Reports Of The Brontë Parsonage Museum Opening

Step this way, put your cloche hat or tweed jacket on and follow me back in time 94 years. A rather scandalous, so it is said, book is just hitting the newspaper reviews: Radclyffe Hall’s The Well Of Loneliness; the Olympic Games are taking place in Amsterdam, and for the first time ever there are events for women athletes; John Logie Baird has just demonstrated an electric box called a ‘television’ which can show moving pictures – surely it will never catch on, and nor will another new invention which has made its début in the United States: sliced bread. All these things happened within the last month in 1928, but there was another event happening this very week: the opening of the Brontë Parsonage Museum in Haworth, Yorkshire!

Unfortunately we can’t actually travel back in time, but in today’s new Brontë blog post we do the next best thing by reproducing two reports from August 1928, backed up by some rather wonderful pictures!

Bronte Parsonage Museum 1929 by Kaye Sugden
Inside the Bronte Parsonage Museum in 1929, a year after it opened

Burnley News, 8th August 1928

“The little Yorkshire village of Haworth, where the Brontë sisters had their home, was thronged on Saturday with visitors from all parts of the country and even from America. They came to attend the opening ceremony of the old Parsonage, which has been converted into the Brontë Society’s museum and library. Sir James Roberts, of Strathallan Castle, who purchased the property, handed over the deeds to Sir Edward Brotherton, the president of the Brontë Society.

Sir James said he was returning to well remembered events of his childhood and youth. He was born in the parish in the week the unhappy Branwell died. He had heard old Mr. Brontë preach, had seen Mr. Nicholls visiting the schoolhouse, and recalled Martha Brown. But most memorable of all was the frail and unforgettable figure of Charlotte Brontë, who more than once stopped to speak a kindly word to him. As for his admiration of the writings and those of her sister Emily, he humbly ranked himself with that multitude which had found not only delight but inspiration in them. It seemed to him that the Parsonage, where the family had its hearth and home for forty years, alone was the true resting place for the Brontë treasures.”

An earlier photo of Bronte benefactor Sir Edward Brotherton

Hastings and St. Leonards Observer, 18th August 1928

“The first time, we are told, never comes back, and the present writer will not soon forget his sensations on seeing for the first time, and so suddenly, the home of the Brontës. The experience was, at once, strange – and familiar. It was familiar because – in pictures, photographs, even on postcards, Haworth Parsonage is known to most of us. It was strange, because there is always something of strangeness on seeing for the first time a face, a scene, or an historic building, the pictured presentation of which is familiar to us. And, in the case of the Haworth Parsonage, the sense of strangeness was heightened by the fact that the old Brontë home struck one as more grimly grey-black, more bleakly-haggard, and more ghost-haunted, even than one had expected…

Before some of us had breakfasted, on the morning of August 4th, visitors all parts of the country, all parts of the Kingdom, all parts of the Empire – for one lady had come specially from Rhodesia, and one heard of folk who had journeyed from Canada, America, and the Antipodes – were pouring in by train, by car, by charabanc, motor cycle, push cycle, and not a few of the poorer classes, on foot. Haworth was, in fact, en fête, its streets fluttering with flags, and with Union Jacks floating from flagstaffs, or run out of windows of the more important buildings. At 2.45, Colonel Sir Edward Brotherton, who was to preside at the ceremony, arrived. Like Sir James and Lady Roberts, Sir Edward Brotherton has done great things for patriotic causes, raising at his own expense a battalion of the 15th West Yorkshire regiment during the War. His being in the chair was, thus, more than appropriate, for August 4th was an “historic” occasion, apart from the Brontë celebration [it was the 14th anniversary of the commencement of World War One]…

Bronte Parsonage Museum opening, 1928
Crowds flocked to the Bronte Parsonage Museum opening, 1928

