This Jane Austen blog brings Jane Austen, her novels, and the Regency Period alive through food, dress, social customs, and other 19th C. historical details related to this topic.
French artists Marguerite Gerard (1761-1837) painted this domestic scene of a mother about to breast feed her child. The subject is unusual in that breasfeeding one’s baby was unfashionable for aristocratic and upper classes, and the act had become associated with the poor and lower classes.
Generally, wet nurses were paid to feed the babies of the wealthy. Much thought and care went into their selection, and their milk was examined for texture, color, viscosity, and taste. Some thought that aspects of a wet nurse’s personality could be passed through her milk, and therefore her character had to be impeccable. Cassandra Austen, Jane Austen’s mother, sent all her children to the nearby village of Deane to be nursed in their infancy. Although Cassandra Austen visited her babies daily, they did not return to the family fold until they were around 18 months of age.
The popularity of wet nurses stemmed from the fact that royalty often wanted large families. Wet nurses were hired to feed the newborn so that the royal mother would soon regain fertility and become pregnant again. When royals stopped breastfeeding their children, other women from wealthy families soon followed suit and began to farm their babies out to wet nurses. This practiced continued until the end of the 19th century, when it largely died out.
Repton's design for the gardens for the Royal Pavillion, Brighton
Sir Humphry Repton (1752-1818), who was mentioned in a previous post about the paint color Invisible Green was a famous landscape designer during the end of the 18th century and early 19th century. “In his day, [he]was equal in stature to Capability Brown or Gertrude Jekyll, but is now often-overlooked. However, he was once favoured by the Prince Regent (later George IV), drawing up plans for the Brighton Pavillion, as well as working at Woburn, in Londons Bedford Square, Sherringham in Norfolk and Ensleigh in Devon.”
This 1991 film about Repton’s career, which I found on YouTube and whose title I could not find, features Sir Michael Hordern as the narrator and John Savident as Repton. The special showcases Repton’s magnificent drawings for the redesign of many famous properties; some of his work can still be observed in their natural settings.
About the name: Is it Humphry or Humphrey? I have seen both spellings. The BBC spelled the name as Humprhey, whereas the National Portrait Gallery, Morgan Library, and the majority of sources use Humphry.
Consider this recipe for a modern Austenesque mystery: Take a familiar and beloved novel, Mansfield Park, with characters whose motives and actions we know intimately, and tear the book up. Throw the pages inside a bag, shake vigorously, and let the characters and plot fall where they may. Add a writer who has cooked up a complex plot for a delicious murder (or two or more, who knows?), and you have Murder at Mansfield Park, a truly hearty and satisfying new mystery novel.
Lynn Shepherd, the chef of this roman à clef, has by dint of her imagination turned Jane Austen’s classic novel topsy turvy. The characters’ names are familiar, the setting is the same, some of the action as originally described by Jane Austen has been retained, and yet Ms. Shepherd has managed to create something new, refreshing and different.
I must admit to disliking mysteries in general, as many regular readers of my blog know. And I tend not to review Jane Austen sequels. But this novel is different. Oh, I was skeptical at first, slogging through the first chapter, trying to wrap my mind around the changes in the characters. And then I got caught up in the plot and became absorbed to the point where I could not put the book down.
Some red herrings are thrown into the mix, but not so many as to make the reader angry. The plot’s denouement was more than satisfactory and made logical sense. I suppose a true mystery fan might have guessed the killer sooner. Truth be told I held off guessing, for I wanted to be surprised, and so I was.
That Murder at Mansfield Park is Lynn Shepherd’s first novel is most surprising. Her writing style is lovely and effortless as she weaves several plot elements into a seamless whole. Rather than copy Jane Austen, Ms. Shepherd uses Mansfield Park as a take-off point. This novel is intelligently written and assumes that the reader has some command of the English language and enough background knowledge in history, Jane Austen, and other subtle historical and social references to understand the numerous references that crop up.
I give Murder at Mansfield Park six regency fans, my highest rating ever.
Post script: Gentle reader – If you are curious to learn more about Lynn’s novel after reading my review, be forewarned. Many reviewers have spoiled the plot by giving away too much of Lynn’s changes while gushing about them. Honestly, does no one take Review a Novel 101 any more? One irresponsible reviewer of a major online news publication even gave away who was murdered, ignoring the fact that half the fun of this mystery is guessing who the victim will be. So be careful, wary reader, of careless reviewers who do not even bother to place *Spoiler Alert* at the top of their reviews.
