Brendon Prince

wheel and left to dry overnight.

Next day it’s back on the wheel for a spot of ‘turning’ with a metal tool (like a wood turner except with clay). e piece is now given a ‘foot ring’, which gives it a lovely nished look and is stamped with Tez’s mark on the bottom and the side. e clay is harder now – dry but not yet red (the greenware stage). Handles are added using a slip made from dried clay and vinegar – this prevents cracking and stops the handles falling o . e next stage is to leave the items until they’re completely dry and ready for the rst (bisque) ring to 1000 degrees. is process turns the clay into ceramic. Tez takes her batch of products out when cool and checks them over for any imperfections. en it’s time for the glazing to start, with a mix that Tez has prepared earlier. She prepares her glazes from raw materials and achieves some beautiful results through the exciting alchemy of the glaze technique. She tells me, “Seeing my glazes develop is wonderful – it makes you smile when you open the kiln.” e glaze is used by dipping or pouring and can be repeated 3 or 4 times to get the desired results. Now the base will be wiped and cleaned so it doesn’t stick to the kiln and red again at 2045 degrees for ten hours. It will then take a further 10 hours to cool down.

Tez is in her Cockington studio ve days a week, usually Tuesday to Saturday and sometimes Sunday. She says, “I’m constantly covered in clay – it’s hard to keep clean – it good that my studio is away from where I live because the clay just gets everywhere.”

Visitors to the studio often commission sets of items like mugs and each piece will be a little di erent. Tez explains that she nds the psychology of handles and homeware interesting. People can become very attached to ‘their mug’ and only feel at home with their special one. She’s now concentrating on developing new products in her distinctive style. Surprisingly, the pieces that are hugely popular online are markedly di erent from the ones visitors choose when they come to the studio in person. Tez needs to cater both for her online and her face-to-face customers and that keeps her pretty busy – not to mention crafting extra stock for the Christmas rush when people are looking for stylish but practical gifts. It’s so good to have met the local maker when choosing – it does make the present giving much more thoughtful and special. She loves working at the Sea Change Studios and has found the other makers and the Cockington Court Director, Marissa Wake eld incredibly supportive. When not working, Tez spends time with Krystal and her small son and enjoys swimming and paddleboarding out of Paignton, Brixham and Babbacombe. She tells me, “Life can often be challenging as an artist but I’m really happy here.” Why not pop by to see Tez and her stunning stoneware range at Cockington Court?   cockingtoncourt.org

Above: One of Tez’s dog bowls - especially designed for dogs with oppy ears!

Brendon Makes SUP History

Torquay’s very own Brendon Prince has become the world’s rst paddleboarder to successfully circumnavigate the whole of the British mainland.

Our April issue carried an article on Torquay’s Brendon Prince, who was training to attempt a world record, to attempt a world record, hoping to become the rst paddleboarder to circumnavigate a 4,000 km route around mainland Britain.

Well just 141 days after his departure from Abbey Sands and he’s made SUP history arriving back on the same beach after an epic battle with the weather, the tides and fatigue. Yes he’s done it. e four corners of mainland Britain and all the way around – a world record! Despite the many hardships along the way he’s seen wonderful wildlife all around Britain including orcas, sharks, seals, dolphins and amazing seabirds. Plus, he’s met followers and supporters at all his stopping places.

Brendon took on this epic challenge in the pursuit of water safety. Since a terrible experience as an o -duty lifeguard on the north Cornish coast when he battled but ultimately failed to save three souls from drowning, he has dedicated himself to providing vital water safety education for children, founding the charity Above Water. Brendon aims to raise £200,000 to develop the world’s rst ‘game ed’ water safety app free for all schools. e challenges Brendon faced during his SUP adventure were numerous and by paddling from beach to beach without boat support meant that he faced the perils of making it to shore after each gruelling day. Brendon’s longest distance in a single day was 76km and his shortest was 2km, having to navigate the tidal ow around the UK coastline to aid him in his journey.

