Review: The First Four Georges by J. H. Plumb

One of the many books I picked up from Hull’s YMCA shop last year was The First Four Georges by Sir John Harold Plumb. The book was originally published in 1956 but my edition was from 1966. It is, rather self-evidently, a history of the lives and reigns of King George I, King George II, King George III and King George IV, who ruled the Kingdom of Great Britain and the Kingdom of Ireland from 1714 to 1800, then the United Kingdom of Great Britain & Ireland from 1801 to 1830.

At 177 pages it is considerably shorter than most of the other books in my collection and reading it was a breeze (helped by the improvement of the weather this month allowing me to sit and read it in the orchard on the weekends).

My first knowledge of the Georgian period came from Horrible Histories, followed by David Starkey’s Monarchy and Lucy Worsley’s The First Georgians. I also occasionally dipped into the Oxford History of England. Consequently by the time I got to this short volume there was much that I did not already know: The way each father and son hated each other, the development of rival royal courts that fostered the birth of government and opposition, the emergence of the cabinet and the prime minister, the persistent threat of Jacobitism, the poor choices all four kings made in wives, the explosion of political satire and the struggles over the American colonies.

Still, this book does a good job of covering a large number of topics in a relatively small number of words. The parts new to me were the details of George III’s early life, in particular his emotional crutches regarding his senior government advisers. The stand-out piece of prose was this howler on page 100, which suggested an alternative – or at least supplementary –  and unusually explicit explanation for His Majesty’s madness:

The first year of George III’s reign had been taken up almost entirely by the problem of his marriage. Animal passion and the unique sense of public duty in the need for an heir combined to make the matter one of almost neurotic, compulsive frenzy for George III. In the end he settled rashly and unwisely on Charlotte of Mecklenburg-Strelitz, a dim, formidably ugly girl. George himself regretted her plainness. Like his forbears, a sensual man, he was quickly stirred by feminine beauty but, unlike them, his high sense of morality would not allow him to indulge his fancies. Plain and undesirable as she was George III doggedly fulfilled his marital duties, and they bred child after child. On his part it was more an act of will than desire, and the strain on his already unsteady mind is thought to have been a strong contributory cause of those fits of insanity to which he became a prey.

Did George really lose his mind due to the strain of living with an ugly wife? That would have made for an interesting scene in the Alan Bennett play!

Quite the Collection

In addition to my two library cards and my many online sources I have during the past few years – commencing mainly in 2022 – accumulated a rather large collection of used books from a handful of charity shops I have frequented, mainly in Hull but also in some other East Yorkshire towns. Over the weekend I set about cataloguing the lot, though this list excludes those which I have given away as gifts to friends or family members. The small minority which I am currently reading or have already finished are shown in bold.


FICTION (arranged by author)

Dr. Gregory’s books have proven particularly easy to find at sub-£ prices.

  • Austen, Jane: The Complete Novels
  • Blyton, Enid: The Secret Seven (books 4-6)
    • Go Ahead
    • On The Trail
    • Good Work
  • Boyne, John: The Boy in Striped Pyjamas
  • Brooks, Max: World War Z
  • Chaucer, Geoffrey & Spearing, Anthony Colin: The Knight’s Tale
  • Dickens, Charles: Little Dorrit
  • Durrell, Lawrence: Sebastian
  • Gerber, Michael: Barry Trotter
    • and the Shameless Parody
    • and the Unnecessary Sequel
  • Gregory, Philippa
    • The Boleyn Inheritance
    • The Constant Princess
    • The Favoured Child
    • The Lady of the Rivers
    • The Other Boleyn Girl
    • The Other Queen
    • The Red Queen
    • The Taming of The Queen
    • The White Princess
    • The White Queen
    • Three Sisters, Three Queens
  • Keyes, Daniel: Flowers for Algernon
  • Lawrence, David Herbert
    • Lady Chatterley’s Lover
    • Women in Love
    • Sons and Lovers
  • Mallinson, Allan: A Call to Arms
  • Mantel, Dame Hilary: Bringing Up the Bodies
  • Mitchell, Margaret: Gone With The Wind
  • Naylor, Doug: Red Dwarf, Last Human
  • Orwell, George: The Complete Novels
  • Penman, Sharon: The Sunne in Splendour
  • Sachor, Louis: Holes
  • Sansom, Christopher John: Sovereign
  • Shakespeare, William: The Complete Works
  • Thackeray, William Makepeace: Vanity Fair
  • Tolkien, Christopher: The History of Middle-earth (volumes 1-7)**
    • The Book of Lost Tales, Part 1
    • The Book of Lost Tales, Part 2
    • The Lays of Beleriand
    • The Shaping of Middle-earth
    • The Lost Road and Other Writings
    • The Return of the Shadow
    • The Treason of Isengard
  • Tolkien, John Ronald Reuel: Sir Gawain & the Green Knight, Pearl and Sir Orfeo
  • Towles, Amor: A Gentleman in Moscow
  • Townsend, Sue: Adrian Mole, The Prostate Years
  • Tsiolkas, Christos: Dead Europe

