Mar 242015
 

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Today is the birthday (1834) of William Morris, major figure in the Victorian Arts and Crafts movement. He actually had a hand in a great many spheres including poetry, literature, painting, Medieval history, architecture, and socialist politics. There is too much to say about these areas in total so I am going to focus on one key area: design – including wallpaper, textiles, and tapestry. I will also take a sneak peek at stained glass.

Morris was born at Elm House in Walthamstow, Essex. As a child, Morris was kept largely housebound at Elm House by his mother; there, he spent much time reading, favouring the novels of Walter Scott. Aged 6, Morris moved with his family to the Georgian Italianate mansion at Woodford Hall, Woodford, Essex, which was surrounded by 50 acres of land adjacent to Epping Forest. He took an interest in fishing with his brothers as well as gardening in the Hall’s grounds, and spent much time exploring the Forest, where he was fascinated both by the Iron Age earthworks at Loughton Camp and Ambresbury Banks and by the Early Modern Hunting Lodge at Chingford. He also took rides through the Essex countryside on his pony, and visited the various churches and cathedrals throughout the country, marveling at their architecture. His father took him on visits outside of the county, for instance to Canterbury Cathedral, the Chiswick Horticultural Gardens, and to the Isle of Wight, where he adored Blackgang Chine. Aged 9, he was then sent to Misses Arundale’s Academy for Young Gentlemen, a nearby preparatory school; although initially riding there by pony each day, he later began boarding, intensely disliking the experience.

In 1847, Morris’s father died unexpectedly. From this point, the family relied upon continued income from the copper mines at Devon Great Consols, and sold Woodford Hall to move into the smaller Water House. In February 1848 Morris began his studies at Marlborough College in Marlborough, Wiltshire, where he gained a reputation as an eccentric nicknamed “Crab”. He despised his time there, being bullied, bored, and homesick. He did use the opportunity to visit many of the prehistoric sites of Wiltshire, such as Avebury and Silbury Hill, which fascinated him. The school was Anglican in faith and in March 1849 Morris was confirmed by the Bishop of Salisbury in the college chapel, developing an enthusiastic attraction towards the Anglo-Catholic movement and its Romanticist aesthetic. At Christmas 1851, Morris was removed from the school and returned to Water House, where he was privately tutored by the Reverend Frederick B. Guy, Assistant Master at the nearby Forest School.

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In June 1852 Morris entered Oxford University’s Exeter College, although since the college’s lodgings were full, he only went into residence in January 1853. He disliked the college and was bored by the manner in which they taught him Classics. Instead he developed a keen interest in Medieval history and Medieval architecture, inspired by the many Medieval buildings in Oxford. This interest was tied to Britain’s growing Medievalist movement, a form of Romanticism that rejected many of the values of Victorian industrial capitalism. For Morris, the Middle Ages represented an era with strong chivalric values and an organic, pre-capitalist sense of community, both of which he deemed preferable to his own period. This attitude was compounded by his reading of Thomas Carlyle’s book Past and Present (1843), in which Carlyle championed Medieval values as a corrective to the problems of Victorian society. Under this influence, Morris’ dislike of contemporary capitalism grew, and he came to be influenced by the work of Christian socialists Charles Kingsley and Frederick Denison Maurice.

At the college, Morris met fellow first-year undergraduate Edward Burne-Jones, who became his lifelong friend and collaborator. Although from very different backgrounds, they found that they had a shared attitude to life, both being keenly interested in Anglo-Catholicism and Arthurianism. Through Burne-Jones, Morris joined a group of undergraduates from Birmingham who were studying at Pembroke College: William Fulford, Richard Watson Dixon, Charles Faulkner, and Cormell Price. They were known among themselves as the “Brotherhood” and to historians as the Birmingham Set. Morris was the most affluent member of the Set, and was generous with his wealth toward the others. Like Morris, the Set were fans of the poet Alfred, Lord Tennyson, and would meet together to recite the plays of William Shakespeare.

Morris was heavily influenced by the writings of the art critic John Ruskin, being particularly inspired by his chapter “On the Nature of Gothic Architecture” in the second volume of The Stones of Venice; he later described it as “one of the very few necessary and inevitable utterances of the century.” Morris adopted Ruskin’s philosophy of rejecting the tawdry industrial manufacture of decorative arts and architecture in favor of a return to hand-craftsmanship, raising artisans to the status of artists, creating art that should be affordable and hand-made, with no hierarchy of artistic media. Ruskin had achieved attention in Victorian society for championing the art of a group of painters who had emerged in London in 1848 calling themselves the Pre-Raphaelite Brotherhood. The Pre-Raphaelite style was heavily Medievalist and Romanticist, emphasizing abundant detail, intense colors and complex compositions; it greatly impressed Morris and the Set. Influenced both by Ruskin and by John Keats, Morris began to spend more time writing poetry, in a style that was imitative of much of theirs.

