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Actress Frances De La Tour first rose to fame | 0:00:03 | 0:00:06 | |
in the late 1970s as Miss Jones in the hit sitcom Rising Damp. | 0:00:06 | 0:00:11 | |
Miss Jones! | 0:00:11 | 0:00:12 | |
Mr Rigsby! | 0:00:12 | 0:00:14 | |
Ohhh! | 0:00:00 | 0:00:00 | |
After 40 years, Frances is still playing formidable roles in theatre, | 0:00:17 | 0:00:21 | |
film and television - most recently in the BBC's comedy Big School. | 0:00:21 | 0:00:26 | |
So if I catch you one more time without alcohol on school property, | 0:00:26 | 0:00:29 | |
I'll have no option but to suspend you. | 0:00:29 | 0:00:32 | |
Now get out! | 0:00:32 | 0:00:33 | |
I've always wanted to do this programme, | 0:00:43 | 0:00:45 | |
basically because of my children and my grandchildren, | 0:00:45 | 0:00:48 | |
so they've got a record. | 0:00:48 | 0:00:49 | |
There you are. I used to play with these. | 0:00:49 | 0:00:51 | |
That little teddy... | 0:00:51 | 0:00:52 | |
Tamison, who we call Tammy, she's 40, she looks about 12. | 0:00:52 | 0:00:57 | |
She's absolutely beautiful. | 0:00:57 | 0:00:59 | |
And Josh was born three and a half years after Tammy, | 0:00:59 | 0:01:04 | |
he travels the world, he's in conservation. | 0:01:04 | 0:01:06 | |
# London's burning, London's burning. # | 0:01:06 | 0:01:09 | |
We all live very close to each other. | 0:01:09 | 0:01:12 | |
I've lived in Tufnell Park area in, in London, for about 28 years. | 0:01:12 | 0:01:17 | |
We know a little bit about great-grandfathers | 0:01:17 | 0:01:20 | |
and great-grandmothers, but very little, | 0:01:20 | 0:01:23 | |
so I'm hoping this journey will help me to understand. | 0:01:23 | 0:01:26 | |
I don't know an awful lot. | 0:01:27 | 0:01:29 | |
Well, these are some really nice family photos. | 0:02:04 | 0:02:08 | |
This one...is my parents. | 0:02:09 | 0:02:13 | |
Dad looking very elegant. | 0:02:13 | 0:02:15 | |
And that's my grandfather in the background, and my grandmother | 0:02:15 | 0:02:18 | |
in a faded old mink and a hat, which you can't really see. | 0:02:18 | 0:02:22 | |
And this is Mum. She's beautiful. | 0:02:22 | 0:02:26 | |
And that's him, my father, around the same age. | 0:02:26 | 0:02:29 | |
It's a lovely portrait. That's very, very him. | 0:02:29 | 0:02:33 | |
This, er, nose, is my grandfather's nose. | 0:02:33 | 0:02:39 | |
So this is a De La Tour nose. | 0:02:39 | 0:02:41 | |
My parents divorced when I was eight, I think. | 0:02:41 | 0:02:45 | |
I think he had a few affairs and lived his own life a bit. | 0:02:45 | 0:02:51 | |
Made Mum a bit unhappy, so... | 0:02:51 | 0:02:53 | |
I don't remember him around very much. | 0:02:53 | 0:02:56 | |
I mean, I loved him to bits. | 0:02:56 | 0:02:58 | |
And this is Simon, me and Andy. | 0:02:58 | 0:03:02 | |
'My siblings.' | 0:03:02 | 0:03:04 | |
Me, Simon and Andrew, I think, are actually quite alike. | 0:03:04 | 0:03:08 | |
We all have the same humour, where you don't have to say anything. | 0:03:08 | 0:03:12 | |
Rather like my father, | 0:03:12 | 0:03:14 | |
Simon's had a very keen interest in the family history. | 0:03:14 | 0:03:19 | |
DOORBELL RINGS | 0:03:19 | 0:03:20 | |
-My darling bros. -Well, guess who this is. | 0:03:20 | 0:03:22 | |
-Oh, no! -Guess who! | 0:03:22 | 0:03:24 | |
'I don't think Andy knows more than I knew, particularly about the family.' | 0:03:24 | 0:03:28 | |
I brought a bit of sun, summer sunshine with us. | 0:03:28 | 0:03:31 | |
'But my grandfather did a wonderful book and a family tree, | 0:03:31 | 0:03:35 | |
'gave it to my brother, my eldest brother, Simon, when he was 21.' | 0:03:35 | 0:03:39 | |
What have you got there? | 0:03:39 | 0:03:40 | |
A few little things to... You'll see. | 0:03:40 | 0:03:44 | |
How lovely to see you, come in. | 0:03:44 | 0:03:46 | |
You sit there, Simon, and you sit there, Andy. | 0:03:46 | 0:03:50 | |
My older brother, Simon, and my little baby brother, Andrew. | 0:03:50 | 0:03:53 | |
And the much and the much, much younger brother, | 0:03:53 | 0:03:55 | |
-on this side of the table. -Not so much of the much! | 0:03:55 | 0:03:57 | |
'Andy lives quite near me. He lives sort of Highgate way. | 0:03:57 | 0:04:01 | |
'Simon lives in Normandy.' | 0:04:01 | 0:04:03 | |
Simon, you brought this archive all the way from Northern France, right? | 0:04:03 | 0:04:08 | |
In here is this marvellous family tree that Grandad Percival did. | 0:04:08 | 0:04:14 | |
'De La Tours are quite well-recorded. | 0:04:14 | 0:04:17 | |
'When one of them left France to come here as an emigre, really, um, | 0:04:17 | 0:04:22 | |
'it was pre-revolution. | 0:04:22 | 0:04:24 | |
'De La Tour means "of the tower," but I think we were Delaval De La Tour.' | 0:04:24 | 0:04:29 | |
Those are Dad's siblings and there's Dad... Where's Dad? | 0:04:29 | 0:04:33 | |
-There's Dad here. -Dad's there. Charles Frances Delaval De La Tour. | 0:04:33 | 0:04:38 | |
That's right. | 0:04:38 | 0:04:39 | |
'I can't tell you about Delaval because I don't know enough about it, | 0:04:39 | 0:04:43 | |
'so I'm hoping that Simon will help me to understand.' | 0:04:43 | 0:04:46 | |
What is the connection with the Delavals? | 0:04:46 | 0:04:48 | |
The Delaval connection intercept with Percy's father, | 0:04:48 | 0:04:51 | |
-our great-grandfather. -Right. | 0:04:51 | 0:04:54 | |
Edward, Edward Frederick. | 0:04:54 | 0:04:56 | |
Oh, yes, well, there... | 0:04:56 | 0:04:57 | |
-That's the picture of him. Yeah, they're the two pictures of him. -OK. | 0:04:57 | 0:05:00 | |
-Edward Frederick that we've got here. -Yes. | 0:05:00 | 0:05:03 | |
-And Edward Frederick married, um, Edith Jadis. -Right. | 0:05:03 | 0:05:10 | |
And Jadis is a descendent from the Delaval family. | 0:05:10 | 0:05:14 | |
The name Delaval was passed down | 0:05:14 | 0:05:15 | |
from the oldest son to the oldest son. | 0:05:15 | 0:05:18 | |
Tracing her family tree back three generations, | 0:05:18 | 0:05:21 | |
Frances has discovered that the name Delaval was introduced | 0:05:21 | 0:05:24 | |
to the male line of the De La Tours by her great-grandfather, Edward. | 0:05:24 | 0:05:29 | |
He took it from the family of his wife Edith Jadis, | 0:05:29 | 0:05:33 | |
a descendant of the Delavals. | 0:05:33 | 0:05:35 | |
Um, so that's Edith Jadis there. | 0:05:35 | 0:05:37 | |
And then so their father... | 0:05:37 | 0:05:39 | |
-Yes. -..is John Jadis. | 0:05:39 | 0:05:41 | |
-Yes. -And then it goes through to the previous... | 0:05:41 | 0:05:45 | |
Her grandfather, then, would be Henry Jadis. | 0:05:45 | 0:05:48 | |
Oh, I'm with you. | 0:05:48 | 0:05:49 | |
-But Henry Jadis'... -Father... -Do we want to get to this? -Yes. | 0:05:49 | 0:05:53 | |
-Yeah, cos this is interesting, isn't it? -Yes, Henry Jadis' father... | 0:05:53 | 0:05:56 | |
-What's his name? -..which is a great-great-great-great-grandfather, | 0:05:56 | 0:05:59 | |
is John Godfrey Maximillian - very grand - Jadis, | 0:05:59 | 0:06:03 | |
who married Sophia Ann Delaval and, in brackets, Honourable. | 0:06:03 | 0:06:08 | |
The earliest reference to a Delaval on her grandfather's family tree | 0:06:08 | 0:06:12 | |
is Frances' great-great-great-great-grandmother, | 0:06:12 | 0:06:15 | |
the Honourable Sophia Ann. | 0:06:15 | 0:06:18 | |
Now that's what we wanted to get to, | 0:06:18 | 0:06:20 | |
was the connection with Delaval, in brackets, Honourable. | 0:06:20 | 0:06:23 | |
And if you are an honourable, your father would have been a lord. | 0:06:23 | 0:06:26 | |
But I'm keen to know about her | 0:06:26 | 0:06:28 | |
and, actually, more about the Delavals, | 0:06:28 | 0:06:31 | |
but maybe more will unfold. Very good. | 0:06:31 | 0:06:33 | |
So there's obviously signs of, er, aristocracy in there and... | 0:06:33 | 0:06:37 | |
-There is. -Or pretentions of, anyway. | 0:06:37 | 0:06:39 | |
Pretention of in those generations. | 0:06:39 | 0:06:41 | |
So these, they were mixing rather well, though. | 0:06:41 | 0:06:44 | |
Yes, they were mixing. | 0:06:44 | 0:06:46 | |
They were keeping the blood blue. | 0:06:46 | 0:06:48 | |
So you've got that bit of aristocracy floating around, | 0:06:48 | 0:06:52 | |
and here's John Godfrey Maximillian Jadis' son, | 0:06:52 | 0:06:58 | |
also married into the aristocracy, which is Lady Gardner nee Adderley. | 0:06:58 | 0:07:02 | |
Well, the masked lady. | 0:07:02 | 0:07:04 | |
And the very fact that Percy, our grandad, | 0:07:04 | 0:07:06 | |
wrote it like that. | 0:07:06 | 0:07:08 | |
It's like he found that interesting enough not to just say that | 0:07:08 | 0:07:12 | |
Henry Jadis married Maria Elizabeth Adderley. | 0:07:12 | 0:07:17 | |
He wanted to add that she was also Lady Gardner. | 0:07:17 | 0:07:20 | |
-Who is Lady Gardner? -Who is? | 0:07:20 | 0:07:22 | |
Actually, this is a very good point. | 0:07:22 | 0:07:24 | |
This is a very good point because he could have just said | 0:07:24 | 0:07:26 | |
Henry Jadis married Maria Elizabeth Adderley. | 0:07:26 | 0:07:31 | |
Right. | 0:07:31 | 0:07:32 | |
Well, I think that's really fascinating to find out who... | 0:07:32 | 0:07:36 | |
This is the mysterious lady. This is the lady in black. | 0:07:36 | 0:07:40 | |
Maria Elizabeth Lady Gardner, nee Adderley, | 0:07:41 | 0:07:46 | |
there's a little mystery in her, | 0:07:46 | 0:07:49 | |
and she was my great-great-great-grandmother. | 0:07:49 | 0:07:52 | |
Yeah, that's quite fascinating who this woman was. | 0:07:52 | 0:07:55 | |
To find out more about Maria, | 0:07:57 | 0:07:59 | |
Frances is meeting genealogist Laura Berry. | 0:07:59 | 0:08:03 | |
You must be Laura? | 0:08:03 | 0:08:04 | |
Yes. Hello, Frances. | 0:08:04 | 0:08:05 | |
Lovely to meet you. | 0:08:05 | 0:08:06 | |
-Nice to meet you. Come on. -Here we are. | 0:08:06 | 0:08:08 | |
So, after we looked at the family tree, I wrote down | 0:08:12 | 0:08:17 | |
a little small version of it, just so I could understand it more. | 0:08:17 | 0:08:21 | |
My grandfather could have just put, | 0:08:21 | 0:08:23 | |
"Henry Jadis married Maria Elizabeth Adderley", | 0:08:23 | 0:08:26 | |
so the fact that he's put in "Lady Gardner" suggests that maybe | 0:08:26 | 0:08:30 | |
she was married before. | 0:08:30 | 0:08:32 | |
Anyway, that intrigued me to know. | 0:08:32 | 0:08:34 | |
I can tell you I have found Maria's marriage here to a Mr Gardner. | 0:08:34 | 0:08:40 | |
Look at this. Isn't it wonderful? Yes. | 0:08:40 | 0:08:42 | |
So this is a Register of Marriages... Who am I looking for...? | 0:08:42 | 0:08:45 | |
So you've got if you scroll down here, yeah, | 0:08:45 | 0:08:47 | |
-we'll see a list of surnames. -Yes, there's a Gardner. | 0:08:47 | 0:08:50 | |
"Captain Allan Hyde Gardner marries Miss Maria Elizabeth Adderley." | 0:08:50 | 0:08:56 | |
So that explains that. | 0:08:56 | 0:08:59 | |
So she was married to him, yes. | 0:08:59 | 0:09:01 | |
And it says there she was Miss Maria Elizabeth Adderley, | 0:09:01 | 0:09:04 | |
so we know this is her first marriage. | 0:09:04 | 0:09:07 | |
-I have a picture here... -Yes. | 0:09:07 | 0:09:09 | |
..of her husband, Captain Alan Hyde Gardner. | 0:09:09 | 0:09:12 | |
-Very dashing, isn't he? -He is, isn't he? | 0:09:12 | 0:09:14 | |
He was actually the son of Baron Gardner, although Alan | 0:09:14 | 0:09:19 | |
didn't inherit that title until quite a few years down the line. | 0:09:19 | 0:09:22 | |
-Oh, I see, yes. -So, at this point, Maria is just plain Miss Adderley | 0:09:22 | 0:09:26 | |
and then Mrs Gardner. | 0:09:26 | 0:09:27 | |
Miss. And he's quite young there, isn't he? You can see. | 0:09:27 | 0:09:29 | |
He is so young, | 0:09:29 | 0:09:30 | |
but actually Maria was even younger because we know from other records | 0:09:30 | 0:09:34 | |
that she was perhaps as young as 15 or 16 when this marriage took place. | 0:09:34 | 0:09:38 | |
-Oh, my gosh, that's very... So that's a child really, isn't it? -Mm, it is. | 0:09:38 | 0:09:42 | |
But, um, perhaps it could possibly have been an arranged... | 0:09:42 | 0:09:44 | |
An arranged marriage. | 0:09:44 | 0:09:45 | |
..society marriage because this man is clearly on an upward career path. | 0:09:45 | 0:09:49 | |
-Yes, exactly, yes. -And Maria is the stepdaughter of an Earl, so... | 0:09:49 | 0:09:52 | |
Yeah, yeah. Well-matched for starting a marriage and a life together, | 0:09:52 | 0:09:58 | |
and then becoming more titled or, you know, more honoured and... | 0:09:58 | 0:10:01 | |
Yes, an upward career. | 0:10:01 | 0:10:03 | |
-So it was so it was a good, um, suited marriage. -Yes. | 0:10:03 | 0:10:06 | |
Maria is perhaps, you know, living the life of a typical society wife. | 0:10:06 | 0:10:11 | |
Um, she would have been going to tea parties and card parties. | 0:10:11 | 0:10:15 | |
-Yes. Recitals. -Mm. | 0:10:15 | 0:10:16 | |
Theatre. But not very fulfilled in her marriage terms... | 0:10:16 | 0:10:21 | |
-No. -..because he's away. | 0:10:21 | 0:10:22 | |
Alan's in the Navy, so he's spending a lot of time away at sea. | 0:10:22 | 0:10:27 | |
So there he is, away doing his duties, and she's living | 0:10:27 | 0:10:30 | |
the life of a society girl, but clearly from the family tree record, | 0:10:30 | 0:10:36 | |
that marriage didn't last very long because... | 0:10:36 | 0:10:40 | |
because she married... | 0:10:40 | 0:10:41 | |
my great-great-great-grandmother, this woman, married a Henry Jadis. | 0:10:41 | 0:10:46 | |
-So... -Well, yes, I was a bit confused at this to start with | 0:10:46 | 0:10:50 | |
because it was possible, could he have died at sea? | 0:10:50 | 0:10:52 | |
He's a naval captain, perhaps, I wasn't sure. | 0:10:52 | 0:10:55 | |
But having dug around in the archives a bit, | 0:10:55 | 0:10:58 | |
the next document I found did date from nine years after the marriage. | 0:10:58 | 0:11:02 | |
In from The Scots Magazine, 1805. | 0:11:02 | 0:11:07 | |
"In the Court of King's Bench, on the 2nd March, Captain Gardner | 0:11:07 | 0:11:12 | |
"of the Navy, son of Admiral Lord Gardner, obtained a verdict | 0:11:12 | 0:11:17 | |
"against Mr Jadis..." who was my great-great-great-grandfather, | 0:11:17 | 0:11:22 | |
"..for criminal conversation with his wife." | 0:11:22 | 0:11:27 | |
For criminal conversation with his wife. "Damages..." £1,000, is that? | 0:11:27 | 0:11:33 | |
-What's that? Yes. -£1,000. | 0:11:33 | 0:11:35 | |
"They were laid at £20,000." | 0:11:35 | 0:11:40 | |
That's a hell of a lot of money. | 0:11:40 | 0:11:42 | |
It is, isn't it? It is. | 0:11:42 | 0:11:43 | |
Now, I love this. Criminal conversation. | 0:11:43 | 0:11:45 | |
So, in other words, he was overheard or...? No. | 0:11:45 | 0:11:50 | |
What does it mean? Were they plotting to steal something? | 0:11:50 | 0:11:54 | |
It does make you want to know, doesn't it? | 0:11:54 | 0:11:56 | |
Mm, it does, yeah. | 0:11:56 | 0:11:57 | |
Cos now it is intriguing | 0:12:08 | 0:12:10 | |
because it's opened up a whole can of worms here, hasn't it? | 0:12:10 | 0:12:14 | |
This is my great-great-great-grandmother. | 0:12:14 | 0:12:17 | |
We're quite near. | 0:12:17 | 0:12:18 | |
It's like a thriller, isn't it? Cos then you want to know. | 0:12:18 | 0:12:21 | |
Frances has come to the Parliamentary Archives | 0:12:25 | 0:12:29 | |
at the Palace of Westminster, | 0:12:29 | 0:12:30 | |
which hold legal scrolls dating back to 1497. | 0:12:30 | 0:12:34 | |
To find out more about what went on between Maria | 0:12:34 | 0:12:38 | |
and Henry Jadis, she's meeting historian professor Joanne Bailey. | 0:12:38 | 0:12:43 | |
So what is a criminal conversation? | 0:12:43 | 0:12:46 | |
A criminal conversation action was a lawsuit where a husband | 0:12:46 | 0:12:50 | |
could sue his wife's lover. | 0:12:50 | 0:12:52 | |
So, if you have a look here at this document, | 0:12:52 | 0:12:55 | |
you'll be able to find out more. | 0:12:55 | 0:12:58 | |
Right. | 0:12:58 | 0:12:59 | |
"So the said Henry, | 0:12:59 | 0:13:02 | |
"on the First Day of March in the year of our Lord 1803 | 0:13:02 | 0:13:07 | |
"at London, he made an assault upon one Maria Elizabeth Gardner, | 0:13:07 | 0:13:12 | |
"then and there and still being the wife of the said Alan Hyde, | 0:13:12 | 0:13:17 | |
"and then and there, debauched, lay with and carnally knew her..." | 0:13:17 | 0:13:23 | |
Oh, it's a little bit of how's your father going on there! | 0:13:23 | 0:13:26 | |
"..whereby the said Alan Hyde for a long space of time has wholly lost | 0:13:26 | 0:13:32 | |
"and been deprived of the comfort, fellowship, | 0:13:32 | 0:13:34 | |
"aid and assistance of his said wife." | 0:13:34 | 0:13:37 | |
That's an incredible sort of indictment and also, um, a kind of | 0:13:37 | 0:13:44 | |
support for him, that he can actually take to court saying, "I have lost. | 0:13:44 | 0:13:51 | |
"I have been cuckolded. I have lost my reputation. I want justice." | 0:13:51 | 0:13:56 | |
Yes, exactly. | 0:13:56 | 0:13:57 | |
That is trying to pin the blame on the lover, in this case Henry, | 0:13:57 | 0:14:03 | |
-for seducing the wife. -Yes, for seducing. | 0:14:03 | 0:14:06 | |
The blame isn't the finger isn't being pointed | 0:14:06 | 0:14:09 | |
-so much at the wife as the lover, yes. -That's right. | 0:14:09 | 0:14:12 | |
So, for Alan Gardner, he's also interested in his honour. | 0:14:12 | 0:14:16 | |
Until the mid-18th century, gentlemen, | 0:14:16 | 0:14:19 | |
like Alan Hyde Gardner and Henry Jadis, | 0:14:19 | 0:14:22 | |
would often have settled matters of honour through a duel. | 0:14:22 | 0:14:25 | |
But by the early 19th century, men were using the courts | 0:14:26 | 0:14:30 | |
to restore their reputations. | 0:14:30 | 0:14:32 | |
Women like Maria were treated as property, with their value | 0:14:34 | 0:14:38 | |
determined by their social status. | 0:14:38 | 0:14:41 | |
I want to show you this, this lovely satirical cartoon here, | 0:14:41 | 0:14:47 | |
which you'll see from its title, | 0:14:47 | 0:14:51 | |
Crim Con Temptations With The Prices Affixed, | 0:14:51 | 0:14:56 | |
cos criminal conversations were usually shortened to crim cons. | 0:14:56 | 0:14:59 | |
-Crim con. That is criminal conversation. -Indeed, yes. | 0:14:59 | 0:15:02 | |
-Temptations. -Yes. | 0:15:02 | 0:15:04 | |
So what they're saying is what they're worth in society's terms. | 0:15:04 | 0:15:08 | |
"I am but a servant for all work, | 0:15:08 | 0:15:11 | |
"then be rest assured no more than one shilling damages." | 0:15:11 | 0:15:15 | |
I am...very lowest of the low, almost. | 0:15:15 | 0:15:17 | |
And then this rather pompous woman seems a bit lardy, | 0:15:17 | 0:15:19 | |
-but she's showing a leg. -Yes. | 0:15:19 | 0:15:21 | |
Surely 1,000 cannot be called excessive damages. | 0:15:21 | 0:15:24 | |
Er, and now a rather big lady with a huge muff... | 0:15:24 | 0:15:30 | |
hand muff. | 0:15:30 | 0:15:32 | |
-I mean, they're caricatured, they're ridiculed... -Yes. | 0:15:32 | 0:15:36 | |
..in one sense by exhibiting them like this, | 0:15:36 | 0:15:39 | |
but, nevertheless, men beware. | 0:15:39 | 0:15:43 | |
So I remember when we looked at the little thing saying that there | 0:15:43 | 0:15:46 | |
was this criminal conversation, that there was an award made | 0:15:46 | 0:15:52 | |
or there was a demand, as it were, for £20,000, | 0:15:52 | 0:15:58 | |
which was just...unbelievable amount of money then, but he got 1,000. | 0:15:58 | 0:16:03 | |
Yes. There are lots of reasons for that lower award. | 0:16:03 | 0:16:07 | |
As the case is reported, there is a degree of ambivalence about Maria. | 0:16:07 | 0:16:14 | |
-Ah, so that does come through in the case? -Yes. | 0:16:14 | 0:16:18 | |
So perhaps not quite as virtuous as she might have been. | 0:16:18 | 0:16:22 | |
Therefore, that will have also lowered the damages awarded. | 0:16:22 | 0:16:25 | |
So, I'm just assuming now, that there was some sort of divorce | 0:16:25 | 0:16:31 | |
or something, and she went off with her lover. | 0:16:31 | 0:16:35 | |
But we don't know, we don't really know for sure what happened... | 0:16:35 | 0:16:39 | |
either immediately or a few years down the line. | 0:16:39 | 0:16:45 | |
What we know is that Alan also sued Maria. | 0:16:45 | 0:16:51 | |
Sued her as well. | 0:16:51 | 0:16:53 | |
So the key to the next stage will be court records. | 0:16:53 | 0:16:58 | |
In terms of Gardner's position in society, he would not be a man | 0:17:05 | 0:17:11 | |
if he was publicly cuckolded and didn't get some reward from it. | 0:17:11 | 0:17:15 | |
But, um, it's very difficult to feel terribly sorry | 0:17:15 | 0:17:20 | |
for the privileged who are damned because they're so privileged, | 0:17:20 | 0:17:25 | |
and particularly if it's set up | 0:17:25 | 0:17:27 | |
against a woman from the same background, | 0:17:27 | 0:17:30 | |
so, in other words, equally privileged, | 0:17:30 | 0:17:34 | |
but gets nothing if something goes wrong in her life. | 0:17:34 | 0:17:39 | |
From that point of view, | 0:17:39 | 0:17:40 | |
it would be very interesting to find out what happens to her. | 0:17:40 | 0:17:43 | |
Frances has come to Mayfair, | 0:17:47 | 0:17:49 | |
where Maria lived with her husband Alan Hyde Gardner. | 0:17:49 | 0:17:52 | |
She's meeting historian Hannah Greig. | 0:17:54 | 0:17:57 | |
What we have with us here is a copy of court documents | 0:18:00 | 0:18:04 | |
and, in particular, the evidence that was given by Maria's maid, | 0:18:04 | 0:18:08 | |
-Susannah, to the court saying... -They know everything. | 0:18:08 | 0:18:10 | |
They do know everything, as we will see from the document. | 0:18:10 | 0:18:13 | |
Yes, yes. | 0:18:13 | 0:18:15 | |
In 1805, right. | 0:18:15 | 0:18:16 | |
"The deponent." Is that her? | 0:18:16 | 0:18:19 | |
-Yes, so that's Susannah, the maid. -That's Susannah. | 0:18:19 | 0:18:21 | |
"The deponent was, as usual, in her needlework | 0:18:21 | 0:18:25 | |
"in Mrs Gardner's said bedroom. | 0:18:25 | 0:18:27 | |
"She was much surprised by the said Henry Jadis | 0:18:27 | 0:18:31 | |
"and Maria Elizabeth Gardner coming upstairs together | 0:18:31 | 0:18:35 | |
"into the said bedroom from the drawing room, | 0:18:35 | 0:18:38 | |
"and particularly so at the said Maria Elizabeth Gardner | 0:18:38 | 0:18:43 | |
"then sending the deponent downstairs to bring some milk." | 0:18:43 | 0:18:47 | |
OK so far. Seems quite innocent. | 0:18:47 | 0:18:50 | |
And then it goes on. | 0:18:50 | 0:18:51 | |
"In about ten minutes after leaving the said bedroom, | 0:18:51 | 0:18:54 | |
"she carried some milk into the drawing room, | 0:18:54 | 0:18:57 | |
"where she then found her said mistress..." | 0:18:57 | 0:19:00 | |
Plot thickens. | 0:19:02 | 0:19:03 | |
"..and the said Mr Jadis. | 0:19:05 | 0:19:07 | |
"Then the deponent then immediately went upstairs into the said | 0:19:07 | 0:19:10 | |
"Mrs Gardner's bedroom and then found that the bed therein | 0:19:10 | 0:19:15 | |
"was tumbled as if two persons had been laying thereon." | 0:19:15 | 0:19:21 | |
She doesn't miss anything, does she, this maid?! | 0:19:21 | 0:19:23 | |
"The deponent said that she has no manner of doubt they had | 0:19:23 | 0:19:28 | |
"the carnal use and knowledge of each other's bodies on the said bed." | 0:19:28 | 0:19:34 | |
They might have had a romp. | 0:19:34 | 0:19:36 | |
It doesn't actually say they had sex, does it? | 0:19:36 | 0:19:39 | |
Well, I suppose it implies it. | 0:19:39 | 0:19:41 | |
It implies it. | 0:19:41 | 0:19:42 | |
I mean, she appears to have got rid of the maid... | 0:19:42 | 0:19:45 | |
-Yes, yes. -..for a period of time and retreated to the bedroom | 0:19:45 | 0:19:48 | |
with Henry Jadis, where the bed has become tumbled. | 0:19:48 | 0:19:51 | |
"And during the time the said Captain Gardner | 0:19:51 | 0:19:55 | |
"was absent on the said voyage to the West Indies, | 0:19:55 | 0:19:59 | |
"she told the deponent that she was pregnant by the said Mr Jadis | 0:19:59 | 0:20:04 | |
"and she further said that so long as there was a chance of the said | 0:20:04 | 0:20:08 | |
"Mrs Gardner being delivered of the child with which she was pregnant | 0:20:08 | 0:20:12 | |
"in due time, that it might be considered | 0:20:12 | 0:20:15 | |
"as the child of her said husband." | 0:20:15 | 0:20:18 | |
-So she confides in Susannah that she's pregnant... -That's right. | 0:20:18 | 0:20:22 | |
..and pregnant with Henry Jadis, who she's been seeing regularly at home. | 0:20:22 | 0:20:26 | |
That's right. | 0:20:26 | 0:20:27 | |
And so what seems to be initially happening is that she is trying to | 0:20:27 | 0:20:31 | |
persuade her husband and persuade the household that the child | 0:20:31 | 0:20:35 | |
is his, it's the husband's, | 0:20:35 | 0:20:37 | |
-so a legitimate offspring of the marriage. -Exactly. | 0:20:37 | 0:20:40 | |
So in a situation like this, it might be quite common that | 0:20:40 | 0:20:44 | |
the wife would feign that she was - | 0:20:44 | 0:20:47 | |
if she could with the timing of it - that the child was her husband's. | 0:20:47 | 0:20:51 | |
Well, she is taking a big risk. | 0:20:51 | 0:20:53 | |
We know that Alan and Maria | 0:20:53 | 0:20:56 | |
last saw each other at the end of January 1802. | 0:20:56 | 0:20:59 | |
The maid's testimony reveals that, as the pregnancy went on, | 0:20:59 | 0:21:04 | |
Maria became worried that the dates might not tally | 0:21:04 | 0:21:06 | |
and so changed her story. | 0:21:06 | 0:21:09 | |
In the late summer of 1802, she convinced her husband | 0:21:09 | 0:21:12 | |
that her swollen appearance was the effect of obstructions | 0:21:12 | 0:21:16 | |
and that she wasn't pregnant after all. | 0:21:16 | 0:21:18 | |
She finally gives birth in the earliest weeks of December, 1802. | 0:21:18 | 0:21:23 | |
So, sort of, we're looking at ten, perhaps ten and a bit months | 0:21:23 | 0:21:27 | |
between the last marital meeting and the birth of the child. | 0:21:27 | 0:21:32 | |
So if you just read from here. | 0:21:32 | 0:21:33 | |
"So in the night she, the said Maria Elizabeth Gardner, | 0:21:33 | 0:21:37 | |
"was delivered secretly and totally unknown to the said | 0:21:37 | 0:21:41 | |
"Captain Hyde Gardner, and every other person in the house, | 0:21:41 | 0:21:46 | |
"except the deponent and a Mrs Burns, of a male child. | 0:21:46 | 0:21:52 | |
"As soon as the child had been dressed | 0:21:52 | 0:21:54 | |
"and the things got ready, she, the said Mrs Burns, | 0:21:54 | 0:21:58 | |
"carried the said child | 0:21:58 | 0:21:59 | |
"secretly out of the said house to be nursed by Mrs Bailey." | 0:21:59 | 0:22:06 | |
Pretty convenient, isn't it? | 0:22:06 | 0:22:08 | |
Have the baby, have some secret people around you. | 0:22:08 | 0:22:11 | |
It's terrible, really, isn't it? | 0:22:11 | 0:22:13 | |
You would give the baby to... Immediately, the moment it's born... | 0:22:13 | 0:22:16 | |
Yeah. | 0:22:16 | 0:22:18 | |
..to somebody, to take to somebody, | 0:22:18 | 0:22:20 | |
probably been paid to look after the baby. | 0:22:20 | 0:22:23 | |
I was just wondering why it wasn't possible for her | 0:22:23 | 0:22:28 | |
to just go off with Jadis and have the life she wanted to have. | 0:22:28 | 0:22:35 | |
Well, I suppose we might presume if she's in love with Henry Jadis, | 0:22:35 | 0:22:38 | |
why doesn't she just run off into the sunset? | 0:22:38 | 0:22:41 | |
But in fact, in the 18th century, she has very few options. | 0:22:41 | 0:22:44 | |
When a woman married, she gained status and security, | 0:22:44 | 0:22:49 | |
but all of her property and wealth became her husband's. | 0:22:49 | 0:22:52 | |
Maria was entirely financially dependent on Alan Hyde Gardner. | 0:22:52 | 0:22:56 | |
I mean, so many of all those women | 0:22:58 | 0:23:01 | |
whose stories were, if it didn't work out with the husband, | 0:23:01 | 0:23:06 | |
if there was a problem, if there was a lover, if there was an issue, | 0:23:06 | 0:23:10 | |
if she left, she may as well throw herself under a train. | 0:23:10 | 0:23:13 | |
-Yeah, yeah. -Almost. | 0:23:13 | 0:23:14 | |
There seemed to be no choice, that's the thing. | 0:23:14 | 0:23:17 | |
-Yeah, yeah, yeah. -Yeah. Oh, my goodness. | 0:23:17 | 0:23:19 | |
Well, at this stage, of these proceedings, | 0:23:19 | 0:23:21 | |
Captain Alan Hyde Gardner still thinks his marriage is intact. | 0:23:21 | 0:23:26 | |
Well, he subsequently is informed by a footman some months later | 0:23:26 | 0:23:31 | |
that an affair has been taking place in his household. | 0:23:31 | 0:23:35 | |
This is potentially a complete thunderbolt into his life. | 0:23:35 | 0:23:40 | |
His only responsibility as a member of the peerage is to produce | 0:23:40 | 0:23:44 | |
an heir himself who will inherit his estate, his bloodline | 0:23:44 | 0:23:47 | |
and define the security of his family's future, | 0:23:47 | 0:23:50 | |
and that's suddenly put at risk by the production | 0:23:50 | 0:23:54 | |
of this illegitimate son and his knowledge about his wife's affair. | 0:23:54 | 0:23:57 | |
So Alan is going to start proceedings | 0:23:57 | 0:24:00 | |
in order to get divorced. | 0:24:00 | 0:24:01 | |
In the early 19th century, | 0:24:01 | 0:24:03 | |
divorce was only an option for the aristocracy and the very rich. | 0:24:03 | 0:24:08 | |
It was expensive and every divorce case | 0:24:08 | 0:24:10 | |
required a private act of Parliament to be passed. | 0:24:10 | 0:24:13 | |
When Alan Hyde Gardner petitioned to divorce his wife Maria, | 0:24:13 | 0:24:17 | |
he added a bastardisation clause, | 0:24:17 | 0:24:20 | |
so that Maria's child would be declared illegitimate | 0:24:20 | 0:24:23 | |
and have no right to inherit his title or estate. | 0:24:23 | 0:24:27 | |
It sounds like he's got an open and shut case, really, | 0:24:27 | 0:24:31 | |
in terms of what you imagine Parliament would think in those days. | 0:24:31 | 0:24:36 | |
They would go, "Yes, this is absolutely outrageous | 0:24:36 | 0:24:38 | |
"and we must give him his due." | 0:24:38 | 0:24:40 | |
That would be my immediate, um, conclusion of the result. | 0:24:40 | 0:24:45 | |
I may be completely wrong. | 0:24:45 | 0:24:46 | |
Well, that's obviously what Alan is hoping for, you know, | 0:24:46 | 0:24:49 | |
and that's obviously... | 0:24:49 | 0:24:50 | |
His key motivation here is this issue about the son. | 0:24:50 | 0:24:53 | |
-Yes, yes, exactly. -The divorce itself has passed through Parliament | 0:24:53 | 0:24:56 | |
because it's very clear that Maria has had an adulteress relationship. | 0:24:56 | 0:25:00 | |
-Yes. -But the bastardisation clause is actually removed from | 0:25:00 | 0:25:03 | |
the final divorce document. | 0:25:03 | 0:25:06 | |
And when the petition is reviewed in Parliament, | 0:25:06 | 0:25:10 | |
the Lord Chancellor actually looks very carefully | 0:25:10 | 0:25:13 | |
at the dates of the pregnancy | 0:25:13 | 0:25:15 | |
and suggests there's room for doubt about whose child it is. | 0:25:15 | 0:25:19 | |
Which there is, yes, on the months and all that, yes, yes. | 0:25:19 | 0:25:22 | |
Yeah, and it seems to have been the potential that the son | 0:25:22 | 0:25:28 | |
could have been the legitimate offspring of Alan Gardner. | 0:25:28 | 0:25:33 | |
Which would make him... would worry him enormously, | 0:25:33 | 0:25:38 | |
Mr Gardner, because...leaving it like that, that son could be his, | 0:25:38 | 0:25:45 | |
unless proved otherwise, he's entitled to Mr Gardner's estate. | 0:25:45 | 0:25:50 | |
Seems to be that Maria fell in love with Jadis. | 0:25:58 | 0:26:03 | |
My sympathies tend to be more with her | 0:26:03 | 0:26:05 | |
because of what she went through, | 0:26:05 | 0:26:09 | |
particularly the giving up of a child the moment it's born | 0:26:09 | 0:26:12 | |
because it doesn't basically suit the husband. | 0:26:12 | 0:26:15 | |
Who does he belong to? | 0:26:15 | 0:26:17 | |
And what, you know, what's to become of him? | 0:26:18 | 0:26:21 | |
Alan Hyde Gardner divorced Frances' great-great-great-grandmother | 0:26:22 | 0:26:26 | |
Maria in 1805, leaving her free to marry her lover, Henry Jadis, | 0:26:26 | 0:26:31 | |
that same year. | 0:26:31 | 0:26:33 | |
Frances has come to St Peter's Church in Iver, Buckinghamshire, | 0:26:35 | 0:26:39 | |
to meet genealogist Anthony Marr, | 0:26:39 | 0:26:41 | |
who's been searching for more information on Maria and her first son. | 0:26:41 | 0:26:46 | |
-Mind the step. -Thank you. | 0:26:46 | 0:26:48 | |
So why are we in this rather beautiful church? | 0:26:48 | 0:26:52 | |
This is a church that Maria would have known. | 0:26:52 | 0:26:53 | |
Her stepfather was the Earl of Buckinghamshire | 0:26:53 | 0:26:56 | |
and his sister lived very close by. | 0:26:56 | 0:26:58 | |
She would very, very much have known this church. | 0:26:58 | 0:27:01 | |
Well, the last thing I discovered is that | 0:27:01 | 0:27:03 | |
my great-great-great-grandmother, Maria Elizabeth, | 0:27:03 | 0:27:07 | |
had this child and we know there was a bastardisation case. | 0:27:07 | 0:27:13 | |
The actual argument about this went on for many years. | 0:27:13 | 0:27:16 | |
-The son has been brought up by Henry and Maria as their child. -Yes. | 0:27:16 | 0:27:19 | |
They married soon after the divorce came through in 1805. | 0:27:19 | 0:27:22 | |
-Oh, they did, yes, yes. -They went on to have other children | 0:27:22 | 0:27:25 | |
and this son was brought up as part of the family. | 0:27:25 | 0:27:28 | |
But certainly in 1825, he chanced his arm, perhaps, | 0:27:28 | 0:27:31 | |
and I'll show you some details of that in a newspaper article. | 0:27:31 | 0:27:35 | |
Era. | 0:27:35 | 0:27:36 | |
"The Gardner peerage case came before the House of Lords in 1825." | 0:27:37 | 0:27:43 | |
Well, quite a long time after all the things we were discovering. | 0:27:43 | 0:27:47 | |
"Alan Legge Gardner, the son of Lord Gardner by his second wife, | 0:27:47 | 0:27:53 | |
"petitioned to have his name inscribed as a peer | 0:27:53 | 0:27:56 | |
"on the Parliament Roll. | 0:27:56 | 0:27:57 | |
"The peerage was however claimed by another person, | 0:27:57 | 0:28:00 | |
"Henry Fenton Jadis..." Ah-ha! | 0:28:00 | 0:28:04 | |
"..who alleged that he was the son of Lord Gardner | 0:28:04 | 0:28:08 | |
"by his first and subsequently divorced wife." | 0:28:08 | 0:28:12 | |
Oh, goodness me. | 0:28:12 | 0:28:13 | |
"The decision of the House was that this claimant was illegitimate | 0:28:13 | 0:28:18 | |
"and that the title should descend to the son of the second Lady Gardner." | 0:28:18 | 0:28:23 | |
It's very well-described, isn't it? | 0:28:23 | 0:28:27 | |
So 20 years after the events of the divorce | 0:28:27 | 0:28:30 | |
and the initial court cases, this issue is still going on | 0:28:30 | 0:28:35 | |
and Maria's being dragged through having to relive it all again, | 0:28:35 | 0:28:38 | |
I suppose. | 0:28:38 | 0:28:39 | |
Why would he want to claim entitlement from...? | 0:28:39 | 0:28:44 | |
I can only speculate on the draw of peerage title, wealth, perhaps. | 0:28:44 | 0:28:49 | |
And I wonder if that was supported by his mother... | 0:28:49 | 0:28:53 | |
-We don't know. -..and Jadis? Whether they said, "Yes, give it a go." | 0:28:53 | 0:28:57 | |
Or whether they said, "Oh, don't go there." | 0:28:57 | 0:28:59 | |
What were those family discussions like | 0:28:59 | 0:29:01 | |
and were they arguing or were they in agreement about the way to proceed? | 0:29:01 | 0:29:06 | |
But it is interesting, 20 years on and here we are. | 0:29:06 | 0:29:10 | |
And all comes from the fact that this issue was never resolved | 0:29:10 | 0:29:13 | |
at the time and left hanging. | 0:29:13 | 0:29:15 | |
So what we don't know is was she...? Did it give her the sense of, | 0:29:15 | 0:29:20 | |
"I'm going to see this through", or...who knows? | 0:29:20 | 0:29:26 | |
I'm speculating now as to her state of mind and her state of heart. | 0:29:26 | 0:29:31 | |
Maria died aged 50. | 0:29:37 | 0:29:40 | |
Goodness me. | 0:29:40 | 0:29:42 | |
Henry Jadis left a permanent memorial to his wife. | 0:29:42 | 0:29:46 | |
"This little tribute of the fondest affection to the memory | 0:29:46 | 0:29:51 | |
"of Maria Elizabeth, the wife of Henry Jadis, | 0:29:51 | 0:29:54 | |
"who died on the fourth December, 1831 is inscribed by her husband, | 0:29:54 | 0:30:00 | |
"whose days of happiness gone forever | 0:30:00 | 0:30:04 | |
"by the bitterness of his sorrows." | 0:30:04 | 0:30:07 | |
God, there's such feeling there, isn't there? Such feeling. | 0:30:10 | 0:30:15 | |
"Her gentle love for his children, her fearful sufferings | 0:30:21 | 0:30:25 | |
"and resignation, these are the tender | 0:30:25 | 0:30:28 | |
"and mournful recollections pressing upon his weary heart." | 0:30:28 | 0:30:35 | |
So he really... He loved her, didn't he? | 0:30:35 | 0:30:40 | |
-Very modern, in a way. -Yeah. | 0:30:42 | 0:30:45 | |
Isn't it? When you think when that was, | 0:30:45 | 0:30:47 | |
that he's as a man that perhaps as a 20th century would say, | 0:30:47 | 0:30:54 | |
this is hell and, you know, | 0:30:54 | 0:30:57 | |
and particularly your role as a woman is not good in this society, | 0:30:57 | 0:31:02 | |
and I'm going to stand by you, | 0:31:02 | 0:31:04 | |
and this is going to haunt us probably all our life, | 0:31:04 | 0:31:06 | |
but may not deter our happiness. | 0:31:06 | 0:31:09 | |
But I'm going to protect you and support you. | 0:31:09 | 0:31:12 | |
He seemed, er, very much in love with her. | 0:31:12 | 0:31:15 | |
They really tell the story of what they've gone through | 0:31:15 | 0:31:18 | |
-as a couple together, don't they? -Yes. | 0:31:18 | 0:31:20 | |
Thank you very much for the information. | 0:31:20 | 0:31:22 | |
It's very moving. | 0:31:22 | 0:31:24 | |
I'm sure that plaque that her husband wrote for her says it all, | 0:31:28 | 0:31:33 | |
that she suffered all her life. | 0:31:33 | 0:31:37 | |
They were obviously beloved of each other, loved each other, | 0:31:37 | 0:31:41 | |
and she died quite young at the end of it all. | 0:31:41 | 0:31:44 | |
It's just a very moving story. | 0:31:44 | 0:31:47 | |
Well, when I was looking at the family tree that my brother | 0:32:00 | 0:32:03 | |
brought over that my grandfather had made, | 0:32:03 | 0:32:06 | |
we had at the top Sophia Anne Delaval, in brackets, Honourable. | 0:32:06 | 0:32:10 | |
I really want to know all about her and really what her story was. | 0:32:13 | 0:32:17 | |
If we want to understand more about ourselves, | 0:32:18 | 0:32:21 | |
we have to start with her. | 0:32:21 | 0:32:23 | |
The Honourable Sophia Anne Delaval, mother of Henry Jadis, | 0:32:23 | 0:32:27 | |
is Frances' great-great-great-great-grandmother. | 0:32:27 | 0:32:31 | |
She is the first Delaval to appear on the family tree | 0:32:31 | 0:32:34 | |
drawn up by Frances' grandfather. | 0:32:34 | 0:32:36 | |
I am now on the trail of Sophia Delaval, | 0:32:43 | 0:32:49 | |
but I will put in her married name, | 0:32:49 | 0:32:53 | |
which is Jadis, and see what comes up. | 0:32:53 | 0:32:58 | |
Um, must be that button. | 0:32:58 | 0:33:02 | |
We have Sophia Jadis here. | 0:33:02 | 0:33:05 | |
This is a burial record and it gives us County Lincolnshire Parish, | 0:33:05 | 0:33:12 | |
Doddington-Pigot, date 2nd August, 1793. | 0:33:12 | 0:33:16 | |
Anyway, one result, | 0:33:16 | 0:33:18 | |
so we have to take it from there, presumably in Doddington. | 0:33:18 | 0:33:23 | |
Frances knows that Sophia Anne had the title Honourable. | 0:33:30 | 0:33:34 | |
She's heading for Doddington Hall, | 0:33:34 | 0:33:37 | |
the main house in the village of Doddington in Lincolnshire. | 0:33:37 | 0:33:40 | |
Ah, look at this house! It's monumental. | 0:33:47 | 0:33:53 | |
Look at that. | 0:33:53 | 0:33:55 | |
Dying to find out more and if my family had anything to do | 0:33:55 | 0:33:59 | |
with living here, in which case, why aren't I?! | 0:33:59 | 0:34:03 | |
Good afternoon, Frances. | 0:34:05 | 0:34:07 | |
Hello. This is very exciting. | 0:34:07 | 0:34:10 | |
I'm James Birch. | 0:34:10 | 0:34:12 | |
James, OK. | 0:34:12 | 0:34:13 | |
-Welcome to Doddington. -Thank you. Wow! | 0:34:13 | 0:34:16 | |
-What a beauty. -Well, thank you. | 0:34:16 | 0:34:19 | |
Incredible. So this is your home? | 0:34:19 | 0:34:21 | |
-Well, yes. -And why isn't it mine? | 0:34:21 | 0:34:23 | |
It's a long story. | 0:34:23 | 0:34:25 | |
But, in particular, one of the last of the Delaval females | 0:34:25 | 0:34:28 | |
had an affair with my wife's ancestor and she gave it to him. | 0:34:28 | 0:34:33 | |
How amazing. | 0:34:33 | 0:34:34 | |
There we go. | 0:34:34 | 0:34:35 | |
So, um, shall we go inside and see what there is? | 0:34:35 | 0:34:39 | |
In the late 18th century, | 0:34:39 | 0:34:40 | |
the Delaval family were wealthy industrialists. | 0:34:40 | 0:34:43 | |
They were also landed gentry, owning four estates across the country. | 0:34:43 | 0:34:48 | |
James Birch has been searching the Delaval family archives | 0:34:48 | 0:34:52 | |
for any information on Sophia Anne, also known as Sophie Anne. | 0:34:52 | 0:34:57 | |
..in the archives. Now we don't have a huge amount about Sophie Anne, | 0:34:57 | 0:35:02 | |
but we do have two letters that refer to Sophie Anne, | 0:35:02 | 0:35:06 | |
around the sort of 1778 period. | 0:35:06 | 0:35:09 | |
-I think it's to her sister from Sophie Anne herself. -OK. | 0:35:09 | 0:35:14 | |
"My Dear Hussey, you're all too good to me. | 0:35:14 | 0:35:18 | |
"You may think what you please of me, | 0:35:18 | 0:35:20 | |
"but you never shall find that I forget the great goodness | 0:35:20 | 0:35:25 | |
"of tenderness that I have felt for this most horrid misconduct of mine." | 0:35:25 | 0:35:31 | |
Mm, well, what was that? | 0:35:31 | 0:35:34 | |
Well, I have to say, I wish I knew but I don't. | 0:35:34 | 0:35:36 | |
As with many of these sort of incidents, | 0:35:36 | 0:35:39 | |
it's written out of the history, | 0:35:39 | 0:35:41 | |
so we have no idea what this relates to. | 0:35:41 | 0:35:43 | |
The other possible clue is the second letter to Sir John Delaval. | 0:35:43 | 0:35:48 | |
John Delaval was her father | 0:35:48 | 0:35:50 | |
and it's from one of his employees, and there again in 1778, | 0:35:50 | 0:35:54 | |
and I think that possibly is linked to the first letter in some way. | 0:35:54 | 0:35:57 | |
"My wife and I are heartily sorry | 0:35:57 | 0:36:00 | |
"to hear of Miss Delaval's rash marriage | 0:36:00 | 0:36:03 | |
"and heartily feel for your Honour and my Lady Hussey Delaval, | 0:36:03 | 0:36:09 | |
"the affliction you must have had on the occasion." | 0:36:09 | 0:36:14 | |
Goodness me. | 0:36:14 | 0:36:15 | |
There's a lot of upset feelings around here. | 0:36:15 | 0:36:19 | |
There has been a rash marriage | 0:36:19 | 0:36:22 | |
and it obviously was something that was shocking. | 0:36:22 | 0:36:25 | |
I long to hear what the drama was all about... | 0:36:25 | 0:36:30 | |
in this beautiful house. | 0:36:30 | 0:36:33 | |
There was a great disapproving of Sophia's rash marriage. | 0:36:40 | 0:36:45 | |
This horrid misconduct, | 0:36:45 | 0:36:48 | |
maybe that's just an overall view of | 0:36:48 | 0:36:51 | |
how a girl should or shouldn't behave, | 0:36:51 | 0:36:53 | |
or maybe it was something more drastic, | 0:36:53 | 0:36:57 | |
but something awful's happened. | 0:36:57 | 0:36:58 | |
And all this seemed to have happened in 1778, | 0:36:58 | 0:37:02 | |
and it would be good to find out. | 0:37:02 | 0:37:04 | |
Frances has come to the parish church on the Doddington Estate | 0:37:04 | 0:37:08 | |
to look for any records of Sophia | 0:37:08 | 0:37:10 | |
in the Registers of Births, Deaths and Marriages. | 0:37:10 | 0:37:13 | |
It starts in 1695. | 0:37:13 | 0:37:17 | |
So what we want is 1778, marriages... | 0:37:17 | 0:37:23 | |
1726, ah, here we are. No, that's Christenings. | 0:37:23 | 0:37:29 | |
Turn over again. Just going to go by the dates now. | 0:37:29 | 0:37:33 | |
1752. Ah, take my glasses off so I can look a bit closer. | 0:37:33 | 0:37:38 | |
So I've come to the date I want and I'm looking for a marriage. | 0:37:38 | 0:37:42 | |
1778, January 19th, but it says baptism, not a marriage. | 0:37:42 | 0:37:48 | |
Sophia... There's something crossed out. | 0:37:48 | 0:37:52 | |
Sophia Delaval, but that's crossed out, | 0:37:53 | 0:37:58 | |
and on top, underlined, is Devereaux. | 0:37:58 | 0:38:02 | |
Henry, son of Henry Devereaux, | 0:38:03 | 0:38:07 | |
Esquire of Bordeaux, | 0:38:07 | 0:38:11 | |
it looks like, in France, different name. | 0:38:11 | 0:38:14 | |
Devereaux. The plot thickens. | 0:38:15 | 0:38:19 | |
I need to look at my little family tree that I wrote rather roughly. | 0:38:19 | 0:38:26 | |
Um, so we're talking about Sophia Anne Delaval here, | 0:38:26 | 0:38:32 | |
marries John Godfrey Maximillian Jadis. | 0:38:32 | 0:38:36 | |
They have a son called Henry Jadis. | 0:38:38 | 0:38:42 | |
Devereaux doesn't seem to come into it. | 0:38:42 | 0:38:44 | |
Devereaux has been wiped out of the history books, it seems. | 0:38:44 | 0:38:47 | |
But she died a Jadis because I saw from the computer, | 0:38:47 | 0:38:51 | |
when I was looking it up, that the burial records tell us | 0:38:51 | 0:38:55 | |
that she was a Jadis, she was married to this man here. | 0:38:55 | 0:38:59 | |
So was she actually married to Devereaux? | 0:38:59 | 0:39:02 | |
Was it just a liaison? And they had a child. | 0:39:02 | 0:39:07 | |
I need to know more about Devereaux, | 0:39:08 | 0:39:10 | |
whether... What his existence was and why they were so upset, | 0:39:10 | 0:39:15 | |
but I am interested to know why she then married a Jadis. | 0:39:15 | 0:39:20 | |
So, that was the chaos. | 0:39:20 | 0:39:23 | |
Frances has returned to Doddington Hall to try to unravel | 0:39:28 | 0:39:31 | |
the truth behind the baptism of Sophia's son, Henry. | 0:39:31 | 0:39:35 | |
She's meeting historian Sarah Richardson. | 0:39:35 | 0:39:38 | |
Oh, how lovely. Look at that! | 0:39:39 | 0:39:43 | |
So this could have been the drawing room that Sophia sat in. | 0:39:43 | 0:39:48 | |
Yeah, absolutely. I think it's highly likely | 0:39:48 | 0:39:51 | |
that she spent a great deal of her time in here. | 0:39:51 | 0:39:54 | |
Funny feeling, isn't it, to think that she walked these floors? | 0:39:54 | 0:39:58 | |
Oh, my goodness me. | 0:40:00 | 0:40:01 | |
I've just seen the baptism record, and the name Delaval is crossed out, | 0:40:03 | 0:40:08 | |
and Devereaux has been put next to Sophia Anne | 0:40:08 | 0:40:12 | |
when she's having her child baptised, Henry. | 0:40:12 | 0:40:15 | |
So I just wondered why the Delaval was crossed out. | 0:40:15 | 0:40:19 | |
Clearly, there's been a deliberate insertion of Devereaux. | 0:40:19 | 0:40:24 | |
We've looked into the origins of a Henry Devereaux in Bordeaux | 0:40:24 | 0:40:29 | |
and there's no record of him at all. | 0:40:29 | 0:40:31 | |
Oh! | 0:40:31 | 0:40:33 | |
So there seems to be an implication that this marriage doesn't exist. | 0:40:33 | 0:40:38 | |
All we know is she has turned up in Doddington with a son. | 0:40:38 | 0:40:43 | |
So is that why she's put that in at that point, | 0:40:43 | 0:40:47 | |
is to prove that the child was not illegitimate? | 0:40:47 | 0:40:50 | |
What's important for the family's social standing is that there is | 0:40:50 | 0:40:55 | |
a husband around, so that's why they create this fictional Mr Devereaux. | 0:40:55 | 0:41:01 | |
So I just wanted to show you my family tree that I scribbled, | 0:41:01 | 0:41:05 | |
and we have here Henry Jadis. | 0:41:05 | 0:41:08 | |
So the Henry Jadis we have here | 0:41:08 | 0:41:11 | |
is in fact that child that was baptised, so it has Henry Devereaux. | 0:41:11 | 0:41:16 | |
I don't know how soon after... | 0:41:16 | 0:41:20 | |
the baptism of her son she married John Jadis. | 0:41:20 | 0:41:25 | |
So this is really the first evidence that we have, | 0:41:25 | 0:41:28 | |
a couple of years later, | 0:41:28 | 0:41:30 | |
about John Jadis, which is a bill from Thomas Greene, | 0:41:30 | 0:41:36 | |
who's a lawyer to Sophia's father, Sir John Hussey Delaval. | 0:41:36 | 0:41:42 | |
"February 6th, attending with Mr Jadis on Proctor | 0:41:43 | 0:41:48 | |
"in Doctors Commons to have licence regularly made out | 0:41:48 | 0:41:53 | |
"as they propose being married in the morning. | 0:41:53 | 0:41:57 | |
"February 7th, attending early on Secretary at the War Office to | 0:41:57 | 0:42:02 | |
"make myself certain Mr Jadis was the person he represented himself to be." | 0:42:02 | 0:42:09 | |
So what was Jadis' background? | 0:42:09 | 0:42:11 | |
Well, from other sources, we do know that he was in the army. | 0:42:11 | 0:42:15 | |
He was an ensign, | 0:42:15 | 0:42:16 | |
so he was the lowest of the sort of commissioned officers, | 0:42:16 | 0:42:19 | |
clearly sort of far below Sophia's social standing and station. | 0:42:19 | 0:42:24 | |
If we look at what her sisters are doing at the same time, | 0:42:24 | 0:42:27 | |
they're all being married off into the aristocracy, basically. | 0:42:27 | 0:42:31 | |
She has very few options. | 0:42:31 | 0:42:33 | |
She's a single mother, she has a young child... | 0:42:33 | 0:42:38 | |
She's clearly not going to be able to marry well. | 0:42:38 | 0:42:41 | |
Yes, again, I discovered that in this wonderfully ordered house | 0:42:42 | 0:42:47 | |
and where everything is just so, that everything isn't just so. | 0:42:47 | 0:42:52 | |
Cos people are people and love comes into it | 0:42:52 | 0:42:55 | |
and, you know, there's waywardness. | 0:42:55 | 0:42:57 | |
So did this marriage work out? | 0:42:57 | 0:43:00 | |
We have another letter that Sir John, the father, | 0:43:00 | 0:43:04 | |
is writing to his land agent. | 0:43:04 | 0:43:06 | |
It's a draft one, so I'm going to warn you it's difficult to read. | 0:43:06 | 0:43:10 | |
And what's key about this letter is the crossings out and insertions. | 0:43:10 | 0:43:16 | |
"I am extremely sorry to inform you that poor Sophie has acquainted me | 0:43:16 | 0:43:24 | |
"and my family of her determination to part from Mr Jadis..." Oh. | 0:43:24 | 0:43:31 | |
"..upon account of a long series of very bad treatment." | 0:43:32 | 0:43:38 | |
And then he's crossed out what he then said. | 0:43:38 | 0:43:41 | |
Yeah, and I think the crossings out here are... | 0:43:41 | 0:43:43 | |
Are really important. That he does not... | 0:43:43 | 0:43:46 | |
but he does not accuse her... | 0:43:46 | 0:43:49 | |
or blame her, except by saying when he | 0:43:49 | 0:43:53 | |
behaved to her as he should not have done, he had always drank too much. | 0:43:53 | 0:44:00 | |
Well, that's extremely sad, isn't it? | 0:44:02 | 0:44:04 | |
Because she had married a drunk. | 0:44:04 | 0:44:06 | |
So where did Sophia go? What happened to her? | 0:44:06 | 0:44:09 | |
What did she do? | 0:44:09 | 0:44:11 | |
Well, we have letters that show that, a year after the separation, | 0:44:11 | 0:44:16 | |
she'd moved to London. | 0:44:16 | 0:44:18 | |
The separation on its own is another scandal that has hit the family | 0:44:18 | 0:44:22 | |
because Sophia is now a woman living on her own with a child. | 0:44:22 | 0:44:28 | |
Basically socially ostracised and her father's in a state, | 0:44:28 | 0:44:32 | |
and... So what happens? What happens next? | 0:44:32 | 0:44:36 | |
Oh, I hope she doesn't rush off with her child | 0:44:36 | 0:44:39 | |
to the end of a cliff or something | 0:44:39 | 0:44:42 | |
because she's obviously... It's just her and her child. | 0:44:42 | 0:44:46 | |
It's bad enough in this day and age, women are still ostracised. | 0:44:47 | 0:44:51 | |
Very sad. I'd like to know what happens. | 0:44:52 | 0:44:56 | |
Well, the next sort of piece of information that we have | 0:44:56 | 0:44:59 | |
about Sophia comes from this bill. | 0:44:59 | 0:45:02 | |
It just says... | 0:45:02 | 0:45:04 | |
That's the name Mr Fussell. | 0:45:04 | 0:45:06 | |
"Mr Fussell, Apothecary." It's a chemist, that's what he is. | 0:45:06 | 0:45:10 | |
1790. December 5th. | 0:45:10 | 0:45:12 | |
This is a bill for the Honourable Mrs Jadis. | 0:45:16 | 0:45:20 | |
So she's purchased something for £57.9 shillings, | 0:45:20 | 0:45:25 | |
which is a lot of money. | 0:45:25 | 0:45:27 | |
Oh, what has she bought? | 0:45:30 | 0:45:32 | |
Oh, God, I don't know. | 0:45:37 | 0:45:39 | |
She's going to do something horrible. | 0:45:42 | 0:45:45 | |
Sophia's predicament is just heart-breaking. | 0:45:49 | 0:45:52 | |
To be an unmarried mother with a child, | 0:45:52 | 0:45:55 | |
from a family that was very high in the social strata of things... | 0:45:55 | 0:45:59 | |
There was lots of aristocrats around | 0:45:59 | 0:46:03 | |
and she would have let the family name down, | 0:46:03 | 0:46:07 | |
so it's a horrible situation to be in. | 0:46:07 | 0:46:10 | |
I'd like to find out about the apothecary bill, | 0:46:10 | 0:46:14 | |
why she spent so much money at the chemist. | 0:46:14 | 0:46:17 | |
I can't imagine. | 0:46:17 | 0:46:19 | |
But I think there's maybe something strange afoot there. | 0:46:23 | 0:46:27 | |
I can't think what it is. | 0:46:27 | 0:46:29 | |
Frances has returned to London | 0:46:29 | 0:46:31 | |
to visit an original 18th-century apothecary store. | 0:46:31 | 0:46:35 | |
She's meeting medical historian Tom Quick. | 0:46:35 | 0:46:38 | |
The last thing I saw was a really large bill for over £57 | 0:46:38 | 0:46:44 | |
and I wondered what she would have been buying for that kind of money. | 0:46:44 | 0:46:48 | |
-Well, we have these bills from 1790 and 1791. -Right. | 0:46:48 | 0:46:53 | |
So if you'd just like to take a look at those. | 0:46:53 | 0:46:57 | |
OK. 32 ounces of... | 0:46:57 | 0:47:01 | |
So it's laudanum? | 0:47:01 | 0:47:04 | |
Yes, yes. Yeah. | 0:47:04 | 0:47:06 | |
Is that a kind of...? Was that for depression or something like that? | 0:47:06 | 0:47:10 | |
-What was it for? -Laudanum was a tincture of opium, | 0:47:10 | 0:47:13 | |
so it would be opium soaked in wine or spirits. | 0:47:13 | 0:47:18 | |
It was a very versatile drug, laudanum, opium in general, | 0:47:18 | 0:47:22 | |
so people would recommend it for pain, | 0:47:22 | 0:47:25 | |
but they would also recommend it for what they called diseases | 0:47:25 | 0:47:28 | |
-or problems with the nervous system. -Yes. | 0:47:28 | 0:47:31 | |
Today, opium is used to make heroin. But back in the 18th century, | 0:47:32 | 0:47:37 | |
it was widely prescribed as a medicine in the form of laudanum. | 0:47:37 | 0:47:41 | |
It was used for a whole range of ailments, from a simple cough, | 0:47:41 | 0:47:44 | |
to toothache, to gynaecological pain, and it was highly addictive. | 0:47:44 | 0:47:49 | |
She may have started out with perhaps taking | 0:47:49 | 0:47:54 | |
something of this size. | 0:47:54 | 0:47:55 | |
Right, yes. And then a light ounce of the same, | 0:47:55 | 0:48:00 | |
and then a quarter of the same. Ten quarts. | 0:48:00 | 0:48:04 | |
Eight ounces, 20 ounces, a pint here. | 0:48:04 | 0:48:08 | |
And actually very frequently as well, you know. | 0:48:08 | 0:48:11 | |
-So we have... -Oh, these are of course the dates, yes. | 0:48:11 | 0:48:14 | |
January 7th, lots of laudanum, February 7th, | 0:48:14 | 0:48:18 | |
April, May, June, July, a quarter of laudanum. | 0:48:18 | 0:48:24 | |
God! August. | 0:48:24 | 0:48:25 | |
So that's... Well, that's six... Over six months. | 0:48:25 | 0:48:28 | |
Oh, my God, she's completely drugged with it. | 0:48:28 | 0:48:31 | |
So do we know how she proceeded from here? | 0:48:33 | 0:48:37 | |
Well, there are a few other items on these bills. | 0:48:37 | 0:48:42 | |
Um, oh, a "specific lotion." What's that? | 0:48:42 | 0:48:47 | |
It's a very vague phrase, I know, | 0:48:47 | 0:48:48 | |
but it was actually often used by physicians as a sort of | 0:48:48 | 0:48:52 | |
a means of talking about treatments for venereal disease. | 0:48:52 | 0:48:56 | |
Oh, God! | 0:48:56 | 0:48:57 | |
So she could have had... Well, any venereal disease or syphilis, even. | 0:48:57 | 0:49:02 | |
Yes. One of the most common diseases, for example, | 0:49:02 | 0:49:06 | |
of people who joined the army would have course have been syphilis - | 0:49:06 | 0:49:10 | |
-it was incredibly rife. -Oh, my god! | 0:49:10 | 0:49:12 | |
So she could have... He could, her husband could have had it. | 0:49:12 | 0:49:16 | |
Potentially. She started out taking the laudanum | 0:49:16 | 0:49:19 | |
to ameliorate some sort of pain and... | 0:49:19 | 0:49:22 | |
Yes. Let alone the state of mind. | 0:49:22 | 0:49:24 | |
So it's a combination of a great deal of things, yeah. | 0:49:24 | 0:49:27 | |
What happened to her? | 0:49:27 | 0:49:29 | |
Well, we do have this document from 1793. | 0:49:29 | 0:49:34 | |
OK. | 0:49:34 | 0:49:36 | |
Just says... This is, I think, maybe her father, has got a bill, | 0:49:36 | 0:49:43 | |
a funeral bill for Sophia. | 0:49:43 | 0:49:45 | |
Yeah. | 0:49:45 | 0:49:46 | |
So it killed her? | 0:49:48 | 0:49:49 | |
This opium and...or if it was the, you know, | 0:49:50 | 0:49:54 | |
any kind of form of syphilis or anything. | 0:49:54 | 0:49:57 | |
So she killed herself, basically. It was like a slow death. | 0:49:59 | 0:50:02 | |
"July 26th, died, 1793" - | 0:50:02 | 0:50:08 | |
so that's Sophia's date of death. | 0:50:08 | 0:50:14 | |
Is there a detail of the funeral? | 0:50:15 | 0:50:19 | |
Yes, if you turn to the next page. | 0:50:19 | 0:50:21 | |
OK. | 0:50:21 | 0:50:22 | |
Oh, my God, look at this. | 0:50:22 | 0:50:23 | |
-This is all one bill? -Yes. | 0:50:23 | 0:50:26 | |
£316.9 shillings and threepence, | 0:50:26 | 0:50:31 | |
so that is an enormous amount of money. | 0:50:31 | 0:50:34 | |
That's thousands now, isn't it? And then it goes on. | 0:50:34 | 0:50:38 | |
For a hearse and four horses for ten days, | 0:50:38 | 0:50:42 | |
for a mourning coach and four horses. | 0:50:42 | 0:50:46 | |
I mean, this is like a state funeral with a plate, gilt plate | 0:50:46 | 0:50:49 | |
