In a world that is innately tragic, how does one remain cheerfully vital? There seems no end to the forces that wish to crush one’s joie de vivre. Whether it’s the deadening omnipotence of the modern technocratic mode of organisation, the overbearing coddling of our moralistic culture, or just the old-fashioned primordial fate of the great tragedians and philosophers, we cannot escape an assault of forces intent of making us submit to despair.
The world often feels like a great slimy toad, sitting on our chests and allowing its toxic ooze to envelope our nostrils and lungs until we choke. How many people give in to it I wonder? Millions? How many human beings surrender their souls to the devilish incubus that haunts them? This is the primary question of human existence and one that has become pertinent to the present moment in art. In a high culture full of worthless slush that threatens to drown us all in its mediocrity and potent purposelessness, the moment of choice is thrust upon us all as individuals: either we swim to sweet terra firma or fall beneath the murky surface.
Yet, as old King Canute once showed us, the tide is never-ending. In a deeper, spiritual sense the assault of despair will never end. We die and suffer. Our loved ones die and suffer. Religions are exhausted and nations fall to ruins. Given this, do we still have the strength to embrace life?
This is an excerpt from “Blast!”. To continue reading, visit The Mallard’s Shopify.
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Audubon’s Legacy of Birds and Tomfoolery
For someone who has anger issues, entering the Audubon’s The Birds of America exhibition was like entering a whole new world. Upon the entry, I saw giant screens showing details from Audubon’s work and I could hear quiet bird noises in the background. It was an incredibly calming experience, as much as one can consider stuffed birds and plates depicting birds massacring another bird calming. Naturally, this wasn’t the centre of the exhibition – it truly celebrated the skill and the creativity of the bird illustrator with a passion for nature.
The exhibition is running in the National Scottish Museum in Edinburgh from the 12th of February to the 8th of May of this year. It displays over 40 plates, each measuring almost one metre in height. Most of them have never actually been shown to the public before. It is split into 4 sections, each of them with its own theme – the first one, ‘Meet the Birds of America’ introduces the ‘world’s most expensive book’ and Audubon, in general.
John James Audubon was a 19th-century ornithologist and naturalist. He made a point of studying and cataloguing the birds he encountered in their natural habitats. A son of a sugarcane plantation owner and a chambermaid, he must have had a conflicted childhood. Audubon moved to the US to avoid participation in the Napoleonic Wars – and focused on birds instead.
The second section of the exhibition titled ‘An Art and a Science’ examines the influence of other illustrators on Audubon as well as the scientific, or sometimes quasi-scientific context. With the Industrial Revolution clashing with the Romantic movement, the transcendental search for nature was at its peak. The illustrations at the time were generally quite dull due to drawing from taxidermy and lifeless study skins.
Audubon, however, made a point of painting directly from wildlife, by personally hunting the birds and sometimes getting others to hunt for him. He would then paint the birds he gathered by pinning them into lifelike poses observed in the wild. This resulted in his art being vivid and life-like. He didn’t want to paint the taxidermied birds as he felt this would take away their lively spark from them. He was known for sometimes romanticising the birds he saw in the wild, for example when painting the Mocking Bird, in which a rattlesnake attacks birds in a bush, where it would be impossible for a rattlesnake to do so. Audubon would also sometimes add more human behaviours to the birds to allow the audience to relate to the birds. He was sometimes accused of not exactly presenting the truth.
The third part of the exhibition called ‘Audubon in Edinburgh’ explores the role of Scottish intelligentsia in ensuring that Audubon was embraced by the art society, after his rejection by the scientific community in Philadelphia. He befriended William Home Lizars and started engraving. Edinburgh was central to Audubon’s beginnings as a bird illustrator, making it extremely relatable to the Scottish audience, and it became somewhat a privilege to live in the same city where Audubon once found inspiration and was embraced by the art world.
The fourth section called ‘The Great Work: The Making of a Masterpiece’ deals with technical and artistic achievements. There are short films available for those whose attention span is longer than mine. However, this section also shows the bound edition of Birds of America which is extremely large (100 x 130 cm when open). Audubon insisted that the illustrations would show the birds life-size. Only two paper mills in the UK were capable of printing these, as he used a double elephant folio which is 96 x 66 cm. For those who are capable to rotate shapes in their head, this number will probably mean a lot.