Congratulations Brendon! If you’d like to read our earlier article about how Brendon prepared for his big adventure, the kit he took and much more, you can read the April issue at englishrivieramagazine.co.uk  c @thelongpaddle2021

Philip Henry Gosse

Sea Creatures, Scripture & Seclusion

A 19th century naturalist and writer, Gosse’s work popularised the seawater aquarium. His attempts to reconcile the story of creation with the scienti c theory of evolution created ferocious debate, causing him to ee of evolution created ferocious debate, causing him to ee London and settle in St Marychurch. Ian Handford of Torbay Civic Society tells us more.

The nineteenth century saw increasing acceptance of man’s natural evolutionary development in contrast to Holy Intervention. Intellectual battles raged between distinguished men like Lyell, Darwin, Romanes, RendleShort and eventually Philip Henry Gosse, a religious zealot and zoologist whose work initially admired, was being cast aside by scientists, the public and even his own friend Charles Darwin.

A renowned writer and zoologist of natural history, Philip was the son of omas Gosse of Worcester, born in April 1810. His father an unsuccessful writer was a talented miniature-painter. He eventually moved the family to Poole Dorset and it was there an aunt spotted Philip’s talents - she the mother of famous Professor omas Bell. Philip’s debut as a writer came in 1826 after working in a whaler’s o ce until 1835 in Newfoundland. He had learned to be a naturalist specialising in insects using his rst microscope. His work e ‘Entomology of Newfoundland’ included drawings of its fauna and ora and, having left, went to Philadelphia in 1838 where he was warmly received by the Academy of Natural Sciences.

Having completed his book ‘ e Canadian Naturalist’ on the voyage home he sold that manuscript and then in London opened a school and completed a second manuscript ‘Introduction to Zoology’. At the age of thirty-three he was nally noticed by the scienti c community and in 1844 was commissioned by the British Museum to collect the “undescribed birds and insects” of Jamaica before returning to England again in 1846. He never left our shores again.

His book ‘Birds of Jamaica’ was published in 1847 and one year later he married Miss Emily Bowes an Anglican (Wesleyan) who had arrived at a similar attitude on the divisions arising in the Protestant church. Emily spoke three languages and being the stronger personality, unknowingly had a magnetic power over the will and

nature of Philip. But now his friend Charles Darwin was dividing the scienti c community with his theories of evolution while Philip was living with his wife in an atmosphere of God. A student of the Holy Scripture and an ardent believer in doctrine Philip today would likely be viewed as an evangelist - nding human pleasure only in the word of God. e couple enjoyed endless discussion on scripture every day and, in their religious fervour, became rather isolated from the world. eir son Edmund later related, “Here was a perfect purity, perfect intrepidity, perfect abnegation, yet also narrowness, isolation and an absence of perspective, an absence of humanity - entire of perspective, an absence of humanity - entire resignation to the will of God and not less resignation to the will of God and not less entire disdain of the judgement and entire disdain of the judgement and opinion of man.”

Edmund, born in 1849, was to live in a strange household. On hearing of his birth Philip had recorded in his diary “E. delivered a son and I received a green swallow from Jamaica”. He was their only child. By 1851 Philip’s best work had appeared, ‘A Naturalist’s Sojourn in Jamaica’. Naturalist’s Sojourn in Jamaica’. He followed this with ‘ e Antiquities of Assyria’ plus other Antiquities of Assyria’ plus other works for the Society of Promoting works for the Society of Promoting Christian Knowledge (SPCK).

Advised to retire due to overwork Gosse now turned his attention to marine invertebrates and in January 1852 visited St Marychurch for the rst time before moving to Ilfracombe North Devon. ese shoreline exploits resulted in ‘A Naturalist’s Rambles on the Devonshire Coast’ (1853) and he now announced that he was able to keep marine animals alive in captivity for eleven months, a feat previously thought impossible. e family moved to London in December 1852 and helped the Zoological Gardens in Regents Park to set up a large glass tank for plants and marine animals so that Gosse could create his ‘Fish House Aquarium’, soon a popular attraction which was nancially successful. But with the debate on evolution and the age of the earth in geological terms at odds with the Genesis narrative of six days of creation, academic storm clouds were gathering. Gosse moved his family to Weymouth but with Emily and himself in ill health he was soon forced to return to London.