Having passed his finals and been awarded a B.A., Morris began an apprenticeship with the Oxford-based Neo-Gothic architect George Edmund Street in January 1856. His apprenticeship focused on architectural drawing, and there he was placed under the supervision of the young architect Philip Webb, who became a close friend. Morris soon relocated to Street’s London office, in August 1856 moving into a flat in Bloomsbury, Central London with Burne-Jones, an area perhaps chosen for its avant-garde associations. Morris was fascinated by London but dismayed at its pollution and rapid expansion into neighboring countryside, describing it as “the spreading sore”.

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Morris desired a new home for himself and his wife, resulting in the construction of the Red House in the Kentish hamlet of Upton near Bexleyheath, ten miles from central London. The building’s design was a co-operative effort, with Morris focusing on the interiors and the exterior being designed by Webb, for whom the House represented his first commission as an independent architect. Named for the red bricks and red tiles from which it was constructed, Red House rejected architectural norms by being L-shaped. Influenced by various forms of contemporary Neo-Gothic architecture, the House was nevertheless unique, with Morris describing it as “very mediaeval in spirit.” Situated within an orchard, the house and garden were intricately linked in their design. It took a year to construct, and cost Morris £4000 at a time when his fortune was greatly reduced by a dramatic fall in the price of his shares. Burne-Jones described it as “the beautifullest place on Earth.”

After construction, Morris invited friends to visit, most notably Burne-Jones and his wife Georgina, as well as Rossetti and his wife Lizzie Siddal. They aided him in painting murals on the furniture, walls, and ceilings, much of it based on Arthurian tales, the Trojan War, and Geoffrey Chaucer’s stories, while he also designed floral embroideries for the rooms. They also spent much time playing tricks on each other, enjoying games like hide and seek, and singing while accompanied by the piano. Siddall stayed at the House during summer and autumn 1861 as she recovered from a traumatic miscarriage and an addiction to laudanum; she would die of an overdose in February 1862.

In April 1861, Morris founded a decorative arts company, Morris, Marshall, Faulkner & Co., with six other partners: Burne-Jones, Rossetti, Webb, Ford Madox Brown, Charles Faulkner, and Peter Paul Marshall. Operating from a premises at No. 6 Red Lion Square, they referred to themselves as “the Firm” and were intent on adopting Ruskin’s ideas of reforming British attitudes to production. They hoped to reinstate decoration as one of the fine arts and adopted an ethos of affordability and anti-elitism. For additional staff, they employed boys from the Industrial Home for Destitute Boys in Euston, central London, many of whom were trained as apprentices.

Although working within the Neo-Gothic school of design, they differed from Neo-Gothic architects like Gilbert Scott who simply included certain Gothic features on modern styles of building; instead they sought to return completely to Medieval Gothic methods of craftsmanship. The products created by the Firm included furniture, architectural carving, metalwork, stained glass windows, and murals. Their stained glass windows proved a particular success in the firm’s early years as they were in high demand for the surge in the Neo-Gothic construction and refurbishment of churches, many of which were commissioned by the architect George Frederick Bodley. Despite Morris’s anti-elitist ethos, the Firm soon became increasingly popular and fashionable with the bourgeoisie, particularly following their exhibit at the 1862 International Exhibition in South Kensington, where they received press attention and medals of commendation. However, they faced much opposition from established design companies, particularly those belonging to the Neo-Classical school.

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At this point Morris focused his energies on designing wallpaper patterns, the first being “Trellis”, designed in 1862. His designs would be produced from 1864 by Jeffrey and Co. of Islington, who created them for the Firm under Morris’s supervision.

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Imagining the creation of an artistic community, Morris helped develop plans for a second house to be constructed adjacent to Red House in which Burne-Jones could live with his family; the plans were abandoned when Burne-Jones’ son Philip died from scarlet fever. By 1864, Morris had become increasingly tired of life at Red House, being particularly unhappy with the 3 to 4 hours spent commuting to his London workplace on a daily basis. He sold Red House, and in autumn 1865 moved with his family to No. 26 Queen Square in Bloomsbury, the same building that the Firm moved its base of operations to earlier in the summer.

