The Green Man Inn and the Cattle Pound of Putney Heath

The Green Man Inn, Putney Heath, features in two Difficult Dukes books, most recently in Ten Things I Hate About the Duke.

It “stands on the crest of Putney Hill, where the Heath and the Portsmouth Road begin” Charles Harper tells us, in The Old Inns of Old England (1906). But Harper spends most of his time on the highwaymen and footpads whose hangout it apparently was in the 18th century. My story comes some years later, on the brink of the Victorian era, and my focus is on the duels. Several famous ones took place here, including at least two involving Prime Ministers—this despite the fact that dueling was illegal.

A few years ago, during our stay in London, my husband and I visited Putney Heath on our way back from Wimbledon. At the time I wasn’t sure the area would find its way into another book. But I always want to see the real thing when I can, even if it’s too late to change errors. As it happened, we overlooked a site that later became critical to the Duke of Ashmont’s story. More about that later.

We were focused on the Green Man Inn and the heath itself, where we found a suitable dueling site. Although the landscape has changed in nearly 200 years, the change isn’t so radical as to eliminate the kind of space needed. It had to be well hidden by trees but also close to the road where vehicles might wait, ready to speed away all those involved in the event, dead and alive.

We found the perfect place. In fact, we received the distinct impression that a modern-day duel had gone on there, because we encountered two battered-looking men leaving our chosen dueling site. I was happy to see that the dispute was settled with fisticuffs rather than deadly weapons. If it was a dispute. For all I know, they got their bruises and other damage dragging booty through the heath.

We also visited the Green Man itself, where duelists would have stopped for a brandy and soda to bolster their courage on the way to the duel, and where survivors and seconds might settle their nerves afterward. This is where we find the Duke of Ashmont at the start of Ten Things I Hate About the Duke, a few hours after his duel. I used brandy and soda as the drink of choice because it’s recommended as a bracer in The Art of Dueling (1836).

Historical note: I am not positive about opening and closing hours, so there might be some artistic liberty in any character’s stopping in the early morning for a bracer.

What my husband and I failed to discern in our exploration of the area was the cattle pound that’s so significant in the early part of my book. Only when I was back in the U.S. did I discover its existence: “the house, seen across the road from where the large old-fashioned pound for strayed horses, donkeys, and cattle stands on the Heath, presents a charming scene,” Mr. Harper tells us.

“Opposite to the Green Man and just near the bus terminus, a wooden-fence cattle pound stands half-hidden beneath two large plane trees. Originally built in the nineteenth century and as a pen for straying livestock found on the heath, the pound has been a Grade II-listed structure since 1983.” —Simon McNeill-Ritchie & Ron Elam, Putney & Roehampton Through Time (2015)

I can verify that it was at least half-hidden, since we missed it entirely on a July day. I have had to look elsewhere for photographs and precise location. If you scroll down on this History of Putney Heath site, you’ll see a recent photograph of the cattle pound.

Whether the pound was built by the time of my story I have not yet been able to ascertain. All my sources are no more specific than “nineteenth century.” But it worked beautifully for my purposes, and 1833 does qualify as 19th century.


The Great Equestrienne Louisa Woolford

Print depicting Mr Ducrow and Miss Woolford in their circus duet as the ‘Tyrolean Sheppard [sic] and Swiss Milkmaid’ as performed at Astley's Theatre (print published 26 July 1831). © Victoria and Albert Museum, London.

“In ‘The Tyrolean Shepherd and Swiss Milkmaid,’ for example, [Ducrow] was joined by his wife, Louisa Woolford; while standing on the backs of their circling horses, the two performed the pursuit and wooing of a ‘fair peasant,’ complete with a lovers’ quarrel and reconciliation scene, followed by an exquisite pas de deux.” Britannica

An article about equestriennes that I shared some months ago on Facebook reminded me of one of my favorite early 19th century London locales, Astley’s Amphitheatre, and its equestrienne star, Louisa Woolford. Since she wasn’t a Belle Epoque figure—she was born about 1815, in the Regency era—she didn’t get much attention in the Paris Review piece on equestriennes. Or elsewhere.