By 1854 the Gosse family was in Tenby, remaining eight weeks before returning to London in better health. His book ‘ e Aquarium’ with ve coloured plates was published, though to the dismay of irritated amateurs it had no handbook on the nds. e publication still sold like wild re and was Gosse’s most successful book commercially. Responding to critics, he wrote two more volumes entitled ‘Manual on Marine Zoology’ with seven hundred illustrations drawn during 1855-56. Now an elected Fellow of the Royal Society he was a regular contributor to their publication ‘Philosophical Transactions’.

Gosse’s scienti c studies in Wales had touched upon the controversial subject of evolution. ese clashed with Darwin’s alternative theories, and Lyell’s geological research and they now “rubbished the idea that research and they now “rubbished the idea that Noah’s ood covered the whole earth”. Noah’s ood covered the whole earth”. Such hostility seemed to suggest Such hostility seemed to suggest God was not dead but “that there God was not dead but “that there was never such an individual”. was never such an individual”. e issue so agitated public e issue so agitated public and academic minds that it and academic minds that it became the turning point for became the turning point for Gosse who in 1857 nally left London in despair to live at ’Sandhurst’ St Marychurch at ’Sandhurst’ St Marychurch Road, Torquay. Road, Torquay. at year Emily died. Philip missed her intellectual sympathy missed her intellectual sympathy and was unable to accommodate and was unable to accommodate himself to the new theories. He himself to the new theories. He remained physically, mentally and remained physically, mentally and spiritually isolated from society and expected spiritually isolated from society and expected his son to do the same. In 1860 he married his second wife Eliza Brightwen (Plymouth Brethren), which saw wife Eliza Brightwen (Plymouth Brethren), which saw him provide a Gospel Hall at Fore Street St Marychurch. him provide a Gospel Hall at Fore Street St Marychurch. Now devoting his time to the cultivation of orchids Now devoting his time to the cultivation of orchids and microscopic studies of ‘rotifera’ (a section and microscopic studies of ‘rotifera’ (a section of zoology wholly neglected) Gosse became of zoology wholly neglected) Gosse became a virtual recluse. Meanwhile his son a virtual recluse. Meanwhile his son Edmund refused his father’s rejection Edmund refused his father’s rejection of the world and confessed to being of the world and confessed to being “a militant evolutionary atheist”. “a militant evolutionary atheist”. Philip Gosse died in Torquay Philip Gosse died in Torquay the 23rd August 1888 aged the 23rd August 1888 aged 79. It would not be 79. It would not be until April 6th 2016 until April 6th 2016 that a Society Blue that a Society Blue Plaque was unveiled at Sandhurst Court in Manor Road. St Marychurch. Manor Road. St Marychurch.  torbaycivicsociety.co.uk torbaycivicsociety.co.uk

The Torquay Top Hat

If we look at paintings and photographs of Victorian Torbay, it’s noticeable that everyone wore a hat. Kevin Dixon investigates the appeal of the topper, especially popular in Torquay.

For much of the century men wore a specific hat, for all occasions, at any time of day. This was the top hat, the symbol of the nineteenth-century masculine Empirebuilder and gentleman at leisure. It was ubiquitous in Torquay, the seaside resort for the nation’s elite.

The top hat emerged by the end of the eighteenth century, replacing the tricorne that can be seen in many old illustrations of the town. It may have descended from the sugarloaf hat, which was named after the loaves into which sugar was formed at that time – and, incidentally, remembered in the shape of Sugarloaf Hill in Goodrington.

