Churchill and the Appeasers, Johnson and the Remainers

Would a Prime Minister Johnson "forgive and understand" their wrong-headedness?

Back in February, I remarked in a post here that:

There is even one school of thought that whether the result [of the Brexit referendum] is leave or remain, Boris Johnson will become the next leader of the Conservative party and therefore Prime Minister

and, if anything, this outcome seems more likely, not less. In fact, if being taken seriously is a measure, recent excoriating attacks on Johnson by, for instance, Matthew Parris on 26 March in The Times (Tories have got to end their affair with Boris, Charm can make us forget the dishonesty and recklessness that would be ruthlessly exposed if he became leader) and Nick Cohen in the Guardian a few days later (Boris Johnson. Liar, conman – and prime minister? The mayor of London has been treated with woozy indulgence by the media. But Britain may pay the price), suggest much more likely. Reacting to Parris, John Rentoul in the Independent was calm, It's time to get used to the idea of living under Prime Minister Boris Johnson, or perhaps just resigned.

Not long before, I had come across the biography which Johnson had written in 2014, The Churchill Factor: How One Man Made History. Reviewers tended to regard it as very readable in the style of Johnson’s Daily Telegraph opinion pieces which appear most Mondays (at £5000 a time they say), as not adding much to the huge amount of literature on his subject already available and as being as much about Johnson as Churchill.

It occurred to me that if Johnson were to become PM after a Brexit vote, he would be leading a Cabinet many of whom had been "remainers". How would he deal with them? Would his portrayal of Churchill who, after only three weeks as PM and in a much greater crisis in 1940, had to work with senior members of a Cabinet who had been advocates of appeasing Hitler, offer any insights?

Rather to my surprise, Chapter 1 plunges straight in at this point in Churchill’s life with The Offer from Hitler, made via Italy to negotiate an end to hostilities. This was put to the Cabinet in May 1940 by Lord Halifax, the Foreign Secretary and long-term appeaser of Hitler:

[Halifax] was tall, very tall; at 6 foot 5 he loomed about ten inches above Churchill – though I suppose advantage matters less around a table. (page 11)

Johnson is no more than 5 foot 10 by the way. Later after describing the Cabinet’s deliberations, Johnson comments:

It makes one cringe, now, to read poor Halifax’s defeatism; and we need to forgive and understand his wrong-headedness. (page 16)

and later:

All we are saying – in mitigation of Halifax – is that in seeking peace, he had the support of many British people, at all levels of society. (page 17)

Over 200 pages later (Johnson’s book is thematic in structure, not chronological) Halifax re-appears in 1941, prior to Pearl Harbor and the USA’s entry to WW2, as

… the British ambassador in Washington. This was none other than our old friend the Earl of Halifax: the beanpole-shaped appeaser - he who used to go hunting with Goering. Halifax was the British envoy charged with appealing to the finer feelings of the United States and he was having a terrible time. Shortly after arriving he is said to have sat down and wept - in despair at the culture clash. He couldn't understand the American informality, or their habit of talking on the telephone or popping round for unexpected meetings. In May 1941 the aristocratic old Etonian endured fresh torment when he was taken to a Chicago White Sox baseball game and invited to eat a hotdog. He refused. Then he was pelted with eggs and tomatoes by a group called the Mothers of America. Even for an appeaser, it seems a hell of a punishment. (page 247)

Johnson, if not inclined to vindictiveness, at least seems to have a taste for schadenfreude. He fingers a few other appeasers, for example:

Rab Butler, then a junior Foreign Office minister, was caught telling a Swedish diplomat that he thought Britain should do a deal – if Hitler offered the right terms (page 230)

returns to Johnson’s sights

… Tory drips such as Butler (the old appeaser) … (page 288)

So perhaps Tory remainers shouldn’t hold out too much hope of forgiveness and understanding from a Prime Minister Johnson.

There are some good things in The Churchill Factor. Johnson gives a whole chapter, An Icy Ruthlessness, to the decision to destroy the French fleet at Mers-el-Kébir, a tragedy which the British tend to overlook when revisiting the events of 1940. And another, The Ships that Walked, to Churchill’s sponsorship, when at the Admiralty during WW1, of the initial development of the tank by the Directorate of Naval Construction.

