great War, which had recruited approximately 23,000 women to its ranks, was disbanded in 1919 but within twenty years, it would be needed again. Having proved to many doubters in 1918 that women were more than capable of physically taxing work in the fields and forests, the next generation of land girls found themselves facing similar prejudices.

The new WLA reformed in 1939, with Lady Gertrude Denman at its head. Its headquarters were based at her own magnificent country home, Balcombe Park in Sussex where the bedrooms were turned into offices and the stables and squash court transformed into warehouses for storing the thousands of uniforms to be issued to recruits. From here, the Land Girl, a monthly magazine under the editorship of birth control pioneer, Margaret Pyke was produced reaching a circulation of 21,000. Lady Denman was a tireless representative of the WLA. She toured the country, making personal visits to county and regional officers as well as speaking to land girls themselves and was firmly committed to raising the profile and improving conditions for the women under her wing. In 1941, she approached Buckingham Palace to invite Queen Elizabeth to become the WLA patron. The Queen accepted and from then on, took an active interest in the Land Army, attending reviews, subscribing to the WLA Benevolent Fund and throwing an anniversary party for over 300 land girls at Buckingham Palace in 1943.

The WLA’s recruiting slogan was, ‘For a healthy, happy job, join the Women’s Land Army’. Its most famous poster depicted a glowing young woman, pitchfork poised, in WLA uniform surveying with a satisfied gaze, a large, sun-kissed field stretching out to the horizon. For some, it was an alluring prospect. Indeed, in the months leading up to WWII, when the WLA was already beginning to recruit as the storm clouds of war gathered, the fortnight of training given to Land Girls was regularly described as akin to a holiday. The Hastings Observer, writing in July 1939, suggested, “Land Army work is something which girls and women of all types and ages will find interesting and health-giving…The period of training is only a fortnight, and those who would find a country holiday attractive and are prepared to pay £1 for their board should find the training period as enjoyable as it is instructive.”

World War Two, 1940s, Women's Land Army, tractor, horse, harness, girl on dungarees, fields, village. .     Date:

The bucolic idyll promoted by posters and newspaper editorial rarely lived up to expectations. For most girls, some of whom came from cities and were entirely unused to country life let alone physical work, the reality involved endless weeks of strenuous, back-breaking effort. Jobs could be by turns filthy, dangerous, repetitive, or all three. Nevertheless, by 1943, over 80,000 women had gamely turned their hand to baling, ploughing, weeding, ditching, chaffing, milking, mucking out, plucking chickens, picking potatoes, cutting sugar beet and even rat-catching! One former land girl, Dorothy Wheeler, sent to work on farms in North Wales, recalled the field work she was faced with on her very first day – sorting through clamps of potatoes, separating them into one heap for pigs and another for humans. “Oh, it was horrible sometimes, like custard.” Another girl, Hilda Billings from Salford left her job in the Rennies indigestion tablet factory to join the land army and described her typical working week in the Shropshire countryside as, “getting up to bring in the cows at six, washing their udders with icy-cold water, drying and then milking them. Then breakfast and lots of other work until six. Haymaking time, you’d go back after tea and work till it went really dark.” For a forty-eight hour working week, payment was the underwhelming sum of £1 2 s. 6d., and was considerably lower for girls under the age of eighteen. Promotion to a supervisor was, at least, a chance to improve earning power.

Land Girls working as milkmaids milking cows on a farm in Tooting during World War II. Miss Ivy Baldwin (on the left) was a mulitple shop worker).

Members of the Women’s Timber Corps found themselves in an even more masculine world than their land girl counterparts. With timber imports badly hit by submarine attacks on Allied ships, and the need for a specialisation in this kind of work, the WTA was set up as an offshoot of the WLA in March 1942.  Recruits, who had four weeks of training, earned more than land girls with the result that, at one point, women were volunteering at a rate of 250 per week. The Lumber Jills carried out an enormous range of forestry jobs from working in sawmills to labouring in forests, felling trees and lopping branches. They would also take on the heavy work of haulage and transportation. A key aspect of their job was acquisition work, where WTC members would walk for miles daily, assessing, measuring and selecting trees suitable for war production, whether as telegraph poles, as pit props or for wood that would be laid in front of tanks on beach landings.

