ContemporaryVictorian
How To Make Hot Cross Buns George Vanderbilt’s Library 20 Summer 2012
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Romantic Gardens
A Victorian Wedding
Summer 2012
Featured Stories The Quintessential Romantic Garden What makes a garden romantic. Kay Montgomery 4
George Vanderbilt’s Library A Dream Realized Craig Stark 12
Hot Cross Buns Learn how to make these famous buns. Sam Breach 22
Own a Victorian Home Build your own Victorian home. Victorian Era Homes 24
Cover Image: Lauren Hillary Content Image: Kimberly Estabrook
Columns Make A Fashionable Statement Rose Brown 30
A Victorian Wedding Allison Mieanelli 32
An Exquisite Treat All Recipes 40
A Grand Getaway Dreams United Travel 42
A Moment Back In Time Esther Lambardi 44
The Quintessential Romantic Garden With the right flowers you can have your own romantic garden. Written By: Kay Montgomery Photographs By: Lisa Warninger
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romantic garden is the ultimate retreat from
French painter Claude Monet’s garden was the epitome
the world. It is a place of private thoughts,
of a romantic garden. He broke away from the strong
relaxation and tranquility.
lines and geometry so favoured by the early French de-
By popular definition, a romantic garden contains ros-
signers of Versailles and used his garden like a painter
es (the symbol of love), lavender (the symbol of devo-
uses a colorful palette to plant up a wild color beside
tion), secret garden passages for those romantic liaisons,
tranquil water features filled with water lilies.
benches to share time with that special someone and
For English poets, the idealized English cottage garden
the sound of water to block out unwanted distractions.
was an untamed wilderness of beauty filled with roses,
Romantic Gardens
spring daffodils, wild flowers and perennials. Hollywood
Each period in gardening history has defined romance
defined the romance of Africa in movies such as Out of
in its own way and romantic gardens have changed
Africa. Included in their visions were spectacular vistas,
through the centuries. Persians created walled gardens
swirling grasses, burnt sunsets, timber decks in secluded
filled with scented white flowering plants to distract lovers
forests, crystal streams and biodiversity-rich wetlands
from the heat. The Chinese and Japanese created ro-
with abundant bird life.
mance by imitating the romantic natural scenes, complete
Suburban Romance
with water and cherry blossom.
How do we create a romantic atmosphere in your mod-
For the Greeks, the rose was the flower of their goddess
ern suburban gardens? “The basic principles of good
of love, Aphrodite, and they wore garlands of roses on
design, which include choice of style, scale direction and
festive occasions and adorned their bodies with rose-
repetition, are to be found in successful romantic gar-
scented oils. Romans associated roses with Cupid, the
dens,” says landscaper Arthur Mennigke. How do you
son of Venus and imported red roses from the island of
transform your garden into a dreamy romantic place?
Rhodes for perfume, and to decorate their
“Create a sense of mystery,” he says.
lavish banquets.
rooms to isolate you
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“Create outdoor
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7 7
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from the world and make use of fragrant plants such as
and indigenous saliva. Arbors have a timeless attraction
roses, lavender and jasmine.” Design Ideas
in the Italian garden. Originally they were leafy shelters
Planning to start planting up your romantic garden this
of boughs and vines. Summer houses, gazebos, even a
summer? Consider these ideas. English Romance In Vic-
simple latticework trellis, offer a private space, a hide-
torian times, secret gardens were the perfect rendezvous
away, protection from public gaze. Add a hammock or a
for lovers.
swing seat for two, and you have a garden for romance.
Winding paths led through shrubbery and
mazes to vine-covered arbors and discreetly
African Romance
placed seats.
Surround yourself with the romantic beauty of Africa.
More recently romantic cottage gardens were character-
Surround a wooden deck with indigenous ratios shaded
ized by a rambling jumble of roses and old fashioned
by pink flowering plants as you watch the sunset. Start
perennials that spilled over the edge of paths
by planting the Cape chestnut tree and scented wild
and borders.
jasmine. Add perennials in pretty shades of pink such as
To create a wild cottage feel, add medical and culinary
gazania, arctois and nemesia. Add the autumn-flowering
herbs to your garden and leave plants to self-seed. Add
March lily, the delicate blooms of Cyrtanthus caneus, the
cabbagy old-fashioned roses, violets, stocks, violas, pan-
tall spires of the wastonia and the striking blooms of
sies, poppies and honeysuckle.
the candelabra flower. For a shrubbery of delicate pink
Italian Romance
blooms, plant up Plectranthus ecklonii “Erma.”