NON-FICTION (arranged by topic)

ANCIENT WORLD

  • Beard, Dame Mary
    • How Do We Look? The Eye of Faith
    • Pompeii, The Life of a Roman Town
  • Graves, Robert: The Greek Myths, Vol. 1 & 2
  • Peddie, John: The Roman War Machine
  • Potter, Timothy William: Roman Italy
  • Taggart, Caroline: A Classical Education
  • Thucydides: History of the Peloponnesian War
  • Wells, Colin: The Roman Empire

ART & ARCHITECTURE

  • Cruickshank, Dan: Adventures in Architecture
  • Devonshire, Deborah, Duchess of: The House, Chatsworth
  • National Trust:
    • Beningbrough Hall*
    • Treasures of
  • Spalding, Frances: British Art Since 1900
  • Style, Colin & O-Ian: House Histories for Beginners
  • Suh, H. Anna: Leonardo’s Notebook
  • Taylor, Richard: How to Read a Church

BIOGRAPHIES AND MEMOIRS (arranged by protagonist)

  • Cameron of Chipping Norton, David, Baron: Cameron at 10 (Sir Anthony Seldon & Peter Snowdon)
  • Churchill, Sir Winston
    • The Churchills, In Love & War (Mary Sybilla Lovell)
    • Winston & Clementine, The Triumphs & Tragedies of the Churchills (Richard Hough)
  • Clark, Alan: Into Politics (himself)
  • Cook, James: Captain James Cook (Richard Hough)
  • Devonshire, Georgiana, Duchess of (Amanda Foreman)
  • Fowlds, Derek: A Part Worth Playing (himself)
  • Hodkinson, Mark: No One Round Here Reads Tolstoy (himself)
  • Holbein, Hans: The King’s Painter, The Life & Times of (Moyle, Franny)
  • Hudson, Kerry: Lowborn (himself)
  • Ishikawa, Tetsuya: How I Caused The Credit Crunch (himself)
  • Kaufman, Sir Gerald: How to be a Minister (himself)
  • Kay, Adam: Twas The Nightshift Before Christmas (himself)
  • Macron, Emmanuel: The French Exception (Alan Plowright)
  • Mitford, Nancy: The Letters of Nancy Mitford (Charlotte Mosley)
  • Mowlam, Mo: The Biography (Julia Langdon)
  • Newcastle, William, 1st Duke of: Portrait of a Cavalier (Geoffrey Trease)
  • Palin, Sir Michael: Full Circle (himself)
  • Pilkington, Karl: The World of Karl Pilkington (Ricky Gervais)
  • Riverdale, Robert “Skips”, Baron: A Life, A Sail, A Changing Sea (himself)
  • Smith, Matt: The Biography (Emily Herbert)
  • West, Timothy: Our Great Canal Journeys (himself)
  • Whitelaw, William, Viscount: The Whitelaw Memoirs (himself)

CONTEMPORARY POLITICS

  • Abell, Stig: How Britain Really Works
  • Brooks, Richard: The Great Tax Robbery
  • Cohen, Nick: Waiting for the Etonians
  • Harding, Luke: Shadow State, Murder, Mayhem & Russia’s Remaking of the West
  • Luce, Edward: In Spite of the Gods, The Strange Rise of Modern India
  • Minton, Anna: Ground Control
  • Runciman of Doxford, David, 4th Viscount: How Democracy Ends
  • Willetts, David, Baron: A University Education
  • Wilson, Andrew: The Ukraine Crisis, What It Means For The West

