Friday, 22 August 2014

Stabling In The Nineteenth Century

THE REGENCY STABLES


There seems to be some confusion over the type of stable to be found during the Georgian and Regency eras, so I thought I would post about it.

In the country house of the eighteenth and nineteenth centuries, the stable yard was a busy and important part of a gentleman’s establishment. When the family was in residence, horses would be required at all times of the day, for pleasure rides, carriage journeys, sending messages etc. In the country, the stables were always so termed. It was in town that they were named ‘mews’, where they were often located behind the house, adjoining a narrow lane and overlooking a similar equine housing on the opposite side, which in its turn belonged to the house on the next road.

In grand establishments, such as Blenheim Palace, Chatsworth and Badminton, the stables were positioned around large courtyards, allowing plenty of space for a carriage and four to manoeuvre. In the ‘good old days’, when they were cobbled, it meant a deal of hard sweeping for the stable boys in order to keep the yard clean and tidy. A tall archway, frequently topped by a clock tower, provided ingress and egress, as well as acting as a statement of the owner’s rank and worth. In these noble mansions, stable blocks were two-storey, featuring stabling on the ground floor, with haylofts and grooms’ accommodation above. Harness rooms were set within the stables for convenience, along with washing areas. One side of the quadrangle was occupied by the coach-house. Many a smaller country house also had this arrangement.



Sadly, the costs of maintaining these ducal residences has meant most stable blocks have been converted to garages or other, financial concerns, such as restaurants and visitor centres. At Badminton House, seat of the Duke of Beaufort and home of the world-famous Badminton Horse Trials, happily the palatial equine quarters are still maintained for their original purpose. Within the long, honey-coloured stone building, set with windows and a central doorway, are a long line of dark timber loose boxes. Each is fronted by a grille above solid planking, to avoid inmates interfering with anybody ‒ horse or human ‒ as they walk past and a carved knob atop each separating partition.





Stables at Badminton House © Heather King
Such expansive accommodation, however, was not the norm. Even in Victorian times, my aunt tells me, loose boxes were not common. In the majority of houses, horses were kept in stalls, although I suspect that at some point during the nineteenth century it became fashionable to convert stalls into loose boxes. Indeed, this belief is borne out by Giles Worsley in an article for Country Life about Houghton Hall in Norfolk. He states that the stables at Houghton, in common with ‘all country-house stables’ had been altered with the addition of loose boxes in the nineteenth century. He goes on to say that in many stable yards the original fittings were also replaced in that timescale, but a number survive at Houghton, where the stables are still used for horses.



Sir Robert Walpole, Prime Minister during the 1730s, improved Houghton for political reasons and entertained friends and supporters right royally in the beautiful house and park he created. The current stables were the second quadrangle to be built after the original was demolished, being deemed to be in the wrong position after only thirteen years. They were erected to house eighty animals; hunters, carriage horses and cart-horses. Constructed of the local, coarse yellow Snettisham stone, with brick to the interior of the courtyard, there were varying degrees of opulence for the occupants. In order to display his wealth and quality horseflesh, Sir Robert stalled his hunters in palatial surroundings in the north-eastern block. Dark timber partitions or stall-divisions, finished with alternate columns (each topped with a ball) and stone pillars (leading to the vaulted brickwork overhead), separate each bay and the floor is laid with pinkish-red and blue-grey bricks. Diocletian windows line the wall above the stalls. The original hay racks are composed of twisting uprights and the mangers, also to the front of each stall, have survived unaffected by modernisation. Bridle pegs decorate the walls above the feed bins, with a harness or tack room nearby where the saddles would have been stored. Wooden panelling lines the wall of the tack room, which still has wooden semicircular pegs for bridles and other items of harness.



In the opposite corner of the courtyard, a stable for six horses indicates a lesser degree of comfort. Probably for carriage and coach horses, there is a partition for each pair of animals, as opposed to one between every horse in the hunter stable. Between each pair, hooks survive for the hanging bails which would have been used to separate them. Nevertheless, similar racks and mangers head each double bay. The adjoining block was, in all likelihood, used for the farm horses, since there are no partitions and only a sloping hay rack – the equivalent of travelling economy class!