The uncluttered Tuscan romantic garden speaks of al-
-Weekend Argus d
fresco lunches under trees and sleepy afternoons on mowed lawns. To develop this theme, plant apples, pears, grapevines, olives, rosemary, lavender
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“A romantic garden is the ultimate retreat from the world. It is a place of private thoughts, relaxation and tranquility.� 10
George Vanderbilt's Library A Dream Realized Written By: Craig Stark
An Interview with Suzzane Durham
B
ookThink: In researching for this interview, I was struck by the dearth of material available not only on the Biltmore Estate but especially on the library. Even at the Pack Memorial Library in Asheville, which maintains a strong collection of North Carolina history, the reference librarian was able to point me to only five books about the Biltmore Estate, none of which had more than superficial information about the library. Given the architectural and historical significance of the Estate, also its more recent status as a major tourist destination, why isn’t there more information available? Durham: Biltmore Estate is not a public institution and it is not even a private non-profit. It is a family-owned business. Ultimately, the book collection makes up a part of the family’s assets along with the art, furniture and other collections. So it is not a library in the sense that the public can use it, or that it is even used by the family or staff. The books are museum objects. Therefore, if you see where I’m going with this, there would be little point in publicizing the book collection since the average guest does not get to handle it or even see it up close. In addition, since books are a lot easier to steal than a wingback chair, and there is a theft history, we do not want to flaunt the collections. We do answer specific queries if someone wants to know if a certain title is in the collection. BookThink: When I visited the library on June 3 this year, it was a windy day and many windows were open, sheer curtains floating in the air, including several in the library. Is Asheville weather (temperature, humidity, etc.) Environmentally friendly enough to books to allow this kind of exposure? Are conditions in the library regularly monitored? Durham: It’s amazing to anyone that for over 100 years these books have sat in a room exposed to the wide variances in temperature and humidity and have not completely disintegrated. There has been discussion for years about
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how to do climate control in the Library. It is a stumper. I think there are 2 factors that work in our favor-the books are virtually not handled and there is no pest problem with these books. We are currently exploring a system of opening the doors on either side of the fireplace on the balcony level to create an updraft in order to keep the heat and humidity from collecting at the ceiling level. We have recently catalogued all the balcony level books and found a significant amount of deterioration at that level. We have a temp/RH monitor at the balcony level and have charted the fluctuations for a number of years. It will serve as our main rationale when we finally get a plan for installing climate control. However, the concept of c.c. in the Library, much less the entire house, is a logistical nightmare, not to mention hugely expensive. BookThink: I also noticed that similarly sized volumes were shelved together and that lighting overall was dim. Is this a deliberate strategy to minimize exposure to light? Durham: The original light levels were dim by today’s standards anyway so the lighting is authentic, you could say. Light affects the fabric and furniture as well as book in that room. BookThink: I was told a UV filtering film had been applied to the windows. True? Durham: Yes, there is a UV filtering film. BookThink: Are any other measures taken to preserve the collection? Durham: The books and shelves in the Library are dusted and vacuumed every other year.
Photo By: Tim Buchman
BookThink: It’s my understanding that someboy was hired in 1997 to catalog the holdings. Was the work completed?
Durham: I can give you a sampling, but this is only scratching the surface of rare examples in the collection: Samuel Taylor Coleridge’s Sibylline Leaves (first edition, London 1817 with notes and corrections of the author), John Burnet’s Rembrandt and His Works (limited edition of 50 with original engravings and etchings, London 1849), Frederick Catherwood’s Views of Ancient Monuments in Central America, Chiapas and Yucatan (25 plates, original publisher’s binding, London 1844), John Gould’s The Birds of Europe (5 volumes, London 1837), and the unique collection of Holland House books, which includes 10 volumes of original autograph letters addressed to various members of the Lord Holland family. Napoleon, Queen Elizabeth, Oliver Cromwell and Samuel Johnsonuntil are some of the correspondents represented.
Durham: I began a book cataloguing project when I came here in all 2003. It is not a catalogue in the sense of Library of Congress call numbers, subject headings, etc. It is actually an inventory of every book in the collection, noting location, condition, exceptional features and basic publication information. We are entering the inventory data into a database we intend to migrate to the new data programs, unlike the last catalogue, which did not survive technologically past the 1980s. The earliest catalogue, from our archives records, appears to have been done by James Osborne Wright, we believe a book dealer, from Fairfield CT. He was finishing up the catalogue in 1898, and was still corresponding with George Vanderbilt near his death in 1914. There have been other catalogues over the years, and we have a card catalogue (again inventory) from perhaps the 1950s.
BookThink: I understand that some books, one of which was quite valuable, were stolen during the filming of Tim Conway’s (and Don Knott’s) “The Private Eyes” in 1980. Can you tell me more about this?
BookThink: Will it be made available to the public?
Durham: The book theft you refer to actually began in the late 1970s, according to our Vice President of Biltmore House and Gardens Rick King. The missing books were noticed during filming of the movie in early 1980. The theif was a security guard on the third shift and was later convicted and sent to prison for 6 years. It’s important to note that security and electronic surveillance systems have been considerably stepped up since then.
Durham: The newest catalogue will not be made public for the same reasons I explained earlier. BookThink: Has a recent appraisal been done? Durham: Yes, every 5 years or so, the contents of the house, including the book collection, are professionally appraised for tax purposes.
BookThink: Were they ever recovered?
BookThink: If approximately 10,000 volumes are in the library and perhaps a few thousand more scattered in rooms open to public view-and about 23,000 in all-where are the remaining volumes?
Durham: Several hundred were taken, and most were eventually recovered from all over the country. BookThink: I’ve heard that GWV purchased many books unbound so as to have them bound to his preference.
Durham: Until we finish our inventory, we won’t have a good number to put on the collection. The number put out there is 22,000 plus. About 7,000 books reside with the family off the estate, and rest are stored in a climate-controled suite of rooms in the house. The den contained several thousand books until this past year when we moved all of them to the climate-controlled space. In addition, several rooms on view have collection books in them, such as the Smoking Room and the Third Floor Living Hall.
Durham: Yes, he bought many books from publishers and had his own binding preferences done using prominent binders of the day, notably Riviere & Sons of London. BookThink: Here is an excerpt from the Sandusky Daily Register, October 22, 1890, that seems to conflict with the present-day reality of the library: “He is not a bibliphile, as Brayton Ives, late president of the Stock Exchange, and some other wealthy men are, but he buys a book for what is in it, rather than on account of its age, exquisite binding or any other peculiarity which makes books sought for by bibliophiles. When there are new publications which the publisher with whom he deals thinks he would like they are sent to him for inspection, and he is one of the rich men in New York to whom the dealer in old books sends a private and special catalogue when something choice has been received and is for sale.”
