Downing Street Years - Margaret Thatcher [13]
I felt that Downing Street should have some works by contemporary British artists and sculptors, as well as those of the past. I had met Henry Moore when I was Secretary of State for Education and much admired his work. The Moore Foundation let No. 10 borrow one of his smaller sculptures which fitted perfectly in an alcove in the main hallway. Behind the sculpture was hung a Moore drawing, which was changed every three months; among my favourites were scenes of people sleeping in the London Underground during the Blitz.
I was conscious of being the first research scientist to become prime minister — almost as conscious, in fact, as I was of being the first woman prime minister. So I had portraits and busts of some of our most famous scientists placed in the small dining-room, where I often lunched with visitors and colleagues on less formal occasions.
I felt strongly that when foreign visitors came to Downing Street they should see something of Britain’s cultural heritage. When I came to No. 10 all the paintings in the main dining-room were copies. They were replaced. For example, I was lent a picture of George II, who had actually given No. 10 to Sir Robert Walpole, the first prime minister. On my foreign visits I quickly found that many of our embassies had superb works of art which added greatly to the impression people had of Britain. I wanted foreign visitors to No. 10 to be similarly impressed. I knew that there were large numbers of excellent British paintings in our museums which were not on show. I was able to borrow some Turners, a Raeburn from Scotland and some pictures from the Dulwich Gallery and these were hung in the White Drawing Room and the main reception room. I also had some fine portraits hung of the nation’s heroes; through them you could feel the continuity of British history. I recall on one occasion watching President Giscard d’Estaing gazing at two portraits in the dining-room — one of the young Nelson and the other of Wellington. He remarked on the irony. I replied that it was no less ironic that I should have to look at portraits of Napoleon on my visits to Paris. In retrospect, I can see that this was not quite a parallel. Napoleon lost.
On this first evening, though, I could do little more than make a brief tour of the main rooms of the building. Then I entered the Cabinet Room where I was greeted by more familiar faces — among them my daughter Carol. There was Richard Ryder who had been and would continue for a time as my political secretary, responsible for keeping me in touch with the Conservative Party in the country; David Wolfson (now Lord Wolfson) who acted as my Chief of Staff, bringing to bear his charm and business experience on the problems of running No. 10; Caroline Stephens (later to become Caroline Ryder) who became my diary secretary; Alison Ward (later Alison Wakeham) my constituency secretary; and Cynthia Crawford — known to all of us as ‘Crawfie’ — who acted as my personal assistant and who has stayed with me ever since. We did not waste much time in conversation. They were anxious to sort out who was to go to which office. I had exactly the same task in mind: the choice of my Cabinet.
CABINET-MAKING
Choosing a Cabinet is undoubtedly one of the most important ways in which a prime minister can exercise power over the whole conduct of government. But it is not always understood how real are the constraints under which the choices take place. By convention, all ministers must be members of either the Commons or the Lords, and there must not generally be more than three Cabinet members in the Lords, thus limiting the range of potential candidates for office. In addition one has to achieve distribution across the country — every region is easily convinced it has been left out. You must also consider the spectrum of party opinion.
Even so, the press expect the Cabinet of some twenty-two ministers to be appointed and the list to be published within about 24 hours — otherwise it is taken as a sure sign of some sort of political crisis. My American and