The arrival of Sir Edward at 2.45 was followed at 2.55 by that of Sir James and Lady Roberts, who were received by Sir Edward, supported by the Lord Mayor of Bradford, and a very distinguished company. Within the gates of the Parsonage, and far without those gates, some thousands of persons were gathered. After Sir James had handed the title deeds of the Parsonage to Sir Edward, and the latter had eloquently, and gracefully made acknowledgement, little Catherine Butler Wood (daughter of the accomplished scholar and author, who is editor of the Brontë Society publications) presented Lady Roberts with a bouquet of white moorland heather. When Lady Roberts, in her gentle and gracious way, stooped to kiss the child (as did Sir James), this little “human touch” called forth enthusiastic hurras, and even cheers. The applause was no less enthusiastic when Sir Edward Brotherton claimed that the Brontë Society now had a museum which would bear comparison with those established in honour of Victor Hugo, Walter Scott and Robert Burns.

Haworth Parsonage Museum opening

Next Sir Edward invited Lady Roberts to open the Parsonage, which she did with a golden key presented by the architect, Mr W. A. Ledgard, who, later, made a speech which, next to that of Sir Edward Brotherton and Sir James Roberts, was by far the most memorable oration from anyone present. Lord Haldane, who intended to be present at the ceremony, but was prevented by illness [a former Lord Chancellor, Haldane died suddenly two weeks later], sent a written and very striking tribute to the Brontës, which was read by Canon Egerton Leigh. Then came the vote of thanks to Sir James and Lady Roberts, which after it had been proposed, seconded, and supported, was enthusiastically and unanimously carried. Other speakers were Dr. J. B. Baillie and Dr. J. Hambley Rowe, both prominent members of the Brontë Society, but one regretted that so eminent an authority on the Brontës as Mr. Jonas Bradley, could not be persuaded to say a few words. The interest of the occasion was, however, not a little heightened by the announcement that Captain Arthur Branwell, and Mr. and Mrs. Branwell, relatives of the Brontë family, as well as Mr. Holland, grandson of Mrs. Gaskell, were present, and were invited by Sir James to ascend the platform, to say a few words…

Sir James said: “It is my first, and particularly pleasant, duty to place in the hands of Sir Edward Brotherton, the honoured president of the Brontë Society, the title deeds of the property of the Haworth Parsonage, which from today becomes, as the Brontë Parsonage Museum, the permanent home of the memorials of the Brontë family. My pleasure is enhanced by the fact that in performing this duty I am returning to the well-remembered scenes of my childhood and youth and to-day is an occasion when, standing on the verge of fourscore years, these early memories are vividly reproduced.

I was born in this parish in the same week in which the unhappy Branwell Brontë died: an event followed at intervals of distressing brevity by the deaths of Emily and Anne. Haworth has seen more than a few progressive changes since those far off times. Her people have moved into closer touch with a wider world life, and a good many of her children have achieved success in commercial and other pursuits. Were this occasion less important, and less impressive, I could revive many quaint recollections of Haworth folk, and Haworth ways, as I remember them in those mid-Victorian days – a people and manners now immortalised by the writings of those whose memories we are met to honour.

It is to me a somewhat melancholy reflection that I am one of the fast narrowing circle of Haworth veterans who remember the Parsonage family. I heard Mr. Brontë preach in the pathetic blindness of his old age. Mr. Nicholls frequently visited the schoolhouse we as children ate the mid-day meal in the interval of our elementary studies, while Martha Brown, the faithful servant to whom Mr. Brontë gave the money box, the contents of which she was “to keep ready for a time of need,” is still to me a well-remembered figure…

I remember Mr. Brontë as a man most tolerant to divergencies of religious conviction. Above all these memorabilia there rises before me the frail and unforgettable figure of Charlotte Brontë, who more than once stopped to speak a kindly word to the little lad who now stands a patriarch before you. I remember her funeral one Easter-tide, and some six years afterwards that of her father. These early associations, still very dear to me, were followed in after years by exceeding delight in those creations of imaginative genius which Charlotte and her sisters have left to us. Read, and many times re-read, they have often delighted the leisure hour and released the mind from the embarrassing and strenuous labours of a protracted and industrial career…

