Kipling’s Egypt

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Eighty-four years ago today, The Egyptian Gazette of 14 February 1929 carried a notice of the arrival of well known author Rudyard Kipling (that’s him, above) and Mrs Kipling at Port Said. They’d landed the previous day and proceeded direct to Cairo. “Mr Kipling exhibited his well-known dislike of publicity,” reported the paper. “The British Vice Consul Mr Williamson-Napier went out in a special police launch to meet the distinguished visitors, but Mr Kipling seeing the interested crowd gathered for his arrival chose to go ashore in a smaller and less conspicuous launch, by which means he escaped popular attention.”

This wasn’t Kipling’s first visit to Egypt. He’d first passed through at the age of five, before the Suez Canal had been made. He also made a visit in 1913, when he’d stayed at the Semiramis (opened just six years previously) but since the weather was cold and wet, he didn’t stay long in Cairo, and instead made his way up the Nile to Luxor and Aswan on Thomas Cook’s SS Rameses III.

The 1913 trip inspired a series of letters, that were collected and published (Letters of Travel: 1892-1913), and include some typically pithy statements on matters relating to tourism in Egypt.

On sightseeing:
“For three weeks we sat on copiously chaired and carpeted decks, carefully isolated from everything that had anything to do with Egypt, under chaperonage of a properly orientalised dragoman. Twice or thrice daily, our steamer drew up at a mud-bank covered with donkeys. Saddles were hauled out of a hatch in our bows; the donkeys were dressed, dealt round like cards: we rode off through crops or desert, as the case might be, were introduced in ringing tones to a temple, and were then duly returned to our bridge and our Baedekers.”

On Americans in Egypt:
“Since the bulk of our passengers were citizens of the United States, Egypt in winter ought to be admitted into the Union as a temporary territory.”

On the Swiss in Egypt:
“The Swiss are the only people who have taken the trouble to master the art of hotel-keeping. Consequently, in the things that really matter – beds, baths, and victuals –they control Egypt.”

On Cairo:
“Modern Cairo is an unkempt place. The streets are dirty and ill-constructed, the pavements unswept and often broken, the tramways thrown, rather than laid down, the gutters neglected. One expects better than this in a city where the tourist spends so much every season. Granted that the tourist is a dog, he comes at least with a bone in his mouth, and a bone that many people pick. He should have a cleaner kennel”

By 1929, Kipling had obviously got over his dislike of Cairo because he and Mrs Kipling spent 13 days there, staying again at the Semiramis. Also at the hotel at that time, reported the Gazette, were the HH Aga Khan and large party, American mining magnate and millionaire Chester Beatty and future professor of Islamic art AC Cresswell. Quite a line up.

Cook's Nile Steamer

On 27 February, the couple boarded the SS Egypt (pictured above) for a 20-day voyage to Luxor and Aswan. Two years to the month later, in February 1931, they were back in Egypt once more: Kipling’s wife suffered from rheumatism and a doctor had recommended the Helwan as a health resort. They found it too cold and went once again up the Nile in search of warmth, spending 10 days in Aswan.

Thanks to books such as Kim and The Jungle Book, the name may always be associated with India, but Rudyard Kipling spent a significant amount of time in Egypt too.

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Flying_boat

How much more evocative could this photo be? That’s the magnificence of the Winter Palace there, lording it over the west bank of the Nile at Luxor. Moored in front of the hotel, low to the water is an elegant dahabiya, while occupying the foreground is the silvery hulk of an S-23 Empire class flying boat. Underneath the cockpit windows is stenciled the name Capella; this aircraft, built in 1937 carried mail on the Southampton to Kisumu route – Kisumu being a port city in western Kenya – dropping in on Egypt on the way. Later it flew in southeast Asia, where it was holed in Batavia harbour (now Jakarta) on 12th March 1939 and damaged beyond repair. (Photo courtesy of the Gaddis collection)

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Hotel du Nil

Du_Nil

If anybody talks about the properly historic hotels of Cairo, then invariably it’s Shepheard’s that gets mentioned. Rightly so – until it was destroyed in 1952 it had renown and a guestbook to rank with any hotel in the world. But there were hotels in Cairo before Shepheard’s, including the Orient, Giardano, Levick’s and the British Hotel, formerly Hill’s, which is where Samuel Shepheard got his start in the trade before he opened an establishment under his own name in 1851. Chief among the early hostelries, though, was the Hotel du Nil.