Most girls were billeted either at farms, or often in hostels where facilities could be spartan, though the camaraderie of communal living was often preferred to the isolation of living alone with a family in a remote area. Nevertheless, home comforts were thin on the ground. Helen Collett, who worked in Buckinghamshire remembered coming back from the fields after a day knee deep in mud and having to share just four inches of bath water with six other girls. The familiar uniform issued to the Land Girls and Lumber Jills consisted of brown, corduroy breeches (an extra pair was allocated to WTC girls), fawn knee-length woollen socks, fawn Aertex shirt, green pullover and green tie. To top it off was a brown felt ‘slouch’ hat, worn at a jaunty angle by the more sassy girls to avoid looking overly quaint. The green beret that set the Lumberjills apart was infinitely more rakish. For many, this uniform was kept for ‘best’ and daily work was carried out in baggy, brown dungarees with a matching jacket.

Women War Work WW1 Land Army. Members of the Women's Land Army, Forestry Division or Timber Corps, also known as 'Lumber Jills'     Date: 1918

Despite the disadvantages of an unflattering uniform, the land girls still had their fair share of admirers. Those close to RAF or Army bases would cycle (sometimes bicycles were provided) to dances where they jitterbugged with GIs or British airmen. Some went on to marry the servicemen they met while in the WLA. They caught the eye of others too. Many prisoners of war were put to work in the fields and one land girl recalled that while the German POWs were surly yet hard workers, the Italians, unable to subdue their natural flirtatiousness, would spend more time whistling at girls or calling, ‘Bella, bella’.

Most of the Land Girls and Lumber Jills are now in their eighties but still remember their time with the Women’s Land Army fondly – “good years with good friends” as one put it. Peg Francis from Grimsby, speaking in 2010 explained the firm friendships forged out of a shared experience. “I was very young and had never been away from home. I was frightened of cows, but had no fear of hard work. The people I met during those four and half years were full of kindness and generosity and I’m still in touch with some of the girls now.”

Incredibly, it was not until 2000, that the Women’s Land Army was finally invited to march past the Cenotaph on Remembrance Sunday – in honour of the work they did for their country. Since then, a memorial sculpture to the WTC was unveiled in the Queen Elizabeth Forest Park near Aberfoyle in Stirling in October 2007, a fitting tribute to the so-called ‘Forgotten Corps’. In 2014, finally, after a fundraising campaign, a memorial to the Women’s Land Army was unveiled by the Countess of Wessex at the National Memorial Arboretum in Staffordshire. The figures, by sculptor Denise Dutton, were inspired by those in one of the original WLA recruitment posters. As the original Land Girls become fewer in number, the focus on women’s contribution to the past becomes magnified, and it seems that finally, their voices are beginning to be heard.

The Story of Empire Day

In 1890, Reginald Brabazon, 12th Earl of Meath, was invited by a clergyman acquaintance to address the young men of his congregation. The boys had been lured by the promise of “a half-crown spread for a penny” and the vicar was anxious to find a speaker who might be interesting enough to hold their attention. In an age before the phenomenon of the teenager was recognised, he was having trouble connecting with his youthful audience. After tea and cakes, the Earl decided he would entertain them with tales he had himself enjoyed, of the men who had been awarded the Victoria Cross during the Indian Mutiny. His choice of subject was spot on; the boys were enthralled but it soon became clear that, not only had they never heard about the Indian Mutiny, but nor did they know anything about India.

Meath, Empire map

Lord Meath was appalled. After enquiring with the local schoolmaster he discovered that most pupils’ knowledge of history did not extend beyond Henry VIII.  How, he queried, “could one expect to make patriotic citizens of boys whose knowledge of the Empire stopped four centuries and more before their own time? They knew nothing of Great Britain’s relations with India, with America, or the later swelling Imperial note which resounded through the world, to make Britain not only the greatest political fact but the greatest political fact in the farthest-flung Empire the world has ever seen.”

