Exeter Guildhall

The other day, when Emi and I were on the cold trail of the long-gone Romans, we happened to pass by the Exeter Guildhall ... and the door was open.

The Tudor front facade of the Guildhall, Exeter

Come on, Mum, let's check it out, Emi said.

And who could have resisted this wonderful open door?

Nicholas Baggett's magnificent door, the Guildhall, Exeter

Although it has to be said that it was designed for people who were a bit vertically challenged - and that's coming from someone who stands all of 5' 0" tall.

Looking out the other way, it's just as impressive.

Nicholas Baggett's door from inside the Guildhall, Exeter

The Guildhall has stood on this site since 1160. The present structure was originally built in the fourteenth century and refaced with the current porticoed front facade between 1593 to 1596. Dendrochronology, or tree-ring dating of the roof timbers in the magnificent vaulted ceiling of the chamber shows that the trees from which it was built were felled over the period 1463 to 1498. 

The amazing oak door, which was too good not to walk through, was made by Nicholas Baggett, a local carpenter, in 1593. I love the fact that they remember his name, and deservedly so, because it's a gem of a door.

Meetings of the full town council still take place inside, making it one of the oldest working municipal buildings in England. Exactly how old is a matter of some debate. There's been some sort of guild operating down here in Exeter since the year 1000 AD, and it's likely that their original hall stood on this spot. 

They used to keep the city stocks under the central arch of the porticoes, just in front of Mr. Baggett's wonderful door.  The weekly market also took place on the High Street,  just outside. There's still a hook in the ceiling from which they used to hang the scales for weighing meat, wool, corn and the other goods that would have been sold here on market day. 

Moving inside, this is what the chamber looks like: 

The Chamber of the Guildhall, Exeter

Under this magnificent room there is a 14th century cellar that once functioned as a prison, known back in the day as ye Guyldhall pyttt. 

In the time of the travelling Assizes, the King's Justices held their courts in here, trying those who had been indicted for felonies, and who would have been incarcerated, awaiting trial, in the Guyldhall pyttt beneath. Lord Chief Justice Jeffreys presided over the Bloody Assizes in this very room after the Duke of Monmouth's failed rebellion in 1685. James, Duke of Monmouth, illegitimate Protestant son of Charles II had risen against the Catholic James II, leading many West Country men to fight for the Protestant cause, only to be defeated at the Battle of Sedgemoor, the last battle ever to be fought on English soil. 

In the aftermath of the rising the defeated men were tried for treason against their King in the Bloody Assizes, notorious for the severity of the sentences handed out to dissuade other would-be rebels from following suit. These trials were held in a number of towns across the South Western Circuit including Dorchester, Exeter and Taunton. Hundreds were condemned to death and transportation to the Americas. 

Here in Exeter 40 men stood trial for their part in the rebellion, of whom 13 were found guilty of treason and sentenced to a traitor's death, which was a particularly grisly business involving being hung, drawn and quartered.  How they must have shivered with terror in this room as their sentences were read out. I can almost feel the ripple of horror that would have run through the people crowded in to witness the drama unfold. 

Here's the Lord Mayor's Chair, in which the presiding judge of the Assizes would have sat as he administered the King's justice. 

Mayor Bale's chair in the Guildhall, Exeter

It was made for Mayor Christopher Bale who held office from 1695 to 1697, and it bears the city's coat of arms and its motto semper fidelis, always faithful. 

Around the walls are numerous coats of arms of important benefactors, mayors and the city's trade guilds.

Here are some benefactors:

Benefactors' Coat of arms displayed in the Tudor panelling of the Guildhall, Exeter

I was especially interested in the trade guilds, which give a window into the economic history of the city down the years. The medieval trade guilds emerged to control and represent the interests of the different trades within the city. They were somewhere between a governing body, a secret society, with their own secrets and rituals, and a trade union. The very wealthy guild of Weavers, Tuckers and Shearmen, had their own guildhall, the Tuckers' Hall, built nearby in 1471. Exeter grew rich on the wool trade, which prospered from the 1430's right up to the 18th century and the weavers, tuckers and shearmen, who were the skilled finishers of the product, did rather better than most.