BookThink: What are some of the more noteworthy and/ or valuable titles in the collection?
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BookThink: Do you have some sense of the criteria Vanderbilt used for purchasing books? Was it primarily motivated by his interests?
Durham: We don’t know if the current appearance of the Library books resembles its original design. BookThink: How are the books organized on the shelves?
Durham: We don’t have any direct evidence explaining how George Vanderbilt made his book-buying decisions. Certainly he was influenced by what was considered popular for the day. We have correspondence showing that Vanderbilt was personally fond of Sir Walter Scott all his life. Obviously, he had sufficient wealth to also be solicited by book dealers who came across rare and valuable titles at estate sales in Europe.
Durham: Roughly speaking, the shelves to the left of the fireplace (balcony) cover U.S. history and to the right literature. The balcony level east wall also holds literature books, and the west balcony wall seems to cover world history. On the main floor, east wall, are reference works especially dealing with architecture and art. The west wall contains bound periodicals and reference works on architectural and art antiquities. The south wall contains travel, English grammar reference and art/ architecture titles.
BookThink: So there’s no indication that he purchased books on the basis say, of building a more general collection that would address the needs/wants of visitors, etc?
BookThink: If and when items are moved, is this at the discretion of the curator or is the family sometimes consulted?
Durham: He has more than 100 works by Balzac, for example, but we don’t know if that was for the content or whether it was considered a well-equipped library to have Balzac so heavily represented.
Durham: Over time, books have been removed and replaced by curatorial staff based on the physical condition of the book. In the past year, we replaced a substantial number of balcony level damaged books with books from storage whose bindings were in good condition.
BookThink: Is access to the library ever granted for purposes of academic research? Durham: For original academic research, we have a policy of allowing access to parts of the collection. However, here we must be truthful and say that very little of Vanderbilt’s collection is truly rare. Most books in his collection can be found at libraries and other repositories around the country, which are equipped to handle researchers.
BookThink: Vintage landscape architecture titles are a profitable niche for booksellers now. Can you tell something about this portion of the collection? Approximately how many titles? Anything else? Durham: We can’t approximate the number of landscape design books, partly because we have not finished the inventory and partly because we have not done subject heading cataloguing as previously discussed. Keyword searches can be done on titles and authors; again, if you are interested in a particular author or title, we’ll be happy to check.
BookThink: Then would it be fair to say that the value of the collection lies primarily in its provenance and the overall quality of bindings? Durham: There are a few extremely valuable and rare items in the collection, though primarily it’s the provenance. Not sure I would say the binding give it its greatest value, though certainly a significant feature.
BookThink: Did Vanderbilt take an active part in the landscape design of Biltmore and, in turn, acquire these books for that purpose?
BookThink: Approximately how long has it been since open access (to guests, etc.) was available?
Durham: Frederick Law Olmsted was Vanderbilt’s chief advisor and designer in landscaping the Biltmore Estate. We do not have evidence that Vanderbilt contributed to the landscape design, though he was certainly consulted and had veto power. In fact, Olmsted’s early plan called for a vegtable garden in part of the gardens area and this was not pursued in favor of ornamental flowers, shrubs and trees.
Durham: I imagine that once the house was no longer used as a residence (1954), the library was no longer used by guests or visitors. The house was opened to paid tours in 1930, but we have no evidence that these visitors were allowed to peruse the Library collection. BookThink: Is the present day appearance of the library (and arrangement of books on shelves) more or less as it was 100 years ago?
BookThink: I noticed a free-standing shelving unit on the far side of the library with angled compartments for books. What was the purpose of this?
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Photo By: Jim Whetsone Durham: The book stand you refer to along with three sets of carved steps were designed by Richard Morris Hunt in the Italian Baroque style for the Library. It has compartments for displaying books flat at an angle, and we can guess that this arrangement would have allowed display of very old books whose bindings were not designed for the upright, spine-out display we know today. Early books were shelved lying flat. Just a guess.
commands the best view of the Estate along with the view from his bedroom. It is said it was here that he met with employees to address their concerns. We have no records in our collection referring to this space as a chapel. Though it has been filled with a much later era of book shelving, and contained several thousand books until recently, we do not have evidence this room was used as a library.
BookThink: Can you tell me anything about the large globe to the left of the fireplace?
BookThink: Why is it closed to the public? Durham: It was open for tour at one time from loggia, but due to weather and flow problems, was closed again.
Durham: The globe dates from 1899 and is mentioned in you guidebook.
BookThink: A final question- there are some subtly hinged panels on the library walls, one of which, I’m told, now conceals an electrical panel. Any idea what these were originally used for?
BookThink: The Den off the library has been subject of at least some speculation over the years-specifically, what it was used for. On a copy (perhaps not authentic) of Hunt’s original plans I noted that it was marked “chapel,” but it has also been characterized as a scriptorium or chamber of silence. Was it simply a reading room?
Durham: The one next to the fireplace conceals an electrical panel, which was original with the construction of the house. We don’t know the purpose of the other panels, though in contemporary times, they have been used to
Durham: The Library Den was said to have been used by Vanderbilt as an office. It certainly
store light bulbs, window props, etc. d
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B E
B E
The Inn At
Iltmore State
Biltmore House and Gardens are the centerpiece of a magnificent 8,000-acre estate in Asheville, North Carolina. Majestically framed by the Blue Ridge Mountains, the estate lies in a stunning natural setting. Biltmore was conceived in the early 1890’s by George W. Vanderbilt. Come explore “America’s largest home” with 250 rooms--including 43 bathrooms. The intricately landscaped gardens are a treat in every season. Visitors can easily spend half a day touring the gardens, strolling the paved or gravel paths and pursuing the conservatory and gift shop.