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The du Nil was established in 1836 by the half-German, half-Italian Signor Friedmann. Like all the early hotels that came before Shepheard’s, it was buried in the alleyways of the medieval city, just off the Muski, one of the busiest commercial streets in Cairo at that time. It was a traditional and sizeable Arab house with striped stonework and mashrabiya, set around a large courtyard filled with palms, and banana and orange trees. Famously, it’s where Gustave Flaubert and companion Maxime du Camp stayed in late 1849 at the start of their voyage around Egypt. Du Camp photographed Flaubert wearing native dress in the garden.

At a later stage management added covered terraces and a large veranda, as well as a curious rooftop tower of scaffolding, known as the “belvedere of Cairo,” which provided guests with views over the city. From up here the then-owner, Cavaliere Battigelli, conducted observations that he published as a daily meteorological bulletin.

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Before then, however, the hotel received William Howard Russell, an Irish reporter, who had previously covered the Crimean War, including the Charge of the Light Brigade; he passed through Cairo in 1868 and was not a fan of either the city or the Hotel du Nil:

In the dark, among the dogs, through lanes and alleys of infinite closeness, nastiness, and irregularity, we stumbled, the playthings of dragomans and donkey-boys, till some of us disappeared in one hole or other, were swallowed up in a gateway, or were absorbed round a corner. I and a few more ran to earth in a mansion apparently situated among quarries and lime-kilns. It was called the Hotel du Nil, and it well deserved the name, for we could get nothing to eat, not even a piece of bread, when we arrived. In a long, ill-lighted room, at a lanky table covered with a dirty cloth, sat three men smoking vigorously and talking in lingua Franca. One of whom told us, “Signori! Avete patienza e averete qualche cose subito”. Subito meant just two hours, at the end of which time the council of three resolved themselves into waiters, and appeared with the very smallest and moldiest chickens I ever beheld. These were supported by omelettes made of eggs, which were just about to make chickens … but our appetites were better than the food, and washing the meal down with copious draughts of a wine which tasted like writing fluid, we stretched ourselves on chairs, tables, and sofas, and sunk into a sleep which relieved the mosquitoes from the smallest anxiety of interference in their assiduous labours. My Diary in India, in the Year 1868-9 by William Howard Russell

Not all Englishmen were as sniffy about the place. Egyptologist Flinders Petrie was recommended the hotel when he first arrived in Egypt in 1880; for the next 11 years he stayed there whenever he was in Cairo.

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The Hotel du Nil survived into the first decade of the 20th century but its facilities must have been hopelessly outdated, especially when measured against the offerings of the glut of new hotels that were appearing around this time. The exact date of closure isn’t known, According to 11th edition of Murray’s Handbook, published in 1910, the hotel closed in 1906, although the garden and the tower were still accessible (thank you Susan J. Allen for this bit of information). Soon after, the Bristol Hotel on Khazinder Square, which had opened in 1894, was marketing itself as the Hotel Bristol et du Nil – it was common practice in Cairo at this time for a new hotel to absorb the name of a recently defunct old hotel in order to inherit its clientele.

So where exactly was the Hotel du Nil? Thanks to an amazing set of fire-plans of Cairo, drawn up in 1910 for insurance purposes, and now owned by architect Nick Warner, we can pinpoint its former location precisely:

Hotel_du_Nil_map

It stood on the western edge of the Khalig al-Masri (the canal that once ran off the Nile north through the city) and just to the south of the Muski (coloured red on the map). The main approach to the hotel was originally from the Muski, but when the canal was filled in to become Port Said Street (orange) in 1900, that then became the main route to the hotel, as described in an article in the Egyptian Gazette of that year. The line in yellow on the map shows roughly the route of what is now Al-Azhar Street, which crashes through the site of the du Nil. However, Al-Azhar Street was only created in the 1920s and the du Nil disappeared long before then. The likelihood is that it was lost to a widening of Port Said Street, which since its creation had become one of the city’s busiest tram routes. Nick Warner’s map then must be one of the last recordings of the existence of the hotel.

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Now that’s what I call a bill!

Two beautiful bills from Shepheard’s hotel, the first from the 1890s, the second from the 1900s. Receiving something like this on checking out would almost take the pain away of having to open your wallet.

