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In The Book of Trades, Or Library of the Useful Arts..(1806) there is a chapter devoted to the career of a gardener. In the Regency era, some g
Welcome back to another installment of Regency fashions from the pages of Ackermann's Repository. In my last post for 1818 - I gave a bit of information about Mourning dress customs, since these were playing a significant part in fashions that year. Ackermann's published a record number of 4 fashion plates depicting Full-Mourning dress; then to started off the new year of 1819, they published 2 fashion plates showing Half-Mourning as the Royal court continued in it's mourning for beloved family members. My pick of the 1819 Ackermann Fashion Plates The Regency Royal court was in Mourning from late 1817 through 1819 due to the deaths of Princess Charlotte in Nov 1817 and then later for Her Royal Majesty Queen Charlotte in Nov 1818. (Princess Charlotte was the only child of the Prince of Wales "Prince Regent aka Prinny" who later became King George IV. Queen Charlotte was the wife of King George III and mother to the Prince Regent). The Prince Regent was ruling England in place of his father George III (Mad King George) so Prinny was actually setting the tone for Court mourning due to his loss of both daughter and mother during this time. Ackermann's Repository 1819 Fashion Plates 1819 - Ackermann's Repository Series 2 Vol 7 - January Issue Please note that even though some of the coloration on this garment appears to be a pale blue; this coloration is depicting the shadowed areas of the white trim. If you read the description of the garment below you will see that it is in the traditional half-mouning colors of black, grey and white. There is no blue in this outfit at all. 1819 - Ackermann's Repository Series 2 Vol 7 - January Issue I'm including all the Ackermann's fashion articles for January 1819 depicting these Half-Mourning costumes and how the Royal families mourning was effecting the fashion trends of the time. I thought it was an interesting glimpse into this time period and hope you enjoy reading it too. 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue Now to continue with the Ackermann Fashion Plates of 1819 1819 - Ackermann's Repository Series 2 Vol 7 - February Issue 1819 - Ackermann's Repository Series 2 Vol 7 - February Issue 1819 - Ackermann's Repository Series 2 Vol 7 - March Issue 1819 - Ackermann's Repository Series 2 Vol 7 - March Issue 1819 - Ackermann's Repository Series 2 Vol 7 - April Issue 1819 - Ackermann's Repository Series 2 Vol 7 - April Issue 1819 - Ackermann's Repository Series 2 Vol 7 - May Issue 1819 - Ackermann's Repository Series 2 Vol 7 - May Issue (Just an interesting tidbit I wanted to share). On occasion there were errors with the Ackermann Fashion Plates. The most common error seems to be where the colorist applied the wrong choice to a garment. For instance the description of a dress may have stated pale green but it was actually colored in pink. Each of Ackermann's "plates" were hand-colored by hired women all over London and they and their children did the work in their homes; therefore this type of mistake did happen from time to time. This is why some issues my have that particular garment in the correct color where other issues would have the same plate in an incorrect color. Another example would be the very first January 1819 fashion plate of a half-mourning, walking dress. There are areas which appear to be a pale blue when there is no blue at all in this garment - based on both the description and the fact that blue is not a half-mourning color. It's not uncommon that a colorist would use a very light blue when accenting the shaded areas of a white item; however in this example it was an incorrect choice and cause the garment to appear as if it is light blue when it is not. Chances are there are probably examples of this same garment in other issues where this is not the case and the colorist used a more appropriate pale gray for shading rather this this stronger blue seen in this example. Another type of error is in the printing of a plate. Here are two such examples where that happened in June 1819. (The Evening Dress and Morning Dress received the wrong captions under each costume.) It is possible that the error was caught in mid-print and there could be other issues that had the correct caption under each costume but the issue I had access to shows the errors. 