Victoria's Regencies
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    • The Eligible Miss Elliott
    • The Fontainebleau Fan
    • The Tables Turned
    • BirthRights: a Dangerous Brew, Chapter One

BLAST FROM THE PAST...

4/25/2020

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My friend Maria Clark recently posted  a picture of wild horses on the Outer Banks beach which brought back memories of one of my favorite childhood books, Misty of Chincoteague by Marguerite Henry. Do you remember this book with the same fondness I do?   
​        According to Wikipedia, Ms Henry (1902 – 1997) wrote  fifty-nine books "based on true stories of horses and other animals. She won the Newbery Medal for one of her books about horses and she was a runner-up for two others."
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   She followed up Misty's story,based on the ponies that annually swim from Assateague Island off Virginia to Chincotegue Island where they are auctioned, with two sequels, Sea Star, Orphan of Chincoteague, and 


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Below, a picture of Marguerite Henry with Misty, probably at her farm in Wayne, Illinois, where she lived, wrote, and hosted parties for children who loved Misty and all her books. 
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One of the reasons for her success, in addition to the excellence of her writing and appeal to children of all ages, was her partnership with artist Wesley Dennis (1903-1966). His brilliant illustrations for Henry's books, as well as more than a hundred others, were the source of many hours of dreaming for kids like me, hopelessly horse-crazy. 
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Above, they hold King of the Wind, winner of the prestigious  Newbery medal in 1959. Below, the cover which captured my adoration of King of the Wind: The Story of the Godolphin Arabian. Any lover of horses, thoroughbred racing and/or Britain should not miss it.
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Perhaps my favorite of  their sixteen joint ventures was Album of Horses, first published in 1951. Both King of the Wind and Album of Horses remain on my bookshelves today, as do several others of their works.
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Album of Horses is the easiest to read and most beautiful of the research books you will ever encounter. Henry describes the origin of many breeds of horses and Dennis illustrates each one in his brilliant style. Below, a few of the illustrations; please click on each to expand.
Marguerite Henry and Wesley Dennis collaborated on many other books, all of which  placed high on my Christmas list, and Santa always obliged. Here are a few.
What other books from your childhood do you remember?  can think of many more, and lots included horses.
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NEW DIRECTIONS FOR VICTORIA...

4/18/2020

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Here we are in April 2020 in the middle of a global pandemic...and what am I doing??
         Why, starting a new adventure in publishing. I've found some stellar aides in my quest to get the rest of my work out as e-books and well marketed. What better time for escaping today's concerns and finding yourself back in the elegant days of Regency England?
Please click for full images. Above An Ideal Match and The Fontainebleau Fan, two of my six books already available on Amazon and Kindle, all formerly published in paperback by Kensington Zebra Regency Romances. In the coming months, I will be presenting two more of my former Kensington novels in e-book format, Ask Jane and Least Likely Lovers. Below are the original covers. They will have new covers since the previous ones actually belong to the  publisher and/or the artist. I have a wonderful new cover artist and I am thrilled with the new versions, which I will REVEAL soon.
I published three novellas with Kensington Zebra in anthologies. "The Tables Turned" appears in My Favorite Rogue;  "The Valentine Poem" is part of My Only Valentine; and "The Muddled Matchmakers" is in A Match for Papa.
All five of these works will get new covers for their introduction on Amazon, Kindle,  and Kindle Unlimited. And that's not all. I've also published novellas and short stories on line with several publishers and all of these will eventually be available in e-book format.
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  In 2015, I was one of a group of authors who wrote stories to honor the 200th anniversary of the Battle of Waterloo.
     "Folie Bleu" is the story of Aimée  and her Robert, who fell in love in Brussels on the eve of the Battle. On the occasion of the 30th anniversary dinner at the home of the Duke of Wellington, Aimée recalls their desperate romance.  
 Above, the 2008 Christmas Anthology from Dreamstone Publishing, Christmas Ever After. My contribution is "Miss Hadley's Holly." 
​   In Summer 2019, Dreamstone published  Regency Summer Escape containing my novella "Sarah's Summer Surprise.'
There will be more to come, so please go to Welcome, above left, and sign up for my newsletter to keep up with the news. You will receive a free copy of my award-winning short story "The Boxford Legacy." I hope you will enjoy it.
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Hardwick Hall and Evelyn, Duchess of Devonshire