HISTORY (other)

  • Belchem, John: A New History of the Isle of Man, Vol. 5 The Modern Period 1830-1999
  • Briggs, Asa, Baron: A Social History of England
  • Browne, Harry: The Rule of British Trade Unions 1825-1914
  • Churchill, Sir Winston: A History of the English-Speaking Peoples, Vol. I
  • Crosby, Alan: Preston Gould, England’s Greatest Carnival
  • Thomas, Gordon: Inside British Intelligence
  • Hibbert, Christopher: A Social History of the English 1066-1945
  • Jones, Terry: Who Murdered Chaucer?
  • Laidler, Keith: The Head of God, The Lost Treasure of the Templars
  • Morfitt, Paul & Wells, Malcolm: Hull Corporation Buses*
  • Sandbrook, Dominic: Never Had It So Good
  • Stead, Neville: Kingston-upon-Hull, Images of a Rich Transport Heritage
  • Street, Sean: A Remembered Land, Recollections of Country Life 1880-1914

LINGUISTICS

  • Burrow, John Anthony: A Book of Middle English
  • Oxford
    • Dictionary of Idioms
    • Dictionary of Quotations & Proverbs Vol. I
  • Parkinson, Judy: I Before E
  • Taggart, Caroline & Wines, J. A.: My Grammar & I

LOCOMOTION

  • Allan, Ian: Railway Liveries 1923-1947
  • Atterbury, Paul: Discovering Britain’s Lost Railways
  • Morrison, G. W. & Whiteley, J. S.: Profile of the Deltics
  • Jones, Edgar: The Penguin Guide to the Railways of Britain
  • Ross, David: The Illustrated History of British Steam Railways

ROYAL FAMILY

  • Burns, Michael: The Queen’s Flight
  • Fraser, Lady Antonia: The Warrior Queens: Boadicea’s Chariot
  • Glenconner, Anne, Baroness: Lady in Waiting
  • Green, Candida Lycett & Wales, Charles, Prince of: The Garden At Highgrove
  • Junor, Penny: The Duchess, Camilla Parker Bowles
  • Kent, Princess Michael of: Crowned in a Far Country
  • Langley, Philippa & Jones, Michael: The Search for Richard III, The King’s Grave
  • Lisle, Leanda de: Tudor, The Family Story
  • Low, Valentine: Courtiers, The Hidden Power Behind the Crown
  • Mayer, Catherine: Charles, The Heart of a King
  • Phillips, Charles: Kings & Queens of Great Britain
  • Plumb, Sir John Harold: The First Four Georges
  • Rhodes, Margaret: The Final Curtsey
  • Weir, Alison: Katherine Swynford

SCIENCE, PHILOSOPHY & IDEAS

  • Attenborough, Sir David: Life on Earth
  • Darwin, Charles & Leakey, Richard: The Illustrated Origin of Species
  • Dawkins, Richard
    • The Extended Phenotype
    • The Greatest Show On Earth
  • Freeman, Betty Jo; Ornitz, Edward M. & Tanguay, Peter E.: Autism, Diagnosis, Current Research & Management
  • Garner, Alan: The Voice That Thunders
  • Harari, Yuval Noah: Homo Deus, A Brief History of Tomorrow
  • Shennan, Stephen: Genes, Memes & Human History

SECOND WORLD WAR

Churchill manages to appear on this list twice as an author and twice as a subject.

  • Beevor, Sir Anthony
    • D-Day
    • Stalingrad
  • Bryant, Sir Arthur: Triumph in the West
  • Bryant, Sir Chris: The Glamour Boys
  • Cawthorne, Nigel: Fighting Them on the Beaches
  • Churchill, Sir Winston: The Second World War, Vol. I
  • Faulks, Sebastian: The Vintage Book of War Stories
  • Felton, Mark: Zero Night
  • Gillies, Midge: The Barbed-Wire University
  • Levine, Joshua: Dunkirk, The History Behind The Major Motion Picture
  • Lomax Eric: The Railway Man
  • Roberts of Belgravia, Andrew, Baron: The Storm of War
  • Trigg, Jonathan: D-Day Through German Eyes
  • Wilson, Kevin: Men of Air, The Doomed Youth of Bomber Command

