Ever wonder about finding something that evokes “life back then”?
Spode historian Pam Woolliscroft informs her audience that she “stopped dead” when she spotted this trio – bread & butter plate, tea-cup and saucer – on the bottom shelf in an antique market….
Lucy Worsley in a three-part BBC production.
The series is Elegance & Decadence: The Age of the Regency.
*Warts and All: Portrait of A Prince
*Developing the Regency Brand
*The Many and the Few: A Divided Decade
Join Worsley at Kew – Devizes – the Dulwich Picture Gallery – Beau Brummel’s dressing room – Brighton – Waterloo. A real “look” at Regency people, places, and things.
Including, a bird’s eye view of All Souls, Langham Place — extremely important to the history of the Smiths & Goslings:
From their Country Estate, Giles Coren and Sue Perkins will teach us about life and living during the Regency.
Giles is a self-confessed “dandy”; Sue is his unattached sister.
The FOOD is the focus of the show.
One of the “receipt books” used: the Experienced English House-Keeper
A view of one of the rooms in this lovely Country Manor House.
And another view of another room.
Giles is channeling his inner Prince. (Note the pink hair curlers!)
The twosome visit the Georgian City of Bath.
And the pump rooms.
Back home, Sue is enjoying her latest acquisition: a piano forte piece composed by Herr Beethoven.
But she sure pines for a beau…
Giles, in London, gets into much trouble while hoping to find a husband for his sister.
Sue gets a day out…
and tonight an intimate dinner party; tomorrow a dance!
Although I’m a fan of the first two episodes I had seen — a Victorian era episode, and a Restoration era episode — I was a bit disappointed in their Regency Romp. A little too much channeling of Austen sequels? They’d have been less ‘campy’ if they’d read my Smith&Gosling diaries and letters!
Still, if you tune in you get to see how Roast Beef and Yorkshire Pudding fared – what White Soup looked like (not very white…) – and how tasty Syllabub could be after all the meat and cheese.
Supersizers Go… aired over three years (2007-2009) and features many different eras of cookery and costumes.
Have only recently visited this EXCEPTIONALLY useful website, but what a plethora of information. How I envy anyone in this field for having this resource!
See, for instance this upcoming conference on The Consumption and Dissemination of Dress, 1750-1850. Or Fashioning the Early Modern – at the V&A.
If anyone is interested in “pooling talents” and doing something similar for Regency England History Research, do let me know.
A reader of Two Teens in the Time of Austen, SUSAN, has sent this photo. She adores this print — and who wouldn’t?! But she’s also curious to learn MORE about the picture.
Can other Two Teens readers help??
Of great interest is the Spencer jacket; the curled hair; the delicate gloves – one on, one off.
I am convinced — since it’s a print — that it must be based on some portrait or miniature. But by whom? Of whom?
Susan and I are all ears to hear more!
In my paper for the JASNA AGM (the Annual General Meeting of the Jane Austen Society of North America), I made mention of the FIRE SCREENS passed around the London household of the Ferrars family. They had been gifts — painted by Elinor Dashwood for her sister-in-law Fanny — and were now under scrutiny by the formidable Mrs Ferrars!
My comment, too, was under scrutiny, for I of course concluded that Elinor’s fire screens were painted and probably wood — though the more I thought about the 183os Princeton letter, with a trip up North for the Smiths (and Caroline Austen!), I considered a good bet also that the material was papier mâché. The Smiths had toured just such a factory (and Maria, the letter’s author, so wished to buy something for Mamma – but the price was evidently beyond her pocketbook that day).
My questioner insisted the screens were embroidered. I said I would look into it, though we settled then and there — thanks to an audience member with the book in hand — that Elinor’s was “painted” and therefore embroidery was quite doubtful. I have a feeling the annotated edition of S&S makes mention of embroidery, but I’d not looked for a copy of the book yet. Chapman makes no mention.
Now, my assumption was of a small pole screen:
These were made so that the “shield” could slide up and down the “shaft”, turn a bit left or right. The back has a “ring” that you tighten — so I assume they come off their pole. Lifted off the “screen” itself could easily be passed around the room, until it lands in the hands of Mrs Ferrars.
The clue may lie in the fact that they had to be “mounted”; if that does not indicate the pole — which usually was nicely turned, and showed an inventive base and feet, “mounted” may indicate being placed within a frame and having a handle attached. For my JASNA roommate Sally believes Elinor’s fire screens to have been hand-held, fan-style FACE SCREENS, as seen below.
Click on the image to visit the website — this 1809 fan is FASCINATING!