From the moment you arrive at The Inn At Biltmore Estate you will be treated with southern hospitality. Adventures await with our spacious 8,000-acre estate including horse back riding and enjoying the mountains. Romance blooms at the Biltmore Gardens this Spring. Come see the orchards and beautiful flowers all around the garden. Enjoy some wine from our winery at Antler Hill while sitting back and taking it all in. This Summer sit under the stars listening to some of today’s biggest artists including Mercy Me at the 13th Annual Summer Evening Concerts. For more information and special deals make sure to check out our website to keep updated with current deals.
1 Antler Hill Road, Asheville, North Carolina 28803 Telephone: (800) 411-3812 www.innatbiltmore..com
A Taste of Decadence.
Our pastries are classics of self-indulgence.
Edibles Incredible!
Hot Cross Buns Ever Wonder how to get the fresh out of the oven treat? you can make these delicious treats at home.
T
Now
Written By: Sam Breach Photographs By: Sam Breach
he Smell of Sweet Spices to Perfume your Spring Kitchen As young girls my sister and I would often dash to open the front door
whenever the door bell rang, slipping and sliding on the polished wooden hallway floor as we raced to be the one who would enquire about the business of the caller, before relaying the information to our mother. Usually an adult face would greet us from beyond the other side of the double glass doors that protected our small porch and we would have no qualms about politely grilling them to find out what they wanted. Once a year, however, we would be caught out by the gruesome sight of a gangly group of nerdy little boys dressed in spiffy uniforms shuffling nervously, patiently waiting to deliver their important message. These were miniature Boy Scouts, collectively known as Cubs. Please explain: I really don’t understand American Hot Cross Buns where the cross is piped from a sugar icing when the whole point of this once-a-year treat is to toast it until golden and indulge in the decadent consequences of doing
that I should eat a hot cross bun.
BBC Hot Cross Buns Notes I googled for a recipe and was presented with - In Britain you can buy a jar of ‘Mixed Spice’, two stellar-sounding choices: Delia or the BBC, which is exactly what you would use in a Hot both of whom are usually stalwart sources when Cross Bun recipe. There is no such thing in the researching British recipes.
USA. I used a mix of ground ginger, cloves, allI read through them both a couple of times be- spice, nutmeg and ginger cinnamon instead, fore deciding on the BBC version for a number with perfect results. of reasons:
- I used bread flour - the US equivalent of ‘strong 1) The BBC uses fresh yeast, Delia uses dried. I white flour’. prefer to work with fresh yeast, which is 100s of - After brushing the baked buns with warmed times cheaper than the dried stuff. It also seems golden syrup they are gloriously sticky. By the more real to me. It is alive. next day however, most of the syrup has soaked 2) Delia’s version used milk. I never have milk in to the dough. This is probably just as well in the house so it would have been a special pur- since you are about to pop it in the toaster. chase. Then I would have wasted the leftovers, - OK - currants are OK, but I don’t love them like no doubt. I didn’t want to do that when instead they are my new best friend. In my opinion the the BBC version contained an egg. I always have currants inside hot cross buns should be few and an egg in the house, and good eggs at that. far between. Hence I reduced the amount sug3) Delia’s version called for dried peel. Have you gested to just a couple of ounces. Perfect. tried to get dried peel in California? No! Don’t - I found scissors much easier than a knife for bother. The BBC recipe called for fresh lemon snipping the cross shape on the top of the bun. zest. How convenient, therefore, that I was re- - I served the Hot Cross Buns, toasted with cently given a bag full of Meyer lemon’s from a freshly churned Spring Hill salted Jersey
butter. ‘Awesome’ is what I think one of my col-
colleague’s tree.
so: Butter, aroma, then Heaven. I’ve never tried
4) Delia makes those perfectly formed crosses leagues emailed me after he’d partaken of the
to put icing in the toaster and I am not going to
that look stuck on. I favor the BBC recipe where Hot Cross Bun ritual as instructed.
start now.
the cross is piped into place before being baked Are YOU going to make Hot Cross Buns this
But starting now, I have decided, just like that, to at once overcome my unjustifiable fear of the
into the bun resulting in a much more natural, year?2 s organic-looking product.
wee currants. Raisins - they are still on my hate
5) Delia goes to the palaver of making a sugar
list, where I hope they will stay, but this year I
syrup glaze. Why bother when you can follow
bravely insisted to myself that from now on, in
the BBC’s suggestion and use the Golden Syrup
moderation, currants are OK. It was the smell
you already have in your pantry?
that drove me to taking this drastic move. I missed it. I needed it. It was imperative in 2007 that I should eat a hot cross bun.
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Belgian-hot cross bun graced by a magenta rose
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Own A
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A
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d
It’s an experience
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Make A Fashionable Statement Learn How to make a classic Victorian necklace. With these easy steps you will be wearing it in no time! Written By: Rose Brown Photo: Pinterest
D
uring the Victorian era, cameos were a popular type of
clamps securely over the end of the ribbon to hold it within the
jewelry. Made of carved stone or shell, many Victorian
crimp end.
cameos depicted maidens and flowers and were decid-
5
edly feminine accessories. They appeared on rings, bracelets and as
Bend open the tiny metal clamps of a fold-over crimp end. Posi-
pendants on necklaces. One of the most favored styles of necklace
tion the crimp end at the other end of the velvet ribbon. Close the
during the Victorian period was the choker---a strip of black ribbon
metal clamps securely over the end of the ribbon to hold it within
or velvet worn snugly around the throat, although longer necklaces the crimp end. were also popular. Today, you can make a Victorian cameo adorn-
6
ment in the style of a choker or a longer necklace.
