Questions in Egyptology? Did the ancient Egyptians Have a Religion?

Questions in Egyptology? Did the ancient Egyptians Have a Religion?

Did the ancient Egyptians have a religion, or was it just a collection of unrelated local cults?

Whether the ancient Egyptians had what we would call religion is topic that Egyptologists struggle with and disagree about.

The word religion is has a Latin origin, the ancient Egyptians had no word for religion and so the argument goes, therefore, they had no concept of religion, but they also had no word of cosmos or art but they believed they lived in the cosmos and they practised all manner of arts.

Defining religion is tricky and Egyptologists take their lead from anthropologists on the subject which makes religion into the study of people not as one of the pioneers of anthropology would put is as the study of the ‘belief in the existence of spiritual beings that needed humans to form relationships with them’. (Tylor, 1871).

Tylor’s definition is not the most up to date and it’s certainly not perfect but it works. Some anthropologists have pointed out that religious traditions such as Theravada Buddhism do not require the existence of supernatural or spiritual beings to be a religion and eminent sociologists and philosophers such as Emile Durkheim and Karl Marx have emphasised the social and economic function of religion over belief, but if you look at modern psychology the consensus is that belief is what motivates human actions because when you believe something you accept as true without ever feeling the need to prove it. Religion then can be defined as the entire collection of beliefs, values, and practices that a group holds to be true and sacred. A group’s religious beliefs explain where the people fit in relation to the universe and how they should behave (moral code) while here on Earth.

Book by Stephen Quirke

In Egyptology, the term cult means the daily tending and worship of an image of a deity. The shrine containing the image was opened at dawn, and then the deity was purified, greeted and praised, clothed, and fed. There were several further services, and the image was finally returned to its shrine for the night. Apart from this activity, which took place within the temple and was performed by a small group of priests, there were numerous festivals at which the shrine and image were taken out from the sanctuary on a portable barque, becoming visible to the people and often visiting other temples. Thus, the daily cult was a state concern, whose function was to maintain reciprocity between the human and the divine, largely in isolation from the people. This reciprocity was fundamental because deities and humanity together sustained the cosmos. If the gods were not satisfied, they might cease to inhabit their images and retreat to their other abode, the sky. Temples were constructed as microcosms whose purity and wholeness symbolized the proper order of the larger world outside.

So, was there an ancient Egyptian religion, or was it a collection of cults?

When Jean François Champollion unlocked the secret code of Egypt’s most sacred language, hieroglyphs, in 1822 he unlocked many wonders of a long-hidden world. It was a world populated by strange and mysterious gods with human bodies and animal heads. From the start, Egyptology committed itself to the study of Egypt’s ancient religion; particularly to its beliefs about life after death. These scholars of long lost languages were not the first to be intrigued by ancient Egypt and her gods. Renaissance scholar Marsilio Ficino was the first to compare the Egyptian gods Osiris and Isis with the Christian Jesus and the Virgin Mary. The 17th-century scholar Athanasius Kircher explored the nature of the divine in Greek and Egyptian culture and the romantics of the late 18th and 19th century were fascinated by anything to do with royal tombs and mummies.

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Wikipedia Ancient Egyptian deities

.Since the translation of the ‘divine words’ Egyptology has come a long way but it has fallen short in one important respect: it has failed to produce a description of the ancient Egyptian gods that is in any way commensurate with the scale and impressiveness of its sacred monuments. Today the gods and religion of ancient Egyptians are portrayed as mundane and soulless; there is no sense that the gods were holy, divine, or transcendent and certainly no sense that once people believed they contained the ultimate mystery of life, death and, the cosmos.

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The sun rises over the circular mound of creation as goddesses pour out the primeval waters around it.

What has become obvious to me is that Egyptologists themselves do not have a clear picture of the gods or of the ancient Egyptian religion. Egyptologists focused on words, almost to the exclusion of everything else. Buildings and monuments are the domain of the archaeologists; the wonderful art of the tombs and precious funeral artefacts found in them were the domain of art historians, and the anthropologists are processing ancient Egyptian religion through a variety of pan-world theories that render religion down to observable social behaviours.