Meath, an ardent Imperialist wanted the nation’s youth to share his enthusiasm, and, after discovering the situation was similar around the country, made it his personal crusade to educate and disseminate the idea of Empire to a rising generation. Setting up an office in his home, funding his campaign with an annual budget of £5000 provided by his wealthy wife and working with two secretaries, he set to work, lobbying high profile M.Ps. By 1896, he was proposing an Empire Day, first adopted by the province of Ontario the following year.

Meath suggested May 24th, the birthday of Queen Victoria, as the most suitable day to celebrate. It would be a public holiday for all school children around Britain, “with the exception of a couple of hours in the morning, to be spent in exercises of a patriotic and agreeable nature and in listening to lectures and recitations on subjects of an Imperial nature.”

Sphere, Daily Graphic, Wonder Book of Empire

Sir Philip Game during his speech in the Martin Place in Sydney at the celebration of the Empire Day of Combined Patriotic Societies of N.S.W. Next to him in vestment, the Lord Mayor of Sydney, left in the background, the main post office building. Above the people there is a banner with the words 'Empire Day Demonstration'.

The official adoption of Empire Day around the world was gradual. In 1905, Australia recognised the May 24th celebration. In 1916, when Britain was in the tightest grip of war and a reinforcement of national patriotism was called for, King George V officially sanctioned the observance of Empire Day by ordering the Union Jack to be flown from public buildings on that day. Lord Meath however had been encouraging it far longer, though not everyone was as enthused about the idea as he was.  An opinion piece in The Bystander from 1913 had a cynical tone: “Empire Day is over and thousands of little Englanders have once more been reminded there is such an institution as the British Empire. Presumably it is with a view to blaring this fact into their ears that the excellent Lord Meath keeps the celebration so noisily going.” In 1922, the Government of India also officially adopted Empire Day though again, it had been celebrated in that country since 1907.

kneeling with flag, celebrationsOnce established in the mother country, Empire Day was a major event. In 1928, The Sphere magazine reported that 5,000,000 children took part, and in Hyde Park, 100,000 attended a celebration in Hyde Park where they were led in patriotic singing by Dame Clara Butt and the massed marching bands of the Guards played “appropriate songs”. Children in towns and villages around the country would enjoy their day off school, many dressing up in costume, sometimes to take part in a pageant of British history. Invariably, among the fancy dress costumes, there would always be at least one Britannia.

certificate, massed choir

fancy dress, buy empire

Through our eyes, looking back to over a hundred years ago, with the British Empire a dim and distant memory even for the older generation, Empire Day, with its meetings, songs and lectures sit uncomfortably with our current views and concerns over our Imperialist past and the growth of nationalism in the post-Brexit era. Subliminal brainwashing and patriotic jingoism? Or a celebration of the bonds between nations in an Empire where the sun never set? Lord Meath certainly believed it was the latter, and the movement’s motto; “Responsibility. Duty. Sympathy. Self-Sacrifice” indicated there were worthy motives behind the pomp and pageantry of Empire Day. Lord Meath died in October 1929, long before the Second World War and the final dismantling of the Empire he had done so much to promote. In its place, the Commonwealth, founded in 1949 and with King George VI, and now our present Queen as Head. With its programme of initiatives to promote peace, development and justice, the Commonwealth, currently with 53 member states, is a force for good. Commonwealth Day is held in the second week of March, and is therefore further disconnected from the Empire Day in which it is rooted. Nevertheless, pride and participation in the concept of Empire was an integral part of being British in the first half of the twentieth century and on this day a century ago, children across the world would have been looking forward to a day off school.