This arrangement bears out family records, as in one house my grandfather had cow stalls in pairs on one side of a barn and stabling on the other, with another stable for carthorses a short distance away. Both had haylofts above. Frequently, chains were attached to the partitions at the rear of stalls. These could be fastened across behind the horses to prevent them pulling backwards, although often as not they were not put into use, except, perhaps, at night.



It was not unusual, in a less grand establishment, for one stable building to house a loose box at each end and stalls in-between. Some gentlemen’s residences also had a stall(s) or open-ended box for washing down sweaty or dirty horses. Nevertheless, the majority of Regency households would have had mainly stalls with perhaps a stallion box or two and a large loose box for an expectant mare or sick individual. Within the stable courtyard, there would also have been one or more feed rooms and probably a harness room for each block of stabling.







When stabled in a stall, a horse wore a leather headstall to which was attached a rope. This was fed through a ring on the wall or manger and weighted with a ‘log’ – a wooden or metal ball. This contraption, known as a ‘log and rope’, allowed the horse a measure of movement and freedom to lie down, but prevented him from turning around.


Major coach operator William Chaplin famously kept 1800 horses all told, with 200 of them at his underground stables at the Swan With Two Necks on Lad Lane in London. His competitor, Edward Sherman, constructed a large stable complex in the cellars when he rebuilt the Bull and Mouth. With these numbers, they must have been kept in stalls; there would not have been space for loose boxes. Equally, at the thousands of coaching inns across the country, stalls would have been the predominant form of stabling, for ease and convenience if nothing else! In point of fact, writing in 1888, Athol Maudslay was quite scathing on the subject of horse accommodation and care during the coaching age:


Architects, too, had not thought it worth their while to study stable architecture, or they thought it beneath their dignity to do so, except it were the stables of some great nobleman or a prince of the blood royal, and even in these stables the improvements which now exist were wanting and the sanitary arrangements were very defective. They were ill-lighted, with lowpitched roofs and narrow doorways… As regards the old coaching stables, it is difficult to say of what the old drains were constructed, since in those days there was no iron employed in stable drainage… As for the pavement of these old stables, it is invariably rough pitching, either of pebbles, flint, or Purbeck stone, which is so constructed as to arrest surface drainage, rather than facilitate it. As to the mangers, they were all of wood with old over-head hay-racks and worm-eaten manger-troughs, which, once infected with disease, conveyed it to every horse who fed from the same manger. In place of all this we have now a perfect system of drainage, hard Staffordshire vitrified pavement upon which horses cannot slip, and which is so made that it will not retain water on its surface. We have iron manger-troughs, iron hay-racks, large ventilating windows, and, what is more essential than everything else, width between each stall division, plenty of room behind the horses, and doors of a proper width, through which horses can pass without injury. And then the old yards were vilely paved, and the buildings frequently have neither a claim to architectural pretensions, nor even common sense to plead as an excuse for their erection.”
18th Century Stalls, courtesy of Wikipedia Commons




Dimensions


A ‘good stable should be 18 feet wide inside and each stall should be 6 feet wide,’ says an eminent veterinary surgeon of the late nineteenth century. He recommends that the wall divisions be 9 feet long, allowing a 9 foot wide passage, with 10 feet divisions being preferable. It was considered acceptable for a cart-horse stable to be only 16 feet wide, but the width of stalls had to remain at 6 feet.


Good dimensions for a loose box were 10 x 12 feet, he states; nowadays this would be considered large enough for a pony! A modern hunter would expect a stable of at least 12 x 12 feet, if not 12 x 14, and as of yesteryear, a foaling box was considerably larger – usually around 12 x 16 feet.






















Saturday, 2 August 2014

Free Giveaway!



Next weekend I shall be giving away...

...a copy of A Sense of the Ridiculous, to celebrate this wonderful summer we are having!