 

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Shepheards_receipt_1900s

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Seeing in the New Year at Shepheard’s

Pill boxNew Year’s Eve was always the biggest party of the year at Shepheard’s. We have this description from The Egyptian Gazette of what that particular night was like in 1921, when 1,200 revellers were gathered in the grand dining room:

“One must admit that the native waiters looked somewhat exasperated, but to have fireworks let off under their noses and paper streamers twisted around their tarboushes at the very moment of serving four plates of hot soup was not . . . conducive to . . . equanimity of temper.” Bread rolls and cotton-wool pellets doused in water were thrown from table to table, reported the correspondent, while a jazz band belted out the latest favorites over the din. At midnight the lights were dimmed and two dozen white doves were released from a balcony above the hotel foyer. The effect, apparently, was rather spoiled by the wags who lowered a squealing pig on a rope from an upper fanlight. I wish I’d been there.

The little silver pill tin, above, was a gift to guests at Shepheard’s at Christmas in 1942 – presumably it came ready filled with a hangover remedy.

At the end of this year in which Grand Hotels of Egypt was published, I’d like to send out a sincere thank you to all and anyone who has picked up a copy, and to all who have taken the time to read this blog. Whoever you are, wherever you are, I wish you happiness in 2013.

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A hotel for amphibians?

Last month I posted a complete early 20th-century promotional booklet for Shepheard’s hotel. It was put out by Egyptian Hotels Ltd, who at this time owned several major Cairo properties, another of which was the Semiramis.

A riverside location is now almost a perquisite for any five-star Cairo hotel, but when it opened in February 1907, the Semiramis was the first hotel in the Egyptian capital to be built beside the Nile – previously all the hotels had been clustered around the Azbakiya or close by in Downtown. The insightful entrepreneurs behind the project were Franz Josef Bucher-Durrer and Josef Durrant, founders of a hotel chain with properties in their native Switzerland as well as Genoa, Milan and Rome. Unfortunately, Bucher-Durrer died before the new Cairo venture could be completed and just three years after its inauguration his heirs decided to sell the Semiramis to Charles Baehler of Egyptian Hotels Ltd.

It was the most aristocratic of Cairo’s hotels, attracting the highest class of clientele. It had a handsome wide veranda that overlooked the river and, at roof level, accessed by electric lifts, a garden terrace planted with flowers and shrubs, and with a café-restaurant and ‘tea-kiosks’. The roof had views across the city to the Citadel in one direction, and over the Nile to the Pyramids and desert in the other. Even at only four stories, at the time of its opening the Semiramis was the highest hotel in Cairo.

It would be soon after Baehler bought the hotel that the booklet below was published. Note that the text boasts that of the 200 bedrooms, 100 have ensuite bathrooms and lavatories. When London’s Savoy was under construction in the 1880s, its financier D’Oyly Carte also requested one bathroom for every two bedrooms, leading his contractor to ask if Carte was expecting his guests to be amphibious. Note also in the lists of ‘principal’ sights, number 8 includes an ostrich farm at Matarieh (sadly missing from the attractions of modern Cairo). It is also notably more expensive to board servants without their Masters.

 

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Striking the right note

It’s just one of those odd combinations: Louis Armstrong and the Sphinx. But then why not? Everybody who can visits Egypt at some point in their lives, and everyone who visits Egypt visits the Pyramids. Except this was no casual holiday. Armstrong was in Cairo as a player in the Cold War. He was one of a number of Jazz Ambassadors sent out by the US State Department around Africa and the Middle East to counter Soviet propaganda, a programme that also included Dizzy Gillespie, Benny Goodman and Duke Ellington. In 1960-61, Armstrong and the All Stars performed in 27 cities in Africa, including Senegal, Mali, Sierra Leone, Liberia, Sudan and, as pictured above, Egypt. For more on America’s jazz diplomacy, click here.

 

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More classic Burgers

Last month I blogged about a set of Cairo hotel postcards painted by Swiss artist Willy Friedrich Burger. I was intrigued that he’d choose to paint hotels rather than the usual desert scenes, temples or mosques. Now I know why. Last week, through the magic of eBay, I bought a vintage brochure put out by Egyptian Hotels Ltd. The seller’s description was vague and he posted only photos of the covers, but these were attractive enough that I bid with no idea what was inside. I was delighted to find, then, that the booklet is full of illustrations, and they are all by WF Burger. Included are the images that appear on my postcards. It’s a pretty sure bet that Egyptian Hotels Ltd commissioned Burger to do its booklet then, pleased with the results, put out some of the paintings as cards. Here are the pages in full:

 

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The Gayer-Anderson Museum (and its departed cat)

Earlier this year I had a piece published in Canvas, the magazine of Middle Eastern art, about the Gayer-Anderson Museum in Cairo. It’s one of the most fantastic places I know and I go back every few years just to reassure myself that it really exists.

