The royal beekeeper—in an arcane tradition thought to date back centuries—has informed the hives kept in the grounds of Buckingham Palace and Clarence House of the Queen’s death.
And the bees have also been told, in hushed tones, that their new master is now King Charles III. The official Palace beekeeper, John Chapple, 79, told MailOnline how he travelled to Buckingham Palace and Clarence House on Friday following news of The Queen’s death to carry out the superstitious ritual.
He placed black ribbons tied into bows on the hives, home to tens of thousands of bees, before informing them that their mistress had died and that a new master would be in charge from now on.
The Queen has died, aged 96. The palace released the following notice from her heir and successor King Charles III:
The death of my beloved Mother, Her Majesty The Queen, is a moment the greatest sadness for me and all members of my family.
We mourn profoundly the passing of a cherished Sovereign and a much-loved Mother. I know her loss will be deeply felt throughout the country, the Realms and the Commonwealth, and by countless people around the world.
During this period of mourning and change, my family and I will be comforted and sustained by our knowledge of the respect and deep affection in which The Queen was so widely held.
Official guidance for prayer and liturgy has been given by the Church of England. The collects below are suitable for private devotion:
1 – A prayer of thanksgiving
Eternal God, our heavenly Father, we bless your holy name for all that you have given us in and through the life of your servant Queen Elizabeth. We give you thanks: for her love of family and her gift of friendship; for her devotion to this nation and the nations of the Commonwealth; for her grace, dignity and courtesy; and for her generosity and love of life.We praise you for: the courage that she showed in testing times; the depth and of her Christian faith; and the witness she bore to it in word and deed.Accept our thanks and praise, we pray, through Jesus Christ our Lord. Amen.
2 – A prayer of commendation
God our creator and redeemer, by your power Christ conquered death and returned to you in glory. Confident of his victory and claiming his promises, we entrust your servant Elizabeth into your keeping in the name of Jesus our Lord, who, though he died, is now alive and reigns with you and the Holy Spirit, one God now and for ever. Amen.
3 – A prayer for those who mourn
Father of all mercies and God of all consolation, you pursue us with untiring love and dispel the shadow of death with the bright dawn of life. Give courage to the Royal Family in their loss and sorrow. Be their refuge and strength, O Lord; reassure them of your continuing love and lift them from the depths of grief into the peace and light of your presence. Your Son, our Lord Jesus Christ, by dying has destroyed our death, and by rising, restored our life. Your Holy Spirit, our comforter, speaks for us in groans too deep for words. Come alongside your people, remind them of your eternal presence and give them your comfort and strength. Amen.
4 – A prayer for the new King
Lord God, you provide for your people by your power, and rule over them in love: Grant to your servant our King the Spirit of wisdom and discernment, that being devoted to you with his whole heart, he may so wisely govern, that in his time we may live in safety and in peace; through Jesus Christ our Lord. Amen.
Virgil Findlay’s original pen-and-ink illustration for the 1939 Arkham House edition of H.P. Lovecraft’s The Outsider, and Others was recently sold by the book dealers Carpe Librum. This was the first volume published by Arkham House, the firm having been founded the same year by August Derleth and Donald Wandrei for the purpose of collecting Lovecraft’s stories in hardcover.
The Washington Star of November 16, 1875 reported the following remarks by Walt Whitman at the public reburial of Edgar Allan Poe in Baltimore:
For a long while, and until lately, I had a distaste for Poe’s writings. I wanted, and still want for poetry, the clear sun shining, and fresh air blowing—the strength and power of health, not of delirium, even amid the stormiest passions—with always the background of the eternal moralities. Non-complying with these requirements, Poe’s genius has yet conquer’d a special recognition for itself, and I too have come to fully admit it, and appreciate it and him. Even my own objections draw me to him at last, and those very points, with his sad fate, will doubtless always make him dearer to young and fervid minds.
The quote offers a nice insight into Whitman’s own philosophy. He spoke extemporaneously, having declined to make a formal speech. In conclusion, he evoked a vision of Poe:
In a dream I once had, I saw a vessel on the sea, at midnight, in a storm. It was no great full-rigg’d ship, nor majestic steamer, steering firmly through the gale, but seem’d one of those superb little schooner yachts I had often seen lying anchor’d, rocking so jauntily, in the waters around New York, or up Long Island sound—now flying uncontroll’d with torn sails and broken spars through the wild sleet and winds and waves of the night. On the deck was a slender, slight, beautiful figure, a dim man, apparently enjoying all the terror, the murk, and the dislocation of which he was the centre and the victim. That figure of my lurid dream might stand for Edgar Poe, his spirit, his fortunes, and his poems—themselves lurid dreams.
