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Archive for the ‘Georgian London’ Category

Regency women went to great lengths to achieve an effortless, romantic look with long, flowing lines to their dresses and hairstyles. Even their dresses, which appeared to have little underneath, had several layers hidden below the surface. As with everything, nothing in the Regency era is quite as simple as it seems.

And behind the scenes of every genteel woman’s daily beauty regime were servants who made it all possible. Without today’s modern household appliances, a whole team of people were required to make a household run smoothly. There were servants who laundered, mended, ironed, and polished. Maids who buckled, tied, boosted, and smoothed; carried clean, hot water for bathing; and emptied bathtubs and chamber pots. Men and women cleaned, cooked, served, polished, and dusted. All so that life could go on smoothly and seamlessly.

Women in Jane Austen’s world were expected to be many things, especially when it came to their personal appearance, but what went on behind the scenes to make these women appear so effortless and graceful?

Evening dresses, fronticepiece, The Mirror of Graces,, 1811
Evening dresses

[Mr. Bingley] came, and in such very good time that the ladies were none of them dressed. In ran Mrs. Bennet to her daughter’s room, in her dressing gown, and with her hair half finished, crying out:

“My dear Jane, make haste and hurry down. He is come—Mr. Bingley is come. He is, indeed. Make haste, make haste. Here, Sarah, come to Miss Bennet this moment, and help her on with her gown. Never mind Miss Lizzy’s hair.”

“We will be down as soon as we can,” said Jane; “but I dare say Kitty is forwarder than either of us, for she went up stairs half an hour ago.”

Oh! hang Kitty! what has she to do with it? Come be quick, be quick! Where is your sash, my dear?”

Pride and Prejudice, Jane Austen

It took time to achieve the polished look of a Jane Austen heroine; thus, I’ve also included additional links for each of the topics below for those who want to delve deeper. Let’s look behind the scenes:

Bathing

Cleanliness then wasn’t quite what it is today. Bathing only became common during the 18th century in wealthy households. In Jane Austen’s time, baths were taken once a week (more or less depending on the season) with sponge baths in between. This was usually done by sponging off with a pitcher of water and a little basin on the bedroom dresser. To bathe, people sat in a larger tub or stood in a smallish tub on the floor and washed with a pitcher of water. (The Family, Sex & Marriage in England 1500-1800 by Laurence Stone)

A portable bath shower from the mid 19th c.

Affordable soaps of the time were soft and more caustic than the soaps, lathers, and body washes we enjoy today. Firm, refined bar soaps were scented and more costly (and therefore less frequently used). As for a woman’s hair, the same soap used for the body was also used for the hair, and the hair was washed far less often than today.

Oral Health

As for dental health, tooth brushes and tooth powder were used. In Sense and Sensibility, we read this: “He was giving orders for a toothpick-case for himself, and till its size, shape, and ornaments were determined, all of which, after examining and debating for a quarter of an hour over every toothpick-case in the shop, were finally arranged by his own inventive fancy…”

Toothpick Case, National Maritime Museum, 1806

From Austen’s own letters, we know that dentistry in her time was a grisly business:

The poor girls and their teeth! I have not mentioned them yet, but we were a whole hour at Spence’s, and Lizzy’s were filed and lamented over again, and poor Marianne had two taken out after all, the two just beyond the eye teeth, to make room for those in front. When her doom was fixed, Fanny, Lizzy, and I walked into the next room, where we heard each of the two sharp and hasty screams.

The little girls’ teeth I can suppose in a critical state, but I think he must be a lover of teeth and money and mischief, to parade about Fanny’s. I would not have had him look at mine for a shilling a tooth and double it. It was a disagreeable hour.

Jane Austen’s Letters, Henrietta St., 15 Sept. 1813

The advent of modern dentistry, and the use of anesthetics, wouldn’t come until long after Austen’s lifetime. I, for one, feel much more enthusiastic about my next dental cleaning after this. For more on the topic of Regency dentistry, you can read this JAW article on Dental Hygiene in the Regency Period.

Dressing and Undergarments

For the latest fashions, women often shared patterns and new fashions. Those who had lately traveled to London or even Bath brought back descriptions, clippings, and patterns to share with their friends and family member. In Pride and Prejudice, we read this about Mrs. Gardiner’s visit: “The first part of Mrs. Gardiner’s business on her arrival, was to distribute her presents and describe the newest fashions.”

