DOCSLIB.ORG

36 Lady Anne Lindsay.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
36 Lady Anne Lindsay.Pdf ~dy Anne ~dsay (1750-1825) Lady Anne Lindsay, said to be the child "of a hundred earls," was the author of the single most popular contemporary ballad of the English romantic period, ''Auld Robin Gray." Her mother, Anne Dalrymple, was an aristocrat, as was her father, James Lindsay, fifth earl of Balcarras. Born on 8 December 1750, Lady Anne was the eldest of their eleven children. She grew up in Fife, making winter visits to Edinburgh. The extensive family library was hers to use as she liked, and she and her father, who died when she was seventeen, shared a literary camaraderie. Later she remarked that in her youth she would often "scribble away poetically and in prose, till I made myself an artificial happiness, which did very well 'pour passer le temps.' " 1 Another member of the household was Sophy Johnstone, a relative who came for a visit and stayed thirteen years. She wore men's clothes, walked with a masculine stride, took up blacksmithing, and occasionally swore. She played the fiddle and sang, in a deep voice, a wealth of old Scots ballads, in­ cluding the ancient air "The Bridegroom Greits When the Sun Gaes Doun." Lady Anne was especially fond of the melody and longed herself to sing it but considered the traditional words too coarse. In early 1772, feeling sad just after her sister Margaret had married and moved to London, Lady Anne composed new words for the old song, trying, as she said, to "give to its plaintive tones some little history of virtuous distress in humble life, such as might suit it.'' 2 Mischievously she named the lyric after Robin Gray, an old shepherd the children disliked. More than fifty years later, she recounted circumstances of its composition, including the following incident: I. Lives of the Lind says; or a memoir of the houses of Crawford and Balcarres by Lord Lindsay . together with personal narratives by his brothers ... and his sister, Lady Anne Barnard, 3 vols. (London, 1849), 2:332. 2. Lindsay to Walter Scott, 8 July 1823, quoted in Walter Scott's introduction to Auld Robin Gray; A Ballad by the Right Honourable Lady Anne Barnard, Born Lady Anne Lindsay of Ba/carras, ed. Walter Scott (Edinburgh, 1825). Lady Anne Lindsay I called to my little sister [Elizabeth, twelve or thirteen years Anne's junior, later] Lady Hardwicke, ... "I have been writing a ballad, my dear; I am op­ pressing my heroine with many misfortunes. I have already sent her Jamie to sea-and broken her father's arm-and made her mother fall sick-and given her Auld Robin Gray for her lover; but I wish to load her with a fifth sorrow within the four lines, poor thing! Help me to one." - "Steal the cow, sister Anne," said the little Elizabeth. The cow was immediately lifted by me, and the song completed. At our fire-side, and amongst our neighbours, ''Auld Robin Gray" was always called for. I was pleased in secret with the approbation it met with; but such was my dread of being suspected of writing any thing, perceiving the shyness it created in those who could write nothing, that I carefully kept my own secret.3 Evidently Lady Anne kept her secret for other reasons as well. Her nar­ rative about a loveless marriage of convenience too closely paralleled the actual fates of her mother and her sister Margaret, both forced into marriages with substantially older, wealthy men. Her father had been nearly sixty and her mother only twenty-three when they married. The young woman had refused the near-deaf Lord Balcarras, but after he developed a serious fever, made her heir to half his estate, and resolved to die out of"grief and despair," she married him. Then the earl recovered.4 The life of Lady Anne's sister Margaret was similar in this respect. She fell in love with James Burgess, a man of ambition and intelligence but no fortune, but she was made to give him up, and James left the country. Just before the composition of the ballad, Margaret married Alexander Fordyce of Roehampton, a middle-aged banker, said to be one of the richest in the country.5 Lady Anne's narrative probably gave voice as well to her anxieties about her own future in a world where women, whether aristocratic or working-class, were still legally treated as property. "Auld Robin Gray" struck a chord in many people and enjoyed great popu­ larity. Not only was it sung throughout Scotland but it was carried into England by ballad-mongers and strolling players, translated into French, sung by a lunatic in Mary Wollstonecraft's Maria, or The Wrongs ef Woman and by a milkmaid in Susanna Blamire's "Stoklewath," and printed in every anthology of Scottish verse and song; it even lent its name to the newest fashions, in­ cluding, one season, the Robin Gray hat. It found its way into print in many versions, with several people, including a clergyman, claiming authorship. Antiquarians debated whether ''Auld Robin Gray" was an ancient ballad 3. Ibid. 4. Madeleine Masson, Lady Anne Barnard (London, 1949), 18-19. 