TELEVISION

  • Jay, Sir Antony & Lynn, Jonathan: The Diaries of the Right Hon. James Hacker Vol. II (Yes, Prime Minister)
  • Lloyd, John & Mitchinson, John: The Second Book of General Ignorance (QI)
  • McCann, Graham: The Story of a Television Classic (Dad’s Army)
  • Patterson, Dan: Only Book You’ll Ever Need (Mock the Week)
  • Porter, Richard: And On That Bombshell (Top Gear)

MISCELLANEOUS

  • Automobile Association:
    • 250 Tours of Britain
    • Book of British Villages
  • Lewis, Oliver: The Orwell Tour
  • Jordison, Sam & Kieran, Dan: Crap Towns Returns
  • Marshall, Enid Ann: General Principles of Scots Law
  • Which?: Book of Tax 1985/86
  • Wood, Michael: In Search of Shakespeare

*Unfortunately I left this one for some weeks in the boot of my car and upon eventually retrieving it I discovered the floor was damp. I can’t put it back on the shelf until the mold has been treated. (UPDATE 3rd February – I found another copy of Beningbrough Hall in a different charity shop for half the price at which I bought the first one.)
**These were purchased as a set for £15. Carrying them out of the shop was a bit tricky. I also acquired Volume 9, Sauron Defeated, as a gift in 2020. These may technically belong in the non-fiction section as the series constitutes more of a literary making-of documentary than a pure immersive story.

It’s The Dunn Thing

Today I noticed that BBC Four has started airing the documentary series The Architecture the Railways Built, presented by historian Tim Dunn, and put the whole first season on iPlayer. This series was originally made five years ago for Yesterday, a UKTV channel technically owned by BBC Studios but run more like the commercial stations. This series was already watchable on UKTV’s own catch-up website and repackaged on at least two different licensed YouTube channels, but the lack of advertisements and all-around superior functionality of the BBC’s service will make iPlayer my preferred platform. This makes for a rare case of televisual upcycling in a partnership where downcycling is the norm, the most obvious locomotion-related example being Michael Portillo’s many Great Railway Journeys programs.

Each episode of TATRB is forty-five minutes long and typically covers three locations, two in the United Kingdom and one abroad. No obvious connection is made between the three, so I’ve often been left feeling that it would be better if the three locations chosen were grouped by geographic region, architectural style or railway feature. Alternatively, they could be split up so that each location had a fifteen-minute episode to itself.

In addition to broadcast television, Dunn has made regular appearances in railway-related online channels, including several times presenting Sudrian pseudohistorical lectures hosted by the Talyllyn Railway.

Update Regarding Government Photography

Over the course of last year I and other contributors furnished Wikimedia Commons with a large number of photographs taken from the Number 10 Flickr account.

These uploads were legally justified under the declaration on the account’s About page which said all photographs were released under the Open Government Licence. After enough photographs had been uploaded this way, a dedicated licence tag was created for it.

Late last year a deletion request was raised over a shot I had uploaded of Prince Louis of Wales at Trooping the Colour. This let to a rather long and complicated discussion over the validity of our interpretation of the government’s many varied and often contradictory statements regarding its intellectual property.

Eventually someone raised a Freedom of Information request over the matter. The Cabinet Office replied, confirming that the OGL was the licence applicable.

I am glad that this dispute has been resolved with reasonable speed and look forward to harvesting a great many more such photographs in the future. I only wish C. Smith had worded the question a little more broadly so it covered all departments of His Majesty’s Government instead of just one.

Note on the Decease of Britt Allcroft

Hilary Mary Allcroft, commonly known as Britt, was the television producer and director responsible for turning The Railway Series into Thomas the Tank Engine & Friends. She was at the helm of the franchise from 1984 to 2003, overseeing its first seven series and the film Thomas & the Magic Railroad. She also created the companion series Shining Time Station for the American market and in early years was part of the production team for Blue Peter.