I am no authority in literary criticism but I do think, and I have always thought, that the realistic art of the Brontës makes unique appeal, and interprets itself with peculiar vividness to those whose nativity was amongst the scenes they have so graphically portrayed. I humbly stand in the ranks of the unnumbered and world-wide multitude who have found not only delight but inspiration from these sisters, who, encumbered with many adversities, rose to such great and shining heights of endeavour and discovered to the world their extraordinary literary powers. Those gifts, matured within these walls, and under the wide horizon of the Haworth Moor, have made of our little moorland village a shrine to which pilgrims from many lands wend every year their way”…

Out of these solitudes, far removed, from the vigorous and inspiring lives of the cities, there shone forth the luminous genius of three illustrious women. The presentation of these title deeds is to me an act of homage, alike to their genius, and to the nobility of their courageous lives.’

It is this genius and courage that still draws so many back to Haworth year after year. The Brontë story, like their novels, will continue to fascinate and enthral us while-soever our little rock we call home continues to turn. It’s sadly time to return to 2022, but I hope to see you again next week for another new Brontë blog post.

Happy 204th Birthday Emily Brontë – 5 Screen Emilys

This day in 1818, in a modest parsonage building in the middle of Thornton’s Market Street, must have been an exciting, and exhausting, one. Just a day earlier a new addition to the family had been born; the little girl squirming and crying would grow up to be famous for her quiet stoicism, and more famous as one of the greatest writers of all time: Emily Jane Brontë. Emily’s life and work continue to fascinate people across the world over 204 years after she was born; this fascination has also seen Emily Brontë depicted on screen many times, and in today’s new post we’re going to look at some screen Emily’s!

Ida Lupino Emily Bronte

Ida Lupino – Devotion (1946)

As I wrote in an earlier review of ‘Devotion’, it would be hard to find a Brontë biopic which strays further from the truth, but it’s still a very moving movie. One reason for this is the inspired casting of Ida Lupino as Emily Brontë. This English-born actress is involved in a tug of love with sister Charlotte (played by the legendary Olivia de Havilland) for the affections of Arthur Bell Nicholls – a preposterous take, but the scene where Ida’s Emily cradles a dying Branwell, her tears mingling with the rain, really hits home. Ida Lupino, like Emily, was also an artistic trailblazer – she became the first woman to direct a Hollywood movie, and went on to direct a further seven motion pictures.

Rosemary McHale – The Brontës Of Haworth (1973)

‘The Brontës Of Haworth’ was a very fine drama series made by Yorkshire Television in 1973, and well worth tracking down if you haven’t already seen it. It’s perhaps the closest of all biopics to the true Brontë story, although that might make it a little dark and slow in some places for some modern viewers. Rosemary McHale is an excellent Emily Brontë – we not only see a highly strung artistic genius, we also see her great kindness which is something that all who knew Emily commented on.

Isabelle Adjani Emily Bronte

Isabelle Adjani – Les Soeurs Brontë (1979)

This French take on the Brontë story has a fabulous cast – not least of whom is legendary French actress and Legion d’Honneur winner Isabelle Adjani as Emily Brontë. It’s a film which takes many liberties with the truth, although not quite as much as ‘Devotion’; Emily isn’t averse to a little cross dressing for example, but it’s hugely stylish and enjoyable.

Sinead O' Connor Emily Bronte

Sinead O’Connor – Wuthering Heights (1992)

Ralph Fiennes and Juliette Binoche took top billing in the 1992 film version of Wuthering Heights but it was a bold and rather unusual piece of casting that caught my eye. Emily Brontë makes an appearance as a narrator (which I thought a nice touch, we can never have too much Emily) but director Peter Kosminsky cast Sinead O’Connor in the role – then most famous as a strong voiced and strong opinioned Irish singer with a shaven head. Nevertheless, it works – just about.