5. Ibid., 2 . Lady Anne Lindsay or of modern origin. Even though they advertised a twenty-guinea reward to anyone who could prove its origin, Lady Anne and Sophy Johnstone re­ mained silent. Eventually the Antiquarian Society dispatched its secretary to visit Lady Anne in an effort to discover the truth. Offended by his "imper­ tinent" questioning, Lady Anne closed the interview with the remark, "The ballad in question has in my opinion met with attentions beyond its deserts. It set off with having a very fine tune put to it by a doctor of music, was sung by youth and beauty for five years and more, had a romance composed from it by a man of eminence, was the subject of a play, of an opera, and of a pantomime, was sung by the united armies in America, acted by Punch, and afterwards danced by dogs in the street-but never more honored than by the present investigation." 6 Some guessed the poem's origin early on. "Happening to sing it one day at Dalkeith-House, with more feeling perhaps than belonged to a common ballad," Lady Anne recounts, "our friend Lady Frances Scott smiled, and fixing her eyes on me, said, 'You wrote this song yourself.' The blush that followed confirmed my guilt. Perhaps I blushed the more (being then very young) from the recollection of the coarse words from which I borrowed the tune, and was afraid of the raillery which might have taken place if it had been discovered I had ever heard such.'' 7 The laird of Dalziel also was not deceived. He advised Lady Anne to make the lyrics more authentic. "Instead of sing­ ing, 'To make the crown a pound, my Jamie gaed to sea,'" he told her, "say, to make it twenty merks, for a Scottish pund is but twenty pence, and Jamie was na such a gowk as to leave Jenny and gang to sea to lessen his gear. It is that line ... that tells me that sang was written by some bonnie lassie that didna ken the value of the Scots money quite so well as an auld writer in the town of Edinburgh would have kent it." 8 Not until half a century after its composition did its author confess the truth to anyone outside her family circle. In the Pirate (r82r), Walter Scott compares the situation of his character Minna to that of Jennie Gray "the village-heroine in Lady Anne Lindsay's beautiful ballad." He then quotes four lines from an unpublished sequel to the ballad, composed by Lady Anne at her mother's request many years after the original. Curious to know how he could have learned lines she never so much as wrote in manuscript and how he could attribute them to her, Lady Anne wrote to Scott. (His aunt Christy Rutherford, it turned out, was a mutual friend.) Thus began a lively corre- 6. Lives of the Lindsays, 2:333. The doctor of music was the Reverend William Leeves, of Wrington, Somerset, who had written a new melody. 7. Lindsay to Walter Scott, 8 July 1823. 8. Ibid. Lady Anne Lindsay ~~~~~~~~~~~~ ~~~~~~~~~~~~~~ spondence between the two, resulting in the publication in 1825 of "Auld Robin Gray" with its two inferior sequels and an introduction by Walter Scott in a thin quarto volume for the members of the Bannatyne Club, a society for the preservation of Scottish literature and history. At Scott's request, she also gathered together and prepared for the press a volume entitled Lays ef the Lindsays, containing more of her poems as well as works by other members of her family. Although she suppressed this book, three copies are known to have survived.9 Lady Anne never met Scott, but she did meet and record her conversation with Samuel Johnson when he visited Edinburgh in 1773. She was a friend of David Hume, Henry Mackenzie, William Pitt, Horace Mann, Edmund Burke, Richard Brinsley Sheridan, the prince of Wales, and probably Horace Walpole and Joanna Baillie. For some years she lived in London with her sister Margaret, but in 1793, at the age of forty-three, she married Andrew Barnard, son of the bishop of Limerick. Though not wealthy, he was an ac­ complished man, somewhat younger than his bride. When he was appointed colonial secretary under Lord MacCartney in 1797, the couple moved to the Cape of Good Hope.
