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Archive for March, 2016

Regency Personalities Series

In my attempts to provide us with the details of the Regency, today I continue with one of the many period notables.

Daniel Augustus Beaufort
1739–1821

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Daniel Augustus Beaufort

Daniel Augustus Beaufort’s father was a French Protestant refugee. He married Esther Gougeon in London, 11 June 1738, and was rector of East Barnet from 1739 to 1743. Later became rector of Navan in 1747. He was provost and archdeacon of Tuam from 1753 to 1758. He was rector of Clonenagh from 1758 until his death thirty years later.

Daniel Augustus was educated at Trinity College, Dublin, of which he was elected a scholar in 1757. He became B.A. in 1759, M.A. in 1764, and LL.D. (honoris causa) in 1789. He was ordained by the Bishop of Salisbury, and, in succession to his father, was rector of Navan, co. Meath, from 1765 to 1818.

In 1790 he was presented by the Right Hon. John Foster to the vicarage of Collon, co. Louth. He afterwards built the church at Collon, where he remained until his death in 1821. He was successively collated to the prebendal stalls of Kilconnell, in the diocese of Clonfert, (3 October 1818), and of Mayne, in the diocese of Ossory (20 April 1820).

Beaufort took a prominent part in the foundation of Sunday schools, and in the preparation of elementary educational works. He helped found the Royal Irish Academy. His most important work was his map of Ireland, published in 1792. He accompanied it by a memoir of the civil and ecclesiastical state of the country. All the places marked on the map are systematically indexed in the memoir and assigned to their respective parishes, baronies, etc. In the preface, the author stated his map was prepared from original observations to remedy the defects of existing maps of Ireland. Competent authorities pronounced it and the memoir to be valuable contributions to geography. The publication of this work was encouraged by the Marquis of Buckingham, lord-lieutenant of Ireland.

Beaufort married Mary, daughter and co-heiress of William Waller, of Allenstown, County Meath. Their elder son, William Louis Beaufort (1771–1849), was rector of Glanmire, and prebendary of Rathcooney, Cork, from 1814 until his death in 1849. They had daughters Frances and Harriet. Their younger son was Francis Beaufort, who joined the Royal Navy and became Hydrographer; he received the Order of the Bath. Daughter Frances Ann Beaufort was the fourth wife of Richard Lovell Edgeworth. Her step-daughter Honora married Frances’ brother Sir Francis Beaufort.

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A Trolling We Will Go

Not only do I write Regency and Romance, but I also have delved into Fantasy.

The Trolling series, (the first three are in print) is the story of a man, Humphrey. We meet him as he has left youth and become a man with a man’s responsibilities. We follow him in a series of stories that encompass the stages of life.

We see him when he starts his family, when he has older sons and the father son dynamic is tested. We see him when his children begin to marry and have children, and at the end of his life when those he has loved, and those who were his friends proceed him over the threshold into death.

All this while he serves a kingdom troubled by monsters. Troubles that he and his friends will learn to deal with and rectify.

It is now available in a variety of formats. For $.99 you can get this fantasy adventure.

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The Valley Kingdom of Torahn had been at peace for fifty years since the Council of Twenty-One saw fit to dispense with their royal family.

The only Kingdom without a King on the west side of the continent. But late last year, something caused the Goblins in the Old Forest, Karasbahn to stir and act courageous.

Something that men can not remember seeing Goblins ever doing. What has gotten the Goblins in such a state?

Whatever it is, it can not be good news for Torahn. Or for Humphrey, a woodcutter for a small town, far from Karasbahn.

But part of the Kingdom’s militia, with no family or other exemptions. He is perfect to be sent to the Old Forest and find out what scares the Goblins that they have become fearless.

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If you have any commentary, thoughts, ideas about the book (especially if you buy it, read it and like it 😉 then we would love to hear from you.

 

Regency Personalities Series
In my attempts to provide us with the details of the Regency, today I continue with one of the many period notables.