At Queen Square, the Morris family lived in a flat directly above the Firm’s shop. Where changes were afoot. Faulkner left, and to replace him they employed a business manager, Warrington Taylor, who would remain with them till 1866. Taylor pulled the Firm’s finances into order and spent much time controlling Morris and ensuring that he worked to schedule. During these years the Firm carried out a number of high-profile designs; from September 1866 to January 1867, they redecorated the Armoury and Tapestry Room in St. James’ Palace, in the latter year also designing the Green Dining Room at the South Kensington Museum (it is now the Morris Room at the Victoria and Albert Museum). The Firm’s work received increasing interest from people in the United States, resulting in Morris’s acquaintance with Henry James and Charles Eliot Norton. However, despite its success, the Firm was not turning over a large net profit, and this, coupled with the decreasing value of Morris’ stocks, meant that he had to decrease his spending.

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By early summer 1871, Morris began to search for a house outside of London where his children could spend time away from the city’s pollution. He settled on Kelmscott Manor in the village of Kelmscott, Oxfordshire, obtaining a joint tenancy on the building with Rossetti in June. Morris adored the building, which was constructed circa 1570, and would spend much time in the local countryside. Conversely, Rossetti would be unhappy at Kelmscott, and eventually suffered a mental breakdown. Morris divided his time between London and Kelmscott, however when Rossetti was there he would not spend more than three days at a time at the latter. He was also fed up with his family home in Queen Square, deciding to obtain a new house in London. Although retaining a personal bedroom and study at Queen Square, he relocated his family to Horrington House in Turnham Green Road, West London, in January 1873. This allowed him to be far closer to the home of Burne-Jones, with the duo meeting on almost every Sunday morning for the rest of Morris’ life.

Morris and Burne-Jones then spent time with one of the Firm’s patrons, the wealthy George Howard, 9th Earl of Carlisle and his wife Rosalind, at their Medieval home in Naworth Castle, Cumberland. In July 1874, the Morris family then took Burne-Jones’ two children with them on their holiday to Bruges, Belgium. However, by this point Morris’ friendship with Rossetti had seriously eroded, and in July 1874 their acrimonious falling out led Rossetti to leave Kelmscott, with Morris’ publisher F.S. Ellis taking his place. With the company’s other partners drifting off to work on other projects, Morris decided to consolidate his own control of the Firm and become sole proprietor and manager. In March 1875, he paid £1000 each in compensation to Rossetti, Brown, and Marshall, although the other partners waived their claims to financial compensation. That month, the Firm was officially disbanded and replaced by Morris & Co, although Burne-Jones and Webb would continue to produce designs for it in future.

Now in complete control of the Firm, Morris took an increased interest in the process of textile dyeing and entered into a co-operative agreement with Thomas Wardle, a silk dyer who operated the Hencroft Works in Leek, Staffordshire. As a result, Morris would spend time with Wardle at his home on various occasions between summer 1875 and spring 1878. Deeming the colors to be of inferior quality, Morris rejected the chemical aniline dyes which were then predominant, instead emphasizing the revival of organic dyes, such as indigo for blue, walnut shells and roots for brown, and cochineal, kermes, and madder for red. Living and working in this industrial environment, he gained a personal understanding of production and the lives of the proletariat, and was disgusted by the poor living conditions of workers and the pollution caused by industry; these factors greatly influenced his political views. After learning the skills of dyeing, in the late 1870s Morris turned his attention to weaving, experimenting with silk weaving at Queen’s Square.

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In the Spring of 1877, the Firm opened a store at No. 449 Oxford Street and obtained new staff who were able to improve its professionalism; as a result, sales increased and its popularity grew. By 1880, Morris & Co. had become a household name, having become very popular with Britain’s upper and middle classes. The Firm was obtaining increasing numbers of commissions from aristocrats, wealthy industrialists, and provincial entrepreneurs, with Morris furnishing parts of St. James’ Palace and the chapel at Eaton Hall. As a result of his growing sympathy for the working-classes and poor, Morris felt personally conflicted in serving the interests of these individuals, privately describing it as “ministering to the swinish luxury of the rich.”