Unlike some celebrity writers, Johnson is happy to give credit to various helpers in the Acknowledgements, in particular Dr Warren Dockter, but my favourite is the one to a fellow Old Etonian:

David Cameron did some invaluable devilling into the exact locations of the pivotal meetings in May 1940 – not at all clear in Lukacs, for instance. (page 361/2)

UPDATE 24 APRIL 2016

Remarks by Johnson about President Obama at the time of the visit to London have led to Borises being sold heavily in the reputations market in the last few days – perhaps never to recover, although there are still 60 days to go before the Referendum.

Earlier in the month Johnson had published his tax return:

 - his earnings from the Daily Telegraph seem to match their reputation. In The Churchill Factor (pages 72 and 73), Johnson dismisses Evelyn Waugh’s criticisms of Churchill’s literary style:

Is it that Waugh was a teensy bit jealous? I think so; and the reason was not just that Churchill had become so much more famous than Waugh had been, by the time he was twenty-five, but that he had made such stupendous sums from writing. And that, for most journalists, alas, is the truly sensitive point of comparison. (page 73)

Here is not there

A post about Madresfield Court and how it was depicted in Evelyn Waugh’s Brideshead Revisited appeared here on 3 June. The day before, The Times had published a photograph (below) of the return to Castle Howard of a vintage Rolls Royce used in the filming there of the Brideshead Revisited TV series. (A more detailed story appeared in the Yorkshire Post.)

The day after (4 June), a letter from Professor Emeritus (of architecture) A Peter Fawcett was published in The Times (£):

Sir, Although Hawksmoor’s baroque Castle Howard (picture story, June 2) will be forever associated with Evelyn Waugh’s Brideshead Revisited, his real inspiration came from a building of a very different architectural persuasion: Madresfield Court in Worcestershire. The English Arts and Crafts designer CR Ashbee designed the library in 1902, and the chapel (which features prominently in the novel) is a fine assembly of artefacts from Birmingham’s Arts and Crafts workshops — a far cry from English baroque. Waugh visited Madresfield frequently, and members of its Lygon family owners also appear as prominent players in the narrative.

On 6 June, there were three more letters. Neville Peel thought that:

… Waugh, like other writers, had a variety of sources of inspiration. His description of Brideshead’s central rotunda reminds one of Ickworth and is very far from the Arts and Crafts of Madresfield.

David Bertram pointed out that:

Professor Fawcett deplores the use of the baroque Castle Howard as a visual shorthand for Brideshead, but there was good reason for its use in the TV film. In the novel Charles Ryder says staying at Brideshead signalled the end of his love for the medieval and his “conversion to the baroque”.

Nigel Thomas felt that:

A more obvious candidate is Wardour Castle in Wiltshire, which Waugh would have known through his friendship with Cecil Beaton and the Herberts. Waugh placed Brideshead in a Wiltshire park with a castle that gave its name to a Georgian successor. … Old Wardour Castle overlooks a lake that points to the new mansion on a nearby hill. The largest Georgian house in Wiltshire, Wardour Castle, has splendid interiors and a spectacular chapel. It too was the home to a Catholic dynasty, the Arundells.

which is a little ingenuous given that Sebastian Flyte tells Charles:

“… We had a castle a mile away, down by the village. Then we took a fancy to the valley and pulled the castle down, carted the stones up here, and built a new house.” (Book 1 Chapter 4)

and that New Wardour Castle is in the Palladian style (as is Ickworth), not baroque. On the other hand, a little later Charles remembers:

It was an aesthetic education to live within those walls, to wander from room to room, from the Soanesque library to the Chinese drawing room … from the Pompeian parlour to the great tapestry-hung hall, which stood unchanged as it had been designed two hundred and fifty years before; …

that would be circa 1675, which, while about a century before John Soane started work as an architect and James Paine’s designing New Wardour Castle, was only a few decades before Vanbrugh’s Castle Howard being built in a thoroughly baroque style.

At this point there is a danger of becoming one of those Sherlockians who argue about the exact location on Dartmoor of Baskerville Hall. Obviously it would be pleasing to think that Brideshead was in Wiltshire, South West England, but I suspect the region will just have to be satisfied with Waugh’s having spent much of his adult life there. Not only friendly with the Herberts, in 1937 he had married one, Laura, whose grandmother bought the couple Piers Court in Gloucestershire. In 1956 the family moved further west to Combe Florey in Somerset where Waugh died in 1966. He wrote Brideshead Revisited in Devon in 1944 while on unpaid leave from the Army.