Charles Cornwallis 1st Marquess Cornwallis
1 May 1769 – 14 September 1852

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Charles Cornwallis

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Regency Personalities Series

In my attempts to provide us with the details of the Regency, today I continue with one of the many period notables.

Henry Fane
4 May 1739 – 4 June 1802

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Henry Fane

Henry Fane was the younger son of Thomas Fane, 8th Earl of Westmorland, he was a Clerk to HM Treasury from 7 December 1757 until 29 August 1763, but was described as “very idle and careless and spending much time in the country”.

In January 1772 he became Keeper of the King’s Private Roads, Gates and Bridges. He followed a long line of Fanes as Members of Parliament for Lyme Regis the family’s rotten borough, inherited from John Scrope which at times provided the Fanes with up to two members of parliament at the same time. Between 1753 and 1832 twelve different members of the family represented Lyme Regis in the Tory interest. The family also represented constituencies in Somerset, Lincolnshire, Kent, Hampshire, Northampshire and Dorset.

Fane’s father gave him Fulbeck Hall in 1783. In 1784 Fane and his wife occupied Fulbeck and enlarged and refurnished it, adding a new north wing.

On 12 January 1778 Fane married Anne (d. 19 January 1838), the daughter of Edward Buckley Batson, a banker. The couple had 14 children:

  • Gen. Sir Henry Fane MP (1778–1840)
  • Anne Fane (19 January 1780 – March 1831), married Lt-Gen. John Michel and mother of Field Marshal Sir John Michel
  • Lt-Col. Charles Fane (14 May 1781 – July 1813) Killed in action at Vittoria
  • Elizabeth Fane (1782 – 28 January 1802)
  • Rev. Edward Fane (7 December 1783 – 28 December 1862), married Maria Hodges; their children included Henry Hamlyn-Fane, General Walter Fane and Colonel Francis Fane
  • Vere Fane (5 January 1785 – 18 January 1863), MP
  • Frances Mary Fane (d. 28 June 1787)
  • Lt. Neville Fane, RN (16 January 1788 – 24 November 1807), died of yellow fever in Bridgetown
  • William Fane (5 April 1789 – 7 March 1839), married Louisa Hay Dashwood and had issue
  • Caroline Fane (28 December 1790 – 1859), married Charles Chaplin MP
  • George Augustus Fane (16 March 1792 – 1 March 1795)
  • General Mildmay Fane (September 1794 – 12 March 1868)
  • Harriet Fane(1793–1834), married Charles Arbuthnot MP
  • Robert George Cecil Fane (1796–1864)

Fane also had a natural child before his marriage:

  • Sir Henry Chamberlain, 1st Baronet.

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The Rules for Writers

Those who follow me for a long time know that I also write in other fields aside from Regency Romance and the historical novels I do.

A little while ago, before the end of 2011 and the 2011 NaNoWriMo, (where I wrote the first draft of another Regency) I started work on a project about writing.

The premise was what one should think about when starting and working on a project. I came up with 10 rules to follow in a quest to become a writer and tackle that novel.

Here are The 10 Rules:
1) Read like a writer
2) Have a good story
3) Your work will be Thematic
4) Plot: The seven deadly ones
5) Characters will carry your tale, near and far
6) Words are your warriors
7) Stories are structured
8) All tales building to a Crescendo
9) Genghis edits history, shouldn’t you as well
10) Act like a writer

So it is now released. For $4.99 you can get this treatise on honing your skills.

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Barnes and Noble for your Nook

Smashwords

Amazon for your Kindle

Genghis Khan came from the Steppes of Mongolia, a family torn apart by neighboring tribes, to unite those tribes, or defeat them, and then conquer the greater part of the known world. His heirs would continue his conquest right to the edge of western society. The world feared the Mongols, and Genghis. Now, you can benefit, as a writer from the lessons he has to impart on how, with the changing world of publishing, you can perfect your work and write not only good material for this new age of book publishing. But can write great work for this new age. 10 simple lessons, and you will be on your way to conquering the bookshelves of the 21st century. This short book will have you learning all you really need to know to elevate your writing to the next level. These simple lessons will start you on the road to better writing as a member of the Horde in no time.

