Fred Harvey, Railway Hospitality Pioneer and Tourism Developer, and the Harvey House Network

Posted on by funambulator@live.com
Biographical, Commerce & Business, Inter-ethnic relations, Regional History, Travel


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English born Fred Harvey learned the basics of good food service from a lowly station in a New York restaurant and later ran a successful cafe prior to the Civil War before entering the employ of the US railroads. Working first for the Hannibal and St Joseph Railroad and later others, Harvey was required to travel a great deal as a railroad agent. This gave him first-hand experience of how dismal railroad food and service was. 

🔺 Frederick Henry Harvey (Photo: Wall Street Journal)

This was no secret to regular passengers, before Harvey came along, the railroads were serviced by local rough eateries or unscrupulous restaurant owners who would reheat the leftover dishes and serve them again as supposedly new to the next, unsuspecting train-load of hungry passengers. Some travellers wary of the dubious quality offered up, would bring their own ‘shoebox’ lunches of fried chicken and hard-boiled eggs but this didn’t prove a satisfactory alternative – after sitting in the train for a couple of days the food from home would quickly go off [‘Fred Harvey and the Harvey Girls: A Dollar, a Dream and a Dinner’, (John Koster) Historynet, www.historynet.com].

Business-savvy Harvey sensed there was a gap in the market and in 1876 he clinched a deal with the Atchison, Topeka and Santa Fe Railroad (AT&SF)ⓐ to open eating houses along the railroad. The start was modest, one small lunchroom in the Topeka (Kansas) depot of the railroad. But from these modest beginnings Harvey created a thriving railway hospitality concern and more. The prototype Harvey lunchroom has been described as “the progenitor of what (Americans) think of today as a diner” [Stephen Fried, quoted in ‘Tracing the Recipes of America’s First Restaurant Empire’, (Sara Bonisteel), Epicurious, 18-Jun-2013, www.epicurious.com].

🔺 Santa Fe railroad & Harvey hotels & dining stations

The beginnings of fast food

The key to Harvey’s success was quality of food and speed of delivery. Once the network of Harvey dining-rooms were established along the Santa Fe route, the operations were streamlined to work like clockwork…and they needed to. As the trains pulled into the stations Fred Harvey staff had 20, at most 30 minutes to feed 60 to 100 passengers. This required coordination between the train conductor and Harvey staff (to give the staff advanced warning of their impending arrival). To meet the short turnaround time, the waiting staff (“Harvey Girls”) utilised a unique signalling system, the waitress taking the order would send a signal to a second waitress, a cup turned upright on the saucer meant coffee, a cup facing down, tea. The second waitress could then immediately do that part of the order without having to wait for her colleague to return with the order [‘Watch the Cup, Please’, (Jann Bommerbach), True West, 04-Nov-2015, www.truewestmagazine.com].

🔻 Harvey’s El Tovar Hotel, Grand Canyon

No “mean cuisine” 

Harvey Houses (as they eventually came to be known) were no “Greasy Joe’s”. From the start Harvey headhunted a star head chef from back east for his first restaurant. The chef prepared top-quality cuisine for AT&SF line passengers…the food was so good that travelling salesmen and other regular travellers chose the AT&SF on that basis over rival western railroads (Koster). They were getting quality food, fresh and affordable to the middle class traveller, served on spotless Blue China with white linen tablecloths [‘Classic Harvey House recipes’, 23-Feb-2019, CBS News, www.cbsnews.com/].

Value as well as quality for money

In 1888 Fred Harvey debuted the first Fred Harvey dining-car on the Chicago to Kansas City train service. The menu for the service illustrates what a bargain it was – for the middle class—for 75¢ passengers got a mains (choice of oysters, lobster, salmon roast beef or other meats) plus dessert—often prepared by world-class chefs (Koster).

🔺 Castãneda Hotel, Las Vegas, (the ‘other’ Las Vegas – in New Mexico): the first trackside Harvey House (Image: www.castanedahotel.com]

The Harvey dining empire 

How extensive was the Harvey House network? At the onset Fred Harvey promises a depot restaurant every 100 miles between Kansas and California. At the Harvey high-point there was 25 Harvey hotels, 40 sit-down dining-rooms and 55 lunchrooms on the route (Koster), and the Harvey House concept was extended to other west-bound railroads. Harvey was a natural marketer coming up with advertising campaigns like “3,000 Miles of Hospitality” to promote tourism in the region [‘Fred Harvey—Branding the Southwest (Quality Fast Food)’, www.lib.nau.edu].

