{"id":92497,"date":"2022-05-26T07:56:58","date_gmt":"2022-05-26T07:56:58","guid":{"rendered":"https:\/\/websitedesigns.com.au\/elankanew\/?p=92497"},"modified":"2023-06-25T12:50:48","modified_gmt":"2023-06-25T12:50:48","slug":"a-requiem-for-barbara-sansoni-from-1962-by-michael-roberts","status":"publish","type":"post","link":"https:\/\/websitedesigns.com.au\/elankanew\/a-requiem-for-barbara-sansoni-from-1962-by-michael-roberts\/","title":{"rendered":"A Requiem For Barbara Sansoni: From 1962 \u2026. – by Michael Roberts"},"content":{"rendered":"

A Requiem For Barbara Sansoni: From 1962 \u2026. – by Michael Roberts<\/strong><\/span><\/h1>\n

Source:<\/strong>thuppahis.com<\/a><\/span><\/span><\/p>\n

\"Michael<\/p>\n

Somasiri Devendra, ** whose chosen title is\u00a0\u201cA wooden bridge, an iron house, and Barbara then \u2026.\u201d<\/strong><\/span><\/p>\n

.\u2026\u2026\u2026\u2026 of such are memories made, writes\u00a0<\/strong><\/em>Somasiri Devendra<\/strong><\/span><\/p>\n

So, Barbara has ridden off into the sunset, on her white horse, after \u201ca hard day\u2019s night\u201d leaving behind memories of the times when she was a person, not an icon, and very good company indeed. Those memories reach back 60 years.<\/span><\/p>\n

\"elanka\"<\/a><\/p>\n

In 1962 I was the only unmarried officer, in our \u2018ship\u2019 in Diyatalawa \u2013 Her Majesty\u2019s Ceylon Ship \u201cRangalla\u201d \u2013 living in solitary splendour in the Wardroom (the Officers\u2019 Mess). That made me the official host to visiting dignitaries. One day I was told to stand by to entertain a WW2 veteran, a\u00a0Lieut.\u00a0Cdr. Hildon Sansoni,<\/strong>\u00a0who would be coming on a longish holiday with his family. Proctor of the Supreme Court, National Tennis Champion, one of the first Ceylonese to be commissioned in the CRNVR, a Captain who had had his ship sink under him, Extra A.D.C. to H.E. the Governor. I was on my best behaviour.<\/span><\/p>\n

He turned up alone, a day ahead of the rest and proved to be a most enjoyable character with a puckish humour and a fund of stories. On hearing my name, he asked me, \u201cAre you D.T. Devendra\u2019s son?\u201d and surprised me by talking about my archaeologist-father\u2019s account of Embekke Devale, recalling even its title \u201cThe Pillared Pride of Embekke\u201d. He added that I would enjoy talking to his wife who would be here the next day.<\/span><\/p>\n

*\u00a0\u00a0\u00a0\u00a0 *\u00a0\u00a0\u00a0\u00a0 *<\/span><\/p>\n

Tomorrow brought Barbara, Simon of the beautiful face and the curly-mopped little Dominic of the mischievous smile<\/strong>.\u00a0Barbara was delightful company (how could I know she was going to be Barbara Sansoni of Barefoot?) and wanted to know whether there were any old buildings in the area. I commented on someone who was writing a weekly illustrated column featuring brick kilns, hen-houses etc. and she admitted \u2013 (not bashfully, something she never could be) \u2013 that she was the culprit.\u00a0 Having being bred on a diet of all things old and beautiful, I had noted several such buildings on trips to Badulla, then a most lovely drive. So, I volunteered to be her guide.<\/span><\/p>\n

Our first stop was\u00a0Dowa temple<\/strong>\u00a0where I saw her at work for the first time. I was surprised and impressed. She did several drawings while I was shooed-off: yes, I was the guide but, when the artist in her took over, I was downgraded to child-minder! Her rendering of the temple and its surroundings took me by surprise: her use of pen-and-ink to convey the lush vegetation that set off the site. And so began several forays down various roads, in her Volkswagen, stopping at various houses, mostly Muslim ones. These houses were not \u201cmodernised\u201d and exhibited their original designs. She went in alone. Alone, she said, she could get to see the insides: accompanied by a raucous brood, she would have been refused. Years later, when \u201cViharas and Verandahs\u201d came out I was pleased that the first few drawings were of Dowa and the last, of the \u201ciron house\u201d (more of that later).<\/span><\/p>\n