Load more

Recommended publications
  • Sir Walter Scott and Lady Anne Lindsay: New Light on Their Relationship Sarah Flatt University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2018 Sir Walter Scott And Lady Anne Lindsay: New Light On Their Relationship Sarah Flatt University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the English Language and Literature Commons Recommended Citation Flatt, S.(2018). Sir Walter Scott And Lady Anne Lindsay: New Light On Their Relationship. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/4851 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. SIR WALTER SCOTT AND LADY ANNE LINDSAY: NEW LIGHT ON THEIR RELATIONSHIP by Sarah Flatt Bachelor of Arts Columbus State University, 2015 Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Arts in English College of Arts and Sciences University of South Carolina 2018 Accepted by: Paula Feldman, Director of Thesis Anthony Jarrells, Reader Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Sarah Flatt, 2018 All Rights Reserved. ii ABSTRACT While Sir Walter Scott is best known for his Waverly novels and Minstrelsy of the Scottish Border, he also played an important role in helping lesser known writers publish their work. In particular, he was known for helping women writers. Scott’s relationship with Lady Anne Lindsay (later Barnard), however, is especially interesting. Lindsay is best known for her poem, “Auld Robin Gray.” There is far more to Sir Walter Scott’s relationship with Lady Anne Lindsay than first meets the eye.
    [Show full text]
  • “Cape of Execution”: the Gallows at the Cape of Good Hope As Represented in the Colonial Art of Johannes Rach and Lady Anne Barnard Russel Viljoen
    “Cape of Execution”: The gallows at the Cape of Good Hope as represented in the colonial art of Johannes Rach and Lady Anne Barnard Russel Viljoen University of South Africa Email: [email protected] During the eighteenth century, the Cape Colony developed into a violent society in every sense of the word. The type of crimes committed by perpetrators, the sentences imposed by the colonial authorities and the Court of Justice were equally violent. The depiction of the gallows by colonial artists has provided scholars with new insights on South Africa’s past, especially with regard to the increase in violence and the punishment faced by the condemned. Key words: execution, gallows, Lady Anne Barnard, Johannes Rach, colonial art “Kaap van Teregstelling”: die galg aan die Kaap die Goeie Hoop soos voorgestel in the koloniale kuns van Johannes Rach en Lady Anne Barnard Gedurende die agtiende-eeu het die Kaapkolonie ontwikkel in ’n geweldadige samelewing in elke sin van die woord. Die tipe misdade wat gepleeg is deur oortreeders en die strawwe wat opgelê is deur die koloniale outoriteite en die Raad van Justisie was eweneens geweldadig. Die uitbeelding van die galg deur koloniale kunstenaars, het skoliere voorsien van nuwe insigte aangaande die Suid- Afrikaanse verlede, veral met betrekking tot die toename in geweld en die straf wat die veroordeeldes in die oë gestaar het. Sleutelwoorde: teregstelling, galg, Lady Anne Barnard, Johannes Rach, koloniale kuns key aspect of uncovering South Africa’s colonial past over the last few decades was this pre-occupation of scholars: how violent the Cape society was in terms of social A relations, the institution of slavery and the overall administration of justice at the Cape.
    [Show full text]
  • The 1797 British Naval Mutinies in Southern African Waters
    IRSH 58 (2013), Special Issue, pp. 61–85 doi:10.1017/S0020859013000266 r 2013 Internationaal Instituut voor Sociale Geschiedenis International Radicalism, Local Solidarities: The 1797 British Naval Mutinies in Southern African Waters N ICOLE U LRICH History Department, Rhodes University Grahamstown 1640, South Africa E-mail: [email protected] ABSTRACT: This article details the 1797 mutinies in the British Royal Navy in southern African waters at Simon’s Bay and Table Bay at the Cape of Good Hope. Drawing attention to the intersections between international protest during the age of revolution and between local, African protest, it shows that the Cape mutinies were part of an empire-wide strike, and were rooted in the organizational tradi- tions of naval sailors. Yet, these mutinies were also of local significance. They signalled the growing confidence, and radicalization, of the popular classes at the Cape, as sailors, KhoiSan labourers, and slaves all experimented with new strategies of rebellion. Realizing the fundamental class bias of custom and law during their struggles for improvements in wages and working conditions and for a more democratic workplace regime, naval sailors also contributed to a broader political dialogue at the Cape concerning the relationship between the imperial state, freedom, and rights. INTRODUCTION Towards the end of 1797, Thomas Kelly of the carpenters’ crew on HMS Jupiter was ordered to appear before a court martial for mutinous behaviour. Kelly threatened that: [y] he was a Delegate and sent by [y] His Company and the Voice of the Ship’s Company was not to be played with. He said that a man’s life was not so easily taken away now as it was four months ago.