Underdrawers belonging to the Duchess of Kent, 1810-1820

As fashions evolved, so did women’s undergarments. Under their slim, empire-waisted Regency dresses made of thinner material than previous years, women wore a shift, stays, a waist petticoat, stockings, and more. With so much to lace up and buckle, women needed help getting dressed. On the topic of stays, we know that Jane wrote this to Cassandra:

I learnt from Mrs Tickar’s young Lady, to my high amusement, that the stays now are not made to force the Bosom up at all; that was a very unbecoming, unnatural fashion.

Jane Austen’s Letters, September 1813

However, women did not yet wear “underwear,” drawers, or pantaloons. Drawers were considered immodest and improper, something only men wore, until the early to mid 1800s. Slowly they caught on, and by the mid-1800s they were a matter of course when hoop skirts became popular. You can find more here: Ladies Underdrawers in Regency Times: Regency Underwear.

Cosmetics

In terms of cosmetics, a more natural Romantic look took hold during Austen’s life, in large part aided by the blockade during the Napoleonic Wars. Ladies were still, nevertheless, never too far from their rouge pot (Beauty and Cosmetics, 1550-1950 by Sarah Jane Downing). Regardless of one’s complexion or skin tone, a rosy glow was part of achieving that healthy romantic look.

As for covering up body odor, deodorant was not yet used, while the perfumes of the time tended toward sweet, musky scents. To find out more about cosmetics and how they were made (many times out of materials we now know are dangerous), you can read this article: A Deadly Fashion: Beauty and Cosmetics 1550-1950 – A Review.

Hair

During Jane Austen’s lifetime, hairstyles for women became more natural and graceful. This meant instead of powder, wigs, and elaborate updos, the natural hair color became popular again. Women wore their hair swept up into simple twists, buns, and chignons with locks of hair curled around their faces. Curling tongs and curling papers and cloths were used to create this effect.

The fashions and hairstyles all came from the Greco Roman styling that became popular during Austen’s day. You can read more here: Greco Roman Influences on Women’s Hairstyles During the Georgian Era.

Combs used as hair accessories

With the bonnets and caps used at the time, curls were used to frame the face. For evening and dinner parties, accessories such as combs and ribbons were used. Often a maid helped fix a lady’s hair each morning and before an evening dinner or party. What might look like a very natural hairstyle could take quite a bit of time to perfect beforehand. For more, you can read about Regency Hairstyles and their Accessories. Additionally, you can view Vic’s stunning Pictorial History of Regency Hairstyles.

A Look Behind the Scenes

The world of a genteel Regency woman was complex and nuanced. Next month, I’ll discuss “Privy” Matters: Regency Feminine Hygiene, Bodily Functions, and Childbirth. We’ll take an even closer, behind-the-scenes look at a genteel woman’s private life in Jane Austen’s time. All to help us understand the real-life world of carriage rides, balls, dinners, and courtship that we so enjoy in Austen’s novels.

As much as I love dressing up for a Jane Austen event, all of this information reminds me, as ever, that as romantic as everything looks in a Jane Austen film, life for women of her time was anything but simple—even for those who were part of the landed gentry.

When I’ve dressed for the ball given at past JASNA AGMs, my outer layer tends to be the most historically accurate. I’ve yet to invest in undergarments, and I usually “make do” with my own homemade hair accessories, jewelry, and ballet flats. One day, I’d like to invest in a bonnet. As one wise woman once told me at an AGM, “It takes years to build your Regency wardrobe – just take it one piece at a time.” Do you own any Regency clothing? If so, what do you enjoy wearing most? -Rachel


RACHEL DODGE teaches college English classes, gives talks at libraries, teas, and book clubs, and writes for Jane Austen’s World blog and Jane Austen’s Regency World magazine. She is the bestselling author of The Anne of Green Gables Devotional: A Chapter-By-Chapter Companion for Kindred Spirits and Praying with Jane: 31 Days Through the Prayers of Jane Austen. Her newest book The Little Women Devotional is now available for pre-order and releases December 2021. You can visit Rachel online at www.RachelDodge.com.

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Inquiring readers, I can’t gush enough about this website, which started out as a research project by Matthew Sangster “to explore the life and culture in London in the late 18th and early 19th centuries.” I discovered the site when I wanted to trace Jane Austen’s trip from her brother Henry’s house on Henrietta Street to Carlton House, the home of the Prince Regent, after the Prince’s librarian, James Stanier Clarke, invited her to visit in 1815, just as she was completing the final touches on Emma. I found the route in Horwood’s Plan of the Cities of London and Westminster in the Borough of Southwark, and Parts Adjoining Shewing every House (1792-99).