To enter, all you have to do is answer the following question and post the answer in the comments below or visit my Facebook page A Regency Repository.


https://www.facebook.com/pages/A-Regency-Repository/539039612851540?ref_type=bookmark




Question: What is the name of the heroine in ASOTR and how was her Greek namesake duped?...





The winner can choose between PDF for pc, epub or mobi files.




Good luck!


Heather

Tuesday, 29 July 2014

My Writing Process





Firstly, my apologies to anyone who is following the blog tour and may have looked in on Monday for my post. Forces beyond my control, I'm afraid ~ my internet connection was down! So, here we go without any further ado:


My thanks to Mari Christie, who tagged me to take part in this Blog Tour. Mari is a professional writer, editor and designer from Denver, Colorado. She writes historical fiction, Regency romance and poetry.

http://www.facebook.com/l/IAQHe0pZBAQGsfPPzgRuGc4KYGJGxb87bCXwzGPZxKnmfxw/www.marichristie.info http://www.facebook.com/l/AAQFPf5vXAQF59nWDp5_5F4TxA_7gWg9_4PY2u8lwg66uRA/.marichristie.wordpress.com)


For anyone new to this blog, my name is Heather King, writer, bookworm and mum (aka general dogsbody) to a varied menagerie. I write Regency romance, historical fiction and, as my alter ego, Vandalia Black, Vampire romance and shape shifter novels. I also write short stories for women's magazines.

I have always been a dreamer and as a child would go off for hours into a make-believe world peopled by imaginary characters. I've loved writing since I won a third prize in a short story competition at school when I was about seven. Apart from looking after my animals, I enjoy nothing better than to curl up with a good book.
Feel free to comment here, or catch up with me on Facebook: https://www.facebook.com/heather.king.author


What am I working on?

I have various projects on the go at the moment. This isn't unusual! Sometimes a longer work will be pushed aside when the idea for a shorter one grabs me and the characters won't give me any peace, or something else ~ such as a magazine story, for example ~ takes precedence. Currently I am working on a short story serial, a novella, editing my next-to-be-released Regency An Improper Marriage and a collection of vampire short stories, Vampires don't Drink Coffee.


How does my work differ from others of its genre?

There appears to be a trend in some modern Regencies towards a 'contemporary tale with a bit of costuming thrown in'. The reader gets little sense of the worlds the characters inhabit, their mores or even what they eat! My characters (I hope) jump off the page, giving the reader a clear picture of what they are wearing, their mannerisms, meals and the settings in which they move. With the standards of Georgette Heyer as my template, I also like to think that my characters behave and speak as they would have done, rather than in some hybrid style employed to make the story more accessible to the modern reader. How dare we so presume? Who are we to treat our readers' intelligence with such condescension? I dare to hope my work contains a tiny morsel of GH's wit and fun. That is my aim.


Why do I write what I write?

I love to write. I love to create a world to which I can withdraw and escape the pressures of modern life. I want to share that world with my readers, so they may also lose themselves in the fantasy for an hour or two. For most of us, reality is becoming increasingly demanding and the simplest pleasures are being left behind and forgotten amidst a world of technology. There is no doubt there was a seedy, treacherous side to life in Georgian times, but in general I like to follow the fabulous legacy of the genre bequeathed by its appointed queen and look more towards the gaiety, elegance and romance of a glorious time in British history. It gives me such a wonderful excuse to write about horses and gorgeous men in top boots and breeches! What more could a romance author wish for?


How does your writing process work?

It begins with the seed of an idea. This can come from anywhere ~ mist shrouding the hills, a raindrop on a spider's web, a picture, a snippet of overheard conversation, a book title, a line of prose or a poem; even the antics of my animals. I let it grow naturally for a while until it starts to take over my thoughts. Then I will splurge some ideas down on a 'plot circle' or grid. For a novel or novella I will usually take that a step further on to a large sheet of paper, where I can go off at tangents. A rough chapter list of plot points follows ~ it is very rough as everything can change when I begin to write. I usually write a novel as I read one, but often refresh to foreshadow later ideas as the story develops.