4/11/2020

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Below, ​Evelyn Fitzmaurice, Duchess of Devonshire (1870-1960), painted in Hardwick Hall, 1950, by Edward Irvine Halliday (1902–1984). 
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Evelyn, Duchess of Devonshire, is shown working on one of the tapestries. She is attributed with preserving the Hardwick Collection, which is one of the finest in Britain, now cared for by the National Trust.
     Below, Lady Evelyn Cavendish portrayed by John Singer Sargent in 1902 before her husband Victor Cavendish inherited the ducal title from his uncle Spencer Cavendish, 8th Duke of Devonsire, in 1908. Widowed in 1938, Evelyn lived for many years at Hardwick Hall after her son, Edward, eldest of her seven children, inherited the dukdom as the 10th Duke of Devonshire. 
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Below, left, Victor Cavendish, 9th Duke of Devonshire, and Duchess Evelyn. Right, Queen Mary, seated, and Evelyn, center rear, Mistress of the Robes to Queen Mary. Click to enlarge.
Lady Evelyn Emily Mary Petty-Fitzmaurice was born in 1870, daughter of the Marquess of Lansdowne. She married Victor Cavendish in 1892 when he was a newly-seated member of the House of Commons. Both members of distinguished British families, they led busy lives of service, bringing seven children into the world as well. Victor succeeded to the dukedom in 1909. Below left, Duchess Evelyn with three of her children, before 1909; right, Duchess Evelyn with her  grandchildren, 1929.
The 9th Duke of Devonshire, below left, was Governor General of Canada from 1916 to 1921 and his family accompanied him. He was a member of the Cabinet before retiring in 1925, after a severe stroke; He died in 1938. Right, Evelyn, Duchess of Devonshire, Mistress of the Robes to Queen Mary, 1908.
In addition to many other activites, Duchess Evelyn founded the Derbyshire branch of the Red Cross. She served as Queen Mary's Mistress of the Robes from 1910 to 1916 and after her stay in Canada, from 1921 to Queen Marys death in 1953.
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After her husbands death, the Dowager Duchess moved into Hardwick Hall, becoming the last resident of Bess of Hardwick's mansion. She was an accomplished needlewoman and spent a great deal of time mending and repairing the textiles as Hardwick.
​    Her son, the 10th Duke, served in WWI and was a member of Churchill's Cabinet during WWII. He and his wife had five children. William, eldest son and heir appparent, married Katherine "Kick" Kennedy in 1944. Her brother John F, Kennedy was elected president of the United States in 1960. Below, left to right, Deborah Mitford Cavendish (eventually Duchess of Devonshire), Duchess Evelyn, Kick Kennedy. 
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Only a few months after the wedding, William was killed in action in September 1944. His brother Andrew became the heir and in 1950. the 11th Duke of Devonshire. As part of the more than £7 million (nearly 80 per cent of the value of the estate) inheritance taxes he had to pay, Hardwick Hall became the government's property, eventually part of the National Trust which operates the estate today.  
Duchess Evelyn occupied rooms in Hardwick Hall from 1938 to her death in 1960. In the past few years, they have been opened to visitors, displaying even more of her treasured textiles from the Hardwick Collection. 
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Hardwick Hall, Part Three