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Brooklyn Museum A figure of the Goddess Nephthys

The gods were kept from common view, they were kept or made pure and special. That which is held sacred in a society is kept special because it helps to fulfil its deepest needs and longings. The gods in the ancient world filled people with both reverence and terror. What was thought sacred was protected and adored because it represented the intersection between the limits of temporal human effort and the unlimited possibilities of the metaphysical. Religion was not an individual means for orienting or transforming oneself in the world as it is the West today, but a complex and rich human phenomenon that formed the mental architecture of the whole of society.

Where belief in the sacred prevails as it did in ancient Egypt, the world and life is viewed essentially as the work of supernatural beings. In Egyptology, however, sacredness is believed to lie primarily in the person of the king; in his tomb, his temples and in his cult statues, in his images and in the ritual objects he used in sacred performances.

 

 

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Khafra (also read as Khafre, Khefren and Greek: Χεφρήν Chephren) was an ancient Egyptian king (pharaoh) of the 4th Dynasty during the Old Kingdom. He was the son of Khufu and the throne successor of Djedefre. According to the ancient historian Manetho, Khafra was followed by king Bikheris, but according to archaeological evidence, he was instead followed by king Menkaure. Khafra was the builder of the second-largest pyramid of Giza.

The ancient Egyptian king was believed to be the son of a god, chief priest, and mediator between the gods in heaven and the people on earth. The priest, once initiated, led the community in connecting with the supernatural to access its divine benefits – health, good fortune, and life after death.

The king’s priests were initiated into the sacred cults; they learned and maintained the sacred systems; its requirements, and its taboos; and they maintained the sacred order and the prevailing worldview among the non-literate. The concept of sacredness extended beyond the king to the natural world, to the river Nile, the sky, the sun, the moon, and the stars. The land of Egypt was a sacred land filled with the abundance of creation, it was a land filled with sacred animals and plants, and it was land filled with sacred numbers.

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Hieroglyphics with Egyptian numerals. The text seems to be a recipe for a medicinal potion. Wikimedia.

By understanding what was sacred to the ancient Egyptians it is possible to get a new view over ancient Egypt, a view that reveals the rich religious symbolism and philosophy of the world’s first great religion. Almost two hundred years after Champollion provided the first key to understanding ancient Egypt we are working on a new key – the key of sacred numbers and it now stands ready to unlock another layer of meaning in the great mystery that is ancient Egypt.

See also

How did the Egyptians Influence the Greeks?

How Long Did it Take to Mummify a Pharaoh?

The Tragic Life of Annia Aurelia Galeria Lucilla

How did the Egyptians Influence the Greeks?

How did the Egyptians Influence the Greeks?

I know that the generally accepted academic view is that the ancient Egyptians had no influence on the development of Greek mathematics, philosophy and cosmology but I believe there is evidence, that has been overlooked by the mainstream, that shows the Greek mathematicians and philosophers such as Meltis, Pythagoras (or the Pythagorean cult I know the character we call Pythagoras probably never existed) and Plato were all influenced by what they learned about numbers in Egypt.

In Raphael’s fresco The School of Athens, Pythagoras is shown writing in a book as a young man presents him with a tablet showing a diagrammatic representation of a lyre above a drawing of the sacred tetractys.

The reason Egypt’s contribution has been misunderstood is that the academics do not understand what the ancient Egyptians did with numbers. They have decided that Egyptian numbers were used in a purely profane way, that is used to quantify stuff’ However, there is a good deal of evidence that they also used them as metaphors to describe the cosmos. I’m working on a book about numbers as metaphors for what was sacred in ancient Egypt, and the evidence is compelling. Well, I can hear you say. ‘She would say that wouldn’t she.’ But I think that when the book comes out a lot of people will agree.

In the ancient Greek civilisation where the first philosophers attempted to explain the creation of the Universe, the hymns of mysticist Orpheus proved to be of significant importance, by introducing the term ‘Chaos’. This is another reason Egyptian cosmology has not been understood. The Greek notion of chaos has been superimposed onto the ancient Egyptians whose prima materia was not chaotic but inert, dark, limitless, timeless and without form.