The guildsmen met in this hall to discuss their business. They fixed the rates at which they would sell their produce, sometimes they pooled their buying power and negotiated terms on which they would purchase their raw materials, or considered trade alliances with guilds in other cities, and from time to time they reviewed the necessary skills to be taught to their apprentices so as to maintain the standards within their ranks. They also met to consider the admission of new members to the guild, and to consider whether apprentices had shown the necessary expertise to qualify into the ranks of the masters. A candidate apprentice would be required to produce a master piece, a sample of his work in which he demonstrated all the skills of a master of the trade. Can you imagine the masters sitting around the walls of the chamber unpicking some poor apprentice tailor's stitching to see whether his robes were up to the mark, or passing an exquisitely fashioned kid glove around to see whether someone was good enough to become a master glover?

The arms of the Tailors' Company displayed in the Tudor panelling of the Guildhall, Exeter

The haberdashers (below) would have dealt in all the small items of sewing: the needles, thread and buttons. They would have worked in conjunction with the  tailors (above) and the mercers, who were the cloth merchants.

As I've explained the weavers, tuckers and shearmen worked in the local woollen industry, producing the finished cloth. In the early days the weavers wove the wool into a rough fabric called kersey. After about 1615 they also wove a finer fabric called serge. Then the tuckers treated the cloth, shrinking it and creating the nap, the textured surface of the cloth. The shearmen came along at the end of the process and trimmed or removed the nap with their shears to produce the finer qualities of fabric.

The coopers (photo below) were the people who made and repaired the casks, kegs and barrels that just about every sort of liquid was moved and stored in. 

My personal favourite was the Guild of Merchant Adventurers founded in 1556. These were the merchants who traded overseas, the import/ export guys. Mostly they would have been involved with the export of woollen cloth, but they would have also grown rich importing foreign commodities such as sugar, chocolate, tea, coffee, furs and wines to sell at home.

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Emi and I spent a fun half hour piecing together all the different trades that once flourished within the city walls, and trying to understand what they actually did. It all seemed far removed from the world of today where so little of what we use is actually manufactured in this country, and in which so few of us seem to be involved in work that produces a tangible, hold-it-in-your-hand, product at the end of the day. 

If you're passing and you'd like to visit for yourself you can check out the details on their website: Exeter Guildhall Website

All the best,

Bonny x

As shared on Our World Tuesday and image-in-ing

Dracula ... the perfect Halloween read ...

With Halloween just around the corner I've got the perfect late night spooky read for you:

It's one of my favourite Gothic horror stories. I recognise that it has many flaws, but the magnetic pull of the Vampire Count and Stoker's masterful handling of suspense are more than enough to make up for its shortcomings.

It's a novel that I think would be heavily edited if it were brought to the market through a commercial publisher today. They'd surely do something with Van Helsing's awful clunky speech. Stoker was (I think) trying to convey something of his Dutch-ness, but the words he put in his mouth often detract, making him sound much less dynamic and compelling than he ought to. These days I'd also like to think that Stoker would be told to draw his women with a bit more edge. Both Lucy and Mina, the principal female characters, are a bit too conventionally Victorian and two-dimensional for my taste.

Having said all of that it's still a great read. It was first published way back in 1897, and is now well out of copyright. If you'd like to read it you can download a free copy by clicking on the link: Kindle edition of Dracula.

Many people have wondered what could have inspired a nice middle-class Anglican from Dublin to write the greatest Vampire story of them all. A number of sources suggest Stoker was influenced by Highgate Cemetery, and, although I understand there is no firm evidence that he actually visited, it seems very probable that he would have done given how most of fashionable London were bending their footsteps in that direction at the time.

It has been suggested that his notion of a Vampire, surviving death, and, in particular, the listless Lucy Westenra, who grew more beautiful in death than she had been in life may have been inspired by the story of Elizabeth Siddal.

Elizabeth had been the muse of the Pre-Raphaelite painters. She'd caught pneumonia, posing in a cold bath for Sir John Everett Millais, when he painted her as the dead Ophelia. Luckily she survived, but her angry father insisted on sending all the doctor's bills to Everett Millais, whom he held responsible.

Elizabeth as Everett Millais' Ophelia

 In time she caught the eye of Dante Gabriel Rossetti, who fell hopelessly and completely in love with her. He grew possessive of her, and would not allow her to pose for any of the other painters. They married in 1860 and, for a time, were blissfully happy together, but then Rossetti started to dally with other women, which caused her huge amounts of grief. Her health went downhill, and she started taking Laudanum. Soon she was addicted.