4/4/2020

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From the website: "Hardwick is internationally renowned for its collections, most notably its textiles, largely sourced and collected by Bess of Hardwick in the later years of the sixteenth century. Four years after Bess moved into Hardwick she compiled a list of all the objects in the house, giving a unique insight into the furnishings of an Elizabethan house."
​Below, Bess of Hardwick, c. 1567.
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   Below, the recently conserved 'Lucretia,' one of four Noble Women embroideries mmade for and at Hardwick. Perhaps history honors Lucretia as the inspiration for the transition from monarchy to the Roman Republic, but it took her rape and subsequent suicide to accomplish the feat. Sort of a difficult inspiration IMHO, but meaningful to history (they say). She is an  important character in the writings of Livy, Ovid, Dante, and Chaucer, among others. 
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Below left, a photograph of rehanging the embroidery at Hardwick Hall, from the National Trust. Right, NT's photo of another of the Noble Women, 'Penelope', from The Odyssey, the faithful wife of Odysseus, a symbol of fidelity.
More from the website: "By the mid-1590s when Hardwick was taking shape, Bess had already furnished her great house at Chatsworth but could only bring a small proportion of the contents with her when she moved back to Hardwick, so in the winter of 1592-3 Bess went on a shopping spree while in London. Amongst her purchases were the Gideon set of tapestries purchased from the estate of Sir Christopher Hatton for the huge sum of £326 15s 9d (from which £5 was deducted because Bess had to change the Hatton coat of arms to her own). Below, one of the thirteen Gideon tapestries telling the story from the Old Testament Bookof Judges.
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In the Long Gallery, many of the tapestries are seen behind the portrait collection.
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Of the more than one hundred textiles at Hardwick Hall, my favorite also recently conserved, is the Birds with Foliage beside one of the staircases. Perhaps this is because the conservators have restored the brilliant colors of the original piece, which they discover during the process of restoration. Within the very tight stitches of the tapestry, the colors are still vivid.
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In the Great High Chamber, Bess hung her purchase of the Ulysses tapestries, telling the story from Homer's The Oddyssey.
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Bess also purchased a smaller set of tapestries that now hang in the Drawing Room and a set of tapestries that hang in the Green Velvet Bedroom, as below.
I wish I had more carefully noted the names of all the tapestries, but perhaps I had fallen under their spell and just gazed in appreciation. Ah, what more does one have to say than, The Lovers, below.
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Next time, the last resident of Hardwick Hall, Evelyn, Duchess of Devonshire, who lived from 1890 to 1960.
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Hardwick Hall, Part Two

3/28/2020

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Hardwick Hall on a rainy day in Derbyshire, September, 2017. Last time, I wrote  about the magnificent Bess of Hardwick, who built this house beginning when she was four times widowed, at age seventy. And lived in it for 18 years until she died in 1608. It is often admired as one of the finest of the Elizabethan prodigy houses, alongside houses such as Longleat and Burghley House, below.
About Prodigy Houses, Wikipedia writes, "...there was an Elizabethan building boom, with large houses built in the most modern styles by courtiers, wealthy from acquired monastic estates, who wished to display their wealth and status. A characteristic was the large area of glass – a new feature that superseded the need for easily defended external walls and announced the owners' wealth. Hardwick Hall, for example was proverbially described as "Hardwick Hall, more glass than wall."
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Among the other 'firsts' for Hardwick Hall was the knowledge of its architect, Robert Smythson, (1535 – 1614) who may have also worked on Longleat. Up to this time, houses were built by master masons and their workers, whose names were not recorded. The house was built of stone from a quarry owned by Bess, and the glass was made in her glass factory, thanks to the fortunes she acquired throughout her life and marriages.
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By the time her fourth husband died, Bess had arranged the marriages of many of her children, grandchildren, stepchildren and other relatives. She was an immensely rich woman and the guardian of her granddaughter Arabella Stuart, a potential heir to the throne. She was known as a capable manager and businesswoman, a worthy companion of both the Queens she knew so well: Elizabeth I and Mary, Queen of Scots.
 Above, left: The Hardwick Coat of Arms above the fireplace in the Hall, which is where the young attendants would wait to be called. On the right, decorative weapons in the Hall. Below, views of the kitchen.
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Wide, tapestry-lined stairways led to the upper two floors where Bess received her guests and entertained. The booklet about the house, acquired on the site, describes Bess as formidable: “managing, acquisitive, an indefatigable collector, tough, emotional, fond of intrigue and (of) amazing vitality.”
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The house is filled with portraits and precious objects including furniture such as the cabinet below.
​    The portrait of Arbella, left, shows her at 13 years old. Her long hair left untied means she is unmarried. The books indicate her good education and her pearls denote purity.
    The cabinet, right, is a French 'du Cerceau', probably once a possession of Mary Queen of Scots, also known as the 'spice cabinet' a.k.a. a private altar for Mary. 
 Below, the Great High Chamber. The magnificent friezes and tapestries have faded to near monochromatic tans. The frieze represents the forest and court of the goddess Diana. This room would used to entertain guests and for dining. 
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After the meal, guests would go up to the roof where dessert was served in one or more of the six banqueting pavilions and  the guests could stroll the roofs to "survey the Prospect." The pavilions were crowned with fretwork bearing the initias E.S. for Elizabeth Shrewsbury.
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The Long Gallery is decorted with tapestries, portraits, and dcorative artwork for strollers to enjoy.  One formal occasions, Bess, the Dowager Countess, would receive while sitting beneath the great canopy, impressively throne-like.
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Below, two more views of the Long Gallery:
Two rooms below,  are furnished as bedchambers. In the Green Velvet Room, Bess would sometimes receive her most intimate friends and family,surrounded by her magnificent and priceless tapestries.
        According to the website, "This blue bed originally belonged to the wife of the 2nd earl of Devonshire, Christian Cavendish. Made of oak and hung with embroidered blue damask the back of the bed bears the coats of arms of Christian Cavendish herself plus the original year of the bed, 1629. However, it also bears a second coat of arms and the date 1852. These arms are that of the 6th Duke. Under the Duke’s instruction a matching roll of blue damask was commissioned, the original embroidery removed, re-applied to the new silk and the entire bed was rehung."
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​The damp weather kept us from exploring the gardens as fully as we would have wished. 
Bess of Hardwick died in 1608. Her son William Cavendish,  1st Earl of Devonshire, and his family lived nearby at Chatsworth built by Bess and his father. Their descendants remain at Chatsworth today. Remarkably, as a secondary residence for the family, Hardwick retained most of its original character, much to the advantage of visitors and scholars, well maintained by the National Trust. 