According to Orpheus, Chaos condensed into the giant Cosmic Egg, whose rupture resulted in the creation of Phanes and Ouranos and of all the gods who symbolise the creation of the Universe. Later, Greek philosophers supported the view that chaos describes the unformed and infinite void, from which the Universe was created.

Engraving of a marble relief of Phanes.jpg. From Wikimedia Commons …

After visiting Egypt, so his biographer said, Thales of Miletus (624/623 – c. 548/545 BCE) claimed that the Earth floats on water and that earthquakes occur when the Earth is rocked by waves, an idea he probably picked up in Egypt where everything came out of the infinite waters of the Nun and where the Earth was believed to be surrounded by the water of Nun.

Thales was also known for his innovative use of geometry. For example, he said: Megiston topos: apanta gar chorei (Μέγιστον τόπος· ἄπαντα γὰρ χωρεῖ.) The greatest is space, for it holds all things.

The god Shu was the god of space or emptiness who held the bubble of air that contained the Earth in the ancient Egyptian cosmology. His role in creating the triangle occurred when he mythically lifted the body of the goddess Nut to form the vault of the sky, beneath him lay the body of the Earth god Geb. Flinders Petrie was the first to notice that the King’s Chamber of the Great Pyramid of Giza was based on a 3–4–5 pyramid, built c. 2,500 BCE.

Wikimedia: Nut forming the arc of the heavens, Shu supported by Khumn in the centre, and Geb in a prone position lying on the Earth.

Topos is in Newtonian-style space, since the verb, chorei, has the connotation of yielding before things or spreading out to make room for them, which is extension. Within this extension, things have a position. Points, lines, planes and solids related by distances and angles follow from this presumption that Thales understood triangles and right triangles, and what is more, used that knowledge in practical ways. It is said that he measured the height of the pyramids by their shadows at the moment when his own shadow was equal to his height. A right triangle with two equal legs is a 45-degree right triangle, all of which are similar.

The length of the pyramid’s shadow measured from the centre of the pyramid at that moment must have been equal to its height. This story indicates that he may have been familiar with the Egyptian seked, or seqed, the ratio of the run to the rise of a slope (cotangent). The seked is at the base of problems 56, 57, 58, 59 and 60 of the Rhind Mathematical Papyrus which dates to the Second Intermediate Period of Egypt. It was copied by the scribe Ahmes (i.e., Ahmose; Ahmes is an older transcription favoured by historians of mathematics), from a now-lost text from the reign of King Amenemhat III (12th dynasty).

Wikimedia Commons: Rhind Mathematical Papyrus

Pythagoras of Samos (c. 570 – c. 495 BC)[b] was an ancient Ionian Greek philosopher and the eponymous founder of Pythagoreanism. His political and religious teachings were well known in Magna Graecia and influenced the philosophies of Plato, Aristotle, and, through them, Western philosophy.

According to Aristotle, the Pythagoreans used mathematics for solely mystical reasons, devoid of practical application. They believed that all things were made of numbers. The number one (the monad) represented the origin of all things and the number two (the dyad) represented matter. The number three was an “ideal number” because it had a beginning, middle, and end and was the smallest number of points that could be used to define a plane triangle, which they revered as a symbol of the god Apollo. The number four signified the four seasons and the four elements. The number seven was also sacred because it was the number of planets and the number of strings on a lyre, and because Apollo’s birthday was celebrated on the seventh day of each month. They believed that odd numbers were masculine, that even numbers were feminine, and that the number five represented marriage because it was the sum of two and three.

Ten was regarded as the “perfect number” and the Pythagoreans honoured it by never gathering in groups larger than ten. Pythagoras was credited with devising the tetractys, the triangular figure of four rows which add up to the perfect number, ten. The Pythagoreans regarded the tetractys as a symbol of utmost mystical importance. Iamblichus, in his Life of Pythagoras, states that the tetractys was “so admirable, and so divinised by those who understood [it],” that Pythagoras’s students would swear oaths by it.