Logo of the title

Horwood’s Plan of the Cities of London and Westminster in the Borough of Southwark, and Parts Adjoining Shewing every House (1792-99).

Romantic London, the website, is divided into a number of topics of vast interest to historians, lovers of Jane Austen and the Regency era, authors, researchers, and teachers and students. In addition to Horwood’s Plan, Sangster offers tabs entitled Harrris’s List (1788), Antiquities (1791), Picturesque Tour (1792-1801), Modern London (1804), Microcosm (1804–10), Life in London (1821), and Wordsworth’s Prelude (1850). He includes a blog and provides an email address for those with questions.

It is worth your while to read the introduction to each section, starting with Introducing Romantic London. I’ll describe a few of the wonderful features on this site, and will leave the rest for you to discover on your own.

Horwood’s Map (1792-9):

Image of the full Horwood Map

Notice the 32 pages that comprise Horwood’s Map. Image from Sangster’s website.

The entire map, as drawn, is composed of grids or 32 sheets. All one needs to do with this digital map is to place a cursor over an area. I chose one near Mayfair, and pressed “+” until I honed in on Carlton House. Click anywhere on this map and explore to your heart’s content.

Closeup of Carlton House and surroundings, with pale coloration of grass, trees, and squares

Detail of Carlton House, Carlton House Gardens, St. James’s Square, and Kings Mews.

The level of detail in this close up image is simply amazing. We see Carlton House and Carlton House Gardens in a bird’s eye view. All houses, with their back yards, stables or mews, common areas and gardens are delineated. Pale colors mark squares, grassy areas, and trees.

Included in this tab is a history and texts that show how Sangster uses Horwood’s Map for his and our benefit. As an example, let’s study the tab, Modern London, which is an 1804 guide to the city, published by Richard Phillips.

Modern London (1804):

While the guide was written by Richard Phillips, the 22 views of key buildings and landscapes were engraved from designs by Edward Pugh and images of street traders and seller by William Marshall Craig. Many of us are already familiar with these images, but where were they exactly located? This tab answers that question in detail.

Orange markers and gray arrows superimposed over the entire Horwood's Map

Markers showing the locations described in Modern London

Superimposed on Horwood’s entire map are orange hiker tabs and gray arrow tabs. Hover your cursor over one, and the location is identified with a title of the images created by Pugh or Craig.

Black and white engraving of Greenwich Park with crowds celebrating Easter

Greenwich Park with the Royal Observatory on Easter Monday, Modern London, Edward Pugh

A street trader image:

Image of woman, dressed in red and blue, pushing a wheelbarrow with new potatoes past Middlesex Hospital

New Potatoes, Middlesex Hospital, by William Marshall Craig

Other tabs of note:

All the tabs lead to information for those of us interested in Austen’s era. In this section, I will detail only a few—those with images of and information about London created during Austen’s life. Each tab is designed like the one described in Modern London. You will first see Horwood’s Map with corresponding tabs, and then the engravings or lithographs and their descriptions (if they exist).

  • Antiquities (1791-1800) by John Thomas Smith shows plates of buildings, architectural details, and objects found in London.
  • Malton’s Picturesque Tour (1792-1801) consists of black and white engravings of major buildings and thoroughfares. 
  • Microcosm of London features images of Rudolph Ackermann’s famous Microcosm of London (1808-10). 
  • Select Views, or Select Views of London; with Historical and Descriptive Sketches of Some of the Most Interesting of its Public Buildings (1816) compiled by John B. Papworth and published by Rudolph Ackermann. 

In conclusion:

One reason this site excites me is that with Horwood’s map I can trace Austen’s visits to the places she and her family mentioned while staying with Henry in London, such as the Wedgwood Shop in Regent’s street. In the accompanying images that sit at the bottom of the various tabs, I can view how London looked in her day, and read contemporary accounts about these locations.

I am struck by how quickly London turns from city streets to rural surroundings; how closely houses are stacked together in the city’s center, each with their own chimneys and need for refuse removal. I can imagine how, on dry windy days, the dust from unpaved streets must have settled everywhere, and the smell of urine and feces from horses and cattle driven by drovers to Smithfield Market must have permeated through every nook and cranny, and windows and door cracks on hot summer days.

This map and the accompanying images, along with current accounts and subsequent histories, provide us (as readers and authors), with a way to follow the movements of historical and fictional people who resided in the largest city in Europe. It will also allow me to map my next visit to London, and choose specific locations to visit as I learn more about the time in which Jane Austen and her contemporaries lived.