Perhaps Waugh’s notion of baroque in the novel is more a metaphor for Catholicism than a Pevsner-like description of a particular building’s architectural style. His author’s note, "I am not I: thou art not he or she: they are not they” might be extended: “here is not there”.

Madresfield Visited

‘… Great barrack of a place. I've just had a snoop round. Very ornate, I'd call it. And a queer thing, there's a sort of R.C. Church attached. I looked in and there was a kind of service going on - just a padre and one old man. I felt very awkward. More in your line than mine.' Perhaps I seemed not to hear; in a final effort to excite my interest he said: 
'There's a frightful great fountain, too, in front of the steps, all rocks and sort of carved animals. You never saw such a thing.' 
'Yes, Hooper, I did. I've been here before.' 
The words seemed to ring back to me enriched from the vaults of my dungeon. 
‘Oh well, you know all about it. I'll go and get cleaned up.' 
I had been there before; I knew all about it.

Evelyn Waugh’s Brideshead Revisited The Sacred & Profane Memories of Captain Charles Ryder was first published in 1946 and continues to appear on lists such as The 100 Best English-Language Novels of the 20th Century. In 1981, fifteen years after Waugh’s death at the age of 62, a television series based on the novel gained large audiences at a time when any viewing was appointment viewing. Whether all viewers appreciated the author’s intention: “Its theme - the operation of divine grace on a group of diverse but closely connected characters …” is open to doubt, and the image the series conveyed of decadent upper-class privilege at Oxford in the 1920s has probably been at best unhelpful to that university ever since. But it brought benefits elsewhere, if only by encouraging tourism. Making the series, Granada Television, the ITV franchisee for the North of England, chose the grandeur of Castle Howard in Yorkshire as the location of Waugh’s Brideshead Castle, home of the aristocratic Flyte family, and it was used again as a location for a film of the novel in 2008. There is an exhibition for visitors to “discover how Evelyn Waugh’s famous novel came to be filmed, not just once – but twice – at Castle Howard.”

The choice of the photogenic Castle Howard for filming is not entirely supported by the novel’s text. In Chapter 1 Charles Ryder recalls his first journey to Brideshead with Sebastian Flyte. After an early departure from Oxford, “At Swindon we turned off the main road …”. Later Charles receives a letter from Sebastian on stationery headed “Brideshead Castle, Wiltshire”. This has led in the past to the suggestion that Waugh had Corsham Court in Wiltshire in mind. However, in 2009 Paula Byrne’s Mad World Evelyn Waugh and the Secrets of Brideshead was published. A biography of Waugh, it concentrates on his relationships with members of the Lygon family and their home at Madresfield Court near Malvern, Worcestershire. Not long after first staying at Madresfield as a guest of the Lygons, Waugh finished his third novel, Black Mischief, there in 1932 and dedicated it “With love to MARY AND DOROTHY LYGON”. In 1934, in his next novel, A Handful of Dust, some scenes are set at Hetton Abbey which, to quote Byrne, is “manifestly Madresfield Court. The architectural resemblance is much more obvious and thoroughgoing than that between Madresfield and Brideshead Castle”:

Between the villages of Hetton and Compton Last lies the extensive park of Hetton Abbey. This, formerly one of the notable houses of the county, was entirely rebuilt in 1864 in the Gothic style and is now devoid of interest. The grounds are open to the public daily until sunset and the house may be viewed on application by writing. It contains some good portraits and furniture. The terrace commands a fine view. 