Modern scholars debate whether these numerological teachings were developed by Pythagoras himself or by the later Pythagorean philosopher Philolaus of Croton. We believe Pythagoras whoever he was, and his followers developed them after visiting Egypt. The Pythagorean Mystery Numbers are not exactly what the Egyptians were up to but the Pythagoreans got the idea of modelling the universe with numbers from the Egyptians and we will show how they did it in our upcoming book which has the working title, ‘The Numbers of Thoth’ by Julia and Martin Herdman.

How to Write Historical Fiction

How to Write Historical Fiction

How to Write Historical Fiction

by Julia Herdman

Sinclair_Cover Julia Herdman

Sinclair by Julia Herdman

is rated 5 Star on Amazon and Goodreads

Sinclair is set in the London Borough of Southward, the Yorkshire town of Beverley and in Paris and Edinburgh in the late 1780s. Strong female leads include the widow Charlotte Leadam and the farmer’s daughter Lucy Leadam. Sinclair is a story of love, loss and redemption. Prodigal son James Sinclair is transformed by his experience of being shipwrecked on the way to India to make his fortune. Obstacles to love and happiness include ambition, conflict with a God, temptation and betrayal. Remorse brings restitution and recovery. Sinclair is an extraordinary book. It will immerse you in the world of 18th century London where the rich and the poor are treated with kindness and compassion by this passionate Scottish doctor and his widowed landlady, the owner of the apothecary shop in Tooley Street.  Sinclair is filled with twists and tragedies, but it will leave you feeling good.

Find a Good Starting Point:

When I wrote my book, Sinclair, I had no idea where or when to start my story. I had had the idea for a book for a long time, but it was very unformed. I wanted to write a book that was a good book to read, but I was struggling for somewhere to start.

I had discovered I had married into a family whose ancestors were apothecary surgeons working at Guy’s Hospital and living in Tooley Street close to London Bridge in the late 18th century.

The family were quite a well-documented, as the historical record goes. I had already done a lot of research, but I did not have a story and I could not see how I was ever going to write a book.

Determined not to give up on my quest to be a writer of novels  I searched the internet for ideas and found one that I thought would work for me. I looked for a dramatic historical incident, adapted it and put my characters into it. Suddenly, my writer’s block had disappeared, and my characters were telling their own story.

The sinking of the Halsewell, by Turner

 

Keep the End in Mind:

When I was writing my book Sinclair, I always knew how the story would end.

I did not know how my characters would get there, but I knew where I wanted to get them.

Keeping the end in mind is a tried an tested technique in many endeavours, and it works well when you’re writing historical fiction or any book for that matter.

 

Hit the Books: 

Getting the history right is important when writing historical fiction, but don’t get hung up on having to get everything right in the first draft. If you don’t know what they called something in the 1870s, just give the thing its common name and get on with the flow of your story.

Details can be corrected later. What cannot be repaired are fundamental errors such basing your book on an iron or steel ship in the 1780s when everything was made of wood.

Details matter, to the avid historical fiction reader.  I remember reading a book set in the 1950s and the author described the stuffing coming out of an old settee as foam. It grated on me all the way through the book.

When I wrote my book I had to research the history of medicine and the key players in its development, particularly the London teaching hospitals.

To my horror, I found that medicine of the 1780s was very primitive. There were no anaesthetics, no antibiotics and doctors didn’t even have stethoscopes.

 

Visit Locations:

Getting a feel for scale is hard when you’re writing about the past.

Visiting the sites or similar locations to those you are writing about in your book will help you get a sense of how long it took people to do things in the past.

Putting the house or the street you are writing about into its context will help you paint a more vivid picture. I looked at old maps, old painting and illustrations and used contemporary descriptions of places I used in my story when I could find.

I also visited the central locations in Sinclair – London, Edinburgh and Beverley in Yorkshire.

Guy’s Hospital, London

Remember: It’s the story that counts

When I write about the past, I know I am taking my reader into a foreign country.

Beyond the memory of your own generation, the past is a mystery, it is an uncharted territory that is both dangerous and exciting.

I aim to create a world my reader can believe because I want to write a book that is a good read. I want to show my reader a world that they might have experienced if they had lived in that time and place.