    [Show full text]
  • A Sortie Into the Archaeology of the Moravian Mission Station, Genadendal
    A sortie into the archaeology of the Moravian mission station, Genadendal By: Harriet Clift UniversityFebruary of 2001 Cape Town Submitted in full requirement for the MA degree in Archaeology, Department of Archaeology, University of Cape Town. The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town A sortie into the archaeology of the Moravian mission station, Genadendal By: Harriet Clift February 200 l Submitted in full requirement for the MA degree in Archaeology, Department of Archaeology, University of Cape Town. Content Abstract v Acknowledgements vi Tables viii Figures ix Chapter 1: Introduction 1 1.1. Background to research 1 1.2. Methodology 2 1.3. Terminology 6 1.3.1. The DEIC at the Cape 6 1.3 .2. Land usage at the Cape 7 1.3.3. Indigenous communities at the Cape 9 1.4. Content 10 Chapter 2: Culture contact and change 13 2.1. The social landscape at the Cape, pre 1652 13 2.2. Frameworks for understanding culture contact and culture change 18 2.3. European settlement and the demise of indigenous society 21 11 2.4. 'Artefacts of trade' 23 2.5. Archaeological evidence of contact, post 1652 25 2.5.1 Andriesgrond 25 2.5.2 Voelvlei 28 2.5.3 Seacow River Valley 29 2.5.4 Oudepost 1 32 2.6 Summary 34 1 Chapter 3: Documentary evidence of 18 h century Baviaanskloof 36 3.1.
    [Show full text]
  • A Feminist Literary Analysis of Selected Excerpts from Lady Anne Barnard's
    Lady Anne Barnard’s Cape diaries “Thinking your journal unimportant”: A feminist literary analysis of selected excerpts from Lady Anne Barnard’s Cape diaries Jessica Murray University of South Africa Department of English Studies [email protected] Abstract This article offers a feminist literary analysis of selected excerpts from the diaries that Lady Anne Barnard wrote during her stay at the Cape Colony from 1797 until 1802. Lady Anne was, by all accounts, an extremely productive writer and correspondent who left behind a wealth of material at the time of her death on 6 May 1825. The article argues that diaries can provide valuable insights about gendered constructions at different historical moments and about how individual women navigated such gendered structures in their daily lives. The textual specificities of diaries require that researchers adjust our reading strategies to meet the demands of these texts. Lady Anne emerges as a complex subject who is both subversive and constrained in her negotiations with gendered constructions of “proper” female roles and behaviour. Even as she challenges these constructions, she also appears to have internalized them, at least partly. Keywords: Lady Anne Barnard; Diaries; Gender; Cult of true womanhood; Domesticity; Feminist literary criticism. Introduction Once more, once more, thou creature of omissions, always intending right, always forgetting, thinking your journal unimportant and what you have to say not worth paper pen and ink, yet always regretting afterwards that you did so…(Barnard, 1799).1 The above epigraph is taken from the diaries that Lady Anne Barnard (see image 1) wrote during her stay at the Cape Colony from 1797 until 1802.
    [Show full text]
  • The Castle of Good Hope
    FREE Please support our advertisers who make this free guide possible PLEASE TIP Cape Town EMPOWERMENT VENDORS GATEWAYGUIDES The Castle of Good Hope Castle of Good Hope Over the centuries six different flags have flown over The Castle yet in all that time not a single shot has ever been fired in anger at it or from it. Muizenberg 1 False Bay To advertise here contact Hayley Burger: Cape Town • South Africa 021 487 1200 • [email protected] One of his first tasks was to The style of this new castle was Peak. The present day site of the Castle is 1 The reason for a fort at the 4 5 Cape of Good Hope build a fort as the interests associated with the renowned French probably the best of a bad situation. This Cape Point With the expansion of world trade by of the Dutch East India fortress engineer, Sebastien Vauban. position is about 230 metres south east the European powers in the 1500s, Companies latest assets had Menno, Baron van Coehoorn, a Dutch of the old fort. The site is close enough 6 trade routes were vital to economic to be protected at all costs. artillerist and military engineer, was to anchorage, within firing range of the also associated with the outcome of the town and close enough to fresh water. History and facts power. The main trade route to the The first fort built at Castle’s design. The defensive system at the Cape was East used to be overland; but in 1453 the Cape of Good Hope Constantinople was captured by the This design was based on the fact that slowly rectified over time by means of of the Castle including Two days after setting foot Turks which effectively closed off this firepower due to technology had greatly many defensive structures placed around on the shores of Table Bay, 3D illustrations, trade passage.