This passage from the county Guide Book did not cause Tony Last any serious annoyance. Unkinder things had been said. … (Chapter II English Gothic)

There is no particular resemblance, other than their class, between Last and the other characters in this novel and the Lygons. However, a decade later Waugh would draw extensively on the family he knew to create the Flytes. Byrne explains the parallels at length (disregarding Waugh’s note, "I am not I: thou art not he or she: they are not they”) and points out that to some members of high society like the diarist ‘Chips’ Channon, the resemblances were immediately obvious. The interior of the chapel was largely taken from life as well, although the Lygons were not Roman Catholics.  To quote Byrne again:

In Brideshead Sebastian insists on showing his family chapel to Charles, mockingly describing it as a 'monument of art nouveau'. Waugh's prose takes flight: 

The whole interior had been gutted, elaborately refurnished and redecorated in the Arts-and-Crafts style of the last decade of the nineteenth century. Angels in printed cotton smocks, rambler-roses, flower-spangled meadows, frisking lambs, texts in Celtic script, saints in armour, covered the walls in an intricate pattern of clear, bright colours. There was a triptych of pale oak, carved so as to give it the peculiar property of seeming to have been moulded in plasticine. The sanctuary lamp and all the metal furniture were of bronze, hand-beaten to the patina of a pockmarked skin; the altar steps had a carpet of grass-green, strewn with white and gold daisies. 

'Golly, I said. 

It was Papa's wedding present to Mamma. Now; if you've seen enough, we'll go.' 

Evelyn changes the gold triptych to pale oak and the sanctuary lamp and metal furniture to bronze, but otherwise there is no mistaking the Madresfield chapel.

Tours of Madresfield Court can be arranged through the Elmley Foundation. Of interest, apart from the connections to Waugh (in particular the desk at which he wrote Black Mischief), there are fine examples of Arts and Crafts style decoration throughout the house as well as in the chapel, notably in the library. The collections of furniture, porcelain, paintings and other objects built up by the Lygons over their generations of ownership are on display. As well as numerous portraits, the paintings include The Quarries of Syracuse (SE Sicily, 1853) by Edward Lear. The tour guides are patient, well-informed, and make visitors feel welcome. There is, thankfully, none of the National Trust’s frenetic marketing to visitor “segments” (see a post here on Tyntesfield), nor is there a detour to yet another ancient kitchen. Before visiting, it is certainly worth reading Simon Jenkins’ account of Madresfield in his England’s Thousand Best Houses (he awarded 4/5 stars, Top 100), and, if time permits, Byrne’s Mad World, which, as well as describing the house and family, explains the unusual circumstances which led to Waugh’s becoming so close to his Lygon contemporariess in the 1920s. An article about Madresfield showing some of the interiors appeared in the June 2014 issue of House and Garden magazine (below).

UPDATE 9 JUNE

If you have read this far, you might like a later post here on the subject of which great house may have been the inspiration for Brideshead Castle.

High Cross House, Dartington

Machines for living in:

Le Corbusier, Stuttgart 1927 and Lescaze 1932 (right)

In a post in June about the Bauhaus exhibition then running at London's Barbican Art Gallery, I mentioned that one of the first International Modern houses to be built in the UK was at Dartington in Devon (SW England). I’ve now had the opportunity to visit High Cross House which is the property of the Dartington Hall Trust, but, as the National Trust (NT) puts it: “… we are excited to be presenting it to the public under our management, working in partnership with the owners …”. The public reopening under NT auspices was in March 2012, and to quote the owners:

The National Trust will work with Dartington, owners of High Cross House, and others to build a community-led sustainable model of management and programming which will make High Cross House a local hub for contemporary arts and a new face for the National Trust.  

Following an initial period of showing the house as a “blank canvas”, there will be a rotating programme of exhibitions and installations by nationally recognised ‘names’ and emerging local artists. There will be simple organic catering on-site and an Art, Craft and Design led retail offer. 

Vaughan Lindsay, Dartington CEO, said: “We’re very excited by this new partnership with the National Trust. We hope the partnership will bring many new visitors to the estate to enjoy High Cross House, explore Dartington’s glorious grounds and gardens and find out more about our charitable programmes in the arts, social justice and sustainability”.

Philadelphia Savings Fund

Society Building (1929-32)

Leonard Knight Elmhirst (1893-1974) was the second husband of Dorothy Straight, née Whitney, (1887–1968) who had inherited her father’s fortune at the age of 17. In the 1920s the Elmhirsts took over the derelict Dartington Hall estate near Totnes in Devon as a vehicle for experiments in rural regeneration and in education. The latter would include the Dartington College of Arts (1961-2008) and the Dartington Hall School (1926-1987). In 1930 the Elmhirsts appointed William B. Curry as the School’s Headmaster. He had previously been head of the progressive Oak Lane Country Day School in Philadelphia. Oak Lane’s nursery had been designed by William Lescaze (1896-1969), a Swiss architect who had settled in the US after the First World War. This 1929 school building established Lescaze's reputation and he went on to design the first International Style skyscraper in the US (left). Curry persuaded the Elmhirsts to commission Lescaze, although based in New York, to design the Headmaster’s private accommodation, High Cross House, which was completed in 1932 and became one of the first Modernist buildings in Britain.