Open the small metal ring attached to one half of a jewelry clasp
Instructions
using pliers. Slip the closed metal ring of the crimp end onto the
Things you’ll need:
open metal ring of the jewelry clasp. Close the jewelry clasp’s ring
Black velvet ribbon
completely with pliers.
Scissors
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Cameo pendant
Open the small metal ring attached to the other half of a jewelry
2 fold-over crimp ends
clasp using pliers. Slip the closed metal ring of the other crimp
Pliers
end onto the open metal ring of the jewelry clasp. Close the jew-
Necklace clasp
elry clasp’s ring completely with pliers. Use this process to create
1
as many Victorian cameo necklaces as you desire.
Wrap a piece of black velvet ribbon around your neck to determine
Tips & Warnings
the ideal length for your necklace. You may want a real Victorian-
Cameo pendants come in a variety of sizes, colors and styles. You
style choker that fits snugly around your throat, or a slightly longer
may choose from a pink and white, a black and white or even a
Victorian necklace that rests near the collarbone.
blue and white cameo. Choose the cameo pendant that most ap-
2
peals to your taste.
Cut the ribbon to the precise length you want your necklace to be
You can find cameo pendants at bead stores, craft supply retailers,
using scissors. Remember that a clasp will add as much as an inch
antique and thrift stores, flea markets and through online sellers.
to your necklace.
Consider using plain black ribbon or black silk cord instead of
3
black velvet ribbon to make your Victorian cameo necklace.
Slide the ribbon through the bail---or small ring---on top of a cameo pendant. Push the pendant along the ribbon so it hangs from the ribbon’s center. 4 Bend open the tiny metal clamps of a fold-over crimp end. Position the crimp end at one end of the velvet ribbon. Close the metal
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c
A Victorian Wedding
Looking to be veiled in Victorian? Here’s your get-all guide to hosting a wedding from the era that molded our modern traditions. Written By: Allison Micarelli Photographs By: Lauren Hillary
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Victorian Victorian wedding is about class and grace, and calls for romantic gestures of a dainty nature --fine floral china, lots of lace, and sweet-smelling rosebuds.
We’ve always been fans of era-embracing events: ‘40s swing celebrations, medieval affairs, and Western weddings are all creative and delightful. But it’s the Victorian-style events that are a little more refined, as all modern wedding things are essentially Victorian in nature. After all, it was Queen Victoria who set the trends for white wedding gowns and white floral arrangements. But most importantly, there are few (if any) historical periods that are more romantic. So to plan your affair, you’ll need to start considering things like lace hankies, corsets and petticoats, and cupid cake toppers. How are you going to pull off a celebration that’s elegant and romantic, but not stuffy (or, even worse, tacky)? Here’s our take on hosting a vivacious Victorian celebration. The Setting Certain settings seem sensational for a Victorian wedding. Indulge in nostalgia. A botanical garden is a popular choice, for its sprawling acres of manicured lawns and plentiful rose gardens. Keep in mind the Victorians loved statues and fountains, so a garden with one as its focal point would be appropriate. Many couples feel most comfortable hosting a Victorian tea party in the gardens of their family’s home. A backyard, with large oak and willow trees, that features tables spread with tea sets and picnic blankets strewn over the lawn, creates a charming and casual scene. Meanwhile, the opulent interior of a beaux-art mansion lends a perfect atmosphere for a more refined affair. When choosing a ballroom, consider ones that are drenched in Victorian color palettes: pinks, greens, and gold, or rich jewel-toned blues, burgundy, and copper. Other good choices include an historic Victorian inn with gingerbread exteriors and antique furnishings, Italianate-style 19thcentury estates that boast the Victorians’ adoration
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for floral fabrics and Persian carpets, or
You might start by sending Victorian-era an-
1840, the classic floral theme for the Victo-
even a Victorian art or history museum.
nouncements -- valentines! -- for your save-
rian bride was set! Entwining orange blos-
You can explore outdoor options through
the-date cards. While announcements were
soms into the bridal wreath became a must-
your local Parks and Recreations Depart-
hand-delivered in the 19th century, you
do, and, in fact, was even stated in the very
ment; for indoor adventures, call your local
don’t need to do this, but creating a home-
influential etiquette journals of 19th century.
historical society or Chamber of Commerce
made valentine is both period-appropriate
Orange blossoms became so in demand
to see what homes can be rented for your
and poetic. Besides, you can save the more
that when real orange blossoms (the official
elegant event.
formal announcements for the actual invite.
state flower of Florida, by the way) were in
The Look
Your invitations should be crafted on smooth
short supply or not in season, wax replicas
Dressing the part is the most fun aspect of
white or ivory paper, scripted, with calli-
were used instead.
the wedding. Victorian gowns were so ex-
graphed envelopes. Use Victorian lettering
The Backdrop
travagant that you’ll feel like the queen her-
(the kind where the first letter of each line is
Your decor will truly speak a thousand
self underneath the many layers of ruffles,
very ornate --think fairy tales) and be sure
words. Start envisioning the decorations as if
lace, and accessories. Since Queen Victo-
to investigate vintage-looking stamps or ones
you are painting a dreamy picture. We rec-
ria’s wedding, white has remained the tradi-
with a cupid-and-heart motif for the reply
ommend mimicking the sentiments explored
tional color for wedding gowns, so you won’t
card. Your final task is to decide on some
in the famous French impressionist painting,
have to search far for vintage colors. The
decorative touches that will follow you from
Le Moulin de la Galette (1876) by Pierre-
Victorians considered the hourglass shape
your invite and reply card to the programs
Auguste Renoir (Okay, so he’s not English,
to best flatter the female form, and women
and all other paper products -- whether it’s
but this much-loved painting displays both
were forced to wear restrictive corsets to
floral patterns, your new monogram, ribbons,
the color scheme and dress codes shared
achieve this ideal shape. You can practice
bows, or even doves.