In summer 1881, Morris took out a lease on the seven-acre former silk weaving factory at Merton Abbey Mills, in Merton, Southwest London. Relocating his workshops to the site, the premises were used for weaving, dyeing, and creating stained glass; within three years, 100 craftsmen would be employed there. Working conditions at the Abbey were better than at most Victorian factories, however despite Morris’ ideals there was little opportunity for the workers to display their own individual creativity. Morris had initiated a system of profit sharing among the Firm’s upper clerks, however this did not include the majority of workers, who were instead employed on a piecework basis. Morris was aware that in retaining the division between employer and employed, the company failed to live up to his own egalitarian ideals, but defended this, asserting that it was impossible to run a socialist company within a competitive capitalist economy. The Firm itself was expanding, opening up a store in Manchester in 1883 and holding a stand at that year’s Foreign Fair in Boston.

The work of Morris & Co. continued during Morris’ final years, producing an array of stained glass windows designed by Burne-Jones and the six narrative tapestry panels depicting the quest for the Holy Grail for Stanmore Hall, Shropshire. Morris’ influence on Britain’s artistic community became increasingly apparent as the Art Workers’ Guild was founded in 1884, although at the time he was too preoccupied with his socialist activism to pay it any attention. Although the proposal faced some opposition, Morris would be elected to the Guild in 1888, and was elected to the position of master in 1892. Morris similarly did not offer initial support for the Arts and Crafts Exhibition Society, but changed his opinion after the success of their first exhibit, held in Regents Street in October 1888. Giving lectures on tapestries for the group, in 1892 he would be elected president. At this time, Morris also re-focused his attentions on SPAB campaigning; those causes he championed including the preservation of St. Mary’s Church in Oxford, Blythburgh Church in Suffolk, Peterborough Cathedral, and Rouen Cathedral.

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By the early 1890s, Morris was increasingly ill and living largely as an invalid; aside from his gout, he also exhibited signs of epilepsy. In August 1891, he took his daughter Jenny on a tour of Northern France to visit the Medieval churches and cathedrals. Back in England, he spent an increasing amount of time at Kelmscott Manor. Seeking treatment from the prominent doctor William Broadbent, he was prescribed a holiday in the coastal town of Folkestone. In December 1894 he was devastated upon learning of his mother’s death; she had been 90 years old. In July 1896, he went on a cruise to Norway with construction engineer John Carruthers, during which he visited Vadsö and Trondheim; during the trip his physical condition deteriorated and he began experiencing hallucinations. Returning to Kelmscott House, he became a complete invalid, being visited by friends and family, before dying of tuberculosis on the morning of 4 October 1896. Obituaries appearing throughout the national press reflected that at the time, Morris was widely recognized primarily as a poet.

President of the William Morris Society Hans Brill referred to Morris as “one of the outstanding figures of the nineteenth century,” while Linda Parry termed him the “single most important figure in British textile production.” At the time of Morris’ death, his poetry was known internationally and his company’s products were found all over the world. In his lifetime, he was best known as a poet, although by the late twentieth-century he was primarily known as a designer of wallpapers and fabrics.

He was a major contributor to the revival of traditional British textile arts and methods of production. Morris’ ethos of production was an influence on Bauhaus. Another aspect of Morris’s preservationism was his desire to protect the natural world from the ravages of pollution and industrialism, causing some historians of the green movement to regard Morris as an important forerunner of modern environmentalism.

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During his lifetime, Morris produced items in a range of crafts, mainly those to do with furnishing,[268] including over 600 designs for wall-paper, textiles, and embroideries, over 150 for stained glass windows, three typefaces, and around 650 borders and ornamentations for the Kelmscott Press. He emphasized the idea that the design and production of an item should not be divorced from one another, and that where possible those creating items should be designer-craftsmen, thereby both designing and manufacturing their goods. In the field of textile design, Morris revived a number of dead techniques, and insisted on the use of good quality raw materials, almost all natural dyes, and hand processing. He also observed the natural world first hand to gain a basis for his designs, and insisted on learning the techniques of production prior to producing a design.

Mackail asserted that Morris became “a manufacturer not because he wished to make money, but because he wished to make the things he manufactured.” Morris & Co.’s designs were fashionable among Britain’s upper and middle-classes, with biographer Fiona MacCarthy asserting that they had become “the safe choice of the intellectual classes, an exercise in political correctitude.” The company’s unique selling point was the range of different items that it produced, as well as the ethos of artistic control over production that it emphasized.