 

 

 

 

Top Ten Royal Wedding Dresses

What do the names Reville & Rossiter, Handley Seymour, Molyneux and Maureen Baker all have in common?  It’s a quiz question that might stump the most ardent of royal enthusiasts, but add a couple more names – Norman Hartnell, David & Elizabeth Emmanuel or Sarah Burton at Alexander McQueen – and the penny might drop.  They have all had the honour of designing a royal wedding dress and, in some cases, such as Reville and Hartnell, they have answered the royal call more than once.  The name of the designer of Meghan Markle’s wedding dress for her marriage to Prince Harry this coming Saturday remains very firmly under wraps though a shortlist of possible candidates has been drawn up to include the Australian-born but London-based duo Ralph & Russo (designers of the gown Meghan wore for her engagement photos), to stalwarts of British fashion, Stella McCartney or Dame Vivienne Westwood.

All will be revealed on Saturday, but in the meantime, here is our top ten royal wedding dresses from history:

  1. Lady Pamela Mountbatten in Worth, 1960.  Not strictly royal, but not far off, the younger daughter of Earl Mountbatten married David Hicks in a snow storm, the ideal backdrop for her fur-trimmed show-stopping satin gown by Worth.
Lady Pamela Mountbatten, younger daughter of Earl Mountbatten, pictured in her superb wedding dress designed by Worth, for her marriage to interior designer, David Hicks at Romsey Abbey, Hampshire in January 1960. Date: 1960
Lady Pamela Mountbatten, younger daughter of Earl Mountbatten, pictured in her superb wedding dress designed by Worth, for her marriage to interior designer, David Hicks at Romsey Abbey, Hampshire in January 1960. Date: 1960
  1. Princess Elizabeth (Queen Elizabeth II), Norman Hartnell, 1947.  Britain was still in the grip of rationing, but Hartnell’s design, embellished with seed pearls & symbolism, lifted spirits.  James Laver of the V&A declared, “The occasion demanded a poet, and Mr Hartnell has not failed to string his lyre and to ring in tune.”
Group photograph following the wedding of Princess Elizabeth and Prince Philip, Duke of Edinburgh showing the newlyweds with their best man, bridesmaids and page boys. Date: 1947
Group photograph following the wedding of Princess Elizabeth and Prince Philip, Duke of Edinburgh showing the newlyweds with their best man, bridesmaids and page boys. Date: 1947
  1. Princess Alexandra in Mrs James, 1863.  Arriving in England with a gift of fine Brussels lace, the Danish princess was firmly steered towards a gown of English silk and Honiton lace.  The future Queen Alexandra would in time become a style icon, but as a fresh-faced fashion ingénue, she looked perfectly ravishing in this frothy crinoline confection.
The Wedding' Bride in white with six bridesmaids, Groom in blue military costume, two Beefeaters (Yeomen Warders) standing guard
The Wedding’ Bride in white with six bridesmaids, Groom in blue military costume, two Beefeaters (Yeomen Warders) standing guard
  1. Edwina Mountbatten in Reville, 1922  Ticking all the 1920s boxes, Edwina wore the era well.  With those mitten sleeves and the minimal bouquet of lilies, this society girl injected more than a dash of chic into royal weddings.
Lord Louis Mountbatten and Edwina Ashley after their wedding in the church of St. Margaret's in Westminster, pass through the wedding trellis. Date: 1922
Lord Louis Mountbatten and Edwina Ashley after their wedding in the church of St. Margaret’s in Westminster, pass through the wedding trellis. Date: 1922