Directly or indirectly, to this day she remains a commanding influence in the childhoods of many millions in the United Kingdom and around the world. Though no longer in charge of the franchise for more than twenty years she remained a grandee until her death and – however controversial some of her adaptation decisions may have been – her presence was much appreciated by the surrounding community.

Her death occurred on Christmas Day, but was not made public until today. Her family arranged for the first announcement of her demise – preceding any newspapersto be given by the filmmaker Brannon Carty, in whose documentary An Unlikely Fandom she had recently appeared.

I was not aware of the death of director David Mitton when it happened, nor even born yet when Wilbert Awdry himself passed away. I hope it will be many years before his son Christopher dies.

Farewell Britt, your presents were much appreciated.

UPDATE (4th January)

The aforementioned Brannon Carty has also uploaded his interview with BBC Radio 5.

Public Domain Day 2025

As another December concludes, another batch of books, films, songs and paintings goes out of copyright.

This year’s categories are works in Britain (and countries with similar laws) the last of whose authors died in 1954, and works from the United States which were first published in 1929.

Last year the jewel of the public domain crown was Steamboat Willie, the first film to feature Mickey & Minnie Mouse. This year it is The Karnival Kid, the first film in which the mouse speaks. Also in the 1929 United States category are the first Marx Brothers film The Cocoanauts and the final Buster Keaton film Spite Marriage. Sherlock Holmes and Fu Manchu also make their first appearances in sound films.

Annoyingly there are some noteworthy works from that year originating outside the United States, which are now public domain there but will remain copyrighted in their home countries for some decades, such as Sir Alfred Hitchcock’s Blackmail and Hergé’s early Tintin cartoons. We do, however, get the first cartoons of Popeye the Sailor Man and Tarzan. We also get the surprisingly-old song Singin’ in the Rain.

Relatively few prominent British authors entered the public domain this year, the most recognisable ones being James Hilton and Francis Brett Young. Also dying that year was the computer scientist Alan Turing, whose most famous publication was his namesake mathematical proof. Of course, many of these works will conversely not be public domain in the United States, so their proliferation over the internet will still be limited.

The Blackadder Order of Precedence

The New Year Honours for 2025 have been released, and they include the appointment of former QI host Stephen Fry as a knight bachelor.

I thought fit to compile a tracker for where each major actor in the Blackadder franchise now stands within the British honours system:


Sir Tony Robinson (Baldrick)

Knight Bachelor, 15th June 2013 (Queen’s Birthday), for public and political service.


Sir Stephen Fry (Melchett)

Knight Bachelor, 30th December 2024 (New Year), for services to Mental Health Awareness, the Environment and Charity.


Richard Curtis (Writer)

Commander of the Order of the British Empire, I can’t find the date or cause.


Howard Goodall (Composer)

Commander of the Order of the British Empire, 31st December 2010 (New Year), for services to music education.


Hugh Laurie (George)

Commander of the Order of the British Empire, 30th December 2017 (New Year), for services to drama.


Miriam Margolyes (Maria Escalosa/Whiteadder/Victoria)

Officer of the Order of the British Empire, 31st December 2001 (New Year), for services to drama.


Robbie Coltrane (Johnson)

Officer of the Order of the British Empire, 31st December 2005 (New Year), for services to drama.


Brian Blessed (Richard IV)

Officer of the Order of the British Empire, 10th June 2016 (Queen’s Birthday), for services to the arts and charity.

Ben Elton (Writer)

Member of the Order of Australia, 11th June 2023 (King’s Birthday), for significant service to the entertainment industry as a comedian, actor, writer and director.


Tom Baker (Redbeard)

Member of the Order of the British Empire, 30th December 2024 (New Year), for services to television.


So far Tim McInerny (Percy/Darling) and Miranda Richardson (Queenie/Amy) are still without anything from the fons honorum. Rik Mayall (Flasheart), Patsy Byrne (Nursie) and Peter Cook (Richard III) all went to the grave unadorned.

Second Look at Royal Variety

Three weeks after its recording, the Royal Variety Performance for 2024 has been broadcast. I have also found on the charity’s website some publicity stills from the event along with the official brochure.