The Harvey girls’ uniform: looking a bit too similar to a WWI nurse’s outfit or something you might see in a nunnery! 🔻(Photo: Grand Canyon Railway and Hotel)

The Harvey Girls: Helping to civilise the “Wild West”

Because the male waiters employed by Harvey had a tendency toward drinking on the job and causing trouble in the houses, the entrepreneur in 1883 had the inspired idea of replacing them with single women (aged 18-30) shipped out from the East. The Harvey Girls (as they became known) were attired in demure, conservative feminine uniforms and required to not marry before they had completed six months of service. The women waitresses on the job set standards for cleanliness and decorum which had “a civilizing effect on the often rough customers in the territories” [‘Fred Harvey, the Harvey Houses, and the Harvey Girls’, https://abqlibrary.org/railroads/HarveyHouses]. Many Harvey Girls stayed in the West after their employment, often marrying their bachelor customers, earning the railroad restaurants the sobriquet of “Cupid on Rails”ⓑ.

Farm-to-table: “Meals by Fred Harvey” 

Fred Harvey Co (FHC) entered into contracts with local purveyors to ensure fresh ingredients for his meals. Fred Harvey Co also went into the farming business itself,running it’s own dairy and cattle farms (‘Fred Harvey—Branding the Southwest (Quality Fast Food).

(Photo: www.railroadmemories.com)

Business diversification: Whisky, chocolates, gifts, etc.

With success and fame came more diversification. FHC eventually manufactured it’s own whisky, sold it’s own brand of chocolates, candy, ice cream, salad dressings, as well as take-home gifts and souvenirs to passengers. Harvey’s knack for marketing put the brand everywhere. FHC gave away cookbooks of Fred Harvey recipes (‘Branding the Southwest’). The Harvey Co, as part of the tourism package it was promoting, also entered the postcard publishing field…through the Detroit Publishing Co it produced the very popular Fred Harvey Arizona ‘Phototint’ series of cards [‘Fred Harvey (entrepreneur), The Full Wiki, www.the full wiki.org/].

🔺 Menu image from the Santa Fe dining-car (Source: www.lib.nau.edu)

Menu art of the Southwest 

The railroad menus of FHC are an interesting sidelight of the company, delightfully quaint in their great diversity. Many celebrated in colourful imagery the beauty of the American Southwest or the pre-United States connexions to the region of colonial Spanish missionaries and Native American tribes (see below ‘Marketing an image of the Southwest’). The menu artwork was often of a high calibre, eg, William Deane Fausett’s humorous images. Menus like the company’s La Posada menu were instructional – including an US warplane ID chart for US servicemen using the AT&SF rail during WWII. There were menus for special occasions like Mother‘s Day and special menus for kids which doubled as clown masks (‘Branding the Southwest’). 

Marketing an image of the Southwest

Fred Harvey invented a new hospitality service for railway passengers, but he also invented (and marketed) a particular image of the country’s Southwest for Americans. Harvey, together with the AT&SF Railroad, changed the perception of Americans, filling the vast unknown void of savage desert with a new, “compelling regional identity for the Great Southwest of northern New Mexico and Arizona”. The Harvey corporation “appropriated and marketed the cultures of Native Americans”ⓒ presenting them as “colourful, tamed native peoples”. Harvey to a lesser extent also did a inventive reconstruction of the cultural impact of Spanish colonial and early Anglo-Celtic settlers. Weigle suggests that FMC’s commercial innovations such as the Indian Detours program (affording railroad passengers the opportunity to visit local native communities, represented a kind of ‘Disneyfication’ of the region [Weigle, Marta. “From Desert to Disney World: The Santa Fe Railway and the Fred Harvey Company Display the Indian Southwest.” Journal of Anthropological Research, vol. 45, no. 1, 1989, pp. 115-137. JSTOR, www.jstor.org/stable/3630174. Accessed 12 Feb. 2020].

Endnote: Founder Fred died in 1901 but the business remained in the family until his grandson died in 1965. In 1968 FHC and Harvey Houses were purchased by Amfac, Inc. (an Hawaiian hospitality industry conglomerate).

🔻 Harvey House, Seligman, Ariz.

PostScript: FH Menu dishes

Not surprisingly the FHC menus included a noticeably Latino-Mexican flavour—including Bright Angel Mexican Salisbury Steak, Guacamole Monterey, Empanadas with Vanilla Sauce, Fried Chicken Castãneda and Albondigas Soup (‘Classic Harvey House recipes’).