  1. Princess Anne in Maureen Baker.  Magnificent modesty with a cool 1970s vibe, Princess Anne’s dress, with its high neck and trumpet sleeves echoed the medieval splendour of Westminster Abbey, but its modernity allowed her to shine.
Princess Anne, the Princess Royal seen smiling and waving from the balcony of Buckingham Palace following her marriage to Captain Mark Phillips at Westminster Abbey on 14 November 1973. Prince Edward, now the Duke of Wessex, who served as a pageboy can be seen beside the couple. Date: 1973
Princess Anne, the Princess Royal seen smiling and waving from the balcony of Buckingham Palace following her marriage to Captain Mark Phillips at Westminster Abbey on 14 November 1973. Prince Edward, now the Duke of Wessex, who served as a pageboy can be seen beside the couple. Date: 1973
  1. Lady Diana Spencer in Emmanuel, 1981.  Some say meringue, some say romance, everyone says creased, but “Shy Di’s” gown was the fairytale dream every girl wanted.  Shelve your fashion prejudices for a moment: you’ve got to admit that this was an iconic – and unforgettable – dress.
A photograph of Lady Diana Spencer arriving at St Paul's Cathedral in the City of London for her marriage to Prince Charles, Prince of Wales. Her dress and train, designed by David and Elizabeth Emmanuel is being arranged by her bridesmaids. Crowds of 60000 people lined the streets of London to watch the ceremony on 29th July 1981. Date: 29th July 1981
A photograph of Lady Diana Spencer arriving at St Paul’s Cathedral in the City of London for her marriage to Prince Charles, Prince of Wales. Her dress and train, designed by David and Elizabeth Emmanuel is being arranged by her bridesmaids. Crowds of 60000 people lined the streets of London to watch the ceremony on 29th July 1981. Date: 29th July 1981
  1. Catherine Middleton (Duchess of Cambridge) in Sarah Burton for Alexander McQueen, 2011. Sarah Burton’s take on the precision engineering of the house of McQueen saw it meld effortlessly with the bride’s taste and style: a self-assured, graceful, feminine statement.
Princess Catherine Middleton and Prince William after their wedding ceremony on the balcony of Buckingham Palace with bridesmaids Grace van Cutsem and Margarita Armstrong-Jones, page boys William Lowther-Pinkerton and Tom Pettifer, Queen Elizabeth II, Prince Philip, Pippa Middleton and Prince Harry. Date: 2011
Princess Catherine Middleton and Prince William after their wedding ceremony on the balcony of Buckingham Palace with bridesmaids Grace van Cutsem and Margarita Armstrong-Jones, page boys William Lowther-Pinkerton and Tom Pettifer, Queen Elizabeth II, Prince Philip, Pippa Middleton and Prince Harry. Date: 2011
  1.  Princess Grace of Monaco in Helen Rose, 1956. A gift from her film studio, Grace Kelly’s exquisite, lace gown was a carefully structured and modestly feminine creation that showcased her cool, classic beauty.  A style classic, many saw echoes of Helen Rose’s design in the Duchess of Cambridge’s 2011 McQueen gown.
WEDDING IN MONACO, Grace Kelly, Prince Rainier, 1956 Date: 1956
WEDDING IN MONACO, Grace Kelly, Prince Rainier, 1956 Date: 1956
  1. Princess Marina (Duchess of Kent) in Molyneux, 1934.  A chic fashion icon, the Duchess of Kent did not put a sartorial foot wrong.  Molyneux could have dressed Marina in a bin bag and she’d looked stunning.  But she didn’t have to:  this dress was an elegant 1930s affair with a definite regal aura.
A photograph of the royal wedding between Prince George, Duke of Kent and Princess Marina of Greece. Date: 29th November 1934
A photograph of the royal wedding between Prince George, Duke of Kent and Princess Marina of Greece. Date: 29th November 1934