Next time, the Hardwick Tapestries and a modern apartment for the Dowager Duchess of Devonshire in the 1950's.
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Visiting Hardwick Hall, Derbyshire, Part One

3/21/2020

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I have been to Hardwick Hall several times and find it endlessly fascinating. Below, an aerial view. Note in the lower right, the remnants of Hardwick Old Hall, which was replaced and left  as a quarry for the new house; it is now protected and can be explored. This is the first of several posts to be devoted to Hardwick, its creator Bess of Hardwick, and its treasures.
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Since the NT has far better photographers than I am, below is their official website picture which shows the incredible glass-adorned exterior.
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One cannot write or even think about Hardwick Hall without considering the unique story of the remarkable woman who inspired its creation. Bess of Hardwick (c.1527-1608), didn’t begin Hardwick Hall until she was a fourth-time widow and had reached age 70 in 1591.  But she lived until 1608 so enjoyed many years living in her spectacular new house. ​
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Miss Elizabeth Hardwick, born in approximately 1527, was the daughter of a minor gentry family in Scarsdale, Derbyshire. Details of her early life, including her first marriage and widowhood, are scant. Her second husband was Sir William Cavendish, (c. 1505 – 1557). She became his third wife in 1547 when she was about twenty. Cavendish had a considerable fortune and served as the Treasurer of the King's Chamber in the court of the young King Edward VI. Cavendish died in 1557, during a period of unrest following the death of Edward VI. Below, Sir William about 1547.
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Only three daughters of William's first wife survived infancy and none of his second wife's children lived beyond a few months. Bess and Willliam had six surviving children. The education and marriage settlements for these children occupied much of Bess's life. She and William bought the Chatsworth estate and began building the present much-remodeled house in 1553. Below, a view of a view of that house in a tapestry on view at Chatsworth House.
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Below, a painting of the old Chatsworth's west front in the 17th century.
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Bess and William's three sons and three daughters in turn became part of several of the great English aristocratic families. The Cavendishes became the Dukes of Devonshire, as well as being related to the Dukes of Rutland, Newcastle, Portland, Welbeck, and Bolsover.
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Above, George Talbot, 4th Earl of Shrewsbury, Bess's fourth husband.
     After Sir William’s death (1557), Bess was a rich woman, close to many courtiers. Her third marriage was to Sir William St. Loe, a favorite of Queen Elizabeth I, who had several children from a former marriage.  But he died only five years later, in 1565.
       Bess married George Talbot, 6th Earl of Shrewsbury (1528-1590), in 1567. At age 40, he was one of the richest men in the realm, owner of vast lands, coalmines, glassworks, owner of ships and many other business interests. Actually, the marriage was a triple ceremony. As the Earl married Bess, his second son married her daughter Mary, and his daughter married Bess’s eldest son Henry. Try sorting out that one a couple of generations later.
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 Above, Mary Queen of Scots (1642-1687). Shrewsbury had been assigned by Queen Elizabeth I to hold Mary under a sort of house arrest. He and Bess carried out this task for more thn fifteen years before Mary was removed from their care. The hosted Mary and her contingent of servants and attendents at various of his houses, including Chatsworth. Bess and Mary spent time together, both engaging in their considerable skills at  needlework.
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 Above, Bess of Hardwick, near the time she married Shrewsbury. She was a very rich widow, much sought after by gentlemen of the court. Shrewsbury won her and added his seven children to hers. Eventually, perhaps from the pressures of the imprisonment of Mary and other political complications, Bess and George separated. He died in 1590, and Bess set about building her mansion at Hardwick Hall, below in my photo from 2017.
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Next time, more about Hardwick Hall.
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Another London Yearning

