Colonial Agents & Provincial Agents-General in the Imperial Capital

JUST WHERE THE elegant Edwardian urbanity of Waterloo Place turns into Regent Street there is an edifice that announces itself as home to the “Agent General for British Columbia”. Built in 1914-1915, it was designed by a not particularly prominent architect named Alfred Burr who did a lot of work for the Metropolitan Police and is also responsible for designing the charming little curator’s lodgings next to Dr Johnson’s House (which he restored 1911-1912).

The listing that protects British Columbia House, at 1-3 Regent Street, describes its style as “rich Baroque with both Roman and Genoese palazzo features composed on a large scale”.

The main entrance is on Regent Street with the province’s delightfully sunny coat of arms carved above the portal, guarded by allegorical figures of Justice and the like above. On the corner with Charles II Street, the inscription on the foundation stone proclaims its laying at the hands of Prince Arthur, Duke of Connaught on the sixteenth day of July in 1914.

But who or what on earth was the Agent General for British Columbia? (more…)

When Quebec’s « Salon bleu » was the « Salon vert »

One Westminster tradition replicated in many times and places across the Commonwealth is a convention of colour: the lower house of a parliament is decorated in green, while the upper chamber is decorated in red. This reflects the green benches of the House of Commons and the red ones of the House of Lords.

Officially the plenary chamber of Quebec’s unicameral parliament is boringly the salle de l’Assemblée nationale but because of the colour of its walls it is more often known as the Salon bleu. One’s never surprised when Quebec bucks a trend or (more specifically) rejects an Anglo convention but it turns out the province’s plenary chamber did in fact used to be green until relatively recently.

When the members of the Legislative Assembly (as it then was) first convened in the Hôtel du Parlement in 1886 the walls were actually white. By the opening of the 1895 session the desks had been reappointed in green, but Le Soleil still made reference to the room as the “chambre blanche”. It was only in 1901 that the room was painted a “soft green” and the carpets and other furnishings changed accordingly. It even made an appearance in Alfred Hitchcock’s 1953 film “I Confess”.

From then the chamber was a Salon vert until 1978, when the decision was taken to begin broadcasting the proceedings of the Assemblée nationale.

The television specialists complained that the dark green of the chamber was not visually conducive to the TV cameras available at the time and, looking at the evidence from the 1977 test session (above), one can see their point. Walls of either beige or blue were the options recommended in an official report, and unsurprisingly the national colour was chosen.

The historian Gaston Deschênes has mentioned the technical requirements of broadcasting also coincided with a desire to break with a “British” tradition. Certainly the government of the day, René Lévesque’s Parti Québécois, didn’t mind the change, while Maurice Bellemare — “the old lion of Quebec politics” and sometime leader of the old Union nationale — was deeply pleased that the chamber adopted the colour of Quebec’s flag.

So the walls were repainted sky blue and the furnishings changed accordingly, resulting in the Salon bleu we know today (below).

A tweet from the Assemblée’s official account shows two photos looking towards the chamber’s entrance from before (above) and after (below) it was made ready for television.

All the same, green is not universal amongst Commonwealth lower (or only) chambers. It’s not even universal in Canada: Manitoba joins Quebec in its azure tones while British Columbia’s is red-dominated.

Quebec was the last of Canada’s provinces to abolish its upper house, the Legislative Council, in 1968 (at the same time the lower house was renamed the National Assembly). The Legislative Council’s former meeting place is, of course, red, and the Salon rouge is used for important occasions like inductions into the Ordre national du Québec or the lying-in-state of the late Jacques Parizeau.

In the early 1930s the City of Paris decided the Musée de Luxembourg had become too small to continue as the city’s gallery of contemporary art. At the same time, the French Republic was beginning to think it needed a proper museum of modern art to display its own collections as well. The City and the Republic joined forces to build a new palace of art in time for the 1937 International Exposition.

While the City and the Republic would house their collections at a single site the museums were to remain separate, so in May 1937 the Palace of the Museums (plural) of Modern Art was inaugurated by President Lebrun.

Because of its riparian location on the Avenue de Tokio (renamed to Avenue de New-York in 1945) the building quickly became known as the Palais de Tokyo. (more…)

In Rome the other week I was sorry to hear from a mutual friend that Angela Wrapson had died. She had been fighting cancer for a while, but she was quite a fighter and was one of those people you thought would always go on.

Angela was, amongst many things, a fixture of that strange yet familiar galaxy known as the Scottish arts world. She was, for example, director of the Stanza poetry festival for some years.

She was a keen listener, a good conversationalist, and a very welcoming hostess in the wing of Brunstane House that she and her husband George bought back in the 1970s.

From 2015 to 2017, George was the MP for East Lothian and I am still ashamed in those two years I never managed to reciprocate Angela and George’s hospitality by having them round.

Nonetheless, I was pleased to see she got the plaudits she deserved with obituaries in the Scotsman, the Times, and the Herald.

May she rest in peace.

Instagram: @andcusack

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