As a writer, I place myself inside my characters, I see the world I have created through their eyes because I am telling their story.

So, remember to think about the journey your characters will take, what will they be like when your tale is told. What will they have learned about life, themselves and their friends? No matter how accurate your history is if your characters are not believable and do not grow, you have not written a story, people will want to read.

 

 

Here are some websites to try if you’re thinking about writing historical fiction:

https://jerichowriters.com/historical-fiction

How to Write Historical Fiction: 7 Tips on Accuracy and Authenticity

The Present Past – Writing History

 

 

 

The Tragic Life of Annia Aurelia Galeria Lucilla

The Tragic Life of Annia Aurelia Galeria Lucilla

The tragic Annia Aurelia Galeria Lucilla was born around 150 AD.

Her father was the Roman Emperor Marcus Aurelius, her mother the Empress Faustina the Younger. Lucilla was the elder sister of Emperor Commodus. A character loosely based on Lucilla was the love interest to Russell Crowe in the block buster film Gladiator in 2000. The film was directed by Ridley Scott. In the film the character based on Lucilla was played by the Danish actress Connie Nielsen. Crowe portrays the Hispano-Roman general Maximus Decimus Meridius, the man  betrayed by Commodus. Reduced to slavery, Maximus rises through the ranks of the gladiatorial arena to avenge the murders of his family. That, of course, was fiction.

Marriages

The real Lucilla was married her father’s co-ruler Lucius Verus in 164 when she was 14. Marriage at such a young age was normal in the Roman world. Early marriages led to an astonishingly high death rate among the aristocracy. Even today a woman  getting pregnant in her early teens runs higher risks than a more mature woman. Her husband was 18 years her senior. Upon marriage, she received the title of Augusta and became a Roman Empress. Together they had three children: Aurelia Lucilla was born in 165 in Antioch, Lucilla Plautia and Lucius Verus. Aurelia and another boy died young. After Lucius Verus died, in 169, her father arranged a second marriage for her. This time it was to Tiberius Claudius Pompeianus Quintianus, a Syrian Roman who was twice consul and his political ally. Quintianus was at least twice Lucilla’s age. They were married in 170, and she bore him a son named Pompeianus.

 

Her Brother

The Roman Historian Cassius Dio wrote that Commodus ‘was not naturally wicked, but, on the contrary, was as guileless as any man that ever lived. He was simple and cowardly and a slave to his companions. He developed cruel and lustful habits. Commodus was nineteen years old when his father died. He had advice from his many guardians in the Senate, which he steadfastly ignored. He hated all exertion and craved the comfortable life of the city.’[1] Commodus’ behaviour became increasingly disturbing as the years went by. Lucilla hatched a plot to kill and replace him with her nephew her daughter, and two cousins; one of which was Marcus Ummidius Quadratus Annianus who wasmost probably her lover.

 

The Plot

Lucilla planned to take over as empress, but as her nephew attempted to stab Commodus, he shouted, “Here is the dagger the Senate sends you!”

The plot was foiled and Commodus was spared. The male members of the plot were immediately put to death, while Lucilla, her daughter, and cousin were banished to Capri. However, they did not escape death for long, Commodus had them executed a year later, in 182 AD.

 

[1] Epitome of Book LXXIII, Roman History by Cassius Dio,  Vol. IX of the Loeb Classical Library edition, 1927

Julia Herdman writes historical fiction.

Her novel Sinclair is available of Amazon. Click here to get your copy.

Sinclair is set in the London Borough of Southward, the Yorkshire town of Beverley and in Paris and Edinburgh in the late 1780s. Strong female leads include the widow Charlotte Leadam and the farmer’s daughter Lucy Leadam. Sinclair is a story of love, loss and redemption. Prodigal son James Sinclair is transformed by his experience of being shipwrecked on the way to India to make his fortune. Obstacles to love and happiness include ambition, conflict with a God, temptation and betrayal. Remorse brings restitution and recovery. Sinclair is an extraordinary book. It will immerse you in the world of 18th century London where the rich and the poor are treated with kindness and compassion by this passionate Scottish doctor and his widowed landlady, the owner of the apothecary shop in Tooley Street.  Sinclair is filled with twists and tragedies, but it will leave you feeling good.