Resources

British Library: Online Gallery: Plan of the Cities of LONDON and WESTMINSTER, Richard Horwood, 1795, includes a zoomable image, full size printable image, and a short history.

Layers of London: London Maps: Choose historical maps of London, and overlay them with information about a range of topics and themes.

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Reviewed by Brenda S. Cox

The Journal of a Georgian Gentleman: The Life and Times of Richard Hall, 1729-1801 provides fascinating insights into Jane Austen’s England.

The Journal of a Georgian Gentleman, by Mike Rendell, explores 18th century life in England

Richard Hall was a tradesman, a hosier who made stockings in a shop near London Bridge. Like the Coles in Emma, he “was of low origin, in trade,” but moved up in society as he became wealthier. Hall accumulated his fortune through hard work, marriage, inheritance, and investments. From selling silk stockings, he moved into selling fine fabrics, silver buckles, and other fashionable accessories. Hall eventually owned several estates, and retired as a country gentleman. 

I asked the author, Mike Rendell, to tell us more about how he wrote this book.

Rendell says he inherited “a vast pile of old family papers, . . . stuffed into tea chests and boxes in the back of the garage” in his grandmother’s house. He focused on the papers related to Richard Hall and found it “a fascinating voyage of discovery.” 

This trunk was full of papers from the eighteenth century.

Rendell continues, “For instance, if he [Richard Hall] recorded in his diary that he had ‘visited the museum’ it made me research the origins of the British Museum, realizing that he was one of the earliest visitors. Which led on to researching what he might have seen, etc.”

He adds, “Writing my first book opened my eyes to a great deal about the world in which Jane [Austen] was brought up. I love her works – especially P&P and I must admit to binge-watching the entire BBC version in a single sitting, at least twice a year!”

In the context of Richard Hall’s story, Rendell tells us about many aspects of life in the eighteenth century, based on his extensive research. For example:

Religion

Richard Hall was a Baptist, one of the Dissenter (non-Church of England) groups in Austen’s England. This meant that even though Hall loved learning, he was not able to attend university. Oxford and Cambridge, the two English universities, would not give degrees to Dissenters. Hall could have studied in Holland, but his family decided to bring him directly into their hosiery business instead.

Richard Hall’s grandfather and father were Baptists, and Richard attended a Baptist church and listened to sermons by the famous Baptist preacher Dr. John Gill for many years. Richard also collected printed sermons by Dr. Gill. However, it was not until Richard was 36 that he “gave in his experience” and was baptized. Rendell explains that “giving in his experience” meant “explaining before the whole church at Carter Lane in Southwark how he had come to faith in Christ.”

Some of the leaders of the English Baptists of the time are part of Hall’s story, as well as disputes and divisions between Baptist churches.

Hall sometimes attended Anglican churches, and was even a churchwarden for a time. Rendell comments, “The fact that he was a Baptist did not mean that he was unwilling to attend Church of England services – just as long as the gospel was being preached.”

Methodists were another important movement in Hall’s England, though they were still part of the Anglican Church for most of Hall’s lifetime. One of Hall’s relatives, William Seward, became an early Methodist minister, preaching to open-air crowds. Rendell writes that Seward “died after being hit by a stone on the back of the head while preaching to a crowd at Hay-on-Wye, on 22 October 1740 – one of the first Methodist martyrs.”

Silhouette of Richard Hall, probably “taken” (cut out) by his daughter Martha. In 1777 Martha “gave her experience” and was baptized in a Baptist church, as her father had done.

Science

Rendell often explains advances in science that affected Hall’s life (and Jane Austen’s). He writes, “By the standards of his day . . . Richard was a well-educated man. Above all, he was a product of his time – there was a thirst for knowledge all around Richard as he grew up. There were new ideas in religion, in philosophy, in art and in architecture. This was the age of the grand tour, of trade developments with the Far East, and a new awareness of the planets and astronomy as well as an interest in chemistry and physics. It was a time when the landed gentry were experimenting with new farming methods – inspired by ‘Turnip’ Townsend and Jethro Tull – and where a nascent industrial revolution was making its faltering first steps.” Richard wrote down many scientific “facts”—or fictions—some of which are listed in an appendix.

Surprisingly, Richard Hall records several times that he saw the Aurora Borealis in southern England. Apparently, the aurora was sighted many times in Austen’s England, though it has since migrated northward.

Rendell also tells us about an invention that greatly improved transportation: the development of macadam roads. These were named for the Scotsman John McAdam who invented the process. When bitumen (tar) was added in the nineteenth century, such roads were called “tar-macadamised”: a word eventually shortened to “tarmac.”