    [Show full text]
  • 1Judge John Holland and the Vice- Admiralty Court of the Cape of Good Hope, 1797-1803: Some Introductory and Biographical Notes (Part 2)*
    1JUDGE JOHN HOLLAND AND THE VICE- ADMIRALTY COURT OF THE CAPE OF GOOD HOPE, 1797-1803: SOME INTRODUCTORY AND BIOGRAPHICAL NOTES (PART 2)* JP van Niekerk** ABSTRACT A British Vice-Admiralty Court operated at the Cape of Good Hope from 1797 until 1803. It determined both Prize causes and (a few) Instance causes. This Court, headed by a single judge, should be distinguished from the ad hoc Piracy Court – comprised of seven members of which the Admiralty judge was one, and which sat twice during this period – and also from the occasional naval courts martial which were called at the Cape. The Vice-Admiralty Court’s Judge, John Holland, and its main offi cials and practitioners were sent out from Britain. Keywords: Vice-Admiralty Court; Cape of Good Hope; First British Occupation of the Cape; jurisdiction; Piracy Court; naval courts martial; Judge John Holland; other offi cials, practitioners and support staff of the Vice-Admiralty Court * Continued from (2017) 23(2) Fundamina 176-210. ** Professor, Department of Mercantile Law, School of Law, University of South Africa. Fundamina DOI: 10.17159/2411-7870/2018/v24n1a6 Volume 24 | Number 1 | 2018 Print ISSN 1021-545X/ Online ISSN 2411-7870 pp 134-169 134 JUDGE JOHN HOLLAND AND THE VICE-ADMIRALTY COURT OF THE CAPE OF GOOD HOPE 4 The personnel of the Cape Vice-Admiralty Court The Vice-Admiralty Court at the Cape was staffed by a single judge, who, assisted by a registrar and his deputy, as well as a marshal, was in charge of its proceedings. Prosecutions were brought by the King’s proctor, and practitioners (advocates and proctors138) appeared before it.
    [Show full text]
  • Castle of Good Hope Integrated Conservation Management Plan 2020
    Castle of Good Hope Integrated Conservation Management Plan 2020 - 2024 DESKTOP STUDY September 2018 Vision The Castle Control Board shall be a globally significant, truly accessible centre of excellence that showcases South Africa’s shared heritage. Mission The Castle Control Board is a service-orientated public entity, striving to create an environment where national pride serves to: • Build an internationally known and recognised cultural and heritage brand for Ubuntu, dialogue, nation-building and human rights recognition; • Guarantee the development of a smooth functioning, self-sustaining, “must-see” iconic visitor and learner destination; • Optimises its tourism potential and accessibility to the public; and • Preserve and protect its cultural and military heritage by elevating it to United Nations Educational, Scientific and Cultural Organisation (UNESCO) World Heritage status. - From the Annual Performance Plan 2018 Table of Contents List of Figures ......................................................................................................................................... iii List of Maps ............................................................................................................................................ iv List of Acronyms ...................................................................................................................................... v 1. Introduction ...............................................................................................................................
    [Show full text]
  • Lady Anne Lindsay
    Lady Anne Lindsay Most of our ancestors are fairly obscure, and we know little about them. A few are famous lords and monarchs, and you can find their stories in any library. There are, however, one or two fascinating ancestors, who are obscure enough that you won't find books about them in your library, but whom left writings which enable us to piece together their fascinating lives in great detail, mostly using their own words. One of these is the remarkable Lady Anne Barnard (née Lindsay). A contemporary of Jane Austen, she was a prolific letter writer and artist, and from her lively letters, journals, and many sketches and paintings, we can get a vivid picture or her remarkable life. She grew up in a decaying Scottish castle, then moved to London, where she became a noted socialite. Most famously, she travelled to South Africa in 1797, and her records of her time at the Cape are apparently an important resource for historians. She is commemorated in South Africa by an outdoor bath in the Kirstenbosch botanic gardens, in which it is said she bathed naked (unlikely, as it wasn't built until she had moved back to England). Her letters were first published in 1910 as "South Africa a Century Ago, Letters Written from the Cape of Good Hope (1797-1801), with an introduction by W H Wilkins, and I'll let him introduce Lady Barnard. "Lady Anne Lindsay (by marriage Barnard) was the eldest child of James, fifth Earl of Balcarres, by his wife Anne Dalrymple, daughter of Sir Robert Dalrymple, of Castletown.