1819 - Ackermann's Repository Series 2 Vol 7 - June Issue An example of an Ackermann's Error - this is the Evening Dress for the June issue 1819 - Ackermann's Repository Series 2 Vol 7 - June Issue An example of an Ackermann's Error - this is the Morning Dress for the June issue 1819 - Ackermann's Repository Series 2 Vol 8 - July Issue 1819 - Ackermann's Repository Series 2 Vol 8 - July Issue 1819 - Ackermann's Repository Series 2 Vol 8 - August Issue 1819 - Ackermann's Repository Series 2 Vol 8 - August Issue September 1819 Fashions Missing The Ackermann's Series 2 Vol 8 I had access to was missing the fashion plates for September of 1819. The Fashion descriptions were there but the fashion plates were not. I do not know if this was a printing error that they were excluded or if those plates were accidentally removed when the July - Dec 1819 issues were being bound into book form that became Vol 8. Rather than tease you by only showing the descriptions for the missing garments I thought I'd give you a fun bit of information about the binding process to show how these individual issues became books in libraries; which allowed several of them to survive over the past 200 years, so we can still enjoy them today. A bit of information about how these magazine issues became Bound Book Volumes Ackermann's Repository was a monthly periodical that was published over a 20 year period from 1809 to 1828 with a total of 3 Series. Series 1 was 1809-1815 Series 2 was 1816-1822 and Series 3 was 1823-1828. This was an extremely popular publication and in many cases these issues were later bound professionally into volumes that included 6 months per bound volume (This helps to explain the odd numbering system on the plates, if you were wondering what all the Series and Volume numbers meant on some of the plates) This numbering system is what allowed independent binders to properly order the pages of each issue as they turned them into bound book form. Unlike magazine we get today and throw out or put in the recycling bin; Ackermann's was in a way a historical account/reference of daily life, fashion, politics, art, literature and more of the time; therefore granting it a place in many private libraries. Subscribers of the day had several options when it came to the binding of the Ackermann's Repository issues. They could save and take their issues to a binder and have them bound as they chose to coordinate with other books in their personal libraries. (Ackermann's even published and sent binders the information necessary to do this correctly) You could also purchase pre-bound issues directly from Ackermann's and other booksellers with various binding options to choose from. There was even a trade up option available where for an up-charge you would return your issues to Ackermann's and purchase one of the pre-bound versions for a discounted amount. Here is an example of Ackermann's giving binding instructions in one of their issues. (another fun tidbit to read since it also includes an open call for articles and how to subscribe or obtain issues of Ackermann's) Example of binding instructions and more (Update 09-27-13 I located images of what the missing Sept 1819 Fashion Plates look like) I found these two September 1819 Ackermann fashion plates listed on eBay today! It's always so much fun to find the "missing" pieces so I hope you enjoy seeing them too. Now for the conclusion of the 1819 Fashion plates 1819 - Ackermann's Repository Series 2 Vol 8 - October Issue 1819 - Ackermann's Repository Series 2 Vol 8 - October Issue 1819 - Ackermann's Repository Series 2 Vol 8 - November Issue 1819 - Ackermann's Repository Series 2 Vol 8 - November Issue 1819 - Ackermann's Repository Series 2 Vol 8 - December Issue 1819 - Ackermann's Repository Series 2 Vol 8 - December Issue I hope you have enjoyed another adventure into the Ackermann Repository fashions of the Regency era. 1819 puts us half way through Ackermann's series 2 and also the mid-point of the 20 year run of Ackermann's Repository. For your convenience: below are links for for the previously posted fashions from series 1 and the first part of series 2. Ackermann's ran series 1 from 1809 - 1815 Series 1 - Vol 1 & 2 - 1809 Series 1 - Vol 3 & 4 - 1810 Series 1 - Vol 5 & 6 - 1811 Series 1 - Vol 7 & 8 - 1812 Series 1 - Vol 9 & 10 - 1813 Series 1 - Vol 11 & 12 - 1814 Series 1 - Vol 13 & 14 - 1815 Ackermann's ran series 2 from 1816 - 1822 Series 2 - Vol 1 & 2 - 1816 Series 2 - Vol 3 & 4 - 1817 Series 2 - Vol 5 & 6 - 1818 Series 2 - Vol 7 & 8 - 1819 (1820 - 1822 - are yet to be posted) Series 2 - Vol 9 & 10 - 1820 Series 2 - Vol 11 & 12 - 1821 Series 2 - Vol 13 & 14 - 1822 Ackermann's ran series 3 from 1823 - 1828 (series 3 coming soon) I hope you join me again for more from Ackermann's Repository Till next time... Thanks for visiting me here at EKDuncan.blogspot.com If you have enjoyed seeing these images from Ackermann's Repository and would like the opportunity to see and read an original for yourself they are are available on line at www.archive.org Click HERE then choose the volume you are interested in. You can then see and read them online or download them to your computer for future reference. Enjoy!