Sinclair_Cover Julia Herdman

See Also:

Messalina – The Most Promiscuous Women in Rome?

 

Paintings from the tomb of Nebamun

Paintings from the tomb of Nebamun


This beautiful illustration is laid out in typical ancient Egyptian style. The strange but charming perspective is called ‘aspective’ and it is the opposite of our modern western view called ‘perspective’. The aim of the ancient Egyptian artist was to show all the essential details of a thing or person from a universal, not a personal viewpoint.

The image of the pond is a halcyon one, the animals, fishes and trees represent the peace and tranquillity of the ideal afterlife. The colours are cool and tranquil to illustrate the peace and comfort of life in the Hereafter. Heaven was not perceived as a garden but gardens were thought of as heavenly.

The painting is one of 11 paintings acquired by the British Museum from the tomb-chapel of a wealthy Egyptian official called Nebamun in the 1820s. Dating from about 1350t BC, they are some of the most famous works of art from Ancient Egypt.

The Tomb of Nebamun is from  Dynasty XVIII. It was located in the Theban Necropolis on the west bank of the Nile at Thebes (present-day Luxor), in Egypt. The tomb was the source of a number of famous decorated tomb scenes that are currently on display in the British MuseumLondon.

Nebamun (c 1350 BCE) was a middle-ranking official scribe and grain counter at the temple complex in Thebes. His tomb was discovered in 1820 by a young Greek adventurer called Giovanni (“Yanni”) d’Athanasi, who was acting as an agent for Henry Salt, the British Consul-General. The tomb he found had plastered walls  that were richly and skilfully decorated with fresco paintings, depicting idealised views of Nebamun’s life and activities.

D’Athanasi and his workmen literally hacked out the pieces he wanted with knives, saws and crowbars. Salt sold these works to the British Museum in 1821, though some of other fragments became located in Berlin and possibly Cairo. D’Athanasi later died in poverty without ever revealing the tomb’s exact location.

The best-known of the tomb’s paintings include Nebamun fowl hunting in the marshes, dancing girls at a banquet, and a pond in a garden. In 2009 the British Museum opened up a new gallery dedicated to the display of the restored eleven wall fragments from the tomb. They have been described as the greatest paintings from ancient Egypt to have survived, and as one of the Museum’s greatest treasures

The frescoes are now on display together for the first time at the British Museum. Following the restoration process they now give a true impression of the colour that would have been experienced by the ancient visitors to the tomb-chapel.

Objects dating from the same time period and a 3-D animation of the tomb-chapel help to set the tomb-chapel in context and allow visitors to experience how the finished tomb would have looked.

Julia Herdman is currently working on the first book to tackle the subject of Ancient Egyptian Sacred Numbers for over a hundred years. To support this work please visit https://www.gofundme.com/Help-Us-Finish-Ancient-Egypt-Books

#Egyptology #archaeology #religion  #mythology #mathematics #history #geometry #historyofart #art #museums #books #ebooks #publishing #writing #authors #entertainment

Ancient Egypt – Cheapskate Coffin Makers

Forty years of documenting the Great Sphinx of Giza

Getting the Pharaoh to the Afterlife

 

Best Historical Fiction – Five London Based Family Sagas

Best Historical Fiction – Five London Based Family Sagas

Tales of Tooley Street

Sinclair_Cover Julia Herdman

This London based historical fiction is set in the London Borough of Southward, the Yorkshire town of Beverley and in Paris and Edinburgh in the late 1780s. Sinclair is the eponymous hero but there are strong female leads including the widow Charlotte Leadam and the farmer’s daughter Lucy Leadam. Sinclair is a story of love, loss and redemption. Prodigal son James Sinclair is transformed by his experience of being shipwrecked on the way to India to make his fortune. Obstacles to love and happiness include ambition, conflict with a God, temptation and betrayal. Remorse brings restitution and recovery. Sinclair is an extraordinary book. It will immerse you in the world of 18th century London where the rich and the poor are treated with kindness and compassion by this passionate Scottish doctor and his widowed landlady, the owner of the apothecary shop in Tooley Street.  Sinclair is filled with twists and tragedies, but it will leave you feeling good.