Travel was quite an adventure in Austen’s time. Richard Hall made this detailed paper cutout of a coach and four, showing one of the fastest means of transportation available at the time. Hall also did cutouts of a coach and four about to crash because of a boulder in the road, and a one-horse coach being held up by a highwayman.

Medicine

Richard Hall’s small daughter was inoculated against smallpox, which meant she was given the actual disease. She had “between two and three hundred pustules.” But Richard writes that about three weeks later, “Through the goodness of God . . . the Dear Baby finally recovered from inoculation.” 

About ten years later, inoculation–giving the patient a hopefully mild case of smallpox–was replaced by vaccination. Dr. Edward Jenner developed this technique, where patients were given cowpox rather than smallpox to develop their immunity. However, Jenner became a member of the Royal Society (of scientists) not for his work on vaccination, but for his observations of cuckoos and their habits! He also experimented with hydrogen-filled balloons. The “naturalists” (not yet called “scientists”) of this age were interested in topics that nowadays we would separate into many different branches of science.

When Hall’s first wife, Eleanor, died of a stroke, he cut this tiny Chinese pagoda in memoriam, with her name, age, and date of death. Rendell says it is “like
lace. It is just an inch and a quarter across and most probably fitted in between the outer and inner cases of his pocket watch. In other words it was worn next to his heart. Very romantic!”

Weather

Hall also noted the weather. In 1783 he refers often “to a stifling heat, a constant haze, and to huge electrical storms which illuminated the ash cloud in a fearsome manner.” These were the effects of a huge volcanic eruption in Iceland, the Laki volcano. This eruption, the most catastrophic in history, caused an estimated two million deaths worldwide, and wiped out a quarter of the population of Iceland. In England, the harvest failed, cattle died, and about 23,000 people died of lung damage and respiratory failure.

Highwaymen were another danger in Austen’s England. In this paper cutting by Richard Hall, a criminal, possibly a highwayman, hangs on the gallows while spectators are unconcerned.

Language

Richard Hall wrote a list for himself of words that sound different than they look. He gives the spelling, then the pronunciation, which helps us see how people in his area and level of society spoke. A few examples:

Apron—Apurn

Chaise—Shaze

Cucumber—Cowcumber

Sheriff—Shreeve

Birmingham—Brummijum

Nurse—Nus

Dictionary—Dixnary

The history of some words are also explained. For example, the word “gossip” was a contraction of “God’s siblings.” Such women helped mothers in childbirth. The “gossips” offered sympathy, kept men away, and chattered in order to keep up the mother’s spirits throughout her labor.

Museums and Exhibitions

Rendell describes several museums and exhibitions that Hall visited. One of the most intriguing is Cox’s Museum, which Hall and his wife visited the year Austen was born. It featured rooms full of “bejewelled automata.” The most famous was a life-size silver swan, still a popular exhibit at the Bowes Museum in Durham (northern England). The Museum says it “rests on a stream made of twisted glass rods interspersed with silver fish. When the mechanism is wound up, the glass rods rotate, the music begins, and the Swan twists its head to the left and right and appears to preen its back. It then appears to sight a fish in the water below and bends down to catch it, which it then swallows as the music stops and it resumes its upright position.” No less a personage than Mark Twain admired this swan and wrote about it in The Innocents Abroad.

Richard Hall’s upbringing stressed values which still resonate with many people today. Rendell writes, “. . .from an early age it had been instilled into Richard that there were only three things which could help stop the fall into the abyss of poverty, sickness and death. The first was a strong belief in the Lord, and that without faith you got nowhere. The second was the importance of education. The third was that you got nothing without working hard for it. These were the cornerstones of his upbringing – and of the whole of his subsequent life.”

Richard Hall was an artist of paper cutting. He cut out everyday objects and scenes. Many, like this finely-done rapier, were found among his books and journals.

And Much More

The Journal of a Georgian Gentleman is full of treasures for those of us who love reading about Jane Austen’s time period. We learn about guilds, clothing, food, disasters, transportation, prices, medical advances, explorers, and much more. 

To Rendell, Richard Hall “came across as a bit of a joyless, pious individual but then I thought: hang on, he had to face exactly the same problems as we do today – illness, worries about the business, problems with a son who was a mischief maker at school, problems with the drains etc etc. When he re-married  he fell out with his children because they didn’t approve of his new bride – and they excommunicated him [avoided and ignored him] for the rest of his life. In that sense his life was just as much of a mess as the ones we lead today!”