\"elanka\"<\/a><\/p>\n

One evening she wanted to see\u00a0Bogoda Bridge,<\/strong>\u00a0somewhere off Badulla, to which she had been directed by Roland Silva. I did not know of it. Following his instructions, we got nowhere and so we kept asking assorted people, finally finding the narrow, winding, gravel road leading down to the river. It was an overcast day. I remember, because I was to take the photographs that formed the base of her drawing and had to adjust for light (I was using a borrowed Rollei twin lens reflex).<\/span><\/p>\n

 <\/p>\n

It was a fantastic place. After the preliminary sketches and a look around the Kandyan-era temple, we had to hurry back before the rains came. On our return, it began to rain and the gravelly road turned slippery. Barbara, at the wheel, was decidedly on edge and I kept up a patter of interesting trivia interspersed with helpful driving hints. Suddenly, Simon decided to do his bit. From the back seat, he recited \u2013 in a distinctly doleful voice \u2013 a popular Radio Ceylon Commercial Service jingle: \u201cDeath rides on bald tyres\u201d! Only a mother\u2019s love must have stopped her!<\/span><\/p>\n

Back in the Wardroom, every evening became an animated talk-shop: Barbara talking of Geoffrey Bawa and Ulrik Plesner, Hildon about his threat to \u2018thrash\u2019 \u2018Big\u2019 Bill Tilden \u2013\u00a0 the world tennis champion (resulting in the headline \u201cHildon \u2018beats\u2019 Tilden!\u201d), and I slipping odd bits in-between. Barbara was impressed that my father\u2019s \u201cClassical Sinhalese Sculpture<\/em>\u201d had been published by the prestigious publishing house of Alec Tiranti of London (now, alas! no more) where she bought her art materials. She was talking of Levi-Strauss\u2019 \u201cStructural Anthropology<\/em>\u201d(or was that on another occasion?) which was way above my head, and I was talking of A.M. Hocart\u2019s \u201cCaste<\/em>\u201d when I decided to up the ante and brought out my father\u2019s copy of Ananda Coomaraswamy\u2019s \u201cMedieval Sinhalese Art\u201d<\/em>, a numbered first edition. Unexpectedly, she had not encountered it before and became a devotee overnight. Voila!<\/span><\/p>\n

*\u00a0\u00a0\u00a0\u00a0 *\u00a0\u00a0\u00a0\u00a0 *<\/span><\/p>\n

We had finished visiting all the old houses for miles around when I asked Barbara, \u201cWhy don\u2019t you draw this building?\u201d \u201cWhy? What\u2019s so special about it?\u201d she countered. \u201cLook beyond the\u00a0takarang<\/em>\u00a0cladding,\u201d I persisted, \u201cSee the proportions and balance. See the Australian Jarra wood frame, with the metal outside and the paneling inside.<\/span><\/p>\n

The\u00a0takarang\u00a0<\/em>absorbs the heat during the day and at night, when we close the doors and windows, we can stay bare-bodied inside. The pillars, floor and fireplace are of teak.\u00a0This is a perfect house for this climate.<\/strong>\u201d Next day, she inspected the building and, saying \u201cYou are right,\u201d sat herself down in the middle of our sunken garden, and made the basic drawing and reference sketches of the foliage of the trees. She announced that she would finish it back home.<\/span><\/p>\n

\u201cAnd now,\u201d I said, \u201cthere is the question of my fees.\u201d<\/span><\/p>\n

\u201cFees?\u201d she asked.<\/span><\/p>\n

\u201cYes,\u201d I said, \u201cthis drawing.\u201d<\/span><\/p>\n

\u201cOh that! But of course\u201d she said and so it has hung in my home these many years. Her gift to me.<\/span><\/p>\n