1.Princess Margaret in Norman Hartnell, 1960.  Breathtakingly simple, a strong silhouette, acres of fabric moulded into shapely discipline.  She’s truly the bridal belle of the ball.

The marriage of HRH The Princess Margaret (1930-2002) to Anthony Armstrong-Jones (1930-). The couple pictured on the balcony of Buckingham Palace acknowledging the cheering crowds after their wedding ceremony on 6th May 1960. Date: 1960
The marriage of HRH The Princess Margaret (1930-2002) to Anthony Armstrong-Jones (1930-). The couple pictured on the balcony of Buckingham Palace acknowledging the cheering crowds after their wedding ceremony on 6th May 1960. Date: 1960

Do you agree with our top ten?  Do let us know your opinions – and enjoy the royal wedding celebrations this weekend.

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Suffragettes on the Road to Democracy

In 1817 Jeremy Bentham, the utilitarian philosopher, argued that women should have the vote. It would be another 101 years before they got it. Increasing the number of male voters was controversial enough. In 1831, when the House of Lords rejected a reform bill, there were riots in British cities, buildings were set on fire, and the effigy of a bishop was burnt in a Huddersfield street, before the First Reform Act was passed the following year resulting in a very small increase to the male franchise.

In Bristol, where only 6000 of the 104,000 population had the vote in 1830, a crowd protest against the House of Lords defeat of the Reform Bill by burning 100 houses Date: 31 October 1831
In Bristol, where only 6000 of the 104,000 population had the vote in 1830, a crowd protest against the House of Lords defeat of the Reform Bill by burning 100 houses Date: 31 October 1831

In the 1860s, John Stuart Mill, another utilitarian thinker and MP for Westminster, began to champion female enfranchisement, the lack of which he considered in his 1869 essay ‘The Subjection of Women’, a severe impediment to the progress of humanity. His plan was to change just one word in the legislation of the 1867 Second Reform Act, from ‘man’ to ‘person’, but he lost this vote by 194 to 73. The 1867 Act gave more men the vote as did that of 1884, but women were still excluded.

Punch Cartoon depicting, 'John Stuart Mill's logic, Franchise for females; "Pray clear the way for these- Persons" Date: 1867
Punch Cartoon depicting, ‘John Stuart Mill’s logic, Franchise for females; “Pray clear the way for these- Persons” Date: 1867

By the end of the 19th century, women, some of whom had earned university degrees and entered various professions, and many of whom were fulfilling valuable roles in society, were still being treated like second-class citizens. To add insult to injury, they were expected to pay their taxes just like men.

In 1903, frustrated by the lack of progress, Emmeline Pankhurst founded the militant Women’s Social and Political Union. After a few years of campaigning, little progress had been made, and the government under Liberal Prime Minister Herbert Asquith were dragging their feet. Women taking part in peaceful deputations to the Houses of Parliament were arrested, and matters quickly escalated, with members of the WSPU resorting to window-breaking, painting-slashing and other subversive activities. The 2nd April 1911 census night saw suffragettes all over the country sleeping rough to keep their names from being recorded. If the votes of women didn’t count, then they themselves shouldn’t be counted either, they reasoned.

Emmeline Pankhurst speaks in Trafalgar Square, 13th October 1908; suffragette prisoners released from Holloway in a procession of WSPU carts, 31st July 1908; suffragettes Edith New and Mary Leigh in an open carriage after release from prison for breaking windows at 10 Downing Street, 22nd August 1908
Emmeline Pankhurst speaks in Trafalgar Square, 13th October 1908; suffragette prisoners released from Holloway in a procession of WSPU carts, 31st July 1908; suffragettes Edith New and Mary Leigh in an open carriage after release from prison for breaking windows at 10 Downing Street, 22nd August 1908

By 1914 things were at a stalemate, but the First World War became an unlikely ally in the fight for the female vote. Most women patriotically put their campaigning to one side and turned their energies towards the war effort, nursing the wounded, working in factories, on public transport, on the farms, and generally keeping the country going.

Women working in traditionally male roles during the First World War: cleaning casks at a brewery, driving a tram, and at a gas works
Women working in traditionally male roles during the First World War: cleaning casks at a brewery, driving a tram, and at a gas works

As if in reward for their wartime work, in early 1918 legislation giving women the vote at last went through, while the first woman MP to take her seat in Parliament, Nancy Astor, did so in 1919. Restrictions which gave the vote only to women over the age of 30 who were householders, married to a householder or holder of a university degree prevented all-out celebration, but this was remedied in 1928, when the qualifying age was brought down to 21. Political equality with men was at last achieved.

Property-owning women over 30 voting in the general election, 14th December 1918; women aged 21 to 29 voting for the first time in the UK on 20th May 1929, finally achieving equal voting rights to men
Property-owning women over 30 voting in the general election, 14th December 1918; women aged 21 to 29 voting for the first time in the UK on 20th May 1929, finally achieving equal voting rights to men