The museum is named for a British Army doctor who came to Cairo in 1906. From his lodgings at Shepheard’s Hotel, he set one day, accompanied by a dragoman, to see the sights and one of the places he visited was the great ninth-century mosque of Ahmed Ibn Tulun. As he approached he stopped to admire a fine stone-built house that stood either side of the passage leading to the main door of the mosque, its two parts connected by an aerial bridge. A woman leaned out of one of the latticed windows on the upper floor and called to him.

“What does she say?” he asked his dragoman.

“She’s inviting you to view the house.”

The Englishman declined and went on into the mosque. Despite remaining in Cairo for the rest of his working life, it would be almost a further 30 years before John Gayer-Anderson got round to venturing inside the house. When he did, he immediately fell love with the place, and within the year he’d taken possession of it and made it his home.

He only lived there for seven years (1935-42) but in that time he created something so unique that it has been preserved in his name ever since. To begin with the house – actually two houses – is extraordinary, medieval in origin and laid out like an interlocking puzzle, full of jogging corridors, split level chambers, winding staircases and disguised rooms. All this Gayer-Anderson meticulously restored. He had a passion for Egyptology and Oriental studies, and he purchased or otherwise obtained a vast array of art, crafts, furniture and fittings from around the Middle East, Near East and Far East, which he installed in his Cairo home. So you have a Damascus Room with walls and ceiling covered with painted wooden panels acquired from a 17th-century house in the Syrian capital. You have rooms full of pharaonic antiquities. The roof terrace has its edges fenced by mashrabiya screens rescued from demolished houses, while one wall is lined with Ottoman-era marble basins and sink backs. Elsewhere there are Coptic icons, Sufi crutches from the 19th century, galleries of bad art (the portrait of Gayer-Anderson at the head of this post is one of the better pieces), death masks of his family and, a personal favourite, an ostrich egg painted with topographical scenes of Egypt, which can be rotated by means of a little handle on top.

 

 

He collected what pleased him, more taken with novelty than value. The exception to this was one piece of real worth: this was a lifesize, regal-looking cat cast in bronze wearing gold earrings and a gold nose ring, discovered in the necropolis of Saqqara and dating back to around 600 BC. This he bequeathed to the British Museum in London, where these days it’s a prize exhibit – visitors can purchase ‘Gayer-Anderson cat’ T-shirts and necklaces, or a scale replica for the cool price of £450. Cairo’s Gayer-Anderson Museum, which receives fewer visitors in a year than the British Museum does in five minutes, also has to make do with a replica.

The photos here, which were taken to accompany my story in Canvas, are by Cairo-based photographer Barry Iverson.

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Topless women and Hoovers

In the early years of the 20th century, several of Egypt’s leading hotels produced promotional booklets. I have a few of them, all of which must have been produced by the same company as they all follow the same format, of card covers showing a painted Oriental scene in a decorative border, and inside 16 pages of useful information, images and ads. I put the covers of a couple in Grand Hotels of Egypt, but the best example of all I acquired only after the book had gone to print. This is a promotional booklet for Shepheard’s, and it is so fascinating I’m posting scans of all its pages below. As far as I can tell, the booklet dates from around 1910 – it isn’t dated but it does carry ads for sister hotel the Semiramis, completed in 1907, and something called the New Ghezireh Palace, announced as opening in December 1913, but which, in fact, was never built.

Interesting to see that as far back as a century ago, the hotel business was already firmly grounded in hyperbole: page five reads, ‘The entrance hall is an absolute true copy of the Temples of Karnak and Philae’ – not likely given Karnak extends over several square miles, and never had columns supporting staircases or statues of topless women holding electric lanterns above their heads (as seen in the picture on page three). Also interesting is the information that ‘Every department of the Hotel and the accessories attached thereto are periodically and thoroughly cleaned by the Vacuum process’. Who knew they had Hoovers over a century ago?

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