NB: I will say I don’t quite believe in their “wax-based” cosmetics theory for the prevalence of face screens. Try sitting near a ROARING, BLAZING fire: you face feels the effects rapidly – dries out the eyes and mouth. You, too, would be happy to have a “screen”. But how prevalent cosmetics were within the Smith/Gosling circle is another question for another blog post!
Author Charlotte Frost (see posts on her biography of Sir William Knighton) mentioned her hope of seeing this wonderful Regency-era exhibition of clothing at Brighton Pavilion: Dress for Excess. We await news from Charlotte on her visit!
In the meantime, looking for more information, a link was found at A Fashionable Frolick leading readers to Jennifer Rothrock‘s delightful behind-the-scenes look at this very exhibit (which runs until February 2012).
With my passport newly expired I feel exceptionally “homebound” now… Luckily are those within striking distance of Brighton!
(Hopefully) More later —
When working on a book about the period 1815-17 — the teen years of a woman who ultimately marries into the Austen family — an important concern is to envision not only what my girls looked like but also the fashions they might have been wearing. The most extensive description Emma provides is of the court dress her mother and eldest sister wear when young Augusta was presented in 1817. Yet these girls undoubtedly were interested in fashion, and I like to think of them as looking over the very same Fashion Plates I find in Ackermann’s:
Described as an “Evening Dress,” this delicate creation is a design of Mrs. Bean of Albemarle-street. “This lady, since her visit to Paris, has incorporated in her dresses, in the style of French costume, all that is to be admired in the exuberant varieties which that country produces; and has moderated the same by a fancy governed by a chaste feeling peculiar to herself.”
The fashion plate’s original description is tantalizing: “A celestial blue crape frock, over a white satin slip, ornamented round the bottom with a deep border of tull or net lace, embroidered with shaded blue silks and chenille; short full sleeve, trimmed with tull or net lace; the dress trimmed entirely round the top, to correspond…. Slippers of blue satin or kid. White gloves of French kid.” Her jewelry is “Necklace of pearl; ear-drops and bracelets to correspond.”
The girl herself comes under discussion: “Hair parted in the centre of the forehead, confined in the Grecian style, and blended with flowers.”
Young Augusta was attending concerts and plays in 1815; I can imagine her in just such a dress. Will have to look through the letters and diaries to see if anyone made any mention of Mrs. Bean. Will update if I find anything!!
I’m interested in anything anyone might be able to tell about Mrs. Bean!
The Jane Austen Centre (Bath, England) has a nice description of another Mrs. Bean creation, written by Candice Hern.
Find all Ackermann’s Repository of Art volumes (from Internet Archive) on this blog.
As a craftsperson, one notices the amount of ‘work’ ladies like Emma and Mary comment upon doing for themselves, gifting to others, or getting as gifts. The range of crafts practiced is broad. I remember well coming across a pattern for the embroidery on a night cap made for Charles Smith, and lovingly traced out in a blank portion of a letter that has survived from the period following his last illness.
From descriptions, Mary went into a decline after Charles’ death, losing weight, ignoring the house and the estate. So how wonderful to see a letter to her youngest sister-in-law, Maria Smith, in which she writes:
“According to your wish I send you the pattern of the cap my sister worked for Charles, though I found I had not got it in my pattern book, but I have taken it from the cap which is still in existence, and I must return you and Eliza many thanks for your letters which contained so much that is interesting to me to hear.” [written from Suttons on 10 August 1832]
Therefore, to find a book like Jane Austen’s Sewing Box is indeed a find!
Author Jennifer Forest has supplied a table of contents, showing the array of Regency projects: from a lettercase, to linen-work, to a workbag and huswife, to a bonnet and a reticule. Must admit that the ‘pin cushion and threadcase’ just reminded me of poor Mrs Smith, the friend of Anne Elliot in Persuasion, who eked out a living making (for resale) just such items (see my review of The Letters of Mrs Lefroy).
I asked Ms. Forest what precipitated her book: “I love history and have worked in a couple of different professions relating to history – I taught at secondary school … then worked in a couple museums here – one an 1860s homestead”. She said, “I was re-reading Jane Austen’s novels and noticed that she mentions her women characters doing different sorts of craft like netting, knotting, etc…. [I]t was things like netting and knotting that got me really interested because they are kind of lost arts”.
Just have a love a book that notes on its inside cover that “the needlework of the spoilt Bertram sisters is ‘too ill done for the drawing room’.” Only Austen would have an ear for the meaning behind such a statement. Yet it is so easy to read over the comment and not digest its true meaning today.
I’ll be watching my post for a copy of this book with eager anticipation!