Chloe Pirrie To Walk Invisible

Chloe Pirrie – To Walk Invisible (2016)

‘To Walk Invisible’ is a brilliant Brontë biopic, partly because, in common with many of the dramatisations above, it has a superb cast. Perhaps the real scene stealer in this mini-series was Chloe Pirrie as Emily Brontë. Chloe is superbly believable as the tormented genius, especially in the memorable scene where she discovers that Charlotte Brontë has discovered her secret poetry collection. I particularly liked the close relationship between Emily and Anne (played by an excellent Charlie Murphy) in this version, as this reflects the ‘twin-like’ relationship that existed between the two youngest Brontë siblings.

So, which screen Emily was closest to the true Emily? It is, of course, impossible to say. Emily remains the most enigmatic of the writing Brontë sisters – which is exactly as she would have wanted it. To capture Emily completely would be like trying to catch a moorland breeze between your fingers, she was truly unique and truly brilliant. She was the woman who was so shy that she would stand still and silent in the presence of strangers, and yet she was also incredibly kind and someone who loved to play practical jokes; she mixed little with the villagers around her, and yet they loved her, and, as Charlotte herself wrote, she somehow ‘knew’ them. Above all, Emily was brilliant at whatever she turned her hand to – from baking bread to learning French, playing piano, art and of course writing. All who knew her were in awe of her genius, and if you were lucky enough to know Emily you loved Emily, as these quotes from first-person accounts show:

Let’s join together then and say, a day late, Happy 204th birthday Emily Brontë! I hope you’ll join me next week for another new Brontë blog post.

Mr Enoch, Graphology And The Brontë Handwriting

It’s my opinion that a person’s literary discernment tells you a lot about them. We all have different tastes in reading matter but if they’re not into books at all, or art or theatre or the things that make life bearable, then they’re not going to interest me. That’s why I’ve always felt gratified by the story of Mr Enoch and his love of the Brontës’ first literary outing – and that’s what we’re going to look at in today’s post before veering aside to look at what the sisters’ handwriting might say about their personalities!

Charlotte, Emily and Anne began their career as published writers in 1846 when Poems by Currer, Ellis and Acton Bell hit the shelves and circulating libraries. The story is well known of how this historic literary moment came about: Charlotte ‘accidentally’ discovered Emily Brontë’s secret poetry manuscript, realised how wonderful they were, and, after a blazing row, the sisters eventually decided to try to find a publisher for their joint poetic creations.

Poems by Currer, Ellis and Acton Bell
Poems by Currer, Ellis and Acton Bell

A publisher was found in the shape of Aylott & Jones of Paternoster Row, but the Brontës had decided that they wanted to publish the work anonymously and took on the pseudonyms of Currer, Ellis and Acton Bell. The book gained good reviews, but sales were far from promising – in fact it initially sold only two copies (although every copy was eventually sold after Smith, Elder & Co bought the rights and relaunched it). This must have seemed a bit of a blow to Charlotte Brontë in particular, the driving force behind the decision to publish their poetry but their spirits must have lifted slightly on this very week in 1846 when word came from Aylott & Jones that one of the two purchasers had enjoyed the collection so much that he’d requested the autographs of its authors! That man was a Mr Enoch of Warwick, and we have Charlotte’s response to the request written on 23rd July 1846:

We see then that Messrs Bell, the versifying Bell brothers, were communicating with their publisher via a mysterious intermediary – one C. Brontë, whoever that could be? So desirous were they of remaining anonymous that they sent the autographs to Aylott and Jones and asked them to post it on, so that their postmark wouldn’t give any clues as to their location.

Mr Enoch must have been thrilled when the signatures came, and it was just reward for him in his discernment when it came to poetry, but just who was he? His full name was Frederick Enoch, and he was something of a wordsmith himself. The son of a cordwainer (boot maker) and auctioneer, from an early age Frederick took an interest in literature, and by 1851 the census described him as a ‘printer, stationer and shop assistant’.

