an even sharper significance.
For her fourth birthday in 1930, the doting old man made Elizabeth the special gift of a pony. At this news public adoration, both of the giver and the recipient, literally overflowed. The same day, the Princess, in a yellow coat trimmed with fur, was seen walking across the square at Windsor Castle, with a band of the Scots Guards providing an accompaniment. Women waved their handkerchiefs and threw kisses. The Princess waved back, and ‘her curly locks fluttered in the breeze’. The sight was too much for the crowd. People outside the Castle gate suddenly pressed forward, and swept the police officer on duty off his feet.58
Chapter 2
THE DUCHESS OF YORK gave birth to a second child at Glamis Castle in August 1930. Although a Labour Government was now in office, traditional proprieties were once again observed – this time at even greater inconvenience to the new Home Secretary, J. R. Clynes, than to his predecessor. Summoned north for the expected event, Clynes was kept waiting for five days as a guest of the Countess of Airlie, at Cortachy Castle. He made no complaint, and seems to have enjoyed his part in the ritual. Later he described how, after the announcement, ‘the countryside was made vivid with the red glow of a hundred bonfires, while sturdy kilted men with flaming torches ran like gnomes from place to place through the darkness’.1
The arrival of Princess Margaret Rose had several effects. One was to reinforce public awareness of her sister. The child was not a boy, the King’s health remained uncertain, and the Prince of Wales showed no sign of taking a wife. A minor constitutional controversy, following the birth, helped to remind the public that Elizabeth’s position was an increasingly interesting one. Although common sense indicated that, after the Prince of Wales and the Duke of York, she remained next in line, doubts were raised about whether this was really the case. Some experts argued that legally the two sisters enjoyed equal rights to the succession: there was nothing, in law, to say that they did not, and the precedence of an elder sister over a younger had never been tested. The King ordered a special investigation. The matter was soon settled, to the satisfaction of the Court, and as the Sovereign himself no doubt wished.2
Another effect was to give Elizabeth a companion, and the public an additional character on which to build an ever-evolving fantasy. The Yorks were now a neatly symmetrical family, the inter-war ideal. There were no more children to spoil the balance, or dilute the cast. After the birth of Margaret Rose, 145 Piccadilly acquired a settled, tranquil, comforting air, and the image of it became a fixed point in the national and imperial psyche. When people imagined getting married and setting up a home, they thought of the Yorks. The modest, reserved, quietly proud father, the practical, child-centred mother, the well-mannered, well-groomed daughters; the ponies, dogs and open air; the servants dealing with the chores, tactfully out of sight; the lack of vanity, ambition, or doubt – all represented, for Middle England and its agents overseas, a distillation of British wholesomeness.
It did not matter that the Yorks were not ‘the Royal Family’ – that the Duke was not the King, or ever likely to be. Indeed, it helped that they were sufficiently removed from the ceremonial and servility of the Court to lead comprehensible lives, and for their daughters to have the kind of fancy-filled yet soundly based childhood that every boy and girl, and many adults, yearned for. At a time of poverty and uncertainty for millions, the York princesses in their J. M. Barrie-like London home and country castles stood for safety and permanence. The picture magazines showed them laughing, relaxed, perpetually hugging or stroking pets, always apart from their peers, doll-like mascots to adorn school and bedroom walls. Children often wrote to them, as if they were playmates, or sisters: little girls they already knew. Story books spun homely little tales around their lives, helping to incorporate them as imaginary friends in ordinary families.
The most dramatic attempt to appropriate them for ordinariness occurred in 1932, with the erection of a thatched cottage, two-thirds natural size, by ‘the people of Wales,’ as a present for Princess Elizabeth on her sixth birthday. This remarkable object made an implicit point, for no part of the United Kingdom had suffered more terrible unemployment than the mining valleys of the principality. Built exclusively by Welsh labour out of Welsh materials, it provided a stirring demonstration of the ingenuity of a workforce whose skills were tragically wasted. At the same time – loyally and movingly – its creators sought to connect the lives of the little Princess and her baby sister to those of thousands of children who inhabited real cottages. The point, however, could not be too political, and an abode, even an imitation one, intended for a princess had to be filled with greater luxuries than average families ever experienced.
Great efforts were made to ensure that it conformed to the specifications of a real home. Electric lights were installed, and the contents included a tiny radio, a little oak dresser and tiny china set, linen with the initial ‘E’, and a portrait of the Duchess of York over the dining-room mantelpiece. The house also contained little books, pots and pans, food cans, brooms, and a packet of Epsom salts, a radio licence and an insurance policy, all made to scale. The bathroom had a heated towel rail. In the kitchen, the reduced-size gas cooker, copper and refrigerator worked, and hot water came out of the tap in the sink.
It was scarcely a surprise present. Months of publicity preceded its completion. There was also a near-disastrous mishap. When the house was finished and in transit, the tarpaulin protecting it caught fire, and the thatched roof and many of the timbers were destroyed. Though some felt it lucky that the incendiary nature of the materials had been discovered before, and not after, the Princess was inside, the project was not abandoned. Instead, indefatigable craftsmen worked day and night to repair the damage and apply a fire-resistant coating, in time to display the renovated house at the Ideal Home Exhibition at Olympia.3 Then it was reconstructed in Windsor Great Park for the birthday girl, and became a favourite plaything.
Whatever Elizabeth may have made of the house’s message, she and her sister were soon using it for the purpose for which it was intended: to exercise and display their ordinariness. Elizabeth was ‘a very neat child,’ according to her governess, and the Welsh house provided an excellent opportunity to show it. The two girls spent happy hours cleaning, dusting and tidying their special home.4 Thousands of people who had experienced a vicarious contact with royalty by inspecting the cottage when it was on public show, were later able to enjoy a series of photographs of the elfin princesses, filling the doorway of ‘Y Bwthyn Bach’ – the Little House – not just as children but as Peter Pan adults, miniaturized in a securely diminutive world, the perfect setting for the fantasy of ‘royal simplicity’. The contrast between the oriental extravagance of the structure – fabulously costly in design, equipment, production and delivery – and the games that were to be played in it, highlighted the triumphant paradox.
It was also, of course, a female artefact, a point made by Lisa Sheridan, when the children proudly took her on a tour in 1936:
In the delightful panelled living-room everything was in its proper place. Not a speck of dust anywhere! Brass and silver shone brilliantly. Everything which could be folded was neatly put away. The household brushes and the pots and pans all hung in their places. Surely this inspired toy provided an ideal domestic training for children in an enchanted world . . . Everything in the elegantly furnished house had been reduced, as if by magic, to those enchanting proportions so endearing to the heart of a woman. How much more so to those young princesses whose status fitted so perfectly the surroundings?5
Y Bwthyn Bach gave Elizabeth a Welsh dimension. A Scottish one was provided shortly afterwards by the appointment, early in 1933, of a governess from north of the border, Marion Crawford. In a sense, of course, Elizabeth was already half-Scottish, and it was the Scottish networks of the Duchess of York that had led to the appointment. However Miss Crawford belonged to a different kind of Scotland from the one known to the Bowes-Lyons, or – for that matter – to the kilt-wearing Windsor dynasty. A twenty-two-year-old recent graduate of the Moray House Training College in Edinburgh, she came from a formidable stratum: the presbyterian lower middle class.
Miss Crawford stayed with the Yorks, later the Royal Family, teaching, guiding and providing companionship to both girls for fourteen years, until she married in 1947, shortly before the wedding of Princess Elizabeth. Three years later, she published