It is likely that much of Morris’s preference for medieval textiles was formed – or crystallized – during his brief apprenticeship with G. E. Street. Street had co-written a book on Ecclesiastical Embroidery in 1848, and was a staunch advocate of abandoning faddish woolen work on canvas in favour of more expressive embroidery techniques based on Opus Anglicanum, a surface embroidery technique popular in medieval England.

Morris taught himself embroidery, working with wool on a frame custom-built from an old example. Once he had mastered the technique he trained his wife Jane, her sister Bessie Burden and others to execute designs to his specifications. When “embroideries of all kinds” were offered through Morris, Marshall, Faulkner & Co. catalogues, church embroidery became and remained an important line of business for its successor companies into the twentieth century. By the 1870’s, the Firm was offering both embroidery patterns and finished works. Following in Street’s footsteps, Morris became active in the growing movement to return originality and mastery of technique to embroidery, and was one of the first designers associated with the Royal School of Art Needlework with its aim to “restore Ornamental Needlework for secular purposes to the high place it once held among decorative arts.”

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Morris took up the practical art of dyeing as a necessary adjunct of his manufacturing business. He spent much of his time at Staffordshire dye works mastering the processes of that art and making experiments in the revival of old or discovery of new methods. One result of these experiments was to reinstate indigo dyeing as a practical industry and generally to renew the use of those vegetable dyes, such as the red derived from madder, which had been driven almost out of use by the anilines. Dyeing of wools, silks, and cottons was the necessary preliminary to what he had much at heart, the production of woven and printed fabrics of the highest excellence; and the period of incessant work at the dye-vat (1875–76) was followed by a period during which he was absorbed in the production of textiles (1877–78), and more especially in the revival of carpet-weaving as a fine art.

Morris’s patterns for woven textiles, some of which were also machine made under ordinary commercial conditions, included intricate double-woven furnishing fabrics in which two sets of warps and wefts are interlinked to create complex gradations of color and texture. Morris long dreamed of weaving tapestries in the medieval manner, which he called “the noblest of the weaving arts.” In September 1879 he finished his first solo effort, a small piece called “Cabbage and Vine.”

For a recipe I turn to Mrs Beeton of course. Because Morris had a lifelong association with Oxford, I have chosen a classic Oxford recipe: Oxford sausage. This is Mrs’ Beeton’s own recipe.

VLUU P1200  / Samsung P1200

Oxford Sausage

(Author’s Oxford Recipe.)

837. INGREDIENTS.—1 lb. of pork, fat and lean, without skin or gristle; 1 lb. of lean veal, 1 lb. of beef suet, 1/2 lb. of bread crumbs, the rind of 1/2 lemon, 1 small nutmeg, 6 sage-leaves, 1 teaspoonful of pepper, 2 teaspoonfuls of salt, 1/2 teaspoonful of savory, 1/2 teaspoonful of marjoram.

 

Mode.—Chop the pork, veal, and suet finely together, add the bread crumbs, lemon-peel (which should be well minced), and a small nutmeg grated. Wash and chop the sage-leaves very finely; add these with the remaining ingredients to the sausage-meat, and when thoroughly mixed, either put the meat into skins, or, when wanted for table, form it into little cakes, which should be floured and fried.

 

Average cost, for this quantity, 2s. 6d.

 

Sufficient for about 30 moderate-sized sausages

You can also shape them into sausages but without skins as in the photo. They are excellent with roast potatoes and a rich beef/veal gravy, or as breakfast sausages with eggs.

Jun 102014
 

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On this date in 1829 the first Boat Race between Oxford and Cambridge universities took place, making it one of the oldest official sporting events in the world. The Boat Race is an annual rowing race between the Oxford University Boat Club and the Cambridge University Boat Club, rowed between competing eights on the River Thames in London. It usually takes place on the last weekend of March or the first weekend of April.

Although the first race was in 1829, the event has been held annually since 1856, except during the First and Second World Wars. The course covers a 4.2-mile (6.8 km) stretch of the Thames in West London, from Putney to Mortlake. Members of both teams are traditionally known as “blues” and each boat as a “Blue Boat,” with Cambridge in light blue and Oxford, dark blue. As of 2014 Cambridge have won the race 81 times and Oxford 78 times, with one dead heat. As a graduate of Oxford, and bow oar for my college as a student, I am an avid fan.

The race is a well-established and popular fixture in the British sporting calendar. Upwards of 250,000 people watch the race live from the banks of the river each year (in 2009, a record 270,000 people watched the race live) while a further 15 million or more watch it on television around the world.