▁______▁______▁▁______▁______▁▁______▁______▁▁______▁______▁

ⓐ the Santa Fe line ended at Needles in eastern California, where it connected with another railroad which completed the journey west to the Pacific

ⓑ it is estimated that of the approximately 100,000-plus Harvey Girls in the company’s history, perhaps as much as ⅕ of them stayed and settled down to married life in the West, ‘The Harvey Girls, a Slice of American History’, (updated 26-Apr-2012),  www.hubpages.com

ⓒ Hopi, Navajo, Pueblo, Apache and other Southwestern tribes

Work of “The Devil”, a Reference Compendium of Unconventional Wisdom for Cynics in the Progressive Era

Posted on by E Curb Nottus
Biographical, Creative Writing, Literary & Linguistics, Popular Culture, Regional History, Social History

The World According to Bierce

Ambrose Bierce, American short story writer, man of letters, journalist and civil war (Union side) veteran, is best known for his unorthodox lexicon, The Devil’s Dictionary, a humorous, satirical and very personal take on a selection of words in the English language. The dictionary was compiled by Bierce over three decades, being initially published in instalments in various newspapers and magazines. Eventually the collection was published in book form, first as The Cynic’s Word Book in 1906 and then as The Devil’s Dictionary in 1911, two years before Bierce’s never satisfactorily-explained disappearance in Chihuahua, Mexico, where the journalist was visiting to gain first-hand experience of the Mexican Revolution.

Highly influential literary critic of the first half of the 20th century, HL Mencken, heaped lavish almost doting praise on The Devil’s Dictionary… “the true masterpiece of the one genuine wit that These States have ever seen“…”some of the most gorgeous witticisms in the English language“…”some of the most devastating epigrams ever written“.⇑ First (1911) edition of the Dictionary

დ~დ~დ დ~დ~დ დ~დ~დ

Cynicism and satire provide the backbones of Bierce’s provocative dictionary. So, an interesting place to start looking is how he handles these terms – the words ‘satire’, ‘cynic’ and ‘dictionary’ themselves. Despite being fully versed in the craft himself, Bierce views the practitioner of cynicism less than favourably.

Cynic: A blackguard❅ who sees things as they are, and not as they ought to be (which presumably is the definition of an optimism۞).

Satire: An obsolete kind of literary composition in which the vices and follies of the author’s enemies were expounded with imperfect tenderness✫.

Dictionary: A malevolent literary device for cramping the growth of a language and making it hard and inelastic.

Bierce goes on to add with tongue firmly planted in his cheek that his dictionary, however, is “a most useful work”.

But a cynic Bierce certainly is. At one point he sweepingly declares, in the blanket fashion that is his trademark, that “all are lunatics, but he who can analyze his delusions is called a philosopher” (in which case, what would Bierce have made of Freud and the “dark art” of psychotherapy!?!). This perception of the author reminds me to some extent of the distinction often made between a person with an erratic behavioural pattern who is poor (and is labelled insane), and a person with an erratic behavioural pattern who is wealthy (labelled merely eccentric).

Romance and true love falls by the wayside with Bierce’s cynic always hovering around ground level:

Love: A temporary insanity cured by marriage.

Politics is even more fertile ground for Biercian cynicism…even the highest office in the land is not spared. With characteristic directness, there is:

President: The greased pig in the field game of American politics.

Senate: A body of elderly gentlemen charged with high duties and misdemeanors.

Diplomacy: The patriotic art of lying for one’s country.

And of course, to Bierce, ‘capital’ (ie, the capital) is defined as “the seat of misgovernment”.

The contemporary power politics of the day is very entrenched in Bierce’s cynic’s consciousness:

Cannon: an instrument employed in the rectification of national boundaries.

In a similar vein Bierce gives recognition to the tradition of his nation’s imperialistic ambitions in possibly the most quoted and most acute of Bierce’s definitions:

War: God’s way of teaching Americans geography⬲.

Bierce’s entries can go off on a tangent☒, often making extensive use of quotations from “eminent poets” to underscore his definitions (Father G Jape, SJ, is a much relied upon prop for Bierce). Sometimes this involves recourse to wordy anecdotes and phrases. In contrast to lengthy descriptors, some Devil’s Dictionary‘s entries are succinctly on the mark, some are absolute poetic corkers:

Absent: Peculiarly exposed to the tooth of detraction.

Erudition: Dust shaken out of a book into an empty skull.

Envy: Emulation adapted to the meanest capacity.

Fib: A lie that has not cut its teeth.

Martyr: One who moves along the line of least reluctance to a desired death.

Saint: A dead sinner revised and edited.

And even more succinctly summarised is:

Hope: Desire and expectation rolled into one.

