Years later, as adults, the girls admitted they had faked the photos using cardboard cutouts of fairies taken from a children's book. The two girls never accepted any money for them, or tried to swindle anyone with their claims of fairy encounters. Several photographic experts examined them and pronounced them "genuine," while other photo experts found "evidence of fakery." (A few experts who examined the photos noted that the "fairies" had "Parisienne-style haircuts," which were popular in the day.) In the end, no real harm came from the photos. Opinions over the authenticity of the photos were divided.
Sir Arthur Conan Doyle published the photos with an article on spiritualism in "The Strand" Magazine in December 1920. (The woodland scenes in "FairyTale: A True Story" are filmed in Cottingley Beck, the actual location where Frances and Elsie supposedly encountered the fairies in 1917.) The photographs became public in 1919 (not during World War I, as depicted in the film), when Elsie's mother gave the photos to Edward Gardner, President of the Theosophical Society of Bradford.
#Fantasy garden story english series
Using Arthur Wright's camera, the girls took a series of pictures of themselves with fairies in the nearby woodland brook of Cottingley Beck. In the summer of 1917, Frances Griffiths (then ten years old) and her cousin Elsie Wright (then sixteen years old) were living with Elsie's parents in the town of Cottingley in West Yorkshire. They’re intended to look slightly sinister and out of the corner of your eye you may even notice they’ve moved.The film is based on the true story of the Cottingley Fairies. Their shapes were originally inspired by primitive pre-Cambrian life forms and the paintings of English artist, David Inshaw, but they’ve evolved into simpler forms. The strange biomorphic shapes in this Surrealist Garden have become known as the trons. The best-known examples of these are probably Packwood House and Levens Hall in Britain which are shown in the pictures in the passage into this garden. There has also been a tradition of carving topiary into strange surrealist shapes. (An example of a single Taihu rock can be seen in the Chinese Scholars’ Garden). They usually featured strangely shaped, contorted Taihu rocks that haveīeen compared to clouds. Their gardens often represented vast mythical, landscapes at a miniature scale. The Chinese have traditionally been the masters of surrealist gardens. The lawns curve up at the corners like a sheet of paper and instead of a dozen white roses there are a dozen white noses. There’s a 1930s garden and passage way but everything in the garden itself is five times the normal scale. Each of these features have been used in this garden. Generally, surrealism in gardens has been manifested through: distortions of scale, surrealist sculptures, the inclusion of strange biomorphic shapes and incongruous elements or the use of materials behaving in an unexpected manner. There wasn’t a surrealist garden movement, as there was in the other arts, but there have long been surrealist elements found in gardens and they’ve played an important role in the story of gardens. They were inspired by the work of Sigmund Freud, and sometimes sought to interpret the mysterious world of dreams and the subconscious mind. In the 1920s and 30s many artists and writers became fascinated with the irrational, the incongruous and almost anything provocative. Step into a strange world where mysterious dreams have come to life.
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