The fifth section ‘Naturalist or Showman’ focuses on his contribution to discovering new species. Audubon identified 25 new species. This part of the exhibition explores some of the ‘controversies’, for example, Audubon was known for his strong belief in phrenology, the science which is now deemed ‘pseudoscience’ by some. Phrenology suggests that one can find details about someone’s personality from their skull shape. Seeing what kind of person he was, he probably used phrenology to mock his rivals. He was often accused of plagiarism and scientific fraud due to misidentifying some species and fabricating scientific data. Sometimes he invented new species to impress people who might then buy his work. Reportedly, he even stole the specimen of Harris’s hawk from his subscriber to then pretend he never knew him. He also lied in his own autobiography.
The sixth and final section of the exhibition ‘Birds of the World’ considers the impact of the modern era on the preservation and extinction of many birds. Some, such as the Carolina parakeet is entirely extinct – they used to always flock in large groups which made it easier for the hunters to kill them. They’ve also been considered a pest by farmers, which contributed to their demise. The exhibition ends on a thoughtful note, advising us to consider the repercussions of human behaviour on the natural world.
This prompted many conversations, such as the possibility to clone the extinct animals using their DNA tissue, however, so far, this was only tried with Pyrenean Ibex in 2003, but this one died not long after from lung defects. It might be a way forward in the future though.
The exhibition was a visual feast for the eyes and the birds are engraved and painted beautifully. The sheer skill of Audubon’s art is undeniable, and it trumps any accusations he received. He may not have been rigidly adhering to the scientific advice, but he created something that’s still worth looking at. Audubon inspired George Bird Grinnell to create the National Audubon Society in 1905 (although the idea goes back as far as 1895 when the first Audubon Society was created). The organisation protects the birds and their habitats in the Americas. If you like birds, you can donate here.
Audubon’s exhibition included a wealth of important items, including some study skins of birds and many taxidermized birds as well as his diaries, plates, and his hunting double-barrelled rifle. The exhibition is beautiful, thoughtful and certainly fascinating. For anyone who craves the return to transcendentalism and ancient values – it’s a feast for their eyes. If you fancy a trip to Edinburgh before the end of the exhibition on the 8th of May – make a point of stopping by at the National Scottish Museum to look at some birds, I strongly recommend it.
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An Interview with Fen de Villiers (Magazine Excerpt)
Sam: A common criticism I hear from people on our side of the ‘cultural divide’, regarding Vorticists and Futurists, is that the avant-garde, as a concept, is antiquated. Do you think that’s true, or do you think people are being a bit too pessimistic about its potential?
Fen: Being pessimistic and cynical is something inherent to people who are more on the conservative spectrum, but I think that one must look back to go forward; you can clasp at the fire and the energy of a certain group or a certain movement, and then you can run forward with that. I don’t think it’s a case of saying, you look back at them and stay there.
I think that it’s going to take time, movements, and art styles to take a while to mature and find a new way. I don’t at all believe that we simply just have to take on what they do and just reside there.
Sam: In other words: “it’s not worship of the ashes, it’s the preservation of the fire.”Fen: Yes, absolutely. I think what’s important is that if you are going to throw this forward – I mean, the futurists were, for example, very excited by the motorcar and the aeroplane and flight, because that was the period that they were in.
I don’t think we need to be excited by the aeroplane in the material sense. However, I think we can be excited about something. That visionary and Faustian spirit is deeply ingrained within our European psyche. I think we get excited about going on and going forward. I don’t think it’s a case of simply just regurgitating the platitudes or what they were doing. It’s about finding a place for that energy now.
It’s really about energy and celebrating force over death and decay; the latter of these is what the current regime works on. It’s the cult of the victim. This is not glorious stuff. This is not about going upwards towards something higher: this is about keeping you on the lowest level. For me, that is not how life is, that’s not how nature is: it is a lie. It’s not a culture that has any sort of fire in the belly. It doesn’t make you want to live.
This is an excerpt from “Blast!”. To continue reading, visit The Mallard’s Shopify.
Photo Credit: Fen de Villiers
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His Royal Mistress
We may think of our ancestors as prudes when it comes to sex, but that’s not the case. A decent percentage of women were pregnant on their wedding day. People like Benjamin Franklin wrote guides on the best ways to have sex. Lewd ballads and jokes spread around the court.