While Rendell originally wrote this story for his own family, when he decided to make it widely available he found he needed to promote it. He ended up in a surprising job. He says, “I had never before tried public speaking but quickly found that I loved it – and ended up with a totally new ‘career’ as a cruise ship lecturer (when Covid 19 permits!) travelling the world and talking about everyday life in the 18th Century. . . . These talks include talks about Jane Austen – in particular about the different adaptations, prequels, sequels, etc. of Pride and Prejudice – as well as talks about the venues used in the various films of Jane’s books. I also write articles for Jane Austen’s Regency World. . . . One thing led to another and I have now had a dozen books published, with two more in the pipeline.”

Mike Rendell’s books include topics such as Astley’s Circus (Astley’s is mentioned in Emma and in one of Jane Austen’s letters), Trailblazing Women of the Georgian EraPirates and Privateers in the 18th Century, and more. 18th Century Paper Cutting shows the illustrations used in this article, along with other lovely paper cuttings by Richard Hall. See Mike Rendell’s blog at mikerendell.com for more of Mike’s books and blog posts.

The Journal of a Georgian Gentleman is available from amazon in the US and the UK. It is offered on kindle unlimited. If you order a paperback copy from Mike Rendell (Georgiangent on amazon.co.uk), he says, “if anyone orders a copy I will ask (through amazon) and see if they want a personal dedication/signed copy before popping it in the post.” (It is listed there as a hardback but is actually a paperback.)

By the way, Rendell pointed out that Jane Austen’s nephew, James Edward Austen-Leigh, also did paper cutting (or silhouettes). You can see examples of James’s work in Life in the Country. There is also a well-known silhouette of Jane’s brother Edward being presented to the Knight family; that one was done by a London artist, William Wellings.

The Journal of a Georgian Gentleman gives us valuable insights into the life of an Austen-era tradesman who became a country gentleman. What would you most like to know about the life of such a person?

___________

Brenda S. Cox blogs about Faith, Science, Joy, and Jane Austen, and is currently working on a book entitled Fashionable Goodness: Christianity in Jane Austen’s England. You can also find her on Facebook.

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Landing page to Rowlandson's characteristic Sketches of the Lower Orders, intended as a companion to the New Picture of London, with an image of Drayman.

One of the privileges of using technology is our ability to peruse original editions online. We no longer need to travel to major city and university libraries to hunt down sources, or travel to distant states and lands, although viewing Jane Austen’s letters at the Morgan Library exhibit in New York gave me an unexpected thrill and feeling of awe.

Thomas Rowlandson is one of my favorite artists/caricaturists of the Georgian era. I hold him and the French caricaturist, Honoré-Victorin Daumier, in the highest esteem. As soon as I discovered this link I wanted to share it with you, the readers of this blog.

The following link leads directly to Rowlandson’s characteristic Sketches of the Lower Orders, intended as a companion to the New Picture of London. Published in London in 1820, the 54 scenes of London street life would have been very familiar to Jane Austen and her family. In fact, to understand the world she lived in, one must view the lives led by all the social orders in her era.

Rowlandson's "Chairs to Mend" detail of man, dog, and potential customer

One reason I love Rowlandson cartoons is the attention he pays to details – the dog reacting to his street cries, the chair mending materials he carries, the old woman in the background holding a chair to mend – with deft lines he recreates a noisy, raucous street scene. This image from the British Library is in the public domain.

Jane, who traveled to Bath and London and other large towns, was no simpering Miss. She must have been exposed (infrequently, perhaps) to scenes such as the one depicted in “Strawberries.”  If she did not view them as an eye witness, she might well have come upon to the many caricatures publicly hanging for sale in print shop windows or printed in publications.

Detail of "Strawberries" from Rowlandson's characteristic Sketches of the Lower Orders, intended as a companion to the New Picture of London

Rowlandson incorporates rich story telling into his masterful drawings. The strawberry seller in the front of this detail has packaged her fruit tidily in small baskets, which the customer at right carries away with some satisfaction. The strawberry seller in the background at left sells her fruit loosely, allowing the male customer to bend over and ogle her bosom while grabbing for her berries, a not so subtle jab at the many streetwalkers (both day and night) occupying London at the time.

Jane’s pugnacious sense of humor, evident from her juvenilia and in a more sophisticated fashion in her later novels and letters, makes sense, given her talent, the way in which her family nurtured her budding talent, and the influence satiric novels and cartoons of the day must have had on her. No matter how gently bred a young lady might be (except for the most shielded), there was no escaping the dichotomy between the rules of etiquette for the gently bred and the general licentiousness of the Georgian era.