Confessions of a Royal Bridegroom by Vanessa Kelly. This is book 2 in the Renegade Royals series. You can read my reviews of the other books in the series by clicking on their titles: Lost in a Royal Kiss and Secrets for Seducing a Royal Bodyguard. Griffin Steele is finally putting the life he has lived behind him by selling off his gaming hells and brothel. He is ready to leave London and start a new life by traveling the world. That is until a mysterious lady drops off an infant at his door step. Griffin's first course of action is to contact Dominic Hunter, the man how is always trying to reform him. Dominic brings in his god-daughter, Justine Brightmore, to take care of the baby. Justine is not only Dominic's god-daughter, but she is the daughter of a spy. Who better to take care of the mysterious baby? But while Justine is taking care and protecting the baby, who will protect her from the notorious Griffin Steele? I've been looking forward to Griffin's story since the last book in the series and Vanessa Kelly did not disappoint! Having been abandoned by both his mother and father as a child, Griffin has let no one into his heart. I think that he felt like he didn't deserve any love. He feels like his parents didn't feel enough love for him to keep him, so why would anyone else? Justine was the perfect woman for Griffin. With her, we see a different side of him. With all of her "proper" ways, we see that under his rough exterior is a "gentleman". Even if he would never call himself one. The next book in the series is Dominic's story. Will he be reunited with the love of his life, Chloe? You can get this book at Amazon, Barnes & Noble, iBooks and Books A Million. Thanks go to Kensington Books via NetGalley for a copy of the book in exchange of an honest review.
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Susan reporting: Since I'm currently working on a new series of novels set in England the 1760s (more about those soon, I promise), I've b...
Like most families, mine makes frequent use of shorthand. In the case of me and my mother, much of the talk derives from the work of Georgette Heyer, the prolific author who created the genre of Regency Romance in the first half of the twentieth century. As my mother had, I read all of the books […]
Queen Louise of Prussia Louise of Prussia, when Crown Princess, 1796, by Tischbein. Image source: damals.de When she began her public career at the age of seventeen as wife of the Crown Prince of Prussia, just at the moment when European women's fashion was being revolutionized in the mid-1790s, Louise enthusiastically adopted the new simplified and informal style of dress that rejected the sometimes grotesque constrictions of the ancien regime. Tischbein's meltingly lovely evocations of Louise between 1794 and 1796 show off the legendary nymph-like beauty which made her a leader of German neoclassical fashion. She loved clothes, their colours and textures, and the make-believe powers of dressing-up. When she was young, she wore daringly modern, almost transparent, dresses, cut low in front and at the back, far more avant-garde than royal ladies are allowed to wear on public duty nowadays. Louise was a privileged child of the Enlightenment, educated in contemporary German Classicism and in Romantic sensibility to nature. She was a contemporary of Jane Austen and shared the same preoccupation with the harmonious union of sense and sensibility, of spontaneity and convention, a much harder balancing act at the Prussian court than at Pemberley. So she naturally approved of the rational aesthetic that inspired the high-waisted, loosely-fitted gowns, made of transparently thin linens and muslins, or light silks, cut to follow the natural lines of the body without the artifices of corsets, hoops and paniers. Beauty is found in the plainest of royal women, but the surviving evidence suggests that Louise was genuinely attractive. She was impressively tall (1.75), well-proportioned and pretty as a picture. The absolutist, militaristic Prussian monarchy had found its best propaganda asset since Frederick the Great in a living symbol of ultra-femininity - or so it seemed. Schadow, Prinzessingruppe, 1796-7. Crown Princess Louise with her younger sister Frederica. Image: WGA As queen, she recognized the iconic value of clothes in projecting a public and political image, and spent extravagantly on them. During the royal family's exile after the capture of Berlin by the French, she used the relative plainness of her dress as a symbol for her sympathy with the privations of the Prussian people under enemy occupation and her personal opposition to the humiliating alliance with Napoleon. At the same time, she made sure she was up-to-date with French fashions. In her late teens, while still Crown Princess, and intermittently afterwards, she was frequently portrayed wearing a white muslin or gauze scarf tied round her head and under her chin. Despite the accessory looking as glamorous as a modern post-facial