The most prominent example of this is the royal mistress. Often young and beautiful, these women would service the king in ways he may not get from his wife. They would provide wit, charm and companionship. In France, a mistress could become Maîtresse-en-titre, an official appointment that would bring her her own apartments. It’s less official in other countries but these women were the most prominent ladies of the court after the official royals.
Let’s dive into the world of royal mistresses.
Why a mistress?
Royal marriages were alliances. As a rule, love would come after the wedding, if it all. Factors of a match included wealth, geography, religion, security and chances of children. Compatibility rarely factored into it. The brides were often in their early teens, sometimes younger, with their husbands sometimes a lot older. You met at the aisle or just before. It didn’t matter if they weren’t attractive or the right age- you married them.
With love out of the question, a king would turn to a mistress in order to have companionship. They’d be able to enjoy the sex they had with them as well as just being around someone they’re on good terms with.
A lot of the time, it was expected that a king would have a mistress and would be regarded as odd as he didn’t. A king could love and care for his wife but take a mistress either out of lust or obligation. For most of their marriage, Henry VIII and Catherine of Aragon were pretty happy, yet he had mistresses. George II cared for his wife Caroline of Ansbach but still took lovers. On her deathbed Caroline asked him to remarry, but George replied that he’d only have mistresses. To love one’s wife was seen as unfashionable and having a mistress was seen as a sign of masculinity. George III being a loving, faithful husband to Queen Charlotte and spending time with his children was seen as rather odd.
Who were the mistresses?
Mistresses could come from all walks of life, from working-class girls to the highest nobility, though the latter was much more common. It tended to be easier to meet women of their own social standing. They were sometimes already known to the king or perhaps caught his eye at court. A particularly ambitious family might introduce their daughter in hopes of reaping the awards.
Beauty was almost always universal, but looks aren’t always the key factor. It was said that James II’s mistresses Arabella Churchill and the Countess of Dorchester were not beautiful. Instead these women were lively, intelligent, witty and charming. They were there not just to sleep with the king but to be companions. They’d attend parties together and have a drink after dinners. These women tended to be well educated and from political families which meant that they could hold their own. The most powerful mistresses would have political influences.
Marital status and virginity would not matter. Kings chose virgins, unmarried women, married women and widows. The husband of a mistress may well have been paid off and given handsome positions, sometimes they were sent away from court. Some were happy, others ambivalent or even angry. Either way, there wasn’t much they could do. They were the husband, but the king was the king.
Despite the strict sexual norms of the era, families of mistresses were often delighted that their daughters and sisters were chosen. The families of mistresses received new titles, positions and land. Thomas Boleyn, already a competent courtier, was showered with responsibilities as Henry VIII fell for Anne. Arabella Churchill’s family was thrilled for her, as she was considered extremely plain and even ugly.
What were the benefits of being a mistress?
In France, the Maîtresse-en-titre was an official title and position. The mistress would have her own apartments. She would often substitute for the queen if she was pregnant or ill.
Mistresses who weren’t Maîtresse-en-titre or even French would also be kept in luxury. They would receive money along with jewels, clothes and other luxurious gifts. Their families would also not be the only ones to receive titles and responsibilities. The mistresses themselves would receive new titles. Barbara Villiers, one of Charles II’s many, many mistresses, was made Duchess of Cleveland in her own right. Another was made Duchess of Portsmouth. Both also had other titles along with pensions and allowances.
Unmarried mistresses would often be given advantageous marriages, either as a gift or a parting present. Bessie Blount, Henry VIII’s mistress and the mother of his illegitimate son, was married to an Earl after her service. Anne de Pisseleu d’Heilly, mistress of Francis I of France, was married to a man whom the king created a Duke.
The politically-minded mistress might seek to influence. A close mistress who had the ear and the bed of the king would be their most powerful counsel. Those seeking to speak to the king often went to the mistress in order to get their foot in the door. A mistress could close or open the door to anyone, a gatekeeper in a way only a queen could match. Madame de Pompadour, famous mistress of Louis XV, was extraordinarily powerful. She would appoint and fire ministers along with other responsibilities. Barbara Villiers, lover of Charles II, and Diana de Poitiers, lover of Henry II of France, both used their influence politically.
If a mistress had a child that was acknowledged by the king as his, then there was a chance that child would be given titles and good marriages. Some illegitimate children even married royalty. They would be given prominent positions in the military and clergy.