The 1989 description of High Cross House in Buildings of England Devon probably owes more to Bridget Cherry than Nikolaus Pevsner:

A stark geometric composition, the smooth rendered exterior concealing a structure of brick cavity walls with steel beams for cantilevers and wide spans (instead of the reinforced concrete originally specified, which was beyond the local builders). Long two-storey range to the road (originally painted grey-blue in contrast to the impractical white of the rest); entrance between garage and servants' wing and kitchen. Metal casement windows, mostly in horizontal bands. The main rooms project irregularly into the garden. Here the composition is more interesting: low SW study with rounded end and generous terrace on its flat roof serving the guest rooms over the garage; taller SE living room and adjoining dining room on a higher level.   

… The interior reflects the same aesthetic of abstract geometry: no mouldings - the smooth pressed steel doorcases were imported from America - the occasional curve, the play with different levels and with asymmetry, seen to good effect in the fireplaces with dark tiled surrounds, large marble lintels, and off-centre flues. The walls were originally painted in different tones (yellow and white in the hall, white and grey in the living room), not dead white throughout. ...

which contrasts with Pevsner’s much briefer comment in the earlier version, South Devon, published when High Cross House was only 20 years old:

… in 1933 [sic] the modern style arrived [at Dartington, buildings]… concrete plastered white, and as appropriate to Devon as they would be to California or the River Hudson, a symbol of enlightened internationalism, as it also directed the original staffing of the various departments of the Trust.

As well as the Headmaster’s House, Lescaze, together with Robert Hening, the Dartington Hall estate architect, designed a gymnasium, boarding houses, cottages and houses and the Estate Offices.

Visiting High Cross House today one comes away with the feeling that it would benefit from more curatorial input. Surprisingly the ‘retail offer’ does not extend to a Guide and although in one room visitors could tear off free descriptive sheets, the full set was not available except by photographing displayed copies. Contemporary (ie 2012) art from emerging local artists and craftspeople gives some life to what would otherwise be an empty building, as does the café, and generates some revenue presumably - I have commented here before about the maintenance problems posed by Modernist buildings (left)!  Admission is £7.20, by the way,  for non-NT members. But without too much effort or enormous cost, surely it would have been possible to recreate at least the Headmaster’s Study (below)? I can appreciate that despite the NT’s fascination with kitchens, in this case the latter’s restoration is probably impossible.
 

Is it that High Cross House, although located still in Dartington, is actually in a cultural no man’s land – the owners are happy to see the NT taking day-to-day charge, but the NT doesn’t want it to consume considerable resources by comparison with its other responsibilities?  Devon is a long way from London and Modernism (let alone Postmodernism) is a probably minority interest among the NT members who are Devonian residents or holidaymakers. The local NT’s Twitter output, NT English Riviera @NTRiviera, conveys the flavour. Perhaps Julian Fellowes could introduce the International Style and some Dartington location shooting into a future series of ITV's Downton Abbey, the current one now having reached the 1920s. There is a good precedent. In Evelyn Waugh's first novel, Decline and Fall, published in 1928, the socialite Margot Beste-Chetwynde wants to demolish her family house and commissions a young Modernist, Professor Silenus, to replace it with "Something clean and square." Modernism is no longer modern, after all.


High Cross House, Dartington, Devon, SW England, Sept 2012

UPDATE AUGUST 2015

Things have moved on since the post above was written three years ago.  The National Trust is no longer involved with High Cross House which remains the property of Dartington Hall Trust.  Downton Abbey finished its run without a flirtation with Modernism.  However there has recently been an opportunity to rent High Cross House through The Modern House estate agents.  They were looking for offers of £2500 per month and "...  potential tenants will need to make some alterations before moving in (a kitchen, for instance, will need to be installed)".  The informative brochure includes some archive images from Country Life: