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A brief pause at the archive desk for housekeeping, mending, and the occasional discreet pinning back of a hem.
First, handwriting. I have been revisiting earlier entries to make the use of cursive fonts more consistent, and, more importantly, more readable. Lady Gwendolyn and Miss Anne Kelley’s writing now appear in hands that suggest legibility as well as character. Flourish has its place, but Saint Clare’s has never been a school that prized ornament over clarity, except perhaps in the prospectus and certain prize-day speeches.
Second, the forewords and afterwords. I am also tidying these across the MP Visits sequence so they speak to one another more neatly. The School itself is perfectly capable of generating three contradictory accounts of the same event, plus a fourth in pencil that insists the first three never happened. The archive, however, ought to provide at least a stable frame in which to enjoy the confusion.
Third, a practical matter, now happily resolved. Paul, our longstanding and long suffering Stylesheet Beak,1A Beak, as any public school pupil will tell you, may sound like a gentle bird, but is not to be trifled with, particularly where fonts are concerned. has fixed the vexed matter of the comment box, which on some browsers (Safari, I am looking at you) displayed readers’ words in a size apparently intended for smuggling under a blotter, or for writing the Lord’s Prayer on a grain of rice. The situation is now in hand.
Fourth, and this is a correction still in progress, I have been remiss in providing plain-text versions of posts that rely heavily on handwritten fonts. Not all readers find cursive easy, and while Saint Clare’s has a long tradition of expecting girls to decipher one another’s notes at speed (often by torchlight, and often with consequences), the archive should be more accommodating. Plain-text versions will be added going forward, and to earlier posts where possible. Consider it accessibility rather than a collapse in standards.
Finally, a word about illustrations.
Some readers will have noticed a change. Earlier Saint Clare/Inez entries often came with drawings that leaned toward coloured pencil and watercolour, the sort of thing one might expect in a storybook, a school annual, or the margins of a Latin exercise when the mistress’s back is turned. Changes in how image generation now behaves on ChatGPT have made that style increasingly difficult to produce reliably. The results tend, of late, toward the photographic, the over-polished, or the alarmingly literal, which rather defeats the point.
For the time being, I will be relying on simpler artwork and on drawings I already have, with the occasional experiment when circumstances allow. I may yet pull out my coloured pencils in a pinch, but no promises. The point has always been suggestion as much as illustration, and I trust the archive can manage with a little less gloss and a little more imagination.
Thank you, as ever, for your patience, your sharp eyes, and your willingness to notice when the filing system has been quietly adjusted. Corrections, like discipline, work best when administered early and with a steady hand.
- 1A Beak, as any public school pupil will tell you, may sound like a gentle bird, but is not to be trifled with, particularly where fonts are concerned.
This sequence draws from the Kelley–de Vries correspondence and the less officious corners of Saint Clare’s, chiefly the Blue Prefect Study papers, where respectable documents go to become something else. You will find letters meant to be burned, copies kept “for reference,” drafts that should by rights have been torn up and were instead saved, retied, and filed under headings of optimistic vagueness. Some pages are neatly typed, as though the truth might be made more palatable by proper margins. Others arrive in the swift, unsteady cursive of someone writing under pressure, or in a place she very much ought not to be.

The Archivist Gets the Last Word:
The story of Inez de Vries unfolds through a constellation of documents—some official, drawn from the prim and unforgiving files of Saint Clare’s School for Girls; others more intimate, taken from the journals, letters, and scribbled notes of the girls themselves. Some will appear typed and orderly; others retain the texture of handwriting, rendered in a cursive-style font.
12 July 1955 – Outward Journey
12 July 1955 – At Saint Clare
The story of Inez de Vries unfolds through a constellation of documents—some official, drawn from the prim and unforgiving files of Saint Clare’s School for Girls; others more intimate, taken from the journals, letters, and scribbled notes of the girls themselves. Some will appear typed and orderly; others retain the texture of handwriting, rendered in a cursive-style font.




Introduction/Teaser