It seems, however, that Frederick longed to be a writer himself rather than simply selling writing, and there was one particular area he specialised in: songs. A number of songs from the mid-nineteenth century are attributed to him, including ‘Sweet Vesper Hymn’ and ‘My Sweetheart When A Boy’, which gained some popularity in its time. This song was penned in 1870 when Enoch was 43, so too late for the Brontës to have known, but it still endures to this day. We not only know the name of the song and its words, we actually have a modern recording of it thanks to Professor Derek B. Scott of the University of Leeds. Here’s a link to the recording on the wonderful Victorian Web website, and it’s well worth listening to: https://victorianweb.org/mt/parlorsongs/42.html

Mr Enoch is best known today, however, for his autograph request to the Brontë sisters, as it was his letter and the subsequent reply which gives us the only existing signatures of Charlotte, Emily and Anne Brontë using their pen names – and here they are:

Bell signatures
The Bell signatures sent to Mr Enoch

What do these signatures tell us about the Brontës, other than their great wish for anonymity? What does the handwriting of Charlotte, Emily and Anne Brontë reveal? Perhaps the answer can be found in graphology? Graphology is a study which believes that handwriting reveals a lot about the person responsible for it. I feel this is something Charlotte Brontë would have been a fan of, as she was a great believer in phrenology, the reading of bumps on the head. Which leads me to a slight detour which may be of interest to American readers of this blog. I had great fun talking about Charlotte Brontë and phrenology with Gyles Brandreth for an excellent television documentary entitled ‘Brontë’s Britain With Gyles Brandreth’; I’m pleased to report that this documentary is now being shown Stateside on PBS, under the new name of ‘In The Footsteps Of The Brontës’, so do look out for it if you get the chance.

Me with Gyles, and a phrenology skull, on In The Footsteps Of The Brontes

Back to graphology. I had long been of the belief that a piece of writing in the archives of Brotherton Library, Leeds was by Anne Brontë – in fact that it was the last piece of writing she ever produced. At the time it was unattributed, but now it’s listed as being by Anne Brontë – and the essay and my views on it are contained in my book Craving The Rose: Anne Brontë At 200.

As part of my effort to prove it was by Anne I enlisted a handwriting expert called Jean Elliott and sent her a sample of the piece in question along with three handwriting samples known to be by Charlotte, Emily and Anne Brontë. The pieces were anonymised, but Jean had no hesitation in confirming what I knew – the article in question was by the author of sample A which I had submitted: it was Anne Brontë.

Jean is a handwriting expert who has often been called upon as a legal expert in court cases, but she is also a graphology specialist, and after I revealed the identities of the three subjects she gave the interesting analysis below:

‘The sisters handwriting show a strong right slant and a certain rigidity and discipline recorded in the production of the letter. Anne – Line construction is very rigid and her lines are so straight . (all three girls show elements of rigidity in their scripts but Anne’s seem more so.) Charlotte – Headline Author of line 5 word advise and line 7 word ‘renders’ letter ‘d’ over emotional nature – maybe loves singing. In my opinion she is more artistic than her sister. When a writer produces a small middle zone (this is the zone that records what is happening in the here and now- e.g. everyday affairs, i.e. Anne can cut off her personal needs and pour effort into aims and ambitions to achieve recognition and success. Letter f with a long lower zone Practical – self reliant. Interestingly both Charlotte and Anne show a small middle zone with an extended upper and lower zone. If we look at all the three girls samples all three share this syndrome.’

Anne Bronte handwriting
Anne Bronte’s handwriting in what I believe is her final work

So the graphology view is that Charlotte was the most artistic of the sisters, and that Anne was more capable of putting her personal needs to one side in order to achieve success. All three sisters are practical and self reliant. An interesting analysis, although of course we know much more about the sisters today than, for example, Frederick Enoch did when he unwittingly asked for their autographs.

I hope to see you next week for another new Brontë blog post, and be thankful that you don’t have to see my handwriting – a scrawl which even I struggle to decipher at times!