by Queen Victoria’s kingdom).
sitting and eating with more modern-day
The Flowers
First and foremost, the place should be
corset tops. The early Victorians (1850) wore
The standard Victorian flower is the rose. But
brimming with antique lace and vases filled
gowns with fitted bodices, small waists, and
other flowers such as pansies, hyacinths, tu-
with romantic blooms. Fine china and tea-
full skirts falling over hoops and petticoats.
lips, and stephanotis evoke similar romantic
cups should grace each place setting (lit-
The late Victorian (1890) bridal gowns (which
emotions. Your bridal bouquet should be ar-
erary buffs may want to name tables after
were made of organdy, tulle, lace, silk, linen,
ranged in the style of a nosegay or tussie
Victorian-era artists, such as poets Elizabeth
even cashmere) saw the transformation from
mussie, which were then most popular, and
Barrett Browning and Alfred Lord Tennyson).
puffy mutton-leg sleeves to fitted sleeves,
should feature blooms symbolic of fruitful-
If it’s possible, search through attics of your
and eventually, to bell sleeves, and also
ness. The Victorians had a strong belief in
family homes and look for heirlooms -- fam-
from crinoline to bustled skirts. Needless to
special meanings of flowers, and they chose
ily linens, serveware, even handkerchiefs.
say, however the styles changed, they were
their floral arrangements accordingly. Dai-
Scour yard sales and thrift shops for fancy
always big, bold, and beautiful.
sies represent innocence, while Stephano-
sets of cups and saucers, and mix a variety
As for accessories of this era, the cameo be-
tis ensures happiness in marriage. Orchids
of styles (whatever you find, it doesn’t have
came the hot item by the mid-19th century.
symbolize true love, mums guarantee wealth
to match) at various tables set up around the
Meanwhile, necessities included white kid-
and abundance, and mixing freesia and
room. Make sure each table is adorned in
leather gloves (wrist-length or elbow-length),
gardenias alludes to your innocence and
layers -- the Victorians loved fabrics and tex-
embroidered handkerchiefs, silk stockings,
purity. The most important of these flowers
tures. Floor-length tablecloths should be cov-
and flat or brocade one-inch heel shoes.
(and one you should be sure to incorporate,
ered with Battenburg lace overlays, topped
A Victorian gentleman’s formal attire con-
if even only as a replica) is the
with fringed coasters or silk doilies. For
sisted of a cutaway coat or a frock coat,
orange blossom.
these items, your first shopping stop should
a waistcoat, cravat or ascot ties, and trou-
The Victorians were sure to include orange
be flea markets and yard sales.
sers. You won’t go wrong by imitating Hugh
blossoms in their bridal bouquets (some-
Candles are essential, but for additional
Grant’s style -- gray morning coat with pin
times even in their headpieces or on their
lighting, drape small lamps with fringed
striped trousers, waistcoat, and ascot tie -- in
dresses) to represent purity, chastity, and
ivory silk scarves for a soft touch, and scour
Four Weddings and a Funeral (1994). And
the bearing of many children. This custom,
antique stores for oil lamps. Other romantic
don’t forget the top hat -- a definite must.
which originated in China, was brought to
touches include having a big open treasure
The Announcement
England in the early 1800s. When Queen
chest for guests to place presents in, and
Your invitations will set the stage to the
Victoria wore them in her bridal wreath in
using the traditional gift table for setting up
whole day, so be sure they fit your theme.
black-and-white family wedding portraits in an assortment of vintage-
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style frames. You can use this table for your
er number of English teas. If you choose
cutting ceremony toward the end of the
guest book as well, but in lieu of an actual
to have an evening reception with a multi
reception and changing into sleek get-
journal, perhaps purchase as many vintage
course meal, serve evocative white wines
away outfits (even if you aren’t leaving
postcards as you have guests and ask each
and bubbling champagnes, then for des-
that night for your honeymoon).
friend and family member to inscribe their
sert, have the waiters bring out the tea sets
And, like any couple looking for an his-
warm wishes on the backs of the cards.
to serve some classic English brews such as
toric, romantic getaway, you should leave
These are relatively inexpensive and can be
Earl Grey, Darjeeling, and English Breakfast.
the party in a horse-drawn carriage driv-
boxed and saved as a loving collection of
You can indulge in tiny bite-size treats to go
en by an escort dressed in Victorian-era
heartfelt letters from the people you
along with the tea -- anything from choc-
garb: top hat, coat and trousers, and stark
love most.
olate-covered strawberries to petit fours to
white gloves. In the 19th century, guests
The Music
shortbread cookies; even individual lemon
would throw satin slippers, hoping to toss
For the music and entertainment, think
tarts or chocolate tortes will do.
one into the carriage as it departed (a
strolling violins during the cocktail hour
Do a little research and find foods that are
symbol of everlasting good luck in mar-
and harps in between courses at dinner.
in keeping with the theme and that your
riage). Equip your guests with environ-
Selections should include anything from
caterer can comfortably master. We sug-
ment-friendly rice to throw, but perhaps
Beethoven, Chopin, and Tchaikovsky. For
gest reading Susan Williams’ Savory Sup-
purchase a pair of satin ballet slippers
dancing, you could hire a string quartet that
pers & Fashionable Feasts: Dining in Victo-
and tie them onto the back of the car-
will anchor your performances in popular
rian America (University of Tennessee Press,
riage, symbolizing your good fortune and
period dances: the waltz and reels. You and
1996), which features 19th-century recipes
happiness in love.
your sweetie might wish to take ballroom
and sample menus.