3/14/2020

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As the days lengthen, my thoughts turn to travel, but I'm afraid I won't get across the pond in time to catch this wonderful exhibition George IV: Art and Spectacle in the Queen's Gallery at Buckingham Palace, which closes on May 3, 2020.
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Above, George IV, When Prince of Wales, 1791 by artist George Stubbs.
​     The description of the exhibition says, "George IV is arguably the most magnificent British monarch ever recorded and he formed an unrivalled collection of art, much of which remains in the Royal Collection. Bringing together Dutch and Flemish masterpieces, portraits by Sir Thomas Lawrence and Sir Joshua Reynolds, delicate French porcelain, intricate goldsmiths’ work and elegant books and drawings, this exhibition will present George’s life through the art that enriched his world."
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Among George's many projects was a series of paintings of representatives of the Allies in the 1815 victory at Waterloo executed by Sir Thomas Lawrence (1769-1830), the finest portraitist of his day. Above, l-r: John, Count Capo d'Istria (1776-1831); Ercole, Cardinal Consalvi (1757-1824); Charles, Archduke of Austria (1771-1847); Pope PiusVII (1742-1831);  Clemens Lothar Wenzel, Prince Metternich (1773-1859).  When not on exhibition elsewhere, these hang in the Waterloo Gallery in Windsor Castle.
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George IV was self-indulgent and a spendthrift, disliked by the people for the treatment of his family and for his excessive spending on architectural projects and his vast art collection, including paintings and sculpture, furniture, silver and ceramics, weapons and heraldic regalia, jewelry and clothing, even books. Below, a first edition of Jane Austen's Emma. By the Prince Regent's request, Miss Austen dedicated the book to him when it was published in 1816 in three volumes. 
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Below, the Shield of Achilles, part of a large collection of tableware and serving pieces designed by John Flaxman and created by Philip Rundle of the London goldsmith firm of Rundle, Bridge and Rundle in 1821.
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In addition to the huge number of works he commissioned and/or purchased, George IV will be found in the often biting caricatures so popular in his time. Below, a typical example by Robert Seymour, The Great Joss and his Playthings, c. 1829. As in all the images above, From the Royal Collection Trust, 
 (c) Her Majesty Queen Elizabeth II 2019.
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Oh, to be in London...