Inquiring reader: This is the second post by historical paint expert Patrick Baty of Papers and Paints, who has carried out extensive research into the use of pigments in architectural and decorative paintings. He has kindly answered a question about the paint color “invisible green,” which was left on his previous post, Painting a House During the Regency Era.
Invisible Green was a favourite of Humphrey Repton, the famous landscape designer of the Georgian/Regency eras. (The image above shows his trellises painted in a dark, rich green.)
William Mason, in his poem “The English Garden” published in 1783, provides us with a very early reference to the Picturesque treatment of fences and to the colour that became know as “Invisible Green”. He describes in verse the preparation of a dark green oil paint based on yellow ochre and black with white lead. Great care was required in mixing the right colour:
‘Tis thine alone to seek what shadowy hues
Tinging thy fence may lose it in the lawn…”
and he concludes by saying:
the paint is spread, the barrier pales retire,
snatched as by magic from the gazer’s view”.
Patrick Baty, Green Schemes, Garden Door, Scottish Estate
In 1808, James Crease, the Bath colourman, described “Invisible Green” as a dark green:
so denominated from its being proper for covering gates and rails in parks, pleasure grounds, etc. by rendering them in a measure invisible at a distance on account of its approximation to the hue of the vegetation”.
In 1829, T.H. Vanherman, the London colourman, described Invisible Green as follows:
“The Invisible Green is one of the most pleasant colours for fences, and all work connected with buildings, gardens, or pleasure grounds, as it displays a richness and solidity, and also harmonizes with every object, and is a back-ground and foil to the foliage of fields, trees, and plants, as also to flowers.”
One of my early projects was at Uppark, where the young Emma Hamilton is alleged to have danced naked on the dining room table. The wonderful Lucy Inglis has written very well in her blog Georgian London about the concept of prostitution in the eighteenth century in Frances Barton – Alimony and Acting: The Life of Nosegay Fan.
Appointment with Death is the last new Hercule Poirot mystery to be shown on PBS for Season X. David Suchet and a sterling ensemble cast reenacted Agatha Christie’s tale in Syria – or did they?
Lord and Lady Boynton, the victim, and Sarah King, right
Big changes were made to the original storyline, which Christie had originally set in Petra. Lord Boynton, a famous archeologist, now searches for the head of John the Baptist. The cast of characters differed from the novel, and when the murder was finally solved in a dramatic (and unbelievable) way, I could scarcely believe what I was watching.
What could possibly be wrong with Dr. Gerard?
Many readers feel that Appointment With Death was one of Christie’s weakest novels, and tinkering with the story has done little to improve the plot. There is an undercurrent of cruelty in this adaptation (Mrs. Boynton is a worse child abuser than Mrs. Norris in Mansfield Park), which has not been adequately explained. And while Lady Westholme (Elizabeth McGovern) had much to lose, her role in this plot has changed it beyond recognition.
Hercule Poirot and Dame Celia Westholme
Oh, dear. This episode was not a good way to end the season. The only positive thing I can say is that once again the actors are superb. Tim Curry, Elizabeth McGovern, Christina Cole, Tom Riley, and Angela Pleasance make for a sterling cast.
Let's hope the next Poirot season ends with a bigger bang.
Appointment With Death was filmed in the exotic locations of Casablanca and El Jadida in Morocco, and the UK.
Tim Curry….. Lord Boynton
Christina Cole….. Sarah King
Tom Riley….. Raymond Boynton
Cheryl Campbell….. Lady Boynton
Zoe Boyle….. Jinny Boynton
Emma Cunniffe….. Carol Boynton
Angela Pleasence….. Nanny
Paul Freeman….. Colonel Carbury
Beth Goddard….. Sister Agnieszka
Christian McKay….. Jefferson Cope
Mark Gatiss….. Leonard Boynton
John Hannah….. Dr. Gerard
Elisabeth McGovern….. Dame Celia Westholme
Fashionable Goodness: Christianity in Jane Austen's England is now available! By JAW contributor Brenda S. Cox. See Review. Available from Amazon and Jane Austen Books.
Available through December 31st, 2025. Click on image for details, and share this poster with other teachers and students!
The Obituary of Charlotte Collins by Andrew Capes
Click on image to read the story.
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Project Gutenberg: eBook of Stage-coach and Mail in Days of Yore, Volume 2 (of 2), by Charles G. Harper
STAGE-COACH AND MAIL IN DAYS OF YORE: A PICTURESQUE HISTORY
OF THE COACHING AGE, VOL. II, By CHARLES G. HARPER. 1903. Click on this link.