Some of Bierce’s ‘opinions’ veiled as definitions are little more than whimsical nonsenses or clever wordplays:

Incumbent: A person of the liveliest interest to the outcumbents.

Harbor: A place where ships taking shelter from stores are exposed to the fury of the customs.

The Devil’s Dictionary dishes up irony in spades, repeatedly turning the mirror back on the reader:

Bigot: One who is obstinately and zealously attached to an opinion that you do not entertain.

Bierce’s lexicon is strewn with idiosyncratic elements, one is a recurring motif of robbers and theft, regularly he describes a situation where someone’s hands are in someone else’s pockets:

Alliance: In international politics, the union of two thieves who have their hands so deeply inserted in each other’s pocket that they cannot separately plunder a third.

Bierce is often lauded for his humanist perspective of the world…the major organised religions do not escape his critical eye:

Religions are “conclusions for which the facts of nature supply no major premises”

Faith: Belief without evidence in what is told by one who speaks without knowledge, of things without parallel.

He can be irreverent – “Christians and camels both receive their burdens kneeling”.

The Dictionary dishes up a smorgasbord of satirical, ironic and often bitter definitions of the world as seen by Ambrose Bierce (one of the acerbic writer’s nicknames was “Bitter Bierce”). But Bierce is of course a creature of his time with all the glaring faults and prejudices of the 19th century white man’s mindset. So, through the satire and cynicism we witness the less savoury traits and predisposition of the lexicographer. Casual assumptions of racism and misogyny run through the pages of The Devil’s Dictionary.

 Witch: A beautiful and attractive young woman, in wickedness a league beyond the devil.

Widows are depicted as “pathetic creatures”, whereas wives are dismissed as merely “bitter halves” (big surprise: Bierce was separated from his own wife). On occasions he crosses the line that even he should not have ventured, such as advocating or at the very least implying a violent impulse towards the female sex:

Bang: The arrangement of a woman’s hair which suggests the thought of shooting her.

The dreaded ‘N’ word is wheeled out in the cause superior of cynicism:

African: A nigger who votes our way.

And there is more than a hint of a general misanthropic disposition emerging from the pages of the Dictionary:

Birth: The first and direst of all disasters.

Marriage is the union of “two slaves”.

AB’s miscellany of hobby horses

Politicians and philosophers are on Bierce’s “hit list”, as are lawyers who get a predictable assessment:

Lawyer: One skilled in the circumvention of the law.

Liar: A lawyer with a roving commission.

Historians, in The Devil’s Dictionary are reduced to “broad-gauge gossips”, and ‘history’ is summarily pigeonholed as “mostly false (and) about unimportant events”.

Although he doesn’t specifically give medical students a definition entry, his regular references to them through the book might prompt one to conclude that their single defining feature is that of “grave-robbers”∞.

Places like New York City and specifically Wall Street are “dens of iniquity”, the sort of Biblical association Bierce employs to those things or entities representing (in his eyes) absolute evil.

Bierce’s idiosyncratic designation of ‘happiness’, as “an agreeable sensation arising from contemplating the misery of another” dovetails neatly to the definition of the German term Schadenfreude (substituting the word ‘perverse’ for ‘agreeable’ perhaps).

Bierce’s dictionary is also prone to outbursts of elitism – such as:

Laziness: Unwarranted repose of manner in a person of low degree.

Idiot: A member of a large and powerful tribe✪ whose influence in human affairs has always been dominant and controlling (an ‘idiotocracy’ perhaps).

EndNote: Bierce’s cold trail
The mysterious disappearance of Bierce has fascinated interested parties for the hundred plus years since the author vanished in Mexico. Speculation has been wildly unrestrained and rampant as to the writer’s supposed end (eg, he hooked up with Mexican bandit leader Pancho Villa and he was killed by Federal troops, or by rebels, or by his own hand or by Villa himself). Novelists, playwrights and filmmakers have all had a go at unravelling the mystery, but the reality is that no one really knows what happened to Bierce [‘The Death of Bierce’, The Ambrose Bierce Appreciation Society, www.biercephile.com].