Miss Woolford makes a brief appearance in Dickens’s Sketches by Boz, in the piece, “Astley’s.” Not enough about her, but a fine and funny verbal picture of the place, worth reading, I think.

She was the most famous circus performer of the time—but information about her is scarce. Here’s what I’ve pieced together, with the aid of a descendant.

Louisa was the seventh of nine children, one of two born in Ireland (the others were born in England). Her father was a horse breeder and trainer who worked with the famous equestrian circus performer Andrew Ducrow, of Astley’s fame, and she began performing at Astley’s at an early age.

According to a quote from an Andrew Ducrow obituary in a London Dead Blog post: “ ... Miss Woolford ... before she became Mrs Ducrow was for a long time the chief attraction of his theatre, and drew crowds by the accustomed gracefulness of her action, and the skilful management of her steed. The deceased has two children* by her. Miss Woolford was very early a debutante at Astley’s, and many theatrical people of about thirty years standing will remember her at the Amphitheatre under Astley’s management as a little girl with a long crop, and of intelligent and pretty manners. She had two brothers also at the same time with her on the stage, who have since died in America; she bears an amiable and good character; her age is about twenty seven, and she had been married to Mr Ducrow about four years.”

The trouble is, she tends to take second place to her famous husband. She put him in first place as well, with an extravagant epitaph on his magnificently over-the-top mausoleum in London’s Kensal Green Cemetery. I took a detailed look when I visited London a few years ago. On one side of the tomb is the epitaph Louisa wrote, which you can read in full in my blog post at Two Nerdy History Girls.

His funeral, as described in The Gentleman’s Magazine, was in keeping with the grand tomb.

We learn from the Gentleman’s Magazine obituary that Louisa is pregnant (with their third child): “The situation of Mrs. Ducrow renders it probable that her accouchement will take place in June. It is understood to be her intention not to resume her professional exertions.” This pregnancy produced the son who earned his own blog post on the London Dead blog.

Had she resumed her professional exertions, it’s possible that her fame would have equaled her first husband’s. But she married again, about two years after Ducrow’s demise, a gentleman named John Hay. He died in 1873, and she lived on comfortably it seems, having two live-in servants as of the census of 1891. She died at Paddington, London, on 25 January 1900, leaving her daughter something over £ 700.

For the information about her life after Ducrow and for most of the images here I am indebted to Eden Pelletier, a descendant, who got in touch with me after reading my 2NHG blog post about Andrew Ducrow’s mausoleum.

We have not yet found Louisa’s burial place, and we continue to search for further information. For now, she seems to be one of those women who, after the early years of fame, “lived faithfully a hidden life, and rest in unvisited tombs,” as George Eliot said of Dorothea in Middlemarch.

*Peter Andrew and Louisa.

The Singing Bird Pistols

Readers familiar with my short story, “Lord Lovedon’s Duel,” (recently reissued in the Royal Bridesmaids anthology and one of the two stories in the Royally Ever After duet) will remember the Singing Bird Pistols. In case anybody was wondering, yes, they’re real.

Some years ago, reader Ammie sent me a link she believed a Nerdy History Girl like me would enjoy. I was wowed, and the pistols became part of the inspiration for the novella.

This link will take you to the video I watched over and over: The Only Known Pair of Matching Singing Bird Pistols – Attributed to Frères Rochat | Christie's.

I and others did wonder how the pistols had survived, let alone survived in pristine condition. Apparently, they weren’t pristine. This video, which another reader, Kafryn W Lieder, was so good as to send me, tells the impressive story of their restoration.

Since not everybody’s screen of choice works quite the same, and some people who receive the blog via email see only a square, rectangle, or blank where the video ought to be, below are the respective links to the videos with their YouTube titles.

The Only Known Pair of Matching Singing Bird Pistols – Attributed to Frères Rochat | Christie's
Parmigiani Fleurier - Restoration "The Pistol and its Songbird"