surgery strap, the ladies of Berlin rushed to emulate her. Fashion victim: Detail from Schadow's Prinzessinnengruppe, 1795-1797 Her historic image became inescapably associated with this white headscarf which most biographers used to assume was hiding a temporary swelling on her neck, probably a goitre. They were taking a hint from the sculptor Schadow, who, bemused by her choice of headdress for the Prinzessininnengruppe, concluded that she was concealing a thick neck. Though they had dispensed with much of the formality of pre-Revolution dress, even the most emancipated ladies of Louise's time still observed the propriety of a head covering or bonnet of some sort whenever they went outdoors or received visitors during the day, staying as close to classsical or oriental themes as they could, and painstakingly looking as spontaneous as possible. There are descriptions in French fashion magazines from 1792 onwards of head and neck scarves tied in a similar way to Louise's. [Notes to Luise - The Queen's Clothes, a superbly researched exhibition at Schloss Paretz in 2010]. David's drawing of a woman in a turban, 1794. Private collection. Image source: Web Gallery of Art Rather than hiding a blemish on her naturally round neck, the idealistic, politically engaged young princess may simply have been following the latest egalitarian fashions from Paris, in the same spirit that a modern rich girl might wear pre-ripped designer jeans. Other princesses, as much as any of us, have made fashion mistakes for less noble reasons. Louise wearing a simple chemise dress and elaborately tied transparent headscarf in a pastel miniature by Henriette Félicité Tassaert, after Tischbein, c.1797. Image source: Wikipedia This headddress is a transition between the eighteenth century style of large bonnet over a muslin cap and the new minimalist look. Lawrence painted Sarah Siddons in a muslin headdress, inspired by a Turkish turban, with chin strap, in about 1797, tied in a similar style to the one in which Louise had been depicted the year before: Sarah Siddons by Lawrence, 1796-8 The contrast of a modest white scarf tied round the head, often with transparent drapery floating behind, and unruly curls of hair escaping over the face, to accessorize a simple white robe like that of a pagan priestess, was the epitome of the new idealism in fashion, the tension between forces of restraint and nature, not a young woman's eccentric vanity: Independence: neoclassical fashion as worn in the United States of America, 1800/01. Detail from Copley's painting of Colonel Fitch and his Sisters By the time she became queen in November 1797, Louise's neck was regularly portrayed as bare in court portraits and family groups. At the turn of the century, following fashions from France and England, her hair was cut shorter, and worn in a Grecian style: Detail of pastel of Louise by Vigée Le Brun, 1801 Louise continued to experiment with wearing scarves, tied in different ways depending on the occasion, sometimes swathing her neck completely in a masculine-style stock: Louise by Lauer, 1798; her low-cut white dress and neck scarf set off by her favourite shade of blue. WARRIOR QUEEN In riding habit by Wilhelm Ternite, c1810. Image source: Wikipedia The handsome, fuller-faced woman in her early thirties wearing a white stock with a dashing riding habit and hat, inspired by hussar's uniform, is a far more sombre personality than Vigée Le Brun's delectable babe in sugary pastels of 1801, five years before Prussia's defeat by Napoleon tested Louise. Louise the military and political leader was also by this time a mother of nine. THE ROMANCE OF THE ORIENT Cultured European women in the 18th century had long been adopting Ottoman influences in their dress as exploration and diplomatic contact with the east increased. After accompanying her husband's embassy to Constantinople in 1716, the emancipated intellectual, Lady Mary Wortley Montagu, was frequently seen in Turkish dress, sometimes in a style which prefigured the fashionable silhouette of the Empire and English Regency: Lady Mary Wortley Montagu with her son by Vanmour, c.1717. Image source: Wikipedia At Louis XV's court in the 1740s and 50s, both his mistress, Madame de Pompadour, and one of his legitimate daughters were painted in Turkish dress. Liotard's portrait (1753) of Marie-Adélaïde curled up on a sofa, wrapped in a book, is an astonishingly relaxed image in contrast to the usual flowery artifices of the Rococo. Madame Adélaïde of France by Liotard, 1753. Image source: Web Gallery of Art Turbans of various kinds, simple or decorated with plumes and jewels, that had reappeared as informal headwear for fashionable women, for the first time since the Renaissance, in the pre-revolutionary 1780s, became a craze after Napoleon's Egyptian campaign (1798 -1801). The headdress acquired prestige among intellectuals through its association with the free-thinking, living and loving Madame de Staël, who wore enormous, attention-grabbing