Are you a historian, author, or student interested in an 18th-century project? The transcript of a diary chronicling a sea voyage from Copenhagen to Tranquebar (Tharangambadi) in 1777 might be just the project for you. The trancsript is written in German, and available for free. For more information, application and further procedure, please read on.
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Amelia Jane Murray (1800-1896) was an amateur watercolourist. Between 1820 and 1829, she painted fairies as tiny female figures dressed in neoclassical garments, sitting among flowers or riding on insects. Her watercolours, though never exhibited during her lifetime, have enchanted millions since they were published in 1985. The reasons behind Amelia’s fascination with fairies remain speculative. In this post, I offer a new interpretation of the influences on Amelia’s art based on the socio-cultural circumstances of her childhood and youth.
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From August to October, dahlias turn gardens into a sea of vivid colours. The Victorians loved the exuberant plant. But how was the flower perceived in the Regency period? Was it commonly found in the gardens of ordinary people, or was it only a favourite of botanists?
In a Regency novel by Georgette Heyer, we find the following humorous lines:
“(Venetia) directed an aged and obstinate gardener to tie up the dahlias. It seemed improbable that he would do so, for he regarded them as upstarts and intruders, which in his young days had never been heard of, and always became distressingly deaf whenever Venetia mentioned them.”
These lines always make me smile. Yet, how much historical correctness do they contain? Let’s find out.
It’s 1814, and we find ourselves in a hidden cellar on a dark backstreet in the less noble parts of London. This is the domain of a ‘wine-brewer’, the artist among food forgers. ‘Wine-brewers’ possess many talents: they can give an immature red wine more astringency, render cloudy white wine transparent, and even conjure a Bordeaux from sloe berries. One might be tempted to admire their craft, were it not for the fact that some of their ingredients are unappetising, or even dangerous to the health and lives of unsuspecting consumers.
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Imagine it is 1808 and you are a recruiting officer for the regular army. Your task is to find new soldiers for your regiment. Without a system of military conscription, you face significant challenges. Unlike the navy’s recruiting parties, you are not allowed to press gang people into military service. How big is your task? What challenges will you face, and how can you succeed?
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When 18th century-people wore clothes that were called “undress”, it did not mean anything … incident. “Undress” was the word for informal fashion, something worn at home. However, “undress” in the time of Jane Austen was much more formal than today’s informal fashion is. The famous “banyan” – a morning gown for men – cannot be compared to a convenient jogging suit or a bathrobe. The banyan was an exquisite piece for gentlemen, proving their taste and wealth. It was perfectly fine for a host to receive friends and business partners when wearing a banyan.
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The painter Angelica Kauffman (1741-1807) was t-h-e female celebrity artist of the 18th century. In the story-telling about her career start, men play a vital role: as key events for her recognition as a serious artist in Britain are considered the patronage by the painter Joshua Reynold, and celebrity actor David Garrick sitting for a portrait that caused a stir in the art world. I don’t aim to minimize the influence of male clients, colleagues and patrons on Angelica Kauffmann’s success. However, in this article, I highlight the role of female sponsorship and cooperation during her career in London (1766 – 1781), as it shows how women supported each other in a world that belonged to men.
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Cut-glass chandeliers were among the most sought-after luxury products of the 18th century. Only the super-rich could afford to buy them. Thus, chandeliers were often designed to match the interior of a room, meaning that they were custom-designed.
Regency Explorer interviews an elegant chandelier from 1815 about the makers, customers, and the influences from fashion, science and politics.
Gaming table in a country house. Would you have dared to play Whist with strangers?
Whist was one of the most popular card games in Georgian England. It began its career as a plain game for common men. With the rise of the coffee houses in London, the gentry picked up the game. Reputedly it was Lord Folkestone who brought the game into fashion in high society around 1728, when he adopted it as a challenging strategic card game requiring good memory, sympathetic partnering and psychological acumen.
The rules of Whist were written down in Edward Hoyle’s “ A short treatise on the game of whist” in 1742. As early as this, methods of cheating were discussed. While Hoyle advocated fair play, the stakes at Whist could be high, and thus tempt many to force luck their way. Besides, cheating at whist is very easy. Continue reading
Imagine you are a statesman of a country allied to Napoleonic France. Napoleon is visiting, and you are having a warm and welcoming chat. Your chances are very high that he will present you with a beautiful, ornate, expensive dress pistol to honour your loyalty. Napoleon liked gifting his allies as well as his best military men with such superb arms, and they were true luxury gifts. They were made by one of the most sought-after arms makers of the age at a specialised workshop at Versailles: Nicolas-Noël Boutet. Have a look at a beautiful example here:
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