The brochure contains a great deal of heraldic illustration, much of which is clearly of Sodacan origin. The artistic schizophrenia is evident even from the front cover, which prominently displays a full-colour Sodacan version of the royal arms with the Tudor crown while also having in the header a monochrome outline (similar to that on royal.uk) of the St Edward crown version as part of the Royal Variety Performance logo. Throughout the brochure the latter is included as part of the page header while the former is repeated many times as a main-body illustration. More curious is that in the borders of several pages another obvious Wikimedia graphic is seen – the coat of arms of the Prince of Wales. Quite why that one was used I am not sure, especially as Charles stopped using it upon his accession and it has yet to be conclusively shown that William now does so. The outline version also appears as the background pattern to some of the pages themselves. To make things even more confusion two more expressions of the royal arms appear in the brochure – in the letterhead of a message from Buckingham Palace on page 7 in the royal warrant part of the advertisement for Mikhail Pietranek Interior Furnishing and Design on page 65.

A quick glance at the brochures for past installments of the performance makes clear – even just from the front covers – that this armorial smorgasbord has been in effect for some time.

As far as the performance itself is concerned, I do not intend to write a detailed review. The one part I deem relevant to the ongoing themes of this blog is the section on the Lord Lloyd-Webber’s famous musical drama Starlight Express:

After the play’s own professional actors had done their carefully-choreographed routine, the night’s host Alan Carr came on for a comedy coda of sorts, wearing a much simpler steam engine costume and clearly much less steady on his feet. Lloyd-Webber himself was on stage at this point. Carr’s entrance was accompanied by the original Thomas & Friends theme tune. I found this amusing for two reasons:

  1. That theme debuted when the series began forty years ago, but then was replaced in Hit Entertainment’s retool of the franchise twenty years ago. Even though the theme has been out of use now for as long as it was in, it still achieves far greater cross-generational recognition than do any of its successors.
  2. Britt Allcroft’s 1984 production was not the first attempt at adapting Awdry’s books for television – Lloyd Webber had approached the vicar a whole decade earlier with his own pitch and had produced a pilot episode for Granada by 1976, but the studio declined to put it into production. This disappointment was the reason he made Starlight Express in the first place!

 

Heraldry in “Stoke Me a Clipper”

Red Dwarf is a science fiction comedy series about a man from the twenty-third century who gets put into stasis and wakes up three million years in the future. As such, one would not expect it to include much in the way of medieval heraldry. Indeed, mostly it doesn’t. However, much like Star Trek, the normally-futuristic series occasionally delves into history, and historical fantasy, by means of either time travel or simulation.

The episode “Stoke Me a Clipper” (1997) involves Lister spending a few minutes in a virtual reality game based vaguely on medieval England, featuring an unnamed King & Queen of Camelot. That term is normally associated with Arthurian legends, which are nominally set in the fifth and sixth centuries but have much of their imagery and iconography backported from much later eras. The scene we witness in this episode looks most likely to be set in the fifteenth century, though no detail is actually given about the overall plot nor the setting of the story and no claim is made to historical accuracy.

A great many heraldic banners are seen in this scene, which manage to almost, but not quite, resemble real historical blazons.

The most obvious of these is “The Good Knight” (John Thompson) who wears an off-model version of the royal arms of England: His tabard is quarterly Gules and Azure, the first quarter bearing two lions passant guardant in pale Or and the second quarter bearing three fleurs-de-lys two and one Or. Curiously the lower quarters were left blank, as were those on his back. Perhaps they were meant to be out of frame?

Screencap circa 6m17s

The King (Brian Cox) & Queen (Sarah Alexander) sit on a raised platform under a canopy on two ornate wooden thrones. Their gowns have no heraldic motifs but several are visible on the wall behind them. Above and between the thrones is a depiction of the coronet of a Marquess, the style of which probably dates to the seventeenth century. Lower down is a shield Argent a saltire between four fleurs-de-lys in cross although I am not certain of the latter’s tincture. At the top right of the screen is a shield with two piles reversed the point of each charged with a rose and in the top left is a shield parted per pale and charged with one large fleur-de-lis. Again the tinctures are uncertain. There are four rectangular images behind the thrones. The first looks to be Azure with at least two fleurs-de-lys Or (France again?) the second and third have a metal background with a fess chequy of a colour and a different metal (Clan Stuart?). The fourth cannot be seen as the consort’s throne obscures it completely from this angle.