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The tradition was started in 1829 by Charles Merivale, a student at St John’s College, Cambridge, and his school friend from Harrow, Charles Wordsworth, who was studying at Christ Church, Oxford. Cambridge challenged Oxford to a race at Henley-on-Thames but lost easily. As the Oxford stroke, Staniforth, and four of his crew were from Christ Church, then Head of the River (a story for another time), the decision was – eventually – taken to race in the dark blue of that college, which still persists. There is a dispute as to the source of the color chosen by Cambridge. The second race was in 1836, with the venue moved to a course from Westminster to Putney. Over the next two years, there was disagreement over where the race should be held, with Oxford preferring Henley and Cambridge preferring London. Cambridge therefore raced Leander Club in 1837 and 1838 instead. Following the official formation of the Oxford University Boat Club in 1839, racing between the two universities resumed on the Tideway and the tradition continues to the present day, with the loser challenging the winner to a rematch annually. The race is governed by a Joint Understanding between Oxford and Cambridge University Boat Clubs.

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The only race to be declared a dead head was in 1877. Legend in Oxford has it that the judge, “Honest John” Phelps, was asleep under a bush when the race finished, leading him to announce the result as a “dead heat to Oxford by four feet.” This is not borne out, however, by contemporary reports. This was from The Times

Oxford, partially disabled, were making effort after effort to hold their rapidly waning lead, while Cambridge, who, curiously enough, had settled together again, and were rowing almost as one man, were putting on a magnificent spurt at 40 strokes to the minute, with a view of catching their opponents before reaching the winning-post. Thus struggling over the remaining portion of the course, the two eights raced past the flag alongside one another, and the gun fired amid a scene of excitement rarely equalled and never exceeded. Cheers for one crew were succeeded by counter-cheers for the other, and it was impossible to tell what the result was until the Press boat backed down to the Judge and inquired the issue. John Phelps, the waterman, who officiated, replied that the noses of the boats passed the post strictly level, and that the result was a dead heat.

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The course is 4 miles and 374 yards (6.779 km) from Putney to Mortlake, passing Hammersmith and Barnes; it is sometimes referred to as the Championship Course, and follows an S shape, east to west. The start and finish are marked by the University Boat Race Stones on the south bank. The clubs’ presidents toss a coin (the sovereign used in 1829) before the race for the right to choose which side of the river (station) they will row on: their decision is based on the day’s weather conditions and how the various bends in the course might favor their crew’s pace. The north station (‘Middlesex’) has the advantage of the first and last bends, and the south (‘Surrey’) station the longer middle bend.

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During the race the coxes compete for the fastest current, which lies at the deepest part of the river, frequently leading to clashes of blades and warnings from the umpire. This year (2014) a clash caused the Cambridge #2 to become unseated and lose his blade for several strokes, and broke his rigger. In consequence Oxford won handily, and the clash was ruled Cambridge’s fault for being in Oxford’s water despite being warned off by the umpire. A crew that gets a lead of more than a boat’s length can cut in front of their opponent, making it extremely difficult for the trailing crew to gain the lead. For this reason the tactics of the race are generally to go fast early on, and few races have a change of the lead after halfway (though this happened in 2003, 2007 and 2010). Here’s the 2014 race (the first 5 minutes are the crucial bit):

The race is rowed upstream, but is timed to start on the incoming flood tide so that the crews are rowing with the fastest possible current. If a strong wind is blowing from the west it will be against the tide in places along the course, causing the water to become very rough. The conditions are sometimes such that an international regatta would be cancelled, but the Boat Race has a tradition of proceeding even in potential sinking conditions.

In the 1912 race, run in extremely poor weather and high winds, both crews sank. Oxford rowed into a significant early lead, but began taking on water, and made for the bank shortly after passing Hammersmith Bridge to empty the boat out: although they attempted to restart, the race was abandoned at this point because Cambridge had also sunk, while passing the Harrods Depository. In the Book of Heroic Failures it is further reported, colorfully but perhaps not entirely reliably, that Oxford’s attempted restart was briefly delayed as a crewman exchanged words with a friend called Boswell in the crowd: and that as the abandonment was announced, some of the Cambridge crew came swimming past the Oxford position, minus their boat. The race was re-rowed two days later, again in poor weather, and Oxford won by six lengths.