👿

⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝⇝

❅ Bierce defines ‘blackguard’ as an “inverted gentleman”, like a box of cherries that displays the fine ones on top but with the box “opened on the wrong side”

۞ except that Bierce’s ‘optimist’ is “a pessimist (who) applied to God for relief”

✫ obsolete or not, it doesn’t stop AB from indulging in the device

⬲ it is not universally accepted that this most famous of Bierce-isms originated with Bierce himself, see for instance “The Ambrose Bierce Site”, www.donswain.com

☒ for example see the entry for ‘story’

∞ maybe overstated but Bierce was not fabricating a connection – “body snatching” for medical education was a very real and very lucrative activity at the time

✪ Bierce tended to view different societal groups as tribal entities

‘Capability’ Brown, the Quiet Revolutionary of Eighteenth Century English Landscape Gardening

Posted on by Bonza Rottwheeler
Biographical, Built Environment, Heritage & Conservation, Leisure activities, Natural Environment, Regional History


I first happened upon the name of ‘Capability’ Brown several years ago when I was researching the Kirkbride buildings complex in Sydney✼. I guess it was the jokey sounding name that first got my interest. I found his name historically associated with the popularising of Ha-Ha Walls (another hard-to-take-serious concept when you first encounter it without context) which is an architectural feature of Kirkbride. Brown acquired his nickname from his habit of telling clients that their land had capability for improvement [‘Highclere Castle: The real-life Downton Abbey’, (Steve McKenna), SMH, 17-Apr-2016, www.traveller.com.au].

Highclere ⇓


Capability (Christian name Lancelot) Brown’s career as a landscape gardener and designer in the 18th century was a wildly successful one. Lofty accolades cast in his direction describe him as “England’s greatest gardener” and “the Shakespeare of Gardening”. He rose from humble origins to become master gardener to George III at Hampton Court Palace, receiving over 250 commissions in his lifetime and designing in excess of 170 parks (the majority of which survive) [‘Capability Brown’, Wikipedia, http:/:en.m.wikipedia.org]. His vast oeuvre stretches over 30 counties in England and Wales, greater London and even one garden project in Germany. As artistic creators of grand physical structures go, the fecund Brown was the landscaping and gardening equivalent of Frank Lloyd Wright of his day – minus the ego!

LCB

And like that prolific and seminal 20th century American architect he was very well remunerated for his efforts. From the 1760s Brown was earning £6,000 per annum (equivalent to £806,000 in 2018 money!) and £500 for a single commission [ibid.].

Classical v Romantic

As Brown was starting to learn the trade in the late 1730s, there was a fundamental change going on with landscape gardens England. The formally patterned garden with its strict geometrical order and adherence to the classical style (the embodiment of the Palladian ideal) was giving way to a new, more informal type of garden landscape✥…romantic, irregular, not conforming to order, the appearance of a natural landform [Bassin, Joan. “The English Landscape Garden in the Eighteenth Century: The Cultural Importance of an English Institution.” Albion: A Quarterly Journal Concerned with British Studies, vol. 11, no. 1, 1979, pp. 15–32. JSTOR, www.jstor.org/stable/4048315].

William Kent ⇓

The new style

In the forefront of this movement towards the natural and informal was William Kent (Brown’s mentor), Charles Bridgeman and others, as well as prominent literary figures of the day like Alexander Pope. What Kent et al started, Capability Brown would go on to elevate to a higher plane.

Typical features of the Brown garden

(see also “Ha-Ha Wall” in end-note) Brown honed his landscaping style while working under Kent at Stowe (Bucks). Trademark features: smooth, undulating grass running straight to the house; the grand sweeping drive (eg, Ashridge Estate, Berrington Hall, Wimpole Estate); the woodland belt (eg, Basildon Park, Dinefwr, Ickworth); clumps and scatterings of trees (eg, Petworth Park, Stowe, Croome); the picturesque stone bridge (eg, Prior Park, Wallington, Stowe): and serpentine lakes formed by invisibly damming small rivers (eg, Hatfield Forest, Stowe, Wimpole Estate); decorative garden buildings (monuments, temples, rotundas and follies◙) (eg, Clandon Park, Petworth Park, Stowe, Wallington); cedars of Lebanon🌲 (eg, Croome, Charlecote Park) [National Trust (#1) , www.nationaltrust.org.uk; ‘Brown’, Wiki, op.cit.]

Era of the picturesque

The picturesque was a 18th century movement in art and architecture which was a reaction to Neo–classicism with its fixation on order, proportion and exactitude. In Georgian England the picturesque influenced landscape designers like Brown (and his successor Humphry Repton) who sought to replicate the romanticised country scenes of Italian paintings in their garden projects. The features in Brown’s ‘natural’✪ garden landscapes – long vistas to lakes, bridges, lawns, ruins, groves of trees and Ha-Ha walls – were a case of real life imitating (sublime) art [‘Lancelot “Capability” Brown and Humphrey Repton and the Picturesque’, (Janice Mills Fine Artist), (Jan-Dec 2016), http://janicemillsfineartist.wordpress.com]◇.