Rossetti's wedding portrait of Elizabeth

She overdosed on the drug in 1862, and was found by her husband in an unconscious stupor. He called the doctor and when the doctor said there was nothing that could be done for her, the desperate Rossetti called another three doctors to see if they could do any better. They pumped her stomach and tried to revive her, but all in vain. The beautiful lady passed away. There was some talk of a suicide note, but they were careful to suppress that lest she be denied a Christian burial in consecrated ground.

At her funeral Rossetti was prostrate with grief. In her coffin he placed a copy of the Bible and a little volume of his unpublished poetry, which was said to contain the only copies of a number of the poems within. Accounts tell of how he laid the little book gently on her pillow so that it was partly hidden by the tresses of her magnificent auburn hair. And so she was laid to rest in the West Cemetery at Highgate.

But her repose was not to be of the eternal variety. Some seven and a half years later in 1869 a struggling Rossetti was in need of funds. His career as an artist had hit the buffers as a result of his failing eyesight, and his addictions to drugs and alcohol. He was convinced that he was going blind. He had written some further poems, but obsessed about the old ones that lay buried and forgotten with his wife. His agent, Charles Augustus Howell, petitioned the Home Secretary for leave to exhume Elizabeths' body and retrieve the volume of poetry.

Remarkably permission was granted, and in the black of a cold winter night, they lit a bonfire by the graveside and dug the coffin up. Rossetti, who felt squeamish about the project, had stayed away, doubtless drowning his sorrows in strong liquor. But Howell was present, and, by the firelight, he caught sight of the dead woman as they prised open the lid of her coffin. Her magnificent copper hair filled the casket, and it appeared as though her body had not decayed. He reported back to Rossetti that her delicate beauty was still intact, and she looked as though she were merely sleeping.

Rossetti's portrait of Elizabeth painted a year after her death

Rumours of what had taken place began to circulate, and the Victorian popular imagination, which was macabre at the best of times, was excited by news of a body that did not decay. No doubt, a man like Stoker, who was at the centre of the city's cultural life would have known about the affair. And who knows, maybe a little bit of Elizabeth Siddal went into his fashioning of Lucy Westenra.

Happy reading and all the best,

Bonny x

Roman Exeter ... Isca Dumnoniorum ... on the edge of an empire

We've come to Devon for the half-term holidays, and it's all looking very autumnal down here. The weather's been pretty balmy for the time of year so most of the trees are still wearing a full compliment of leaves, but with the new-season's colours coming to the fore. And happily Hurricane Gonzalo has blown through without doing us any damage.

It was very atmospheric being tucked up in bed listening to him howling outside. There's something especially delicious about being able to snuggle under the duvet, and let the weather do its worst. Normally, in my work-a-day existence, I'd have been out there, coated and booted, battling through the worst of it.

Emi has been given a half-term assignment on the Roman conquest of Britain, which has taken us into Exeter, or Isca Dumnoniorum, as those wily old centurions would have known it, to search them out in the Royal Albert Memorial Museum.

Exeter was on the very edge of the Roman empire. It was their most South Westerly garrison in mainland Britain. The city walls, of which about three quarters survive today, were originally built by the Romans. They enclose an area of roughly 42 acres and give us the outline of the old Roman city that was established in 55 AD. Of course, over the years, there have been fix-ups and repairs with the result that a lot of the stones on top are medieval.

Here's a shot of the city walls.  Ah, if only those old bricks could talk, what a tale they'd have to tell us.

Here's another one, taken on the way back to the car park, with Emi standing in front for perspective.

They believe that the Second Augustan Legion was garrisoned here from 55 to 75 AD. The Second Augustans had been part of the original invasion force, arriving during the Claudian landings back in 43 AD, when England had first been invaded by Rome. They were commanded, here in the West Country, by the future Emperor Vespasian. They've excavated their barracks (under the Guildhall Shopping Centre) and their massive stone-built bathhouse, which stood on Cathedral Green.

Here's Emi busy taking photos in Cathedral Green so that he can write about where the Roman baths used to be.