What were the drawbacks of being a mistress?
Being a mistress wasn’t always sunshine and rainbows. A mistress was dependent upon the whims of the king. On tiring of her, he could cast her aside without giving her a husband or monetary assets. Plenty of mistresses, even the popular ones, would be cast aside at a moment’s notice.
You also had the reputation of being either a fornicating or adulterous woman. Many noblemen and royals had mistresses, but it was the women who were blamed. There were also reasons for the mistress to be concerned. They would become unpopular if they were seen as taking advantage of the king or supporting the wrong causes. Alice Perrers, mistress of Edward III, was a young woman accused of manipulating an older king still mourning his beloved wife. Jane Shore, lover of Edward IV, was forced to do public penance.
There was also little choice. Some mistresses tried to attract kings from the very beginning whilst others were pursued. Louis XV’s lover Louise de La Vallière was an extremely pious Catholic who felt awful for having unmarried sex with a married king. She felt so terrible that she entered a convent after she’d had their fifth child. Louise was reportedly an extremely kind and naive woman who never asked for special treatment.
If you had a child with the king and he did not recognise the baby, then you had a bastard child on your hands. If you were married then the husband would automatically assume fatherhood, whether he was the actual father or not. If you were unwed then there was a chance you were seen as damaged goods, ruining marital prospects.
What did the queen think?
Unfortunately for the king’s wife, she had basically no choice. He would have mistresses whether she liked it or not. She would likely have been raised with the understanding of mistresses and if she didn’t then she would soon learn. The queen, of course, would not be allowed to take a lover of her own. Queens who did or were accused of having lovers were exiled, or even executed in the cases of Anne Boleyn and Catherine Howard.
Kings were expected not to flaunt their mistresses too openly around their wives, but they would definitely be aware of their existence. Queens would often have them as ladies-in-waiting, either by choice or by the command of their husband. Catherine of Braganza, the tragic and unfortunate wife of Charles II, was forced to accept Barbara Villiers in her court. Catherine tried to protest but Charles put his foot down. She was so angry that she threatened to return to Portugal, to which Charles responded by sending her courtiers home. He did eventually soften and treated Catherine with much more respect in their marriage, mistresses aside. Charles would side with her over mistresses.
Madame de Pompadour was always friendly and respectful of Queen Marie, who in turn liked her. This was a sharp contrast from previous mistresses who had been openly hostile to their queen. George II’s wife, Caroline of Ansbach, cleared his mistresses before he took up with them. Interestingly, George was close to Caroline and likely only took mistresses because it was expected of him.
At the end of the day, queens tended to have one security- they were the legitimate wives under law. Their sons-or daughters- would be the monarch one day. Even the most libertine of kings knew they had to spend time with their wives.
That is not to say all queens were so tolerant. Eleanor of Aquitaine got so sick of her husband’s adultery that it was part of the reason she tried to remove him from the throne. Anne Boleyn flew into a rage when she saw Henry VIII and Jane Seymour together, despite the fact that it was how she’d managed to become Queen.
Probably the most notable rebellious Queen was Isabella of France, wife to Edward II. Isabella was only a child of twelve when she landed on English shores to marry the twenty-four year old Edward. At their wedding feast, Edward sat with his likely lover Piers Gaveston. He also gave Gaveston jewellery that was meant to be Isabella’s. Isabella was furious and complained to her father, who interceded on her behalf.
While Isabella would come to accept Gaveston, Edward’s next favourite would become her enemy. Hugh le Despenser was initially exiled after becoming too powerful, but soon returned. He effectively ruled England with Edward and was a tyrannical man. Isabella returned to France and raised an army with her lover Roger Mortimer. They were supported by the barons, who despised the Despenser family. Hugh le Despenser the Younger and his father were executed. Edward was forced to abdicate and locked in a castle; he soon died under mysterious circumstances. His and Isabella’s son Edward took over, with the Queen as his regent. Three years later, Edward III had Mortimer executed and Isabella was imprisoned for two years.
The history of the royal mistress is a fascinating one. These women (and men) have attained glory and privilege as well as despair and derision. Some would provide their king with more children than the queen did. Others were fleeting. Some would become Queen themselves. All in all, there were more to royal mistresses than sex and lust.