Even a longish holiday must end, as theirs\u2019 did. Barbara and I kept in touch by snail-mail. Telephones, then, were only for emergencies.\u00a0Her letters were a visual treat written in brown ink on cream paper with little sketches in the margins<\/strong>.\u00a0We met whenever I was in Colombo and some trivia remain embedded in memory. At lunch, at her house, it occurred to me that the rich butter-yellow of her patch-work curtains were\u2026\u2026 \u201cBarbara, these curtains\u2026.\u201d I began, but \u201cNow YOU don\u2019t start on it, too. I\u2019ve had an earful from Roland.\u201d At Sally Hullugalle\u2019s house\u2026 complaining to Ulrik\u2019s mother that she envies Mary\u2019s sylph-like figure, only to be told that \u201cMary may be Pre-Raphaelite, but you are Titian!\u201d\u2026.an evening at the Arts Centre Club.<\/span><\/p>\n

But my comfortable cocoon in Diyatalawa was unravelling. I had met the girl I wanted to marry (I told Barbara of the 10-year gap in our ages. \u201cBut that\u2019s perfect!\u201d she said: she had married Hildon when he was 25 years her senior!).The Navy had to leave Diyatalawa and I was out in the cold \u2013 Colombo, Pooneryn, Karainagar, Colombo (again) and, finally, Trincomalee.<\/span><\/p>\n

Our friendship prospered on our different planes of existence<\/strong>.\u00a0She stayed with us in our house in Trincomalee and I was again the guide. She would sit absorbed in her drawing and I would keep the children amused and out of mischief: a picture comes to mind of my showing them a dung-beetle at work. \u201cViharas and Verandahs\u201d had come and gone, by then.\u00a0She was a fashion icon, weaver-extraordinary, had gone beyond the chasteness of black-and-white to a love affair with colour.<\/strong>\u00a0She was maturing and yet being the path-finder for another generation. Hildon had passed away in a manner many would envy: having a drink with his friends, sliding down in his chair, drink unfinished. Kaput.<\/span><\/p>\n

Many, many years later, when \u201cThe Architecture of an Island<\/em><\/strong>\u201d was published, she asked me to review it for her. It was a very pleasant task and it was published in \u2018The Sunday Times\u2019. Both Barbara and I were pleased with it, even if no one else was.<\/span><\/p>\n

 <\/p>\n

Barbara continued to influence generations after that book but, for me, it was the last lap we ran together.\u00a0 So, I will end with an excerpt from my review.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0 The achievement of this book is that, in the end, it records with understanding our vernacular architecture at the end of the century. Perhaps, at the end of the next, there would be no material for another. Till then, let us be content that Ronald, Barbara and Laki have salvaged this much for our children. And for this, much thanks.\u201d<\/em><\/span><\/p>\n

Goodnight, Barbara. Sleep well.<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

**************<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"elanka\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

A Requiem For Barbara Sansoni: From 1962 \u2026. – by Michael Roberts Source:thuppahis.com Somasiri Devendra, ** whose chosen title is\u00a0\u201cA wooden bridge, an iron house, and Barbara then \u2026.\u201d .\u2026\u2026\u2026\u2026 of such are memories made, writes\u00a0Somasiri Devendra So, Barbara has ridden off into the sunset, on her white horse, after \u201ca hard day\u2019s night\u201d leaving […]<\/p>\n","protected":false},"author":3,"featured_media":88737,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"aside","meta":{"footnotes":""},"categories":[20,42710],"tags":[30929,35089,44417,44416,44415],"class_list":{"0":"post-92497","1":"post","2":"type-post","3":"status-publish","4":"format-aside","5":"has-post-thumbnail","7":"category-articles","8":"category-michael-roberts","9":"tag-badulla","10":"tag-barbara-sansoni","11":"tag-bogoda-bridge","12":"tag-dowa-temple","13":"tag-national-tennis-champion","14":"post_format-post-format-aside"},"yoast_head":"\nA Requiem For Barbara Sansoni: From 1962 \u2026. - 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