3/7/2020

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Until April 19, 2020, the Wallace Collection is presenting an Exhibition of works rarely seen in museums.
     From their website: "Forgotten Masters: Indian Painting for the East India Company [is] guest curated by renowned writer and historian William Dalrymple. This is the first UK exhibition of works by Indian master painters commissioned by East India Company officials in the late eighteenth and nineteenth centuries. It is an unprecedented opportunity to see these vivid and highly original paintings together for the first time, recognising them as among the greatest masterpieces of Indian painting."
This is an exhibit I yearn to see, but I do not expect to be in London before the show closes. Above left, English Gig c. 1840, by Sheikh Mohammah Amir, Freer Gallery of Art, Smithsonian Institution, Washington, D.C.; right, Indian Roller on Sandalwood Branch, by Shaikh Zain ud-Din, Calcutta, 1780, Minneapolis Institute of Art
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Above, English Child in a Bonnet on Horseback, by Shaikh Muhammed Amir of Karriah, c.1830-1850.
Above left: Manu Lall, Coffee, 1810; right, Brahminy Starling with Two Anterea Moths, Caterpillars and Cocoon in Indian Jujube Tree by Shaikh Zain ud-Din, 1780, Minneapolis Institute of Art; ​Below, Family of Ghulam Ali Khan, Six Recruits, Freer Gallery
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The Wallace exhibition website states: "The exhibition honours historically overlooked artists including Shaikh Zain ud-Din, Bhawani Das, Shaikh Mohammad Amir of Karriah, Sita Ram and Ghulam Ali Khan and sheds light on a forgotten moment in Anglo-Indian history. Reflecting both the beauty of the natural world and the social reality of the time, these dazzling and often surprising artworks offer a rare glimpse of the cultural fusion between British and Indian artistic styles during this period."
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 A little exploration on Google will bring you several previews of the exhibition. Try 
https://www.wallacecollection.org/forgotten-masters-indian-painting-east-india-company/
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LEAP DAY

2/29/2020

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It is that extra day in February that recurs every four years. Perhaps we should start a tradition and call it FREE DAY, when we can do anything we  want -- at least in our imagination.
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I found the above picture on somebody's blog and I don't know where to give credit. Thank you whoever you are. I've always thought February needs all the help it can get.
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Back to that "do-anything-you-desire" idea for Leap Day. What would you do?  One of my instant ideas is above. In my finest habit, I would ride a spirited mare down Rotten Row in London. Based on repeating things I have already done, my choice would be either a Venetian Gondola or a sailing yacht in the Greek Islands.
Or maybe something less nautical, like a free day in the London Library (below, l)? Or the British Library (below, r)?
What would be your choice, assuming you had no restrictions for time, complications, or price? The sky is the limit.  Or perhaps you had in mind another tradition associated with Leap Year. 
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How about a lady's Choice for a dance, a date, or even marriage?  At my high school we had a Sadie Hawkins Dance every February, leap year or not, when the girls invited the guys. Sadie Hawkins is a character in Al Capp's comic strip stories of L'il Abner. But Sadie ultimately lost out to Daisy Mae. Other female choice traditions relate to St. Brigid's Complaint, an Irish legend associated with Leap Day. Altogether, these two version and others became entwined beyond my interest in untangling them. Nevertheless, you might like to fantasize about your ultimate quarry in the Leap Year/Sadie H. Day marathon. I have a couple of covers of my novels that just might do. 
Click on the thumbnails above for better images.  I'd take any of the above three, wouldn't you?  Or, as below, some of the portraits created by Sir Thomas Lawrence, who could do as handsome a male as he could gorgeous females. Pick your prey.
Top Row, L: William Lamb, later Lord Melbourne (1779-1848); R: Henry Brougham, later Lord Brougham (1778-1868); lower row, L; Hart Davis, Jr (1791-1854). R: Sir Charles Stewart, later Lord Londonderry (1778-1854)
     So with a bow towards our imaginations, contemplate your choice on Leap Day.
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Scone Palace, Scotland