Screencap circa 6m22s

Four banners are held aloft to the side of the throne area: That on the far right of the screen is divided per bend, the upper part being Azure four crosses fitchee Or and the lower being Gules fretty Argent. Closest to the platform is Azure seme-de-lis Or a double cross Argent over all a label of three points Argent. In between we have Quarterly 1st & 4th Vert a bend between two crosses flory Or 2nd & 3rd bendy of six Vert and Argent a label of three points Argent and Quarterly 1st & 4th Gules a bend between six crosses crosslet fitchee Argent 2nd & 3rd Gules three lions passant guardant in pale Or a label Argent. That last one bears more than a passing resemblance to the arms of the Howard Dukes of Norfolk.

Screencap circa 8m58s

We also see a trumpeter with a cloth shield hanging from his instrument. My best guess is Per fess Argent and Purpure in chief a cross throughout Gules impaling Gules three lions passant guardant reversed in pale Or. This is perhaps the least heraldic-looking of the bunch.

Screencap circa 6m7s

There are knights either side of the royal couple on the platform. That by the king’s right hand wears a tabard Ermine two piles Sable each charged with a lion rampant Or and that to the queen’s left Paly of four Azure and Argent on a bend Gules three birds displayed wings elevated Or. I cannot identify the birds from this distance but given heraldic trends they are most likely eagles, possibly falcons. Affixed to the roof of the stage is a shield which I would guess as Or a bend between two lozenges Sable each charged with a saltire of the field. The most obviously anachronistic element here (beside the decaying castle ruins, of course) is the tasselled embroidering at the front of the stage which shows a Georgian or Victorian depiction of the arms of the United Kingdom.

Screencap circa 8m16s

A man in the crowd (holding his helmet in front of his chest) wears a tabard which seems to be Per pale Sable and Or a label of three points Gules.

Screencap circa 8m37s

The trumpeter and a knight in the crowd both wear a tabard Gules two broken swords inverted Or on a pile reversed Azure fimbriated a broken sword of the second. Two children wear Chequy Or and Azure on a chief of the second three fleurs-de-lys of the first and yet another bystander wears something like Gules a crescent Argent between an orle of martlets Or.

Screencap circa 7m48s

A shot from the back of the crowd shows a knight with a helmet on wearing Vert on a pile Or a falcon’s head erased of the first and a man in a brown hat wearing Per pale Purpure and Argent a dragon passant counterchanged. Both animals are depicted as langued Gules.

Screenshot circa 9m14s

Lister’s own armorial bearings are difficult to make out – what we see on his outfit looks almost like the Russian double-headed eagle. There are a few other examples of heraldry in this scene but they are too faraway to read properly. Overall the resemblance of this scene is more to a Renaissance fair or a gathering of the Society for Creative Anachronism than to a typical period drama. Ugly faux-heraldry is avoided with almost all the arms shown being in keeping with the principles of good heraldic design, even if the matching up of arms to people is apparently entirely random.

I suppose Blackadder, particularly the first series, is the logical next stop for checking out heraldry in British television. Unfortunately that one doesn’t seem to be on iPlayer at the moment, nor can I find a convenient source of screencaps.

SOURCES

Forty Years of Thomas & Friends

At noon on 9th October 1984, ITV premiered Thomas & Gordon and Edward & Gordon, the first two episodes of Thomas the Tank Engine & Friends, Britt Allcroft’s adaptation for television of The Railway Series Wilbert Awdry.

Although fans have aired their private celebrations, official commemorations (e.g. those by the franchise owners) have been muted. I suspect that is to avoid community burnout when anniversaries pile up. This autumn’s quadragenary of the television adaptation is swiftly followed next spring by the octogenary of the books themselves, and likely there has been a collective decision to focus efforts on the latter instead.

I will keep my own remarks on the short and stumpy side to avoid rehashing the colossal article I posted in 2021. Though T&F has had its rocky periods over the decades (including an especially bad one at present), the classic seasons are a timeless artistic masterpiece in their own right, down mostly to the model-work of David Mitton and the music of Mike O’Donnell & Junior Campbell.

Even forty years on, there still is nothing quite like it.