    [Show full text]
  • Annexure A.1 A
    ANNEXURE A.1 A. Groot Constantia Site Inventory: Historical Precinct Groot Constantia Homestead *Key to criteria at end of document Ref Name Description Age Significance Photograph No. * 1. Homestead Detail of a sketch by EV Stade of Late Original Constantia in 1710. The farm was 17th C appearance granted to Simon van der Stel in 1685 and he lived there until his death in 1712. Stade’s drawing shows a double storey building with a central bell gable and smaller pointed side gables. It was built in Dutch Renaissance style with small red face-brick and had casement windows. The house was U-shaped with galleries around a back courtyard. It stood on the present site. (Van der Merwe) 1a Present The original U-shaped house was Late Very High Homestead extensively remodelled by Hendrik 18th – Cloete who purchased the farm in 1778. 20th C A, Ar, H, Lm, His alterations include the iconic front Cx GPS 34° 01’ 52.28” S gable, side gables, and a deeper main / 18° 25’.07.35” E block incorporating an inner hall. Elevation 93m The forecourt was raised and levelled to emphasize the homestead as focal point and hide the original basement windows. Evidence of early features was found after the 1925 fire when the architect, RK Kendall, undertook the reconstruction of the homestead in line with the Cloete era. 1b Front gable Front ‘Halsgewel’ (collar gable) derived Late Very High from an Amsterdam gable type 18th C developed by Vingboons in the 17th C A, Ar, Art, H, with segmented pediment and side Lm, Cx volutes (Fransen).
    [Show full text]
  • Lady Anne Barnard's Letters from Cape Town
    All the Lighter Parts: Lady Anne Barnard's Letters from Cape Town MARGARET LENTA IN SEPTEMBER 1795' Cape 01 Good Hope, at that time governed by the Dutch East India Company, fell to the British, and after an eighteen-month period of military government, the British Minister for War and the Colonies, Henry Dundas, secured Earl Macartney for the post of civil governor. Appointed simul• taneously with Macartney and as Secretary of the colony was Andrew Barnard, who on marrying Lady Anne Lindsay in 1793 had resigned from the army. Their marriage, though extremely successful, was somewhat surprising in its day. Lady Anne, the daughter of the Scottish Earl of Balcarres, was forty-three when it occurred, twelve years older than Barnard. She and her widowed sister, Lady Margaret Fordyce, had lived together as popular London hostesses for twenty years. They were friends of the Prince of Wales, of Pitt, and of many politicians of the day. Lady Anne was especially intimate with Henry Dundas, whom she had known since childhood when she had lived with her widowed mother in Edinburgh. It was because of their long friendship that Dundas agreed to give the office of Secretary to Barnard when, in 1796, he formed a civil administration for the Cape. In accompanying her husband on what promised to be a stay of several years abroad, Lady Anne knew she was acting somewhat unusually for a woman of her class and age. Macartney's wife did not accompany him, and Lady Anne, as wife of the senior government official to be accompanied by a spouse, would be the official hostess of the administration, a task for which her talents and experience well fitted her.
    [Show full text]
  • Vernacular Architecture Society of South Africa VASSA Journal
    Vernacular Architecture Society of South Africa VASSA Journal Number 22 December 2009 Contents Page The Roodezand passes to the Tulbagh valley: Joanna Marx 2 The European origin of Cape vernacular architecture: André van Graan 11 Regional differences in Cape vernacular architecture: Hans Fransen 18 Cover illustrations Top: Graaff-Reinet; Bottom: Bokkerivier (Hans Fransen). The Vernacular Architecture Society of South Africa is not responsible for authors’ opinions or factual errors contained in contributions. © Vernacular Architecture Society of SA 1 The Roodezand passes to the Tulbagh valley Joanna Marx In August 2009, to mark the fortieth anniversary of the earthquake that destroyed much of Tulbagh and the surrounding country, the Vernacular Architecture Society of South Africa arranged an excursion to Tulbagh and environs. Members visited the town and some farms to see how the area had recovered and developed since 1969. In May 1798 Lady Anne Barnard, the intrepid traveller and diarist, went from the present Worcester area through the ‘Roysand Pass’ to the Berg River valley west of Tulbagh. Before the area was named the ‘Land van Waveren’ it was known as the Roodezand (‘red sand’) valley, a name that still survives. There were no less than three passes from the Berg River valley into the Tulbagh valley, all known at some time as Roodezand (Fig.1). Which was the pass that Lady Anne took? Part 1 provides extracts from the accounts of early travellers entering or leaving the Tulbagh valley and other descriptions and observations. Part 2 consists of relevant extracts from Lady Anne Barnard’s description of her journey.
    [Show full text]