with inscription engraved. | 0:50:49 | 0:50:53 | |
That's £59, just that page. | 0:50:53 | 0:50:58 | |
And then it goes on and on. | 0:50:58 | 0:51:01 | |
Oh, it's kind of making me feel a bit ill, actually, now. | 0:51:01 | 0:51:05 | |
All the expenses of this funeral were paid by her father. | 0:51:05 | 0:51:10 | |
-He was obviously... -Yes, they seem to have been. | 0:51:10 | 0:51:13 | |
..full of guilt and concern, but also it looks like a kind of cover | 0:51:13 | 0:51:20 | |
as well of no admittance to the life she actually led or how she died. | 0:51:20 | 0:51:27 | |
I hate the hypocrisy of it. Guilt covered up by gelt! | 0:51:27 | 0:51:32 | |
She had basically died from the poison, | 0:51:37 | 0:51:41 | |
and one could say from circumstances she had no control over, | 0:51:41 | 0:51:46 | |
so there can be no moral judgment on her. | 0:51:46 | 0:51:49 | |
It's a sad end to a girl who had made some wrong choices in her life. | 0:51:49 | 0:51:55 | |
One could also say that the expense of the funeral, | 0:51:55 | 0:51:57 | |
what the father spent on her, | 0:51:57 | 0:51:59 | |
it's like saying the final picture of this woman | 0:51:59 | 0:52:03 | |
will be a beautiful one | 0:52:03 | 0:52:05 | |
so that our family name can retain its reputation. | 0:52:05 | 0:52:09 | |
The picture of her father seems to be one of a desperate man. | 0:52:13 | 0:52:16 | |
He's covering up Sophie's life. | 0:52:16 | 0:52:19 | |
I don't know, I can sense that there's been such trouble | 0:52:19 | 0:52:22 | |
in the family that it must reflect on him. | 0:52:22 | 0:52:25 | |
I'd like to find out. | 0:52:25 | 0:52:27 | |
What an amazing place. | 0:52:27 | 0:52:30 | |
Frances is travelling to Northumberland, | 0:52:30 | 0:52:33 | |
to Seaton Delaval, the family's main residence. | 0:52:33 | 0:52:37 | |
Amazing. | 0:52:37 | 0:52:38 | |
She's come to meet Helen Berry... | 0:52:45 | 0:52:48 | |
-Hello, Frances. -You must be Helen. | 0:52:48 | 0:52:49 | |
..an expert on the Delaval family. | 0:52:49 | 0:52:52 | |
-Nice to meet you. -Welcome to Seaton Delaval Hall. | 0:52:52 | 0:52:55 | |
So, Frances, what I'd like to do is show you a portrait of Sophia, | 0:52:55 | 0:52:59 | |
-your ancestor. -Yes. | 0:52:59 | 0:53:01 | |
-And she has the whole of life ahead of her. -Yeah. | 0:53:01 | 0:53:04 | |
-It's terribly optimistic. -I know. I think it's gorgeous. | 0:53:04 | 0:53:07 | |
-Isn't she lovely? -And she's so sweet and seems confident, doesn't she? | 0:53:07 | 0:53:12 | |
She has a rather cheeky face, and rather sweet and young | 0:53:12 | 0:53:16 | |
and full of hope. Particularly sad, obviously, | 0:53:16 | 0:53:20 | |
when you know what happened to her life. | 0:53:20 | 0:53:23 | |
Any family resemblance, maybe, do you think? | 0:53:23 | 0:53:25 | |
Maybe in the mouth. | 0:53:25 | 0:53:27 | |
I think in the mouth, yes. | 0:53:27 | 0:53:29 | |
Well, let's go along and have a look at her famous father | 0:53:29 | 0:53:31 | |
-that you've heard a little bit about. -Right, OK. | 0:53:31 | 0:53:34 | |
So this is actually Sir John Hussey Delaval himself. Lord Delaval. | 0:53:34 | 0:53:38 | |
I thought he'd be sterner looking | 0:53:38 | 0:53:41 | |
because that's what I'm getting from the whole drama | 0:53:41 | 0:53:45 | |
of what we've been learning about him, the family and Sophia. | 0:53:45 | 0:53:50 | |
Um, so I don't know what to think about him, really, | 0:53:50 | 0:53:53 | |
because I don't know what was in his heart, | 0:53:53 | 0:53:56 | |
and I don't know other than the obvious thing of posh families | 0:53:56 | 0:54:01 | |
covering up tragedies that don't suit their image. | 0:54:01 | 0:54:08 | |
So, yes, I'd like to see, hear more about him. | 0:54:08 | 0:54:14 | |
Well, if I tell you that he inherited this amazing house | 0:54:14 | 0:54:18 | |
in 1771, in very unusual circumstances... | 0:54:18 | 0:54:21 | |
-Oh, right, OK. -..and he was in fact a younger son. | 0:54:21 | 0:54:25 | |
Oh, he was, yes. | 0:54:25 | 0:54:27 | |
So I want to introduce you to someone now | 0:54:27 | 0:54:30 | |
-who was actually his elder brother. -OK. | 0:54:30 | 0:54:32 | |
-So shall we go and have a look at the portrait? -Yes. Can't wait. | 0:54:32 | 0:54:35 | |
So, Frances, this is Sir Francis Blake Delaval, | 0:54:36 | 0:54:41 | |
the elder brother of Sir John. | 0:54:41 | 0:54:44 | |
This is a man with a story and the circumstances are very unusual. | 0:54:44 | 0:54:48 | |
So the thing about Sir Francis was he loved a party. | 0:54:56 | 0:55:01 | |
Here we are in the saloon in Seaton Delaval Hall. | 0:55:01 | 0:55:04 | |
I rather like this, yes. | 0:55:04 | 0:55:05 | |
And this of course was the venue for magnificent parties. | 0:55:05 | 0:55:09 | |
All of these parties were very costly | 0:55:09 | 0:55:11 | |
-and the money had to come from somewhere... -Yeah. | 0:55:11 | 0:55:14 | |
..so the brother, Sir John, started to get a bit worried. | 0:55:14 | 0:55:17 | |
Also Sir Francis was a gambler. In an age when gambling was popular, | 0:55:17 | 0:55:22 | |
he really took it to the max. | 0:55:22 | 0:55:24 | |
This is a letter, and it's by Sir John Hussey Delaval, | 0:55:24 | 0:55:28 | |
and he's writing to his wife, Susannah, expressing his concern | 0:55:28 | 0:55:33 | |
about the amount of debt that his brother Sir Francis is getting into. | 0:55:33 | 0:55:36 | |
Hm-hm. "I arrived, my angel, here yesterday about three. | 0:55:36 | 0:55:42 | |
"I think it will be the means of preventing my brother's ruin | 0:55:42 | 0:55:47 | |
"as I hope we shall be able to secure him from any attempt | 0:55:47 | 0:55:51 | |
"that may be concerted against him." | 0:55:51 | 0:55:54 | |
He eventually runs up £45,000 worth of debt, | 0:55:54 | 0:55:58 | |
which is about £3.5 million in today's money. | 0:55:58 | 0:56:02 | |
Oh, my god, yes. | 0:56:02 | 0:56:04 | |
They're having to raise a huge amount of money. | 0:56:04 | 0:56:07 | |
So actually, in 1756, Sir John | 0:56:07 | 0:56:10 | |
and his siblings got up a private Act of Parliament which enabled them | 0:56:10 | 0:56:15 | |
to raise a mortgage of £45,000 to pay off Sir Francis' debts. | 0:56:15 | 0:56:20 | |
So the effect of this act is actually that Sir John is now | 0:56:20 | 0:56:25 | |
the head of the family and Sir Francis has been | 0:56:25 | 0:56:28 | |
replaced by his younger brother, and that was incredibly unusual. | 0:56:28 | 0:56:33 | |
-Yes. -He actually succeeded in increasing the family's fortune, | 0:56:33 | 0:56:37 | |
paying off his brother's debts | 0:56:37 | 0:56:39 | |
and really setting them back on course financially. | 0:56:39 | 0:56:42 | |
-Yeah. -He saves the day, really. | 0:56:42 | 0:56:44 | |
He does. Well, he saves his family. | 0:56:44 | 0:56:47 | |
I wonder whether that casts Sophia's funeral in a different light. | 0:56:47 | 0:56:52 | |
Yes, I never thought that he didn't care at all, | 0:56:52 | 0:56:55 | |
I just thought he did care, and he had to also be concerned | 0:56:55 | 0:57:01 | |
about the reputation of his family, which comes first, I suppose. | 0:57:01 | 0:57:08 | |
I'm trying to understand the times in which they lived | 0:57:20 | 0:57:24 | |
and what pressures that put on them, | 0:57:24 | 0:57:27 | |
and what pressures that puts on, you know, the aristocracy now. | 0:57:27 | 0:57:31 | |
But, you know, my heart doesn't lie in it | 0:57:31 | 0:57:33 | |
because it's so removed from how I live and what I believe in | 0:57:33 | 0:57:39 | |
and what family is to me, | 0:57:39 | 0:57:42 | |
because what is primary is their position in society. | 0:57:42 | 0:57:47 | |
But it's nice at least to be in touch with a part of you, | 0:57:50 | 0:57:54 | |
and particularly a part that my father was so - | 0:57:54 | 0:57:57 | |
and my grandfather - were so keen on passing down. | 0:57:57 | 0:58:01 | |
I think they were rather proud of that aristocratic background. | 0:58:02 | 0:58:08 | |
I think it's really nice to have made an entrance | 0:58:11 | 0:58:14 | |
and opened a gate into more information. | 0:58:14 | 0:58:19 | |
In other words, it isn't an end, | 0:58:20 | 0:58:22 | |
you know, the curtain hasn't come down. | 0:58:22 | 0:58:24 | |
It's like we've done an act and we've got a few more acts to go. | 0:58:24 | 0:58:29 |