 

Circles of Time: A Novel (Greville Family Saga) by Phillip Rock

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A generation has been lost on the Western Front when this London based historical romance gets started. The dead have been buried. A harsh peace forged, and the howl of shells replaced by the wail of saxophones as the Jazz Age begins in London. Ghosts of the summer of 1914 linger tugging at the memory of Martin Rilke and his British cousins, the Grevilles.

Everyone at Abingdon Pryory wants to forget the past.  The old values, social codes, and sexual mores have been swept away. Martin Rilke throws himself into journalism. Fenton Wood-Lacy is exiled in faraway army outposts. Back at Abingdon, Charles Greville recovers from shell shock. Alexandra is caught up in an unlikely romance.

Circles of Time captures the age in the midst of one of England’s most gracious manor houses, in the steamy nightclubs of London’s Soho, and the despair of Germany caught in the nightmare of anarchy and inflation. Lives are renewed, new loves found, and a future of peace and happiness is glimpsed—but only for a moment.

 

The Forsyte Saga by John Galsworthy

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The Forsyte Saga is John Galsworthy’s monumental chronicle of the lives of the moneyed Forsytes. As London based historical fiction goes you really could do no better.

The Forsytes are a family at war with each other. The story of Soames Forsyte’s marriage to the beautiful and rebellious Irene and its effects upon the whole Forsyte clan run through the series.

The Forsyte Saga is a brilliant social satire of the acquisitive sensibilities of a comfort-bound class in its final glory. Galsworthy spares none of his characters, revealing their weaknesses and shortcomings as clearly as he does the tenacity and perseverance that define the most influential members of the Forsyte family.

 

 

The Palliser Novels: Anthony Trollope

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In his autobiography, Anthony Trollope called the Palliser Novels “the best work of my life,” adding “I think Plantagenet Palliser stands more firmly on the ground than any other personage I have created.”

These London based historical novels centre around the stately politician Plantagenet Palliser, but the interest is less in politics than in the lively social scene Trollope creates against a Parliamentary backdrop.

Trollops’ keen eye for the subtleties of character and “great apprehension of the real” impressed contemporary writers from Nathaniel Hawthorne to Henry James, and in the Palliser Novels we find him at his very best.

This is a masterful portrait of Victorian society and politics with a profoundly human touch.,

 

 

 

Belgravia by Julian Fellowes

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Julian Fellowes’s Belgravia is the story of a secret. A secret that unravels behind the porticoed doors of London’s grandest postcode.

Set in the 1840s, this London based historical romance starts when the upper echelons of society began to rub shoulders with the emerging industrial nouveau riche, Belgravia is peopled by a rich cast of characters and begins on the eve of the Battle of Waterloo in 1815 at the Duchess of Richmond’s new legendary ball, one family’s life will change forever, but you’ll have to read the book to find out whose it is.

 

 

 

 

 

 

 

 

The Cazalet Chronicles by Elizabeth Jane Howard

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The Light Years, Marking Time, Confusion, Casting Off and All Change

Howard offers a classic English country-house saga, in this impressive London based historical saga covering the late 30s to late 50s. As the various members of the upper-middle-class Cazalet family circle are hatched, matched and dispatched against a background of the changing times Howard keeps the family and the story together. Her characters are forensically interrogated to reveal their strengths and their weaknesses. This historical fiction is based on her own experience, giving Howard’s characters a ring of authenticity that is rare. The war looms large and alters lives. It is the social history of this class of people who would disappear with the modernity and taxes of the 1960s.

 

Julia Herdman writes historical fiction.

Her novel Sinclair is available of Amazon. Click here to get your copy.

Her latest book Sinclair, Tales of Tooley Street Vol. 1. is  Available on Amazon – Paperback £10.99 Kindle  Also available on:

Amazon Australia

Amazon Canada

Amazon New Zealand

Amazon South Africa

Amazon USA

 

See Also:

Writers of influence – Hilary Mantel