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If you have any commentary, thoughts, ideas about the book (especially if you buy it, read it and like it 😉 then we would love to hear from you.

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Regency Personalities Series

In my attempts to provide us with the details of the Regency, today I continue with one of the many period notables.

Henry Otway Trevor 21st Baron Dacre
27 July 1777 – 2 June 1853

Henry Otway Trevor 21st Baron Dacre was a British peer and soldier.

Born Henry Otway Brand, he was the second son of Thomas Brand and the 19th Baroness Dacre. In 1806, he married Pyne Crosbie (a sister of the William Crosbie, 4th Baron Brandon and ex-wife of Sir John Gordon, 6th Baronet) and they had six children:

  • Hon. Thomas Crosbie William, later 22nd Baron Dacre (1808–1890)
  • Hon. Henry Bouverie William, later 23rd Baron Dacre and 1st Viscount Hampden (1814–1892)
  • Hon. Pyne Jesse (d. 1872), married (1) John Cotterell, (2) Granville Harcourt-Vernon.
  • Hon. Julia (d. 1858), married Samuel Charles Whitbread.
  • Hon. Gertrude (d. 1883), married Sir George Seymour.
  • Hon. Frederica Mary Jane (1812-1873).

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Baroness Dacre, by George Romney

In 1807, he fought at Copenhagen and commanded the 1st Battalion of the Coldstream Guards during the Peninsular War, seeing action at Salamanca, Talavera and Buçaco. In 1815, he was appointed a Companion of the Order of the Bath and on inheriting the estates of his cousin, John Trevor-Hampden, 3rd Viscount Hampden, changed his surname to Trevor. In 1851, he inherited his childless brother’s title and also became a General that year. Upon the death of Lord Dacre in 1853, his title passed to his eldest son, Thomas.

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An Unofficial Guide to how to win the Scenarios of Soaked

I have been a fan of this series of computer games since early in its release of the very first game. That game was done by one programmer, Chris Sawyer, and it was the first I recall of an internet hit. Websites were put up in dedication to this game where people showed off their creations, based on real amusement parks. These sites were funded by individuals, an expense that was not necessarily as cheap then as it is now. Nor as easy to program then as it might be to build a web page now.

Prima Books released game guides for each iteration of the game, Rollercoaster Tycoon 1, Rollercoaster Tycoon 2 and Rollercoaster Tycoon 3 (RCT3) but not for the expansion sets. And unlike the first two works, the third guide was riddle with incorrect solutions. As I played the game that frustrated me. And I took to the forums that Atari, the game publisher hosted to see if I could find a way to solve those scenarios that the Prima Guide had written up in error. Not finding any good advice, I created my own for the scenarios that the “Official” Guide had gotten wrong.

Solutions that if you followed my advice you would win the scenario and move on. But if you followed the “Official” version you would fail and not be able to complete the game. My style and format being different than the folks at Prima, I continued for all the Scenarios that they had gotten right as well, though my solutions cut to the chase and got you to the winner’s circle more quickly, more directly.

My contributions to the “Official” Forum, got me a place as a playtester for both expansions to the game, Soaked and Wild. And for each of these games, I wrote the guides during the play testing phase so all the play testers could solve the scenarios, and then once again after the official release to make changes in the formula in case our aiding to perfect the game had changed matters. For this, Atari and Frontier (the actual programmers of the game) placed me within the game itself.

And for the longest time, these have been free at the “Official” Forums, as well as my own website dedicated to the game. But a short time ago, I noticed that Atari, after one of its bankruptcies had deleted their forums. So now I am releasing the Guide for one and all. I have added new material and it is near 100 pages, just for the first of the three games. It is available for the Kindle at present for $2.99.

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(Click on the picture to purchase)

Not only are all 9 Scenarios covered, but there are sections covering every Cheat Code, Custom Scenery, the famous Small Park Competition, the Advanced Fireworks Editor, the Flying Camera Route Editor which are all the techniques every amusement park designer needs to make a fantastic park in Rollercoaster Tycoon 3.