Rowlandson depicts both worlds masterfully in the hand-colored plates we are privileged to view in this online resource.

Two pages in Rowlandson's characteristic Sketches of the Lower Orders, intended as a companion to the New Picture of London, depicting Door-Mats seller and Earthen-ware seller.

I love how Rowlandson draws details of every day life that no longer exists: the maid choosing a new door mat and another maid scrubbing the front stoop, while she is ogled by an old man. In ‘Earthen-Ware,’ a lady of quality inspects the pots and bowls for sale. This is a straightforward depiction of merchants trying to make a sale, one in which I can readily imagine Jane Austen as the customer. This public domain image was taken from this link on the British Library website.

 

Image of a lady selling poodle pups to a couple in Rowlandson's characteristic Sketches of the Lower Orders, intended as a companion to the New Picture of London.

One of the sweeter drawings in Rowlandson’s book. Public domain image from the British Library/

One can learn so much from these illustrations about early 19th century London and a life once lived and now lost. Heartbreaking scenes (such as those with the chimney sweepers and coal heavers) are interspersed with a sweet depiction of a young gardener showing his wares to a pretty woman or a funny scene of a woman crying “sweet lavender” while holding a screaming baby. These images help me understand Jane Austen’s London experiences better, while making me appreciate the sheer artistry of the man who created them.

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Inquiring readers, Tony Grant from London Calling has contributed yet another wonderful article. Inspired by my visit to Williamsburg a few weeks ago, he decided to research some of the buildings in more depth.

The Sir Christopher Wren building at the William and Mary College in Virginia is the oldest academic building in the United States. It was built between 1695 and 1700. However its origins began long before that and a long and tortuous path was followed before the construction of the college could be  begun.

1700s view of William & Mary college with Wren building. @All Posters. Click on image to go to the site.

1700s view of William & Mary college with Wren building. @All Posters. Click on image to go to the site.

In 1618 The Virginia Company of London ordered the construction of a university at Henrico, a few miles south of the present day city of Richmond. By 1619 Sir Edwyn Sandys the treasurer of The Virginia Company reported that £1,500 had been collected and also that every bishop in England had been asked to collect money from their parishioners for the construction of the university. In July 1619, workmen were sent  from England to construct the university. In 1622 an Indian uprising destroyed Henrico. In 1624 Virginia became a Royal Colony and the licence of The Virginia Company was revoked. This removed the charter allowing the building of the university. In 1661 The General Assembly authorised the purchase of land for the building of a college. Nothing happened until 1690 when the Church of England clergy in Virginia put forward propositions for the construction of a college. The reverend James Blair was sent to England in 1691 to petition the new King and Queen, Willam and Mary, to grant a charter to establish a college. The King provided £1,985 14s 10d for the construction of a college to be named William and Mary. There was also a 1d tax placed on all tobacco sold to other countries apart from Britain to raise money. In 1693 a tract of land was purchased for £170 from Captain Thomas Ballard. In May 1694 The Royal College of Arms, which is situated beside St Paul’s Cathedral in the City of London, created a coat of arms for the college. In 1695 the first bricks were laid of the foundation of the college.

Sir Christopher Wren

Sir Christopher Wren

This original building of the college is thought to have been designed by Sir Christopher Wren. There is no documentary evidence to prove this but there are some arguments in favour of Wren being the architect. Wren was the King’s chief architect and William and Mary authorised the construction of the college. The Church of England used Wren as their chief architect in London and it was the Church of England ministers in Virginia who instigated the building of the college. Wren was also responsible for many other important buildings throughout Britain. Wren was the architect who virtually rebuilt London after the Great Fire in 1666.

Detail of a Wren window

Detail of a Wren window

Sir Christopher Wren was a scientist and mathematician and became one of England’s most famous architects. He was responsible for designing and building over fifty London churches and he was the builder of St Paul’s cathedral in the city. He was born on October 20th 1632 in East Knoyle, a village in Wiltshire in Southern England. His father was the local rector. His father later moved to Windsor and Christopher went to Westminster School, situated next to Westminster Abbey and then went on to Oxford University. He had a talent for mathematics and also inventing things. In 1657 Wren was appointed as the professor of astronomy at Gresham College in London and four years later he became the professor of astronomy at Oxford.

he Royal College of Arms next to St Pauls where the coat of arms for William and Mary College was created. Image @Tony Grant