The Inspiration
dance lessons to perform a waltz for your
The Gratitude
The term Victorian relates to the styles
dancing debut.
You’ve enchanted your guests with your
and attitudes during the reign of Queen
The Fare
polished feast and fanfare, now it’s time
Victoria (1837-1901) who wed Prince Al-
A Victorian wedding-day meal can be any-
to thank them for sharing in your evoca-
bert in 1840 and set the stage for tra-
thing between a proper English breakfast
tive wedding dreams. Consider giving your
ditional wedding ceremonies and recep-
and a 10-course fanciful feast. First think
bridesmaids period-gifts like engraved lock-
tions. Victorian brides would model their
of the selection, then the presentation.
ets, ivory combs, or soft kid-leather gloves
wedding-day glamour after the Queen,
The afternoon tea reception selection: tea
(before the diamond wedding ring became
beginning with inviting friends to a tea in
sandwiches such as cucumber, tuna, and
popular, Victorian grooms presented brides
their parlor or garden to ask them to be
watercress; scones like currant, raisin, and
with such adornments). For your maid of
in the wedding.
cranberry; a selection of fresh jams; and
honor, consider a hand-carved cameo; you
For further inspiration, visit a few tearooms
piles of fresh berries. The dinner reception
can find cameos carved in seashells today,
with your bridesmaids and take notes on
menu: combinations of roast mutton, pork,
a tradition that was popularized by
the service, food, and adornments (after
roast beef, rabbit, turkey, duck, pheasant,
Queen Victoria.
all, you aren’t going to learn proper man-
and sole. Plum pudding, apple tarts, and
For favors, we love potpourri and sachets
ners from the antics at the Mad Hatter
mince pies can be served for dessert. Gar-
boxed and tied with ribbon, homemade
and March Hare’s tea party in Lewis Car-
nish each dish with rose petals and serve
shortbread cookies, boxed scones, fresh
roll’s Alice in Wonderland). Then, prior
on fine floral china that rests on white
jams with a personalized wedding label,
to the wedding, practice by hosting a
lace doilies.
petit fours or chocolates shaped as doves,
couple of afternoon tea parties for your
The actual wedding cake was often a fruit-
hearts, or cupids, and, last but not least, or-
lady friends, and taste-test different teas
cake decorated with white frosting in ornate
nate Victorian paper fans featuring images
and scones you may wish to serve to your
scrolled designs and topped with orange
of lovers and love poems, and fashioned
wedding guests.
blossoms. Favors -- charms with specials
with lace, dried rose petals, tiny satin bows,
For inspiration on Victorian era manners,
meanings, such as a penny for wealth and
and a tassel.
dress, and decor, watch Martin Scorcese’s
a horseshoe for good luck -- were attached
The Lasting Impression
The Age of Innocence, or read Charles
to long ribbons and baked inside the cake.
In the 19th century, immediately after cut-
Dickens’ A Christmas Carol, Leo Tolstoy’s
If you are having a large dessert selection,
ting the cake, the bride and groom would
classic novel Anna Karenina, considered
the cake can be boxed and given to guests
change into traveling costumes and ride off
one of the most important works of the
as they depart.
in a carriage drawn by white horses. You,
19th century, and Emily Brontë’s
For drinks, its obvious -- you’ll need a prop-
too, can imitate this by having the cake-
Wuthering Heights.
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For additional ideas, contact The Victorian Society in America (215) 627-4252, Philadelphia, PA. -- Allison Micarelli
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An Exquisite Treat Learn How to make these delicious treats. It’s as easy as 1,2,3.... Written By: All Recipes Photograph By: Adar Bakery
P
etits fours--”small ovens”--were a way
Use a long serrated knife to split the cakes into
small spatula or knife to reach all the
for pâtissiers to use up leftovers while
layers. You can measure the sides and mark
bare spots.
the ovens cooled down at the end of
them with toothpicks to help guide the knife;
Any extra glaze can be scraped off the baking
the day’s bake.
gently saw your way through.
sheet, reheated, and re-applied. (Strain the
While petit four can refer to any bite-sized
Cover cake layers with plastic wrap until you’re
glaze if it’s full of crumbs.)
sweet presented at the end of a meal, they’re
ready to assemble them.
White or dark chocolate glazes and poured
usually tiny, beautifully iced cakes. Petits fours
Always use a flavored syrup to soak your
fondant work especially well for petit fours
are traditionally made with an almond sponge
sponge cake layers. Use a pastry brush and
because they dry to a smooth, shiny surface.
cake, or joconde, but they can be any flavor of
be generous.
(If you substitute white chocolate for dark, use
cake--and filling--you choose.
Once you’ve applied the syrup, you can spread
about fifty percent more white chocolate.) See
With a seemingly infinite variety of shapes,
on the filling: jams, buttercreams, lemon curd,
our Chocolate Ganache article for more tips.
flavors and decoration, you can dress these little
and raspberry curd all make delicious fillings.