turbans of brightly coloured silks: Germaine de Staël in one of her famous turbans, c.1810, in a detail of a painting attributed by different sources to François Gérard or, more likely from the style and background, Anne-Louis Girodet de Roucy Trioson. Queen Louise was portrayed in oriental inspired headdresses from the turn of the century. Schroeder's portrait of her, of around 1800 to1802, shows the style of turban, with symmetrical long hanging ends, that she is described as wearing at the historic meeting with Napoleon at Tilsit in 1807, when she pleaded on her knees for fair terms on behalf of her defeated country: Queen Louise by Schroeder, pastel, c.1800. Image source: kultiversum.de CLASSICAL HEROINE The sculpted bust of Louise by Schadow, 1799, with Grecian style hair, has regal dignity and composure - that mixture of grandness and sweetness for which she was known in public. Queen Louise in neoclassical dress and jewellery by Josef Grassi, 1802 THE MOTHER OF THE NATION The impact of Louise's last years of anxiety and ill health is plain to see on her death mask: Lawrence Hutton Collection It is the sad, careworn face of a plump middle-aged matron, suited to her third incarnation as mother of Prussia. She has taken on the sorrows of her nation. They imprison the shining, smiling nymph. Looking at this face, it is momentarily hard to find vestiges of the slender, fashion-obsessed, over-privileged girl, the heroine of neoclassical imagination, or the warrior queen riding gallantly with her army. The overwhelming impression given by this dead face is of sadness and strength. Her expression combines determination and amiability. the calm, resolute The set of the mouth is calm and resolute, the closed eyes keep secrets of pain and hope and loss. This is the face of a wife and mother who was also a leader, the true eternal feminine. The maternal aspect of her mystique was apotheosized by Rauch in the recumbent tombstone figure for her mausoleum in Schloss Charlottenburg. Her suffering is replaced by tranquil sleep, just as her husband wanted to remember her: Detail of Louise's tomb 1811-14, Christian Daniel Rauch. Photo source: Web Gallery of Art He loved clothes as much as she did. He was a weaker person than her; she had been his most trusted and intimate advisor. Like other great women of the ancien regime who were not reigning queens by birth, she had ruled through influence. The force and power of the death mask are replaced by girlish sweetness. The neoclassical queen has been transformed into the perfect submissive Victorian wife. Her complex femininity was broken up. She had been a girlie-girl, loving clothes for their own sake as much as for power dressing, who had balls. After her death she was neutered. She had been as sensible as she was brave, more reckless in her fashion choices than her politics. She played cautiously within narrow parameters of patriarchy and her nervous husband's conservatism. She had fashioned herself as a neoclassical queen of domestic liberal reform and national resistance to foreign oppression; as soon as she was dead, the unravelling began. The traditionally militaristic Prussian state became increasingly repressive and aggressive. Crown princesses, empresses and queens were restrained by corsets, crinolines and other cages. Louise's liberal grand-daughter-in-law Vicky, daughter of Queen Victoria, mother of Kaiser Wilhelm II, was hated at the same court that had cultivated the myth of Koenigen Luise. Throughout the 19th century, hopelessly sentimentalized images of Queen Louise purveyed a quasi-religious vision of a soppy Madonna, the scarf now floating behind her in a holy breeze. The real woman had disappeared. The posthumous commercialization of Queen Louise, after a portrait by Gustav Carl Ludwig Richter, 1879. Image: Pinterest The distortion of Louise's personality was completed in the 20th century by a right-wing women's group and the appearance of a "Koenigin Luise" in Nazi propaganda films that her contemporaries would not have recognized. This century, through books, web articles and exhibitions marking the bicentenary of her death in 2012, has already looked at her in clearer perspective, uncluttered by myths, religiosity and moral and political prejudice - except our own, of course, where we continue to re-make her in our own mould. THE ETERNAL FEMININE THE HUSBAND WHO LOVED UNIFORMS TEN CONTEMPORARIES OF LOUISE Sarah Lund: ONCE AND FUTURE HEROINE
It’s Jane Austen day today, she was born 240 years ago today. So in honor of her, a Regency-themed inspiration post. And because Christmas Holidays are nearly here, some lovely winter and chr…
The skeleton was found in July in a wooden coffin under the foundations of a former dance floor in the Smolensk city park, according to reports in August.
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On how it felt to step into Francesca Bridgerton’s shoes for the third series of everybody’s favourite Shondaland Regency romp