Apparently the baths were huge. They were supplied by a local spring, piped in using an aqueduct, and could have accommodated several hundred guys at the same time. They were supposed to have been more advanced in design than many of those back in Italy, and were certainly way ahead of anything in either Pompeii or Herculaneum. The archeologists reckon that this is one of the most important Roman sites in the country and are pretty enthusiastic about digging it all up again. The only problem is that the baths are literally at the front door of the Cathedral. The Dean and Chapter and the City Council are putting their heads together to see what, if anything, can be done. I don't envy them their task. It's going to be a tough one excavating and showing off the Roman baths without destroying the appearance of the magnificent Cathedral.

Back in the museum we found some touching bits and pieces. One of my favourites was this broken cup, which still shows its owner's name.

OK, so it's not the most exquisite piece of porcelaine ever to see the light of day, but it's kind of thrilling to read this guy's name, Lucius Julius Hipponicus, scratched down the side. They reckon that he was a soldier, who lived here in 55 to 65 AD. Whatever the way of it Lucius Julius Hipponicus is one of the earliest residents of Exeter whose name is still known today.

Some of the soldiers died during their time in the city and their cremated remains have also been unearthed, together with an assortment of personal effects and food and wine with which they were buried. It seems to have been the practice to provide a little bit of sustenance to get the deceased started in the afterlife.

The amazing German glass jar in the photo below was included in one such burial. It must have been one of the dead soldier's most prized possessions. I was amazed by how well it's survived for the better part of two millennia, and I was also slightly humbled to behold someone's favourite thing from all that time ago.

Emi was impressed with this lovely carrot amphora in which a soldier had been sent some exotic fruit. It's a nice touch to see how the Roman soldiers enjoyed care packages courtesy of their Roman mums and wives back at home. Emi thought that it would have made a very fine receptacle for an obscene amount of jelly beans, but we wont' go there ... .

Then we had a go at laying some mosaic flooring, which was a bit like doing a jigsaw.

But, as luck would have it, there was one that someone else had made earlier - about two millennia earlier.

And we got to lark around in the museum dressing-up box. How scary is this fierce centurion? He certainly thought he was the business with his mohawk helmet. 

But after a while we went a bit off-piste with a Greek helmet and lyre. Although I must say I think it's a winning combo ... the singing Spartan anyone?

It's fair to say that there's not a lot of Roman Exeter on display, but with a bit of imagination, some colouring pencils and a spot of googling Emil will hopefully have enough material for his assignment.

All the best for now,

Bonny x

As shared on Friday Finds

The Life and Times of Spencer Perceval: calling all history buffs in West London

Do you remember a little while ago I wrote a post about Spencer Perceval the British Prime Minister who lived just around the corner from me? He was the only serving British Prime Minister to be assassinated in office.

Well, the Reverend Rachel from All Saints Church, the Spencer Perceval Memorial Church, built on the site of his old home in Elm Grove, Ealing, has been in touch to tell me that they're recording a play about his life for live broadcast. It's called Three Years a Prime Minister and will be recorded in the church on All Saint's Day, 1st November, which is a nice touch because that was his birthday.

If you'd like to come along and listen in it's open to all comers, and they'd love to welcome as many people as possible. Entrance is £12 on the door, or £10 if you book your tickets in advance. You can buy the tickets from the Rev. Rachel at the Vicarage just across the road from the Church.

The action kicks off with some light bites at 7:00 p.m and then the play will begin at 8:00 p.m.  The address is All Saint's Church, Elm Grove, Ealing Common, W5 3JH and their website is here :All Saint's Website. You can contact Rev. Rachel by email: vicar@allsaintsealing.org.uk. 

All the best, and hope to see you there,


Bonny x

The Art & Science of Exploration, Queen's House, Greenwich, #WhereonEarth

I am a big fan of the gallery at the Queen's House in Greenwich. My enthusiasm stems as much from my passion for history as from my love of art. Most of the paintings exhibited there are not only pleasing to the eye, but are also of real historical interest. It's a gallery that's tailor-made for folk who take an interest in where we've been.

And, just as an example of what I'm going on about, take a look at the painting above. The large square building to the left of centre is the Queen's House as it was way back in about 1680 when old Johannes Vorsterman climbed all the way up One Tree Hill and knocked out his landscape. Immediately in front of it is the new Royal Observatory and part of the planned new King's House, rising out of the remains of the lost Tudor Palace of Placentia, where both Henry VIII and Elizabeth I were born. Further up the river a mass of shipping clusters round the busy dockyard at Deptford with the Stuart Royal Yachts moored further down the river towards Greenwich. It's a fascinating, compelling snapshot in time.