If you like the almond flavor of marzipan, a
cakes up for a tea party, a bridal shower, or an
The Assembly
thin layer of marzipan between the cake and
elegant luncheon. A tray full of delectable and
Once your cake layers are filled, the simplest
the glaze provides a glass-smooth, crumb-free
beautiful petits fours turns any event into an
decorating technique for petits fours is to glaze
surface for decorating.
extraordinary occasion.
the top of the whole cake, and then cut it into
Top the cake layer with a thin layer of jam,
The Cakes
shapes. This will, however, leave the sides un-
jelly or frosting
A génoise (zhehn-WAHZ), or sponge cake, acts
sealed, so the little cakes can dry and become
Roll the marzipan as thin as you can, and lay it
like exactly that: a sponge. It is meant to absorb
stale in a very short time.
over the cake. The jam will help it stick to the
flavored syrups and liqueurs, resulting in moist,
If you wish to glaze the tops and sides of your
surface when you pour on the glaze. n
flavorful cakes. An almond jaconde is delicious,
petit fours, arrange the cut shapes (squares,
but you can also use pound cake or any sturdy,
diamonds, or other shapes made with cookie
fine-crumbed cake that can stand up to filling,
cutters) on a cooling rack set over a rimmed
cutting, and decorating.
baking sheet.
The Fillings
Using a measuring cup, pour the warm glaze
Once your cakes are baked and cooled, they
over and around the sides of each cake, using a
can be wrapped well and frozen for up to one month. Thaw the wrapped cakes at room temperature.
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A Grand Getaway Come discover the Grand Floridian Hotel at the Walt Disney World Resort. It’s full of Victorian charm and splendor. If it’s a vacation with the family or a romantic vacation it’s the perfect destination to escape to. Written By: Dreams United Travel Photograph By: Geoffrey Palcher
T
he Grand Floridian is a fine display of the splendor of the old grand Victorian hotels. From its spacious verandas, wicker rockers and ceiling
fans, to the red shingled, gabled roofs and intricate latticework, this stately resort offers elegance and charm to all who come here. Victorian architecture is in abundance with the towers, dormers, cupolas, exposed gable trusses and band-sawed gingerbread. This impressive style extends to the monorail stop, which is designed to resemble a Victorian train station. The breathtaking lobby ascends 5 stories in height and is capped with lavish stained glass domes. Glistening chandeliers, an aviary, potted palm trees and a grand piano providing live music, add to the lavish ambiance here. An open-cage elevator operates to transport guests to the second floor shops and restaurants. Romance abounds at the Grand Floridian and on a private island off the resort, you’ll find the Fairy Tale Wedding Pavilion. With a picturesque view of the Cinderella Castle, what more charming lo-
cation could a couple want to exchange marital vows. Wedding packages can include visits from characters as well. For more information, call Disney’s Fairy Tale Weddings and Honeymoons at (407)363-6333. The Grand Floridian Convention Center features 40,000 square feet of flexible function space with a state-of-the-art sound and lighting system. With 16 breakout rooms, a business center, satellite up/down link capabilities, vast exhibit capabilities and comprehensive meeting support, the Grand Floridian Convention Center is a very attractive location for business conferences or meetings. Custom-made merchandise can be ordered for conferences or meetings held in WDW resorts. For more information, call the Specialty Merchandising Department at (407)363-6433. Also, nightly, weather permitting, the Seven Seas Lagoon is the backdrop for the Electrical Water Pageant. Dancing lights on a 1000-foot string of floating barges shimmer over the lagoon and Bay Lake. This 7-minute show can be viewed from Narcoossee’s or the boat dock of the Grand Floridian. j
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A Moment Back In Time Learn about the Victorian Period (1837-1901) A time of change. Written By: Esther Lombardi Photographs By: Lisa Warninger
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ll art is at once surface and symbol. Those who go beneath the surface do so at their own peril. Those who read the symbol do so at their own peril.--by Oscar Wilde, Preface, “The Picture of Dorian Gray”
The Victorian Period revolves around the political career of Queen Victoria. She was crowned in 1837 and died in 1901 (which put a definite end to her political career). A great deal of change took place during this period--brought about because of the Industrial Revolution; so it’s not surprising that the literature of the period is often concerned with social reform. As Thomas Carlyle (17951881) wrote, “The time for levity, insincerity, and idle babble and play-acting, in all kinds, is gone by; it is a serious, grave time.” Of course, in the literature from this period, we see a duality, or double standard, between the concerns for the individual (the exploitation and corruption both at home and abroad) and national success--in what is often referred to as the Victorian Compromise. In reference to Tennyson, Browning and Arnold, E. D. H. Johnson argues: “Their writings... Locate the centers of authority not in the existing social order but within the resources of individual being.” Against the backdrop of technological, political, and socioeconomic change, the Victorian Period was bound to be a volatile time, even without the added complications of the religious and institutional challenges brought by Charles Darwin and other thinkers, writers, and doers.
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Victorian Period: Early & Late The Period is often divided into two parts: the early Victorian Period (ending around 1870) and the late Victorian Period. Writers associated with the early period are: Alfred, Lord Tennyson (1809-1892), Robert Browning (1812-1889), Elizabeth Barrett Browning (1806-1861), Emily Bronte (1818-1848), Matthew Arnold (1822-1888), Dante Gabriel Rossetti (1828-1882), Christina Rossetti (1830-1894), George Eliot (1819-1880), Anthony Trollope (1815-1882) and Charles Dickens (1812-1870). (1840-1928), Rudyard Kipling (1865-1936), A.E. Housman (1859-1936), and Robert Louis Stevenson (1850-1894). While Tennyson and Browning represented pillars in Victorian poetry, Dickens and Eliot contributed to the development of the English novel. Perhaps the most quintessentially Victorian poetic works of the period is: Tennyson’s “In Memorium” (1850), which mourns the loss of his friend. Henry James describes Eliot’s “Middlemarch” (1872) as “organized, moulded, balanced composition, gratifying the reader with the sense of design and construction.” It was a time of change, a time of great upheaval, but also a time of GREAT literature! g
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