Cambridge also sank in 1859 and 1978, while Oxford did so in 1925, and again in 1951; the 1951 race was re-rowed on the following Monday. In 1984 the Cambridge boat sank after colliding with a barge before the start of the race, which was then rescheduled for the next day. Here’s the 1951 sinking with wonderful 1950’s newsreel commentary style – very different from today’s:

Recent years have seen especially dramatic races. In 2001 the race was halted by umpire Rupert Obholzer just over a minute after the start, following repeated warnings to both crews to move apart, and then a clash of blades. The blade of Cambridge bowman Colin Swainson dislodged from his hand and in consequence the umpire immediately stopped the race. Despite Oxford having a lead when the race was stopped, the boats were restarted level with each other; this decision was highly contentious, especially when Cambridge went on to win after the restart.

In 2002 the favored Cambridge crew led with only a few hundred meters to go, when a Cambridge oarsman (Sebastian Mayer, who was later part of the winning 2004 Cambridge crew) collapsed from exhaustion and Oxford rowed through to win by three-quarters of a length. They did so on the outside of the last river bend, a feat last accomplished in 1952.

In the 2003 race Cambridge were substantially heavier and appeared to be the favorites. Two days prior to the race, however, the Cambridge crew suffered a collision on the river in which oarsman Wayne Pommen was injured. With a replacement (Ben Smith) in Pommen’s seat, Cambridge went on to lose by the narrowest margin ever: just one foot (30 cm). In that year, there were two pairs of brothers rowing: Matt Smith and David Livingston for Oxford, and Ben Smith and James Livingston for Cambridge. All four had been pupils together at Hampton School in south-west London. Cambridge gained revenge in 2004 in a race marred by dramatic clashes of oars in the early stages, and the unseating of Oxford’s bowman.

The 2006 race was won by Oxford. Cambridge had started as strong favorites but, despite heavy rain creating rough water, made a tactical decision not to use a pump to remove excess water from the boat. Oxford did use a pump and overtook Cambridge to win. Cambridge had introduced pumps as early as 1987.

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In the 2012 race, after almost three-quarters of the course had been rowed, the race was halted for over 30 minutes when a lone protester, Australian Trenton Oldfield, entered the water from Chiswick Eyot and deliberately swam between the boats near Chiswick Pier with the intention of protesting against spending cuts, and what he saw as the erosion of civil liberties and a growing culture of elitism within British society. Once spotted by assistant umpire Sir Matthew Pinsent, both boats were required to stop for safety reasons. The umpire, John Garrett, decided to restart the race from the eastern end of Chiswick Eyot. Shortly after the restart the boats clashed and the oar of Oxford crewman Hanno Wienhausen was broken. Garrett judged the clash to be Oxford’s fault and allowed the race to continue. Cambridge quickly took the lead and went on to win the race. The Oxford crew entered a final appeal to the umpire which was quickly rejected; and Cambridge were confirmed as winners by 4 ¼ lengths. It was the first time since 1849 that a crew had won the boat race without an official recorded winning time. After the end of the race Oxford’s bow man, Alex Woods – a medical student at Pembroke College – received emergency treatment after collapsing in the boat from exhaustion. Because of the circumstances, the post-race celebrations by the winning Cambridge crew were unusually muted and the planned award ceremony was cancelled.

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Oldfield was convicted in October 2012 of causing a public nuisance, fined £750 and sentenced to six months imprisonment. In June 2013 he was refused the right to remain in the UK, a decision against which he successfully appealed, with the appeal judge stating that there was “a public interest in providing a platform for protest at both common law and the European Convention on Human Rights.”

There are no sporting scholarships at Oxford or Cambridge, so in theory every student must obtain a university place on academic merit. But there have been unproven accusations that some students are admitted to the universities for their rowing skill without meeting the normal academic standards. Participants in the boat race are indeed academically capable: the 2005 Cambridge crew, for example, contained four PhD students, including a qualified medical doctor and a veterinarian.

From 1978 to 1983 the race was won every year by Oxford crews that included Boris Rankov, who was then a graduate student at Oxford and recognized as a powerhouse of the crews. Although Rankov was a bona fide student (and is now a professor at the University of London), this led to the establishment of the informal “Rankov Rule,” to which the teams have adhered ever since, that no rower may compete in the boat race more than four times as an undergraduate, and four times as a graduate.