Scenarios for Soaked!

1) Captain Blackheart’s Cove

2) Oasis of Fun

3) Lost Atlantis

4) Monster Lake

5) Fountain of Youth

6) World of the Sea

7) Treasure Island

8) Mountain Spring

9) Castaway Getaway

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Regency Personalities Series

In my attempts to provide us with the details of the Regency, today I continue with one of the many period notables.

Sir David Wilkie
18 November 1785 – 1 June 1841

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David Wilkie

(Note that while I have seen Wilkie’s painting in museums and have seen reproductions, I have a friend who had an original in her home—and that was wonderful! —DWW)

Sir David Wilkie was the son of the parish minister of Cults in Fife. He developed a love for art at an early age. In 1799, after he had attended school at Pitlessie, KingsKettle and Cupar, his father reluctantly agreed to his becoming a painter. Through the influence of the Earl of Leven Wilkie was admitted to the Trustees’ Academy in Edinburgh, and began the study of art under John Graham. From William Allan (afterwards Sir William Allan and president of the Royal Scottish Academy) and John Burnet, the engraver of Wilkie’s works, we have an interesting account of his early studies, of his indomitable perseverance and power of close application, of his habit of haunting fairs and marketplaces, and transferring to his sketchbook all that struck him as characteristic and telling in figure or incident, and of his admiration for the works of Alexander Carse and David Allan, two Scottish painters of scenes from humble life. Among his pictures of this period might be mentioned a subject from Macbeth, Ceres in Search of Proserpine, and Diana and Calisto, which in 1803 gained a premium of ten guineas at the Trustees’ Academy, while his pencil portraits of himself and his mother, dated that year, prove that Wilkie had already attained considerable certainty of touch and power of rendering character. A scene from Allan Ramsay, and a sketch from Hector Macneill’s ballad Scotland’s Skaith, afterwards developed into the well-known Village Politicians, were the first subjects in which his true artistic individuality began to assert itself.

In 1804, Wilkie left the Trustees’ Academy and returned to Cults. He established himself in the manse there, and began his first important subject-picture, Pitlessie Fair (illustration), which includes about 140 figures, and in which he introduced portraits of his neighbours and of several members of his family circle. In addition to this elaborate figure-piece, Wilkie was much employed at the time upon portraits, both at home and in Kinghorn, St Andrews and Aberdeen. In the spring of 1805 he left Scotland for London, carrying with him his Bounty-Money, or the Village Recruit, which he soon disposed of for £6, and began to study in the schools of the Royal Academy. One of his first patrons in London was Robert Stodart, a pianoforte maker, a distant connection of the Wilkie family, who commissioned his portrait and other works and introduced the young artist to the dowager-countess of Mansfield. This lady’s son was the purchaser of the Village Politicians, which attracted great attention when it was exhibited in the Royal Academy of 1806, where it was followed in the succeeding year by The Blind Fiddler, a commission from the painter’s lifelong friend Sir George Beaumont.

Wilkie now turned to historical art, and painted his Alfred in the Neatherd’s Cottage, for the gallery illustrative of English history which was being formed by Alexander Davison. After its completion he returned to genre-painting, producing the Card-Players and the admirable picture of the Rent Day which was composed during recovery from a fever contracted in 1807 while on a visit to his native village. His next great work was the Ale-House Door, afterwards entitled The Village Festival (now in the National Gallery), which was purchased by John Julius Angerstein for 800 guineas. It was followed in 1813 by the well-known Blind Man’s Buff, a commission from the Prince Regent, to which a companion picture, the Penny Wedding, was added in 1818.

Meanwhile, Wilkie’s eminent success in art had been rewarded by professional honours. In November 1809 he was elected an associate of the Royal Academy, when he had hardly attained the age prescribed by its laws, and in February 1811 he became a full Academician. In 1812 he opened an exhibition of his collected works in Pall Mall, but the experiment was unsuccessful, entailing pecuniary loss upon the artist.

