Country Life Magazine revisited, with a brief digression

September 10, 2012 at 1:20 pm (Anglophilia, Art, books, Magazines and newspapers, Music, Mystery fiction)

In February 2008, drunk on a new found – or rather, reawakened – love of Britain that was the byproduct of two terrific trips, I took out a subscription to Country Life Magazine. Country Life is a weekly, and if I got it every week, I’d be buried (albeit happily) in a mountain of back issues. Instead, I receive one issue per month.

Here are some highlights from the April 4 Easter issue. To begin with, this cover image sent me scurrying to find the artist. He is Edgar Hunt. Biographical information on this painter is somewhat hard to come by. There’s a brief bit about him on Artnet, where we learn that he was ‘of retiring disposition’ (such a felicitous phrase!).

Country Life does not place much of its content online. A pity, really. “Creating a Poultry Paradise” by Matthew Rice was utterly delightful, featuring exceptionally beautiful photography and art work. The following are images of several of the breeds highlighted by Rice in his article.

Old English Game



Light Sussex

This exercise brought back happy memories of our sojourn in the Hudson Rover Valley four years ago. Our B & B was located next door to a farm, so we took the opportunity to “…make the acquaintance of the local poultry.” More recently, we encountered some attractive fowl at the Shrine of Saint Anthony.  (“A Little Assisi in Maryland,” this lovely and peaceful haven is but a short distance from our house.)


In this issue of Country Life, we learn of the dire situation of the Wedgwood Museum. This distinguished institution may have to sell off its priceless collection in order to raise funds to satisfy a pension related obligation. This seems a somewhat bizarre and complicated quandary, but the danger is real enough and was made more so by  a legal ruling that  was recently handed down.

The article is entitled “Is This the End of the Wedgwood Museum?” It begins thus:

It would take a novelist to do justice to the disaster that has engulfed the Wedgwood Museum in Barlaston, Stoke-on-Trent, Staffordshire. In the words of the Minister for the Arts, Ed Vaizey: ‘We are almost, as it were, walk-on parts in an obscure Dickensian novel, in which a complicated piece of legislation has the most dramatic and unintended consequences.’ The sequence of events to which he refers recalls the nightmarish legal web of the great case Jarndyce vs Jarndyce, which pervades Dickens’s novel Bleak House. The consequences of these events are, however, brutally simple: the Wedgwood Museum, one of the most significant collections and archives of its kind in the world, must be sold.

A vigorous campaign to save the museum has been launched.

The Dancing Hours, designed for Wedgwood in 1778 by John Flaxman

While searching for news on this topic, I came across a review of a  newly released title that sounds quite wonderful: The Potter’s Hand by A.N. Wilson.

It’s worth noting that over the years, in addition to master potter and patriarch Josiah Wedgwood, the Wedgwood family has accrued many distinguished members, the most famous among them being Charles Darwin. (You’ll also find Geoffrey Keynes, brother of  economist John Maynard Keynes, and a composer much beloved by Ron and me: Ralph Vaughan Williams.) Here’s a family tree provided by the ever helpful folks at Wikipedia. If you click on it, you should be able to read the names without too much difficulty: 


A piece entitled “The Shrines of Saints” features that of Thomas Cantilupe, Bishop of Hereford from 1275 to 1282.   We had the great privilege of viewing this shrine last year, when we visited Hereford Cathedral, which also houses the Mappa Mundi and the Chained Library.


A regular feature  that I always enjoy is “My Favourite Painting.”  The work highlighted in this issue, Portrait of the Artist’s Family by Hans Holbein the Younger, was selected by actress Anna Chancellor. (For each issue of Country life, a different person chooses the work of art; then art critic John McEwen provides additional commentary.)

Chancellor comments: “I can hardly bear this painting–it punched me in the solar plexus when I first saw it.”

Last year, one of the feature works, Simone Martini’s Annunciation, dated 1333, was selected by Rory Stewart

Stewart, an amazingly accomplished individual, is just shy of forty years old and looks to be about half that. (See  the Wikipedia link above.) Here are  his comments on the painting:

Country Life have, this week, published a brief description of my favourite Painting – The Annunciation with St. Margaret and St. Asano by Simone Martini. Martini portrays the resistance of the Virgin, the angel Gabriel moves towards her like a hawk, his damask plaid alive like a third wing behind him. I remember a sheet of flat gold,  the filigree columns and the metal blaze of the gothic arches and the etiolated elegance of the olive and the lillies. But above all it is the Lady turning away, drawing her cloak across her as though rejecting an importunate suitor.  So much was lost with the Renaissance.

Priceless, that last sentence.


There’s an invariably insightful essay by Carla Carlisle at the back of each issue. Naturally I was exceptionally pleased to find that this time she’d written about her idol and mine, Dorothy L. Sayers. Writing about Sayers’s depiction, in Gaudy Night, of the first wave of females to storm the barricades of Oxford in the early years of the last century, Carlisle exclaims, “Oh, those brainy, educated women.” They are indeed a joy to spend time with, both in the novel itself and in the film version starring Edward Petherbridge and Harriet Walter. Happily, “Goodness gracious gaudy nights” is available online.

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