Social purpose

The new informal gardens in 18th century England, as typified in Brown’s landscapes, were created to underscore the growing affluence of the landowning class…showing England through their properties as they wished it to be seen, “a wealthy, educated and fertile centre of the Industrial Revolution and Enlightenment”. Thus Brown’s beautiful, idyllic estate gardens were intended to resemble a romantic painted scene through the “use of local natural elements and English architecture” [ibid.].

Dinefwr Castle (Carmarthenshire) – in this Welsh estate LCB was engaged as a visiting consultant, making recommendations to the landowners

(Photo: National Trust) ⇓

Multitasker extraordinaire

Capability Brown was able to complete a vast sum of landscape projects in this career. On average, at any one time he had six projects going simultaneously, this testifies to Brown being able to work fast…an accomplished horseback rider, he could ride from site to site, survey it and knock up a rough design, all within a couple of hours. Of course even with his exceptional capacity he could only spread himself so far, when he couldn’t personally oversee projects, he would delegate to his hand-picked team of foremen, assistant surveyors and landscapers to be “hands-on” on-site and ensure that his designs were implemented properly [‘Our great ‘Capability’ Brown landscapes’, National Trust, (#2), www.nationaltrust.org.uk; ‘Brown’, Wiki, op.cit.].

Brown’s success as a landscape architect owed a lot to different factors…one of his virtues was his ability to choose assistants for his projects – he had a knack of picking the right people to work with, such as William Donn, John Hobcroft and Nathaniel Richmond. Brown also kept himself informed of the latest technologies. His awareness of hydraulic devices led him to utilise steam pumps employed in mining for the water features of his landscapes [Shields, Steffie. “’Mr Brown Engineer’: Lancelot Brown’s Early Work at Grimsthorpe Castle and Stowe.” Garden History, vol. 34, no. 2, 2006, pp. 174–191. JSTOR, www.jstor.org/stable/25472339].

Dissenting voices – ‘Culpability’ Brown

Despite the popularity Brown attracted for his landscape work, the Northumberland garden designer had his detractors… both from contemporaries and from critics after his time. Typical among these was Uvedale Price who criticised Brown for sweeping away all of the older trees and formal garden features in wholesale fashion (destroying the aesthetic of the classical of earlier landscapes). Similarly, architect William Chambers thought the “new manner of gardens” (code for Brown’s work) as little improvement on “common fields and vulgar nature” [‘Brown’, Wiki, op.cit.]. Certainly for these critics, the subject of their censure may have better been labelled ‘Culpability’ Brown!

Some of the invective aimed on Brown’s direction however would have derived from a more base source. Class snobbery would have been a motive for some given Brown’s modest origins – the language often used was a giveaway, detractors like architect Reginald Blomfield disparaged him as “a peasant slave from the melon ground” and having once been (allegedly) a “kitchen gardener” [Shields, loc.cit.]. Some of the opprobrium also was no doubt born out of sheer jealousy at Brown’s immense fame and financial success.

In 2016 a collection of Royal Mail stamps were issued to mark the tercentenary of LCB’s birth ⇓

A “single shaping hand”

For the many true believers though, no praise for the man known as ‘Capability’ seems high enough…one observer noted of his Highclere Castle (Hants) gardens: the location has been a designed landscape for over 1,200 years, yet Brown’s stamp is so much on the place. The remarkable result of one person imposing “his vision with sufficient force for it to have endured indefinitely” [Phipp, loc.cit.].

So successful was Capability Brown in popularising the informal garden, and so imitated was he, that he played a revolutionary role in changing the face and character of English gardens forever. In creating naturalistic landscapes he ‘copied’ nature so skilfully that “his work is often mistaken for natural landscapes” [‘How to spot a Capability Brown landscape’, [National Trust, (#1), loc.cit.].

The English Ha-Ha ⇓

End-note: The Ha-Ha: “Invisible boundaries”

The Ha-Ha Wall (AKA the sunken wall) was a defining features of a typical Capability Brown landscape garden. The Ha-Ha (French in origin) was devised to keep grazing animals out of the more formal areas of a garden, doing away with the need for a fence while creating the illusion of openness. Brown et al used it to provide unbroken vista views – from the house and garden to the parkland or countryside beyond (eg, Petworth Park, Charlecote Park, Stowe) [‘Garden Features: What are Ha-Has?’, The English Garden, 29-Oct-2014, www.theenglishgarden.co.uk].