In 1814 he executed the Letter of Introduction, one of the most delicately finished and perfect of his cabinet pictures. In the same year he made his first visit to the continent, and in Paris entered upon a profitable and delighted study of the works of art collected in the Louvre. Interesting particulars of the time are preserved in his own matter-of-fact diary, and in the more sprightly and flowing pages of the journal of Benjamin Haydon, his fellow traveller and brother Cedomir. On his return he began Distraining for Rent, one of the most popular and dramatic of his works. In 1816 he made a tour through Holland and Belgium in company with Raimbach, the engraver of many of his paintings. The Sir Walter Scott and his Family, a cabinet-sized picture with small full-length figures in the dress of Scottish peasants, was the result of a visit to Abbotsford in 1818. Reading the Will, a commission from the king of Bavaria, now in the New Pinakothek at Munich, was completed in 1820; and two years later the great picture of The Chelsea Pensioners reading the Waterloo Dispatch, commissioned by the Duke of Wellington in 1816, at a cost of 1200 guineas, was exhibited at the Royal Academy.

In 1822 Wilkie visited Edinburgh, in order to select from the Visit of King George IV to Scotland a fitting subject for a picture. The Reception of the King at the Entrance of Holyrood Palace was the incident ultimately chosen; and in the following year, when the artist, upon the death of Raeburn, had been appointed Royal Limner for Scotland, he received sittings from the monarch, and began to work diligently upon the subject. But several years elapsed before its completion; for, like all such ceremonial works, it proved a harassing commission, uncongenial to the painter while in progress and unsatisfactory when finished. His health suffered from the strain to which he was subjected, and his condition was aggravated by heavy domestic trials and responsibilities.

In 1825 he sought relief in foreign travel: after visiting Paris, he went to Italy, where, in Rome, he received the news of fresh disasters through the failure of his publishers. A residence at Toplitz and Carlsbad was tried in 1826, with little good result, and then Wilkie returned to Italy, to Venice and Florence. The summer of 1827 was spent in Geneva, where he had sufficiently recovered to paint his Princess Doria Washing the Pilgrims’ Feet, a work which, like several small pictures executed in Rome, was strongly influenced by the Italian art by which the painter had been surrounded. In October he passed into Spain, whence he returned to England in June 1828.

It is impossible to overestimate the influence upon Wilkie’s art of these three years of foreign travel. It amounts to nothing short of a complete change of style. Up to the period of his leaving England he had been mainly influenced by the Dutch genre-painters, whose technique he had carefully studied, whose works he frequently kept beside him in his studio for reference as he painted, and whose method he applied to the rendering of those scenes of English and Scottish life of which he was so close and faithful an observer. Teniers, in particular, appears to have been his chief master; and in his earlier productions we find the sharp, precise, spirited touch, the rather subdued colouring, and the clear, silvery grey tone which distinguish this master; while in his subjects of a slightly later period – those, such as the Chelsea Pensioners, the Highland Whisky Still and the Rabbit on the Wall, executed in what Burnet styles his second manner, which, however, may be regarded as only the development and maturity of his first – he begins to unite to the qualities of Teniers that greater richness and fulness of effect which are characteristic of Ostade. But now he experienced the spell of the Italian masters, and of Diego Velázquez and the great Spaniards.