2/22/2020

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Scone Palace is the traditional location for the crowning of Scottish kings, including several who attempted the honor but did not achieve it. And the palace is full of legends and stories, enough to occupy many evenings of research. But since photos are not allowed inside, my account will be limited to the few I could find on line, such as the view above from wikipedia. Below, my shot, including a lonely tourist and a feeding peahen.
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Moot (or Boot) Hill was the site of Pictish Scotland kings' investiture in the 3rd century. When national Scottish councils were established, they were held here. An Augustinian abbey was built in the 12th century; Scone was also the site of the first parliament. By 1600, Scone was given by James VI to Sir David Murray, later named Lord Scone and 1st Viscount Stormont.
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Above, a replica of the famous adventurous Stone of Scone. It stands on Moot Hill before the Chapel, once the site of the Abbey. It is lso known as the Stone of Destiny.
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I had seen the Stone of Scone in Edinburgh Castle a few days earlier, where it is displayed with the crown jewels, the  Honours of Scotland. It had been returned to Scotland in 1996, after being part of the British Coronation Chair in Westminster Abbey for many centuries. There is also the story about how the Stone was stolen from Westminster in 1950...as well as many other claims and legends that question the true nature and existence of the Stone. Which are authentic and which are substitutes or copies?
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The Chapel was remodeled in Gothic Style for the 3rd Earl of  Mansfield (1777-1840), by William Atkinson. Below, the chapel at left, and right, an Italian alabaster memorial to Sir David Murray, 1st Viscount Stormont, by sculptor Maximilian Colt, in 1618. Please click on the small photos for larger versions.
Below, sculptures on the grounds. Left, a Sword embedded in a stone, bringing to mind Excalibur. and Right, two handsome deer who seem poised to intimacy, but alas they are made of willow.  
Below, one of several white peacocks roaming the grounds. Left, my view; Right, doing a better display for the Telegraph. 
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The Gothic door is as far as a I got with my phone camera.  This version of the Palace was begun as a Regency Gothick House by Architect William Atkinson for the third Earl of Mansfield in 1803, replacing a medieval building. The interior, as portrayed by pictures from the website, is almost as perfectly Regency today as it was two hundred years ago. 
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Above, the Octagon Room. The guidebook says, "Past and present come together in the Octagon Room,which was formerly part of the medieval gallery and led into the King's Room where Charles II slept the night before his coronation in 1651."  Only months later, Charles II was defeated by Parliamentary forces of Oliver Cromwell and forced to flee to the continent where he remained until the Restoration of the monarchy in 1660.  Octagonal rooms were often features of Regency-era decor.
The Drawing Room boasts portraits of George III and Queen Charlotte. The 2nd Earl served as British ambassador. to France. These famous portraits were painted by artist Allan Ramsay, a Scot who was also a 2nd cousin by marriage to the 2nd Earl. At right, William Murray, 1st Earl of Mansfield, Lord Chief Justice of Great Britain (1705-1793), painted by Sir Joshua Reynolds in 1776. He was renowned for his decisions which ended slavery in Britain.
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The Ambassador's Room, above, displays furniture from the 2nd Earl's tenures in Paris and Vienna. At the upper right is the famous portrait of Dido Bell and Lady Elizabeth Murray, daughter of the 2nd Earl of Mansfield. Both young ladies lived with the 1st Earl and his wife at Kenwood House, a Murray residence at the edge of Hampstead Heath in London.
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Dido's story was told, relatively accurately, by the 2013 film Belle. The portrait, once attributed to Johann Zoffany but now thought more likely to be by David Martin, hangs here because the Murrays gave up Kenwood House for continual residence at Scone in the early 20th century.
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The Inner Hall displays numerous family heirlooms, perhaps most obviously two Russian bears shot by Sir Lancelot Carnegie, maternal great-grandfather of the present earl, in 1908 when he was secretary at the British Embassy in Moscow.
I would love to show you much more of this fascinating palace, but it isn't easy to find the images on line. So if I had anything to do with the marketing of  tourism at Scone, I would immediately allow cameras and then rejoice as the visitors post their many pictures -- thus attracting many more. This is the policy of many wonderful castles, palaces, and manor houses all over Britain. I think they are benefiting from allowing photos. Are you listening Glamis and Scone?
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Above photo from https://www.smallcitybigpersonality.co.uk/
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    Victoria Hinshaw, Author


    Here I will share some of my articles on favorite topics, such as English Country Houses, the Regency Royals, Jane Austen, and the like. Some of these articles have been published elsewhere, probably on the blog I share with Kristine Hughes and Louisa
    ​Cornell:  numberonelondon.net

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