In order to protect the status of the race as a competition between genuine students, the Boat Race organizing committee in July 2007 refused to award a blue to 2006 and 2007 Cambridge oarsman Thorsten Engelmann, as he did not complete his academic course and instead returned to the German national rowing team to prepare for the Beijing Olympics. This has caused a debate about a change of rules, and one suggestion appears to be that only students that are enrolled in courses lasting at least two years should be eligible to race.

Sue Brown

Sue Brown

The race is for heavyweight eights (i.e. eight rowers with a cox steering, and no restrictions on weight). Female coxes are permitted: the first to appear in the Boat Race was Sue Brown for Oxford in 1981. In fact female rowers would be permitted in the men’s boat race, though the reverse is not true. Although the contest is strictly between amateurs, and the competitors must be students of the university for which they race, the training schedules the teams undertake are very grueling. Typically each team trains for six days a week for six months before the event.

I am going to show my unmitigated bias and give you an Oxford recipe. Oxford sausages are a distinctive variety of pork and veal sausage commonly associated with, and thought to have been developed in, the city of Oxford.  Oxford sausages are noted for the addition of veal, in contrast to many traditional British sausages which contain only pork, and their high level of  seasoning. References to the “Oxford” style of sausage date back to at least the early 18th century, but it was more widely popularized owing to inclusion in Isabella Beeton’s Book of Household Management (1861), which regular readers will know as one of my foundational cookbooks for classic British recipes.

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The first published reference to a sausage that closely resembles the modern Oxford sausage is by John Nott in his book The Cook’s and Confectioner’s Dictionary: Or, the Accomplish’d Housewife’s Companion, (1723). In the text Nott, cook to the Duke of Bolton, refers to the sausages as “Oxford Skates” (or “Kates”, as listed in the index). Whether this was a common local recipe or one created by Nott is unclear. By the late 18th century the spice-rich nature of the Oxford sausage had entered popular consciousness to such an extent that Thomas Warton used The Oxford Sausage as the title for his compilation of “highly spiced” political and satirical college verse, first published in 1764 and republished a number of times in the following 50 years. A number of variations on the recipe were published over the years, until Isabella Beeton selected the Oxford style as her exemplar for a typical pork sausage in her cookbook. With the popularity of this book the recipe reached a much wider audience, and Oxford sausage was for a time available as a canned, processed product. However, with the rise of mass-production, supermarkets, and global distribution, the Oxford sausage fell out of favor. The modern rise of local food movements has resulted in the Oxford sausage being revived, albeit in a revised form.

As with most regional foodstuffs, different recipes for Oxford sausages vary in many aspects, but all follow a similar ingredient list. The modern Oxford sausage is typically a mixture of ground pork and veal, seasoned with lemon and herbs and spices. Nott’s 1723 recipe calls for pork or veal, seasoned with salt, pepper, clove, mace and sage. The spice content also appears in many other late 18th and early 19th century recipes, with mace or nutmeg being consistent ingredients. Mrs. Beeton’s recipe broadly follows the same formula, excepting that a 50:50 mixture of pork and veal is specified, with the addition of a similar quantity of beef suet. Beeton also includes lemon peel, although she was not the first to do so. As first produced, the Oxford sausage did not have a skin or other casing, but was hand-formed and floured before frying. However, modern forms are commonly made in a conventional, linked “banger” style, with natural pork or sheep casings. Beeton mentions both types.

Here is Beeton’s recipe.

TO MAKE SAUSAGES.

(Author’s Oxford Recipe.)

837. INGREDIENTS.—1 lb. of pork, fat and lean, without skin or gristle; 1 lb. of lean veal, 1 lb. of beef suet, 1/2 lb. of bread crumbs, the rind of 1/2 lemon, 1 small nutmeg, 6 sage-leaves, 1 teaspoonful of pepper, 2 teaspoonfuls of salt, 1/2 teaspoonful of savory, 1/2 teaspoonful of marjoram.

Mode.—Chop the pork, veal, and suet finely together, add the bread crumbs, lemon-peel (which should be well minced), and a small nutmeg grated. Wash and chop the sage-leaves very finely; add these with the remaining ingredients to the sausage-meat, and when thoroughly mixed, either put the meat into skins, or, when wanted for table, form it into little cakes, which should be floured and fried.

Average cost, for this quantity, 2s. 6d.

Sufficient for about 30 moderate-sized sausages.

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I use these sausages for classic English bangers and mash – sausages embedded in mashed potato and smothered in onions and gravy. The basic sausage mix can also be used for any recipe calling for sausage meat, such as Scotch eggs.