PostScript: The test of time Remarkable also are the number of country gardens sculpted by Brown that have remained intact (or at least partly so). Around 150 survive – including Alnwick Castle (Northumberland), Blenheim Palace (Oxfds), Basildon Park (Berks), Croome Park (Worcs), Stowe House and Stoke Park (Bucks), Berrington Hall (Hertfds), Milton Abbey and Abbas (Dorset), Clandon Park (Surrey), Charlecote Park (Warws), Chatsworth House (Derbys), Petworth Park (Sussex), Warwick Castle (Warws), Wimpole Estate (Cambs), Wallington (East Yorks), Hatfield Forrest (Essex), Harewood House (West Yorks), Ashridge Estate (Hertfds), Appuldurcombe House (Isle of Wight), Ickworth (Suffolk), Belvoir Castle (Leics), Dinefwr Castle (Wales), Kew Gardens (Lond) and of course Highclere, these days more famous for the location of the TV series “Downton Abbey”.⇑ Brown’s penchant for lakes & bridges (Photo: National Trust)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

✼ ‘Callan Park: The Kirkbride Experiment, a Microcosm of “Good Intentions” ‘, December 2015 blog

✥ this trend had a paradoxical component to it…as the born-to-rule gentry were opting for country homes which were smaller, the gardens were becoming larger [Bassin, loc.cit.] – which of course suited landscape gardeners like Brown given to broad canvasses

◙ follies are decorative, usually non-functional, buildings that enhance the planned landscape, Brown used mock Roman villas, Medieval ruins, etc

🌲 evergreen conifers

✪ Brown’s gardens were of course not natural in any organically occurring sense, but carefully and meticulously contrived to both look natural and to convey “a sense of informality” [‘Capability Brown’, Britain Express, www.britainexpress.com

◇ Brown’s vistas contained no clear delineation between house, parkland and natural environment giving the landscapes a seamless appearance [Mills, op.cit.]

The Tusitala of ‘Villa Vailima’: RLS in Samoa

Posted on by funambulator@live.com
Biographical, Heritage & Conservation, Inter-ethnic relations, Regional History, Travel

3F835B56-9E95-40A0-BA47-64C4F66E27F4⌂ 1890s map of the Samoan Islands

Barely four kilometres south of Apia Town, just off the Cross Island Road, is Samoa’s finest residential building, Villa Vailima (1891), the home away from the (Northern) cold built by Scottish novelist and poet Robert Louis Stevenson (see FN below).

275293C0-31F4-4723-9236-317B75C514AC

⌂ RLS ‘Treasure Island’ Samoan stamp

Anyone with a passing acquaintance of mainstream Western literature will have some familiarity with Stevenson’s work. Author of a host of illustrious juvenile adventure classics like Treasure Island, Kidnapped, The Master of Ballantrae✲, and one Gothic novella, Dr Jeckyll and Mr Hyde, offering deep psychological insights into the human mind.

Stevenson’s voluntary exile from Britain in search of a climate less injurious to his fragile health led him to the Pacific. After sailing around the islands on an extended ‘odyssey’ (Hawaii, Gilbert and Ellice Islands, New Caledonia, Marshall Islands, etc), Stevenson (accompanied by his American wife) settled on Samoa as a hoped-for antidote to his chronic bronchial condition✥.

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RLS in local politics
When Stevenson set anchor in Samoa the islands were in the midst of a civil war over succession to the Samoan throne. Behind the stand-off between rival chieftains was a three-way struggle for control between the colonial powers, Germany, the US and Britain, each of which had despatched warships to the Samoan islands to protect it’s commercial interests. While building the Vailima home RLS embroiled himself in the political conflict, taking the islanders’ side against the colonialists…so much so that he became a sort of political advisor to the indigenous factions [‘History of Samoa’, Wikipedia, http://en.m.wikipedia.org].

By the conclusion of a second civil war in 1899, the colonial powers under a Tripartite Convention divided up the islands between them – Germany retained the western islands of Upolu and Savai’i, and the US got American Samoa (Britain did a trade for the Northern Solomons) [ibid.]

The Stevenson family at the Vailima homestead ⥥

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Tusitala’s kudos 
Stevenson’s whole-hearted embrace of the Samoan people was reciprocated…though a palagi (white-skinned person) they afforded him a special status in Samoan society. The Samoans attributed the quality of mana (“heaven-sent” supernatural powers) to the writer. And the craft of his story-telling which he had mastered so expertly in his novels led Samoans to bestow on him the title of Tusitala, the “teller of tales” [‘Samoans Honor Adopted Son, The Teller of Tales’, (Lawrence Van Gelder], New York Times, 08-Dec-1994, www.nytimes.com]. Samoans however were nonplussed as to how RLS earned his living (being at a loss to comprehend how the activity of story-telling could amount to paid work!).