A Sense of the Ridiculous


A list of outlets for my current Regency novel can be found in an earlier post... just scroll down. It is published by Musa Publishing, at http://musapublishing.com for kindle, mobile and computer and from Amazon UK via this link... http://www.amazon.co.uk/-/e/B00I04PYPE and Amazon US on this one... http://www.amazon.com/A-Sense-Ridiculous-Heather-King-ebook/dp/B00GCTZAPI


I now have pleasure in passing the baton on to the talented Rena George, Jen Black and April Taylor, who will be blogging next week on 4th August. "Well met, ladies!"

The All-important Addresses:



www.apriltaylorauthor.com

www.facebook.com/britwriterapriltaylor


Far After Gold ~ eleventh century Vikings
Dark Whisky Road ~ nineteenth Century smugglers






 

Thursday, 24 July 2014

Heather Visits Her Dark Side...





Vandalia Black's Vampire Collection Is Now Available!


THEY'RE HERE AT LAST!!!!!!! Forget Dracula. Forget the Vampire Diaries. Here are the most gorgeous undead men you'll ever find, battling loneliness, demons, muggers and unholy thirst to find their eternal loves. Available NOW in E-book, the PRINTED BOOK to be ready soon!!!

http://www.amazon.co.uk/Vampires-Drink-Coffee-Other-Stories/dp/1500219096/ref=sr_1_13?s=books&ie=UTF8&qid=1406294881&sr=1-13&keywords=vampires+romance+short+stories+anthology



There isn't a Regency vampire in this collection, but there is a story set in Victorian times, one during the English Civil War and another involving a beautiful female vampire who was burned at the stake in 1630...


If you like your vampires handsome and sexy, then this collection of short stories is for you! Vandalia Black's anthology is funny and sensual, revealing the human frailties of the undead. No matter your mood, there is a story here to suit, from 2000 word short stories to a novella. Sit back with a glass of red wine and enjoy! Highly recommended.



Out of the night steps a figure; mysterious and dangerous, sensual and otherworldly. An individual destined to spend eternity alone, forced to hide in the shadows, preying on the innocent to survive and yet...
www.createspace.com


Wednesday, 2 July 2014

Give Your Story Its Best Chance



Presentation

Following our recent short story competition, I thought I would post on this important subject. Some of those entering the 'Ridiculous' Short Story Competition, shot themselves in the foot, so to speak, by the way they set out their documents.


Title Page



This is your first impression. Make it count. Set out all the information in an orderly and clear way. You should include your name, contact details with email address and phone number, title of the story and word count. Also include your author name if different from your true appellation. This could be set out as follows:




Mr. N. Nobody,
Nowhere Cottage,
Somewhere Lane,
Strangetown,
Middleshire.


10100 500010


Email: n-nobody@mail.co.uk












                                       A MURDER IN MIDDLESHIRE


                                                                by


                                                   NICK NOBODY














Word Count: 1439








Document



You should not put your name on the story itself, but you SHOULD put the title and page number on each sheet in case pages become separated. Unless otherwise stated in the competition rules, it is a good idea to either put the story in a clear plastic punched pocket or hold the sheets together with a paper clip. It is customary to put the title in the header and the page number in the centre of the footer.


Check the document settings on your computer programme. Some put an extra space between paragraphs and this is not normally required. Double space the text only on A4 paper, indent the start of each paragraph and also each line of dialogue. 12pt font is the standard size; Times New Roman and Arial probably the most common type in the UK. Whichever font you choose, it must be clear and easy to read.


Do not fold your entry.


Check competition rules carefully as some larger comps will reject out of hand any entry which does not, in any way, comply with their requirements.


Also remember to check spelling and punctuation!


Word Count



Ensure your story is within the word count for the competition. If submitting to magazines, this may be a little bit flexible, but it is not so for competitions. If your story exceeds the stated word count, it will not be considered and you will lose your entry fee.


Entry Fee



Ensure you send the correct amount ~ and check the currency in which it should be submitted! $5 is not the same as £5! It might seem obvious, but it is amazing how easy such mistakes are to make.