The first silk top hat in England is credited to Middlesex hatter George Dunnage in 1793. And within 30 years top hats had become popular with all social classes, even workmen wore them despite their apparent impracticality. It seemed

to particularly appeal to “the Romantic Movement, which had established a style in literature and art, emphasising the senses and emotions. Clothing was part of that flamboyance and top hat designs reflect this.

For a few decades hats made of beaver fur were popular because of its waterproof properties. Black silk then became the standard, sometimes varied with grey top hats. When dress coats as conventional formal daywear were replaced by the frock coat from the 1840s, top hats continued to be worn. But it wasn’t until 1850 that the fashion really took off when Prince Albert starting wearing the striking headgear in public. The top hat then inevitably became a focus for the stylish male and remained so for the next fifty years.

Men wore top hats for business, pleasure and formal occasions. The hat came to proclaim the spirit of the age, with some writers even noting how an assemblage resembled factory chimneys, so contributing to the mood of the industrial era.

This was a symbol of urban respectability. It represented status, wealth, elegance, and formality. It made a statement, was a symbol of business and considered ‘the’ hat for the bourgeois man. The top hat made its wearer feel taller, self-assured and suave, particularly when tilted at a ten-degree angle. Dramatic, and imposing, there was also a psychological impact as it could intimidate. It was described at the time as “a tall structure having a shiny lustre and calculated to frighten timid people.” Accordingly, top hats became part of the uniforms worn by policemen and postmen to give them the appearance of authority. The height and shape varied through the century as minor modifications came and went out of fashion, their individual names coming from their shape, height, or size. It was during the 1840s and the 1850s that the top hat reached its most extreme In Torre and Torquay railway form, with ever-higher stations, Union Street shops, hotel crowns and narrow brims; lobbies, public houses, and dance the stovepipe being the most halls, the hat usually remained on notable. There’s a famous photograph of Isambard Kingdom Brunel, wearing his black stovepipe hat. As a matter of course, such an important symbol attracted conventions and rituals. Etiquette demanded that the hat remained on outdoors. Indeed, a man outdoors without a hat would be a subject of negative comment. An exception would be orators who would remove their hats while speaking, so that the audience might observe their facial expressions. Once indoors, the rule became less clear and depended on whether this was a public or a private space. In Torre and Torquay railway stations, Union Street shops, hotel lobbies, public houses, and dance halls, the hat usually remained on. In more respectable spaces, such as a harbour side restaurant, hats would be removed and there would be pegs upon which they could be hung. In the Royal Theatre and Opera House in Abbey Road the hat would be removed once the gentleman took his

seat. is would be out of consideration for those sitting behind. It would then be checked along with the topcoat in the cloakroom. For some, however, this would have been less necessary as the Frenchman Antoine Gibus had invented a collapsible ‘opera hat’ in 1823.

When entering a home the hat was generally removed immediately and given to a servant. In a brief visit, the hat would be removed, but retained in the hand.

With all this hat wearing, and the taking o and putting on, ‘hat hair’ was avoided by the widespread use of hair oil. is was, of course, predominantly a male fashion; women had their own millinery with its discrete messages. On the other hand, women’s riding clothes did include a top hat with an attached veil.

Essentially, the top hat was a nineteenth century institution and by 1900 was only being worn for special occasions such as weddings and dances. However, there was a short-lived resurgence in the 1930s when movie stars Fred Astaire, Gary Cooper, Marlene Dietrich and others, brought it back in favour.

Yet, the inter-war period saw the widespread introduction of informal suits. ese were worn with less overbearing hats such as bowlers, homburgs, boaters and fedoras. Accordingly, after World War II, white tie, morning dress and frock coats, along with their counterpart, the top hat, were largely con ned to high society, politics, and international diplomacy.

Today you are only likely to see a top hat at weddings and televised horse racing. Or perhaps in the theatre. In 1914, the Parisian magician, Louis Comte, debuted his new trick of pulling a white rabbit from the depths of his top hat. 