In the works which Wilkie produced in his final period he exchanged the detailed handling, the delicate finish and the reticent hues of his earlier works for a style distinguished by breadth of touch, largeness of effect, richness of tone and full force of melting and powerful colour. His subjects, too, were no longer the homely things of the genre-painter: with his broader method he attempted the portrayal of scenes from history, suggested for the most part by the associations of his foreign travel. His change of style and change of subject were severely criticized at the time; to some extent he lost his hold upon the public, who regretted the familiar subjects and the interest and pathos of his earlier productions, and were less ready to follow him into the historic scenes towards which this final phase of his art sought to lead them. The popular verdict had in it a basis of truth: Wilkie was indeed greatest as a genre-painter. But on technical grounds his change of style was criticized with undue severity. While his later works are admittedly more frequently faulty in form and draftsmanship than those of his earlier period, some of them at least (The Bride at her Toilet, 1838, for instance) show a true gain and development in power of handling, and in mastery over complex and forcible colour harmonies. Most of Wilkie’s foreign subjects – the Pifferari, Princess Doria, the Maid of Saragossa, the Spanish Podado, a Guerilla Council of War, the Guerilla Taking Leave of his Family and the Guerilla’s Return to his Family – passed into the English royal collection; but the dramatic Two Spanish Monks of Toledo, also entitled the Confessor Confessing, became the property of the marquis of Lansdowne. On his return to England Wilkie completed the Reception of the King at the Entrance of Holyrood Palace – a curious example of a union of his earlier and later styles, a “mixture” which was very justly pronounced by Haydon to be “like oil and water”. His Preaching of John Knox before the Lords of the Congregation had also been begun before he left for abroad; but it was painted throughout in the later style, and consequently presents a more satisfactory unity and harmony of treatment and handling. It was one of the most successful pictures of the artist’s later period.

In the beginning of 1830 Wilkie was appointed to succeed Sir Thomas Lawrence as painter in ordinary to the king, and in 1836 he received the honour of knighthood. The main figure-pictures which occupied him until the end were Columbus in the Convent at La Rabida (1835); Napoleon and Pius VII at Fontainebleau (1836); Empress Josephine and the Fortune-Teller (1837); Queen Victoria Presiding at her First Council (exhibited 1838); and General Sir David Baird Discovering the Body of Sultan Tippoo Sahib (completed 1839). His time was also much occupied with portraiture, many of his works of this class being royal commissions. His portraits are pictorial and excellent in general distribution, but the faces are frequently wanting in drawing and character. He seldom succeeded in showing his sitters at their best, and his female portraits, in particular, rarely gave satisfaction. A favourable example of his cabinet-sized portraits is that of Sir Robert Listen; his likeness of W. Esdaile is an admirable three-quarter length; and one of his finest full-lengths is the gallery portrait of Lord Kellie, in the town hall of Cupar.

In the autumn of 1840 Wilkie resolved on a voyage to the East. Passing through Holland and Germany, he reached Constantinople, where, while detained by the war in Syria, he painted a portrait of the young sultan. He then sailed for Smyrna and travelled to Jerusalem, where he remained for some five busy weeks. The last work of all upon which he was engaged was a portrait of Mehemet Ali, done at Alexandria. On his return voyage he suffered from an attack of illness at Malta, and remained ill for the remainder of the journey to Gibraltar, eventually dying at sea off Gibraltar, en route to Britain, on the morning of 1 June 1841. His body was consigned to the deep in the Bay of Gibraltar. Wilkie’s death was commemorated by the English painter Joseph Mallord William Turner in the oil painting titled Peace -Burial at Sea.

An elaborate Life of Sir David Wilkie, by Allan Cunningham, containing the painter’s journals and his observant and well-considered “Critical Remarks on Works of Art”, was published in 1843. Redgrave’s Century of Painters of the English School and John Burnet’s Practical Essays on the Fine Arts may also be referred to for a critical estimate of his works. A list of the exceptionally numerous and excellent engravings from his pictures will be found in the Art Union Journal for January 1840. Apart from his skill as a painter Wilkie was an admirable etcher. The best of his plates, such as the Gentleman at his Desk (Laing, VII), the Pope examining a Censer (Laing, VIII), and the Seat of Hands (Laing, IV), are worthy to rank with the work of the greatest figure-etchers. During his lifetime he issued a portfolio of seven plates, and in 1875 David Laing catalogued and published the complete series of his etchings and dry-points, supplying the place of a few copper-plates that had been lost by reproductions, in his Etchings of David Wilkie and Andrew Geddes.

Wilkie stood as godfather to the son of his fellow Academician William Collins. The boy was named after both men, and achieved fame as the novelist Wilkie Collins.

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