And as a now for Vorsterman's then, the photo below is how the view from the front of the Queen's House looks today. There's nothing left of Henry VIII's great palace, other than a plaque on the ground to remind the tourists that this is where it once stood. Maybe I'm a bit weird, but I get a real thrill out of seeing its bones, courtesy of Vorsterman's paintbrush, before it disappeared forever. It's simple: paintings bring the past alive in a way that mere words on paper just can't match.

The nucleus of what's on display today was once the collection of the old National Gallery of Naval Art that belonged to the Royal Hospital for Seamen. Founded in 1824 (before the National Gallery got going) they used to display the paintings in their amazing Painted Hall.

The art in the Naval Gallery collection was all specifically chosen or commissioned to inspire patriotic pride in the Royal Navy: Rule Britannia, and all that. Way back then they understood exactly how a picture is worth a thousand words.

George IV got in on the act, and donated some 30 naval portraits to kick-start the collection. And people came from far and near to see the Naval Gallery, for which privilege they donated money for the upkeep of the incapacitated seamen. A similar initiative also operated for the benefit of the orphans at the Foundling Hospital. 

And look! I've dug out an old painting (below) from 1845 (by Andrew Morton) showing how the pensioners used to enjoy their Naval Gallery. Let me explain what's going on: the Greenwich Pensioners (dressed soberly in black) are entertaining a group of their army chums, the Chelsea Pensioners, (dressed in flamboyant red). The Greenwich contingent are all campaign veterans who have seen service with Vice Admiral Nelson, and they're busy re-telling tales from their glory days, as old men are wont to do, pointing to the paintings to help explain the action.  I love the curious old Chelsea chap who's gone right up close for a better view, but is cupping his ear and still listening carefully to make sure that he doesn't miss anything. 

Among the many other gems that are on display in the permanent collection is Canaletto's view of the Royal Naval College from the North Bank of the Thames, which is where I tell everyone to go if they want to take really good shots of Maritime Greenwich today. 

This is how, in about 1750, the great Canaletto saw the place from my favourite vantage point <eeek ... I've walked in the footsteps of Canaletto!>: 

And this is how it looked the other day when Maxi-the-wonder-dog and I passed that way: 

It hasn't changed much, has it?  And don't you agree that it's just a little bit thrilling to see the then and the now of it?  

Anyway let's get on to Captain Cook's gallery, where they've got a special exhibition on at the moment called the Art and Science of Exploration. For the most part it comprises paintings made by the artists that he took along with him on his epic voyages to the ends of the earth back in the eighteenth century. 

Here he is, the rather thoughtful but decisive-looking Captain James Cook:

He first set off in 1768 ostensibly with orders (and astronomers) to observe the transit of Venus from the Island of Tahiti, but with further secret orders from the Admiralty to then veer south and have a stab at finding new territory on which to plant the British flag. On this trip he found, named (as New South Wales) and claimed Australia for King George III. He also discovered New Zealand. 

In 1772 he was off again with the objective of mapping the Southern Ocean in a bid to find more new territories, circumnavigating the globe from West to East in his attempt to do so. He cruised along the Antarctic ice shelf on this trip, and went on to discover New Caledonia and the South Sandwich Islands as well as stopping off in New Zealand, Tonga and Easter Island. 

In 1776 he came out of retirement for his final voyage. Charged with the task of finding a North West Passage across continental America that would link the Atlantic and the Pacific, he spent six and a half months, cruising and mapping the coastline, but without finding the elusive passage. He was killed by the islanders of Hawaii on 14th February, 1779. The locals had thought he was a sea god, but when he'd limped back to their shores with a broken mast they started to doubt his divinity. Reports arrived of another local chief having been shot by the British and things turned nasty. Poor old Captain Cook was a member of a landing party trying to turn the situation around when he was knifed and clubbed to death by angry islanders, who believed that he was up to no good.

When Captain Cook headed off on these epic voyages he brought a collection of experts along with him. There were naturalists to look out for new animals that no one had ever seen before, expert cartographers to draw up maps and charts to make sure that people could find their way back to where they'd been, botanists to study the plants and artists to paint anything and everything along the way. 