The Royal College of Arms next to St Pauls where the coat of arms for the College of William and Mary was created. Image @Tony Grant

In 1662 he was one of the founding members of The Royal Society along with other great mathematicians and scientists. From his interest in physics and mathematics he developed an interest in architecture. In 1664 and 1665 he was commissioned to build the Sheldonian Theatre in Oxford and also the chapel of Pembroke College Cambridge. Architecture then became his main interest. He visited Paris and became interested in the baroque style. In 1666 The Great Fire of London destroyed much of the old city. This provided a great opportunity for Wren. He drew up designs for a grand new city. However, many of his ideas did not come to fruition because the owners of different parcels of land, in the city, did not want to sell. Wren was able, though, to design fifty-one churches and St Paul’s Cathedral.

Grinling Gibbons

Grinling Gibbons

Returning to the possibility of Wren designing the William and Mary College in Virginia, it is interesting to compare Wren’s known buildings with the college to see what similarities in style there might be. I referred to the efforts to raise the finances to build the college and maybe there was a difficulty here. When you compare what Wren built here in England with William and Mary College there are many discrepancies. William and Mary College looks to be a very downmarket version of Wren’s classic buildings.

Wren Building. @William & Mary's website. Click on image to see the source.

Wren Building. @William & Mary’s website. Click on image to see the source.

There are some similarities in design and proportion though. Whoever did design William and Mary College could at least have had Wren as an inspiration. Wren worked closely with designers such as Grindling Gibbons, the wood carver and John Groves, the plasterer.

Carving design by Grinling Gibbons

Carving design by Grinling Gibbons

They both created the most ornate ceilings, wood panelling and facia stone carvings on Wrens buildings. These people were the most prominent and influential designers of their day. They would have charged a premium price for their talents and skills.From the pictures of William and Mary College these features are not present.

Details of wood work by Grinling Gibbons

Details of wood work by Grinling Gibbons

William and Mary, who the college is named after, provide an insight into the turbulent history after the even more turbulent times of the English Civil War.

William Henry Stuart was born on November 14th 1650 in the Hague in the Netherlands. He was the son of William II of Orange. In 1672 William was appointed Stadholder(chief magistrate)and captain general of the Dutch forces  to resist a French invasion of the Netherlands. In 1677 he married his cousin Mary, the eldest daughter of James, Duke of York who became James II of England. It was a diplomatic and politically inspired marriage intending to repair the rift between England and the Netherlands after the Anglo Dutch Wars. James II was a very unpopular monarch, not least because he was a catholic. The English Parliament tried to oppose James and wanted to reduce his powers. They secretly invited William and Mary to come to England and rule as joint monarchs. William landed at Torbay on 5th November 1688, a very nice Devon coastal resort these days, with an army of 14,000 troops. With local support this increased to 20,000 men. They advanced on London. This was called the Glorious Revolution. James fled to France and William and Mary were crowned as William III and Mary II. Parliament then passed the Bill of Rights which prevented a catholic taking the throne again and parliament also limited the powers of the monarch.

William and Mary

William and Mary

William and Mary did not like each other. William had a dour personality. He was asthmatic, twelve years older and several inches shorter than Mary and he was a homosexual by nature.

Sir Christopher Wren's addition to Hampton Court

Christopher Wren facade

If ever you visit Hampton Court you can walk around the 17th century part of the palace behind the old Tudor part which was designed and built by Sir Christopher Wren as a present for William and Mary. It was  also intended as an enticement to bring William to England as our monarch. William and Mary liked Hampton Court and spent a lot of time there.

Visitors today can process through all the rooms of state. A palace was designed to a specific plan. The first rooms you enter were waiting rooms. Ambassadors from other countries would wait until ushered into the next set of rooms to have an audience with the King. Rooms following on from that would be for the Kings own ministers. Following on to the next set of rooms, the greatest of the aristocracy and personal friends of the King would be admitted. As you process through the rooms further only the monarchs most intimate friends, advisors and family would be permitted.

Baroque interior of the King's apartments, Hampton Court. Click on image for source.

Baroque interior of the King’s apartments, Hampton Court. Click on image for source.

Finally you reach the Kings own personal rooms and, lastly, after all the grand state rooms, a small bedroom, lavishly decorated but very small, almost a closet, the kings own sleeping chamber. It is interesting to note that the room above the king’s bedroom was the room of his own personal manservant who was the only one who had access to the King in the night. His manservant could enter by way of a narrow staircase, which apparently, he often did. We can only surmise!

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