Elaborating on his remarks in The Critic, Whitman wondered what to make of the “lush and the weird” influences that had “taken such extraordinary possession of Nineteenth Century verse-lovers”.
Seven photographs depicting the home of Pre-Raphaelite painter Sir Edward Burne-Jones, taken in 1887 by Frederick Hollyer, will be auctioned at Christie’s later this month. The artist and his family moved into The Grange, an 18th century house in West Kensington, London, twenty year earlier. Views include the exterior, drawing room, dining room; garden studio, and daughter Margaret’s bedroom. The lot, which is being sold by descendants, is estimated between one and two thousand pounds.
But thou, Goddess, farewell, and turn thy steeds to the Ocean stream, And I will endure my misery still, even as I have borne it. Farewell, bright-faced Selene; and farewell too, ye stars, That follow the slow-moving chariot of the tranquil Night.
Pictured above: head of a chariot horse belonging to the moon-goddess Selene, designed by Pheidias in marble, once situated on the east pediment of the Parthenon in Athens, now at the British Museum.
The Edward Gorey Charitable Trust has launched a petition for a postage stamp to honor the artist best known for his whimsical and macabre illustrations:
February 22, 2025 marks the 100th anniversary of Edward Gorey’s birth, and we would like to see it celebrated with a U.S. postage stamp recognizing him as one of America’s most inventive and influential cultural figures. And, we need your help!
Please join the Edward Gorey Charitable Trust and our friends at the Edward Gorey House in our joint campaign for a centennial 2025 Edward Gorey postage stamp. To make this stamp a reality, please consider sending a letter of nomination to the United States Postal Service. To petition USPS for a stamp, we all must send in actual letters on paper at least three years in advance of prospective publication.
You can visit the Trust’s website for instructions on how to support the campaign. Alas, we never had a set of postage stamps designed by Gorey. My photo essay on the artist’s house in Cape Cod can be read here at the blog.
On his second tour of the United States in the late 1860s, Charles Dickens took rooms at the Parker House in Boston. This hotel was his headquarters for five months between 1867 and 1868, during which time he traveled extensively among other cities. Next door at the Tremont Temple he gave the first American reading of A Christmas Carol—from memory—together with the trial scene from Pickwick, a perennial favorite with audiences.
The Parker House was torn down and rebuilt in stages during the 1920s, with the present building completed in 1927. Two artifacts related to Dickens and his residency can still be found on site. The first is a mirror in which he rehearsed. On stage he would seem to transform into the various characters from his books, not only in voice, but in body and mannerism.
If you find yourself at the Parker House, you will see his mirror on the mezzanine floor, to the left of the elevator bank.
The second artifact is the very door to the suite of rooms that he occupied, with the numbers 138 and 139 affixed. This was salvaged during the demolition of the original building and stands in a small gallery downstairs from the lobby.
The Museum of Fine Arts in Boston has two excellent paintings by Dante Gabriel Rossetti in its collection. I have been in Boston this week and paid a visit to the MFA, as I always do on such trips.
The highlight for any admirer of the Pre-Raphaelites is Rossetti’s 1859 painting Bocca Baciata. This work marked a transition in the artist’s career, away from the narrative Medieval paintings of his youth and toward the sensuous female portraits of his mature period. The title comes from a line in Boccaccio’s Decameron, which is written on the reverse of the canvas:
Bocca baciata non perde ventura, anzi rinnova come fa la luna.
‘The mouth that has been kissed does not lose its good fortune: rather, it renews itself just as the moon does.’
Bocca baciata means, “The mouth that his been kissed,” or “the kissed mouth.”
The model was Fanny Cornforth, who lived with Rossetti at the time. She also sat for the the second painting in the collection: Belcolore, or Girl with Rose, from 1863. It is a fitting companion piece as the subject is likewise drawn from the Decameron. The character of Monna Belcolore is a married woman who is courted by her village priest in one of the stories within the story.