The artist who painted the portrait of the good captain up above was a chap called William Hodges, who came along for his second expedition. Many of the paintings in this little gallery are the work of his brush, and they give us a really fresh, first-hand view of the New World as it appeared to these early adventurers over two centuries ago. 

This is how Hodges painted Easter Island:

They'd arrived on Easter Island in March 1774, and were in awe of its amazing stone heads. An excited Hodges raced about, doing quick sketches and pencil drawings of what he saw. They only stayed for three days so he didn't have enough time to paint a formal landscape. This painting, the first by a European of Easter Island, was worked up from his sketches and observations on his return to England. At the time Cook's party assumed that the stone heads must have marked the burial places of important people. This influenced Hodges to paint in a scull in the foreground as a sort of European memento mori that the people back home would have understood as a comment on the transience of life, and, also, perhaps, as a comment on how the indigenous culture that had created the monuments had perished too.   

And this (photo above) is how he saw Tahiti. Hodges painted this landscape in 1775 and exhibited it at the Royal Academy the following year. It's a sensual image showing the island ladies bathing in the foreground. The commonly held view at that time was that Tahiti was a paradise, populated by the most incredibly beautiful women. Hodges, however, doesn't just leave his painting as a simple homage to the legendary beauty of the island and its women folk. He places a monumental tii, a statue to the ancestors, so that it towers over the frolicking ladies and behind them in the middle distance he paints in a funeral pyre with a body covered by a draped cloth. He's seriously bringing down the fun-factor with another memento mori. By including this nod to the long dead ancestors and the recently deceased individual it's as though he's making them shout out our frail mortality to us:   

Remember Man as you go by

As you are now so once was I

As I am now so shall you be,

Prepare yourself to follow me

In any event, this is how John Webber, another artist, who served on Cook's third and final expedition, saw the very beautiful Poedua from the island of Ulietea (today known as Raiatea, the second largest of the Society Islands).

Cook and his crew arrived on this heavenly island towards the end of 1777,  just before they were due to head north on a gruelling journey towards the Arctic. Two of his crew were so enthusiastic about the place and its lovely ladies that they deserted. Undermanned and undermined by this breakdown in ship discipline Cook seized the local chief, Orio's, son and daughter, Ta-Eura and Poedua, and Poedua's husband, Moetua and held them hostage for the return of his crewmen. Within a day or two the local people saw to it that the scallywags who'd jumped ship returned and the lovely Poedua along with her brother and husband were freed. 

Webber made some sketches of her, from which he painted this portrait on his return to London, substituting some exotic foliage for the wooden panelling of the cabin in which it was painted. It was exhibited at the Royal Academy in 1785, and must have helped burnish the image of the sensual south sea maiden in the popular imagination.

Cook's first voyage to Australia almost became his last when they crashed into the Great Barrier Reef. Forced to pull into the estuary of what they named the Endeavour River to make the necessary repairs, the expedition's naturalists Joseph Banks and Daniel Solander had a whale of a time checking out the local wildlife. They got especially excited about the kangaroos.  They chased after them, caught a few dead ones, skinned them, drew them, measured them and studied them in wonder. Then, when everyone got back to London, Banks went off to see a certain Geroge Stubbs, who was the foremost animal painter of the day. Stubbs had never been south of the equator, but he threw his heart into imagining what it must all have looked like. There are even tales of Banks inflating one of the kangaroo skins to give him a three dimensional representation of how they looked. Anyway, after a respectable amount of head scratching and discussion, this is what he came up with: 

And this was the first glimpse that the people of Britain had of the kangaroo. 

Banks and Solander had also got very excited about the wild dogs of Australia, the dingoes, but they didn't put quite the same amount of energy into drawing them or catching them. As a result Banks came back to Stubbs with an altogether vaguer explanation as to what they looked like. On the back of these descriptions Stubbs had a go at painting a dingo, and this is what he came up with: 

Personally I think it looks a bit more like a home-counties fox than a wild dingo dog from the Aussie Outback, but I'm sure he did his best with the material that he had to hand. 

All thing's told it's a great little exhibition, and gives a real feel for the novelty and excitement of Cook's epic voyages. If you'd like to visit and check it out for yourself you can find the details on the website here: the Queen's House. The Art & Science of Exploration carries on until July 2015, although I think they're going to remove the Stubbs paintings in January 2015.

All the best, 

Bonny x

As shared on Friday Finds, Our World Tuesday and Image-in-ing