Centennary British banknote with images of RLS & Vailima ⥥

3B09F032-614D-41C4-B896-B78E9244CF95After RLS’s death of a stroke in December 1894 after decades of ill-health, his widow sold up and returned to California. Since then, Villa Vailima initially housed the German colonial administrators followed by the New Zealand ones. After decolonisation it became the residence of the Western Samoan head of state. Finally, restored to its impecable state, it was transformed into its present incarnation as the Robert Louis Stevenson Museum on the anniversary of the novelist’s death.

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Recreating RLS’ treasured island haven
A visit to Villa Vailima today will discover a slendid, elegant mansion of a building. A tour will reveal the scope of the interior which includes five bedrooms, a large living room, a smoking room, a library/ study and a ballroom big enough to accommodate 100 dancers. In his time there Stevenson made several additions and extensions…I was informed by our guide that the east wing of the building was added later as separate living quarters for RLS’s mother-in-law who had come to live with them◙.

The walls of some of the Villa’s rooms were adorned with incongruous items, like the bow-and-arrow set in this bedroom ⥥

RSL’s study and the smoking room are probably the highlights of the tour for several reasons…on display in the former is a bookcase full of original translations of RL Stevenson works. Even more impressive, it contains the novelist ’s original, solid wood writing desk (on which he wrote his last four novels). The pièce de résistance for me though was in the downstairs smoking room – a double fireplace had been installed (and never used!) It seems that the Scot wanted the “feel-good” reassurance of having a quintessential feature of his former Northern hemisphere life – irrespective of how incongruously impractical it seemed (and how puzzling to Stevenson’s Samoan attendants!), located in the steamy tropical climes of the South Pacific. RL’s wife Fanny had her own familiar reminder of home at the Vailima house, she had the walls of her bedroom lined with polished Californian redwood [Lonely Planet Samoan Islands, (M Bennett et al) (2003)].

⥥ The smoking room 2EADE340-ECC9-4CB0-A1CE-369F4AD9B811

I was also intrigued by the contents of the spacious living room…what caught my eye immediately was this massive mega-safe in the middle of the room (too big I thought even for the XXL-proportioned Samoans to move!). The very large portrait of RLS (by Sargent?) next to it looked broodingly dark and foreboding. The guide recounted to us how Stevenson was brought into this room by his servants after he was fatally stricken out on the front lawns of the property.

Ascending Mt Vaea
It is very fitting once you’ve toured the RLS residence and learnt some of his Samoan story to take in the final chapter by making the 472m trek up Mt Vaea to glimpse the “teller of tales’” final resting place. It’s a short but a very steep climb and can get very hazardous after heavy rain (I have first-hand experience of how slippery it can get having slid right off the quagmire of a track on the return descent!). When you reach the beautiful high plateau where Stevenson’s tomb is located you will appreciate just how irenic and tranquil the setting is. The great views of the island from the top are also well worth the effort of getting there.

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Footnote on ‘Vailima’: There are two interpretations of the name’s etymology – in Samoan ‘vai’ means ‘water’ so Vailima is commonly rendered as “Five Waters”, however the suffix ‘lima’ can mean ‘hand’ or ‘arm’  (as well as the number ‘five), so an alternate (literal) explanation for Vailima is “water in the hand” [Theroux, J. (1981). ‘Some Misconceptions about RLS’. The Journal of Pacific History, 16(3), 164-166. Retrieved from http://www.jstor.org/stable/25168472]

PostScript: RLS in Sydney
From his Samoa base Stevenson made several trips to Sydney, staying mainly at the city’s Union Club (Bent Street) and at the Oxford Club (Darlinghurst). On one visit he stopped over in Auckland where he met the former governor and premier of NZ, Sir George Grey. Stevenson occupied his time in Sydney by mainly working on various manuscripts of novels and stories (including The Wrecker, Ebb-Tide and In The South Seas)✪ [‘RLS Website’, (2018), www.robert-louis-stevenson.org].

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✲ not to neglect the personal favourite “Boys Own” RLS book of my 11-year-old self, The Black Arrow ➳

✥ the choice of Samoa as home was desirable on pragmatic terms because it had a regular mail service (allowing RLS the professional author to connect with agents, editors and publishers). He was also attracted to the place because it was not too ‘civilised’ [Prof Richard Dury, ‘RLS Website’]

◙ the anecdote goes that Stevenson sent her off to Sydney for a few months and upon her return had the new wing built so he could put some (much sought-after) distance between them!

✪ these last two books plus The Wrong Box (1889) were co-written with his American stepson (S) Lloyd Osbourne